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飞雪迎春 ——朱宣咸梅花艺术 Swirling Snowflakes Greeting the Spring ——Selected Chinese paintings On Plum Blossom Art By Zhu Xuanxian
朱宣咸生平 A Life of Zhu Xuanxian 朱宣咸 (1927年浙江——2002年重庆)，又名：浙人。杰出的中国画画家、中国新兴木刻版画家、漫画家与美术活动家。 1940年代，由浙江到上海，投身进步美术，以作品为武器战斗在抗日战争“战区”的前沿。是早期上海美术与浙江美术的代表之一。1949年后，是西南大区美术、四川美术与重庆美术的奠基人之一。 朱宣咸的艺术之路是由投枪匕首而到纯美艺术，毕生彰显了对真、善、美理想不懈追求与讴歌的艺术精神。大半个世纪以来，广泛涉猎中西绘画多个画种，艺贯中西、硕果累累。 “朱宣咸艺术回顾展”被中华人民共和国文化和旅游部评为全国优秀项目。该展览由中国美术家协会等主办，重庆市美术家协会、浙江省美术家协会、上海市美术家协会、四川省美术家协会等承办，四川美术学院等协办。
朱宣咸梅花艺术 Selected Chinese paintings On Plum Blossom Art By Zhu Xuanxian
旭日红梅 画上题款：时逢盛世迎千禧，旭日红花分外娇。 Red Plum Greeting the Sun By Zhu Xuanxian (This piece is created for the coming of the new millennium—21st century)
大白梅 The Big White Wintersweet By Zhu Xuanxian NO.C-014
香雪（组画） Fragrant Snow (Series) January, 1986 序 朱宣咸的中国画艺术，师传统而不泥古，洋溢着大气磅礴的气势、美好的情趣与积极向上之朝气，勇于突破、与时代同步，体现了“笔墨当随时代”的艺术风貌。 梅花，是象征着中华民族精神、传统意义上的“国花”，体现了一种飞雪迎春、凌寒飘香、铁骨冰心的崇高品质和坚贞气节的精神力量。 “画梅乃以枝干为骨、花为肌，余画梅数十载、潜心探求，而仅能窥其堂奥。”（朱宣咸）。 朱宣咸一生钟情于梅，其中国画生涯是从画梅开始的。大半个世纪对梅花创作孜孜不倦的追求，与其新兴木刻艺术等一样，先后历经三个阶段。分别是1949年前的“墨梅时期”，1949年后的“白梅时期”，以及改革开放后的“红梅时期”。 通过梅花这一负载着审美理念的载体，也负载了朱宣咸在不同时代的不同映照与坚定不移的信念，演绎出“万花敢向雪中出，一树香先天下春”的磅礴情怀。 这，也正是朱宣咸毕生所彰显出的一种梅花精神。 The plum blossom is a symbol of the spirit of the Chinese nation, but also Chinese traditional 'national flower'. In the almost 60 years of unremitting pursuit of plum paintings from 1940 to 2002, through plum blossoms as a carrier of aesthetic conception, Zhu Xuanxian carried on his different concerns in different periods and his firm and unshakable beliefs, and expressed the grand meaning of “thousands of flowers blossom in snow, and the awaking of a single tree forecasts a fragrant spring”.
朱宣咸梅花艺术的第一阶段 墨梅时期 The First Stage Ink Plum Art by Zhu Xuanxian
墨梅 画上题款：岁晚穷檐冰雪里 忽看世界转繁华 1943年作 Ink Wintersweet By Zhu Xuanxian 岁晚穷檐冰雪里 忽看世界转繁华
从1940年到1949年，朱宣咸在浙江和上海期间，开始了其梅花创作的第一阶段'墨梅时期'。 梅花多以墨色为主。画面简练，花朵极少，几乎找不到设色的效果。枝干枯涩、逆笔而上、虬枝俯冲，形成矛盾穿插的冲突。画面本身的大量留白，好似孤独的枝干在寒冬中艰难而又铁骨铮铮的伸展，这种蕴含在花朵里微弱清气与严冬寒气的抗争，体现出梅花梅枝所饱含的顽强生命力，也正是其自身在这个时期景况的一种映照。 From 1940 to 1949, when Zhu Xuanxian was in Zhejiang and Shanghai, his painting of plum blossom in the field of impressionistic traditional Chinese painting focused on the use of ink, which marked the first stage of his career of plum painting—the stage of ink plum. At that stage, his paintings focused on the plum branches, featuring simple content, rarely seen flowers with little color setoff, distorted and randomly placed branches, which make a sense of conflict. Large blank space was reserved in the paintings, looking like lonely branches striving in cold winter. The fighting of the slight fresh air contained in the flowers against the cold air in harsh winter, duly demonstrated the strong vitality of the plum branches, which was just a reflection of his then living condition.
