“文化革命”中,以一幅《毛竹丰收》给极左思潮笼罩下的中国花鸟画坛带来了一片生机的卢坤峰,并不是表面地仿效潘天寿的风格,而是通过潘天寿而领悟了传统文化“典雅”的精髓。他的水墨花鸟、虫鱼、尤其是兰竹,不是如传统水墨写意画那样的不求形似,而是在宋人般严格写生基础上的提炼、概括,并赋予了诗情的精神内涵。洪世清则以潘天寿的“强其骨”参合刘海粟的老辣雄浑,继承并发扬了浙派花鸟倔强的性格,亦不乏创意的惨淡经营。舒传曦年轻时留学德国,对于西方的艺术观念独有领悟,与同时期学苏联的现 In the “Cultural Revolution”, with a piece of “bamboo harvest” brought a lively Luk Fook-feng to the Chinese flower-and-bird painting altar under the ultra-leftist ideology, it is not superficially imitating Pan Tianshou’s style, but comprehends the tradition through Pan Tianshou Cultural “elegant” essence. His ink-and-birds, insects, especially blue-and-white bamboo, are not like the traditional ink-and-wash paintings, but are refined and summarized on the basis of the strict sketch writing of the Song people and endowed with spiritual connotation. Hung Shing-ching, Pan Tianshou’s “strong bones” Liu Hailu old spicy forceful, inherit and carry forward the stubborn character of Zhejiang faction birds, there is no lack of creative dismal business. Shu Chuanxi study abroad in Germany young, unique understanding of Western art concept, and at the same time learn the Soviet Union now