青云谱随想 Random Thoughts on Qingyunpu
恕我直言，在我到过的省会中，南昌算是不太好玩的一个。幸好它的郊外还有个青云谱。Please allow me to be candid: among the provincial capitals I have visited, Nanchang is arguably one of the less entertaining. Fortunately, it has a Qingyunpu in its outskirts.
青云谱原是个道院，主持者当然是个道士，但原先他却做过10多年和尚，做和尚之前他还年轻，是堂堂明朝王室的后裔。Qingyunpu was originally a Taoist temple, and its head was naturally a Taoist priest, but he had been a monk for over a decade before that. Before becoming a monk, in his youth, he was a descendant of the royal family of the Ming Dynasty.
不管他的外在身份如何变化，历史留下了他的一个最根本的身份：17世纪晚期中国的杰出画家。Regardless of the changes in his external identities, history has left us with his most fundamental identity: an outstanding Chinese painter in the late 17th century.
他叫朱耷，又叫八大山人，雪个等，是明太祖朱元璋第十七子宁献工朱权的后代。His name was Zhu Da, also known as Badashanren, Xuege, and others, a descendant of Zhu Yuanzhang, the founder of the Ming Dynasty, and specifically from the lineage of Zhu Quan, the seventeenth son of the emperor.
在朱莲出生前223年，朱权被封于南昌，这便是青云谱出现在南昌郊外的远期原因。Two hundred and twenty-three years before Zhu Da's birth, Zhu Quan was enfeoffed in Nanchang, which is the distant reason for the presence of Qingyunpu in the outskirts of Nanchang.
朱权也是一个全能的艺术家，而且也信奉道家，这都与200多年后的朱耷构成了一种神奇的遥相呼应。Zhu Quan was also a versatile artist and a follower of Taoism, which forms a magical resonance with Zhu Da over two centuries later.
但可怜的朱耷已面临着朱家王朝的最后覆没，只能或僧或道，躲在冷僻的地方逃避改朝换代后的政治风雨，用画笔来营造一个孤独的精神小天地了。But poor Zhu Da was facing the final collapse of the Zhu family's dynasty, and could only escape the political turmoil after the change of dynasties by becoming a monk or a Taoist, hiding in secluded places, and creating a lonely spiritual world with his brush.
说起来，处于大明王朝鼎盛时代的朱权也是躲避过的，他因事见疑于明成祖，便躲在自筑的“精庐”中抚琴玩曲。Speaking of which, Zhu Quan, who lived in the heyday of the Ming Dynasty, also had to evade suspicion from the Yongle Emperor and took refuge in his self-built "Jinglu," playing the zither and enjoying music.
但相比之下，朱耷的躲避显然是更绝望、更凄楚，因而也更值得后人品味了。However, in comparison, Zhu Da's evasion was clearly more desperate and sorrowful, and thus more worthy of posterity's savoring.
究竟是一个什么样的院落，能给中国艺术史提供那么多的触目的荒凉？究竟是一些什么样的朽木、衰草、败荷、寒江，对应着画家道袍里裹藏的孤傲？我带着这些问题去寻找青云谱，没想到青云谱竟相当热闹。What kind of courtyard could provide so much striking desolation to the history of Chinese art? What kind of decaying wood, withered grass, wilted lotus, and cold river correspond to the pride hidden within the painter's Taoist robe? I went to Qingyunpu with these questions, only to find it quite lively.
不仅有汽车站，而且还有个火车小站。当日道院如今成了一个旅游点，门庭若市，园圃葱翠，屋宇敞亮，与我们日常游玩的古典式园林没有什么两样。Not only is there a bus station, but there is also a small train station. The former Taoist temple has now become a tourist spot, bustling with visitors, lush gardens, and bright buildings, not much different from the classical gardens we usually visit.
游客以青年男女居多，他们一般没有在宅内展出的朱耷作品前长久盘桓，而乐于在花丛曲径间款款缓步。Most of the tourists are young men and women, who generally do not linger long in front of the works of Zhu Da displayed inside, but prefer to stroll leisurely among the flowery paths.
