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     But the Gong Xian accumulated ink style also has its traditional the origin, its many duplicate Canada, by is chapped the generation dyes (or is chapped little dyes) style, the innate its goal, the old age Gong virtuous establishment whole style actually is wants to go upstream Dynasty Song artist compared to deep "black Gong", its vertical stroke wants to achieve "is whole" the effect is spring young time sees Mi Yunshan chart, this is cannot neglect in its artistic profession influence.
     但是龚贤的积墨画风也有其传统的渊源,其多遍复加,以皴代染(或多皴少染)的画风,自有其目的,晚年的龚贤创立的浑沦幽冥的“黑龚”画风其实是想上溯宋人,其努想达到的“浑沦”效果是其年青的时候看见米氏的云山图,这在其艺术生涯中的影响是不能忽视的。
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     The Dark Eye
     眼睛
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     The Black Cat
    
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     Gong Zizhen's Buddhist Thought
     自珍的佛学思想
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     C.
     氏芋C gongiiC .
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The painting techniques of trees in Gongxian’s landscape paintings have developed through three stages: “Light Gong”, “Grey Gong”, and “Dark Gong”. The paper traces back to Gongxian’s life, compares his works with those of his teachers’, then analyzes his special skills at using China ink. Finally it reaches a conclusion that Gongxian expresses deep spiritual meanings in his landscape paintings which put emphasis on the natural characteristics against the traditional drawing regulations.

龚贤山水画中树的演变分“白龚”、“灰龚”、“黑龚”三个时期。本文对龚贤的生平和师承关系作了探寻 ,并对这三个时期的不同特征和画法尤其是积墨法作了具体分析论述 ,最后得出龚贤山水画反“法”重“道”的深层精神内涵

Gong Xian's artwork is full-bodied and vast.The style of his drawing is “Black-Gong”, which is created by himself.In his works ,the beautiful nature and the dreaming nature are all include.Gong Xian's art theory told us the relation between “the fountainhead”and “the evolution” in the Chinese painting study.

龚贤的山水画浑厚、苍茫。在笔墨的运用上,他独辟蹊径的创造了“黑龚”风格。他手中画笔所表现的是壮美的自然,又是心中的自然。龚贤的画论为我们指明学习中国画“源”与“流”的关系问题。

 
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