冯大中，己丑岁末生于辽东，画风庄重，笔致端雅，尤精于虎。其画虎脱离俗套，融人文神韵，自成一格，誉为“天下第一虎”。山水画境，雄浑野逸，苍润深邃，独具风骨。
图腾崇拜，起于氏族初期，虎文化源于《山海经》，随族群融合而演变，成独特之风。宗教渐兴，虎以猛兽、神兽双形象，融道、佛、萨满诸信仰，深植人心。虎画始于宗教，六朝张僧繇为其翘楚，所绘佛寺壁画，远近观之各具异趣，后称“张家样”。南宋后，虎绘俗化，至今日，多人避之。冯大中以新视角重展古题，开动物画新境。
古今艺事，皆在传统与创新。五代荆、关、董、巨，元代黄、王、吴、倪，清代四僧，各以独造型引时代之风。先贤之新意立艺坛高峰，后者必勇攀其巅，如李可染所言：“功力深入，勇气出奇。”董源有言：“师今不如师古，师古不如师自然，师自然不如师造化。”此言道出艺道精髓。古即传统，自然为写生，造化乃万物之理，三者相生相依。传统源自古人观自然悟造化，艺者于此参悟，敏慧者自得其趣。自然之运，含造化之妙。故艺之新，始于传统与自然，臻于造化之理。
冯大中艺精画虎，承古超今，自成一格，艺林所重。虎为中华崇象，积淀深厚，渗于审美与价值观。自古“虎虎生气”“龙腾虎跃”，皆喻生气风范，宏观气象。历代画虎成风，然多流俗套，冯大中植根传统，探本求新，成一代风标。冯氏作画，融旧规而不泥古，取生态美学观，观虎以新姿，纳自然之神，开创新境。其虎，勇武雄强，母子亲情，天伦乐趣，别离之情，皆形于笔下。常以拟人手法，借虎言志，笔意浪漫，开一代新风。
《月满青山》，皓月当空，苍壑茫茫，瀑流奔腾，虎侣畅饮，静中见自然生命之悠远。此境，桃源遗影，今已难觅。冯氏诸作，隐含护地珍生态之深意。《摇篮》一图，小虎枕母臂，梦中蹬唇，情深意厚，细微之处，画者用心可见。
虎动神难描，冯大中以心入画，得其形神。《夏梦》三虎，各自入梦，酣睡朦胧，温馨烂漫，妙趣横生，画者妙笔传神。其虎，有骨有肉有神，皮毛斑斓，光泽隐现，巧夺天工，诚为罕见。冯大中以虎扬名，山水亦自成一家，删繁就简，取精去杂，追画境幽远，氛围纯净，造境为先，风格独具。
冯大中工笔画艺，精微入神。其笔下大野苍茫、长白雪月、秋山沉醉、春山晓雾、芦花霜晨、梨花春雨，皆意境幽远，动人心绪。山水功力深厚，能巧造画境，遂得“放虎归山”，置虎于特定氛围，使虎与境相融，意趣无穷，艺力倍增。冯氏工笔虎，别具新法，笔精细如丝绣，丝毛隐痕迹，观者难识其巧。
大中之笔，工细如丝，画作细而不腻，气势自生。细观其虎，骨肉神采皆具，皮毛斑斓，光泽隐现。其技法妙用，破锋笔细丝成形，毛绒蓬松，斑纹自然留白，未施粉彩，浑然天成，画幅间透出厚味雅情，磅礴中显高趣。冯氏作画，精微细致，不以激烈之线条、纵放之墨色见长，而以朦胧和谐为胜，笔痕谨慎，工笔推至极致，观之则轻盈超逸，叹为观止。虎之色彩，淡化雅化，不取炽烈之动，反将虎静化柔化，于静中寓力，形转含情，威猛柔静，自得其中对立统一之妙。
造境为本，大野、长白、秋山、春晓、芦花、梨雨，境境深情。山水之功，造境之妙，令虎隐于其中，相映成趣，情境互增。冯氏对虎之情，根植于心，历经岁月，终成一派。
Feng Dazhong: Majestic Tigers, Varied Expressions
Feng Dazhong, bon in the last month of the Jichou year in Liaodong, is known for his solemn and elegant painting style, with a particular mastery in depicting tigers. His tiger paintings break from convention, infused with cultural spirit, forming a unique style, earning him the title of "First Tiger Painter under Heaven." His landscapes are grand and untamed, deep and rich, with a distinct character.
Totem worship, originating in early clan society, has its tiger symbolism rooted in The Classic of Mountains and Seas. As tribes merged, this unique culture evolved. With the rise of religions, the tiger became both a fierce beast and a divine creature, integrated into Daoist, Buddhist, and shamanic beliefs, deeply influencing hearts and minds. Tiger paintings began in religious contexts, with Zhang Sengyou of the Six Dynasties being a key figure, his temple murals viewed differently from afar and up close, later known as the "Zhang Family Style." After the Southern Song, tiger painting became more secular, and today, many avoid the subject. Feng Dazhong revisits this ancient theme with a fresh perspective, pioneering new directions in animal painting.
