網誌
2009年4月9日 上午8點06分00秒中国书画收藏欣赏一己见 3
4、《花鸟》作者：溥 佐 尺寸：65×43cm,纸本设色
4, "bird" Author: Pu file size: 65 × 43cm, paper colors
本作品是被称为“花鸟画大师”的爱新觉罗?溥佐的力作。画面表现：在如同蚻龙一般的松树上“一对情侣”将要分别，“小伙子”探探头，准备时刻下去为自己的
爱人觅食，一旁的“姑娘”在深情地看着，为自己的爱人“祈祷”——愿心爱的人平安归来……这些一笔不苟、细腻精美的花鸟作品具有现代宫廷画派画家的艺术特
点。（现代宫廷画派虽然有所改变，但其代表画家还仅限于爱新觉罗家族之内。宫廷画之所以受到追捧的原因有二。其一，宫廷画的一大特点就是雅俗共赏，它的造
型精确、主题栩栩如生，所以才会受到那么多老百姓以及高品位收藏家的喜爱；
其二，因为这些作品出自于爱新觉罗的皇室家族，在收藏市场上凡是与皇室挂钩的藏品都会受到收藏爱好者的追捧，所以收藏宫廷画的人也是越来越多。）溥佐先生
画画时用纸不同，一般工笔画多使用熟宣纸，写意画多使用生宣纸中的皮纸，他比较喜欢用那类比较柔软的皮纸。
The works are known as "bird-Master," the Aixinjueluo ? Masterpiece po
file. Screen performance: In general, as the pine trees on the flying
dragon, "a pair of lovers," to be separately, "young man" into the
probe, be ready at all times for their lovers in search of food, one
side of the "girl" looked at with deep feeling for their own Lover,
"prayer" - would like to return peace to your loved one and ... ...
these a careful, delicate flower exquisite works of modern art palace
features the artist painting. (Modern School Although the court has
changed, but the artist is also limited to the representative of the
family of Aixinjueluo. Draw the court's reason for being sought after
for two reasons. First, draw the court is one of the major
characteristics of tastes, and its modeling accuracy, subject to life,
so will be subject to so many people, as well as high-grade collector's
favorite; Second, because these works from the royal family in
Aixinjueluo in the collection of the market on all of the collections
and the royal family will be linked to Favorites lovers of the pursuit,
so collections court also draw more and more of the many people.) draw
when Mr. Smith and file paper vary, but generally the use of many
familiar Painting paper, draw freehand Health paper use fur in the same
paper as he prefer the relatively soft, the same paper as the fur.
溥 佐 (1918-2003)，满族，1918年5月7日生，号庸斋松堪,北京人。自幼在父爱新觉罗?载瀛,及兄溥雪斋、溥敦斋、溥松窗熏陶下，酷爱书画。
1937年加入溥雪斋创办的松风画会。擅长山水、花农，为爱新觉罗家庭成员。天津美术学院教授，中国美术家协会会员。
Pu file (1918-2003), Manchu, May 7, 1918 Health, its fast-Song
Kan-yung, Peking Man. Father at an early age Aixinjueluo ? Ying
contained, and brother Pu Xue fasting, fasting Bouton, Pu Song window
under the influence, very fond of painting and calligraphy.
Pu Xue 1937 add Matsukaze zhai draw will be founded. Good at landscape,
flower, in order to Aixinjueluo family members. Professor of Tianjin
Academy of Fine Arts, the Chinese Artists Association.
5、《山水》作者：启功 尺寸：57×36cm,纸本设色
5, "Landscape" Author: Qi Gong size: 57 × 36cm, paper colors
本作品是《仿元人笔意》，估计是作者早年的作品。元朝年代虽然暂短，山水画却得以发展，超出其他画种。元朝山水画所以最为盛行与
发展，应归功于元四家：黄公望、王蒙、倪瓒、吴镇，以及元初著名书法家、画家赵孟頫。明朝王世贞《艺苑卮言》记述：“山水画至大小李一变也，荆、关、董、
巨又一变也，李成、范宽又一变也，刘、李、马、夏又一变也，大痴、黄鹤又一变也。”评估元代四家对山水画的发展，认为元代的山水画主要以水墨山水为主，皴
法又多为披麻皴长短变化，山峰重叠堆砌、树木繁杂葱茏。作者在此画中“简笔大气而又一笔不苟”好像写文章的“言简意赅”一样地厚积薄发。
启老先生的作品以书法著称，其画作并不多见。
The works are "like brush million people", it is estimated that the
early years are the author's works. Although the brief era of the Yuan
Dynasty, but the development of landscape painting, draw in excess of
other species. Yuan Dynasty landscape painting is so popular with the
development of 4 million should be attributed to: Huang Gongwang, Wang,
Ni Zan, Wu Zhen, as well as the famous calligrapher Yuanchu, Zhao
Mengfu artist. Ming Wang Shizhen "Zhiyan Art" Description: "Landscape
Li Tai is also one change, Jing Guan, Dong, giant also another change,
Li Cheng, Fan Kuan's also another change, Liu, Lee, MA, summer another
variable also, big buff Hwanghak also another change. "evaluation of
the Yuan Dynasty of the four pairs of landscape development, consider
the Yuan Dynasty landscape painting of mountains and rivers mainly
based ink, landscape painting draw many to put on the length of Ma
cracked Change, peaks a pile of overlapping, complex verdant trees. The
author of this painting at "Jane atmosphere and a careful pen" if the
article was "concise" as to the accumulation of very many of the places
from an early age manifested.
Kai calligraphy in his work is known, its painting rare.
启功（1912－2005年）中国当代著名教育家、国学大师、古典文献学家、书画家、文物鉴定家、诗人，满族，爱新觉罗氏，是清世宗的第五子和亲王弘昼的
第八代孙。北京人。字元白，也作元伯。幼年失怙且家境中落，自北京汇文中学中途辍学后，发愤自学。稍长，从贾羲民、吴镜汀习书法丹青，从戴姜福修古典文
学。刻苦钻研，终至学业有成1933年经傅增湘先生推介，受业于陈垣，获闻学术流别与考证之学。后聘为辅仁中学国文教员；1935年任辅仁大学美术系助
教；1938年后任辅仁大学国文系讲师，兼任故宫博物院专门委员，从事故宫文献馆审稿及文物鉴定工作；1949年任辅仁大学国文系副教授兼北京大学博物馆
系副教授；1952年后任北京师范大学副教授、教授。中国人民政治协商会议全国委员会常务委员会委员、国家文物鉴定委员会主任委员、中央文史研究馆馆长、
中国书法家协会名誉主席、北京师范大学教授、博士研究生导师。九三学社顾问、国家文物鉴定委员会主任委员、中国书法家协会名誉主席，中国佛教协会、
故宫博物院、国家博物馆顾问，西泠印社社长。2005年6月30日2时25分病逝于北京。其主要著作《古代字体论稿》、《诗文声律论稿》、《启功丛稿》、
《启功韵语》、《启功絮语》、《启功赘语》、《汉语现象论丛》、《论书绝句》、《论书札记》、《说八股》、《启功书画留影册》。
Qi Gong (years 1912-2005) a well-known Chinese contemporary educators,
Master Guoxue, scientists classical literature, art, cultural
identification, and poet, Manchu, Aixinjueluo's is the fifth son of
King Sejong-ching, and Prince of the Hong Zhou Sun eighth. Beijingers.
White characters, but also for the primary element. Early drop off and
the death of his father, since the Beijing Huiwen school after dropping
out of school, learning to work harder. Longer, from the Xi Jia-Min, Wu
Jing Ting Xi Dan calligraphy, JiangFu-Dai Xiu from classical
literature. Study hard, and finally to achieving by 1933, Mr. Fu Xiang
by referral, by the industry in the Yuan, has been heard in other
academic stream of study and research. Appointed after the Chinese
Catholic school teacher; in 1935 Fu Jen Catholic University Fine Arts
Department office assistant; in 1938 he was appointed a lecturer in
Chinese at Fu Jen Catholic University, who also served as special
members of the National Palace Museum, Palace Museum to engage in
museum literature review and identification of the work of cultural
relics; Ren Fu Jen Catholic University in 1949 and Literature Associate
Professor and Associate Professor, Department of Beijing University
Museum; in 1952 he was appointed associate professor of Beijing Normal
University, Professor. Chinese People's Political Consultative
Conference Standing Committee member of National Heritage Commission to
identify a member of the Central Museum curator of literary historical
research, and Honorary Chairman of Chinese Calligraphers Association
and Beijing Normal University professor, mentor graduate student
doctor. Society of consultants, identification of National Heritage
Committee chairman, honorary chairman of Chinese Calligraphers
Association, the Chinese Buddhist Association, the National Palace
Museum, National Museum of consultants, Xi Ling lettering engraved seal
of the society president. At 2:25 on June 30, 2005 passed away in
Beijing. The main book "version of the ancient font", "sound poetry on
the draft law," "draft Cong Qi Gong", "Qi Gong Yun language", "Qi Gong
Editor", "Qi Gong language superfluous," "Essays on Chinese situation
"," book of quatrains, "" On the book notes, "" said the eight-part
essay, "" Qi Gong book painting pictures. "
〖艺术特色〗启功先生是当代著名学者、画家和书法家。他著作丰富，通晓语言文字学，甚至对已成为历史陈迹的八股文也很有研究；生前非常崇拜明末清初著名的佛门巨匠、诗人、书法家破山禅师。他做得一手好诗词，同时又是古书画鉴定家，尤精碑帖之学。
〖Art features〗 Qi Gong is a contemporary well-known scholar, artist and
calligrapher. He works rich in language proficiency in language study,
and even has become a thing of the past studies of the Eight-part Essay
is also useful; his very well-known worship of the late Ming and early
Qing Dynasty Buddhist master, poet, Zen master calligrapher broken
hill. He single-handedly done better poetry, calligraphy and painting
at the same time, identification of ancient family, especially fine
rubbing from a stone inscription of the study.
