尚连壁美术作品

尚连壁（1928—2003）江苏丰县人，曾毕业于江苏省艺术师范美专、南京师范学院美术系，50年代末到90年代初在睢宁文化馆工作。1985年开始其作品多次作为国家礼品赠送国际友人，是一位在国内外均有影响的画家。他的山水、花鸟颇具灵性。他早年入室绘画大师傅抱石先生门下，有幸学得傅抱石大师的笔墨、情致和境界，他的山水画耐看、耐品味、设色清淡，出入于有无之间的特征。他的画作，追求的是一种刚阿不曲的人品精神，反映的是一个人所应有的洁净灵爽的心态。他画的《黄山观瀑》呈出灵逸华滋风采。
尚连璧是江苏省具有非常影响的画家，是睢宁儿童画之乡的开创者之一。他培养了一批有文华的青年画家走向全国、走向世界；许多书画爱好者收藏了他的作品。尚连璧1933年出生于苏北丰县城，幼年时代即酷爱民间美术。1948年一个特殊的机遇，使他离开偏僻的县城来到民国时期的首都南京，考入江苏省立江宁师范学校美术科，初次步入艺术殿堂。该科由水彩画家薛珍任主任，教师有金有文、刘元、仇河清等，开设了美术史、透视学、色彩学、解剖学、素描、水彩、国画、油画、图案、工艺等课程。在这里，尚连璧接受了最系统、也是最全面的中西美术教育，他的绘画基础就是在这个时期打下的。在读期间，尚连璧的素描习作便常常出观摩会上，他成绩优异，曾经作为学校的代表，其作品参加了“南京市生产救灾美术义卖展览”。在美术师范科毕业后，尚连璧又考入了南京师范学院美术系，迈进了高层次的美术教育大门。南京师范学院美术系前身是由徐悲鸿主持创办的中央大学艺术系。虽然当时徐悲鸿已离任该校北上主持中央美术学院工作，但他所倡导的不慕时流、稳健扎实的写实主义学风依然成为该系美术教育的主导思想。而且，以傅抱石、陈之佛、黄显之、吕斯百、秦宣夫、杨建侯为代表的当代一流画家仍主持教学工作。尚连璧有幸成为他们的学生，亲炙他们的教诲，终身受益匪浅。
在众多的老师中，傅抱石对他的影响最大最深。作为“毛笔画”课代表，尚连璧与抱石先生有过较为密切的接触，而且其豪爽的性格与傅氏山水的倾吐方式也非常契合。因此，抱石先生每一句话，他都铭刻在心间。如“毛笔画就是用笔蘸水画到宣纸上，这个‘水’很关键、很讲究、很有学问”；“毛笔画用色要薄而透，不能像油画层层加，用厚堆法”；“大画要当作小画画，小画要当作大画画”，等等。迫于政治气候，抱石先生讲课并不多，但私下曾语重心长地对尚连璧说：中国人还是要画中国画，你可以多看石涛的作品，要研究石涛。在毕业画展上，尚连璧的一幅国画作品《美人蕉》得到了抱石先生的特意赞赏。他鼓励尚连璧：用笔猛狠，敷色泼辣，以后还要在骨法用笔上再下功夫。高山仰止，尚连璧在他未来的创作实践中无不倾注了他对抱石先生的敬仰，无不遵循抱石先生的教诲，他不能辜负抱石先生曾给予他的鼓励。
上世纪50年代，中国画受到了前所未有的排斥。其最大的根源，便是人们以为这种传统笔墨的陈旧性，已很难反映新中国社会的巨大变化。苏联社会主义的文艺思潮在深刻影响着新中国的文艺发展方向，俄国列宾、苏里柯夫等反映社会重大主题的写实主义作品在震撼和吸引着中国一大批青年美术工作者。受到时代的感召，尚连璧也以满怀的热情创作了一大批油画、版画和雕塑作品。他的油画作品《黄继光》、《春晨》、《少先队员》、《追迹》和《国庆节》等先后在各种展览会上，引起了人们的关注。这些作品不仅在创作构思上追寻苏联批判的审美理想，而且在油画技巧上也多受苏式画风的影响。那是一种介于印象主义与古典主义之间的风格，既讲求光色，也讲究素描。笔触稳健而洒脱，厚堆与轻涂相结合。除了主题性的油画，他也画了许多所谓习作性的作品，如《八达岭》、《自画像》和《女儿》等，这些作品不受题材限制，画得轻松自如，反而能够显示出他真正的油画水平。从油画实践中，尚连璧掌握了这种中国画全然没有的色彩观念，这为他日后有机地将一些色彩表达融入中国画创造了条件。
