書畫家劉士豪

编者按：

欣赏刘士豪老师“新界画”，映入眼帘的画面让我驻足而观，壮观而又贵气，华丽而又雅致，不由得眼前一亮，心情为之一振。“界画”为中国画特殊画种。“界画”自晋代时期即拉开帷幕，以亭台楼阁为主，青绿山水为配景，到公元七世纪的唐朝已成为绘画界的一种时尚，后更盛行于宋朝。20世纪以来，中国画的三次大争论，“界画”又引起了业内外人士的关注，古老“界画”作为中国画极为特殊的一个艺术门类，也迎来了新的春天和机遇。

继承传统，紧跟时代，加以创新又是我在刘士豪老师“新界画”上看到了的可贵之处，感受到了画家的责任感和使命感。画面在追求古意的同时，他的笔墨所表达的意境及色彩的对比鲜明而又统一，情景交融，画面既有传统“界画”的精神，又体现了现代审美意味，这种含有多种美学旨趣的“新界画”，唤起了春山叠翠、夏亭清凉、秋宇吐艳、冬阁素装，每幅绚丽璀璨的同时，也给我们带来了一个和谐的生命空间，一个理想的山水世界，诗和远方。

随着传统文化兴起的春风，“新界画”的燎原之势已拂面而来，也期盼刘士豪老师为我们创作出更多的精品力作，为“界画”这门独特的中华国粹艺术走向世界作出更大的贡献。

藝術簡介

劉士豪，生於1968年，字道裡，號石泉山人，齋號跬步堂，江蘇揚州人，國畫大師溫國良先生關門弟子。國家一級美術師、國培高級教師。現任北京公共外交中心文化部部長、北京文化發展基金會藝術惠民專項基金會界畫藝術館館長，北京798國際藝術交流中心界畫交流學會會長。道裡先生擅長“界畫”，其畫作多為中外名人志士喜愛並收藏；專設畫室于京華，以為傳承與弘揚“界畫”藝術之所。

畫家解讀界畫

“界畫”乃中國繪畫特色門類，源起已無從考，蓋晉代已有，成于隋、唐，興于宋，至元明雖偶有佳作；然漸趨式微，至清則近乎絕響，故當代知之者鮮。繪畫之道，在形神兼備，形則求工，描摹如生；神者蘊藉，氣韻悠遠；形神合一，方有俊偉齊物、尺幅千里之佳作。界畫吸收各派之長，狀物則栩栩如生，如在目前；寫意則清雋秀遠，雍容大氣；得宮廷畫之細密，兼文人畫之疏淡；細品遠觀，皆有深意，賞玩品鑒，各有所得。是以近代以來，界畫復興，書畫市場，洛陽紙貴；有志之士，傾慕如風。余亦有幸，師從當代大家溫國良先生，丹青為樂，不知老之將至，富貴浮雲，欣歎吾生有托。余之畫作，承古意以繼先賢，融今法以求精絕，雲山幽遠，以天地為心；曲廊回轉，以尺幅安命。畫者，畫吾心也。大漠孤煙，長河落日，無非氣象；小橋流水，寶簾銀鉤，亦是境界。東坡有句：“君臣一夢，今古空名，但遠山長，雲山亂，曉山青。”人事如煙，了無餘痕，詞中有畫，猶堪玩味。仁者樂山，智者樂水，界畫者，其仁智之表乎？功名之際能守拙，義利之辨不動心；身在鬧市，情寄漁樵，囊篋雖愁，心憂天下；畫中有道，欲辨忘言。石泉山人，惟願同好，共辨疑義，同賞清幽。

The Painter’s Profile

Liu Shihao, born in 1968, in Yangzhou, Jiangsu province, who has a courtesy name Daoli(inside the Great Way) and styles himself Shiquanshanren(a hermit in Stone Spring Mountain) and his studio Kuibutang(the studio of step-by-step progress), is the last disciple of the traditional Chinese Painting master Wen Guoliang. He is a national first-class artist as well as a senior instructor in Guopei School. He is currently the minister of Culture of Beijing Public Diplomacy Center, the director of Ruler Painting Art Gallery of Beijing Cultural Development Foundation, and the president of Ruler Painting Exchange Society of Beijing 798 International Art Exchange Center. Mr. Daoli is an expert on Ruler Painting whose works are admired and mostly collected by celebrities at home and abroad. In recent years he established a studio in Beijing, where he has been studying and promoting the art of Ruler Painting.

