不與芬芳共日月 獨為傲霜展凝華

《中国画*品逸》

編輯/燎原

繪畫/文/鄭亞林

設計/朱少安

製作/《國畫✺品逸》

　　绘画创作，都要经过感知、体验与想象的过程，就其本身来说，是一个由量变积累到质变的过程，是对生活艺术加工后的缩影，绝非一味简单的重复、复制与模仿， 这就是为什么有思想、有意蕴、重技艺、抒个性的作品，总是令人难忘的原因所在。就像唐、宋、晋时期那脍炙人口的诗、词、文章，尽管经历了那久远的沧桑，却依然让人们不忘，并时刻激发着人们的想象。十八年前，我于杭城读书，假道去苏州，在看到了那曾在书本上描述的秦淮河——浆声、灯影里的秦淮河后，才真正让我体味到了那种逸品与记忆的关系所带来的效应。

也不知过去曾有多少人沉醉于朱自清先生的精言妙笔，也不知有多少人读过他的文章后尽情想象。遗憾的是如今昔日的热闹与繁华已不存在，但人们仍然在惆怅和留恋之余，折服于先生的精手妙笔，徜徉在先生如诗如画的文辞里。又有谁会否认那船桨击水，明灭忽现的万家灯影之景呢？这就是人文精神向往自然的后续力量，也是艺术离不开生活环境的有力证明。

作画，如同写文章，画到细处，面面俱到；写到简处，言简意赅。如同给自己画肖像，画的是自己，感染的是别人。能引起读者共鸣之作，常常能唤起人们的回忆和思念，作品又怎能让人忘记？哪怕是十年，二十年，甚至更久远……因为那是用心灵酿造的甘露，或许一杯，就足够让你沉醉并记忆永恒……。

Painting creation, go through the process of perception, experience and imagination, per se, is a process by the accumulation of quantitative change to qualitative change, is a microcosm of life after art processing, is not just a simple repeat, copy and imitation, which is why thought, connotation and art, and works to express their individuality, always unforgettable. Just like the tang, song and jin dynasties that popular poetry, ci, article, although experienced that long vicissitudes of life, but still let people do not forget, and always stimulate people's imagination. Eighteen years ago, I was studying in hangzhou city and went to suzhou by false way. After seeing the qinhuai river described in the book -- the qinhuai river in the sound of oar and the shadow of lights, I really appreciated the effect brought by the relationship between memory and taste.

I do not know how many people in the past indulge in zhu ziqing's clever words, I do not know how many people read his article after the imagination. It is a pity that the past lively and prosperous no longer exists, but people are still melancholy and nostalgia, surrendered to the master's fine hand wonderful pen, wandering in the master's picturesque words. Who will deny that the oar hit the water, Ming out suddenly ten thousand light shadow scene? This is the follow-up force of humanistic spirit yearning for nature, and it is also a strong proof that art cannot do without living environment.

Painting is like writing an essay. Write in short, speak in brief. It's like painting a portrait of yourself, painting yourself and infecting others. Can cause the reader to resonate the work, often can arouse people's memories and missing, the work how can let the person forget? Even if it's ten years, twenty years, or more... Because that is the nectar brewed with the mind, perhaps a cup, is enough to make you drunk and memory eternal...... .

春漫时分鲜闻她，披绿簇拥任寂暇。不与芬芳共日月，独为傲霜展凝华。

才扯罗盖芙蕖河，又见红叶牙石坡。冷意渐有文味拙，热注秋羽舞婆娑。

怎讥艺力纸不穿？墨无精渲诗空言。自呓独哝无可责，躬亲不达颜可堪？。

一双欢愉漂莲池，野河涨漫近叶低。对水作镜修靓羽，遇波抖翼现丽姿。

弥天扯线千万条，尽探箭首凝云霄。欲让清风高洁在，除却冗繁留修条。

夜半雷音起梅坞，此景已是别处无。但闻柳林布谷鸣，春深又见山踯躅。

祷寿祈愿于事初，祥鹤却与别物殊。福禄岂惟古松影？身近梅竹庸贱无。

生性迎霜最孤傲，鲜有它芳伴岁途。其身非与春花比，冷艳放时万籁无。

《咏梅》还需情意中，未晓傲骨韵岂浓？自为上口皆精句，笑汝学浅与孩同。

青腾园里常挥笔，虬枝梅林做花痴。今问芳华谁主宰，百花凋尽第一枝。

为学自律学唐人，案几床头尽诗云。书斋仰首观素雪，绣楼低眉听竹吟。

竹丛观趣忆孩提，天地物人自一理。憨态可掬稚态拙，也仿顽童学鸡啼。

郑亚林 ，毕业于中国美术学院，美术学中国画写意花鸟方向硕士研究生，文学硕士学位，国家一级美术师。

【特此声明】链接中的所有诗文、繪畫均為郑亚林先生原創作品，未經允許不得侵權。如有发现剽竊、抄錄并用作他处，本编辑部将保留追究侵权者法律责任的权利。