“文化大革命”是一场大浩劫，这个浩劫改变了许多人的命运。而历史又神奇地将一些人的命运联结在一起。当尚连璧被关押接受审查的时候，傅抱石先生的三女儿傅益瑶被划为内定反革命，恰好也下放到睢宁县王林公社。当“文革”后期尚连璧稍许获得一点自由之后，他们开始了比较频繁的接触，相与切磋画艺。从某种意义上说，傅抱石女儿，重新唤起了尚连璧对抱石山水的热爱，抱石先生对他的鼓励似响鼓重锣再三回荡在他的耳畔。1973年秋，傅师母罗时慧特邀他到位于南京傅厚岗六号的抱石先生的寓所做客，在这里，尚连璧得到热情的接待。宴席之后，傅师母慨然打开尘封已久的抱石先生的遗墨，让他细细观览了大师生前的创作手稿、片纸碎墨。在这里，尚连璧仔细披阅了先生一些代表作的创作过程，那些没有完成的或正处于绘制过程中的“废纸”给予他的印象尤其深刻，启发也最大。应该说，尚连璧在此后能够很快掌握傅氏山水画的一些技巧，除了他的禀赋和悟性，多半取决于他能够直接看到大师的这些创作手稿。
上世纪80年代，是尚连璧个人艺术生涯中取得长足发展的十年。这十年里他主要做了三件事：一是“用最大的功力打进去”，以研习传统；二是“行万里路”；三是总结和展示他的艺术探索，以得到社会检验。在他真正以此为归宿并对傅氏山水进行深入摹习之后，他开始产生对隐藏在傅抱石艺术作品里那些更广阔深厚传统的研习的一种渴求。虽然对传统的认识和理解仁者见仁智者见智，但深层次的理解分析与笔墨修炼是必不可少的。鉴于此，尚连璧自觉地沿着抱石先生的足迹，相对定向地向历史回溯。这是一条艰苦而寂寞的荆榛之路。清代石涛是这条研习之路上一个最重要的画家。不拘成法，是石涛给予尚连璧的最大思想启迪。足迹曾踏遍半个中国的石涛，对真山真水有着切身的感受，他的笔墨皴法便不局限于某家法某家皴。“古之须眉，不能生在我之面目，古之肺腑，不能安入我之腹肠”。在这种精神指导下，他提出了“搜尽奇峰打草稿”回到山水中去的创作思想。尚连璧认为，这不仅是石涛成功的重要创作道路，而且也是傅抱石成功的创作道路。他不仅喜欢石涛的理论，而且酷爱石涛的画，他后来形成的恣纵飞舞、旋转挫折的线条和干湿浓淡、飞白枯索的笔墨形态，都得益于他对石涛《泼墨山水卷》和《余杭看山图》等作品的理解。然而中国画仅有恣意纵横的写意是不够的，为了掌握“南宗”画系的发展脉络，尚连璧有意识地转入恬淡清润的格调，以静敛动。对黄公望圆润松散的线条和笔简意远的皴擦的揣摩，使他后来的作品另一种明润秀拔、温雅平和的氛围。
在这个时期，尚连璧几乎用整块时间去研习山水，皴擦渲染，反反复复，一丝不怠，一天画下来甚是疲劳。后来他改变了这种单一画山水的方式，间以花鸟作为放松和休息，既张弛结合，又快慢互补。由此，他笔墨功夫的锤炼反而收到事半功倍的效果。
他先临遍《竹谱》、《梅谱》、《兰谱》，在掌握了一些花鸟基本造型之后，重新研习了吴昌硕、八大和徐渭。吴昌硕致力于金石研究所得的纯朴浑厚之趣给他以很大启发，三十余岁时，尚连璧始以作篆籀的笔法绘画。吴昌硕那外貌粗疏而内蕴浑厚的气度，那纵意挥写而不拘成法的激情、简练概括而意境深邃的笔墨，都极其自然地转化为尚连璧艺术语言的组成部分。除了吴昌硕、徐渭和八大山人的艺术个性也深深地影响着他的艺术道路。他们的作品都有一股刚烈之气，在徐渭是惆怅悲歌，在八大是寂寥落寞，但都是性格、气质、情怀的直接显出。由于“文革”的遭遇，曾经受人生痛苦和绝望打击的尚连璧，正是从徐渭和八大山人的作品里找到了自己情感喷发的突破口。圆浑苍润的线条、沉郁狂放的运笔、简洁凝重的墨色，这些徐渭和八大山人的个性品质，正成为尚连壁艺术语言的参照物。从傅抱石到石涛再到黄公望和董源，从吴昌硕到八大山人和徐渭，尚连璧一路寻根求源，回溯传统，既加强了他的艺术创作的历史深度，也增添了他的笔墨世界的文化底蕴。尚连璧的高明之处，就在于他把对于传统的回溯与研习始终和深入勤奋的写生结合在一起。他曾经先后远赴西南、西北旅行采风，行程数万里，踏遍半个中国，饱览了黄山、峨嵋的奇峰峻岭，观赏了泰山、华山的云涛雾海，卧游了桂林、三峡的激流浅滩，啜饮了雁荡、黄果树的茂林飞瀑。他作品的意境随着足迹的延伸在不断地扩展，他画面的笔墨随着表对象的变换在不断注入新的生机，而他的艺术个性随着视野与胸襟的开阔也愈来愈鲜明。