Ruler Painting in the Eyes of the Painter

As a particular category of Chinese painting, Ruler Painting offers little clue to its exact origin. Evidence has it that Ruler Painting originated from the Jin Dynasty(265-420), matured in the Sui(581-617) and Tang(618-907)Dynasties, flourished in the Song Dynasty(960-1279) and gradually declined in the Yuan(1271-1368) and Ming(1368-1644)Dynasties with occasional masterpieces nonetheless. In the Qing Dynasty(1644-1911) Ruler Painting degraded into such a sorry state that it was little known among the contemporaries. So to speak, the way of painting attaches great importance to the unity of form and spirit, with the former seeking meticulous lifelikeness and the latter invoking subtle and profound perception. Only by consummate integration of the two elements can a painter depict a true-to-life panorama on a small scroll. In this respect Ruler Painting is a case in point, which absorbs merits of various schools. In depiction of objects it achieves the effect of verisimilitude, while in sketching the landscape a sense of elegant magnitude is conveyed. The exquisite fineness of palace painting and the studied casualness of scholars’ painting are perfectly combined in Ruler Painting, which is well worth admiration and connoisseurship from different views of point. Hence recent years witnessed a revival of Ruler Painting with a thriving demand and more and more learners engaged. I am also one of them and in good luck to have Mr. Wen Guoliang as my master. Intoxicated in painting, I forget the invasion of years; discarding fickle fame, in art I find a lifelong companion. Following predecessors’ steps, my humble works inherit their traditional spirit; learning from modern techniques, I endeavor to polish and perfect my skills. The vast cloud-sky and remote mountains are a token of magnanimous heart, accommodating heaven and earth; while the winding verandas a miniature of the predestined fate, containing life’s vicissitudes. Thus in painting I depict my mind. The single column of smoke rising from a vast desert and the setting sun shining on a great river are marvelous scenes, yet no less are the small bridge spanning on the flowing water and the treasured curtain hung on silver clasps. Big or small, both impart a tranquil state of mind. Several lines of Su Shi read: “Both the sovereign and the subject’s dreams leave a futile fame,/ Yet the mountain stays the same:/ Looming long when seen afar,/Full of charm in cloud/And at dawn a green mound. While the bygones have vanished without a trace, the scenery depicted in the lyric remains permanently to be savored. If the benevolent take delight in mountains and the wise in waters, is Ruler Painting the outer manifestation of benevolence and wisdom? The painter sticks to his faith when tempted by riches and ranks, nor can profit or favor sway a heart of righteousness. In hustle and bustle he enjoys the leisurely freedom of a fisherman or a woodcutter; being destitute, he keeps himself concerned about the world. In painting truly lies the Great Way, yet words fail to say. Now Shiquanshanren extends his warm welcome to fellows in the same vein, to jointly expound our doubts and approval on Ruler Painting works.

文/张苑玲

刘士豪“新界画”作品欣赏

《同赏清幽》（85x85cm）

《紫气耀蓬莱》（90x179cm）

《云辉玉宇 万象光照》（92x181cm）

《深山听语声》（68x75cm）

《书上有路》（33x33cm）

《江南新绿》（66x69cm）

《琼楼春晓》（92x118cm）

《江楼览胜》（60x76cm）

《琼楼添寿》（68x128cm）

《琼楼逸友》（92x165cm）

《观海听涛》（92x92cm）

《高山流水》（48x55cm）