当今对山水画的品评多从笔墨入手。然而,从来笔墨之奇瑰,必系山川之映射。方坤成长于“开门见山”的贵州,他对山水画的探索也自然而然地立足于这片土地。对黔中山水方坤无疑有非常真切的体验。贵州气候温润,多高山大川,景色壮丽。由于地处西南高原,云遮雾罩,这里又常常给人以某种神秘感。地气夺人,笔夺地气。方坤生于斯长于斯,山川风物的潜移默化孕育出他独特的审美情趣。他将目中山水转变成笔底丘壑时,长期积累的笔墨经验发挥了作用。从方坤作品中可以看出,他多以积墨绘景,参用破墨、泼墨、焦墨,因此其画融厚有味。即便是缥缈无踪的浮云,方坤也多以实笔绘之,那些漂浮在峰峦中的云雾如絮如绮,似行似滞,既将自然景物隔开,又将景物连缀在一起,引人遐思。方坤的山水通常是笔墨与色彩并用。他习惯使用浅绛与花青来绘树石,信笔清扫,渲晕适度,清秀无痕,色不掩墨,墨不碍 Today’s paintings of landscape evaluation from the start. However, the wonders of the past must be the mirror of the mountains and rivers. Fang Kun grew up in Guizhou, “straight to the point”, his exploration of landscape painting is also based on this land naturally. There is no doubt that there is a very real experience for Qianfang landscape Fangkun. Guizhou mild climate, more mountains and rivers, magnificent scenery. Because it is located in the Southwest Plateau, cloud cover fog, where often give some sense of mystery. Ge gas wins, pen deprived of gas. Fang Kun born in Sri Lanka, Sri Lanka, the subtle influence of mountains and rivers breed his unique aesthetic taste. When he turned the landscape into a peninsula, the long experience accumulated in pen and ink played a role. As can be seen from the works of Fang Kun, he painted with many ink plot, with broken ink, ink, coke ink, so the painting is full of flavor. Even if there is no trace of the clouds, Fang Kun also more real painting, those floating in the mountains of clouds such as Xu Ruoqi, it seems to hysteresis, both the natural scenery separated, but also the scene together, cited People reverie. Fang Kun landscape is usually used in conjunction with color and ink. He is accustomed to using light purple and cyanine to paint trees and stones, letters and pen sweeping, rendering moderate halo, handsome no trace, color does not cover ink, ink does not hinder