入于传统，出于生活，使尚连璧的艺术生命发生了一次蜕变，展示在人们面前的是他崭新的艺术面貌。
1983年，“尚连壁画展”在南京市鼓楼公园展出时，首次确立了其继承抱石山水画风的面貌。同年，尚连璧受中国人民解放军总参谋部通信部邀请赴京在解放军通信学院举办个展。北京画院院长尹瘦石为画展题写展名。《光明日报》专题介绍了展览盛况。1987年，由中华人民共和国农牧渔业部主办，国防部长张爱萍题写展名的“尚连璧画展”在京隆重开幕，中央电视台、北京电视台、北京人民广播电台、《北京日报》、《中国农牧渔业报》和《中国农民报》对这次画展均有报道。展出的一百余幅作品，是尚连璧应农业部邀请专程赴京在一年时间内创作的。国家部委级办公大楼采用一位画家的作品装饰，这在当时尚属首例。多年的艺术探索和由此而形成的个人面目终于得到社会的认可和专家的赞许。这次画展，标志着他的艺术水准在上世纪80年代末期达到了一个新的高度。
1992年，《尚连壁画集》由江苏美术出版社出版。该画集收入58幅山水、花鸟画作品，集中反映了80年代以来，他进行艺术蜕变之后所形成的个人艺术风貌。在这里，人们很难用山水画家或花鸟画家来简单概括他的绘画艺术，因为他同时在山水和花鸟这两个领域进行了卓越的探索。
在山水画方面，尚连璧沾溉傅抱石山水特征最多，学得那种恣肆挥洒大气磅礴的气度、那种直捉大自然魂魄的灵性和不拘古法的笔墨情致，但又有所区别，有所发展，形成他个人的一些面目。这些面目在三个层面上，即增强破墨散锋皴的表示张力、色彩意象的独立性和构成意识的融入。傅抱石能够“往往醉后”在画面上纵横挥扫直接显示他的艺术个性，在于他创造了破墨散锋皴的艺术语言。尚连璧在学得破墨散锋皴之后，大胆地加强了散锋的“骨力”，提高了这一皴法的强度。毫无疑问，这种被添加了“钢筋”的破墨散锋皴，增强了造型上的建筑感的表达。
所谓色彩意象的独立性，就是色彩在营造意境上的非从属于墨的独特作用。在包括傅抱石在内的古典山水画中，色彩的运用一直处于被抑制的状态，意境的营造主要依托于“墨分五色”的皴擦处理，即使用色，也必定是“以墨化色”。随着西洋画传入中土，西洋色彩观念逐步为中国画家吸纳。但意象色彩的独立性，又必须限制在中国画的范畴中，掌握色与水和墨之间的度是非常重要的。如果没有水色渗化在宣纸上产生出的特殊品质，并以此作为大量的铺垫，那么其魅力就逊色得多。水色渗化在宣纸上产生出的特殊品质被尚连璧反复用于山水的渲染中，彩色为尚连壁的山水带来清新、明丽、欢快、蕴藉、饱满的情调和意境，这既是他早期西洋画训练和多年油画创作实践打下的色彩功底的自然流露，也是他融入中国画笔墨之后的创造。
正因为尚连璧走出了“以墨化色”的局限，他的山水画比傅抱石则更具有的审美心理和审美风貌。所谓构成意识的融入，正是在这个前提下完成的。尚连璧的山水既是对傅抱石山水的发展，又是他作为一个当代画家对当代人审美图式的一种认识与表达。他的花鸟画虽然多得益吴昌硕的老辣生拙、苍浑雄厚，但也不尽一致。毕竟，尚连璧个人艺术历程决定了他艺术面貌的独特性。著名画家和美术评论家程大利曾这样概括：“尚连璧悟性极好，从版画转入国画取其拙朴而不见呆滞，下笔畅而不涩。以腕力写花鸟，厚重得如纯刀刻石一般，浓墨伴着中锋，敷以重彩，直如重鼓响锣，将大自然的韵致整个儿升高了一个八度。”和吴昌硕相比较，他的这种独特性可以归结为两个方面。一是木刻味，二是色彩感。多年的木刻创作历程，在练就了他的一副好腕力的同时，也形成了他的刀趣木味上的审美范式，这种范式几乎直接显示在他在花鸟画上的追求。这就是执刀向木时的一股冲劲、猛劲和狠劲转化为用笔上的果敢、豪放与泼辣；非猛无以果敢，非冲无以豪放，非狠无以泼辣。则敢于铺垫大面积的墨块，强化黑白对比的力度，使形象更富有质感和量感。这种情形多用于叶片的处理上，无论是竹叶、桃叶还是芭蕉叶、枇杷叶、荔枝叶，都显示出墨块在画面上的特殊作用，厚重如钝刀刻石。色彩的浓烈、墨块的凝重.
