中华即拍：陆俨少《晴麓横云国画》

陆俨少，现代画家。又名砥，字宛若，上海嘉定县南翔镇人。1926年考入无锡美术专科学校，1927年考入无锡美专学习，同年从王同愈学习诗文、书法；次年师从冯超然学画，并结识吴湖帆，遍游南北胜地。1956年任上海中国画院画师。1962年起兼课于浙江美术学院，1980年在该院正式执教，并任浙江画院院长。擅画山水，尤善于发挥用笔效能，以笔尖、笔肚、笔根等的不同运用来表现自然山川的不同变化。线条疏秀流畅，刚柔相济。云水为其绝诣，有雄秀跌宕之概。勾云勾水，烟波浩淼，云蒸雾霭，变化无穷，并创大块留白、墨块之法。兼作人物、花卉，书法亦独创一格。

Lu Yanshao, a modern painter. It's also called di. It's like a word. It's from Nanxiang Town, Jiading County, Shanghai. In 1926, he was admitted to Wuxi art college. In 1927, he was admitted to Wuxi art college. In the same year, he studied poetry and calligraphy from Wang Tongyu. In the next year, he studied painting from Feng Chaoran, met Wu Hufan, and traveled all over the north and South resorts. In 1956, he was a painter of Shanghai Chinese Academy of painting. In 1962, he took part-time courses in Zhejiang Academy of fine arts. In 1980, he formally taught in Zhejiang Academy of fine arts and became the president of Zhejiang Academy of fine arts. He is good at painting landscapes, especially at exerting the function of using a pen. He uses the tip, belly and root of a pen to show the different changes of natural mountains and rivers. The lines are sparse, smooth, firm and soft. Cloud and water are their unique attainments, and they have the concept of male show ups and downs. Hook the clouds and hook the water, the smoke waves are vast, the clouds are steaming and the mist is changing endlessly, and create the method of leaving large pieces of white and ink. He is also a character, flower, and unique in calligraphy.

【藏品名称】：陆俨少《晴麓横云国画》

[collection name]: Lu Yanshao's traditional Chinese painting of Hengyun at Qinglu

【类别】：字画

[category]: calligraphy and painting

陆俨少先生的笔下功夫，旷世罕见，游历山水，从不苦做速写记录，他说：“我外出游历……只用眼睛看……要得山川神气，并记在胸。”他作画无论多大尺幅，从不起草稿，提笔就来，如唐代吴道子对玄宗所言：“臣无粉本，但默记于心也。”他作画用一枝笔，从头到尾，中间不换笔，他的技法“近乎道矣”，全靠对毛笔天人合一般的使用。

Mr. Lu Yanshao's hard work is rare in the world. He travels in mountains and rivers and never makes shorthand records. He said: "I travel outside Just look with your eyes You need to have the spirit of mountains and rivers, and keep it in mind. " No matter how large his painting is, he never starts to draft, and comes to draw. As Wu Daozi said to Xuanzong in the Tang Dynasty, "there is no powder for the minister, but he keeps it in mind." He used a pen to draw, from the beginning to the end, without changing the pen in the middle. His technique was "close to Tao", relying on the common use of the brush.

该画层次鲜明，有深度，层层递进，由近向远延伸，画面整然有序，气魄非凡，给人一种无有穷尽的感觉和“方寸之间见万里”气度。

The painting has distinct levels, depth, progressive layers, extending from near to far. The picture is neat and orderly, with extraordinary boldness. It gives people a sense of endless and "seeing thousands of miles between square inches".

读陆俨少的山水画，常给人一种清新隽永、古拙奇峭的感觉。具有一种超凡脱俗的审美情趣，自有一种郁勃之气回荡其间，散发着行云流水般的意气，近视远看均有一番别具一格且引人入胜的景象。

Reading Lu Yanshao's landscape paintings often gives people a sense of freshness, meaningfulness, antiquity and craziness. It has a kind of extraordinary and refined aesthetic taste. It has a kind of spirit of Yu Bo echoing in it. It exudes the spirit of Flowing Clouds and flowing water. There is a unique and fascinating scene in the near and far sight.

尤其是那独创的风貌，神奇的笔墨，灵变的意韵，散发着文人气息的高品位的艺术，具有一种引人入胜的美感。

In particular, the original style, magic ink, flexible verve, high-grade art that exudes the flavor of literati, has a fascinating aesthetic feeling.

山水画，是禀爱自然的精华，天地的秀气，所以阴阳、晦冥、晴雨、寒暑、朝昏、昼夜有无穷的妙趣。有意境是山水画的特色，有着从情感到气格的“境界”的追求。画山水注重“师造化”，要在造境，高在化境，作画和看画共同身临其境，向审美活动的深层次发展：一是亲近自然，回归自然，和大自然合一，达到主客观世界与时共进光景常新的境界，谓之新。二是潜移默化在真境、神境、妙境的高深境界之中，陶冶情操，净化心灵，达到精神境界的升华

Landscape painting is the essence of nature and the beauty of heaven and earth. Therefore, yin and Yang, gloomy, clear and rainy, cold and hot, dusk, and day and night have infinite charm. Artistic conception is the characteristic of landscape painting, which has the pursuit of "realm" from emotion to atmosphere. The landscape painting pays attention to "creating by teachers". It should be in the creating environment and high in the changing environment. Painting and watching painting should be in the same situation and develop to the deep level of aesthetic activities: first, close to nature, return to nature, and integrate with nature, so as to reach the new state of the subjective and objective world and the time. The second is to cultivate the sentiment, purify the mind and achieve the sublimation of the spiritual realm in the deep realm of the real realm, the divine realm and the wonderful realm