摘要：明代花鸟画家徐渭一生坎坷多变，他的生老病死，命运都在不停地捉弄他，一生之状如他诗中所言：“半生落魄已成翁，独立书斋啸晚风。笔底明珠无处卖，闲抛闲掷野藤中。”其悲剧一生造就了艺术的奇迹。徐渭开写意花鸟画一代新风，是大写意体系的真正确立者。徐渭的花鸟绘画在学习前人的基础上又形成了自己的风格，思想性与艺术性并存，“不拘物象，而重生韵”，笔墨的巧妙运用、书与画的巧妙结合是徐渭绘画的特点。徐渭的存在使得明代画坛生出了耀眼的光彩，中国的水墨花鸟大写意体系得以真正的确立，他的艺术风格对后世产生了巨大的影响。

关键词：水墨大写意；书画同源观；文人画特质；多才与多艺

一、坎坷经历与独特个性

徐渭（1521—1593年），浙江绍兴人，字文长，自号青藤道士。8岁已能作八股文，他对儒家经典、兵法、医学、小说、戏剧等都很着迷。他从小就对书法有特别的爱好，学过很多历代名人的法帖。徐渭20岁时考取秀才，而后直至37岁四次参加乡试考举人，结果屡试不中。徐渭37岁时入胡宗宪总督府，后来胡宗宪遭祸，徐渭深受刺激，九次自杀未遂，终因误杀继妻而入狱。

徐渭出狱时已53岁，其内心与思想仍十分复杂而矛盾，愤世嫉俗，不拘礼节。万历四年北上边关，这段时间为徐渭绘画艺术的创作盛期。到晚年，穷困潦倒，变卖书画也难以维持生活。1593年，徐渭在贫困交加中，凄惨地离开了人世。 

二、多才多艺与转承多师

徐渭在诗文、戏曲、书画等多方面的杰出才华以及绘画领域的广泛吸收，是造就其独特画风的另一主要原因。他的诗文极富革新精神，先后师从“唐守派”之文学家，文豪袁宏道甚至把他列为明代第一。这些人的文艺观都对徐渭产生了直接的影响，反映到画上亦是放手挥毫，直抒胸臆，同时，他杰出的诗用于题画上，起到了画龙点睛的作用。他的戏曲，尤以《四声猿》最为着名，汤显祖拍案叫绝：“四声猿乃词坛飞将、令自拔其舌”。这种摹情拟真，表达激越的艺术特色，同样在绘画中得到体现。

徐渭在绘画领域的师承传统也很广泛，并结合自身体验着重吸收水墨画的成功经验，博取诸家之长，力创新的体式。其花卉画更可谓是集前人之大成，并提升到一个新的高度，开创了个性化的文人写意花卉画之新格。

三、徐渭主要的艺术特色                              

1、思想性，艺术性并存——内容上的文人画特质

文人画特质最突出的体现是作品的主体化和个性化。徐渭的绘画充分反映了他的心理和人格，他描绘的花卉题材比较广泛，但钟情的还是那些文人所熟悉和喜爱的品类，如四君子、荷花，芭蕉等，藉客体的自然秉性来寄托主题的情感思绪。

徐渭在坎坷的人生旅途中，在命运的捉弄下始终保持着他的气节与情操，这在他的诗文书画中都有生动的反映。生活的不如意使得他常常在作品中借题发挥，把恣意纵横的笔墨与题跋诗结合在一起，抒发胸中的块垒与愤怒，看他的画可以感受到一股“磊磊不平之气”。

例如在《雪竹图》中画花卉草木在凄风苦雨中的姿态，以象征他人生的苦痛。并题诗：“画成雪竹太萧骚，积高千丈恨难消”。他还长将四季花卉集于一图，是基于游戏人生的态度，如题《四季花卉图轴》云：“老夫游戏墨淋漓，花草都将杂四时。”徐渭对于诸多花卉不着意刻画其自然生趣，而是赋予其主观的认识。

2、书画同源观

徐渭纵意的写意画法，多得益于书法，尤其是草书的笔法，他对书画同源和书画结合有很明晰的认识。曾谈到：“盖晋时顾、陆辈笔精匀圆净劲，本古篆书家象形意，其后为张僧繇，阎立本，最后乃有吴道子既稍变犹知宗之，迨草书盛行，乃始有写意画，又一变也。他在草书上的造诣，曾自比张旭，并自评道：“吾书第一，诗二，文三，画四。”

