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与陈之佛并称“北于南陈”的于非闇,是新中国建立以后工笔花鸟画的代表性画家。他学画从明代陈老莲入手,进而溯源至五代两宋,于宋徽宗赵佶处得力尤多。早期的作品较为淡雅,后期则趋于丰满富丽。作于1956年的《玉兰黄鹂图》,即为其晚年创作的精品,也是其代表作之一。阅读于非闇的《玉兰黄鹂图》,画面中明快的色调最引入注目。石青底上的白玉兰隐秀温润,黄鹂的颜色更显光鲜亮丽。这一色调的处理,可以看到于非闇在对两宋花鸟画的研习中,也接触到南宋的缂丝工艺,并将之大胆地借鉴到工笔花鸟
And Chen Zhifu said “North Yu Nan Chen ” in the non-dark, is the representative of China after the founding of flower and bird painting representative painter. He learned to draw Chen Laolian from the Ming Dynasty, and then traced back to Five Dynasties and Two Songs, especially in the Song Huizong Zhao 佶 Department. Early works are more elegant, tend to be full of plump late. Magnolia Orchid in 1956 for the album, which is the creation of his later years, is one of its masterpieces. Read the non-dark “magnolia Oriole Figure”, the most vivid colors in the picture the most noticeable. Magnolia on the bottom of the gorgeous show gentle, oriole color even more bright and beautiful. The treatment of this color can be seen in the non-dark in the study of birds and flowers in the Song dynasty, also touched the Southern Song dynasty silk craft, and boldly learn from the meticulous birds and flowers