熊明写生油画《Harlem- Meer的春夏秋冬》赏析

　　Appreciation of Oil Sketch Harlem-Meer in Four Seasons by Xiong MinBy Gao LiuxingHarlem- Meer，中文名字叫哈林湖，它坐落在纽约中央公园的东北部。在一般游客的眼里，开阔而波光粼粼的湖面、湖边姿态优美的树木和远处的摩天大楼才是哈林湖的特色风景。这些熊明肯定也看到了，但这还不足以让他心动到拿起他的画笔。寻秘探幽肯定是一个绘画大师的一大特质，最后熊明找到一个去处，哈林湖的一段弯曲而狭窄的水域，那里看上去犹如一条弯弯的小溪，岸边有垂柳，有银杏树，还有丛草，尽头有不同风格的建筑。这里一下子就成了熊明的钟爱之地，他决定把它框入画中，向世人展示，不仅如此，他还要画出它在一年四季中的不同风貌。现在四幅画皆已经完稿，高某有幸先睹其颜，当然我更愿意与高邸文化的读者们共同赏之品之。

　　Harlem-Meer occupies the northeast corner of New York City‘s Central Park. In the eyes of regular tourists， the open and sparkling lake surface， well-favored trees by the lake and skyscrapers in the distance make up the characteristic scenery of Harlem Meer. Xiong Ming must have seen it， but it wasn’t enough for him to pick up his brush. Delving into secluded and secret places is definitely a major trait of a master painter. Xiong Ming managed to find a destination at last， a curved and narrow water area of Harlem Meer which resembles a wandering stream， with weeping willows， ginkgo trees and clumps of grass on the bank， and buildings of different styles in the shadowy distance. It suddenly became Xiong Ming‘s endearment. He decided to frame it into a picture and show it to the world. Not only that， but he also wanted to present its different styles throughout the year. Now that all four paintings have been finished， and I had the honor to be among the first to see them， I would like to share them with the readers of Gaodi Culture.

　　这四幅画被冠名为《Harlem- Meer的春夏秋冬》，它们的取景角度基本相同，每一幅画只做了一些微调，所以构图大同小异。因为四季的转换而造成了光色条件的变化和物象的一些细节变化，这些变化在画家的笔下得到了忠实的体现。下面请读者们与我一起依次欣赏熊明的这四幅画。The four paintings are titled “Harlem-Meer in Four Seasons”. The viewing angles are basically the same with each painting subject to some fine-tunings， resulting in the similar compositions. The seasonal change leads to some subtle changes of the light conditions and images， which have been faithfully reflected in the painter’s works. Please join me in appreciating these four paintings by Xiong Ming.首先我们来欣赏一下《春》这幅画。First， let‘s take a look at the painting Spring.

