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刘海粟评谢天成--“日在孟晋中”
'May You Speed along Every Day in Seven-League Boots'
-To Xie Tiancheng, a Promising Painter |
桂林的谢天成，是我近年来结识的诸多青年画家中颇具自己面貌的一个。1982年，我正在广州休假作画，在湖南宾馆大厅看到了他所绘《奇峰醉墨》、《漓江云意》，笔力浑厚而自成天趣，画风泼辣而别有韵致。我当即喝彩。见了面才知道，他原来竟是三十有二的青年。
(Of the many young painters I have come to know in recent years, Xie Tiancheng of Guilin is, to say the least, out of ordinary. In 1982, during my holiday in Guangzhou, I happened to see his two works Exotic Mountain Peaks in Saturated Ink and Inspiration from Clouds over the Lijiang River, hung in the lobby of Nanhu Hotel. In spite of myself I said bravado as soon as I caught sight of them, for I was captivated by their bold and vigorous brushstrokes, spontaneous naturalness, and artistic style that was measuredly unrestrained. When the man appeared before me, I was surprised to learn that he was only 32 years old.)
当年夏秋，我九上黄山，天成紧随左右。我们老小同游于奇峰叠峦之间。我看了他画的《黄山松雾图》，知其画业日进，已然从前贤的圈子里跳了出来，立定精神，自张一军。我当即在画幅上题了"日在孟晋中"数语，热诚希望他继续"孟晋"。
(In summer and autumn that year, I toured Mount Huangshan nine times, and each time Tiancheng kept me company. Despite our vast age gap, the two of us loitered together among the jumble of mountain peaks. When he showed me his Mist-clad Pines o Huangshan during one of the tours, I could tell that he had come a long way and freed himself from the beaten track of our predecessors.
He had grasped the quintessence of painting and initiated a school of his own. I immediately wrote the colophon on his composition: "May you speed along every day in seven-league boots." What I meant was that he should continue with his impressive progress on the road towards sublimity.)
1986年春初，天成访日筹备画展前，途经上海，又向我展示了他的数幅近作。观后深感天成终于成为属于他自己的画家了。
(On his way to Japan in the early spring of 1986, Tiancheng stopped by Shanghai and showed me some of his new works. After perusing them carefully I realized that this man had become a painter in his own right.)
天成的山水画作品，从笔墨所引来的趣味看，不追求表面的光滑圆满，而着力于突出蓬勃向上的壮伟气势。如写诸峰侧象，有时用泼墨成一团火焰，泼写兼施，非常大胆。但也恰到火候，无造作硬凑的感觉。写流云雾飞，有用空白，有用淡墨，浓淡干湿，酣畅淋漓，色感异常鲜明强烈。他很有天赋，泼墨不易掌握，他却能大胆泼写。天成少时是学西画的，他的运用西画的线与块面结合的技法，能使画幅增添不少意趣。那些岩石的纹理，干诗不定，曲直有别，皴法上删繁去冗，力求洗练概括。
(In his landscape paintings he has deliberately relinquished the quest for smooth and well-rounded brushwork but rather attached due importance to achieving something elevating to the spirit through energetic, lively forms. When painting the silhouette of a mountain, his ink splashes are often suggestive of raging flame. Stiffness and affectation are alien to his works when he alternates ink splashes with linear drawing in a bold, well-conceived way. He uses, with ease and verve, little or no ink at all when depicting clouds and fogs, so as to set them in striking contrast with the landscape.
The ink-splashing technique, which proves daunting to many painters, comes to him easily and without inhibition. The Western painting techniques he learned during his school years have stood him in good stead, enabling him to enrich his work with witty combinations of lines and forms. When depicting crags his texture strokes are terse and sparing, with contours and vital veins brought out with ink washes of varying richness and lines which are now straight, now zigzagging.)
天成近年来遨游大自然，生活在漓江山水之中，想必也同样对自然山水风光有过从师到友的过程。这是很重要的。不管学西画还是国画，也不管是传统还是这个派那个派，技巧只是流，而不是源。唯有生活，才是赋予艺术以真正活力的生命之本源。
（In recent years Tiancheng has spent much of his time rambling about the mountainous shore of the Lijiang River. Therefore he must have undergone the process of turning the natural scenery from a teacher to a friend. This is a very important experience, because in whatever school or tradition of painting, techniques are but secondary. Life alone is the source of artistic vitality.）
当今中国画坛对国画问题的讨论很热烈，我觉得根本的一点是不要忘了生活。更要胜于生活，亦即师法自然，造化（表现）自然。舍去了这一点，难免会使人囿于所谓"传统"与"技法"之中，而成为它们的奴役。单纯追求技法的所谓"创新"也是这样。由此，我感觉到天成这样的青年画家，既扎根传统，却又能跳出来，这是有志于绘画的青年应该走的路。
（There has been much speculation among painters and critics alike about the destiny of traditional Chinese painting. To me, the fundamental thing is that we should never forget life and that our work should be better than life. In other words, we should learn from nature, and depict it to the best of our ability. Otherwise, we will fall into the trap of what we call tradition and technique, and be enslaved by them. The same is true of the so-called "innovative work" for technique's sake. To be rooted in tradition without
being shackled by it--- this is the road Tiancheng has taken, a road I think all aspiring young painters should follow.）
几年前，我曾寄望门人天成"日在孟晋中"，今天，我还是用这句话，作为赠送给他的礼物。
（A few years ago I wrote this colophon on a painting by Tiancheng, my disciple: "May you speed along in seven-league boots every day". Here, I would like to repeat this line as a token of my best wishes for him.）
刘海粟
（Liu Haisu）
【 刘海粟 】
〖刘海粟（1896-1994）江苏省常州人。曾任南京艺术学院院长。1912年创立上海美专，培养了不少美术人才，促进了美术事业的发展。他的绘画创作和理论著作都很丰富，曾出版《海粟国画》、《海粟油画》、《刘海粟黄山纪游》等绘画选集，以及理论著作《西画苑》、《国画苑》、《中国绘画上的六法论》、《石涛与后期印象派》、《黄山谈艺录》等。〗
（ Liu Haisu (1896-1994). A native of Changzhou, Jiangsu Province, Liu Haisu used to be president of the Nanjing Academy of Fine Arts. He was the founder of the Shanghai Fine Art School, which contributed to the country's art development by training a vast contingent of artists. He was a prolific painter and art theoretician. His masterpieces are found in a number of albums, including Traditional Chinese Paintings by Haisu, Oil Paintings by Haisu and Liu Haisu's Paintings on His Tour of Mount Huangshan. His theoretical writings include The Garden of Western Painting , The Garden of Traditional Chinese Painting , The "Six Principles" for Chinese Painting , Shi Tao and Post-Impressionism and Remarks on Art During a Sojourn to Mount Huangshan .）
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