朱宣咸梅花艺术的第二阶段 白梅时期 The Second Stage White Plum Art by Zhu Xuanxian
雪中白梅 Wintersweet in Snow By Zhu Xuanxian 不要人夸好颜色 只留清气满乾坤 从1950年到1980年代，朱宣咸开始创作了大量以白梅为主的作品，进入了其梅花艺术的第二个阶段——白梅时期。 相较其墨梅时期，画中梅花似乎明显少了许多的干涩，更趋于一种刚柔并济，花朵清丽、白梅报春、朵朵争艳。在这里，我们也可以读到其作品中分明的版画布局与色块构成。 “纵观朱宣咸画梅的诸多作品，最婉约部分也体现在其白梅时期的这一个阶段”。（朱澄） 在这个阶段，朱宣咸笔下的《梅雪争春》没有了“墨梅时期”梅雪力量的不对等关系,画上题款“梅须逊雪三分白，雪却输梅一段香”，梅雪携手共同点缀着冬季。《玉梅》、《清气》，表达了“不要人夸颜色好，只留清气满乾坤”的精神境界。《香雪》寥寥数笔，一挥而就，十分的潇洒轻松，在令人叹为观止其精炼的笔情墨意的同时，也抒发出“疏影横斜水清浅，暗香浮动月黄昏”的意味。《乌龙绞柱》充满韧劲梅枝的缠绞，爆发力十足，凌空腾身而起。《梅花芭蕉》、《江南春讯早》通过“卷帘天自高，海水摇空绿”的意境，饱含了自己那铭心刻骨、深深的思乡之情。《玉骨冰魂》的气势，好似寒冬里熊熊燃烧的干柴烈火、迎风拔地而起，跃然于纸上，融化着冰雪的世界。 寒冬里的白梅常常被历代骚人墨客赋予傲雪之身，在朱宣咸《白梅磐石石图》、《雪中白梅》、《忆梅——腊月江南岁正寒》、《古梅》、《白梅图》等一系列作品，则体现了婉约中的一种刚毅与生命力。
暗香 Secret Fragrance By Zhu Xuanxian Traditional Chinese Painting, 1984
清气 画上题款：不要人夸好颜色 只留清气满乾坤 Pure Fragrance （Not angling for compliments, I'd be content to let my integrity fill the universe） By Zhu Xuanxian NO.C-061
玉梅 Jade Plum By Zhu Xuanxian Traditional Chinese Painting, 1980 NO.C-062 From the end of 1950 to 1989, after Zhu Xuanxian began to work in Chongqing, his painting of plum flower entered the second stage characterized with white plum—the stage of white plum. Compared with the stage of ink plum, at the stage of white plum, the plum flowers in his paintings seemed to have much less harshness, but rather showed the combination of rigidity and tenderness, with fresh and beautiful white plums announcing the coming of spring.
白梅（组画） Wintersweet Series January, 2001 In view of Zhu Xuanxian's lots of works on plum blossom, the most delicate part is reflected from his paintings of white plum at this stage, for example, the paintings Jade Plum and Pure Fragrance express the ideal spiritual level of “no need for the praise of good looking,just leaving the pure fragrance to the world”; the painting series titled Fragrant Snow shows a kind of easiness and elegance by just a few sketches, and in the mean time of achieving amazing effect for its elaborate skills, it also has a touch of “vague shadow in clear and shallow water, a dusk full of subtle fragrance”;the momentum demonstrated by the painting Soul of Coldness is like the raging flames in a chilly winter; the paintings titled Wintersweet and Banana Leaves and Herald of Spring in South also express some sort of homesickness implicitly through the artistic background of “the green sea water like a natural curtain in the sky”; In the painting Twisted Black Dragons,the plum branches are full of toughness and strength, the two trunks are like two legs of a person jumping high. In the painting Plum Blossom and Snow Greeting the Spring, the unequal strength between the plum and the snow as shown at the stage of ink plum disappeared, and with the inscription of “Although less white than the snow, the plum wins in its fragrance”, the plum and the snow are just jointly decorating the winter. The white plum in severe winter is often endowed by the poets and writers of generations as being able to resist the cold of snow. Similarly, the series of works by Zhu Xuanxian, such as Plum Blossom in Snow, Secret Fragrance, Plum Blossom and Stones, Fragrant Snow, Memory of Plum Blossom, Old Plum Blossom and White Plum Blossom, reflected the strength and vitality originated from the tenderness. Facing the severe wind, the plum flowers were like blazing flames to melt the entire snow world.
