徐熙作品

 徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。

其性情豪爽旷达，志节高迈，擅画江湖间汀花水鸟，虫鱼蔬果，常游园圃，观察动植物情状。所作禽鸟，形骨轻秀。所画花木，改变前人细笔钩勒、填彩晕染方法，而改用粗笔浓墨，草草写枝叶萼蕊，略施杂彩，色不碍墨，不掩笔迹，人称“落墨花”。时称“江南花鸟，始于徐家”。

他画花，落笔颇重，只要略施丹粉，骨气过人，生意跃然纸上。时称“江南花鸟，始于徐家”。“下笔成珍，挥毫可范”。其作品，有“意出古人之外”而创立了“清新洒脱”的风格。可谓“骨气风神，为古今绝笔。”。曾画有《石榴图》，在一株树上画着百多个果实，气势奇伟，笔力豪放，摆脱了当时画院里柔腻绮丽之风。他用质朴简练的手法，创立了”水墨淡彩”。郭若虚论《徐黄异体》，指出徐熙因所处环境地位与黄筌不同，故志趣各异。并说他“多准确江湖所有，汀花野竹、水鸟渊鱼、今传世凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗是也……”《宣和画谱》所记录他的画有二百五十九件。如“雪塘野鹭图”等。　他是一般的老百姓，为人宁静淡泊，专心绘画。擅长画江湖间汀花、野竹、水鸟、鱼虫、蔬果。他经常游山林园圃，细察动植物情状。他与后蜀黄筌的花鸟画为五代两大流派，两派的风格不同，各有不同。他所画花木禽鸟，形骨轻秀。独创“落墨”法，用粗笔浓墨，草草写枝叶萼蕊，略施杂彩，使色不碍墨，不掩笔迹。一变黄筌细笔勾勒，填彩晕染的方法。然当时黄筌在画院占优势，掩斥徐熙不能入画院。直至后来徐才出名。米芾说：“黄筌画不足收，易摹；徐熙画不可摹。”推崇备至。《宣和画谱》中辑入徐的作品有249件，《鹤竹图》辑入《德隅斋画品》，但传世真迹甚少。另有《雪竹图》，有谓风貌与徐熙类似，现藏上海博物馆。

宋代沈括形容徐熙画“以墨笔为之，殊草草，略施丹粉而已，神气迥出，别有生动之意”(《梦溪笔谈》)。宋代《德隅斋画品》中著录徐熙《鹤竹图》，谓其画竹“根干节叶皆用浓墨粗笔，其间栉比，略以青绿点拂，而其梢萧然有拂云之气”。米芾又谓他画花果有时用澄心堂纸，用绢则“其纹稍粗如布”。这种题材和画法都表现他作为江南处士的情怀和审美趣味，与妙在赋彩、细笔轻色的“黄家富贵”不同，﹝指黄筌与黄居父子﹞而形成另一种独特风格，被宋人称为“徐熙野逸”。然而《图画见闻志》中记徐熙为南唐宫廷所绘的“铺殿花”、“装堂花”，于“双缣幅素上画丛艳叠石，傍出药苗，杂以禽鸟蜂蝉之妙”，“意在位置端庄，骈罗整肃，多不存生意自然之态”。这种富有装饰性的绘画，也构成了徐熙绘画的另一风貌。

徐熙的孙子徐崇矩、徐崇嗣、徐崇勋皆善画。徐崇嗣曾参加描绘南唐中主元旦赏雪图的集体创作，负责图写池沿禽鱼。进入北宋后，由于当时“黄家富贵”成为北宋宫廷花鸟画的标准，徐崇嗣便效诸黄之格，﹝指黄筌与黄居父子﹞创造了一种不用墨笔，直以彩色图之的没骨画法。北宋宣和御府中所藏徐崇嗣画，“率皆富贵图绘，谓如牡丹、海棠、桃竹、蝉蝶、繁杏、芍药之类为多”，与野逸画风已有所不同。

《玊堂富贵图》南唐徐熙 轴 绢本 纵112.5cm 横38.3cm

牡丹花常被称为富贵花。它是花中之王。自唐代以来，牡丹就成了民间所爱的、画家常写的花卉了。牡丹与白头翁 (鸟名 )画在一起，叫做“玊堂富贵”了。图中牡丹、玊兰、海棠、杜鹃，布满全幅，最后还用石青衬地。枝叶花鸟，用墨笔钩出轮廓，然后敷以彩色，湖石下还绘了一只野禽。这种满纸点染，不留隙地的画法，显然受了佛教艺术的影响。五代时后，花鸟画盛行，徐熙、黄筌二人，一在南唐、一在后蜀，同为后世花鸟画之祖。黄筌一派的花鸟画，用重色，气象华贵，非常艳丽；

