吴悦石：简括生灵动 丹青写妙情

吴悦石，乙酉四月初七生于沈阳，祖籍山东。师王铸九、董寿平。八十年代中期出国，居海外十余年，庚辰归京。吴氏于山水人物、花鸟博古，皆遗形取神，自成风貌。古拙质朴，气象豪迈，生机盎然，文人气质，学者风范，高古品格，独树一格。

　　Wu Yue Shi, born on the seventh day of the fourth month in the year of Yiyou (1945) in Shenyang, with ancestral roots in Shandong. He studied under Wang Zhujiu and Dong Shouping. In the mid-1980s, he went abroad and resided overseas for more than ten years, returning to Beijing in the year of Gengchen (2000). Wu's works in landscapes, figures, flowers, birds, and antiquities all capture the essence and spirit, forming his unique style. His works are ancient and simple, yet grand and vigorous, full of vitality, with the qualities of a literati and scholar, exuding a lofty character and standing out with a unique style.

吴悦石

　　石涛云：“山川与余神遇而迹化也。”行万里路，浪迹于山水之间，潜移默化，眼中之山水已变为胸中之山水，出之于手，形之于笔，此时之山水已非眼中之山水，所谓为山川开生面也。

　　Shi Tao said, "Mountains and rivers transform through my spirit." After traveling thousands of miles and wandering among the landscapes, the mountains and rivers seen with the eyes gradually become the landscapes within the heart. When expressed through the hand and formed by the brush, these landscapes are no longer just what the eyes see, thus creating a new appearance for mountains and rivers.

　　吴悦石谓，写生之妙在心，观生之妙在情，落笔之时在意，成画之时在韵。名家之作，大略如此，非掠影图形之辈所能及。余见诸多对景图形，速写本中尚可一读，成画则一无是处，何也?是写死者也。更有甚者，速写时已僵死，何言写生?画有生气，观者神往，呼之欲出，非徒取形骸者所梦见。故生气难得，需笔墨精到、生活蒙养，挥毫之际，气至神出，生则活，活则动，动则灵，灵则妙。能生则气至，活画之法也。

　　Wu Yue Shi said, "The essence of sketching lies in the heart, the essence of observation lies in emotion, the essence of brushstrokes lies in intention, and the essence of completion lies in rhythm." The works of masters are generally like this, beyond the reach of those who merely depict shapes. I have seen many sketches that are readable in sketchbooks but completely fail as paintings. Why? Because they are lifeless. Some are even dead in the sketch stage; how can one speak of lively drawing then? A painting with vitality captivates viewers, making them feel as if the depicted scene is about to come alive, which mere shape-copying cannot achieve. Therefore, vitality is hard to attain and requires meticulous brushwork and life experiences. When wielding the brush, one must let the spirit emerge, avoiding rigidity and superficiality. True vitality brings life, movement, spirit, and wonder. Where there is life, there is spirit; this is the method of living painting.

　　吾辈注重默视在心，眼中之物非手中之物，亦非心中之物。眼为心官，心通过眼见，见后须熔化于心。心运四肢，笔为手延，出物非眼中之物，而是物象之精神，作品具人文性，乃思想文化之产，非单纯美术。若脱此境，以技求形似，则违中国写生之意矣。

　　We emphasize the importance of internalizing what we observe. What the eye sees is not what the hand renders, nor what the heart perceives. The eye is the organ of the heart; the heart sees through the eyes, but what is seen must be internalized within the heart. The heart directs the limbs, and the brush extends from the hand. What is produced is not merely what the eye sees but the spirit of the object. Such works possess a humanistic quality, being products of thought and culture, not mere art. If one pursues mere resemblance through technique, it deviates from the true essence of Chinese sketching.

　　吴悦石笔下线老辣苍劲，古朴圆润，简不空，繁不乱。画山水，浑朴空灵，气韵高雅;花鸟，简括生动，奇崛动人;人物，寥寥数笔，仪态万方。大写意花鸟，融徐渭放旷、八大诡谲、石涛简远、缶翁清亢、白石从容，笔迹可寻。能化笔为境，妙得真空，四君子、墨荷、花卉、禽羽翎毛，皆取诸家之法，自成风格。人物画简约抽象，帽翅、发髻、眼睛、胡须成符号，衣纹挥洒如劈麻写意;构图错落，节奏秩序，成独特造型语言，吐纳传统，创见发明。

　　The lines in Wu Yue Shi's work are robust and vigorous, ancient and smooth, simple yet not empty, complex yet not chaotic. His landscapes are profound and ethereal, with elegant charm; his flowers and birds are concise and lively, striking and moving; his figures, depicted with a few strokes, are majestic. His expressive flower-and-bird paintings blend Xu Wei's freedom, Bada Shanren's peculiarity, Shi Tao's simplicity, Wu Changshuo's clarity, and Qi Baishi's calmness, with traces of these masters evident in his work. He transforms brushwork into a realm, achieving wonder from emptiness. His depictions of the Four Gentlemen, ink lotuses, flowers, and birds all draw from various traditions, forming his unique style. His figure paintings are simple and abstract, with hats, hair buns, eyes, and beards reduced to symbols, and clothing lines flowing freely like hemp strokes in landscape painting. The compositions are staggered, and the rhythm and order form a unique visual language, absorbing tradition and creating innovations.

　　吴悦石书法上溯魏晋，心仪古意，兼篆隶真草诸韵。行草受明人书风，笔势起伏，散逸流畅。以苍劲线条入画，多变画技反补书法，相辅相成，神意尽出。兼擅词翰，水墨精妙款识，长短散聚，引经据典，传情达意，随手拈来，不拘一格。精心遣句，阐释画意，笔中情致;神思妙语，命题汩汩，无滞碍。散题营构，讲究落款，纪事署名，用章引文，布局映衬，轻重疏密，相得益彰。

　　Wu Yue Shi's calligraphy traces back to the Wei and Jin dynasties, aspiring to ancient elegance, incorporating the rhythms of seal, clerical, regular, and cursive scripts. His running script is influenced by Ming calligraphy, with vigorous and fluctuating strokes, free and flowing. He integrates robust brushstrokes into his paintings, using diverse techniques to enhance his calligraphy, complementing each other, fully expressing his spirit. He is also skilled in poetry and prose, often accompanying his ink works with exquisite inscriptions, varying in length and arrangement, citing classics, conveying emotions, and adeptly applying them without confinement. He carefully crafts phrases to elucidate the meaning of his paintings, infusing them with personal sentiment; his inspired thoughts flow effortlessly upon receiving a theme. He constructs titles thoughtfully, ensuring the placement of inscriptions, signatures, seals, and citations harmoniously complements the painting, achieving a balanced interplay of density and lightness, enhancing each other.

　　吴悦石潜心数十载，根传统，修笔墨，研名作;继绝学，开新象，以鲜明个性与精准鉴赏，推动大写意中国画发展。

　　Wu Yue Shi has devoted decades to deeply rooting himself in tradition, refining his brushwork, and studying masterworks. He continues to revive lost techniques and create new forms, using his distinct personality and keen critical eye to advance the development of expressive Chinese painting.

责任编辑：苗君