　　熊明写生油画《Harlem- Meer的春夏秋冬》之《春》Spring of Harlem-Meer in Four Seasons by Xiong Ming面对这幅画，我们一眼看到的是一条清澈的小溪，小溪形似一只大号的号管。近景中有一丛青翠的蒲草，中景有两棵对揖的树，右岸的垂柳向左斜伸出小半个身子，左边的银杏分枝很多，枝干弯腰向右探出身子，似乎正在向对面的垂柳致意问好。银杏树枝上长着嫩黄的叶子，树叶较为稀疏。树顶上是一片蓝天，天上飘着两朵大小不等的白云。树冠与蓝天相交形成优美的曲线，它们与河岸线一起把观者的视线引向远处的楼群。其中最为高大的大楼是法国古堡式风格，显得尤为庄重典雅。它前面的河岸线与小溪右边的那条S形河岸线一起把观者的视线引向了一座小巧别致的建筑，它有着人字形坡屋顶，屋顶上有一高一矮的两个角塔，这显然是一座英伦风格的小楼，最后观者的目光被死死钉在侧墙上的那扇碧绿的花窗上，这扇窗子给整个画面增添了无限的情趣。When viewing it， we can see a limpid stream at the first sight， resembling a tuba’s bell. There is a clump of green cattails in the close-up view， and two trees bowing to each other in the medium shot. The weeping willow on the right bank tilts out a small half of its body to the left， while the ginkgo on the left has many branches bending over and leaning out to the right， as if they are greeting the weeping willow on the opposite side. Ginkgo branches have relatively sparse bright yellow leaves. Over the top of the tree is a blue sky， with two white clouds of different sizes floating. The crown intersects with the blue sky to form beautiful curves. Together with the bank line， they lead the viewer‘s sight to the distant buildings. Among them， the tallest building is in the French castle style， which is particularly solemn and elegant. The bank line in front of the building， together with the S-shaped bank line on the right side of the stream， lead the viewer’s sight to a small and delicate building. It has a herringbone sloping roof with two corner towers （one is taller than the other）， which is obviously a small cottage of British style. Finally， the viewer‘s eyes are nailed to the green flower window on the side wall， adding infinite interest to the whole picture.这幅画采用了引导线构图法，观者的目光沿着河岸线移动，由丛草，树、城堡式建筑、最后落在碧绿花窗这个趣味点上。This painting adopts the composition of leading lines. The viewer’s gaze moves along the riverbank line， from clumps of grass， trees， and castle-like buildings， and finally falls on the interesting point of green flower window.这幅画的画境会让人一下子联想到徐志摩的《再别康桥》：The picturesque scene of this painting reminds people of Xu Zhimo‘s Second Farewell to Cambridge：轻轻的我走了，正如我轻轻的来；Very quietly I take my leave， As quietly as I came here；我轻轻的招手，作别西天的云彩。Quietly I wave good-bye， To the rosy clouds in the western sky.那河畔的金柳，是夕阳中的新娘；The golden willows by the riverside， Are young brides in the setting sun；波光里的艳影，在我的心头荡漾Their reflections on the shimmering waves， Always linger in the depth of my heart.……垂柳枝上似乎还有两只小鸟在相依对鸣。这令我想起了古人写诗，写景的同时也必须写声，达到声情并茂的效果。There seem to be two birds snuggling and singing on the weeping willow branches. This reminds me that the ancient poets would depict both the scenery and voice during the poetic creation， so as to deliver a poem that is both excellent in voice and affection.

　　画面的布局很有特色。画面的左半部分只有两个主要景物：弯腰致意的银杏树与古堡式大楼，它们的体积较大，而且在水中形成体量相当的倒影，大楼更是显得很有重量感。右半部分则安排了许多景物，由近到远分别有：翠绿的蒲草、红褐色的小灌木、两个树桩、一棵垂柳、一棵尚未长出叶子的褐色的树、一棵姿态优美的小树、一座可爱的小房子和隐约的楼群。它们各自的体积较小，因而重量感也都相对较轻。所以虽然左右两部分安排的景物数量上相差很大，可画面却依然显得很是均衡。前景的这一丛蒲草对于画面的均衡起到了举足轻重的地位。凭观者的视觉判断，这丛蒲草与垂柳、与对岸的银杏树正好是一个等腰三角形；它与古堡式大楼、与对岸那棵树同样也可以构成一个等腰三角形；它与小房子、与垂柳也构成一个等腰三角形，画家布局画面的精心程度由此可见一斑。

