@涂待2392:中堂画的悬挂方法 -
崔冰13356819586…… 中堂画悬挂要选择适当的位置,挂在引人注目的开阔处. 注意采光,窗处的自然光源与字画上的光源方向应想互呼应,和谐统一. 注意字画的高度,为便于欣赏,高度应以字画的在人站立时视觉平行线稍高处为宜.另外,对于一些名人字画或...
@涂待2392:什么叫客厅中堂? -
崔冰13356819586…… 客厅中堂是指客厅厅堂之中,有时也指客厅厅堂正中的大幅字画. 一、客厅 释义:接待客人的大房间. 引证:巴金《灭亡》第七章:“楼下客厅里,浅绿色的墙壁上挂了几张西洋名画,地板上铺着上等地毯.” 二、中堂 释义:正中的厅堂;...
@涂待2392:中堂在建筑学中是什么意思,有什么寓意 -
崔冰13356819586…… ①正中的厅堂;厅堂的中央:把客人请到中堂就坐.②挂在厅堂正中的大幅字画:他买了一幅中堂.③宰相.明、清时亦指大学士、协办大学士一类的官:这是送李中堂的寿礼.
@涂待2392:挂中堂挂的距离地面高度? -
崔冰13356819586…… 如果只挂中堂的话,挂在距离地面高度大概在一米五左右比较好
@涂待2392:客厅中堂画必须向南吗? -
崔冰13356819586…… 不一定啊!请问你是乡下的楼房那种么? 如果是商品房的话,就更不用讲究了.因为一般大家买的房子都是朝南的,而一般朝南的方向都会有个阳台,这样的话朝南那边就根本没有墙,只有阳台的门.(而另一面朝南的墙一般都是饭厅与客厅的隔断) 而如果是乡下的楼房的话你的房子是朝南的一般(也就是对着大门)有一堵墙,一般人家都会把中堂画挂在那里,这都是个习惯.也不是非得挂在南边,这是这样看起来舒服一点. 这只是我自己的一点想法,希望对你有所帮助...^_^!
@涂待2392:什么是中堂?其尺寸一般为多大?
崔冰13356819586…… 中堂一般指放在家中一进门大厅正中位置的绘画或书法作品.讲究的话,在其两边再 加对联.其尺寸一般为2x4尺整纸.旧时房子都很高,所以装裱的成品尺寸为2m长.像笔者 曾经见到的一幅成套的中堂和对联,内容分别为,中堂为红纸大寿字,两边的对联为黄纸,其 上联内容为钟离点石把扇摇,果老骑驴过赵桥,洞宾背剑清风客,拐李提葫得道高.下联内容 为国舅手执云杨板,湘子瑶池品玉箫,仙姑敬献长生酒,彩和花篮献寿桃.有意思的是上下联 的内容利用借字的手法,组合在一起,耐人寻味,挂在一起非常协调.
@涂待2392:河南朱仙镇年画三星在户挂在什么地方好 -
崔冰13356819586…… 单张的三星图属于中堂,应该挂在正屋的正中,一般是坐北朝南,配上对联供起来.现在的楼房一般都没有明显的正间,挂在屋里比较正的位置就行.如果是成对的三星图当成门画就行,贴在门上即可,不用太恭敬.
@涂待2392:最近我听到一个词“中堂”好象是书画领域的.是什么意思啊 -
崔冰13356819586…… 通常挂在堂屋正对门的地方 标准的四尺宣从中间横着裁开~ 就叫中堂 一个字或多个字~ 两边通常有对联~ 下方就是传说中的“首座” PS:四尺宣从中间竖着裁开就是对联~~ 这都是书法创作的形式~ 还有扇面~屏风~等~ 再PS:你可以联想到“和中堂~”哈哈~ 就是传说中的和绅~
@涂待2392:房子内明堂是哪个位置 -
崔冰13356819586…… 内名堂的学问 1、内明堂越大,代表财多,因此建议在此处的墙壁上加装一面镜子,利用反射的原理,增加内明堂的空间. 2、在内明堂的柜子上,摆设具招财功能的黄水晶,或是俱生命力的鱼缸、流水盆,也可在此处的墙璧上挂上人工手绘的...
@涂待2392:厅中是否能挂四君子 -
崔冰13356819586…… 现在的楼房客厅完全可以.单幅的或者梅兰竹菊四条屏都可以.如果是过去的传统民居,即厅堂位置,梅兰竹菊四君子条屏也可以挂在中堂位置(坐北朝南位置,即北墙),也可以挂在两壁厢(东西两面).如果手中字画较多,有中堂画和四条屏同时悬挂,中堂位置应该挂中堂画,四条屏应该在两壁厢,这个颠倒了就不好了.——现代楼房客厅也是这样.