6、《花鸟》作者：于非闇 尺寸：69×43cm,纸本设色
6, "bird" Author: non-dark-size: 69 × 43cm, paper colors
本作品是《双寿图》画中表现在挺拔而有韧劲的竹枝上，两只绶带鸟在窃窃私语：“似乎在赞美今天的盛世，也似乎在讨论健康的秘笈……”。
The works are "double-life map" shown in the tall and straight draw and
tenacity on the bamboo, two sash at bird whispering: "It seems that
today's prosperity in the praise, it seems the discussion at Healthy
Tips ... ...."
7、《花鸟》作者：于非闇 尺寸：78×40cm,纸本设色
7, "bird" Author: non-dark-size: 78 × 40cm, paper colors
本作品是作者晚年的作品，一只小鸟立于梅竹枝上，画面布局严谨，用笔劲健，设色明丽典雅，形象生动，富于装饰性。并与瘦金体书风统一和谐，表现出欣欣向
荣、健康向上的审美情怀。T他认为“色彩柔和是第一特点，线也是特点之一；其作品取材和表现手法上力求贴近现实生活，达到雅俗共赏。
This work is the author works in his later years, a birdie on stand-mei
bamboo screen layout strict bold pen strong, elegant colors Ming-li,
the image of a lively and full of decorative. Body with thin gold style
unity and concord, showing thriving, healthy aesthetic feelings. T
consider him "soft color is the first characteristic is a
characteristic of line; its work practices and performance based on
real life, seek to close to tastes.
于非闇 （1888-1959）满族，原名于照，别署非厂、闲人生于北京。。擅长工笔花鸟、书法及治印。曾为北京画院副院长，中国画研究会副会长，中国美术家协会会员。
于非闇是当代工笔花鸟画的重要代表性画家。早年曾从事写意花鸟山水画创作，1935年以后致力于工笔花鸟画，艺术高峰时期在20世纪四、五十年代。于非闇
说：“我的学习是以宋元以前为主，以赵佶为中心环节来进行研究与分析”。曾长期从事于对古代绘画作品的临摹、默写与研究，并借鉴宋元明清丝绣和民间绘画，
同时坚持长期写生。他在青年时期曾从民间画师王润暄学习养花养虫鸟和制作颜料，对花鸟的生态、习性作过深入观察。这些都为于非闇后来的艺术成就奠定了坚实
的基础。他继承并发扬了唐、五代、两宋以来工笔花鸟画的优秀传统。于非闇的工笔双勾重彩花鸟画，主要吸收了三方面的营养。一是从古代绘画遗产中汲取传统精
华。二是于非闇注重从写生中体察物理、物情、物态。三是于非闇不时借鉴民间绘画中优秀的技法。比如装饰风格、色彩的对比与协调，以及朴素祥和的题材与审美
习惯。这些都使他的作品获得了广大的接受群体。
FeiChang-Yu (1888-1959) Manchu, formerly in the photos, not the
Department of non-factory, born in Beijing idlers. . Good at bird bird,
calligraphy and Indian governance. Was vice president of the Beijing
Painting Academy, China's vice president of the draw, the Chinese
Artists Association.
FeiChang-Yu fine brushwork of contemporary artist representation of
important bird and flower painting. Early bird freehand landscape
painting had been involved in creation, in 1935 after working fine
brushwork bird art in the 20th century during the peak period of four,
the fifties. In non-secret, said: "My study is based on the Song and
Yuan Dynasties ago mainly to Zhao Ji as the central aspect to carry out
research and analysis." Has long been engaged in the ancient paintings
on the copying, dictation and research, and learn from Song, Yuan, Ming
and Qing Dynasty silk embroideries and folk painting, sketching at the
same time adhering to the long-term. Youth had at him from the civil
artist RunXian-Wang Yang-pest plant flowers in bird study and
production of pigments, on the bird's ecology, the habits of
observation depth. These are dark later in the non-artistic
achievements have laid a solid foundation. He inherited and developed
the Tang, Five Dynasties, Song bird has a fine tradition of fine
brushwork. The fine brushwork in the non-dark color bird double hook
heavy, mainly in three areas to absorb the nutrition. First, from the
ancient tradition of painting learn the essence of heritage. Second,
pay attention to FeiChang-Yu painting in the show from the physical and
material conditions, state. Third, from time to time in the non-secret
from people in the excellent techniques of painting. Such as style,
color contrast and coordination, as well as the simple aesthetic
harmony with the habits of the subjects. Which have allowed him access
to the vast number of works of the accepted groups.
2009年4月9日 上午8點03分31秒中国书画收藏欣赏一己见 2
笼统的叙述会让人“一头雾水”，只有具体结合前贤、大师们力作来谈，可能会更加直观一些：笔者出生于书香世家，幼年随父习字、并参观书画展览等，每每在书画展览中或美术刊物上对精美的中国书画名家作品更是向往已久──心跃而神往，心摹而手追……；终于积攒“少许纹银”（工薪阶层力所能“竭”的），在上世纪末里几年在【中国湖北艺术品拍卖行（湖北省文化厅下属单位）】举办的“中国近现代名家书画拍卖会”中拍得一些自己喜好（中意）的中国书画作品。我收藏的目的是传承中华优秀的文化艺术，将前贤书画实物作为研究与临摹范本，以便近距离地领悟、借鉴、探究前贤（大师们）对中国书画的理解以及进行笔墨、色彩空间（构图）和诗情画意的直观了解。
General description will be "confused", and only the specific combination of very talented people before, talk about the great works, some may be more intuitive: I was born in Shuxiang family copybooks young father, and visited, such as calligraphy and painting exhibition often painting at the exhibition or publication of the fine art of Chinese painting and calligraphy works are famous for a long time longing ─ ─ jump and fascinated mind, heart and hand copy up ... ...; finally saved "full wages" (working-class power can " dried up "), and at the end of the century in a few years on China's Hubei Province at 【art auction house (Hubei Provincial Cultural Bureau unit)】's" masters of modern Chinese painting and calligraphy auction "in the film some of their own preferences (Italian) in Chinese Painting and Calligraphy work. The purpose of my collection is the excellent tradition of Chinese culture and arts, will be before people painting very kind to the research and copying as a template, so close to understanding, learn from previous explore the very talented people (masters) on the Chinese Painting and Calligraphy understanding as well as pen and ink, color space (composition) and the intuitive understanding of poetic.
1、《苍山牧歌》作者：张仃， 尺寸：90×44cm,纸本设色
1, "Pastoral Cangshan" Authors: Zhang Ding, size: 90 × 44cm, paper colors
本作品是融合了壁画、工艺画的艺术理念于国画中，使得作品装饰效果表现丰富——其色彩（多用“固有色彩”）、线条（中锋用笔、功力深厚）、构图（具有“焦点透视”——西画特点）是多彩、挺拔而富有层次的，其视觉“冲击力”较强，再加之启功的题字又给此画增添了很大的收藏价值。这与其1979年主持北京国际机场壁画群的总体设计并创作大型重彩壁画《哪吒闹海》的风格是一致的。作者后期的“焦墨山水”的风格与之差异很大。
This work is the integration of the murals, craft ideas on the art of painting traditional Chinese painting in which the performance of rich decorative effect works - its color (many with "inherent color"), lines (center pen, profound skill), composition (with a "Focus Lens "- draw the characteristics of the West) is a colorful, full of tall and straight and level, and its vision," impact "strong, together with the inscription of Qi Gong has also been added for this draw a lot of value for collection. This is its chair in 1979 at the Beijing international airport group mural design and creation of large-scale re-color mural "Na Zha Nao Hai" the style is consistent. The late author of "coke ink landscape" with very different styles.
张仃，1917年生于辽宁北镇，早年毕业于北平美术专科学校国画系，后任中央美术学院教授兼美术系主任。历任中央工艺美术学院副院长、院长。张仃，当代画家。1917年5月生于辽宁北镇。自幼喜爱绘画。1957年后历任中央工艺美术学院副院长、院长。现为中国美术家协会常务理事，中国画研究院院务委员，黄宾虹研究会会长，中央工艺美术学院教授。
Zhang Ding, born in Liaoning in 1917, North Township, the early years and graduated from Beijing College of Traditional Chinese Painting Department of Fine Arts, Central Academy of Fine Arts, served as Professor and Head of the Department of Fine Arts. Former Central Academy of Fine Arts, vice president of technology, the Presidency. Zhang Ding, contemporary artist. Born in May 1917 Northern town of Liaoning. Loved painting since childhood. After 1957, successive Central Institute of Arts and Crafts, vice president and president. He is now executive director of the Chinese Artists Association, Chinese Academy of Fellows draw, Huang Binhong Research Association, Professor of the Central Institute of Arts and Crafts.