　　The layout of the picture is utterly distinctive. Only two main scenes are depicted in the left half of the picture： The bowing gingko tree and castle-style building are large in size and form a reflection of equivalent volume in the water， which makes the building have a sense of weight. The right half is arranged with a number of objects， from near to far， including green cattails， reddish-brown shrubs， two stumps， a weeping willow， a brown tree that has not yet grown leaves， a small tree with well-turned posture， a lovely small cottage and the looming buildings. These objects all have small volumes with a relatively lighter sense of weight. Therefore， despite a great difference in the number of scenes arranged in the left and right parts， the picture still appears to be well balanced. This clump of cattails in the close shot plays an important role in the picture balance. Judging from the viewer’s sight， the clump of cattails forms an isosceles triangle with the weeping willow and ginkgo tree on the opposite bank. It can also form an isosceles triangle with the castle building and the ginkgo tree. What‘s more， it also forms an isosceles triangle with the small cottage and weeping willow， which shows the ingenious layout designed by the painter.弯曲的河岸线给画面增添了优美柔和之感，同时又使得画面具有了一定的纵深感。而焦点透视法的应用则使画面具有了极好的空间感。清澈河水的镜面效果使画面的虚实对比极为明显，同时又很好地丰富了画面的层次，使画面的意境更为深远优美。The curved bank line adds a sense of beauty and softness to the picture， and at the same time grants the picture a certain sense of depth. The application of focus perspective gives the picture an excellent sense of space. The mirror effect of the clear river makes the contrast between reality and reality of the picture very obvious， at the same time， it enriches the level of the picture and makes the artistic conception of the picture more profound and beautiful.画面笔触轻快灵活，富有节奏与韵律，如同奏响了一曲小步舞曲，让观者感受到一片诗意：和煦的微风拂过，水面涟漪轻泛，波光细碎，倒影迷离，柔嫩的树叶微微颤动，温暖闪烁的阳光在枝叶间嬉戏，柳枝摇曳生姿，白云轻轻飘荡……The light and flexible strokes of the picture are full of rhythm and rhyme， just like a minuet being paled， which delivers a poetic feeling to the viewers： The warm breeze blows， rippling the water surface with sparkling waves and blurred reflections； the tender leaves tremble slightly， the warm and flickering sunshine dances among the branches and leaves， the willow branches sway beautifully， and the white clouds float gently...黄绿色调的应用让人感到一种温暖、明媚与清新，这是属于春天的色调，其中的两棵树与那丛小灌木红褐色的枝干则告诉观者这是早春时节。不饱和黄、绿、蓝、紫等色彩的应用则让人产生一种宁静与清雅的感觉。黄与绿、黄与红属于邻近色，黄与紫、红与绿属于互补色，这些邻近色与互补色（色块大小处理得当的情况下）促成了画面色彩的和谐统一。The application of yellow-green tone， the tone of spring， makes people feel warm， bright and fresh. Two trees and the reddish-brown branches of the bush tell the viewers that it is in early spring. Unsaturated yellow， green， blue and purple are applied to give people a feeling of tranquility and elegance. Yellow and green and yellow and red are adjacent colors， while yellow and purple and red and green are complementary colors. These adjacent colors and complementary colors （where the color block size is properly handled） contribute to the harmony and unity of picture colors. 另外，这幅画的颜料涂得较薄，但色彩的层次却依然显得非常丰富。从深浅明暗的色彩调配中，观者有了远近虚实的物象体会，从而感觉上增添了一种空明灵幻的神秘氛围。Additionally， the layering of colors in this painting appears abundant although the paint is thinly applied. From the matching of light and dark colors， the viewers are able to experience the images of far and near and void and solid， thus adding a mysterious atmosphere of emptiness， brightness and illusion. 《夏》的构图与《春》基本相似，只是各个物象所占比例略微有些变化。由于夏日草木茂盛，建筑基本被挤出了画面，除了左岸的大树后面露出了一座大楼的楼顶外，其他只依稀留下一点若有若无的痕迹。天空与白云在画面上非常抢眼，白云近大远小，天空颜色近深远浅，造成的画面视觉印象是，近处更宽，远处更窄，空间感更为明显，视觉冲击力更为强烈。引导线的交汇处只有茂密的树林和一小片幽绿的溪水，它们处在画面的最深处，显得非常深远幽谧。The composition of “Summer” is basically similar to that of “Spring”， except that the proportion of each object is slightly changed. Thanks to the lush vegetation in summer， the buildings are basically squeezed out of the picture， except that the roof of a building is exposed behind the tree on the left bank， and only vague traces are left behind. The sky and white clouds are eye-catching in the picture. In particular， the white clouds are big in the vicinity and small in the distance， and the color of the sky is dark in the vicinity and light in the distance， resulting in the visual impression that the picture is wider in the vicinity and narrower in the distance， with a more obvious sense of space and a stronger visual impact. Only dense woods and a small green brook are located at the intersection of the leading lines. They are in the deepest part of the picture and appear utterly profound and secluded.

