大寒：雪花靜落梅花開(kāi)
大寒是二十四節(jié)氣中最后一個(gè)節(jié)氣。與大寒相關(guān)的民俗活動(dòng)豐富有趣，祭灶神、尾牙祭、喝臘八粥等?！昂弊值臉?gòu)造，從古至今基本沒(méi)有太大變化：寶蓋頭代表房屋，最下邊兩點(diǎn)意味著冰天雪地，中間的部分則象征一個(gè)人依偎著茅草取暖。
中國(guó)藝術(shù)講求書(shū)畫(huà)一體，造字與繪畫(huà)，都在追求與自然萬(wàn)物融為一體，天人合一。有的畫(huà)家們喜愛(ài)以鄉(xiāng)土為背景來(lái)表現(xiàn)大寒節(jié)氣。王太利的《地坑院的晚冬》以深沉的暖色為基調(diào)，畫(huà)中人蜷縮的憨態(tài)詮釋了畫(huà)面的溫度。此外，地坑院在中國(guó)已經(jīng)有數(shù)千年歷史，又稱“天井院”“地下四合院”，是仰韶文明的符號(hào)。
地坑院的晚冬（油畫(huà)）王太利
冬日里的鳥(niǎo)兒最為人們所喜聞樂(lè)見(jiàn)。周中耀的《冬容》里，精勾微描的兩只鳥(niǎo)兒相互依偎，棲息在石頭上，羽毛的紅、積雪的白與芭蕉的黃共同構(gòu)建起充滿詩(shī)意的深冬景致。任重的《雪竹幽禽》展示了絹本材質(zhì)的細(xì)密精致，畫(huà)中鳥(niǎo)兒纖毫畢現(xiàn)，神情安然，在雪竹的映襯下趣味十足。吳向東的《大寒小寒又一年》和宋榮耀的《晚冬》都是以雪景入畫(huà)，積雪覆蓋了大地的凍土和村屋的磚墻，但隨著雪的升華，凍土的棱角與堅(jiān)實(shí)的磚墻，似乎顯露出一種被寒風(fēng)“削”出來(lái)的鋒利，而油畫(huà)則格外擅長(zhǎng)表現(xiàn)這種層次感。
晚冬（油畫(huà)）宋榮耀
還有的畫(huà)家則用寫(xiě)實(shí)的繪畫(huà)來(lái)抒發(fā)對(duì)時(shí)間的哲思。有學(xué)者認(rèn)為，“漁樵”和“山水”是解讀中國(guó)傳統(tǒng)文化的一個(gè)密碼。劉金貴的《大寒》，孤舟獨(dú)叟、紅梅冬雪，寥寥數(shù)筆便把一江寒意化為思古的幽懷。老樹(shù)的《大寒》布局疏朗、用色溫和，未合上的書(shū)卷、未交代的時(shí)分，這幅畫(huà)傳遞出了另一種對(duì)時(shí)間的感悟：天地雖然蕭瑟，春風(fēng)快要吹來(lái)?？粗┗o落，等著梅花綻開(kāi)。
大寒（線描畫(huà)）劉金貴
歲月流轉(zhuǎn)，大寒是嚴(yán)冬的結(jié)束，也是新生的開(kāi)始。
，時(shí)長(zhǎng)04:07
英文版
Dahan, which means Major Cold,is the last one of the 24 solar terms. There are many interestingfolk activities related to this solar term, such as offering sacrifices to the god of kitchen and god of land,and drinking porridge with mixed ingredients.The structure of the Chinese character Han,which means cold, has not changed much sinceancient times, with its top part representing a house,the bottom two points standing for ice and snow,and the middle part symbolizing a person leaning on thethatch to keep warm.
Chinese art is known for blending calligraphy and painting. Both calligraphy andpainting seek to portrait unity of human and nature.Some painters like to depict Major Cold with ruralscenes. In his painting Late Winter in the SunkenCave House, Wang Taili uses deep warmcolors and shows a crouching person to indicate the cold in winter. The sunken cavehouses have a history of several thousand years in China. Known as sunken quadrangle, they are a symbol of ruraldwellings in early China.
People love to see birds inwinter. In Zhou Zhongyao’s painting Winter Scene, two lovely birds perching upon thestone snuggle up to each other. The red feathersand the yellow bananas against white snow create a poetic scene of late winter. Bamboo and Birds in the Snow by Ren Zhong is painted ondelicate silk paper. The birds in the painting, standing quietly on the snowy bamboo,are true to life. Wu Xiangdong’s painting Major Cold Heralds a New Yearand Song Rongyao’s Late Winter both depict scenes ofsnow, with snow covering the frozen ground and the brick walls of villagehouses. Oil painting is good at depicting a multi-dimensional scene, a scene inwhich the edges of frozen ground and brick walls pierce through snow as ifcarved out by the cold wind.
Other painters expresstheir understanding of time with paintings of realistic styles. Some scholarsbelieve that fishing, wood-cutting, mountains andrivers are key to understanding the traditional Chinese culture. In Liu Jingui’s painting MajorCold, a lonely old man sits in a boat on a cold river against thebackground of red plum and white snow, evoking nostalgia.In Major Cold, a painting by Lao Shu, the layout is simple, and gentle colors areused. The half-closed scroll book and unidentified time-setting convey another understanding of the passage of time: Although the winter day is still bleak, springis on its way. It’s a good time to watch thesnowflakes falling quietly and wait for plums to bloom.
Time flies. The solar term Major Cold indicates that the chillywinter will soon be over, and a new year willtake its place.