Art, both ancient and modern, balances tradition and innovation. Painters like Jing Hao, Guan Tong, Dong Yuan, and Juran from the Five Dynasties, Huang Gongwang, Wang Meng, Wu Zhen, and Ni Zan from the Yuan, and the Four Monks of the Qing each defined their eras with unique styles. Their innovative spirit set the peaks of the art world, with successors needing to climb these heights, as Li Keran said, "Master the fundamentals deeply, then break through with courage." Dong Yuan once remarked, "Learning from the present is not as good as learning from the past, learning from the past is not as good as learning from nature, and learning from nature is not as good as learning from the principle of all things." This statement encapsulates the essence of art. The past is tradition, nature is the basis for sketching, and the principle of all things is the universal truth. These three elements are interdependent. Tradition stems from the ancient understanding of nature and its principles. Artists, in studying these, may grasp the essence, with the wise finding delight in it. Nature's movements contain the wonders of the universal principle. Thus, new art begins with tradition and nature, culminating in the understanding of the universal principle.
Feng Dazhong, with his profound skill in painting tigers, inherits and surpasses the past, creating a unique style highly valued in the art world. The tiger, a revered symbol in Chinese culture, carries deep and lasting significance in aesthetics and values. Phrases like "mighty tiger, vibrant energy" and "dragons soar, tigers leap" symbolize vitality, grandeur, and imposing presence. Throughout history, tiger painting has been popular, though often trapped in conventions. Feng, rooted in tradition, seeks new foundations and innovations, setting a new standard. He blends old methods without being confined by them, adopting an ecological aesthetic, viewing the tiger with fresh perspectives, and capturing the spirit of nature, creating new horizons. His tigers, embodying courage, familial love, and deep emotions, come alive under his brush. Often using anthropomorphic techniques, he expresses his thoughts through the tiger, infusing a romantic spirit and pioneering a new era in this art form.
In The Moon Over Green Hills, a bright moon hangs in the sky, vast valleys stretch far, waterfalls cascade into rushing streams, and tiger couples drink peacefully, revealing the eternal vitality of nature in this tranquil setting. This scene, a relic of a lost utopia, is now hard to find. Feng's works often contain a profound message of environmental protection. In Cradle, a small tiger rests its head on its mother's arm, kicking her lips in its sleep, a touching scene where the artist's careful observation and deep affection are evident in every detail.
Capturing the spirit of a tiger in motion is challenging, but Feng Dazhong, with his heartfelt approach, grasps both form and essence. In Summer Dreams, three tigers sleep peacefully, each in a different pose, their slumber warm and idyllic, full of charm and life, conveyed through the artist's masterful strokes. His tigers are full of life, with bones, flesh, and spirit, their coats vivid and glossy, a work of unmatched skill, rarely seen throughout history. While Feng is renowned for his tigers, his landscapes also stand out, marked by a refined simplicity, where unnecessary elements are stripped away, focusing on the essence. His pursuit of a pure, serene atmosphere and priority on creating a compelling environment gives his work a unique and distinct style.
Feng Dazhong's meticulous craftsmanship in fine brushwork is extraordinary. His landscapes of vast plains, snowy moons over Changbai, intoxicated autumn mountains, misty spring mornings, frosty reed blooms, and rainy pear blossoms all evoke deep and touching emotions. With his profound skill in landscape painting, Feng masterfully creates scenes, allowing him to "return the tiger to the mountain," placing it within a carefully crafted atmosphere where the tiger and its environment merge, creating endless artistic resonance and multiplying the work's impact. Feng's fine brush tigers are distinct, his technique as delicate as silk embroidery, with each hair subtly rendered, leaving viewers puzzled by his mastery.
Feng's brushwork is as fine as silk, detailed yet never overwhelming, naturally exuding a grand presence. A closer look at his tigers reveals their full form, spirit, and vibrant coats with a visible sheen. His technique, using a broken brush to create fine threads, gives the fur a soft, fluffy texture, with natural stripes formed by careful leaving of blank spaces, all without a hint of powder, achieving a result that feels both natural and extraordinary. The painting exudes a rich elegance, with a unique blend of grandeur and subtlety. Feng's approach, meticulous and detailed, avoids dramatic lines or bold ink splashes, instead favoring a soft, harmonious style. His brushstrokes, deliberate and precise, push fine brushwork to its pinnacle, yet the overall effect is light and effortless, leaving viewers in awe. The tiger's colors are muted and refined, avoiding intense motion in favor of a quiet strength, where the interplay of force and gentleness reveals a profound unity of opposites.
Creating an atmosphere is fundamental, with vast plains, snowy Changbai, autumn mountains, spring mists, frosty reeds, and rainy pear blossoms, each scene filled with deep emotion. Feng's skill in landscape painting and his talent for creating such environments allow the tiger to blend seamlessly within them, each enhancing the other, the emotions and scenes interwoven. Feng's deep affection for the tiger, rooted in his heart and refined over years, has ultimately shaped his unique artistic style.
责任编辑：苗君