2、《麻姑献寿》作者：任率英， 尺寸：110×58cm,纸本设色
2, " Ma Gu Xian Shou " Author: British term rate, size: 110 × 58cm, paper colors
本作品是作者风格的代表作品。为神话故事——晋?葛洪《神仙传》卷七：“麻姑，建昌人，修道于牟州东南余姑山。三月三日西王母寿辰，麻姑在绛珠河畔以灵芝酿酒，为王母祝寿。人物勾画出来细腻，年画、连环画的特征融入一体；麻姑手持“上铺红巾”的托盘，里边装有仙桃、寿酒；主体人物设色艳丽、呼之欲出，并由仙鹤伴随、仙气涌起、云海翻腾……背景淡雅，层次分明。作者是年画、连环画大家，人物形象生动、细腻传神；丰富的经验、严谨的画风、大量的作品及传统的技法，成就一代大家。
The works are representative works of the author style. For the fairy tale - Jin ? Gehong "Supernatural Biography" VII: "Ma Gu, Jianchang people, religious states in the southeast more than Mou Gushan. March 3rd birthday Queen Mother of the West, at Ma Gu to lucidum brew-on-Jiang Zhu wine for the Queen Mother's birthday. figure out delicate outline, pictures, comic books into the one of the characteristics; Ma Gu handheld "Hongjin spread" of the tray inside with Xiantao, Shouson alcohol; the main characters colors bright, ready, and accompanied by the crane, the air filled with fairies, churn the sea of clouds ... ... the background of elegant, well-structured. The writer is a New Year, everyone comics, characters vivid, lifelike detail; rich experience, strict style, a large number of works and the traditional techniques , generation of U.S. achievements.
任率英（1911-1989）。中国现代连环画家，年画家、中国画家，中国美术家协会会员。原名敬表。1911年7月5日生于河北省束鹿县（今辛集市）， 1989年8月15日卒于北京市。出身农民家庭，自幼喜好民间艺术，对绘画兴趣浓厚。
Any rate the British (1911-1989). China's modern comics, and artist in the Chinese artist, the Chinese Artists Association. Formerly respectfully. July 5, 1911 Shulu County, was born in Hebei Province (now Xinji City), Aug 15, 1989 and died in Beijing. Peasant origin family, folk art at an early age preferences, interest on the painting.
10岁时，随当地民间画工冯老智学画，以临摹画谱为主，并通过函授方式学习各种绘画，打下了坚实的基础。1937年到北京，曾随吴一舸学习中国画，翌年拜徐燕孙为师。四十年代参加“中国画学研究会 ”，曾多次在北京、天津、沈阳、济南等地举行个人画展。并为小说画插图。1950年参与组办新连环画创作室的工作，翌年人民美术出版社成立， 随即成为该社专职画家，长期从事中国画、新连环画、年画的创作，擅工笔重彩人物画，多以民族英雄、古典小说、神话传说和民间故事为题材。画风工细艳丽，雅俗共赏。作品多次参加国内外展览，并被中国美术馆、历史博物馆等单位收藏。同时还对地方的美术骨干进行辅导，并受聘于北京艺术学院教授中国画。1963年在首届全国连环画评奖中荣获“连环画工作劳动奖”。1981年在第二届全国连环画评奖中荣获“连环画工作荣誉奖 ”。年画《百岁挂帅》被评为“全国年画创作二等奖”，有的作品两次获全国连环画创作荣誉奖。 1987年，中国美术家协会在中国美术馆举办“刘凌沧、任率英、黄均中国画联展”。2000年5月，中国美术家协会等在中国美术 馆举办“任率英绘画艺术回顾展”。代表作品有《嫦娥奔月》、《洛神图》、《巾帼英雄》、《天女散花》、《送戏到村》、《岳云》、《汉明妃》等。有关绘画技法文章，曾先后在《美术之友》、《河北美术》、《北京工艺美术》等刊物上发表，出版有《怎样画刀马人物》、《怎样学习工笔重彩人物画》等。曾任北京中国画研究会顾问，北京东方书画社社长，北京工笔重彩画会副会长，北京中国画研究会理事。
10-year-old when he, with the work of local civil LaoZhi-Feng draw draw learn to draw Chinese copy of the study-oriented books, and correspondence study through a variety of painting, laying a solid foundation. To Beijing in 1937 aboard one Ge Wu draw Chinese study, the following year thanks to the division Xu Yan Sun. Take part in the forties, "Study of Chinese Painting Research Society," on several occasions in Beijing, Tianjin, Shenyang, Jinan and other personal exhibition was held. Draw illustrations for the novel. Organized in 1950 to participate in the new work of comic workshop, the following year established the people's fine arts publishing house, then become a full-time artist agency, has long been engaged in Chinese painting, the new comic books, creative New Year, good re-color portraits fine brushwork, with many national heroes, classical novels, myths and legends and folk tales as a theme. Beautiful works fine style, tastes. Work at home and abroad take part in numerous exhibitions, and Chinese art museum, History museum collections and other units. Place at the same time also the backbone of the art counseling, and employed in the Beijing Academy of Fine Arts professor of Chinese painting. At 1963 the first national awards in the comic book won the "Award for comic labor job." At the second session in 1981 the country won a comic award "honorable mention comic job." New Year, "life-oriented" was named "second-class National Award for creative New Year," two works by some of the National Honor Award for comic writing. In 1987, the Chinese Artists Association, held at National Art Museum of China, "Liu Ling Chang, he was the rate of English, Chinese painting exhibition are yellow." May 2000, the Chinese Artists Association, held at the China Art Gallery "rate of any British painting retrospective." Representative works have "Chang E flew to the moon up," "Luo plans," "Women Heroes", "sky fairy sprinkling flower", "to send the play to the village", "Yue Yun", "Princess Hamming" and so on. Article on the painting techniques, have been in the "Friends of Art", "Hebei Fine Arts", "Beijing Arts and Crafts" and other journals, has published "How to draw a knife Horse People," "Learn how to re-color portraits fine brushwork" and so on. Beijing served as the study of Chinese painting consultants, agency director of Beijing Oriental painting and calligraphy, fine brushwork Beijing will draw a lot of color, vice president of the Beijing Chinese Painting Research Association.
3、《花卉》作者：王雪涛 尺寸：67×46cm,纸本设色
3, "Flowers" Author: WANG size: 67 × 46cm, paper colors
本作品是王雪涛从事小写意花鸟创作。画中以牡丹花为主，后由梅花、赏石作衬景寓意：“富贵荣华、坚如磐石、能凌寒独自开”，这些美好的意愿。
WANG engaged in this work are small flowers and birds create freehand. Peony Flower draw in the main by the plum, for lining King赏石meaning: "the rich splendor, as firm as a rock, can be opened independently Ling Han," these beautiful wishes.
雪涛先生对多彩的自然界生就无比心爱，他认为：一草一木、花、鸟、鱼、虫都是有“灵性”的，“非人独有也”。这一信念在其数十年的创作生涯中未曾稍减，甚至达到爱恋痴迷的地步。这一由衷的信念是一位真正艺术家的感悟，是审美意趣之体现，而非常人所能领略者。可以说，他更多地发展了“一枝一叶总关情”的心灵感受。如此至诚至爱，流诸笔端，自然幻化出艺术之美和盎然之生气。他的画笔虽也摅发个人胸臆，然而却也时时不忘以画中之情趣启迪观者心扉，使人发现未曾关注过的机趣。
Mr. Xue-Tao colorful natural born extremely beloved, he said: plants, flowers, birds, fish, insects are "spiritual" and "non-human is also unique." The belief in his career for decades has not diminished, even to the point of obsession with love. This is a sincere belief in the artist's sentiment really is the embodiment of aesthetic charm, and the very people who can appreciate. It can be said that he developed more, "a Chief Customs securinine sentimental" feel the soul. Loved so sincere, streaming from the front end brush, natural, turned into the art scene in the United States and the angry. Although his brushes hair vent personal feelings, but it has also always forget to draw the audience in the heart of the fun inspiration, it has not been found to have been concerned about the interest of the machine.
王雪涛，我国现代著名小写意花鸟画家。1903年2月1日出生，1982年11月24日逝世字迟园，河北成安人。原名庭钧，字晓封，号迟园 。自幼喜绘画。王雪涛是以小写意花卉草虫而著称于世，他既能承宋元以来民族优秀传统，兼能取长补短，所作取材广泛，构思精巧，形似神俏，清新秀丽，富有笔墨情趣。创作上主张“师法造化而抒己之情，物我一体，学先人为我所用，不断创新”。画法上突破了过于工细的方法，工写结合；色彩上创造色墨结合，以色助墨、以墨显色等多种方法，巧用色彩，以求整体色彩对比协调，为画面增添韵律。他笔下 的作品，注重写生，尤善于描绘大自然的小生命，如蝴蝶、螳螂、蝈蝈、牵牛、青蛙、蜻蜓等，栩栩如生，引人喜爱。上世纪 80 年代初，中央新闻纪录片厂拍摄的纪录片《中国花鸟画》，王雪涛别具一格的花鸟技法被重点收录其中。生前为中国美术家协会会员，中国美术家协会北京分会副主席，北京画院院长。山东济南还兴建了“ 王雪涛纪念馆 ” 。
WANG, our modern well-known family of small freehand bird. 1 February, 1903 was born November 24, 1982 words no later than the death of Park, Hebei Anren into. Formerly known as Court-Jun, Xiao-word letters, no later than its garden. Hi painting at an early age. WANG is a small insect grass flower freehand while world-famous, both for him since the nation's outstanding tradition of the Song and Yuan Dynasties, and to each other, drawn by a wide range of sophisticated ideas, like God Qiao, fresh and beautiful and full of fun with pen and ink. Creative ideas on "Ways of studying traditional Chinese painting speak of good fortune and love, were I one, my study first used by man-made and innovative." Drawing on breakthroughs in the way too fine work, the combination of Writing; color combination of ink colors to create up to help ink color, ink color, such as in a number of ways, clever use of color, compared to the overall color coordination, rhythm added to the screen . His works focus on painting, especially good at depicting the small nature of life, such as butterflies, Mantis, Grasshopper, led by the cattle, frogs, dragonflies and other, life, love food. In the early 80 century on, the Central News Documentary film factory documentary "Chinese bird" bird WANG unique technique has been one of focus included. During his lifetime for the Chinese Artists Association, member of Chinese Artists Association, vice chairman of Beijing Branch, president of Beijing Painting Academy. Jinan is also the construction of the "Memorial WANG."
