早来寻红挥毫卖,利市开先尽牡丹--从李鱓题画诗看其两种性质的《牡丹图》

“To sold painting in the early of life, the peony images were always sold-out first”——analyzing two type<peony images>of Li Shan from his painting poetries

李鱓,清代"扬州八怪"之一,通过对其题画诗的解读,笔者发现,在李鱓的创作生涯中,"牡丹"一直是他最受欢迎的题材之一,并且根据创作出发点的不同,其《牡丹图》呈现出两种不同的性质,一种是带有应酬性质的《牡丹图》,这类作品是以馈赠、交换或出售为目的创作的,另一种是练笔或自娱性质的《牡丹图》,画家借由此类作品记录创作心得和对人生际遇的感慨。两类《牡丹图》在表现内容、意象主题、绘画风格上均有所不同。对于李鱓的绘画成就,历代评论者包括李鱓自己都是从用笔、用墨、用水等文人画的角度来进行评价的,然而笔者认为从纵向的花鸟画发展历程来看,李鱓部分具有应酬性质的作品及其呈现出来的设色小写意画风才是他承前启后、具有创新意义的价值所在。

Li Shan, one of the ' Eight Eccentrics of Yangzhou' in the Qing Dynasty, Through analyzing Li Shan's painting poetry, the author found that during his creation life, 'Peony' has been one of the most popular subjects of Li Shan, and according to different starting points of the creation, the<Peony image>have showed two different types, One was social engagement type, which created for sale and exchange, another was created for the purpose of practice or enjoying himself. The two types<Peony image>shows different performance content,imagery theme and style. For the achievement of Li Shan, the past dynasties scholars, including Li Shan himself from the pen, ink, water painting perspective to evaluate it, but in my opinion, from the longitudinal development process of flower-and-bird painting, the innovation value of Li Shan embodied in the part of social engagement paintings which present as small freehand brushwork with colors style.