　　熊明写生油画《Harlem- Meer的春夏秋冬》之《夏》Summer of Harlem-Meer in Four Seasons by Xiong Ming蒲草、垂柳和银杏树大有三分天下之势。因为蒲草和银杏树所占的空间扩大，垂柳在画面中所占的空间因此受到了挤压。远树与蒲草的向上长势与柳枝的向下垂势形成了力的对冲与抵消，从而取得了局部的力量平衡。同样，左岸银杏树的右倾与右边一段溪岸的左伸，画面因为这反向的支持而取得了局部的力量平衡。整个画面处于一个动态的平衡之中。Cattails， weeping willow and ginkgo divides the picture into three parts. As the space occupied by cattails and ginkgo is enlarged， the space left for the weeping willow is squeezed accordingly. The upward growth of distant trees and cattails and the downward drooping of willow branches lead to the offset of forces， thus achieving a local balance of power. Similarly， the right tilting of ginkgo on the left bank offsets the left extension of the right bank， and the picture achieves a local balance of power because of this reverse support. Finally， the whole picture is kept in a dynamic balance.水面几乎完全被绿色主宰，蓝天白云被拒之门外，一小块的白色与几个白色长方形笔触似乎给幽闭的空间打开了大小不等的几扇窗户，下半部分画面一下子变得透气而明畅起来。The water surface is almost completely dominated by green， and the blue sky and white clouds are turned away. A small piece of white and several white rectangle strokes seem to open several windows of different sizes to the confined space， and the lower part of the picture suddenly becomes transparent and bright.画面的笔触取向随着事物的体势而变化，笔触的长短也根据事物的特征而随之变化，笔触厚重沉着，富有力量感。The stroke orientation of the picture varies with the kinesic signs of objects， and the length of the strokes also changes according to the characteristics of objects. The brushwork is thick， calm and full of strength.前景的这丛蒲草画得尤为精细，草叶或挺直，或昂首，或低头，或弯腰，或斜出，或旁逸，或向背，姿态生动自然，充满生机。This clump of cattails in the close-up view is particularly finely painted， and the grass leaves are either straight， chinning up， dropping head， bending down， tilting out， inclining sideways or supporting or opposing each other， with vivid and natural posture and full of vitality.云天的色彩很自然地融合在一起，色彩连接处没有留下丝毫生硬的笔触痕迹，白云的轻盈与柔美特性被完美地体现出来了。The colors of the clouds and sky naturally blend together， and there is no trace of blunt brush strokes left at the joint of colors. The lightness and gracefulness of the white clouds are perfectly reflected. 与《春》相比，这幅《夏》的色彩涂得更为厚实些，观者可以看出笔触所及处的肌理与质感。色调自然是黄绿色调，只是黄得更灿烂，绿得更浓郁。呈现出来的色彩有草绿、墨绿、灰绿、黄绿、蓝绿、橄榄绿等不同层次的绿，有橙黄、浅黄、藤黄和黄褐等不同层次的黄，有深蓝、湖蓝和宝蓝，还有少量的灰紫与蓝紫，还有红褐色和浅粉色，还有墨黑色和灰黑色，所以，画面色彩是异常丰富的。蒲草里夹入了少量黑色的线条，而垂柳的枝叶间则有着大量的黑色，溪岸的凹出也是一片黑色，观者从中可以看出阳光的强烈程度。Compared with “Spring”， the color of this “Summer” is thickly applied， and the viewers can observe the texture and sense of reality wherever the brush strokes go. The hue is naturally yellow and green， but the yellow is more brilliant and the green is more intense. The colors presented include different layers of green such as grass green， blackish green， grayish green， yellowish green， bluish green and olive green； different layers of yellow such as orange yellow， light yellow， gamboge and yellowish brown； deep blue， lake blue and royal blue； a small amount of gray purple and blue purple， reddish brown and light pink， and dark black and ash black. Therefore， the color of the picture is extremely abundant. A few black lines are incorporated into the cattails while a lot of black blocks are placed among the branches and leaves of the weeping willows. The concave of the stream bank is also black， from which the viewers can see the intensity of sunshine.柳树上几个宝蓝色块有点惹眼，细看之下，那分明是几只翠鸟，再看对岸的大树，似乎也有鸟儿和蝉儿的身影。中国有一句话叫“蝉噪林愈静，鸟鸣山更幽”。的确，虽然阳光给人以灼热的感觉，但整个画面给人的感觉还是非常僻静与清幽的。There are several eye-catching royal blue blocks on the willow which are definitely kingfishers at a closer look. When you move your gaze to the big tree on the other side， it seems that there are also birds and cicadas. There is a Chinese saying， “the forest is more peaceful while cicadas are chirping， and the mountain is more secluded while the birds are singing.” Indeed， although the sun rays give people a burning feeling， the whole picture still presents a sense of seclusion and solitude.