徐熙则用“水墨淡彩”予人以超逸清雅的感觉。黄筌与徐熙的风格大不相同，因而有“黄家富贵，徐熙野逸”之说。不错，徐熙是一位品格高尚的野逸画家，专画动植物而极少画山水，郭若虚的“图画见闻志”说他“多状江湖所有汀花野竹、水鸟渊鱼。”以写生为主，对于后世的影响很大。徐熙没有做过官，一生致力于绘画。《图画见闻志》又说：“徐熙辈，有于双缣幅素上画丛艳迭石，傍出药苗，杂以禽鸟蜂蝉之妙，乃是供李主宫中挂设之具，谓之铺殿花，次日装堂花，意在位置端庄，骈罗整群肃，多不取生意自然之态。”这可能是一种挂在墙壁上作装饰的图案画。徐熙的生卒年不详，只知南唐于开宝末年 (公元975年)，李后主降宋之后没有多久他就因病逝世了。

《雪竹图》似是最能体现其“落墨”风格的，可惜未加色而不得窥其全豹。此图
纵151.1厘米，横99.2厘米，绢本，墨笔，藏上海博物馆。谢稚柳先生曾著文介绍此图，他是这样阐述“落墨”的：“所谓‘落墨’，是把枝、叶、蕊、萼的正反凹凸，先用墨笔来连勾带染的全部把它描绘了出来，然后在某些部分略略的加一些色彩。”也就是说，一幅画的形和神，都是用墨笔和墨色来“落定”，着色只是辅助。这体现了徐熙在笔墨上的大胆革新。

以《雪竹图》观之，图绘雪后的枯木竹石。下方是大小数方秀石，不重勾勒而用水墨晕染出结构，留白以示积雪。石后中间是三竿粗竹，挺拔茁壮，细枝遒劲，残叶纷披。旁有数竿被雪压弯或折断的竹子，或粗或细，或断或弯，又有数竿细竹穿插其间，显得姿态多变，情趣盎然。左旁则现一段枯树，枝杈被折，或勾叶，或晕染留白，映衬雪景的萧瑟。而在刻画上，勾皴与晕染，粗笔与细笔，浓墨与淡墨，墨染与留白，兼施并用，同样是谨严的写实作品，与北宋盛行的“细勾填彩”、务求逼真的画风相比较，显得率意而出格，然而却也更多变化，更富情趣。

春燕戏花图

 Jinling (now Nanjing) people, say Zhong Ling (now Jiangxi Jinxian) people. The year of birth and death is unknown, but it is known that it died before the Song Dynasty destroyed the Southern Tang Dynasty. He came from a famous family in the south of the Yangtze River and refused to be an official because of his elegance. Good at painting flowers and bamboos, poultry and fish, vegetables and fruits, grass and insects. He often strolls around the field nursery, and sees mostly Tinghua wild bamboo, waterfowl Yuanyuan fish, garden vegetable and medicine seedlings. Every time you encounter a scene, you must observe it carefully. Therefore, biography is full of vivid interest. In painting, he reversed the dizziness and color which had been popular since the Tang Dynasty, and created a new way of expression of falling ink, that is, first to write flowers'branches, leaves, stamens and calyx in ink, and then to Fu color. In his book The Records of Cuiweitang, he claimed that when he wrote, he did not try to make a contribution to the light and fragmentation of Fu's color. At that time, Xu Xun recorded Xu Xi's paintings as "falling ink for style, mixed with colors, traces and colors are not hidden reflection" (Pictures See and Hear Records).

Xu Xi, an outstanding painter of the Southern Tang Dynasty in the Five Dynasties, is a native of Jinling (now Nanjing), and a native of Zhongling (now Jiangxi Jinxian). Born of the "famous people in the south of the Yangtze River". Born in the reign of Emperor Qizong Guangqi of Tang Dynasty, he returned to the Song Dynasty with Empress Li at the end of Kaibao (975 A.D.) and died soon after. In his lifetime, Guo Ruoxu called him a "magistrate in the south of the Yangtze River". Shen Kuo said he was "Jiangnan cloth". Its personality is bold and broad-minded, ambitious, good at painting flowers and bamboo trees, cicadas, butterflies and insects, its wonderful and natural.

His temperament is bold and broad-minded, ambitious, good at painting Tinghua waterfowl, insects, fish, vegetables and fruits between rivers and lakes, often visiting gardens, observing the situation of animals and plants. The birds are light in shape and bones. The painted flowers and trees changed the previous methods of Fine-Brush hookle and color-filling and halo-dyeing. Instead, they used thick-brush and thick-ink, scribbled branches, leaves and calyx stamens, and slightly applied variegated colors, which did not hinder ink and hide handwriting. They were known as "falling ink flowers". It is called "Flowers and Birds in the South of the Yangtze River", which began in Xujia.