2009年4月9日 上午7點54分00秒中国书画收藏欣赏一己见 1
中国书画收藏欣赏一己见
Appreciate their own collection of Chinese calligraphy and painting, see
――――――从自己收藏中谈鉴赏Collections from their own appreciation talk
顾绍骅著ShaoHua－Gu Books
【编者按】凤凰网论坛 《书香门第》版版主陈少儒老师让我讲讲如何鉴赏中国书画的知识，十分高兴陈版主对我的信任与欣赏，说实话：欣赏与鉴定有着很大的不同，我个人认为：欣赏是美的享受，而鉴定是非常细致而准确、机械的工作并且需要见多识广；这是浪漫与现实完美的结合。无奈本人才疏学浅，不敢言“鉴定”二字，但为报陈版主的“知遇之情”，我还是努力为之，在“欣赏”上做文章；今奉上本文，只是对自己的收藏，作出自己的看法，希望不会误导大家。
【Note】 FengHuang Net Forum, "the first door Shuxiang" Moderators ShaoRu-Chen version of Teacher Appreciation Let me talk about how knowledge of Chinese painting and calligraphy, very pleased Chen Moderators of my trust and appreciate, I can honestly say: appreciation and identification of a very big difference, I personally think: are the United States to appreciate the enjoyment of, and identification is very meticulous and accurate, machinery and the work of experienced and knowledgeable required; This is the romantic and the perfect combination of reality. But little talent and less learning, I dare not say "identify" the word, but moderators at Chen's "good friend, the friendship", I still strive to be, in the "appreciation" on fuss; this offer in this article, but on their own collection, to make their own views, I hope everyone will not be misleading.
所谓鉴赏，实际上包括鉴定与欣赏两个方面。鉴定主要指判定与欣赏两个方面。鉴定主要指判定作品的真伪，应属鉴定学的范畴；欣赏，主要指品评作品的优劣，属艺术批评学的范畴。鉴定与欣赏两者既有联系又有区别。鉴定是建立在欣赏的基础之上的，只有懂得欣赏才能判断作品的真伪：欣赏又是鉴定的演进，高明的鉴定家必定具有较高的艺术修养。然而，判断真伪与优劣有时又是两回事。艺术水准好的书画作品并不一定是真迹，如有些代笔的作品；而有些艺术水准较差的作品，也不一定是伪作，如一些不善书画艺术的名人墨迹。但高超的艺术家，其作品再差也不至于差到哪里去。同时, 着重于笔墨内涵、个性风格、文献考证等，而欣赏则重在艺术论析、气韵意境、审美价值等。因而，鉴定家未必能对作品做出较深的论断；欣赏家也不见得能判断作品的真伪。然而，遗憾的是，能集鉴定与欣赏于一身的鉴赏家为数实在不多。
The so-called taste, in fact, including the identification and appreciation of both aspects. Identification of the principal means to determine and appreciate aspects of both. Identification of the principal means to determine the authenticity of the work, the study areas should be identified; appreciate, the main means to judge the merits of the work is a study of the scope of art criticism. Identification and appreciate the difference between the two have established contact. Identification of set up are at the basis of appreciation, only to appreciate in order to determine the authenticity of works: to appreciate the evolution of identification of another, the identification of smart home must have a high artistic accomplishments. However, to judge the merits of the authenticity and sometimes are two different things. Calligraphy and painting works of art are not necessarily good are artworks, such as some of the works were written; and some less well-off art works, is not necessarily a pseudo-making, such as some poor celebrity art ink painting and calligraphy. But the superb artists, their works will not be bad and then go bad. At the same time, focus on the ink content, personality style, and other research literature, and art theory to appreciate the focus on an analysis of the spirit of artistic conception, such as aesthetic value. Thus, the identification of the work at home may not be able to make a better argument; appreciate the home is not able to judge the authenticity of works. Unfortunately, however, can be set to identify and appreciate in a very small number of connoisseurs.
有个别所谓的“画贩子”，其眼力并不比专业搞鉴定的差。其实鉴定书画犹如熟悉了解人。有一位你熟悉的朋友，老远看到并不一定看清楚，但只要视其形态，你就能大致分辨出这人是谁，一旦走近了你就会一目了然，鉴定书画也是同样的道理。学习鉴定最好先从某位名家入手，了解他所处的时代，他的个性风格。看多了，看久了，就会总结出一些特征，然后再波及其他书画家，举一反三地进行对比研究，你就会慢慢地掌握出一套基本的知识与方法。
Individual has the so-called "draw traffickers," the eye does not engage in major identified than bad. In fact, as if familiar with the identification of painting people know. You have a friend familiar with, not necessarily all the way to see clearly, but as long as its shape, you can generally tell this who once approached at a glance you can identify the same reason is also painting and calligraphy. Is best to begin a study to identify masters start him know where the time, his personality style. Many of the watch, watch a long time, we will summarize some of the characteristics of, and then spread to other art, giving top priority to comparative studies, you will gradually master a set of basic knowledge and methods.
自然，要真正精通书画鉴赏也不是一件轻而易举的事。我国历史悠久，文化源长，自古至今书画家不计其数。每个时代都有不同风格面貌的书画家，同一时代也有不同的书画流派与作者，就是每位书画家本人，其早期、中期与晚期的创作风格也各不相同。更何况，书画自有经济价值以来，历代就不断有人采取各种手法伪造做假，以欺人蒙骗谋取利益，这就给鉴定书画带来了一定的难度与复杂性。因此，要真正掌握书画鉴定也不是件容易的事。
Naturally, to taste really good painting is not an easy task. Our country has a long history, culture, source of long, countless art since ancient times. Each time the face has a different style of painting and calligraphy, and the same time there are different schools of painting and calligraphy with the author, that is, each art himself, his early, mid-and late styles also vary. Moreover, since the economic value of their own paintings throughout history there have been taken on all sorts of means to counterfeit fraud to deceive the people to seek benefits to deceive, which paintings to the identification of a certain degree of difficulty and complexity. Therefore, in order to really grasp the identification of painting is not easy.
收藏，主要包括收藏、流传、著录等方面。具有一定眼力，又有财力收藏，从事这方面研究，并藏有一定数量的历代优秀作品者可称为收藏家。然历代也有一些好事之徒，这些人并不懂得鉴赏却庋藏有众多历代珍品，如严嵩父子。严格地说，这些人称不上收藏家。因为，欣赏水平不高，眼力不好，收藏再多，也难以称著于世。他们只是将其作为个人财富，显贵掠奇而已。为此，历代许多著名收藏家，其眼力、收藏与著录总是连在一起的，这类人应称鉴藏家。像宋代的米芾、明代的项子京、清代的安岐等，经他们之手所评定的作品真伪，绝大多数是可靠的，这对后代的收藏与考证留下了丰富的文化遗产。欲做收藏家，必先学做鉴定家，眼力不锐、修养不高，必然收罗不少赝品，这不但劳民伤财，其藏品也肯定无多大的价值。
Collections, including collections, circulation, and so on are recorded. Must have the eyesight as well as financial resources collection, research in this area, and possession of a certain number of outstanding works of history can be referred to as collectors. However, there is also some history of the only good thing that these people do not know how to appreciate history is a collection of many treasures, such as father and son Yan Song. Strictly speaking, these people are not collectors. Since, appreciation is not high, bad eyesight, collecting more, but also difficult to say with the world. They are just as personal wealth, plunder Xiangui just odd. To this end, the history of many well-known collector, and its eyes, and a recorded collection is always linked to one another, such person should be identified and collectors said. Mi Fu, like the Song Dynasty, son of the Ming Dynasty in Beijing, the Qing Dynasty Aki and so on, by the hands of their work assessed by the authenticity, the vast majority are reliable, which is the collection and verification of future generations left a rich cultural heritage. Collectors want, we must first learn to do to identify, and eyesight is not sharp, self-cultivation is not high, is bound to collect a lot of fake, this is not only a waste of resources, the collection has also affirmed the value of little.
由上可见，中国书画的鉴赏与收藏学问很深，范围很广。它以鉴定真伪为中心，旁涉欣赏、收藏、著录、考证等诸范畴，并已成为一门新兴的学科――书画鉴定学。
By on, we can see that the appreciation of Chinese painting and calligraphy collection of knowledge and a deep and wide-ranging. To identify the authenticity of it as the center, beside the related appreciation, collection, record, research areas, etc., and has become an emerging disciplines - painting identification study.