月色寒梅 Wintersweet in Cold Moonlight By Zhu Xuanxian Traditional Chinese Painting, Summer, 2000 NO.C-017
古梅 Old Wintersweet January, 1980
朱宣咸梅花艺术的第三阶段 红梅时期 The Third Stage Red Plum Art by Zhu Xuanxian
报春来 Red Plum Greeting Spring By Zhu Xuanxian Traditional Chinese Painting, Spring, 2000 NO.C-009 万花敢向雪中出 一树香先天下春 在朱宣咸梅花艺术的生涯里，也创作了大量以红梅为主的作品。这主要集中在其梅花创作的第三个阶段——红梅时期。 从1990年到21世纪初，朱宣咸创作了更多以浓烈红梅为代表的红梅作品。 在这个时期，朱宣咸一扫而空了白梅的洁身自好，冰清玉洁，含蓄孤傲与婉约的艺术特点。而代之以极其热烈、奔放、老辣、包容与大气磅礴的艺术风貌。 《飞雪迎春》一袭红红的盛装，在白雪皑皑中更显妩媚与妖娆。《红梅》章法布局上咄咄逼人的红色，像箭一般老干新枝和含苞怒放的花蕾喻示了蓬勃向上的新生力量。欢天喜地的《瑞雪红花图》，苍劲的主干从画面横向腾空而出，纵向刚柔相济的群枝，充斥着满目密密红花朵朵的大块面，全画面的红色主调，树枝的浓墨，通过主干的留白，点点的雪花，在画面左上方不大的空白，使原本密实得令人窒息、铺天盖地的红梅平添了许多灵动；弯曲有力的梅树下方形成空洞透出远处的梅枝梅花，层次感的增加，令画面更为丰富。《酒晕玉肌》寒冬里雪花与红梅交相融化，是那样的陶醉与怡然自得。《红雪图》舒展与倦曲的枝干的表达。此外，朱宣咸在七十岁以后还创作完成了多件不少于3米、4米长度的大幅红梅作品。其中为迎接新世纪到来，创作的《旭日红梅》，大面积朱砂与大红，配以骨力强势的积墨与枯笔，形成强烈相映生辉，色泽璀璨的效果，充满郁然沛然、直干苍穹之感，可谓炉火纯青、淋漓尽致。 此外，朱宣咸还创作了《大红梅》、《绿竹红梅》、《雪里寒梅》、《报春来》、《红装》、《醉春》、《寒枝着花》、《春讯》（系列）等一批色泽浓烈、实力强劲的红梅作品。 而这个阶段的《月色梅花》、《芭蕉梅月》则传达了“月明林下美人来”的多姿与婀娜的意境。在朱宣咸中国画艺术中显得别具一格、很有日本绘画意味、兼工代写的《月色寒梅》再次丰厚了这一意境。《陆游诗意图》的枯藤老树，以老辣的用笔表达了夜色的另一种诗意，可谓炉火纯青、淋漓尽致。 而大气磅礴、充满力量感与动感的《大白梅》、《白梅组画》等系列，则是朱宣咸这个阶段在白梅方面的代表作。 元朝倪瓒有“聊写胸中逸气”，古代画论中也反复提到“画如其人”，“笔格高下，亦如人品”，“时势之推移，生活之反映”。 朱宣咸梅花艺术受前人吴昌硕等的影响，但与吴氏梅花本质上截然不同的是：吴昌硕梅花更多以“出世姿”来保持自己的节操，而朱宣咸笔下的梅花则传达的是一种“入世姿”，那就是 要自由、要入世、更要气节。 From 1990 to the early 21st century, after Zhu Xuanxian had retired in Chongqing, his works on plum flowers entered the third stage featuring plenty of paintings about red plum—the stage of red plum. In the stage of red plum, Zhu Xuanxian abandoned the artistic style of the stage of white plum, which described the purity, nobility and tenderness, but replaced it with the extremely enthusiastic, free, sophisticated, inclusive and grand style.