（1） 徐渭的书法艺术。徐渭书法作品主要以行草为主，较为纯粹的草书或行书不多见，这也反映徐渭潇洒脱俗的审美追求。他留下的书法作品不少，其中《淮阴侯祠诗翰卷》《草书杜甫诗卷》《咏墨祠轴》等作品集中体现了徐渭的书法风格。作品中点画圆润遒劲、跌宕善变，运笔超脱、狂放不羁，章法潇洒纵横、气势雄健，具有很强的视觉冲击力，令人震撼。 

（2） 徐渭的书法用笔。徐渭融于草书的绘画，下笔亦纵横捭阖，似兔起鹘落般迅疾，顾文彬题其《墨花卷》曾形容：“骏快如天马行空，遒劲如怒掜抉石，活泼如群鸿戏海，超逸如孤鹤横江。”他的《榴实图》立意属缘物抒情，五绝题诗，题款书法亦作连绵飞动的狂草，一气合成，与诗意、画风相一致。笔法运用书法技巧，极富变化，与其绘画相一致。笔法运用书法技巧，笔墨痛快淋漓，极富变化，榴实水墨渲染破壳，信笔点染榴籽，干湿浓淡层次丰富，枝条以正锋行笔，从上向下运行，笔道由粗变细，在瘦笔中又蕴含破笔与断笔，形成笔断意连、无限伸展的走势。这称得上是一幅将书法与画法高度融合的杰作。

3、不拘物象，画中生韵——水墨大写意

徐渭是继陈淳之后从根本上完成水墨大写意画变革的一代大家。他的绘画以水墨为主，重神韵，重笔墨情趣。徐渭的水墨写意画法，并非文人画独有，不少宫廷画家也很擅长，然徐渭运用的水墨写意法，不仅将技巧升华到新的高度，还强化了文人画的特色。观徐渭的画，能够感受到生命的炽热，以及不屈于俗的狂傲风骨，它有鲜活不滞的性灵，疾风暴雨般的激情和诗意的散溢。他塑造的形象追求“舍形而悦影”、“不求形似求生韵”，以放纵简逸的寥寥几笔、浑然天成地传达出物象的神韵。

（1）多变的笔墨语言。徐渭的墨法与笔法紧密结合，笔墨合一，使得水墨大写意画法达到出神入化臻境。郑燮看到《雪竹图》之后，曾对徐渭的笔墨结合有一段很好的论述，他说：“徐文长先生画雪竹，纯以瘦笔、破笔、燥笔、断笔为之，绝不类竹，然后以淡墨水勾染而出，枝间叶上，罔非雪积，竹之全体，在隐跃间矣。”也就是说，徐渭的用笔变化多端，在线条的粗细、速度的快慢、笔压的轻重、水分的干湿、墨色的浓淡等方面，都具丰富变化，并与泼墨淋漓的水魔法想配合，笔随墨走，墨由笔生，即使画面形成以笔为主的骨气，又产生多变的律动性。

（2）从写生入写意。徐渭尽管提倡不求形似，但对于写生的对象曾有认真的观察，并曾亲自种竹，修整葡萄，因此，其花卉作品与那些脱离现实生活的一味狂涂乱抹者不同，他是用简单明快的笔墨把形象简约的表现出来。其《墨花卷》共绘十二段花，每段各题一诗，内容杂四时花卉，布局仿陈淳杂花卷。此图徐渭自称“戏抹”，然在写意之中仍生动的传达出额花果的不同秉性，达到了似与不似之间的妙境。物象形态有写实的也有写意的，此卷显示了徐渭从写生入写意的画法。

（3）水、墨、纸的有机结合。徐渭的水墨大写意更是注重水墨与纸的结合，是其画风达到“神”、“逸”的重要手段，其不仅将技法发挥的淋漓尽职，而且形成了具有独立审美剪纸的墨晕形式美，他认为作画大抵以墨汁淋漓，密如天地为上，为达到墨汁淋漓，墨如雨润的效果，他十分注重水墨纸的融合变化以及墨与笔的有机结合，并创造出即顺其自然，又得以控制的泼墨法。在《牡丹蕉石图》图中，其水墨纸的结合发挥的淋漓尽致，在线条的粗细，速度的快慢，笔压的轻重，水分的干湿与纸质结合墨色的浓淡等方面都具有丰富变化，其率真，豪迈的泼墨，更使得画面苍茫淹润，水气弥漫，牡丹，芭蕉，奇石浑然一体，在水墨纸的结合写意上堪称代表作。