突然一对上年岁的华侨夫妇被一群人簇拥着走来，说是朱耷的后代，满面威容，步履沉重。Suddenly, an elderly couple, surrounded by a crowd and claiming to be descendants of Zhu Da, approached with a dignified air and heavy steps.
我不太尊敬地投去一眼，心想，朱耷既做和尚又做道士，使我们对他的婚姻情况很不清楚，后来好像有过一个叫朱抱墟的后人，难道你们真是朱抱墟之后？即便是真的，又是多少代的事啦。I cast a rather disrespectful glance, thinking that since Zhu Da was both a monk and a Taoist, we are quite unclear about his marital status. There seems to have been a descendant named Zhu Baoxu later on; could you really be descendants of Zhu Baoxu? Even if you are, how many generations has it been?
这一切也不能怪谁。有这么多的人来套近乎，热热闹闹地来纪念一位几百年前的孤独艺术家，没有什么不好。None of this can be blamed on anyone. There is nothing wrong with so many people coming to pay their respects to a lonely artist from hundreds of years ago in such a lively manner.
庭院既然要整修也只能修得挺刮一点，让拥挤的游客能够行走得比较顺畅。然而无可奈何的是，这个院落之所以显得如此重要的原始神韵完全失落了，朱耷的精神小天地已沓不可见。这对我这样的寻访者来说，毕竟是一种悲哀。The courtyard, since it needs to be renovated, can only be made more presentable to allow the crowded tourists to move more smoothly. However, it is inevitable that the original charm that made this courtyard so significant has been completely lost, and Zhu Da's spiritual world is no longer visible. For visitors like me, this is, after all, a kind of sorrow.
记得年前去四川流青城山，以前熟记于心的“青城天下幽”的名言被一支摩肩接踵、喧哗连天的队伍赶得无影无踪。I remember visiting Mount Qingcheng in Sichuan last year, where the once well-remembered phrase "Qingcheng is the most serene under heaven" was driven away by a crowd that was shoulder to shoulder and noisy.
有关那座山的全部联想，有关道家大师们的种种行迹，有关画家张大干的缥缈遐思，也只能随之烟消云散。All associations with that mountain, all traces of Taoist masters, and all the ethereal musings of the painter Zhang Daqian can only vanish with the smoke.
我至今无法写一篇青城山游记，就是这个原因。幸好有关青云港的联想大多集中在朱耷一人身上，我还可以在人群中牢牢想着他，不至于像在青城山的山道上那样心情烦乱。The reason I have not been able to write a travelogue about Mount Qingcheng is precisely this. Fortunately, most of the associations with Qingyunpu are concentrated on Zhu Da alone, and I can firmly think of him amidst the crowd, without the restlessness I felt on the mountain paths of Mount Qingcheng.
没到青云港来时我也经常想起他。为此，有一年我招收研究生时曾出过一道历史文化方面的知识题：“略谈你对八大山人的了解。”一位考生的回答是：“中国历史上八位潜迹山林的隐士，通诗文，有傲骨，姓名待考。”I often thought of him before coming to Qingyunpu. Because of this, one year when I was recruiting graduate students, I set a question on historical culture: "Briefly discuss your understanding of the Eight Great Mountain Men." One candidate's answer was: "Eight hermits in Chinese history who hid in the mountains and forests, proficient in poetry and prose, with proud character, names to be examined."
把八大山人说成是八位隐士我倒是有所预料的，这道题目的“圈套”也在这里；把中国所有的隐士一并概括为“通诗文，有傲骨”，十分有趣；至于在考卷上写“待考”，我不禁哑然失笑了。I anticipated that the term "Eight Great Mountain Men" would be interpreted as eight hermits, and that was the "trap" of this question; it is quite interesting to generalize all Chinese hermits as "proficient in poetry and prose, with proud character"; as for writing "to be examined" on the exam paper, I couldn't help but chuckle.
