美是永恒的喜悅

徐榮木

邵葉道說(shuō)：“畫家是一種孤寂的職業(yè)，若一個(gè)畫家常常周旋于熱鬧中生活，雖可免去寂寥之苦，然其作品往往會(huì)流于平庸。”也許，正是孤獨(dú)成就了他的藝術(shù)高度。

因?yàn)橐环嫞蕾p一個(gè)人，故而成了摯友。

我與畫家邵葉道相識(shí)已有20多年，以前，他長(zhǎng)期在北京、南京、沈陽(yáng)、甘肅等地創(chuàng)作，前幾年應(yīng)邀回故鄉(xiāng)寧波居住，一些嗅覺(jué)靈敏的經(jīng)銷商隨之開(kāi)設(shè)多家由啟功題匾的“葉道軒”畫廊。

這些年，他的畫贏得了海內(nèi)外眾多藏家的認(rèn)可與青睞，佳作不斷，畫廊也負(fù)有盛名，慕名前去畫廊的人越來(lái)越多，有買畫、閑聊、求助等，居無(wú)寧日，作畫自然受到影響，他想逃離蹉跎瑣碎。如今，這里大多數(shù)時(shí)間由他人守著，自己另?yè)袼幾鳟嫞氚迅嗟木τ迷趧?chuàng)作上。

他陪我走進(jìn)這近千余平方米的畫廊。乍一看，我覺(jué)得自己仿佛闖入百花盛開(kāi)的仙境，到處是飛禽走獸，鳥(niǎo)語(yǔ)花香，蔚為大觀。瞧，威風(fēng)凜凜的老虎，展翅高翔的雄鷹，含苞欲放的牡丹，花叢戲嬉的鳥(niǎo)兒，宛若天仙的美女……百余幅畫掛滿畫廊，真可謂琳瑯滿目，美不勝收。在這一堂佳制中，從中揀幾幅我個(gè)人最為欣賞者一敘。

一曰動(dòng)物類作品。佳作如林，我認(rèn)為畫得最好的首推工筆虎畫。如《紅日高照添虎威》中的上山虎，傲立山崖，周遭冰天雪地，大雪壓松枝，與老虎不懼嚴(yán)寒倔強(qiáng)之態(tài)相呼應(yīng)，具有一種身處惡劣環(huán)境而威武不屈的象征。其布局高妙，用筆豪放，而老虎的皮毛、斑紋、胡須皆畫得致密纖細(xì)，處處照應(yīng)，絲絲入扣，刻畫具體而生動(dòng)，體現(xiàn)了畫家的心細(xì)與手巧。其虎逼真若活，既有西洋畫之寫實(shí)，又有中國(guó)畫之神韻，此畫可以說(shuō)將虎之威猛的精神傳出，在當(dāng)代虎畫中能傳遞這種精神力度的畫作并不多見(jiàn)，畫筆之神妙，無(wú)以復(fù)加，此等畫讓人有驚心動(dòng)魄之觀感。

《壯士撫劍精神生》是一幅畫鷹作品，鷹眼傳神，透出堅(jiān)定，冷視著這個(gè)世界，展現(xiàn)出一種威猛之氣。毛羽蒼色，栩栩如生，雙勾謹(jǐn)細(xì)，一只雄鷹在重巒疊嶂之上，蒼天之下自由地展翅翱翔，搏擊雄姿霸悍而粗獷，形體生動(dòng)而自然，伸展著自已的靈性，其藝術(shù)格調(diào)清新精致，章法奇特而狂態(tài)可掬，令人印象深刻。