尚连璧猛狠苍辣的运笔统一起来，从而构成了他鲜明的花鸟画个性。这种个性既是他特殊的人生体验和艺术历程的赐予，更是他豪爽性格和刚硬气质的自然流露。相对而言，山水画以文功胜，其境、其笔、其染皆须去躁去火、悠悠然翩翩然；花鸟画则以武功胜，其气、其笔、其墨皆得迅雷不及掩耳，大刀阔斧、不拘小节。因此，集花鸟与山水于一身总有相悖处。吴昌硕以花鸟名世，鲜有山水之作；傅抱石专擅山水，从不涉笔花鸟。而尚连璧恰恰融二者为一身，看似矛盾，却不尽其然。他是用整块的时间画山水，心境恬淡，无忧无虑；间歇，另展一纸横笔挥扫，郁闷豪兴一吐为快。画山水是张，写花鸟是弛，一张一弛正符合生命与生活的节律，这就是他艺术个性中的两面性。清张庚在《国朝画征录》记以没骨花卉著称的恽南田由山水改学花鸟时说，他“好画山水，力肩复古，及见虞山王石谷，自以材质不能出其右.山水而学花卉。”可见，能将山水和花鸟都画得好，并非人人所具备。在当代金陵画坛，不乏画山水的偶试花鸟或专攻花鸟的浅尝山水的画家，但像尚连璧那样两者皆擅皆精的画家却是绝无仅有的。他正是于此另树一帜，别开生面，焕然出新。

尚连壁美术作品

Shang Lianbi (1928, 2003) person of Jiangsu abundant county, ever was graduated from Jiangsu to save beauty of artistic normal school only, art of institute of Nanjing normal school is, 50 time end arrives at the beginning of 90 time work in Suining culture house.  Began its work to give international friend as national gift for many times 1985, it is one is in domestic and international all influential painter. His landscape, painting of flowers and birds in traditional Chinese style provides intelligence quite. His one's early years holds stone gentleman door in the arms to fall into room brushwork cook, the pen and ink that favour learns to get Fu Baoshi's master, affection is sent and state, his landscape painting is able to bear or endure look, be able to bear or endure savour, color is light, discrepancy does not have the feature between at having. His picture is made, of pursuit is spirit of bearing of unbending of a kind of firm A, reflective is the state of mind of the clean Ling Shuang with due place of a person. He draws " Huang Shan watchs waterfall " show an elegant demeanour of Ling Yihua grow.
 Shang Lianbi is the painter that Jiangsu province has special effect, it is one of inaugurator of the country that Suining children draws. He fostered a batch of youth painters that have Wen Hua to move toward world of the whole nation, trend; Lover of a lot of painting and calligraphy collected his work. Shang Lianbi was born in county of North Jiangsu abundant 1933, childhood times loves civilian art namely. 1948 a special favorable circumstances, make he leaves remote town to come to the capital Nanjing of period of the Republic of China, take an examination of Jiangsu division of art of training school of provincial Jiang Ning, the first time enter artistic hall. This division holds the post of a director by aquarelle home Xue Zhen, the teacher has Jin Youwen, Liu Yuan, Chou Heqing to wait, opened art history, fluoroscopy to learn, the course such as chromatics, anatomy, sketch, watercolour, traditional Chinese painting, canvas, design, craft. Here, shang Lianbi was accepted most system, also be education of the most comprehensive art of Chinese and Western, his painterly foundation is hit in this period namely. During read, sketch do exercises in composition of Shang Lianbi often gives view and emulate to be able to go up, his achievement is outstanding, once served as the delegate of the school, its work attended " sale of work of art of Nanjing city production providing disaster relief is exhibited " . After division of art normal school graduates, shang Lianbi took an examination of art of institute of Nanjing normal school to fasten again, strode the art of high administrative levels teachs a gate. Predecessor of faculty of art of institute of Nanjing normal school is chairing the central university art that establish by Xu Beihong is. Although Xu Beihong already chaired central academy of fine arts to work on north of this school of leave one's post at that time, but what he advocates not the dominant mind that dovish and Mu Shiliu, solid realism style of study still makes this fasten art to teach. And, with Buddha of Fu Baoshi, Chen Zhi, Huang Xianzhi, Lv Si 100, the contemporary and top-ranking painter that Qin Xuanfu, Yang Jianhou is a delegate still chairs education to work. Still become even Bi Youxing their student, close broil their instruction, benefit a lot personally eventually.