红雪图 Red in Snow By Zhu Xuanxian Early Winter, 1991
瑞雪红花图 画上题款：“瑞雪纷纷迎喜讯，红梅朵朵报春来” By Zhu Xuanxian NO.C-013 The inscription on the joyful painting Red Plum in Winter Snow goes like this, “The timely snow and the red plum blossoms bring the good news—the coming of spring”.
绿竹红梅 Green Bamboo and Red Plum By Zhu Xuanxian Winter, 1996
梅雪争春 Plum Blossom and Snow Greeting the Spring By Zhu Xuanxian Traditional Chinese Painting,1988 NO.C-079
香雪图 Sweet Snow By Zhu Xuanxian NO.C-078 In the painting Swirling Snowflakes Greeting the Spring, the landscape painted in red looks more charming and enchanting in the thick snow; in the painting Red Plum, the layout is composed of challenging red, and the arrow-like old and new branches and the flower buds token the thriving of newly acquired strength; in the painting Drunk Beauty, the snow flakes and the red plum melt together, showing a sense of enchantment and contentment.
酒晕玉肌 Drunk Beauty (Red plum) By Zhu Xuanxian NO.C-012
红装 Red Dressing By Zhu Xuanxian Traditional Chinese Painting, 1983 NO.C-124
玉骨冰魂 Soul of Coldness By Zhu Xuanxian NO.C-127
春 讯 Herald of Spring By Zhu Xuanxian Traditional Chinese Painting, 1996 NO.C-128 In the painting Red in Snow, the distorted branches are not expressing conflict, but rather a kind of amusement and relaxation, like children playing and fighting in the snow; in the joyful painting Red Plum in Winter Snow, the strong trunks stretch horizontally on the picture, combined with the vertically growing tender branches and the red flowers here and there. The painting adopts red as the theme, and with the thick-ink branches, the blanks between trunks, the snow flakes and the small patch of blank on upper left, the choking arrangement of red plums acquires a sense of vitality; through a hole beneath the curved strong plum tree, some plum branches and flowers can be seen from distance, which depicts much sense of layer, and makes the picture more vivid.
报春图 Spring Is Coming By Zhu Xuanxian Traditional Chinese Painting, 2001 NO.C-130
春 讯 Herald of Spring By Zhu Xuanxian Traditional Chinese Painting, Spring, 2001
岁寒小雀 Sparrows in the Depths of Winter By Zhu Xuanxian Early Summer, 2002
醉 春 Drunk in Spring By Zhu Xuanxian Traditional Chinese Painting, 1989 NO.C-180 Besides, to welcome the 21st century, Zhu Xuanxian finished the large painting Red Plum Greeting the Sun, in which the vermilion and oriental red are used in large space on the sun and the plum, and large thick ink and blunt painting are used on plum branches and trunks, so that the entire picture looks splendid and bright with the contrast between red and black colors, looking like a tree stretching to the sky, and expressing the grand meaning of “thousands of flowers blossom in snow, and the awaking of a single tree forecasts a fragrant spring”. Besides, he also finished a group of red plum paintings of significance, including Green Bamboo and Red Plum, Red Plum in Snow, Red Plum Greeting Spring, Red Dressing, Drunk in Spring, Blossoms on Cold Branches and Herald of Spring.
梅兰竹菊 Plum, Orchid, Bamboo and Chrysanthemum (Four-strip series) Spring, 1994
春色 夏日 秋艳 冬景 （四条屏组画） Spring, Summer, Autumn and Winter (Four-strip series) Spring, 1997
喜鹊闹梅 Magpies and Plum Blos By Zhu Xuanxian Traditional Chinese Painting Winter, 1992 In that period, in his paintings Plum Blossom in Moonlight, Plum Blossom and Banana Leaves in Moonlight, Plum Blossom in Cold Moonlight and Idyllic Scene in Lu You's Poetry, the plum blossoms are in white color, and at first sight, you may really mistake them as white plums, but after careful consideration, you may suddenly understand that they are actually the plums under moonlight. As we all know, in that circumstance one cannot discriminate the actual colors of the objects, therefore, when Zhu Xuanxian was painting the plums in white color, he was in fact showing the unique brightness of plums in the moonlight, from which we know his careful observation of life and the respect toward the nature.
