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梅兰竹菊,作为中国文人士大夫的内心隐喻,深深扎根于文艺传统的审美范畴里。历来的画家也乐得趋长避短,四君子形象才得以前仆后继在他们的画里永恒。书画的这一脉,从来没有断过,文化的香火愈燃愈浓。可是,李苦禅却独辟蹊径,他偏偏避开梅兰竹菊的文化意义,将笔墨更多地赋予烟火日常。日常是可以深究的,原本就来得厚重,与俗世近,朴素可亲。一看见李苦禅那饱含浓墨的画风,就会联想起另一位前辈画家八大山
As the inner metaphor of Chinese literati and doctor, Mei Lanzhu deeply rooted in the aesthetic category of literary tradition. Traditionally painters are also happy to avoid shortening, the image of the four gentlemen before they can be eternal in their paintings. This vein of calligraphy and painting, has never been broken, the more incense of cultural incense thicker. However, Li Kuchan was unique, he chose to avoid the cultural significance of Merlin Zhu Ju, the pen and ink to give more daily fireworks. Everyday is a matter of study, originally heavy, with the secular world, simple and amiable. When I saw Li Kuchan’s inky brush style, I was reminded of another painter, the Badaling Mountain