张大千(1899—1983年)
四川省内江市人
原名正权,字季爰,号大千
中国近现代著名国画家,景星学社社员
代表作:《荷花图》《长江万里图》《秋曦图》等
擅画山水、花卉、人物,尤善画荷花,独树一帜
20世纪30年代就与齐白石齐名,并称“南张北齐”
画山水,可以提高人之思想,培养人之情操。山水佳作,辄令人无限向往,油然有一种潇洒出尘之想。故画中山水,不独要可以观,可以游,且可以居,乃臻上乘。所谓山水,就是西画及摄影的风景。国画中山水的境界最为重要,然而也要笔墨来辅助。有了境界,但是没有笔墨,或是有了笔墨,但是没有境界,也就不成为名画。山水画的结构和位置,必须特别加意。如画寺观,这些地方就不宜像人家的庐舍,好像和讲风水的一样。怎么办呢?就是要多看古人名迹,以及名山大川、名胜古迹,自然就会了解的。假若画了一张画,其中主要安置人家处,却恰恰似一块坟地,这样的画,挂在中堂上面,试问别人看了舒服不舒服呢?还能引人入胜吗?
江山无尽图 己丑(1949年)作
郭河阳论画,曰要可以观,可以游,可以居。他所谓的“可以观,可以游,可以居”,是令人一看到这张画,就发生兴趣,要一看再看,流连不舍,第二步就想去游玩游玩;第三步就联想到,这样好的地方,怎样能够搬家去住才好呢!要达到这样的山水画,才算够条件了。有些人说,中国山水画,是平面的,画树都好像是从中间锯开来似的。此话绝不正确。中国画自唐宋而后,有文人画一派,不免偏重在笔墨方面,而在画理方面,则比较失于疏忽。如果把唐、宋大家名迹拿来细细地观审,那画理的严明,春夏秋冬、阴晴雨雪,简直是体会无遗。如董源画树,八面出枝,山石简直有夕阳照着的样子,关仝画丛树,有枝无干。这岂是平面的吗?画山水画,一定要有实际,即要多看名山大川,奇峰峭壁、危峦平坡、烟岚云霭、飞瀑流泉,宇宙大观,千变万化,不是亲眼看过,凭着臆想,是上不了笔尖的。眼中看过,胸中自然会有,一摇笔间,自然会一齐跑在你手腕下。
太乙观泉图 丁亥(1947年)作
我国古代的画,不论其为人物、山水、宫室、花木,没有不十分精细的。就拿唐宋人的山水画而论,也是千岩万壑,繁复异常,精细无比,不只北宋如此,南宋也是如此。不知道后人怎样闹出文人画的派别,以为写意只要几笔就够了。画山水时,应当观察山水在晴雨朝暮和烟云变幻中的种种奇妙变化,且要眼观手记,心领神会,方能得其灵秀之气。
工笔画,就是细笔画,水墨、浅绛、青绿、金碧、界面,都包括在内。工笔不比写意,必须先打成底稿,贴在壁上,观察删改,远近高低,布置得宜,然后把这个稿本,用柳炭在反面一条线一条线地勾过,拍上纸绢。那里面的楼阁人物,尤其要特别注意。楼阁要折算停匀,人物要眉目生动,衣袂好似要会飘动。画工笔山水时,先用淡墨勾出轮廓,然后皴擦渲染画树要点夹相参,浅绛中着一二青绿夹叶,或红树一株更觉得有趣,夹叶树的树身,不可着色,愈觉显然。
仿宋人山寺图
青绿山水,就要打好勾勒底子,不用皴擦。山石用石绿的,拿赭石打底,加石绿二三次,要薄一点才好,太浓就钝滞了。若用石青,就在赭石上面填石绿一次,再加两三遍石青就可以了。不可用花青汁绿打底,因为这二种都不明透。金碧山水,那就在青绿完成后,用花青就山石轮廓勾勒,然后再用泥金逐勾一次,石脚亦可用泥金衬它。
青绿或金碧山水,水、天都宜于着色,水更宜有波纹。古人画水有好多种,那里面是以网中、鱼鳞两种为适合。古人说:“远水无波。”是说远了看不清楚的意思,所以勾勒水纹,越远越淡,淡到了无为妙。画水在岸边留道白线,看起来就特别精神。画工笔山水,石青、石绿、泥金的下胶,尤须切切注意。总之,画要有气韵,一落板滞,就不入鉴赏。此中要点,不仅要把画面的宾主虚实、前后远近弄清楚,而且要在用笔、用色、用水上灵活生动。