朱耷常把“八大山人”这个署名连写成“哭之”、“笑之”字样，我想他见到我这位考生也只能哭之笑之的了。Zhu Da often connected the signature "Eight Great Mountain Men" into the characters for "crying" and "laughing," and I think he would also cry and laugh upon seeing my candidate.
与这位考生一样的对朱耷的隔膜感，我从许多参观者的眼神里也看了出来。他们面对朱聋的作品实在不知道好在哪里，这样潦倒的随意涂抹，与他们平常对美术作品的欣赏习惯差距太大了。中国传统艺术的光辉，17世纪晚期东方绘画的光辉，难道就闪耀在这些令人丧气的破残笔墨中么？Like this candidate's sense of estrangement from Zhu Da, I have seen it in the eyes of many visitors. They really don't know what is good about Zhu Da's works; such shabby and casual daubs are too far from their usual appreciation of art. Is the brilliance of traditional Chinese art, the brilliance of Eastern painting in the late 17th century, really shining in these dispiriting broken brushstrokes?
对于中国绘画史，我特别看重晚明至清一段。这与我对其他艺术门类历史发展阶段的评价有很大的差别。朱耷就出现在我特别看重的那个阶段中。In the history of Chinese painting, I particularly value the period from the late Ming Dynasty to the Qing Dynasty. This is quite different from my evaluation of other stages in the history of art. Zhu Da appeared in the period that I particularly value.
在此前漫长的绘画发展历史上，当然也是大匠如林、佳作叠出，有一连串说不完、道不尽的美的创造，但是，要说到艺术家个体生命的强悍呈现，笔墨丹青对人格内核的直捷外化，就不得不把目光投向徐渭、朱耷、原济以及“扬州八怪”等人了。In the long history of painting development before this, there were, of course, many great masters and a series of endless beautiful creations, but when it comes to the strong presentation of the individual artist's life and the direct externalization of personality core by ink and color, one must turn their gaze to Xu Wei, Zhu Da, Yuan Ji, and the "Yangzhou Eight Eccentrics," among others.
毫无疑问，并不是画到了人，画家就能深入地面对人和生命这些根本课题了。Undoubtedly, just because a person is painted, it does not mean that the painter can delve into the fundamental issues of people and life.
中国历史上有过一些很出色的人物画家如顾恺之、阎立本、吴道子、张萱、周访、顾闳中等等，他们的作品，或线条匀停紧挺，或设色富丽谐洽，或神貌逼真鲜明，我都是很喜欢的，但总的说来，被他们所画的人物与他们自身的生命激情未必有密切的血缘关联。In Chinese history, there have been some very outstanding figure painters such as Gu Kaizhi, Yan Liben, Wu Daozi, Zhang Xuan, Zhou Fang, and Gu Hongzhong, etc. Their works, with even and tight lines, rich and harmonious coloring, or vivid and lifelike appearances, I all like very much, but in general, the figures they painted do not necessarily have a close blood relationship with their own life passions.
他们强调传神，但主要也是很传神地在描绘着一种异己的著名人物或重要场面，艺术家本人的灵魂历程并不能酣畅地传达出来。在这种情况下，倒是山水、花鸟画更有可能比较曲折地展示画家的内心世界。They emphasized capturing the spirit, but mainly they were vividly depicting famous figures or important scenes that were alien to themselves. The soul journey of the artist himself could not be fully and freely conveyed. In such a situation, it was actually the landscape and flower-and-bird paintings that were more likely to display the inner world of the painter in a more roundabout way.
山水、花鸟本是人物画的背景和陪衬，当它们独立出来之后一直比较成功地表现了“诗中有画，画中有诗”的美学意境，而在这种意境中又大多溶解着一种隐逸观念，那就触及到了我所关心的人生意识。Landscape and flower-and-bird paintings were originally the background and accompaniment of figure paintings. When they became independent, they have been quite successful in expressing the aesthetic conception of "poetry contains painting, and painting contains poetry." In this conception, there is mostly a hermit concept dissolved, which touches on the life consciousness that I care about.