In numerous teacher, fu Baoshi is the biggest to his influence the deepest. As " brush is drawn " class delegate, shang Lianbi has had relatively intimate contact with the gentleman that hold stone in the arms, and the pour means of its forthright disposition and landscape of teacher family name special also agree. Accordingly, the gentleman that hold stone in the arms each word, he imprints between the heart. Be like " brush is drawn even if dip in with the pen water picture arrives on rice paper, this ' water ' very very crucial, exquisite, have knowledge very much " ; "Wool strokes coloring wants thin and fully, cannot resemble canvas layer upon layer add, with large crowd law " ; "Big picture should regard as little picture, little picture should regard as big picture is drawn " , etc. By force of political climate, lecture of the gentleman that hold stone in the arms is not much, but centre of gravity of furtive Ceng Yu says longly to Shang Lianbi: The Chinese still wants the traditional Chinese painting in the picture, you can see Shi Tao's work more, want to study Shi Tao. On graduation art exhibition, work of a traditional Chinese painting " canna " the designed admiration that got holding stone gentleman in the arms. He encourages Shang Lianbi: Use a fierce firm, apply lubricious forceful, go up to make great efforts again with the pen in spirit law even later. The high mountain is admired stop, the pour into of all without exception in creating practice that Shang Lianbi did not come to in him he is right of the gentleman that hold stone in the arms revere, all without exception follows the instruction of the gentleman that hold stone in the arms, he cannot the encouragement that disappoint holds stone gentleman in the arms to ever gave him.
Go up century 50 time, traditional Chinese painting got repel unprecedentedly in. Its biggest source, it is people thinks this is planted the dated sex of traditional writing, reflect the tremendous change of new China society very hard already. The literary thoughts of Russia socialism is affecting the literary development way of new China in profundity, the realism work of major theme is in the reflective society such as Russian row guest, Sulikefu to shake and drawing large quantities of one young people of Chinese art worker. Get the impel of the times, shang Lianbi also created large quantities of one canvas, woodcut and sculpture work with the enthusiasm that be full of. His canvas work " Huang Jiguang " , " Chun Chen " , " Young Pioneer " , " chase after mark " and " the National Day " wait to be early or late on all sorts of exhibition, caused the attention of people. These work pursue the aesthetic ideal with critically Russia on creation conception not only, and the effect that also suffers Su Shi to draw wind more on canvas skill. That is a kind of interpose at impressionistic with classical the style between, already light of be particular about is lubricious, also pay attention to sketch. Brush stroke in Chinese painting and calligraphy is dovish and free and easy, large crowd and light besmear photograph are united in wedlock. Besides the canvas of thematic sex, he also drew the work of sexes of a lot of alleged do exercises in composition, be like " 8 Da Ling " , " self-portrait " and " daughter " etc, these work do not accept subject matter restriction, the picture gets relaxed freely, can show his right canvas level instead. From inside canvas practice, shang Lianbi mastered this kind of China to draw the colour idea that does not have right-down, this is him in the future organic ground conveyed a few colour the traditional Chinese painting in blending in create a condition.
"The Great Cultural Revolution " it is a big catastrophe, this catastrophe changed the destiny of a lot of people. And the history binds the destiny of a few people magically together again. When Shang Lianbi is locked up to accept careful to check, the 3 daughters Fu Yiyao of Mr Fu Baoshi is delimited be counter-revolutionary of decided at the higher level but not officially announced, apropos also transfer to a lower level goes to commune of Suining county Wang Lin. When " Culture Revolution " later period Shang Lianbi is nominal after gaining a bit freedom, they began to compare frequent contact, compare notes of get along with is drawn art. In some sense, teach adopts stone daughter, aroused Shang Lianbi to be opposite afresh of the landscape that hold stone in the arms have deep love for, the gentleman that hold stone in the arms is like noisy strike to weigh gong to his encouragement repeatedly resound is in his side side. 1973 autumn, he goes to specially invite of Luo Shihui of Fu Shi's mother be located in Nanjing Fu Hougang the abode be a guest of the 6 gentleman that hold stone in the arms, here, shang Lianbi gets be receptioned enthusiasticly. After banquet, generously of Fu Shi's mother is opened dusty the letters of the long already gentleman that hold stone in the arms, make him fine the creation manuscript before fine view saw big teachers and students, piece paper broken Chinese ink. Here, shang Lianbi is careful open and read gentleman the creation process of a few masterpiece, those did not finish or in be in scale process " waste paper " the impression that gives him especially deep, inspire the biggest also. Should say, shang Lianbi can master a few skill of landscape painting of teacher family name very quickly in after this, besides his gift and comprehension, depend on likely these creative work that he can see a Great Master directly are scriptural.
