其为云耶?其为山耶?仇德树的画作令人心潮起伏、浮想联翩,既象岿然挺峙的山,又似空灵飘忽的浮云。其光辉是从云霄之上播散而下呢?还是源自于山水之中?在其独创的表现方法中,仇德树从中国传统中汲取了很多的营养:比如新石器时代的图腾艺术,北宋11世纪蔚然可观的不朽山水画作,诗画中象征性的视觉语言,以及在画作上对印章的重复运用。尽管仇德树的作品无可争议地属于现代变体,但是他对宋代绘画有一种特别的亲和力,那个时代产生了中国悠久历史中最富诗情画意的山水画。当问到他对哪个画家有认同感时,仇德树举出了13世纪宋朝画院巨匠马远。马 It is the cloud Jesus? It is the mountain Jesus? Qiu De tree paintings are ups and downs, imaginative, both as if suddenly a very close to the mountains, but also ethereal clouds floating. In the original expression method, Qiu Tak-shu draws a lot of nutrition from the Chinese tradition: such as Neolithic totem art, Northern Song 11 The magnificent landscape of immortal landscapes of the century, the symbolic visual language in poetry and paintings, and the repeated use of seals in paintings. Although Qiu Deshu’s work undoubtedly belonged to modern variants, he had a special affinity for the Song Dynasty paintings, which produced the most poetic landscape paintings in the long history of China. When asked about which artist he had a sense of identity, Qiu Deshu cited the 13th-century Song Dynasty painter Ma Yuan. horse