困知勉行—徐明义画集8—桃源仙境（彩墨）
桃源仙境（彩墨）
我读俞剑芳先生的“中国绘画史”，其中提到清初四王时说：“清朝山水画，自四王继董、陈主盟画坛后，竭力推崇元四大家，于黄公望尤为倾倒。风声所树，争相仿效，遂为师法所囿，不能自出手眼……山水画遂尽为槁木死灰，神气索然矣。……”
这几个画画的人，一辈子专攻某人的画路，下功夫苦摹，一辈子不敢稍有改易或逾越，秉持着这种画画态度，竟还能在画史上留名，不知其道理何在？
The fairy land of peach blossoms/ink and color painting
I read Mr. Yu Jian fang’s “History of Chinese Painting,” in which he mentioned the four Wang of early Qing Dynasty and said: “The Qing dynasty’s landscape paintings have highly enthroned the four masters of the Yuan Dynasty in which Huang Kuan Wan was the most highly praised since the four Wang succeeded to Dong’s (Dong Chi Chang) and Chen’s (Chen Chi Zu) domination in early Qing’s painting field. The fame has been built as the master’s character, painters learnt and followed the master’s painting skills but also self-restricted, no creation and innovation…..landscape painting at that moment became dull and unlively”.
A painter who devoted himself to learning and imitating someone’s painting skill his lifetime but did not dare to change or overpass the master’s painting skill for his whole life. I have no idea and do not know how and why a painter who is always keeping this kind of painting attitude still get his name and fame in the painting history.@
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责任编辑：昌英