峨眉接引殿 戊子(1948年)作
作写意山水,画时先用粗笔淡墨,勾出心里面要吐出来的境界。将山石、树木、屋宇、桥梁等布置大约定了后,然后用焦墨渴笔,先分树木和山石,最后安置室宇人物。勾勒皴擦既完毕,再拿水墨一次一次地渲染,必定要能显示出阴阳、向背、高低、远近。近处的石头要稍浓,远处的则要轻清。近处的树木根枝要分明,远处的树木则点戳,不必见枝。
创境有曲折不尽的意味,其中的人物以减笔为宜,越简单越妙。古人说:“远人无目。”但若在需要有照应的时候,也不妨点目,不必拘泥。中国画,光和色是分开来用的,要拿颜色做主体的地方,便用色来表示,不必顾及光的一方面。所以只说浅绛两个字,便可表现山的季节了。
巫峡清秋
浅绛山水,大多数用在秋景。这是创始于黄大痴,后来南宗一派把它作为标准,用色拿赭石做主体,在林木上面略略施点花青就是了。浅绛不是单用来表示秋景,大凡石质的山,都宜采用此方法,如像画黄山,是最宜于此法的。
浅绛画的画法,画时仍和墨笔山水一样,先用淡墨画就大体,再用较深的墨加以皴擦,分开层次,等它干了以后设色。在景物上,由淡到深渲染数次,等到全干,再用焦墨渴笔,加以皴擦勾勒。树木苔点,拿淡花青或汁绿,一处一处地晕出来,当向阳的地方,用赭石染醒它,这是最紧要的。屋宇上色,则拿淡墨或淡花青代表瓦屋,拿赭石来代表土屋和草屋。
我的意见,若要画雪景,还是用绢和熟纸,才足以表现得出。雪景应该拿唐宋人的画作范本。唐人画不可以见得到,宋人画还有存在的,可以资我们参考。宋徽宗的《雪江归棹卷》,那真是好老师。雪景画并不只限定在冬景。如唐朝的杨升,有《峒关蒲雪图》,宋代的赵干,有《江行初雪图》,就都是写的秋景,用青绿打底,山头施粉,中间略微点一点朱砂小树。
溪山初雪图 己丑(1949年)作
至于写初春的霁雪,古人就更多了。雪景是不容易画的,我也不善于画这种画。雪景的色调既单纯,山石树木又须处处见笔,烘天和留白就更是困难。一般山水,天空和水面都是空白,雪景却必须要将水、天用淡墨烘染,不如此便不能显出雪的情景。染淡墨的时候,画在绢上的天和水,可用排笔去染,但曲折凸凹处仍须用笔细细去填。而在生纸上,那就更难了,既不可能使用排笔,用笔烘染也有浸渍的痕迹。有人先将生纸喷湿,然后渲染,叫做“潮染”,墨色虽匀,但看起来总是死板板的,这是画家的大忌。反不如干染比较妙,虽不免有点浸渍的痕迹,但到底比死板板的好得多了。雪景画,除了拿水墨留空白以外,山头树亦可以用粉,寺观栏楯再用点朱砂,在寒色凄迷里面,忽有和暖的气氛,方才到了妙境。画山最重皴法。古人对皴有种种名称,只不过是就其所见的山水而体会出来的,应该用哪一种皴法传出,那所见的形状又如何,遂取名叫做某某皴,并非要人勉强,非要用此皴法不可。
秋江闲钓 乙亥(1935年)作
董北苑喜用披麻皴,因为江南的山,土多石少,又因为要画得林木蓊郁,自宜于用这种皴法。若范华原画北方的山川,太行王屋,石多土少,地也高亢,草苔也稀少,自然宜于用泥里拔钉、雨打墙头、鬼面这些皴法。假使二公的皴法互相变换,又成何面目?所以我的意思,山水皴法不必拘泥,只要看适于某一种,就用某一种的皴法。古人皴法,略举数种,有荷叶皴、大小斧劈皴、披麻皴、雨打墙头皴、泥里拔钉皴、云头皴、折带皴、鬼面皴、牛毛皴、马牙皴、卷云皴、矾块皴,此皆常用者。
黄山纪游图
张大千山水欣赏
太乙观泉图 丁亥(1947年)作
中国嘉德2010秋拍 成交价:RMB 40,320,000