　　我想把整个画面综合地描绘一番，可是却发现自己的语言能力无法把画面的美生动地描绘出来，我最终只找到几个形容词，那就是：优美、明净、清幽、静谧和生机盎然。为此我很感汗颜，不过我相信高邸文化的读者们应该都具有相当好的文化素养，你们是有能力作一番完美的描述的。

　　I wanted to describe the whole picture comprehensively， but I found that my linguistic competence could not describe the beauty of the picture vividly. I finally found only a few adjectives： graceful， clear， quiet， tranquil and vibrant. I feel ashamed of this， but I believe that the readers of Gaodi Culture should have quite good cultural accomplishment， and you must be capable of making a perfect description.《秋》在画面布局上又作了一些微调。蒲草被下拉到画幅的底边了，右边河岸的弧度似乎变得更大了一些。引导线交汇处露出了大楼的影子，它被掩隐在几棵大树后面，只露出楼顶部分。左岸的银杏树的大部分身影被展现在画面上，银杏树在水中的倒影，加上深色的堤坝和树冠后的一小截大楼尖顶，这样一来，左半部分在画面上的份量得到了加重，从而使得画面左右两部分的力量变得均衡起来。The painter has made some fine adjustments in the picture layout of Autumn. The cattails are relocated to the bottom of the picture， and the radian of the right bank seems to have become a bit larger. The shadow of the building is revealed at the intersection of the leading lines， and it is hidden behind several big trees， with only the roof being exposed. Most part of the ginkgo tree on the left bank is displayed on the picture， and the reflection of the ginkgo tree in the water， coupled with the dark dam and a small building spire behind the crown， increase the weight of the left half， thus balancing the powers of the left and right parts of the picture.

　　熊明写生油画《Harlem- Meer的春夏秋冬》之《秋》Autumn of Harlem-Meer in Four Seasons by Xiong Ming蒲草与大楼遥遥相对。蒲草的部分叶子已经东倒西歪，显示出枯黄衰败的迹象，看来它已经受到了秋霜的摧残，但它的另一部分叶子的叶脉里依然流着绿色的生命之液，它们继续挺身向上伸展着。我想这蒲草或许有过与对面的树木一争高下的雄心，现在它在经受寒霜的摧残后大概不得不承认自己毕竟只是一株草，无法与一棵树相比。它身边的那些匍匐在地面的小草生命力依然旺盛，它们也许会对它露出嘲笑讥讽的眼神。但那又何必在意，只要自己努力过了，自己已经活出自己的精彩了，那就了无遗憾了。The cattails and the building face each other across a distance. Some leaves of the cattails are already withered， tilting to all directions. It seems that it has been destroyed by the autumn frost. However， the veins of other leaves still flow with green life， and they continue to stretch upwards. I think the cattails may have had the ambition to compete with the trees on the opposite. Now it probably has to admit that it is only a grass after all， and cannot be compared with a tree. The grass crawling on the ground around the cattails is still vigorous， and they might show mocking eyes to it. But then why should we care so much？ As long as we have worked hard and lived a wonderful life， there will be no regret. 另外，从画面意趣上看，蒲草叶的柔弱、衰败与凌乱与对面坚实的大楼、笔挺的大树倒是形成了一种强烈的对比，使得画面节奏更为多变，画面层次更为丰富。Also， from the perspective of picture interest， the weak， withered and disorderly cattail leaves form a sharp contrast with the opposite solid building and straight trees， making the picture rhythm more changeable and the picture level more abundant.天空中阴云密布，一丝阳光都透不进来。这虽然令人感到沉闷与压抑，所幸的是，这里还有一湾溪水。虽然天空在水中的倒影还有些惨白，但却为观者打开了一扇敞亮的窗户，让沉闷与压抑由此排出。溪水清澈明净，微波轻漾，树木和大楼在水中的倒影参差而分明，几条白色的水线轻柔而飘逸，画面意境深远，且颇具朦胧的美感，是整个画面中最有意味之处。The sky is overcast with no sunshine. Although it is tedious and depressing， there is still a stream here fortunately. The reflection of the sky in the water looks a little pale， but it opens a bright window for the viewers to release the tediousness and depression. The stream is limpid and clear with rippling waves， and the reflections of trees and buildings in the water are jagged and distinct. The white waterlines are soft and elegant with far-reaching artistic conception and hazy aesthetic feeling， which is the most meaningful part of the whole picture. 我们再来看看画面色彩。天空中布满阴云，草木因此被蒙上一层灰色，黄灰色的银杏树以及它那灰褐色的倒影，灰绿色的垂柳，灰褐色的枯枝……这一景象很容易让人心生愁绪。画家可不想让他的画面充满悲秋意绪，他必须让他的画面亮起来，他必须点亮观者的心情。于是他在黄灰中揉入了黄绿色，在灰绿色中揉入了白色，他让一些浅蓝色或白色小笔触散布在水面上，点缀在银杏树的枝叶间，他让小草蒙上些许黄绿，给它们注入生机。画面因此给人以迷离、清冷和静雅之感。不过不管画家如何努力，再美的秋景也会难免让人产生一丝惆怅之情。Let’s take a look at the colors of the picture. The sky is overcast with clouds， making the vegetation covered with a gray tune. The yellow-gray ginkgo tree and its taupe reflection， gray-green weeping willow and its taupe dead branches are easy to convey a feeling of melancholy and sorrow. However， the painter doesn‘t want to make his picture full of sadness， he must brighten the picture and light up the viewer’s mood. To this end， he rubs the yellow-green into the yellow-gray and the white into the gray-green， and makes some light blue or white strokes spread over the water and dotted among the branches and leaves of the ginkgo tree. Apart from that， he adds a little yellow-green to the grass， breathing life into it. Therefore， the picture gives people the feeling of being misted， cold and quiet. However， no matter how hard the painter works and no matter how beautiful autumn scenery is， it will inevitably make people feel a trace of melancholy. 严冰覆盖的河面，积雪的堤岸，衰草枯树，厚重的建筑，所有这些在《冬》的画面上一目了然。严冬的早晨空气凛冽，寒风刺骨，此时呼出的气息一定会在眼前变成一团白雾，当然，这是想象中的情景。The icebound river， the bank covered with snow， the withered grass and trees， and the heavy buildings are all depicted in the picture of Winter. In the harsh winter morning when the air is cold and the wind is biting， the breath exhaled will definitely turn into a mass of white fog in front of us. Of course， this is just an imaginary scene.

