梅兰菊竹是为四君子,历来是文人作画的不朽题材。画家们以心灵映射万物,代草木立言。因而,呈现出的是主观的生命情调与客观的自然景象交融互渗,状物体情、借物寓意,使艺术形象与思想感情酝酿糅合于胸中,达到物我两融、身与物化的意境。历代画梅高手众多。宋代杨无咎画梅,清流淡远,疏影横斜,暗香浮动;元代王冕画梅,高简逸雅,颇有“不要人夸好颜色,只留清气满乾坤”的不凡气质;明代陈继儒画梅,繁花密蕊,铺天盖地,另有一番“南枝触目春如海”的繁荣景象;而清代金农画梅,古拙纯真,超凡绝尘,观其 Mei Lan Chrysanthemum bamboo is a gentleman, has always been a immortal painting of the literary theme. Painters to map all things in mind, on behalf of the stands. Therefore, it is shown that the subjective life sentiment interacts with the objective natural scenery, the physical condition and the moral substance of the object, so that the artistic image and thoughts and emotions are brewed in the breast, and the artistic conception of material, material and materialized is reached. Drawing many master dynasties Mei. In the Song dynasty, there was no blame for painting plum, the Qing Dynasty was far away, the sparse shadow was horizontal and the subtle fragrance floated. In the Yuan Dynasty, Wang Mian drew the plum and tall Jane Yiya, quite not the exaggerated colors Temperament; Ming Dynasty Chen Jiru drawing plum, flowers dense core, overwhelming, and some “South branches touching the spring sea,” the prosperity scene; and the Qing Dynasty golden agricultural plum, ancient clumsy innocent, extraordinary dust, view the