Go up century 80 time, it is Shang Lianbi 10 years when the individual obtains great progress in artistic career. He basically did 3 things in these 10 years: It is " hit with the largest work force " , in order to study a tradition; 2 be " row 10 thousand lis of roads " ; 3 it is summary and the artistic exploration that reveal him, in order to get the society examines. After be a home to return to with this truly in him and undertaking to landscape of teacher family name thorough copy reviews, he begins generation to hold a kind when study of those more capacious and deep traditions in work of Shi Yi art in the arms to long for to be being concealed in teach. Although be mixed to traditional understanding understanding benevolence person the person that see Ren Zhi sees wisdom, but the understanding analysis of deep administrative levels and writing Xiu Lian are indispensable. In view of this, shang Lianbi the self-conscious footmark along the gentleman that hold stone in the arms, relatively directional to historical backdate. This is the road of a difficult and doleful Jing Zhen. Clear Dai Shitao is a the most serious artists. Not stick to becomes a law, it is the edificatory of the oldest idea that Shi Tao gives Shang Lianbi. Footmark ever stepped the Shi Tao of half China, true to true hill water is having personal feeling, his writing chapped law not domestic discipline exercised by the head of a feudal household of confine Yu Mou some chapped. "Gu Zhi beards and eyebrows, cannot be born in my appearance, ancient the bottom of one's heart, the celiac bowel that how cannot enter me " . In this kind of spirit guidance falls, he put forward " search uses up strange peak scratch " the creation thinking that in returning landscape, goes. Shang Lianbi thinks, this is path of Shi Tao's successful serious creative work not only, and the creation road that also is Fu Baoshi success. He likes Shi Tao's theory not only, and the picture that loves Shi Tao, the dance of Zong Fei of do as one pleases that he forms later, rotate the writing configuration of withered all alone of the line of the setback and dry wet shade, a style of calligraphy characterized by hollow strokes, he is opposite profit from Shi Tao " splash-ink landscape coils " and " Yu Hang sees hill pursue " the understanding that waits for work. However the freehand brushwork in traditional Chinese painting that China paints only and arbitrary freely is insufficient, to master " Na Zong " the development sequence of thought that draws a department, shang Lianbi turns into the style of distinct benefit of indifferent to fame or benefit conciously, move with static collect. Fathom to what the chapped of Huang Gongwang's fruity and inattentive line and pen Jian Yiyuan brushs, make his work later another kind of Ming Runxiu unplugs, the atmosphere that Wen Yaping mixes.
In this period, shang Lianbi studies landscape almost with whole time, chapped brushs apply colours to a drawing, relapse instead answer, not idle, a day of picture comes down is fatigue very. He changed the way of landscape of this kind of odd brushstroke later, serve as with painting of flowers and birds in traditional Chinese style between loosen and rest, already Zhang Chi is united in wedlock, speed is complementary. From this, of his writing kongfu hammer into shape the result that gets get twice the result with half the effort instead.
 He is faced first " bamboo chart " , " plum chart " , " orchid chart " , mastering a few painting of flowers and birds in traditional Chinese style after basic model, studied Wu Changshuo afresh, 8 big He Xuwei. The honest and simple and honest interest that Wu Changshuo devotes oneself to inscriptions institute to get gives him with very big inspire, when more than 30 years old, shang Lianbi only then draw in order to make the calligraphy or drawing that seal reads aloud. Wu Changshuo that appearance careless and inside accumulate simple and honest bearing, that vertical meaning brandish is written and not stick to becomes the writing with succinct and the passion of the law, wraparound and abstruse artistic conception, extremely the component of language of art of Shang Lianbi of naturally translate into. The artistic way that also affecting him deeply besides the artistic individual character of Wu Changshuo, Xu Wei and person of 8 big hill. Their work has a Gang Liezhi to enrage, in Xu Wei it is disconsolate elegy, be in 8 it is lonesome desolate greatly, but be disposition, temperament, feelings is direct show. As a result of " Culture Revolution " experience, once sufferred life anguish and the Shang Lianbi that despair hits, be the breach that him affection found to erupt in Cong Xuwei and the work of 8 big hill people. The Chinese ink of the carry pen of unruly or unrestrained of the line of embellish of round muddy dark green, depressed, concise dignified is lubricious, xu Wei and these individual character character of 8 big hill people, becoming what still join talk of mural art term to consult content. Look to Huanggong again to Shi Tao from Fu Baoshi and Dong Yuan, mix to person of 8 big hill from Wu Changshuo Xu Wei, shang Lianbi searchs a root to seek a source all the way, backdate tradition, strengthened the historical deepness of his artistic creation already, also added the culture inside information of his writing world. Still join the brillant office of a round flat piece of jade with a hole in its center, depend on him a backdate to the tradition and study be together with thorough and assiduous sketchy union from beginning to end. He once early or late far go to collect folk songs of journey of southwest, northwest, in journey number, step half China, full the mountain of strange peak high that saw Huang Shan, beautiful woman, viewed and admire the sea of Yun Tao mist of father-in-law, Mount Hua, lie swam the lotic decharge of Guilin, 3 gorge, sipped wild goose swings, the Mao Linfei waterfall of yellow fruiter. The artistic conception of his work as footmark outspread expanding ceaselessly, the writing of his picture is in as the commutation that expresses an object the lease of life with ceaseless new infuse, and his artistic individual character as eye shot and mind open brighter and brighter also.