此幅为张大千丁亥1947年之作,自题“关仝太乙观泉图”。此年被公认为大千临古创作的高峰,此时的张大千已经经过了敦煌壁画的洗礼,又已饱览历代名迹,直窥宋元堂奥。傅申提及1946年大千曾获刘道士《湖山清晓图》一轴,反复临摹,用力甚深。本幅高崖耸峙,以小斧劈写成,尽得夏山葱茏之概;碧水微澜,水波不兴,“水法”纯自刘道士一轴中化出,足见大千匠心独具。
仿宋人山寺图
中国嘉德2011秋拍 成交价:RMB 40,250,000
此绢本小青绿的《仿宋人山寺图》,乃张大千在抗战胜利后,离开大陆之前,力追五代北宋山水画高峰期的得意之作。此画丘壑具有北宋之雄而其笔墨兼有文人之雅,细观其多变之山石皴法及造型,为大千融合古人、置身北宋的精心杰构。
在意境方面,以壮丽的瀑布为中心,茅亭草阁分置左右,掩映在老树虬枝及朦胧的竹树之间,点缀高士策杖过桥相会,及倚栏观瀑的雅士;瀑水流经桥下潺潺有声,汇为前景之涡流,其描法如行云回旋,其线条之婀娜轻盈、曼妙流动,尤为特绝。
此乃得法于大千所藏之刘道士《湖山清晓图》而更出其上!又以李郭派蟹爪法所作古木枯枝,从山前山崖到山顶,配合略似云头皴有实体质感的巨石崖壁以及劲挺的松树,刚柔的对比,丰富了画面的诗情。山顶丛林掩映中的朱栏楼观,更增添人间仙境般的境界,使人生出世之想。
峨眉接引殿 戊子(1948年)作
中国嘉德2013春拍 成交价:RMB 32,200,000
本幅以峨眉接引殿周围山色景致入画,属大千细笔仿古山水一路。设色以大青绿为主,使用石青、石绿、朱砂等重色,色彩艳雅,极富装饰性。大千以小斧劈皴状出山体形质,颇有北宋气度。又用长短披麻、解索、牛毛诸皴法收拾局部细节,其笔秀润,皴法繁密,似北苑、叔明重生。而近处松木、山间丛树、山石之上的草木苔点,又令人想起清湘笔意。
同时在画面中融入大千游历峨眉时的生活体验,以自然实景之山水为描绘对象,也注重物理、物象的写实性传达,包括山石林木的质感、自然生态以及空间透视等表现。
巫峡清秋
中国嘉德2010秋拍 成交价:RMB 28,000,000
张大千的没骨山水约出现于20世纪30年代中期。此幅没骨重彩,大青大绿,复施勾金,瑰丽无比,为画家壮岁精绝之作。本幅的构图丰富,笔法坚劲写云山飘渺、峡江行舟。画中设色之经营极见用心,敷色沉欎,充份运用矿物颜料色感厚实耀目的特质,令青绿、白粉、金碧相衬成色彩艳丽、气派堂皇而富装饰性的杰作。
溪山初雪图 己丑(1949年)作
中国嘉德2011春拍 成交价:RMB 15,525,000
此幅《溪山初雪图》自题“拟宋人高克明笔”,当临自高克明《溪山雪意图》卷(现藏纽约大都会博物馆)。原作为手卷,大千匠心独运,改横幅为竖幅,改平远为高远,写雪后山岭清冷寒寂之景。屋舍乔松用笔一丝不苟,皴染整饬严谨,细节描写精丽。雄伟中见秀丽之气,清寂中现明艳之色。大千四十年代晚期临古,已能参以己意,综诸家之长,开自身面目。此幅为其中至精之作。
秋江闲钓 乙亥(1935年)作
中国嘉德2011秋拍 成交价:RMB 13,225,000
此幅为大千绘于乾隆旧纸之上。画上题识:闲钓溪鱼鱼满串,旋沽村酒酒盈尊。归来记得挂船处,秋水斜阳树一根。乙亥六月,仿吾家僧繇法。蜀人张爰。
黄山纪游图
中国嘉德2014春拍 成交价:RMB 6,900,000
此幅《黄山纪游图》右下钤“两到黄山绝顶人”印,综合画风及题跋书体,可推知此幅当为1931年张大千第二次游览黄山之后的纪游之作。
黄山景点众多,顺手截取一角,即足以成图。本幅图中叠岭高低参差,不规则地前后布列,云气回荡穿插其间,岭上奇松迭生,或隐或现。用笔细致,似乎刻意求工,青绿设色,沉郁苍润,整体可见石涛的影子。
