起承古典与转合现代的类相——明代梅花图美鉴微言

The Class Image of Starting from Classical and Transforming into Modern:A Brief Comment on the Beauty Appreciation of Plum Blossoms Paintings in the Ming Dynasty

在文人花鸟画蓬勃发展的明代,大写意花鸟逐步成熟,西方画作与美术理论传入中国的语境关联域,梅花视觉艺术形象的创作,在取材立意方面,寓主观表达于客观再现,推动了梅花画偏重个人性情抒发的新境界。在布局取势方面,骨像、繁简、虚实处理相得益彰。梅干的“力度”苍劲、刚健;动态之“势”或雄奇挺秀,或优雅摇曳,或飞舞跃动;繁花瀑布气势如虹、热烈磅礴;意境迷离浑厚,令人耳目一新。在笔墨技艺方面,师承古法又倾意创新;打破传统文人画忌用的厚重刚韧、老辣的笔墨技法;尤其小写意运用于创作中。总之,明代梅花图作为传统审美文化百花园中的暗香疏影,承前启后,继往开来,哺育、滋养了历代后世画家与观赏者。

In the flourishing development of literati flower and bird painting in the Ming Dynasty,as the freehand brushwork of flowers and birds gradually matured,and in the context of the introduction of Western painting and art theory into China,the creation of visual art images of plum blossoms combined subjective expression with objective reproduction in terms of material and conception,promoting a new realm of plum blossom painting that emphasizes the expression of personal emotions.In terms of layout and power selection,bone images,complexity and simplicity,and virtual and real processing complement each other.The"strength"of prunes is vigorous and robust;The dynamic"momentum"may be magnificent and graceful,or elegant swaying,or flying and jumping;The bustling waterfall is as majestic and passionate as a rainbow;The artistic conception is blurred and rich,refreshing.In terms of pen and ink skills,he inherits ancient methods and leans towards innovation;Breaking the traditional literati painting taboo of using thick,tough,and old ink techniques;Especially the lowercase meaning is used in creation.In short,the plum blossom painting of the Ming Dynasty,as a subtle reflection in the traditional aesthetic culture of the Hundred Flowers Garden,inherits the past and opens up the future,nurturing and nurturing painters and viewers from all generations to come.