四、徐渭对与后世的深刻影响

徐渭的水墨花鸟画在画坛上的影响四百年来有增无减。清初，一批移民画家由于政治变动，内心悲痛压抑，笔墨趋于随性，徐渭的放逸画风成为他们效仿的对象，如陈洪绶、朱耷、石涛。清中期，“扬州八怪”的中坚人物郑燮曾以印章的形式，自称“青藤门下走狗”，以表达其五体投地的仰慕之情。齐白石曾说：“恨不生三百年前，为诸君磨墨理纸”。徐渭所创的水墨大写意花卉画风，开辟了文人画一片新天地，数百年来传人不绝，并在当代得到进一步的弘扬，他堪称中国花鸟画发展史中的一个里程碑。

参考文献：

【1】彭德.中国美术史.上海：上海人民出版社，2004：516—518.

【2】李泽厚.美的历程.天津：天津社会科学院出版社，2001：339.

【3】程至的.中国历代绘画理论评注—明代卷.武汉：湖北美术出版社，2009：19—20.

【4】单国强.徐渭生平和艺术.天津：天津人民美术出版社，2000：1—7.

（作者单位：烟台美术博物馆）

Abstract: Xu Wei, a flower and bird painter in the Ming Dynasty, had a bumpy and changeable life. His life, old age, illness and death, and fate kept teasing him. The shape of his life was like what he said in his poem: "he has become an old man in half his life, and the independent study howls the evening wind. The Pearl at the bottom of his pen has nowhere to sell, so he is free to throw it into the wild vine." His tragic life created a miracle of art. Xu Weikai, a new generation of freehand flower and bird painting, is the real founder of the Freehand system. Xu Wei's flower and bird painting has formed its own style on the basis of learning from his predecessors. Ideology and artistry coexist, "regardless of objects and images, but rebirth rhyme". The ingenious use of pen and ink and the ingenious combination of books and paintings are the characteristics of Xu Wei's painting. The existence of Xu Wei gave birth to a dazzling brilliance in the painting circle of the Ming Dynasty. China's freehand brushwork system of ink, flowers and birds was truly established, and his artistic style had a great impact on later generations

Key words: freehand brushwork of ink painting; The view of homology between calligraphy and painting; The characteristics of literati painting; < bfd046p / > / bfd046p style = "496pn41p" / > and < bfd046p style = "4fd45pn414" / > / CFC 1、 Rough experience and unique personality < / P > < P style = "text indent: 2em;" > Xu Wei (1521-1593), a native of Shaoxing, Zhejiang Province, has a long character and is called a green vine Taoist. At the age of 8, he has been able to write eight part essay. He is fascinated by Confucian classics, art of war, medicine, novels, dramas and so on. He has a special interest in calligraphy since he was a child, and has learned many calligraphies from celebrities of all dynasties. Xu Wei was admitted as a scholar at the age of 20, and then took part in the rural examination four times until the age of 37. As a result, he failed repeatedly. Xu Wei entered Hu Zongxian's governor's office at the age of 37. Later, Hu Zongxian suffered disaster. Xu Wei was deeply stimulated, attempted suicide nine times, and was finally imprisoned for manslaughter of his stepwife

Xu Wei was 53 years old when he was released from prison. His heart and thought were still very complex and contradictory, cynical and informal. Wanli went north to the border in the fourth year, which was the heyday of Xu Wei's painting art. In his later years, he was poor, and it was difficult to make a living by selling calligraphy and painting. In 1593, Xu Wei died miserably amid poverty& nbsp;

< img src="/picture/-1/42ade5db6c6649c4bc0b5ccaef82868e.png" />  & nbsp;& nbsp;< img src="/picture/-1/05d14c726df74efa8d0851b4d21e6403.png" />

2、 Versatility and succession < / P > < P style = "text indent: 2em;" > Xu Wei's outstanding talents in poetry, opera, calligraphy and painting and extensive absorption in the field of painting are another main reason for his unique painting style. His poetry is full of innovative spirit. He has successively studied with the writer of "Tang Shou school". Yuan Hongdao, a literary tycoon, even listed him as the first in the Ming Dynasty. These people's literary and artistic views have a direct impact on Xu Wei, which is reflected in his paintings. At the same time, his outstanding poems are used in paintings, which plays a finishing touch. His operas, especially the four tone ape, are the most famous. Tang Xianzu applauded: "the four tone ape is a flying general in the world of poetry and makes him extricate himself from his tongue". This kind of imitation of true feelings and expression of intense artistic characteristics are also reflected in painting