这种以隐逸观念为主调的人生意识虽然有浓有淡，有枯有荣，而基本走向却比较稳定，长期以来没有太多新的伸发，因此、久而久之，这种意识也就泛化为一种定势，画家们更多的是在笔墨趣味上倾注心力了。This life consciousness, dominated by the concept of hermitage, although varying in intensity and prosperity, has a relatively stable basic direction and has not been significantly extended for a long time. Therefore, over time, this consciousness has generalized into a fixed pattern, and painters have poured more effort into the charm of brush and ink.
所谓笔墨趣味认真说起来还是一个既模糊又复杂的概念说低一点，那或许是一种颇感得意的笔墨习惯；说高一点，或许是一种在笔墨间带有整体性的境界、感觉、悟性。The so-called charm of brush and ink, when seriously discussed, is still a vague and complex concept. To put it low, it may be a rather proud habit of brush and ink; to put it high, it may be an overall realm, feeling, and comprehension between brush and ink.
在中国古代，凡是像样的画家都会有笔墨趣味的。即便到了现代，国画家中的佼佼者也大抵在或低或高的笔墨趣味间邀游。In ancient China, any decent painter would have the charm of brush and ink. Even in modern times, the best of Chinese painters mostly roam between low and high charm of brush and ink.
这些画家的作品常常因高雅精美而让人叹为观止，但毕竟还缺少一种更强烈、更坦诚的东西，例如像文学中的《离骚》。These painters' works are often so elegant and exquisite that they are breathtaking, but after all, they still lack something more intense and frank, such as "Li Sao" in literature.
有没有可能，让艺术家全身心的苦恼、焦灼、挣扎，痴狂在画幅中燃烧，人们可以立即从笔墨、气韵，章法中发现艺术家本人，并且从根本上认识他们，就像欧洲人认识拉斐尔、罗丹和梵高？Is it possible for an artist's whole body and mind to be distressed, anxious, struggling, and fanatical, burning in the painting, and people can immediately discover the artist himself from the brush and ink, charm, and composition, and fundamentally understand them, just as Europeans understand Raphael, Rodin, and Van Gogh?
很多年以前北京故宫博物院举办过一次历代画展，我在已经看得十分疲倦的情况下突然看到徐渭的一幅葡萄图，精神陡然一震。后来又见到过他的《墨牡丹》《黄甲图》《月竹》，以及我很喜欢的《杂花图长卷》。Many years ago, the Palace Museum in Beijing held an exhibition of paintings through the ages. When I was already very tired, I suddenly saw a grape painting by Xu Wei, and my spirit suddenly refreshed. Later, I also saw his "Ink Peony," "Yellow Shellfish," "Moon and Bamboo," and the "Mixed Flowers Long Scroll" that I like very much.
他的生命奔泻出淋漓而又洒泼的墨色与线条，躁动的笔墨后面游动着不驯和无奈。在这里，仅说笔墨趣味就很不够了，仅说气韵生动也太矜持了。His life gushed out of the dripping and splashing ink and lines, and behind the restless brush and ink, there was a sense of unruliness and helplessness. Here, it is not enough to just talk about the charm of brush and ink, and it is too reserved to just talk about the vivid charm.
对徐渭我了解得比较多。从小在乡间老人口中经常听“徐文长”的故事，年长后细读了他的全部文集，洗去了有关他的许多不经传说，而对他的印象却愈来愈深。I know more about Xu Wei. When I was a child, I often heard stories about "Xu Wenchang" from the elderly in the countryside. When I grew up, I read all his collections carefully, washed away many unreasonable legends about him, and my impression of him became deeper and deeper.
他实在是一个才华横溢、具有充分国际可比性的大艺术家，但人间苦难也真是被他尝尽了。他由超人的清醒而走向孤傲，走向佯狂，直至有时真正的疯痴。He is indeed a brilliant and internationally comparable great artist, but he has also tasted the sufferings of the world. He went from super clarity to arrogance, to feigned madness, and even sometimes real madness.
