荷花的形状怎么表达
明 徐渭 墨荷图
徐渭,号青藤,是一个在中国写意花鸟画史上绝对值得大书特书的人。他以其独特的笔触,开创了大写意花鸟画风,将传统的文人画提高到了一个更新的境界。无论是清初的八大山人,清前期的“扬州八怪”,近代的吴昌硕,现代的齐白石无不深受其影响。
徐渭 清荷
徐渭笔下的花鸟作品豪放泼辣,水墨淋漓,一挥而就,但求神和,不求形似。他那种热烈、豪放、沉雄而带霸悍的大写意画风格,与梁楷的冷逸、陈淳的潇洒、八大的恬淡萧索比较起来,更能激人心灵,壮人胸怀”。
徐渭《黄甲图》台北故宫博物院藏
图绘肥阔的荷叶已开始凋零,一只螃蟹缓缓爬行,留出大片空白表现秋水。构图简洁洗练,布局清新奇巧。图中的水墨加入了适量的胶,以避免水墨渗散,恰是此图的特色所在。图中以淋漓的墨色画荷叶,画蟹则寥寥数笔,看似草草为之,实则浓、淡、枯、湿、勾、抹、点多种笔法参用,形状虽夸张,却饶有笔情墨趣。画上自题诗曰:“兀然有物气豪粗,莫问年来珠有无。养就孤标人不识,时来黄甲独传胪。”
徐渭 荷花
这幅墨荷,笔墨很好。
诗中自题:“茨菰叶碧蓼花白,菱子稍黄莲子青。最是秋深此时节,西施照影立娉婷。”书画相辉映。
徐渭《五月莲花图明》
《五月莲花图》是徐渭37岁时的作品,是其代表作之一,水墨淋漓,运笔生风,给人以骤雨飘风之感,体现了他的典型画风。
画面左上方有徐渭自题诗:“五月莲花塞浦头,长竿尺柄挥中流。纵令遮得西施面,遮得歌声渡叶否。”诗句以荷寓世,抒发了自己怀才不遇的愤懑和世事不公的不忿之情。
以诗观画,荷叶以浓墨点厾、散锋扫出,几不类物象,似乎作者对它无丝毫的好感,故破笔一挥而已。荷花则以淡墨中锋,狂草笔法飞快勾出,无心求工。荷柄与水草也以长锋写出,任其浓淡干湿、中锋侧锋亦不计较。
最后,作者似乎还未发尽心中的激情,以重笔在画面下角点了七八个大小不同的墨点,暗示了水中的浮叶。
其实,画中的荷正是徐渭自己的化身,空有芬芳满腹,却生活在肮脏动荡的环境之中。正是这样的矛盾和痛苦成就了艺术上一种无可奈何的壮美,读画知之。
徐渭 墨荷
徐渭 一束出泥香
徐渭 荷花鸳鸯
徐渭 墨荷图
徐渭 墨荷
徐渭 墨荷图
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