中国书画的最好鉴定方法，是靠以目鉴为主，因此、掌握书画艺术鉴赏是书画鉴定的重要基础之一。要掌握中国书画正确的鉴定方法，首先要懂得鉴赏，鉴赏的目的是要能看懂书画的作者的生平（历史背景）、艺术表现手法——风格和作品的“实际内涵”，懂得书画的表现技法和绘画语言，做到心领神会，产生对艺术的共鸣。书画鉴赏的主要内容是；创作内容、气韵二大方面，创作内容是指，绘画方法、构图、笔法、墨法、设色等，但最重要的是鉴赏书画的气韵，中国书画艺术质量的优劣关健是看气韵，而气韵生动与否关健在与笔墨的质量，由于中国画一笔落纸，优劣即定，不可更改，而笔墨又最能体现作者的表现个性。因此，创作内容实质与神韵是鉴赏的重点，也是鉴定真伪的关健。两者缺一不可。
Identification of Chinese calligraphy and painting the best way is to head on Kam-oriented, master calligraphy calligraphy art appreciation is an important basis for identification of one. Chinese calligraphy and painting to get the identification right, we must first know how to appreciation, appreciation of the purpose is to understand the life of the author of paintings (historical background), the way of artistic expression - the style and work, "the actual meaning of" to understand the performance of painting and calligraphy painting techniques and language, do have an implicit understanding, resulting in the resonance of the arts. Calligraphy and painting are the main contents of appreciation; creative content, two major aspects of the spirit, creating content is that method of painting, composition, brushwork, ink law, colors, etc., but above all the spirit of appreciation of painting and calligraphy, Chinese painting and calligraphy art of excellent quality The key is to look bad spirit, and the spirit alive with a lively pen and ink or not related the quality of a draw down because of Chinese paper, the merits of that set, can not be changed, and the ink has the best performance of the author's personality. Therefore, in substance and spirit of creativity are the focus of appreciation, but also to identify the authenticity of the key. Both are indispensable.
中国书画艺术，同其他的造型艺术一样，其作品内容具有一定的说明性，而其表现手法则具有一定的装饰性，两者完美地结合在一起就使作品产生了一定的艺术性。 中国书画的装饰性，是依存于书画创作的表现手法，主要通过中国书画所特有的多变的线条、点画、不同的设色、墨晕等等，来表现书画艺术的之美来感染欣赏者。
Chinese painting and calligraphy art, as with other plastic arts, his work has a certain descriptive content, and its expression has a certain degree of decoration, the perfect combination of the two makes the work of art must have had. Chinese decorative painting, painting and calligraphy are dependent on the performance of practices, primarily through the unique Chinese calligraphy and painting the ever-changing lines, stippling, different colors, and so on halo ink, calligraphy and painting to express the beauty of art to appreciate those infected.
人们常说，书画欣赏是一种高级的精神享受 ，这是针对在欣赏书画艺术时所产生的一种心理变化的反应。因为在欣赏过程中，他将涉及到一些比较复杂的心理功能，如情感、想象、理解等等，而最终将期转化为对书画艺术的评价。这种评价，包括对作者艺术风格的理解和判断，对书画作品艺术特点的认识，以至对书画作品艺术价值的大致评估。而这些判断，认识、评估是在自已原有基础上的一种提升，从而达到一个新的艺术思想境界。也是欣赏者，通过对作品的欣赏，一来对艺术作品的表达方式，艺术思想的全面理解，二是一种具有净化心灵、陶冶情操作用的精神享受。三曰“审美欣赏”的目的要求，需要鉴赏者具有自身充实的文化素养和深厚的艺术修养。
It is often said that painting is an advanced appreciation of the spirit of enjoyment, which is aimed at painting and calligraphy art appreciation at the time of the changes resulting from a psychological response. Since the process in terms of the appreciation, he will relate to some of the more complex mental functions such as emotion, imagination, understanding, and so on, and eventually will be a view into the evaluation of painting and calligraphy art. Such evaluation, including the artistic style of the author's understanding and judging the characteristics of the calligraphy and paintings of art, calligraphy and paintings as well as the general assessment of artistic value. These judgments, recognize, at their original assessment was based on an upgrade, so as to achieve a new realm of artistic thought. Appreciation is also through appreciation of the works, one to the expression of art, art of a comprehensive understanding of thought, two is a purification of the mind, cultivate the spirit of enjoying the role of sentiment. The third is the "aesthetic appreciation," the purpose of the request has the necessary appreciation of the cultural self-enrichment and deep artistic accomplishments.
当我们面对一件需要鉴定的书画作品时，它实是由多种形式组合而成的艺术复合体。既有书画作品内容的本身，又有书画家本人的题跋或题诗、他人的题跋或题诗，还有作者本人与鉴藏者的印章，装裱的形制及所用的纸绢等。这些都是书画鉴定的内容，都与鉴定真伪密切相关。
When we are faced with a need for identification of the calligraphy and paintings, it is a combination of the various forms of art complex. Calligraphy and paintings of both the content itself, and my art inscriptions or poems, inscriptions or poems of others, as well as collection and identification of the author's seal, framed by the shapes and silk, such as paper. These are the identification of the content of painting and calligraphy are closely related to the authenticity and identification.
在具体鉴定的过程中，以什么为鉴定的主要依据呢？也就是说，什么是鉴定的主要内容方面？回答自然是书画作品内容的本身，它包括时代风格与个人风格两个方面。而这些风格特点反映在书画作品本身，即指用笔用墨的艺术水准、结体构图的技巧和画面的内容。
Identification of the specific process for the identification of what the main basis for this? In other words, what is the identification of the main content? Answer is of course the content itself, calligraphy and paintings, which includes the style and time aspects of both personal style. These characteristics are reflected in the style of painting itself, refers to the art of ink pen with the standard guitar body composition techniques and the contents of the screen.
时代风格。所谓的时代风格应该包括两个方面的内容：一是某个时代的政治、经济、文化和风俗等在书画创作中所留下的特征及痕迹──它包括每个时代的风土人情、穿着打扮、建筑样式和审美倾向；二是指在同一时代中，各个特殊形式的书体或画风，都有它的来源和基础，即通过其师承渊源与彼此间的影响等所产生的某些相通之处。
Style time. Time the so-called style should include two aspects: First, a time of political, economic, cultural and customs such as painting and calligraphy at the left of the characteristics and signs ─ ─ which includes the land and its people each time, wearing a dress , building style and aesthetic tendencies; two are at the same time refers to all the special form or style of the book, has its origin and foundation, that is, through their teachers and each other sources, such as arising from the impact of some of the same of the.
个人风格。所谓的个人风格是指每位书画家由于各人的思想观点的不同、性格修养的不同、师承关系和审美观的不同以及使用工具与运用笔墨习惯的不同，反映在作品上也就形成了自己的风格。
Personal style. The so-called personal style is the art of each thought his own opinion because of the different character of the cultivation of different teachers and different sense of aesthetics and the use of tools and the use of pen and ink of different habits are reflected in the works will be on its own style.
不管是时代风格，还是个人风格，最关键的还是在于笔墨。因为时代风格与个人风格都是通过作者的笔墨运转而反映出来的。“画中三昧，舍笔墨无由参悟” ──黄宾虹语。为此，笔墨又是鉴定中国书画的核心与关键。中国书画的笔墨又分为三个方面，即笔法、墨法和结体构图，而这三个方面，又以笔法最为主要，这是书画鉴定的核心。因论笔法，必兼用墨，墨法之妙，全从笔出，墨法尤以笔法为先。
Time regardless of style or personal style, the most critical ink lies. Since time style and personal style are running through the author's pen and ink and is reflected. "Samadhi painting, pen and ink without homes by the study and understanding of" ─ ─ Huang Binhong language. To this end, identification of Chinese ink painting and calligraphy are also the core and key. Chinese ink painting is divided into three areas, namely, writing, ink and binding body composition, and these three areas, mainly the most used technique is to identify the core of painting and calligraphy. On the technique of writing from, must be used along with ink, the ink Fanny Law, all from the pen, ink method especially for the first strokes.
总之，书画鉴定的主要依据就是指时代风格和个人风格，而个人风格比时代风格更为重要。因时代风格是通过个人风格反映出来的，没有个人风格就无所谓时代风格，而笔法、墨法相对于时代风格和个人风格显得更为重要。如现代山水画艺术大师黄宾虹，其晚年的山水画创作呈现出浑厚华滋、雄健苍莽为主的个性风格，反映出山水画在沉寂了近百年衰微萎靡时期后，因受到中西文化的交流撞击，呈现出那生机勃发、大气磅礴的时代特征。而这些又无不通过黄宾虹在总结前人的“五笔法”和“七墨法”的基础上，成功地运用了他那长短不同的笔触皴法，以及大小、浓淡、干湿等各种不同的笔墨法的结果，以达超然物外、天然自成的艺术美感。
In short, the painting is the main basis for identification of time refers to the style and personal style, personal style and style is more important than time. Time because of the style are reflected in the adoption of personal style, with no personal style on the style of time Do not care, and the technique, time law in regard to ink style and personal style is all the more important. Master of modern landscape art such as Huang, the later years of the landscape shows immense creativity Wordsworth, vigorous style indistinct personality-based, reflecting the landscape in the quiet backwater of the low period of decline for nearly a hundred years after the crash by the exchange of Chinese and Western cultures, showing that life blooming, the atmosphere of the time characteristics of majestic. Which are also summed up all through the Huang Binhong predecessors at the "five" and "seven ink method" based on the successful use of the length of his strokes draw a different method of landscape painting, as well as the size, strength, and other wet and dry different ink laws results in order to stay away from the scene, the art of natural beauty Zicheng.
2008年9月14日 上午2點16分09秒Chinese paintings to enjoy the new translation 9
七、 一点（今后的）思考
Chinese painting is the art treasure-house of Oriental culture in a very bright pearl, ages, it has been in development, like a long river, although, as stormy weather and floods fast, and sometimes stagnation addition to the gentle flowing rivers, but Did not occur stop (no development), which has been in development forward, forward, and finally pooled into today a mighty river of art, Chinese painting rally in the development of painting and the number of people to explore the crystallization of struggle, which requires Every one interested in Chinese paintings of people in search of treasure.