他遭遇过复杂的家庭变故，参加过抗倭斗争，又曾惶恐于政治牵连。他曾自撰墓志铭，九次自杀而未死。他还误杀过妻子，坐过六年多监狱。He has experienced complex family changes, participated in the fight against Japanese pirates, and has been frightened by political entanglement. He once wrote his own epitaph and attempted suicide nine times but did not die. He also mistakenly killed his wife and was imprisoned for more than six years.
他厌弃人世、厌弃家庭、厌弃自身，但他又多么清楚自己在文化艺术史上的千古重量，这就产生了特别残酷、也特别响亮的生命冲撞。He despised the world, family, and himself, but he was so clear about his eternal weight in the history of culture and art, which created a particularly cruel and particularly loud life collision.
浙江的老百姓凭着直觉感触到了他的生命温度，把他作为几百年的谈资。老百姓主要截取了他佯狂的一面来作滑稽意义上的衍伸，而实际上他的佯狂背后埋藏的都是悲剧性的激潮。The common people in Zhejiang intuitively sensed the temperature of his life and made him a topic of conversation for hundreds of years. The common people mainly took the feigning madness aspect of him to make humorous extensions in a comical sense. However, in fact, behind his feigning madness were hidden all the tragic tides.
在中国古代画家中，人生经历像徐渭这样凄厉的人不多，即便有，也没有能力把它幻化为一幅幅生命本体悲剧的色彩和线条。Among ancient Chinese painters, there are not many people with such a tragic life experience as Xu Wei, and even if there are, they do not have the ability to transform it into a series of life tragedy colors and lines.
明确延续着这种在中国绘画史上很少见到的强烈悲剧意识的，便是朱耷。他具体的遭遇没有徐渭那样惨，但作为已亡的大明皇室的后裔，他的悲剧性感悟却比徐渭多了一个更寥廓的层面。It is Zhu Da who clearly continues this strong tragic consciousness that is rarely seen in the history of Chinese painting. His specific experience is not as tragic as Xu Wei's, but as a descendant of the extinct Ming royal family, his tragic perception is more than Xu Wei on a more desolate level.
他的天地全都沉沦，只能在纸幅上拼接一些枯枝、残叶、怪石来张罗出一个个地老天荒般的残山剩水，让一些孤独的鸟、怪异的鱼暂时躲避。His world has sunk, and he can only piece together some dead branches, leaves, and strange stones on the paper to set up a desolate landscape, allowing some lonely birds and strange fish to take shelter temporarily.
这些鸟鱼完全挣脱了秀美的美学范畴，而是夸张地袒露其丑，以丑直换人心，以丑傲视甜媚。These birds and fish have completely broken away from the aesthetic category of beauty and exaggerate their ugliness, replacing people's hearts with ugliness, and looking down on sweetness and beauty with ugliness.
它们是秃陋的，畏缩的，不想惹人，也不想发出任何音响的，但它们却都有一副让整个天地都为之一寒的白眼，冷冷地看着，而且把这冷冷地看当作了自身存在的目的。They are bald, timid, do not want to provoke people, and do not want to make any sound, but they all have a pair of white eyes that make the whole world shiver, looking coldly, and taking this cold look as the purpose of their own existence.
它们似乎又是木讷的，老态的，但从整个姿势看又隐含着一种极度的敏感，它们会飞动，会游弋，会不声不响地突然消失。毫无疑问，这样的物像也都走向了一种整体性的象征。They seem to be dull and old, but from the whole posture, they imply a kind of extreme sensitivity. They can fly, swim, and suddenly disappear without a sound. Undoubtedly, such objects also tend to a holistic symbol.