此幅尤为特别之处在于,画幅上方留白部分皆施以金粉,益显富丽堂皇,极具装饰性。此为大千取自唐人“锤金法”,亦足堪一记。
江山无尽图 己丑(1949年)作
中国嘉德2007秋拍 成交价:RMB 5,600,000
这幅《江山无尽图》没有高耸入云的山峰,观者的视线可以随着蜿蜒的水流,穿过绵延的山脊直达远处的地平线。河湾之上的小船驶向远处的村落,岸边茅草屋旁的两位高士正欣赏着河畔风光,屋边翠竹环绕,宛若世外桃源。张大千很少画这种由近而远,平面铺陈连绵不断的山川河流,他的画多以纵向构图为主。
张大千在画上的题跋中提及宋代名画家黄筌的《蜀江秋静》图卷,其实张大千也未看过原图,只是根据《画传》所言模拟描绘。虽谓拟笔黄筌,实出画家己意,因此应可视为他的创作。此帧用笔细丽,设色鲜雅,构图婉约曲致,远近透视效果绝佳,真得风光明媚之象。
1967年作 碧峰古寺
张大千在山水画方面卓有成就,画风工写结合,重彩、水墨融为一体,其中泼墨与泼彩,开创了新的艺术风格。因其诗、书、画与齐白石、溥心畲齐名,故又并称为“南张北齐”和“南张北溥”。与黄君璧、溥心畲以“渡海三家”齐名。
张大千 《桃源图》
泼彩的技法则是先将颜料在小碟中调至所需要的色相及浓度,然后泼洒在画面上,利用其自然流淌渗化的性能,形成画面的大体结构。
再利用色彩渗化的形迹和肌理效果,用笔整理、补助允成为完整的作品,因此这种画法具有一定的偶然因素,往往需要根据色彩落纸后的既成效果灵活地调整画面。
张大千 《桃源图》局部
但作为一种艺术创作的手段,泼彩并不是盲目地纸上乱泼一气,作者必须对画面的艺术形象有所构思,什么部位泼什么色彩,怎样泼,需要达到什么效果,以后整理成什么形象,心中都要有所准备。
张大千 《桃源图》局部
从张大千的泼彩作品中,我们还可以发现,张大千的泼墨泼彩在创作之前早已胸中有丘壑了,在宏大的构思之下,墨彩的流动却有着千变万化的不可预知性,张大千的泼墨泼彩就是在必然王国和自由王国之间徜徉,产生了今天我们所见的一个个令人陶醉的奇幻世界。
张大千 《桃源图》局部
张大千是全能型画家,其创作达“包众体之长,兼南北二宗之富丽”,集文人画、作家画、宫廷画和民间艺术为一体。于中国画人物、山水、花鸟、鱼虫、走兽,工笔、无所不能,无一不精。诗文真率豪放,书法劲拔飘逸、外柔内刚、独具风采。
张大千是二十世纪中国画坛最具传奇色彩的国画大师,无论是绘画、书法、篆刻、诗词都无所不通。早期专心研习古人书画,特别在山水画方面卓有成就。后旅居海外,画风工写结合,重彩、水墨融为一体,尤其是泼墨与泼彩,开创了新的艺术风格。
他的治学方法,值得那些试图从传统走向现代的画家们借鉴。在20世纪的中国画家中,张大千无疑是其中的佼佼者,画意境清丽雅逸。”他才力、学养过人,于山水、人物、花卉、仕女、翎毛无所不擅,特别是在山水画方面具有特殊的贡献:他和当时许多画家担负起对清初盛行的正统派复兴的责任,也就是继承了唐、宋、元画家的传统,使得自乾隆之后衰弱的正统派得到中兴。
1965年作 瑞士道中一金波翠岭
1966年作 黄山绝顶
张善孖、张大千昆仲共同创建了大千画派,它是中国综合性绘画流派之一。二十世纪20年代,张善孖、张大千在上海西门路西成里“大风堂”开堂收徒,传道授艺,所有弟子们皆被称为“大风堂门人”。
它是一个有别于“长安画派”、“海上画派”、“京津画派”等唯一不墨泼彩等画法,大风堂画派的画风都呈现出百花齐放的景象,是一支生生不息、代代传承的中国画画派。和许多画家一样,张大千也同样经历了描摹之路。