中国画艺术是东方文化宝库中的一颗璀灿明珠，古往今来，它一直在向前发展，犹如一条长河，虽有时狂暴湍急，有时滞流平缓，但从没发生断流，它一直在发展中 向前、向前，终于汇成今天这样一条浩浩荡荡的艺术大河，中国画的发展中凝聚了多少代画人探索奋斗的结晶，这需要每一位有志于中国画中求索的学人珍视的。
Chinese paintings, no matter what age, what, landscapes, flowers and birds, figures, we can not do without the traditional. Because the traditional left is the "rootless flowers, passive water."
中国画，无论什么时代，什么内容，山水，花鸟，人物，都离不开传统。因为离开传统就是“无根之花、无源之水”。 
However, the Chinese paintings in the "foreign used by the Chinese, ancient by today's" process of increasing loss of national characteristics. A few years ago, had a painter's "Bumu Chinese painting" Oil Painting Exhibition to be classified matter, shocked the Chinese painting circles…… therefore produce such as "dead-end Chinese Painting" and "zero ink" and other pessimistic view. A Chinese painting of the Israel-loving painter said that China should be painted so that we like Chinese paintings of people look or Chinese painting.
但是，中国画在“洋为中用，古为今用”过程中，越来越丧失民族特色。几年前，曾发生某画家的布幕国画被归类到油画展的事情，震惊了国画界……于是产生诸如“中国画末路穷途”、“笔墨等于零”等悲观论调。一位爱好中国画的以色列画家说，中国画应该是让我们喜欢中国画的人看起来还是中国画。
Traditional Chinese painting to freehand brushwork mainly good at feelings and moods performance, but in the performance of specific than abstract images. "The Western concept of modeling into the Chinese paintings, Chinese paintings enhance the performance of the scope and capacity, is today engaged in the art of Chinese painting by the pursuit of efforts." Chinese Artists Association of China, director of the Hua Yi, Flowers and Birds Painting Jia Guo Yizong that is conducive to learning from Chinese paintings to the development of the times. However, in the development process to prevent Chinese and Western painting boundaries increasingly blurred. Many Chinese paintings and oil paintings in the composition, methods, and so has a surprisingly similar, if not been told this is the Chinese paintings, only vague slide in the judgement, it is natural that is painting. "This is the modern Chinese paintings of the greatest problems."
传统的中国画以写意为主，擅长表现情感和意境，但在表现具体物象上较抽象。“把西方的造型观念融入到中国画中，提高中国画的表现范围和能力，是今天从事国画艺术的人所努力追求的。”中国美术协会中国画艺委会主任、花鸟画家郭怡宗认为，取长补短有利于中国画适应时代发展。但在发展过程中要防止中、西画界限越来越模糊。不少中国画与油画在构图、手法等方面有着惊人的相似，如果不被告知这是中国画，仅从模糊的幻灯片中判断，很自然地认为是油画。“这就是现今中国画面临的最大问题。”
Art critic Liu Xi Lin said with concern. Chinese painting as the representative of the Oriental paintings and oil paintings as the representative of Western painting, all in their path of development has created countless brilliant: But because the East and the West in mode of thinking, philosophy and aesthetic concepts, and so on the basis of the difference. In a different painting is very clear. For example, although in the beginning of painting, East-West lines are used to describe the images, but in the future development of Western painting of the "block face" in Chinese painting and the concept of lines and use, a huge difference: Western painting Gradually embarked on the path of scientific realism, and then embarked on a Chinese painting freehand brushwork of the road: two lines in the drawing system, the status and role of a significant distinction. Mr. Peng Jixiang a noted scholar of Chinese and Western painting have made the difference summed up as follows: "If China is still Italian painting, Western painting is still shape; Chinese painting-performance, heavy emotion, the weight of Western painting reproduction, re-rational; Chinese painting to Modeling lines as the main means of Western painting was mainly to performance by the light and color images; Chinese painting from the limitations of space and time, Western painting, strictly abide by the limits of space and time. In short, Western-oriented representation and realist painting, with the Chinese painting freehand brushwork and focus on performance, a sharp difference. "
美术评论家刘曦林不无忧虑地说。以中国画为代表的东方绘画和以油画为代表的西方绘画，都在各自的发展道路上创造了无数辉煌：但由于东西方在思维模式、哲学基础以及美学观念等方面的差异。 在绘画上的不同十分明显。例如，尽管在绘画之初，东西方都是用线条来描绘物象的，但在以后的发展中，西画的“块面”和中国画在线条的观念和使用上，有了巨大的差别： 西方绘画逐渐走上了科学写实的道路，而中国绘画则走上了写意的道路：线条在两个绘画体系内的地位和作用也有了显著的分野。著名学者彭吉象先生曾对中西绘画的差异作了如下的概括：“如果中国绘画尚意，那么西方绘画尚形；中国 画重表现、重情感，西方绘画则重再现、重理性；中国绘画以线条作为主要造型手段，西方绘画则主要是由光和色来表现物象；中国绘画不受空间和时间的局限，西方绘画则严格遵守空间和时间的界限。总之，西方绘画注重再现与写实，同中国绘画注重表现与写意，形成鲜明差异”。
The main characteristics of Chinese painting is the pursuit of "poetic" - bar lyric realism painting and the combination of the basic creative style, but also the vast number of people seeking heart of the aesthetic, emotional and revealed by the author in the works, received many scenes from entering a "story" Plot, vivid portrait as vivid details of the two sides (the author and readers) emotional exchange of information carrier.
中国画主要的特点是追求“诗情画意”——状物抒情与写实主义绘画的结合为基本创作风格，也是广大民众内心的审美追求，作者有感而发，受众由景入情，生动传神的细节刻画成为双方情感交流的信息载体。
For example: shaohua-gu poetic creativity of the Chinese landscape painting - "Goldsmith appointment map"
例如：shaohua-gu创作的中国山水诗意画——《高士赴任图》
【Analyze 】high mountain's being the tallest be such of, water of the waterfalls flies from the air;That mountain is very big, top elephant connect day, underneath immediately after, the on the side of mountain is many elephant knifes to chop down to onely stand;In spring just inchoate time, the tree starts the color which changes into green;My good friend will go to original place an official, our preparation separate of time, all feel in a bad humor, mutually loathe to give up leave the other party;……That is very high big, dangerous of in plant and thick tree, weed...etc. in Tashan, the good elephant is obstructing my friendly friend right away.Imitate Fo to"spread" waterfalls to fly to flow to keep next huge voice and the sweep of bise from the appearance, the intertexture together makes the person feel natural build the greatness of thing.Have a strong art atmosphere.
【赏析】高山仰止，瀑布飞泻；顶天立地，壁立千仞；初春时分，树木返青；朋友赴任，临别依依；……峻巍的山势造成动人心魄的效果，又仿佛从画面上“传出”飞瀑直下的轰鸣与寒风的掠过，交织在一起，使人感到自然造物之伟大。具有强烈的艺术感染力。
Poetry has to prove: stand up in the mountains, none can not go to see downward, as old friends met the same can not be separated. Because once the spring, melting snow, with friends in the "Mountain" in each other. There are bright moonlight, to ask you to the news from afar. Each other to be returned are uncertain what our respective occupation "Shiyan East."
有诗为证：俯仰不能去，如逢旧友同。曾因春雪散，见在华山中。何处有明月，访君听远风。相将归未得，各占石岩东。（唐朝?于邺的《友人亭松》诗意）
This painting used to ink the color of the main (five-ink color - Coke, thick, short, the Qing), "Qianjiang colors," lining into the back of the painting, it is "not injured ink" simple, The elegant and so on.
此画采用以墨为主（墨分五色——焦、浓重、淡、清），“浅绛设色”、背面衬染的画法，因此有“不伤笔墨”古朴、高雅的等特点。
136 × 34cm paper colors for 2007 136×34cm 纸本设色 2007年作
"Painting the best way to objects in between like and do not like; too much like the readers to think too ordinary, boring, not as it is to deceive the people of the world (readers)." This is the generation of master baishi-qi elderly sentiment , But also the aesthetic Interest of the Chinese nation.
“状物妙在似与不似之间；太似则媚俗，不似则欺世。”这是一代宗师白石老人的感悟，也是中华民族的审美意趣所在。
Chinese paintings and oil paintings are the main difference between the following points;
(1) Chinese painting as early as the time painting, forming the only paintings, Chinese paintings in the Eastern Jin Dynasty period (304-589 AD), molding, painting the molding at least the Middle Ages to the Renaissance.
(2) Chinese painting history of remote recovery for thousands of years, traditional Chinese art treasures. Chinese painting is the biggest characteristic of poetry, books, paintings, seal the works, and a painting on their own with the Chinese cultural heritage in Western painting is not the most important feature of the arts; Chinese painting is set literature, the arts as one of the crystallization of gems. Therefore, the painting is better than no.
(3) Chinese painting is taken by the casual point perspective, the painting is taken by the Focus Lens, so Chinese painting can draw a wide range of landscape painting figures (such as the "Riverside Scene of Pure Brightness") and not painting, oil painting can draw the object strongly Chinese painting and texture effects can not.
(4) Chinese paintings do not normally re-used color, color, the type less, the color degree of heavy oil painting, the use of the color of a lot.
(5) attaches great importance to mounting Chinese paintings, oil paintings were largely ignored this.
(6) Chinese paintings are generally a combination of private and Zhang Jin calligraphy inscriptions, and basically no oil painting.
(7) in the development of Chinese painting and schools relatively fixed and not divide, in the development of oil painting and many schools have big differences.