中国画平素在表现花鸟虫兽时也常常讲究一点象征，牡丹象征什么，梅花象征什么，喜鹊象征什么，老虎象征什么，这是一种层次较低的符号式对应，每每堕入陈词滥调，为上品格的画家们所鄙弃，例如韩斡笔下的马，韩滉笔下的牛就并不象征什么；Chinese paintings usually also pay some attention to symbolism when depicting flowers, birds, insects, and beasts. What does the peony symbolize? What does the plum blossom symbolize? What does the magpie symbolize? What does the tiger symbolize? This is a kind of lower-level symbolic correspondence, often falling into clichés and being despised by high-quality painters. For example, the horses painted by Han Gan and the cows painted by Han Huang don't symbolize anything specific;
但是，更高品位的画家却会去追求一种整体性的氛围象征，这是强烈的精神能量要求在画幅物像中充分直观所必然导致的要求。However, painters of a higher caliber would pursue a holistic symbolic atmosphere. This is an inevitable requirement resulting from the need for intense spiritual energy to be fully and intuitively presented in the images on the painting scroll.
朱耷的鸟并不具体在影射和对应着什么人，却分明有一种远远超越自然鸟的功能，与残山剩水一起指向一种独特的精神气氛。面对朱耷的画，人们的内心会不由自主地产生一阵寒噤。The birds painted by Zhu Da don't specifically allude to or correspond to any particular people, but they clearly possess a function that goes far beyond that of natural birds, pointing together with the desolate landscapes to a unique spiritual atmosphere. Facing Zhu Da's paintings, people can't help but shiver inwardly.
比朱耷小十几岁的原济也是明皇室后裔，用他自己的诗句来说，他与朱耷都是“金枝玉叶老遗民”。人们对他比较常用的称呼是石涛、大涤子、苦瓜和尚等。Yuan Ji, who was a dozen years younger than Zhu Da, was also a descendant of the Ming imperial family. In his own words, he and Zhu Da were both "surviving descendants of the imperial family with golden branches and jade leaves". People commonly refer to him as Shitao, Dadizi, Ku Gua He Shang, etc.
他虽与朱耷很要好，心理状态却有很大不同，精神痛苦没有朱耷那么深，很重要的一个原因是他与更广阔的自然有了深入接触，悲剧意识有所泛化。Although he was on good terms with Zhu Da, his mental state was quite different. His spiritual pain wasn't as deep as Zhu Da's. An important reason for this was that he had in-depth contact with the broader nature, and his sense of tragedy had been generalized.
但是，当这种悲剧意识泛化到他的山水笔墨中时，一种更具有普遍意义的美学风格也就蔚成气候。However, when this sense of tragedy was generalized into his landscape paintings with brush and ink, an aesthetic style with more universal significance took shape.
沉郁苍茫，奇险奔放，满眼躁动，满耳流荡，这就使他与朱耷等人一起与当时一度成为正统的“四王”（即王时敏、王鉴、王翠、王原祁）潮流形成鲜明对照，构成了很强大的时代性冲撞。Gloomy and vast, strange and bold, with restlessness filling the eyes and a flowing sense pervading the ears, this made him, together with Zhu Da and others, form a sharp contrast with the then-orthodox "Four Wangs" (Wang Shimin, Wang Jian, Wang Cui, and Wang Yuanqi) trend, creating a powerful collision of the times.
有他们在，不仅是“四王”，其他中国绘画史上种种保守、因袭、精雅、空洞的画风都成了一种萎弱的存在，一对比，在总体上显得平庸。With them around, not only the "Four Wangs", but also all kinds of conservative, imitative, refined but empty painting styles in the history of Chinese painting became a weak existence. In comparison, they generally seemed mediocre.
徐渭、朱耷、原济这些人，对后来著名的“扬州八怪”影响极大，再后来又滋养了吴昌硕和齐白石等现代画家。People like Xu Wei, Zhu Da, and Yuan Ji had a huge influence on the later famous "Eight Eccentrics of Yangzhou". Later on, they also nourished modern painters such as Wu Changshuo and Qi Baishi.
中国画的一个新生代的承续系列，就这样构建起来了。我深信这是中国艺术史上最有生命力的激流之一，也是中国人在明清之际的一种骄傲。Thus, a new generation succession series in Chinese painting was constructed. I firmly believe that this is one of the most vital torrents in the history of Chinese art and also a pride of the Chinese people during the Ming and Qing Dynasties.