Xu Wei also has a wide range of traditions in the field of painting. Combined with his own experience, he focuses on absorbing the successful experience of ink painting, gaining the strengths of various schools and innovating styles. Its flower painting can be described as a collection of the achievements of predecessors, and promoted to a new height, creating a new style of personalized literati freehand flower painting

3、 Xu Wei's main artistic features & nbsp& nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp;& nbsp;

1. The coexistence of ideology and Artistry -- the characteristics of literati painting in content < / P > < P style = "text indent: 2em;" > The most prominent embodiment of the characteristics of literati painting is the subjectivity and personalization of the works. Xu Wei's paintings fully reflect his psychology and personality. He depicts a wide range of flower themes, but he still loves the categories familiar and loved by scholars, such as four gentlemen, lotus, banana and so on. He reposes the emotional thoughts of the theme through the natural disposition of the object

Xu Wei has always maintained his integrity and sentiment under the tease of fate in the rough journey of life, which is vividly reflected in his poetry, calligraphy and painting. The disappointments of life make him often use the topic in his works to combine the arbitrary vertical and horizontal pen and ink with the inscription and postscript poetry to express the blockbuster and anger in his chest. Looking at his paintings, you can feel a "spirit of Lei and injustice"

For example, in the painting of snow bamboo, he painted the posture of flowers, plants and trees in the bleak wind and rain to symbolize the pain of his life. And wrote a poem: "painted with snow bamboo, it's too Xiao Sao. It's hard to eliminate the hatred of thousands of feet.". He also collected the flowers of the four seasons in one picture, which is based on the attitude of game life. For example, the title "the axis of the Four Seasons flower picture" said: "I have dripping ink in the game, and the flowers and plants will be mixed in four seasons." Xu Wei did not deliberately depict the natural interest of many flowers, but gave them a subjective understanding

2. Homology view of calligraphy and painting < / P > < P style = "text indent: 2em;" > Xu Wei's freehand brushwork mostly benefited from calligraphy, especially cursive brushwork. He had a clear understanding of the homology of calligraphy and painting and the combination of calligraphy and painting. Once said: "Gu and Lu had even, round and vigorous strokes when they were in the Jin Dynasty. The ancient seal calligraphers were like shape and meaning, followed by Zhang sengyao and Yan Liben. Finally, Wu Daozi changed a little, still knew the religion, and cursive calligraphy was popular, but freehand painting began to appear and changed again. His attainments in cursive calligraphy were compared with Zhang Xu, and he commented:" my book is the first, poetry is the second, text is the third, and painting is the fourth. "

(1) Xu Wei's calligraphy art. Xu Wei's calligraphy works are mainly cursive, and relatively pure cursive or cursive are rare, which also reflects Xu Wei's natural and unrestrained aesthetic pursuit. He left a lot of calligraphy works, including Han volume of Huaiyin Hou Temple poems, volume of Du Fu's poems in cursive script and axis of Yongmo temple, which epitomize Xu Wei's calligraphy style. The midpoint painting of the work is round and vigorous, ups and downs, detached and uninhibited, with natural and unrestrained composition and vigorous momentum. It has a strong visual impact and is shocking& nbsp;

(2) Xu Wei's calligraphy pen. Xu Wei's painting, which is integrated into cursive script, is also maneuvering, like a rabbit rising and falling as fast as a Uighur. Gu Wenbin once described in his ink flower scroll: "a steed is as fast as a horse in the sky, as strong as an angry stone, as lively as a flock of birds playing in the sea, and as detached as a solitary crane crossing the river." His "picture of durian solid" is intended to express emotions by means of things. The five wonders are inscribed with poems, and the calligraphy is also made of continuous flying wild grass. It is synthesized in one breath, which is consistent with the poetic and painting style. The strokes use calligraphy skills, which are very varied and consistent with their paintings. The strokes use calligraphy skills. The pen and ink are vivid and full of changes. The durian solid ink renders the broken shell, the letter pen stains the durian seeds, and the dry and wet thicknesses are rich. The branches write with a straight edge and run from top to bottom. The pen path changes from thick to thin. The broken pen and broken pen are contained in the thin pen, forming a trend of continuous and infinite extension of the pen. This can be called a masterpiece that highly integrates calligraphy and painting

