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李苦禅先生和潘天寿先生乃中国近代以还画坛敬仰的大师。今文论及李、潘画风画作 ,不欲分其轩轾 ,但述其差异。在个人心灵上 ,两大师之根本区别在于 ,潘天寿先生理性而清醒 ,苦禅先生则感发而醉态 ,可谓“如婴儿之未孩” ,“不失赤子之心”者也。以画而论 ,潘翁重迹 ,苦老重心 ,儒庄之判 ,于此益显。苦老之画 ,笔墨与物象、物象与心灵融而为一 ,此正所谓眼不见绢素、手不知笔墨 ,于是绝无刻划痕迹。潘翁用笔劲挺坚硬 ,幽深崎拔 ,自有刚烈面貌 ,正如其自述“书家每以险绝为奇 ,画家亦以险绝为奇”。我每将苦禅之艺比为泰岳 ,而潘翁之艺比为华岳 ,此中性相近、习相远 ,固非一言可尽。
Mr. Li Kuchan and Mr. Pan Tianshou are the masters of the Chinese painting industry in the modern era. This article on the Li, Pan painting style, do not want to sub-Xuan 轾, but the difference. In the personal mind, the fundamental difference between the two masters is that Mr. Pan Tianshou is rational and sober, while Mr. Kuchan is emotionally and drunken. It can be described as “a child who is not a baby,” or “a person who feels indebted.” In terms of painting, Pan Weng re-trace, bitter focus, Confucianism of the judgment, in this benefit. Painted old paintings, ink and the image, the image and the soul melt into one, this is the so-called blind eyebrow, hand I do not know the pen and ink, so there is no carved traces. Pan Weng hard with hard pen, deep Qiansalu pull, its own solemn appearance, as its readme “Every book by the book is absolutely amazing, the painter is also extremely dangerous.” Each time I compare the art of bitterness to Taiyue, and the art of Pan Weng is Hua Yue, the neutrality is similar to that of Xianyuan.