 Enter at the tradition, stem from the life, make artistic life of Shang Lianbi produced decay, reveal before people is his brand-new artistic appearance.
 1983, "Still exhibit even mural " when park of Nanjing city drum-tower exhibits, first establish its accede the aspect that adopts Shi Shan water to draw wind. Of the same age, shang Lianbi suffers ministry of communication of the headquarters of the General Staff of the Chinese People's Liberation Army to invite go to Beijing to be in institute of liberation army communication to hold exhibit. Yin Shoushi of dean of Beijing imperial art academy exhibits a name for art exhibition inscribe. " bright daily " special subject introduced to show grand occasion. 1987, by People's Republic of China ministry of farming herd fishery is sponsorred, inscribe of defense minister Zhang Aiping exhibits a name " Shang Lianbi art exhibition " grand opening is in Beijing, broadcasting station of broadcast of people of TV station of CCTV, Beijing, Beijing, " Beijing daily " , " fishery of Chinese farming herd signs up for " and " Chinese farmer signs up for " all have a story to this art exhibition. More than 100 exhibiting work, it is to still connect department of Bi Yingnong trade to invite what go to Beijing to be created inside a year of time on a special trip. Building of office of class of national ministries and commissions uses the work adornment of a painter, this still is belonged to at that time first. Old art is explored and from this and formation individual appearance gets a society eventually approbate the praise with the expert. This art exhibition, indicate level is in his art on 80 time evening achieved the century a new height.
 1992, " Shang Lianbi draws volume " publish by Jiangsu art publishing house. 58 landscape, painting of flowers and birds in traditional Chinese style draws this income that draw volume work, since concentration reflected 80 time, the individual art view that after he undertakes artistic decay, forms. Here, people uses landscape painting home very hard or artists of painting of flowers and birds in traditional Chinese style generalizes his painterly art simply, in landscape and painting of flowers and birds in traditional Chinese style at the same time because of him these two domains undertook outstanding exploration.
In landscape painting respect, still embrace even Bi Zhangai teach stone landscape feature most, learns so that brandish of the sort of free and natural asperses ancient magic art of the sort of the bearing with boundless air, intelligence that holds nature soul continuously and not stick to words condition is sent, but distinguish somewhat again, develop somewhat, form a few appearance of his individual. These appearance are on 3 levels, the independence that strengthens those who defeat Mo Sanfeng chapped to represent image of tension, color namely is blended in with what form consciousness. Fu Baoshi can " often drunk hind " on the picture freely brandish sweeps the artistic individual character that shows him directly, creating the artistic language that defeats Mo Sanfeng chapped at him. After Shang Lianbi is learning so that defeat Mo Sanfeng chapped, strengthened San Feng boldly " skeleton force " , increased the strength of law of this one chapped. Without doubt, this kind is added " reinforcing steel bar " defeat Mo Sanfeng chapped, enhanced the expression that the building on modelling feels.
The independent character of alleged color image, it is colour the individual action that is subject to Chinese ink in the blame that builds artistic conception to go up. In the classic landscape painting that includes Fu Baoshi inside, colorific is applied be in all the time by low-key condition, of artistic conception build basically rely on at " Chinese ink cent is lubricious " chapped brushs processing, use color namely, sure also be " change color with Chinese ink " . Paint the land in passing into as West, western colour idea is Chinese painter to induct stage by stage. But image colorific independent character, in must limitting the scope that draws in China again, degree of between dispute that masters color and water and Chinese ink constant important. If do not have water lubricious ooze to change the special character that gives in the generation on rice paper, serve as many matting with this, so its glamour is inferior much. In the apply colours to a drawing that water lubricious ooze changes the special character that gives in the generation on rice paper to be relapsed to be used at landscape by Shang Lianbi, color is brought for Shang Lianbi's landscape pure and fresh, bright and beautiful, lively, temperate and refined, full emotional appeal and artistic conception, this since he is inchoate the nature of the colour skill that western picture training and practice of old canvas creation call is revealed, also be the creation after he blends in Chinese paintbrush Chinese ink.