中国画和油画的区别主要有以下几点；
（1）中国画出现的时间早于油画，仅就成型的绘画作品来说，中国画是在东晋时期（约公元304-589年）成型的，油画的成型至少要到中世纪的文艺复兴时期。
（2）中国画历史遥追数千年,为中华传统艺术之瑰宝。中国画最大的特点是诗、书、画、印的作品构成以及画作本身含就的中华文化底蕴是别于西方绘画艺术的最大特点；中国画是集文学、艺术为一体的结晶、瑰宝。因此，油画是没得比的。
（3）中国画采取的是散点透视法，油画采取的是焦点透视法，所以中国画可以画出大范围的人物风景画（如清明上河图）而油画不能，油画能画出物体强烈的质感效果而中国画不能。
（4）中国画一般不采用重彩，颜色的种类较少，油画的色彩程度很重，使用的颜色也很多。
（5）中国画很重视装裱，油画对此基本忽略。
（6）中国画一般都结合私人的书法衿章与题字，而油画基本没有。
（7）中国画发展过程中，流派相对固定且分化不大，油画发展过程中流派众多且分歧也大。
This should be the two major East-West parallel School - Western oil paintings, Chinese paintings keep pace with the east, but today's result: a "nutritional excess" (painting), while the other is a serious "lack of nutrition。" These are the things that exist because of cultural background, cultural habits, economic development or not, and many other factors caused by the impact; As a result of the international community to Western painting - painting the times of love, the Oriental Painting - Chinese Painting Great indifference。 This "ignore" We will lead to a very reluctant to see the results - "survival of the fittest。" Perhaps now or in the near future Chinese Painting "variation" it will "skin" for the artistic value is low, no ink, no poetic, not the "three far" (without the characteristics of Chinese painting), in the outside world under the pressure of the derived " Deformed children "- only strange colors, block-and special techniques (material) by the performance of the texture effect the so-called" innovation of Chinese Painting。 "
Therefore, I urge this: the developed countries-loving art (especially Oriental art-loving) groups or friends and ask you to protect the world's treasure house of art in a magnificent display of wonderful work - Chinese painting, into a force of its own !
In addition: to get the Chinese paintings can really be the peoples of the world's favorite, Chinese paintings and calligraphy on the need to "study and training" classes around the world to do so; Now, as China's international cultural exchanges, the Chinese cultural system reform, Chinese culture Art gems - will become more and more Chinese paintings and calligraphy by the peoples of the world's understanding and love of Chinese painting "study and training" classes around the world to do the dream will soon become a reality only when all countries in the world people love the arts through study , Understand and know how to appreciate Chinese paintings and calligraphy works of art "true meaning" in order to love and protect the healthy development of Chinese painting; believe that by that time, the gap between the prices of Western painting can be improved。 We look forward to an early arrival of that day!
本应是东西方并行的两大画派——西方的油画、东方的中国画并驾齐驱；但如今的结果是：一个是“营养过剩”（油画），而另一个是严重的“营养缺乏”。这些是因为东西方所存在的文化背景、人文习惯、经济发达与否等诸多因素的影响所至；所以造成了国际社会对西方绘画——油画的宠爱倍致，对东方绘画——中国画的很大的漠视。而这种“漠视”会将导致一个我们十分不愿意看到的结果——“适者生存”。也许现在或不久的将来中国画会“变异”；它将“变异”为艺术价值低廉、没有笔墨、没有诗情画意、没有“三远”（没有中国画特性）的，在外界的压力下所派生出来的“畸形儿”——只有怪异的色彩、块面和特殊技法（材料）所表现的肌理效果；即所谓“创新的中国画”。
因此，我在此恳请：发达国家爱好艺术（特别是爱好东方艺术）的团体或朋友们，请你们为保护世界艺术宝库中的一棵绚丽夺目的奇葩——中国画，而进自己的一份力吧！
另外：要想让中国画真正能受到世界各国人民的喜爱，就必须把中国书画“学习、培训”班办到世界各国去；而今，随着中国文化的国际交流，中国文化体制的改革，中国文化艺术的瑰宝——中国书画将越来越受到世界各国人民的了解与喜爱，中国书画“学习、培训”班办到世界各国去的梦想即将成为现实；也只有当世界各国喜爱艺术的人们通过学习、了解并懂得欣赏中国书画作品艺术的“真谛”才能去喜爱、保护中国书画的健康发展；相信到那时中、西方绘画价格的差距才能有所改善。我们期盼那一天能早日到来！
Note · paper reference literature: 1, "the history of Chinese painting," a Pan Tianshou, 2, "Dictionary of Chinese painting Appreciation"; 3, "Chinese paintings of color"; 4, "Chinese Painting and Calligraphy", 5, "the painter"; 6, "John Park painting", 7, "Chinese painting and calligraphy art" Hong Kong version. 8, "Chinese paintings to where to Xu Qun ?" 9, "On the development of contemporary Chinese art direction and the painter's self-seeking."
注·本文参考的文献：1、《中国绘画史》潘天寿著 ；2、《中国书画鉴赏辞典》；3、《中国画色彩学》；4、《中国书画报》；5、《国画家》；6、《翰园书画报》；7、《中国书画艺术报》香港版。8、《中国画往何处去?许群 》；9、《论当代中国画的发展方向与画家的自我追求》等
In this paper, as in October 2003 (August 08 reorganization)
本文作于2003年10月（08年8月修改）
A picture of the Web site:(有图片的地址：)http://bbs.cangcn.com/showtopic.aspx?page=end&topicid=33697#302433
2008年9月14日 上午2點12分55秒Chinese paintings to enjoy the new translation 8
6, the Chinese Painting "grade"
六、 中国画的“品位”
Painting is the level and quality。 Ancient Chinese paintings on the painting materials divided into many levels, in general, the wonderful work than the usual works, and works magic than wonderful works of high-and high-level artists should pursue the highest levels of course - the magic works 。 The magic works also need to work normally and wonderful works for the foundation, even the works are usually can not, how to become a wonderful works? ?The same token, even the beauty of the works are not, how can we become It works magic ?visible。 The magic of goods to and inseparable from the works of wonderful works, usually works and wonderful work is the magic works and the necessary preparations for the necessary conditions, and the magic works is usually works and the wonderful works of the highest results:
绘画是有层次和品位的。中国古代画论把画品分为许多层次，一般而言，妙品比能品为高，而神品又比妙品为高，高水平的画家当然应该追求最高层次一一神品。而神品又必须以能品和妙品为基础，连能品都达不到，怎么能成为妙品呢?同理，连妙品都达不到，又怎么能成为神品呢?可见。神品离不开能品和妙品，能品和妙品是神品的必要准备和必要条件，而神品是能品和妙品的最高归宿：
All works of art, are composed of three levels。 The first level is the artistic language。 It is works of art in the form of levels, including the structure and form of artistic language。 Is the unique performance art methods and means。 In the main means of painting lines, a brush with Mose's "Kung Fu", color, structure, and so on。
凡是艺术作品，都由三个层次组成。第一个层次是艺术语言。它是艺术作品的形式层面，主要包括艺术语言和形式结构。也就是各门艺术独特的表现方式和手段。在绘画中主要指线条、笔墨、色彩、构图。
These artistic language is not only the image of performance art to create ways and means, but in itself is independent of the aesthetic value of the use of high and low language arts, the creation of artistic image plays a direct role, artists, it is through language arts, to shape the The image of various kinds of art and artists to express their natural life and the unique experience and feelings。
这些艺术语言，不但是创造艺术形象的表现方式和手段，而且本身就具有独立的审美价值；艺术语言的运用高低，对创造艺术形象起着直接的作用，艺术家正是通过艺术语言，塑造出各种各样的艺术形象、并表达出艺术家对生活和自然的独特体验和感受。
As artistic language in works of art have a vital role, so the art attached great importance to the art of language study and use End, also attached great importance to innovation and artistic language of exploration。 Works of art to the second level is the artistic image, it is the content of works of art the United States。 The major works of visual art shaping the image, put it directly to enjoy the visual senses, especially with so intuitive, vivid and concrete。
由于艺术语言在艺术作品中有着极其重要的作用，所以各门艺术都十分重视对艺术语言的研完和运用，也都十分重视艺术语言的创新和探索。艺术作品的第二个层次是艺术形象，它是艺术作品的内容美。美术作品主要塑造视觉形象、它直接付诸欣赏者的视觉感官、因而特别富有直观性、生动性、具体性。
In works of art, the art works of art image is the core and key。 In Painting。 Not for the ink and pen and ink, we can not search for the arts and language arts, language arts is to create the ultimate image of the arts, and the Meaning of Art also contains the image of the arts, in this sense there will be no image of art works of art。 The distinctive artistic image, the more typical, works of art the more vitality; one of the artist's mission is to create a typical, clear, vivid and beautiful image of the art。 Art not only has the image of concrete sense of the image, but also a typical and all-embracing, the very rich life with the typical image of the way to summarize。
在艺术作品中，艺术形象是艺术作品的核心和关键。在绘画中。不能为笔墨而笔墨，也不能为艺术语言而艺术语言，艺术语言最终是为了塑造艺术形象，而艺术意蕴也是蕴藏在艺术形象之中的，从这个意义上讲有艺术形象就没有艺术作品。艺术形象越鲜明、越典型，艺术作品就越有生命力；艺术家的使命之一，就是要塑造典型、鲜明、生动、优美的艺术形象。艺术形象不仅具有具体可感的形象性，而且要具有典型性和概括性，它把无比丰富的生活用典型化的手法概括到形象之中。
