高劍父的傳統花鳥畫：從沒骨花卉走向寫意「金石風」

Gao Jianfu's Traditional Bird-and-Flower Painting: From Mogu Flower Painting Toward Xieyi Jinshi Style

高劍父為二十世紀「嶺南派」繪畫的創始者，他對於不講求寫實的傳統文人畫感到不滿，因而提倡以「中西融合」為訴求的繪畫改革，創造所謂的「新國畫」。高劍父的改革受到日本畫家不小的影響，在改革之初除了作品風格近似當時的「日本畫」之外，有些畫作中出現與日本畫家雷同之處，因而在當時引發相當大的爭議，之後的論者大多也把討論高劍父的焦點放在他的繪畫改革，而忽略了他較為接近傳統的作品。高劍父畫有很多傳統花鳥畫。在初學繪畫時，跟隨居廉學「沒骨花卉」。留學日本之後，他的作品並非全都是所謂「中西融合」的風格，而是同時畫有大量的文人寫意花鳥。高劍父的寫意花鳥具有濃厚的「金石風」，二十世紀初以吳昌碩為首的金石派繪畫在中國與日本大為風行，金石風繪畫蔚為風尚，但是高劍父的金石風作品裡面並不見刻意模仿吳昌碩，而是運用自己的碑派書法筆觸於他的作品中，形成他個人的金石風格。

Gao Jianfu was the founder of the Lingnan School in the twentieth century. He was not satisfied with the traditional literati painting that did not pursue realism. Therefore, he promoted the painting reform that aimed at ”synthesizing Chinese and the West” and created the so-called New National Painting. Gao Jianfu's reform was much indebted to Japanese painters. In the beginning of his reform, not only were his paintings similar to Nihonga in style, some of his works resembled those of Nihonga painters. This arose serious controversy at that time. Later critics therefore usually focus on his painting reform when discussing Gao, and overlook his works that are closer to the Chinese traditions.Gao Jianfu painted many traditional bird-and-flower paintings. When he started leaming painting in his youth, he learned ”mogu flower painting” from Ju Lian. After studying in Japan, he did not paint all his paintings in the style of the so-called Chinese-and-Western-hybrid. He also painted many xieyi bird-and-flower literati paintings at the same time. Gao's xieyi bird-and-flower paintings were imbued with profound ''jinshi flavor.” In early twentieth century, Jinshi School painting which was led by Wu Changshuo was very popular in China and Japan. Jinshi flavor painting became in vogue. However, in Gao's jinshi style works, there is no deliberate imitation of Wu. Instead, he applied his own stele-school-calligraphy brushstrokes in his works to create his own jinshi style.