齐白石在一幅画的题字上写的一段话使我每次想起都心头一热，他说：A passage written by Qi Baishi on the inscription of a painting always warms my heart whenever I think of it. He said:
“青藤（即徐渭）、雪个（即朱耷）、大涤子（即原济）之画，能横涂纵抹，余心极服之。恨不生前三百年，或为诸君磨墨理纸，诸君不纳，余于门之外饿而不去，亦快事也。”"The paintings of Qingteng (Xu Wei), Xuege (Zhu Da), and Dadizi (Yuan Ji) can be painted horizontally and vertically. I admire them wholeheartedly. I regret not being born three hundred years earlier. Otherwise, I would have ground ink and prepared paper for you gentlemen. If you didn't accept me, I would have stayed hungry outside your doors and not left. That would also have been a happy thing."
早在齐白石之前，郑燮（板桥）就刻过一个自用印章，其文为：青藤门下走狗”。Long before Qi Baishi, Zheng Xie (Banqiao) had engraved a personal seal with the inscription: "A Running Dog under the Gate of Qingteng".
这两件事，说起来都带有点疯痴劲头，而实际上却道尽了这股艺术激流在中国绘画史上是多么珍罕，多么难于遇见又多么让人激动。Both of these incidents seem a bit crazy, but in fact, they fully demonstrate how rare, difficult to encounter, and exciting this artistic torrent is in the history of Chinese painting.
世界上没有其他可能会如此折服本也不无孤傲的郑板桥和齐白石，除了以笔墨做媒介的一种生命与生命之间的强力诱惑。There is nothing else in the world that could possibly make the not-unarrogant Zheng Banqiao and Qi Baishi so convinced, except for the powerful temptation between lives mediated by brush and ink.
为了朝拜一种真正值得朝拜的艺术生命，郑、齐两位连折辱自己的生命也在所不惜了。他们都是乡间穷苦人家出身，一生为人质朴，绝不会花言巧语。In order to pay homage to a truly worthy artistic life, Zheng and Qi didn't even hesitate to humble themselves. They both came from poor rural families, were simple and honest throughout their lives, and would never use flowery words.
我在青云谱的庭院里就这样走走想想，也消磨了大半天时间。面对着各色不太懂画、也不太懂朱莲的游人，我想，事情的症结还在于我们没有很多强健的现代画家去震撼这些游人，致使他们常常过着一种缺少艺术激动的生活，因此也渐渐与艺术的过去和现在一并疏离起来。I walked around and thought in the courtyard of Qingyunpu like this, and half a day passed by. Facing all kinds of tourists who didn't understand paintings or Zhu Da very well, I thought that the crux of the matter was that we didn't have many strong modern painters to shock these tourists, causing them to often lead a life lacking artistic excitement. As a result, they gradually became alienated from both the past and present of art.
因此说到底还是艺术首先疏离了他们。什么时候我们身边能再出几个像徐渭这样的画家，他们或悲或喜的生命信号照亮了广阔的天域，哪怕再不懂艺术的老百姓也由衷地热爱他们，编出各种故事来代代相传？或者像朱耷这样，只冷冷地躲在一边画着，而几百年后的大师们却想倒赶过来做他的仆人？So ultimately, it was art that first alienated them. When will there be a few more painters like Xu Wei around us, whose life signals, whether sad or happy, can illuminate the vast sky? Even the common people who don't understand art at all will sincerely love them and make up various stories to pass down from generation to generation. Or like Zhu Da, just hiding coldly on one side and painting, while the masters hundreds of years later would want to rush over to be his servants?
全国各地历史博物馆和古代艺术家纪念馆中熙熙攘攘的游客，每时每刻都有可能汇成涌向某个现代艺术家的欢呼激潮。现代艺术家在哪里？请从精致入微的笔墨趣味中再往前迈一步吧，人民和历史最终接受的，是坦诚而透彻的生命。The bustling tourists in historical museums and ancient artist memorial halls across the country could potentially converge into a cheering tide for a certain modern artist at any moment. Where are the modern artists? Please take one more step forward from the delicate charm of brush and ink. What the people and history will ultimately accept is a sincere and thorough life.
