The unsophisticated feeling makes people feel refreshed. In the dripping transparent ink colours, the immature pink begonia started to grow. The dotted pink did not seem to belong to the worldly earth. Instead, they popped up from the fresh ink marks. The two ducks with yellow beaks immersed themselves in the surreal beautiful scene. It felt they have forgotten where they were from their frozen expression. The beauty of this painting is beyond words.
扑面而来的淳朴清雅，让人顿然心境如洗。淋漓斑驳的透明墨色中，稚嫩的粉色海棠刚刚萌芽，点点粉红仿佛不是生于尘世的土壤，而是从清芬的墨渍中生发。两只黄嘴鸭沉浸在超现实的良辰美景，愣愣的神情仿佛浑然忘世。此画的笔意之酣畅、画境之美妙，确非言辞可形容。
This piece is among a series of works painted by Dr. Yuhua Shouzhi Wang. The direct strokes are like clouds in the sky and water running in the river. Although it has a deep feel of the Chinese painting, it contains the western modern composition elements and space consciousness. The paintings are very delicate. By ‘delicate’, it does not mean precise or detailed. It reveals the natural impromptu and subtle composition from the painter!
这是当代艺术家玉花寿之王博士的系列绘画作品之一。祂的画作，用笔拙朴率真，如行云流水，看似国画意味浓厚，却暗含西方现代绘画的构成元素和空间意识；祂的画艺极其“精微”，“精微”非指精确、细致，而是画家自然流露的即兴感和布局的精妙！
The painting style is based on the gift, talent and training. It embodies the personal quality of the artist. We can safely say the cultivation decides on the quality of paintings. Mr. Qi Bai Shi did a painting at the age of 94. There were only a few wicker and two bamboo fence. The overall painting had just these lines with the title of “No beauty of Autumn and Spring can compete with it”. That said, ten miles of scenes in Spring and Autumn can hardly reach the wonderful level of this painting. Thus, it is noticeable to see the confidence from Bai Shi. The key factors of Chinese paintings are not about the topic. They are about how to use strokes of ink. If they are in a great stage, then the painting will exceed the nature.
画作之笔墨取决于画家的天赋、才情、修养，是画家个性品质的综合体现。可以这样说:有什么样的心境修为，就有什么样的笔墨质量。齐白石先生94岁曾画过一张画，画面只有几根柳条和两根竹篱笆，整幅画就几根线条，题款是“秋色春风无此华美”，其意是说：十里春风秋色，也难以比得上此画之精彩美妙。由此可见白石老人有何等的自信。国画的关要不在于题材，而是擅用笔墨。笔墨入胜境，必定超越自然。
People that really know paintings all love to appreciate the strokes of ink. Chinese paintings have been influenced by the western style since the 19th century. From art academy to folks, they all paint the shapes based on the lighting theory and objective of things. The aesthetic value went away from the oriental painting traditions. Neither does it show understanding of the inner meanings and interests of artists.
真正懂画的人都在品味笔墨，齐白石先生在知命之年，就已经悟到这一点，他曾这样说过：“青藤雪个远凡胎，老缶衰年别有才。我欲九泉为走狗，三家门下转轮来”，意思是他心甘情愿要做徐青藤、八大山人与缶庐门下的“走狗”，轮值于三家门下。其语道出齐白石的美学鉴赏和对笔墨的认知。
然而，自十九世纪以来，国画受西方绘画的影响，上至美术学院下至民间，均以光学原理，物象的客观作为绘画的造型依据。其美学思想远离了东方传统绘画的文脉，更没有体悟文人画的理趣内涵之所在。
A series of Chinese paintings of flowers and birds by Dr. Yuhua Shouzhi Wang are among the most noticeable scholar style in contemporary art. Her paintings stand on the Chinese traditional aesthetics and also absorb the avant garde painting elements from the western exploring art. On behalf of traditional scholar paintings, the ultimate goal is not to show the technics in painting, which often mean similar shapes. The goal is to cultivate the mind to be free from worldly upset thoughts. This idea of taking away worldly thoughts is the utmost spiritual meaning embodied in the oriental art.
玉花寿之王博士的国画花鸟系列，堪称是当代最具代表性的文人绘画，祂的画作在立足中国传统美学的基础上，还吸收融化了西方探索艺术的前卫性绘画要素。代表传统绘画主流的文人画，最终价值并不在于其艺术上的功夫，即所谓的技巧与是否形似，而是在于陶冶心灵，使人脱离一切世俗的烦妄之念。这个“离尘脱俗之念”就是东方艺术所彰显的最为崇高的精神内涵。
Written by Zhibai, translated by Jeremy
From: Lang Mo Yun Zhuan Yi Qian Kun
撰稿／知白
转自：朗墨运转一乾坤