在近代像大千那样广泛吸收古人营养的画家是为数不多的,他师古人、师近人、师万物、师造化,才能达到“师心为的“的境界。他师古而不拟古,在继承传统文化的同时,他还想到了创新,最后在继承传统的基础上发展了泼墨,创造了泼彩、泼彩墨艺术,同时还改进了国画宣纸的质地,然而思想的先行者往往是孤独的,在他五言绝句《荷塘》有“先生归去后,谁坐此船来”之句,似乎暗示着后来者继续他的道路。
1967年作 幽岚深谷
他曾用大量的时间和心血临摹古人名作,特别是他临仿石涛和八大山人的作品更是惟妙惟肖,几近乱真,也由此迈出了他绘画的第一步。他从清代石涛起笔,到八大山人,陈洪绶、徐渭等,进而广涉明清诸大家,再到宋元,最后上溯到隋唐。
他把历代有代表性的画家一一挑出,由近到远,潜心研究。然而他对这些并不满足,又向石窟艺术和民间艺术学习,尤其是敦煌面壁三年,临摹了历代壁画,成就辉煌。这些壁画以时间跨度论,历经北魏、西魏、隋、唐、五代等朝代。
如多年前香港市场中曾出现一件署名为元四大家之一的古画,便是张大千“仿古作”,拍出接近200万元的高价。为了考验自己的伪古作品能否达到乱真的程度,他请黄宾虹、张葱玉、罗振玉、吴湖帆、溥儒、陈半丁、叶恭绰等鉴赏名家及世界各国著名博物馆专家们的鉴定,并留下了许许多多趣闻轶事。
张大千许多伪作的艺术价值及在中国美术史上的地位较之古代名家的真品已有过之而无不及。现世界上许多博物馆都藏有他的伪作,如华盛顿佛利尔美术馆收藏有他的《来人吴中三隐》,纽约大都会博物馆收藏有他的《石涛山水》和《梅清山水》,伦敦大英博物馆收藏有他的《巨然茂林叠嶂图》等等。
1969年作 溪流交响
1973年作 春山积翠
1978年作 题松图
大千在学习石涛的同时,也深得古人思想精髓,并能身体力行。张大千说:“古人所谓‘读万卷书,行万里路’,这是什么意思呢?因为见闻广博,要从实际观察得来,不只单靠书本,两者要相辅而行的。
名山大川,熟于胸中,胸中有了丘壑,下笔自然有所依据,要经历的多才有所获。山川如此,其他花卉、人物、禽兽都是一样的。”他又说:“多看名山巨川、世事万物,以明白物理,体会物情,了解物态。”他平生广游海内外名山大川,无论是辽阔的中原、秀丽的江南,还是荒莽的塞外、迷蒙的关外,无不留下他的足迹。
他在一首诗中写道:“老夫足迹半天下,北游溟渤西西夏。在大千游历过的名山大川中,他始终把黄山推为第一,曾三次登临。大千之所以偏爱黄山,主要来自于石涛的影响,黄山既为石涛之师,又为石涛之友。
大千说“黄山风景,移步换形,变化很多。别的名山都只有四五景可取,黄山前后数百里方圆,无一不佳。但黄山之险,亦非它处可及,一失足就有粉身碎骨的可能。”大千在50岁之前遍游祖国名山大川,50岁之后更是周游欧美各洲,这是前代画家所无从经历的境界。
1967年作 秋山飞瀑
1967年作 春山烟树
1965年作 溪桥晚色
1965年作 峡谷飞泉
1967年作 古寺悬泉
1967年作 烟云放棹
碧峯萧寺
春山匹练图
泼彩山水
桃花源
玉山小景
高岩飞瀑
1965年作 春山图
1967年作 山色空蒙
1968年作 泼彩青绿山水图
1969年作 翠峦丹叶
1973年作 晚帆 镜心
1976年作 翠山溪流
苍山清泉
寒山清泉
茂林幽居图
秋湖佳境
山色空濛
云山春树
1967年作 山居图
1968年作 秋山岚翠
1968年作 幽谷清霞
1970年作 春山晓色
1975年作 寒泉风雨
1975年作 深山幽居
1978年作 碧山白云
1979年作 春山云起
1980年作 水竹居
爱痕湖小景
湖山晚色
江南春
金碧山水图
神木老人
水竹幽居
夕阳红满山
烟雨姑苏
云雨巫山
云蒸霞蔚
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