熊明写生油画《Harlem- Meer的春夏秋冬》之《冬》

　　Winter of Harlem-Meer in Four Seasons by Xiong Ming我们用眼睛看到的却是，明净的阳光斜斜地照射着，它的光辉洒落在冰雪草木上，折射出轻轻的黄与微微的绿，源源的生机就这样悄悄地潜入枝干与根茎之中。一抹暖意低调地向观者袭来，使人振作，给人希望。What we can see with our eyes is that the bright and clean sunlight shines obliquely， and its brilliance falls on the snow， ice and vegetation， reflecting the light yellow and slight green， and the stream of vitality just sneaks into the branches and roots. A touch of warmth strikes the viewers in a low-key manner， making people cheer up and giving people hope. 天空中有淡淡的黄绿色融合在浅浅的灰紫色中，可见在严寒的天气条件下，阳光并不能驱走寒意，只让人在感觉上多少有了些温暖的意味。In the sky， there is a faint yellow-green blend in the shallow gray-purple. It can be seen that under the severe cold weather conditions， the sunshine cannot drive away the chill， but only makes people feel somewhat warm.近景中的那丛蒲草的叶子即将燃尽生命的最后一点灯油，可它们的姿态却依然显得优雅美好。正所谓活要活得精彩，死也要死得优雅。The leaves of the clump of cattails in close-up view are about to burn out the last oil of life， but their postures are still elegant and beautiful. As the old saying goes， one should live splendidly and die elegantly.河水结成了冰，再也无法呈现树木美丽的倒影，但冰面的树影光影依然展现了属于冰的精彩。The river is frozen， and it can no longer show the beautiful reflection of trees. However， the shadow of trees on the ice still presents the beauty of ice.油画刀堆砌刮擦出来的笔触或粗糙或深入或锐利，展现了雪的深厚与莹泽，也表现出了天气的寒冷程度，同时也似乎喻示着理想的丰满与现实的骨感的两面性。The brush strokes made by the painting knife are rough， deep or sharp， reflecting the profundity and luster of the snow， and also the coldness of the chilly winter. Meanwhile， they also seem to imply that the goal is far more ideal than the reality.树枝或纵横交叉或密密斜织，草叶或挺直上伸或旁逸斜出，使得画面秩序井然，节奏多变，层次丰富。The branches are crisscrossed or woven densely and obliquely， and the leaves of grass are stretched straight or inclined sideways， making the picture orderly， rhythmic， and rich in layers.以上是画面给人的总体印象，下面我们再看看细节。The above is the overall impression of the picture， let‘s turn to the details.画家用油画刀直接把颜料大刀阔斧地砌上去，形成了带雪的堤岸，颜料堆得很厚，笔触宽大粗犷，质感强烈。此时表现出来的雪不再有初下时的柔软性，而是因为融雪后气温骤降，雪已经形成了冻雪，质地非常坚硬。The painter uses the painting knife to apply the oil paint directly and drastically， forming a bank covered with snow. The paint is piled thickly， and the brushwork is broad and rugged， delivering a strong sense of reality. At this time， the snow no longer has the softness at the beginning， but because the temperature drops sharply， the snow has turned into frozen snow with utterly hard texture.蒲草的部分叶子是用油画刀尖划出来的，有的叶子划痕非常深，叶子的边边缘线较为光滑锐利。Some leaves of the cattails are deeply scratched with painting knife tip， and the edge lines of the leaves are smooth and sharp.