花月图 Wintersweet with Moonlight By Zhu Xuanxian NO.C-117
早梅 Early Plum Blossoms By Zhu Xuanxian NO.C-107
江南第一花 Red Plum in the South of the Yangtze By Zhu Xuanxian Traditional Chinese Painting, 2001 NO.C-097 Here, the paintings Plum Blossom in Moonlight and Plum Blossom and Banana Leaves in Moonlight convey the colorful and graceful artistic conception of “a beauty walks near from the woods in the moonlight”; the painting Plum Blossom in Cold Moonlight, a unique traditional Chinese painting in Japanese style with inscription, once more adds to such an artistic conception; the painting Idyllic Scene in Lu You's Poetry expresses a poetic night scene with the withering bushes and old trees through his sophisticated painting methods.
春 讯 Herald of Spring By Zhu Xuanxian Traditional Chinese Painting, 1990
雪里寒梅 Red Plum in Snow By Zhu Xuanxian Traditional Chinese Painting, 1996 NO.C-133
红梅墨竹 (扇面) Red Plum and Ink Bamboo(Fan picture) By Zhu Xuanxian NO.C-169 The paintings of Stones and Plum Blossom and the Plum Blossom Series, finished in 2001, which are full of strength and vitality, are his representative works of white plum in that period.
忆梅——腊月江南岁正寒 Memory of Wintersweet By Zhu Xuanxian NO.C-178
梅花芭蕉 Plum Blossom and Banana Leaves By Zhu Xuanxian Traditional Chinese Painting, 1989 NO.C-171
白梅磐石图 Wintersweet and Stones By Zhu Xuanxian NO.C-170 Ni Zan, a great painter in Yuan Dynasty, suggested to “express the natural sense in heart”, and other ancient ideas on painting also mentioned repeatedly that “painting reflects personality”,“The style of painting varies from high or low personality”, and “the progress of time is the mirror of life”. Although Zhu Xuanxian was influenced by the plum flower paintings of Wu Changshuo, an artist in earlier times, completely differently from Wu, whose plum paintings maintained his moral principles through “evading from the world”, the plum flowers in Zhu Xuanxian's paintings express the “attitude of contacting the world”, that is, to enter the world while maintaining the freedom and the moral integrity.
乌龙绞柱 Twisted Black Dragons By Zhu Xuanxian NO.C-120
红 梅 Red Plum Blossom By Zhu Xuanxian Traditional Chinese Painting, 1991 NO.C-027 As inscribed by Zhu Xuanxian in his plum flower works, “the plum painting shall adopt trunks and branches as the bone, the flowers as the skin, and both are difficult to fulfill; I have been engaged in plum painting for dozens of years, but despite my intense efforts, I only know a little about the tricks……
江南春讯早 Herald of Spring in South By Zhu Xuanxian NO.C-109
晴雪 After the Snow By Zhu Xuanxian NO.C-119
陆游诗意图 Idyllic Scene in Lu You’s Poetry By Zhu Xuanxian
疏影 Dappled Shadows By Zhu Xuanxian NO.C-155
寒枝着花 Blossoms On Cold Branches By Zhu Xuanxian Traditional Chinese Painting, 1990 NO.C-184
飞雪迎春 Swirling Snowflakes Greeting the Spring By Zhu Xuanxian Traditional Chinese Painting, 2001 NO.C-024
飞雪迎春 Swirling Snowflakes Greeting the Spring By Zhu Xuanxian Traditional Chinese Painting, 2001 NO.C-024 From 1940 to 2002, after almost 60 years of unremitting pursuit of plum paintings through the stages of ink plum, white plum and red plum, the plum paintings of Zhu Xuanxian has reached their utmost level. Besides, plum flower, as a carrier of aesthetic conception, also carries on the different concerns of Zhu Xuanxian in different periods and his firm and unshakable beliefs. （文字有所更新） 文：朱 澄，朱 江 —End—
It's a Network Platform of the Crossover between traditional Chinese painting Art & Contemporary Art 这是一个 传统艺术 当代艺术跨界的美术平台
Welcome to share and focus 由中国美术家协会等主办 “朱宣咸艺术回顾展” 被中华人民共和国文化和旅游部 评为全国优秀项目 'Zhu Xuanxian's Art Retrospective Exhibition' was selected by the
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