Art image but also has emotion and thought。 In the artistic image, to be incorporated into the artist's happy, angry, loved, hated the feeling of living artists infiltration into the thinking and evaluation。 Artistic image of Zhang Yi also has aesthetic, it embodied artists aesthetic ideal and aesthetic appeal, which radiates with the brilliant artistic creation, who can appreciate the enjoyment to the United States。 As the artists not only to the pursuit of artistic language mainly to the formal beauty, but also to further the pursuit of artistic image of the United States-based content, from the level of art terms, as the United States and higher than the formal beauty even more difficult。 Of course, inseparable from the content from the United States and formal beauty, there is no such form without content, content is always certain to pass some form of order shown, the content of formal beauty is a necessary condition for the United States and the necessary preparations, but the content is the form of the United States The purpose of the United States and the end result。
艺术形象又具有情感性和思想性。在艺术形象中，必须融进艺术家的喜怒爱憎，渗透进艺术家对生活的思考和评价。艺术形象还具有审美意丈，它凝聚着艺术家审美理想和审美情趣，闪耀着艺术创造的光辉，能给欣赏者以美的享受。作为美术家不但要追求以艺术语言为主的形式美，还要进一步追求以艺术形象为主的内容美，从艺术层次来讲，内容美比形式美更高更难。当然，内容美又脱离不开形式美，世上没有无形式的内容，一定的内容总是要通过一定的形式才能表现出来，形式美是内容美的必要条件和必要准备，而内容美又是形式美的目的和归宿。
Works of art the third level is the Meaning of Art, which is the highest level of works of art, the artist is also a lifelong struggle goals: Implications of art is in the works of art contains a deep philosophy of life, poetic or spiritual connotation。 It is the artistic image of artists, art or typical mood of profound understanding and create the results。
艺术作品的第三个层次是艺术意蕴，这是艺术作品的最高层次，也是一个艺术家终生为之奋斗的目标：艺术意蕴是指艺术作品中蕴含着的深层的人生哲理、诗情画意或精神内涵。它是艺术家对艺术形象、艺术典型或意境的深刻领悟和创造的结果。
Hegel in the "aesthetic": "The implication is always direct than the image appear even more far-reaching thing. Implication of works of art should be" (see "aesthetic" vol 25). Meaning of Art is the Tang Dynasty Poems home Sikong Tu's "image, the image," "scenic landscape," and "flavor of the spirits" and "fun to be outside the meaning of the expression", that is, than the artistic image of itself more deeply Meaningful The spiritual connotation, which contains the artistic content of the image, only to enjoy by virtue of the carefully observe, pondering, sentiment and understanding, can we truly understand that Escort, for example: beihong-xu painting during the War of Resistance Against Japan in the "wind and rain chicken is" in addition Skilful pen and ink and vivid, accurate and beautiful image of the art, there is a profound implication of art, at the time when the Japanese invaders cruel trampling on China , The Chinese nation is in dire straits, beihong-xu painting a chest raised his head station The rocks on the rise sing the Emirates Ming. To stimulate the people rose up against Japanese aggression, I Jiangshan the courage and determination shown beihong-xu main Zhang strong patriotic sentiments and national self-confidence. Meaning of Art artists in the limited requirements embodied in the unlimited, natural reserves in the accident, in individual included in general, art Implication of the content and can be seen as a form of unity, the unity of emotional and rational, objective and subjective reunification, reproduction and performance The unity of the abstract and as a unity, the unity of image and philosophy.
黑格尔在《美学》中认为：“意蕴总是比直接显现的形象更为深远的一种东西。艺术作品应该具有意蕴”(见《美学》第一卷25页)。艺术意蕴也就是唐代诗论家司空图提出的“象外之象、”“景外之景”、“韵外之致”、“味外之旨”，也就是比艺术形象本身更加深广隽永的精神内涵，这种内涵蕴藏在艺术形象之内，只有凭借欣赏者的细心体察、玩味、感悟、领会，才能真正认识知押解例如：徐悲鸿在抗日战争期间画的《风雨鸡鸣》除了娴熟的笔墨和生动、准确、优美的艺术形象外，还有着深刻的艺术意蕴， 当时正值日寇铁蹄践踏神州大地、中华民族处在水深火热之中，徐悲鸿画了一个挺胸昂首，站在石头上引吭高鸣的大公呜。来激发人们奋起抗日、还我江山的勇气和决心，表现了徐悲鸿强烈的爱国主丈情怀和民族的自信心。艺术意蕴要求艺术家在有限中体现出无限，在偶然中蕴藏必然，在个别中包含普遍，艺术意蕴可以看作是内容与形式的统一、感性与理性的统一、客观与主观的统一、再现与表现的统一、具象与抽象的统一、形象与哲理的统一。
Meaning of Art has more meaning and ambiguity of the characteristics of both the identification of specific, is also uncertain。 Meaning of art can be regarded as not entirely reflected by the artistic image of the theme of thinking, thinking of it than the more general theme of even more profound, it is a more metaphysical things, it is a philosophical and poetic, often can only Tacit , Yan Zhuan difficult, it only accessible, it can not come to an end, that is, "herein are Zhenyi, to have been forgotten were made by the defence。" Implications of the need to appreciate the arts with all its soul and intellect to explore and understand, is art for the perfect combination of level, it formed a works handed down。 Goods with the enduring charm of the root causes of the arts。 The visionary artist, can not be satisfied with language arts and the arts explore and create the image, but also a higher level, and the pursuit of artistic creation has a profound implication of the works。
艺术意蕴具有多义性和模糊性的特点，既是具体的确定的，又是不确定的。艺术意蕴可以看作不完全是由艺术形象体现出来的主题思想，它比主题思想更宽泛更深刻，它是一种更加形而上的东西，它是一种哲理和诗情，常常是只可意会，难以言传，只可接近它，无法穷尽它，即“此中有真意，欲辩已忘言”。艺术意蕴需要欣赏者用自己的全部心灵和才智去探究和领悟，是艺术作个层次的完美结合，才形成了传世名作。品具有不朽的艺术魅力的根本原因。具有远见卓识的艺术家，不能满足于艺术语言和艺术形象的探求和创造，还应更上一层楼，追求和创造具有深刻艺术意蕴的作品。
Well-known art historian Kenneth Cheng-chang said: "Looking at the Central and Western painting, and found the order of their evolution, can be divided into four-way, the first Tu-Man, the shape of second-and third-Gongqiao, the fourth-deification。" One thing It must be pointed out: the level of works of art in the form of, any works must have the first two levels, but can not remain at two levels (that is, language arts and artistic image), but should try to seek a third Level, that is, Meaning of Art。 As the highest level of artistic implication, not every one works of art must have a certain emphasis on entertainment, utilitarian or commemorative works, often non-existent this level, or that difficult to achieve the third Level, but, generally speaking, it is these works of art in these three levels are relatively independent significance, which, each level has its own aesthetic value, and some works of art which may be only a certain level of outstanding , Or a unique artistic language, or a moving image of the art, or a 10 Xunwei and the Meaning of Art。 However, the truly outstanding works of art, always in these three areas are renowned for their achievements, and a perfect fusion of these three levels as a whole, the only way the works, in order to become immortal handed down the fine arts。 (Van Gogh's painting Why create the world alone paintings at the highest ?Van Gogh post-impressionist Why become one of the great masters of the three? late Impressionist abandon the natural shape, emerging from a "normal" and "logical" Ji Lashing, into the modern art publicized personality。 Van Gogh's greatest works of art with the intense emotion of the performance, he works like the emotional "The outbreak of the volcano", very warm unrestrained, shocked souls, on this point, before The painter, not a painter, and he can be compared, and that is why he is forever in the annals of history, a generation demeanor, is precisely because of this, his works before creating the world's highest price。 Painter from the success of many successful mystery It is not difficult to draw a conclusion in: drawing, painting not only true, we can not stay in reproduction, must draw their own feelings, this is one of the secrets of successful artists。)
著名的美术史家郑午昌说过：“综观中西绘画，而寻其演进之次序，可分为四程，第一程漫涂，第二程形似，第三程工巧，第四程神化。”有一点需要指出：在艺术作品的层次构成中，任何一个作品都必须具有前两个层次，但又不能停留在前二个层次上(即艺术语言和艺术形象)，而应该尽可能地追求第三个层次，即艺术意蕴。作为最高层次的艺术意蕴，并不是每一件艺术作品都必须具有的，某些偏重于娱乐性、功利性或纪念性的作品，常常不存在这一层次，或者说，难以达到第三个层次，但是，从总体而言，正是这些艺术作品中的这三个层次具有相对独立的意义，其中，每一层次都有自身的审美价值，有的艺术作品或许只有其中某一层次比较突出，或者有独创的艺术语言，或者有感人的艺术形象，或者有而十人寻味的艺术意蕴。但是，真正优秀的艺术作品，总是在这三个方面都卓有成就，并且将这三个层次完美融合为一个整体，只有这样的作品，才能成为传世不朽的艺术精品。（凡高的画为什么开创了世界独幅绘画的最高售价?凡高为什么成为后期印象派的三大巨匠之一? 后期印象派摒弃了自然的形，摆脱了“正常”、“有逻辑”的羁缚，发展成张扬个性的现代艺术。凡高艺术作品的最大特色是对炽热情感的表现，他作品中的情感像“火山的爆发”一样，无比热烈奔放、震撼心灵，在这一点上，以前的画家，没有一个画家可以和他相比，正因为如此，他才永载史册，成为一代风范，也正因为如此，他的作品才开创了世界之最高售价。从许多成功画家的成功奥秘中不难得出一个结论：画画，不能只画真实，也不能停留在再现上，一定要画出自己的情感，这是画家成功的秘诀之一。）