　　熊明写生油画《Harlem- Meer的春夏秋冬》之《冬》局部Part of Winter of Harlem-Meer in Four Seasons by Xiong Ming右岸的垂柳用笔略虚，柳枝因了其本性，尚且表现出一丝柔意，而它后面的那棵斜伸出来的枝桠则画得相对较实，笔笔分明，灰黑色的枝桠显得生硬粗粝。垂柳下的红黑色灌木丛因为处于暗处，画得比较虚，画枝叶时用笔较为柔和，灌木丛边上的堤岸的线条则非常锐利。The brush strokes of the weeping willow on the right bank are slightly void， and the willow branches still show a little softness because of their nature. However. the oblique branches behind the willow branches are relatively solid， with clear brush strokes and coarse gray-black branches. The reddish black bushes under the weeping willow are painted with void brush strokes for they are in a dark place. The brushwork of the branches and leaves are relatively gentle while the lines of the bank adjacent to the bushes are awfully sharp. 左岸的银杏树因为是受光面，画家的用笔非常的实，画得非常精细。大树的枝干几近黑色，它的细枝残叶则是红黑色，俨然成了棵铁树，有着生铁般的冷硬质感。树下的草叶画得非常美丽动人，充满情趣，它们都有着暖暖的温柔之意。由此可见，寒冬的景象虽然肃杀萧条，但画家却想用柔情以待之。Since the ginkgo tree on the left bank is on the exposed surface， the painter adopts solid brush strokes with delicate techniques. The branches of trunk the big tree are nearly black， while its twigs and leaves are reddish black， making it an iron tree with a cold and hard texture like pig iron. The grass leaves under the tree are depicted beautifully and full of interest， delivering warmth and tenderness. It can be seen that although the scene of winter is cold and depressing， the painter wishes to treat it with tenderness.

​　　熊明写生油画《Harlem- Meer的春夏秋冬》之《冬》局部Part of Winter of Harlem-Meer in Four Seasons by Xiong Ming四幅画面上都是空无一人，但有了建筑就意味着人的存在。人们只要高兴，他们就可以站到窗前，安安静静地享受眼前这一优美的风景。随着四季的交替，感受着春之温暖柔美，明媚清新；夏之葱茏馥郁，幽谧清婉；秋之深沉迷离，阒然凄清；冬之严寒肃杀却又生机暗藏，素洁雅致，见佛明性。There are no people in sight in all four paintings， but the buildings indicate the existence of people. As long as people are happy， they can stand at the window and enjoy the beautiful scenery quietly. With the alternation of the four seasons， they can feel the warmth， softness， brightness and freshness of spring， the lushness， fragrance， quietness and gracefulness of summer， the deep blurred vision and desolateness of autumn， and the coldness， hidden vitality， elegance and buddhist enlightenment of winter. 其实，在这个世界上不缺乏美景，缺乏的是一颗发现美的心灵。同样的景象在不同的人的眼里会呈现出不同的风貌。所以一个人必须学会欣赏自然，去倾听自然，努力读懂自然的语言，把自然作为一面镜子，观照自己的人生，观照自己的内心。采取一种积极的人生态度，超然地面对生活。In fact， this world is no shortage of beautiful scenery， but minds that find beauty in everything. The same scene will present different styles in the eyes of different people. Therefore， one must learn to appreciate nature， listen to nature， try to understand the language of nature， and take nature as a mirror to observe one’s own life and heart. Then you will be able to take a positive attitude towards life and confront your life aloof.

　　注：

　　本文由上海力友翻译公司翻译

　　Note：

　　The article is translated by Shanghai LiYou Translation Co.， Ltd.

　　作者：高六兴

　　来源： 高邸文化