1.树木概述 除山石外,山水中另一主体是树木,它起着缓冲山石分布后产生的轮廓生硬感,使画面虚实得宜、空间深入,逐渐柔和起来,并能粘合山石、云水、建筑间的关系,让画面生动。所以,和山石一样,钱老在继承传统的树种方面有所选择并强化改变了不少画树技法,也创造了不少新树种的画法程式。 钱老早年对传统树木研究颇深,尤对石涛之率意、石溪之沉着兼而有之,除树形略取生活中之大概,其用笔精神均取书写的抒情,下笔以运线为多,早年舒畅流利(图1),晚年沉稳颤涩(图2),均能贯气兼立质,较少挑踢顿挫,不以形胜,只求达意。 早年树枝干用笔流畅,常连枝带干一写到底,中途略分枝杈,以图其形,树干缠曲扭转,常忽略粗细以求其势,较晚年活泼生动。 1. Trees Overview In addition to rocks, the other main body of the landscape is a tree, which plays a bumpy outline of the impact of the distribution of rock, so that the picture is true and false, deep space, and gradually softened, and can bind rocks, clouds, The relationship between buildings, so vivid picture. Therefore, like the rocks, Qian always chose to inherit the traditional tree species and intensified the change of many painting techniques, and also created a lot of new species of painting program. Old money in the early years of deep study of traditional trees, especially the rate of Shi Tao, Stony and calm both, with the exception of the tree slightly take life, the spirit of the pen are written with the lyrical, Many, early and comfortable fluent (Figure 1), old age steady steady astringent (Figure 2), both consistent and independent quality, less picks frustrated, not to form wins, just to reach the goal. In the early years, the dry branches of the pen were smooth, often with branches and stems. In the middle, the branches were slightly divided into twigs. The figures were twisted and the trunk twists and turns. The thickness was often neglected to find its potential and was vivid in later years.