 Walking out of because of Shang Lianbi " change color with Chinese ink " confine, his landscape painting has some aesthetic psychology and aesthetic view more than Fu Baoshi. Alleged form consciousness blend in, finish below this premise just about. Landscape since of Shang Lianbi is right the development of Fu Baoshi landscape, it is he is opposite as a contemporary painter a kind of contemporary person's aesthetic and schematic understanding and expression. Although the old hot unripe clumsy of much benefit Wu Changshuo, Cang Hun is abundant,his painting of flowers and birds in traditional Chinese style is drawn, but also agree very much. After all, still decided even course of art of individual of a round flat piece of jade with a hole in its center the uniqueness of his art appearance. Famous artist and art essayist Cheng Dali ever generalized so: "Shang Lianbi comprehension is wonderful, turn to traditional Chinese painting takes its clumsy Chinese hackberrya and do not see slack from woodcut, free of begin to write or paint and not acerbity. Write painting of flowers and birds in traditional Chinese style with brawn, if stone of pure graduating with cutter is general,massiness is gotten, thick Chinese ink is accompanying center, apply in order to weigh colour, be like heavy beat noisy gong continuously, sent the charm of nature full height to lift an octave. " compare with Wu Changshuo, this kind of his uniqueness is OK end is two respects. It is woodcarving flavour, 2 it is colour feeling. Old woodcarving produces course, drilling a pair of his good brawn while, also formed the aesthetic Fan Shi on flavour of his knife interesting wood, this kind of Fan Shi shows the pursuit that goes up in picture of painting of flowers and birds in traditional Chinese style in him directly almost. This is hold the courageous and resolute, bold and unconstrained that a when Dao Xiangmu strong interest, fierce interest and firm strong translate into use a pen to go up and forceful; Blame is fierce without with courageous and resolute, blame is strong without with bold and unconstrained, blame firm is not had with forceful. Dare the Chinese ink that matting bedding face accumulates piece, the strength with black and white and comparative aggrandizement, make image richer simple sense and volume move. This kind of case is multi-purpose go up at the processing of blade, no matter be bamboo leaf, peach leaf or banana leaf, loquat leaf, litchi leaf, the special effect that shows Chinese ink piece to go up in the picture, massiness is like stone of blunt graduating with cutter. Colorific the dignified of powerful, Chinese ink piece.
 The carry pen with fierce firm hot dark green unites Shang Lianbi rise, formed his bright painting of flowers and birds in traditional Chinese style to draw individual character thereby. His special life experiences since of this kind of individual character and of artistic course bestow, the nature that is case of may just as ell of his a person of extraordinary powers and firm good temperament more is revealed. Relative to character, the landscape painting is gotten the better of with article result, its condition, its pen, its are caught all must go rash relieve inflammation or fever, leisurely is carefree and elegant like that; Picture of painting of flowers and birds in traditional Chinese style is gotten the better of with military accomplishment, its gas, its pen, its Chinese ink all gets an as sudden as lightning, bold and resolute, regardless of trival matters. Accordingly, collect painting of flowers and birds in traditional Chinese style and landscape always have at a suit be contrary to place. Wu Changshuo with world of name of painting of flowers and birds in traditional Chinese style, of Xian Youshan water make; Teach holds stone assume landscape in the arms, never experience drawing painting of flowers and birds in traditional Chinese style. And still be even both of be in harmony of just of a round flat piece of jade with a hole in its center a suit, look seem contradiction, endless however its like that. He is the time picture landscape with whole, mood indifferent to fame or benefit, carefree; Intermittent, exhibit brandish of one paper horizontal pen additionally to sweep, depressed exuberant spirit is spat for fast. Drawing landscape is piece, writing painting of flowers and birds in traditional Chinese style is relax, a piece of one relax is according with the section law of life and life, this is him the two sides sex in artistic individual character. Qing Zhanggeng is in " the country is recorded toward picture ask forring " write down change in order to do not have the Yun Natian with bone celebrated flowers by landscape when learning painting of flowers and birds in traditional Chinese style, say, he " good picture landscape, force shoulder restores ancient ways, reach grain of stone of king of hill seeing anxiety, cannot give its character with material oneself right. Landscape and learn painting of flowers and plants in traditional Chinese style. " visible, can draw landscape and painting of flowers and birds in traditional Chinese style well, be not everybody place to have. Altar is drawn in contemporary Jin Ling, but both in that way like Shang Lianbi all arrogate to oneself all the painter of essence of life is peerless however. He plants one flag additionally hereat just about, having sth new, shine go out like that new.