He painted flowers with heavy brush strokes. As long as he had a little Dan powder, he had a strong spirit and made a great deal of business on paper. It is called "Flowers and Birds in the South of the Yangtze River", which began in Xujia. "Make a precious pen and set a fine example". His works are "unexpected beyond the ancients" and create a "fresh and free" style. It can be said that "the spirit and spirit of the bone are the masterpieces of the past and the present." He once painted "Pomegranate Picture". On a tree, he painted more than 100 fruits with great momentum and bold brushwork. He got rid of the delicate and beautiful wind in the painting academy at that time. He used simple and concise methods to create "light color of ink and wash". Guo Ruoxu's comment on "XU Huang Heterogeneity" points out that Xu Xi's ambition and interest are different because of his different environmental status and Huang Qi's. He also said that he "possessed many precise rivers and lakes, including Tinghua wild bamboo, Shuiyuanyuan fish, geese, egrets, cattails, shrimps, gorgeous clumps, broken branches, garden vegetable and medicine seedlings..." There are 259 paintings recorded in Xuanhe Painting Spectrum. For example, "Snow Pond Wild Heron Map" and so on. He is a common people, quiet and indifferent, dedicated to painting. He is good at painting Tinghua, wild bamboo, waterfowl, fish and insects, vegetables and fruits between rivers and lakes. He often travels to mountain forest gardens and carefully inspects the situation of animals and plants. He and Huang Qian's flower and bird paintings in Houshu are two major schools in the five dynasties. The styles of the two schools are different and different. He painted flowers, trees, birds and birds with light bones. Creative "falling ink" method, thick ink with thick brush, grass writing calyx stamens, slightly colorful, so that color does not hinder ink, do not hide handwriting. The method of changing the fine outline of yellow baskets and filling in colour halo dyeing. However, at that time, Huang Qian had an advantage in the Academy of Painting, which concealed Xu Xi's inability to enter the Academy. Xu was not famous until later. Mi Fu said: "Huang Qian's paintings are insufficient and easy to copy; Xu Xi's paintings can not be copied." Very much. There are 249 Xu's works in Xuanhe Painting Spectrum and Deyuzhai's paintings in Hezhu Picture, but few of them have been handed down. In addition, "Snow Bamboo Picture", which is similar to Xuxi's, is now in the Shanghai Museum.

Shen Kuo of the Song Dynasty described Xu Xi's paintings as "taking ink as its purpose, using grass as its sole purpose, and applying a little Dan powder, with a distinct air and vivid meaning" ("Mengxi Bi Tan"). Xu Xi's "Hezhu Tu" is recorded in Deyuzhai Pictures in Song Dynasty. It is said that Xu Xi's "Hezhu Tu" paints bamboo "with thick ink and thick brush on the root, stem and leaves, and in the meantime, it is lightly touched by green dots, while its tips are bleak and cloudy." Mi Fu also said that he sometimes painted flowers and fruits with clear heart hall paper, with silk, "its grain is slightly rough as cloth". This kind of subject matter and painting method both express his feelings and aesthetic interest as a clergyman in the south of the Yangtze River. It is different from "Huang Jia Fu Gui" which is brilliant in coloring and light in fine brushwork, and forms another unique style [referring to Huang Qian and Huang Ju's father and son]. It is called "Xu Xiyeyi" by Song people. However, Xu Xi's "paving Palace flowers" and "decorating hall flowers" painted by the court of the Southern Tang Dynasty in the Records of Pictures and Hearings are "painted on the double-striped tablets with colorful stacks of stones, along with medicinal seedlings, mixed with birds, bees and cicadas." The intention is to have a dignified position, to clean up parallel poles, and not to survive the natural state of business." This decorative painting also constitutes another style of Xuxi's painting.

Xu Xi's grandsons Xu Chongzhuang, Xu Chongxie and Xu Chongxun are good at painting. Xu Chongsi once participated in the collective creation of pictures of snow appreciation on New Year's Day in the middle of the Southern Tang Dynasty. He was responsible for picturing poultry and fish along the pond. After entering the Northern Song Dynasty, because "Huang Jia Fu Gui" became the standard of the Royal flower and bird painting in the Northern Song Dynasty, Xu Chongsi followed the pattern of "Huang Zhu" and "Huang Ju Father and Son" created a boneless painting without ink pen and directly with color pictures. Xu Chongsi's paintings in Xuanhe Imperial Palace in the Northern Song Dynasty are "rich and precious in rate", which are called as peony, crabapple, peach and bamboo, cicada butterfly, apricot, peony and so on", which are different from the wild style of painting.