困知勉行—徐明義畫集8—桃源仙境（彩墨）
桃源仙境（彩墨）
我讀俞劍芳先生的「中國繪畫史」，其中提到清初四王時說：「清朝山水畫，自四王繼董、陳主盟畫壇後，竭力推崇元四大家，於黃公望尤為傾倒。風聲所樹，爭相倣效，遂為師法所囿，不能自出手眼……山水畫遂盡為槁木死灰，神氣索然矣。……」
這幾個畫畫的人，一輩子專攻某人的畫路，下功夫苦摹，一輩子不敢稍有改易或踰越，秉持著這種畫畫態度，竟還能在畫史上留名，不知其道理何在？
The fairy land of peach blossoms/ink and color painting
I read Mr. Yu Jian fang’s “History of Chinese Painting,” in which he mentioned the four Wang of early Qing Dynasty and said: “The Qing dynasty’s landscape paintings have highly enthroned the four masters of the Yuan Dynasty in which Huang Kuan Wan was the most highly praised since the four Wang succeeded to Dong’s (Dong Chi Chang) and Chen’s (Chen Chi Zu) domination in early Qing’s painting field. The fame has been built as the master’s character, painters learnt and followed the master’s painting skills but also self-restricted, no creation and innovation…..landscape painting at that moment became dull and unlively”.
A painter who devoted himself to learning and imitating someone’s painting skill his lifetime but did not dare to change or overpass the master’s painting skill for his whole life. I have no idea and do not know how and why a painter who is always keeping this kind of painting attitude still get his name and fame in the painting history.@
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責任編輯：昌英
