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清晚期的海上画坛花鸟画创作,写意花鸟始终占据着主导地位。若张熊、王礼、胡公寿、周闲、蒲华、“三任”及稍后的吴昌硕等,均逸笔草草,不事雕凿。而“三任”之小写意工笔花卉,别树一帜,堪称神品。吴中沙馥工笔花卉扇作亦甚为罕见,工笔精雅之余,略带写意,与“三任”有相通处而更趋清秀精妙。这些均反映出这个时期的海上画坛已逐渐融合江、浙、皖原有各家风格,初现流派缤纷、风格各异而又相互交融的海纳百川的盛景。
Late Qing painting and calligraphy at sea paintings, freehand flowers and birds always occupy a dominant position. If Zhang Xiong, Wang Li, Hu Gongshou, Zhou Xi, Pu Hua, “Three Ren ” and later Wuchang Shuo, et al. The “Three Ren ” the small freehand style of flowers, another tree, called the gods. Wu Sha Fu Xiang Fan Flower Fan is also very rare, refined and refined, while slightly freehand, and “Three Ren ” have similarities and even more exquisite delicate. All of these reflect that the sea painting circles at this period have gradually merged with the original styles of rivers, and Zhejiang and Anhui.