八大晚年绘画还有另外一副面目,就是缥缈无痕,一切都似有非有,鸟将落未落,枝似存非存,山在依稀迷离中,水在茫然无着处。这有点像倪云林。倪家山水,总是疏林特立,淡水平和,遥岑远岫,淡岚轻施,一切似乎都在不经意中。他用淡墨轻轻地敷过,飘忽而潇洒,既不凝滞,又不飞动,笔势疏松而灵秀,他的皴法苔点,控笔而行,划过纸素,似落非落,如鸟迹点高空。八大比之云林,更有过之,瘦硬的疏林,兀然的空亭,在云林还隐然在目,而到了八大这里,更是缥缈无着,一只远方飞来的鸟似落非落于似有若无的枯枝之上,就是八大绘画给我的强烈印象。八大晚年的画妙在雁过无痕。 There was another face in the painting of the late eight years. There was no trace in the painting of the late Qing Dynasty. Everything seemed to be right and wrong, the birds would not fall, the branches could not exist, the mountains were vaguely blurred, and there was no place for water. This is a bit like Ni Yunlin. Ni home landscapes, always sparse forest legislation, light and peaceful, away Cen Yuan Xiu, light Lan Qing Shi, everything seems to be inadvertently. He gently coated with light ink, erratic and carefree, neither stagnate nor flies, gestures loose and elegant, his law moss, pen control, cut through the paper, like non-drop like Bird points at high altitude. Eight than the Yunlin, more had thin, thin forests, Wuran empty kiosks, but also in the Yunlin invisible, but to the Big Eight here, but also nothing, a bird flying from afar Falling above the seemingly absence of dead branches is the strong impression that the eight paintings gave me. Eight wonderful painting in the wild goose no trace.