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在18世纪崛起东南的“扬州八怪”中,以“三绝诗书画,一官归去来”的郑板桥声名最著,而郑板桥则十分推重自己的同乡好友李鱓。究其原因,大约不外两个方面,其一是在开创八怪诗文书画的新风尚中,李鱓是当之无愧的先行者,他的“纵横驰骋,不拘绳墨而多得天趣”的画风,比郑板桥更早得到社会的认可。郑板桥即在《自叙》中述及:在乾隆初年的扬州,“索画者必曰复堂,索诗文者必曰板桥”(1)。其二是,李复堂的写意花鸟画,较之只画兰竹的郑板桥题材广泛,笔墨精妙。对此,
In the eighteenth century, “Yangzhou Baekguai” southeast of “rise,” with “three poetry painting and calligraphy, one official go” came to Zheng Banqiao the most famous, and Zheng Banqiao is very much push their fellow friend Li Kui. The reason is that there are only about two aspects. One is Li Zui’s predecessor in creating a new style of painting and calligraphy of eight strange creatures. His “speeding and striving, more freedom” Style, compared to Zheng Banqiao recognized by the community earlier. Zheng Banqiao that “self-narrative” in the description: In the early years of Qianlong in Yangzhou, “The artist will be called Fu Tong, Suo poetry people will say Banqiao ” (1). The other is that Li Futang’s freehand bird-and-flower paintings are more elaborate than those written by Zheng Banqiao, who only draw blue and white bamboo. In this regard,