陸儼少，現代畫家。又名砥，字宛若，上海嘉定縣南翔鎮人。1926年考入無錫美術專科學校，1927年考入無錫美專學習，同年從王同愈學習詩文、書法；次年師從馮超然學畫，并結識吳湖帆，遍游南北勝地。1956年任上海中國畫院畫師。1962年起兼課于浙江美術學院，1980年在該院正式執教，并任浙江畫院院長。擅畫山水，尤善于發揮用筆效能，以筆尖、筆肚、筆根等的不同運用來表現自然山川的不同變化。線條疏秀流暢，剛柔相濟。云水為其絕詣，有雄秀跌宕之概。勾云勾水，煙波浩淼，云蒸霧靄，變化無窮，并創大塊留白、墨塊之法。兼作人物、花卉，書法亦獨創一格。
Lu Yanshao, a modern painter. It's also called di. It's like a word. It's from Nanxiang Town, Jiading County, Shanghai. In 1926, he was admitted to Wuxi art college. In 1927, he was admitted to Wuxi art college. In the same year, he studied poetry and calligraphy from Wang Tongyu. In the next year, he studied painting from Feng Chaoran, met Wu Hufan, and traveled all over the north and South resorts. In 1956, he was a painter of Shanghai Chinese Academy of painting. In 1962, he took part-time courses in Zhejiang Academy of fine arts. In 1980, he formally taught in Zhejiang Academy of fine arts and became the president of Zhejiang Academy of fine arts. He is good at painting landscapes, especially at exerting the function of using a pen. He uses the tip, belly and root of a pen to show the different changes of natural mountains and rivers. The lines are sparse, smooth, firm and soft. Cloud and water are their unique attainments, and they have the concept of male show ups and downs. Hook the clouds and hook the water, the smoke waves are vast, the clouds are steaming and the mist is changing endlessly, and create the method of leaving large pieces of white and ink. He is also a character, flower, and unique in calligraphy.
【藏品名稱】：陸儼少《晴麓橫云國畫》
[collection name]: Lu Yanshao's traditional Chinese painting of Hengyun at Qinglu
【類別】：字畫
[category]: calligraphy and painting
陸儼少先生的筆下功夫，曠世罕見，游歷山水，從不苦做速寫記錄，他說：“我外出游歷……只用眼睛看……要得山川神氣，并記在胸。”他作畫無論多大尺幅，從不起草稿，提筆就來，如唐代吳道子對玄宗所言：“臣無粉本，但默記于心也。”他作畫用一枝筆，從頭到尾，中間不換筆，他的技法“近乎道矣”，全靠對毛筆天人合一般的使用。
Mr. Lu Yanshao's hard work is rare in the world. He travels in mountains and rivers and never makes shorthand records. He said: "I travel outside Just look with your eyes You need to have the spirit of mountains and rivers, and keep it in mind. " No matter how large his painting is, he never starts to draft, and comes to draw. As Wu Daozi said to Xuanzong in the Tang Dynasty, "there is no powder for the minister, but he keeps it in mind." He used a pen to draw, from the beginning to the end, without changing the pen in the middle. His technique was "close to Tao", relying on the common use of the brush.
該畫層次鮮明，有深度，層層遞進，由近向遠延伸，畫面整然有序，氣魄非凡，給人一種無有窮盡的感覺和“方寸之間見萬里”氣度。
The painting has distinct levels, depth, progressive layers, extending from near to far. The picture is neat and orderly, with extraordinary boldness. It gives people a sense of endless and "seeing thousands of miles between square inches".
讀陸儼少的山水畫，常給人一種清新雋永、古拙奇峭的感覺。具有一種超凡脫俗的審美情趣，自有一種郁勃之氣回蕩其間，散發著行云流水般的意氣，近視遠看均有一番別具一格且引人入勝的景象。
Reading Lu Yanshao's landscape paintings often gives people a sense of freshness, meaningfulness, antiquity and craziness. It has a kind of extraordinary and refined aesthetic taste. It has a kind of spirit of Yu Bo echoing in it. It exudes the spirit of Flowing Clouds and flowing water. There is a unique and fascinating scene in the near and far sight.
尤其是那獨創的風貌，神奇的筆墨，靈變的意韻，散發著文人氣息的高品位的藝術，具有一種引人入勝的美感。
In particular, the original style, magic ink, flexible verve, high-grade art that exudes the flavor of literati, has a fascinating aesthetic feeling.
山水畫，是稟愛自然的精華，天地的秀氣，所以陰陽、晦冥、晴雨、寒暑、朝昏、晝夜有無窮的妙趣。有意境是山水畫的特色，有著從情感到氣格的“境界”的追求。畫山水注重“師造化”，要在造境，高在化境，作畫和看畫共同身臨其境，向審美活動的深層次發展：一是親近自然，回歸自然，和大自然合一，達到主客觀世界與時共進光景常新的境界，謂之新。二是潛移默化在真境、神境、妙境的高深境界之中，陶冶情操，凈化心靈，達到精神境界的升華
Landscape painting is the essence of nature and the beauty of heaven and earth. Therefore, yin and Yang, gloomy, clear and rainy, cold and hot, dusk, and day and night have infinite charm. Artistic conception is the characteristic of landscape painting, which has the pursuit of "realm" from emotion to atmosphere. The landscape painting pays attention to "creating by teachers". It should be in the creating environment and high in the changing environment. Painting and watching painting should be in the same situation and develop to the deep level of aesthetic activities: first, close to nature, return to nature, and integrate with nature, so as to reach the new state of the subjective and objective world and the time. The second is to cultivate the sentiment, purify the mind and achieve the sublimation of the spiritual realm in the deep realm of the real realm, the divine realm and the wonderful realm