3. Regardless of the physical image, the rhyme in the painting -- freehand brushwork of ink painting < / P > < P style = "text indent: 2em;" > Xu Wei is a generation who has fundamentally completed the reform of ink freehand brushwork after Chen Chun. His paintings are mainly ink and wash, emphasizing charm and pen and ink interest. Xu Wei's freehand brushwork is not unique to literati painting, and many palace painters are also good at it. However, Xu Wei's freehand brushwork not only sublimates his skills to a new level, but also strengthens the characteristics of literati painting. Looking at Xu Wei's paintings, we can feel the fervor of life and the arrogant character of being unyielding to the vulgar. It has a fresh spirit, a storm like passion and poetic overflow. The image he created pursues "giving up the shape and pleasing the shadow" and "not seeking the rhyme of survival", so as to indulge a few simple strokes and naturally convey the charm of the object image

(1) Changeable pen and ink language. Xu Wei's ink technique and brush technique are closely combined, and the combination of pen and ink makes the freehand brushwork of ink and wash reach a state of perfection. After Zheng Xie saw the painting of snow bamboo, he had a good discussion on Xu Wei's combination of pen and ink. He said: "Mr. Xu Wenchang painted snow bamboo with thin pen, broken pen, dry pen and broken pen. It was never like bamboo, and then it was dyed with light ink. There was no snow accumulation on the branches and leaves, and the whole bamboo was hidden and leaping." In other words, Xu Wei's pen is changeable. It has rich changes in the thickness of lines, the speed, the weight of pen pressure, the dryness and wetness of water, and the intensity of ink color. It wants to cooperate with the ink splashing water magic. The pen goes with the ink, and the ink is generated by the pen. Even if the picture forms the backbone dominated by the pen, it also produces changeable rhythm

(2) From sketching to freehand brushwork. Although Xu Wei advocated not seeking similarity in shape, he had carefully observed the objects of sketching, and had personally planted bamboo and trimmed grapes. Therefore, his flower works are different from those who blindly paint and wipe away from real life. He uses simple and lively pen and ink to show the simple image. His ink flower scroll draws twelve sections of flowers, each with a poem. The content is mixed with seasonal flowers, and the layout imitates Chen Chun's miscellaneous flower scroll. In this picture, Xu Wei calls himself "playful wipe", but in freehand brushwork, he still vividly conveys the different natures of flowers and fruits, reaching a wonderful state between similarity and dissimilarity. The object image forms are both realistic and freehand. This volume shows Xu Wei's painting method from freehand brushwork to freehand brushwork

(3) Organic combination of water, ink and paper. Xu Wei's freehand brushwork of ink painting pays more attention to the combination of ink and paper, which is an important means for his painting style to achieve "God" and "elegance". He not only gives full play to his skills, but also forms the formal beauty of ink halo with independent aesthetic paper-cut. He believes that painting is mostly based on ink dripping and dense as heaven and earth. In order to achieve the effect of ink dripping and wet as rain, he attaches great importance to the integration and change of ink and paper and the organic combination of ink and pen, And create a splash method that allows nature to take its course and can be controlled. In the painting of peony, banana and stone, the combination of ink and paper plays incisively and vividly. It has rich changes in the thickness of lines, the speed, the weight of pen pressure, the combination of moisture and paper, and the intensity of ink color. Its frank and heroic ink splashing makes the painting vast and moist, filled with moisture, and the integration of peony, banana and strange stone. It can be called a representative work in the freehand brushwork of the combination of ink and paper

< img src="/picture/-1/c421278eee5047748854cc8531d9ea8d.png" />

4、 Xu Wei's profound influence on and future generations < / P > < P style = "text indent: 2em;" > The influence of Xu Wei's ink flower and bird painting on the painting world has increased unabated for 400 years. In the early Qing Dynasty, due to political changes, a group of immigrant painters were sad and depressed, and their pen and ink tended to follow suit. Xu Wei's relaxed painting style became the object of their imitation, such as Chen Hongshou, Zhu Da and Shi Tao. In the middle of the Qing Dynasty, Zheng Xie, the backbone of the "eight monsters in Yangzhou", once called himself a "running dog under the Ivy League" in the form of a seal to express his admiration. Qi Baishi