二曰花鳥(niǎo)類作品。花鳥(niǎo)類作品皆精致，我比較看中的畫作《獨(dú)占春風(fēng)》構(gòu)圖奇妙，野外雪天，畫家將重墨線條作為牡丹主干，牡丹枝頭花蕊工細(xì)而繁復(fù)，筆墨酣暢，渾厚蒼勁，筆筆精到，設(shè)色賦彩氣韻生動(dòng)，鮮艷明媚。觀者可通過(guò)一葉一花感受到大自然的氣息和生命的力量，追求自然牡丹與心中牡丹的融合與再造，恰到好處地表現(xiàn)出牡丹的天姿國(guó)色。其牡丹顏色之鮮潤(rùn)，真像剛從野外采摘來(lái)一般活色生香。這些年，隨著畫家趣味與追求的不斷變化，牡丹題材也處在嬗變之中，畫作越發(fā)賞心悅目，出人意表，名家的手腕固應(yīng)如此。如畫來(lái)畫去皆一個(gè)模式，難免倒人胃口呢。

三曰山水類作品。中國(guó)山水畫，宋、元、明發(fā)展臻于鼎盛，今人超越不易。古人師法自然，中得心源，以蹈襲為恥。后人靠模仿古人作品為業(yè)者不在少數(shù)。邵葉道師古而不仿古，獨(dú)辟蹊徑，以創(chuàng)新和出奇制勝，大膽地將西法油畫與中國(guó)水墨畫融合，重塑了大結(jié)構(gòu)大境界的山水畫。

最值得欣賞的為西北風(fēng)情畫，《寒山黃華秋景寬》為其代表作之一。深秋原野，遠(yuǎn)望雪山，近觀滿山紅葉，山腳下一處平緩水澤，溪流淙淙，一對(duì)白色和黑色駿馬悠閑地在溪邊吃草，一牧人騎在白馬上，馬毛色亮麗，矯健不凡，馬與山川動(dòng)靜結(jié)合，渾然一體。此畫若無(wú)牧人騎馬襯托，僅為山川風(fēng)光，就大為失色了。整體設(shè)色濃麗，畫面渾厚，畫家把傳統(tǒng)繪畫的精神和現(xiàn)代審美情趣巧妙融合，神境想象宏闊壯麗，營(yíng)造出一種沉穩(wěn)、雋秀、清幽、祥和的氛圍。畫作不僅以高超的筆墨語(yǔ)言給人以形象美感，還寄托了畫家的思想情感，這種恬靜和諧的境界，自由蕭散的生活，也許正是畫家人格追求最完美的反映吧。

四曰人物類作品。在人物畫方面，中西藝術(shù)最顯著的差異在靈感之別，國(guó)畫靈感發(fā)源于自然，西畫則發(fā)源于女性。邵葉道擅長(zhǎng)畫仕女圖，也多從自然曲線表情達(dá)意，詮釋出自己心目中完美女子的樣子。在《紅粉映楚云》中，一面似桃花的漂亮頎長(zhǎng)女子端莊地站在樹(shù)旁，她頭插花朵，身著漢服，紅色長(zhǎng)袖黑色長(zhǎng)裙，胸綴金繡，服飾花紋圖案之精雅，勝于今日摩登印花綢，神態(tài)含蓄典雅，栩栩欲活，呼之欲出。而漢服之美，也體現(xiàn)出那個(gè)時(shí)代之強(qiáng)盛。

《德威廣大慧眼見(jiàn)真》是一幅楊枝觀音畫，此類繪畫最早見(jiàn)唐代宰相閻立本觀音像，真跡不見(jiàn)，其畫之石刻碑今藏于普陀山楊枝禪院內(nèi)。與釋迦佛同日生的邵葉道，心地慈仁，見(jiàn)多識(shí)廣。歷代楊枝觀音畫，免不了有閻立本的痕跡，但邵葉道又作了許多探索創(chuàng)新，觀音服飾鮮艷，設(shè)色靈幻，富有層次感。右手執(zhí)楊枝，左手托凈瓶，峨冠錦袍，佛像頂上一圓光白圈，佛像端莊妙嚴(yán)，神貌逼真，神情飛動(dòng)，堪稱神來(lái)之筆。楊枝觀音畫為何風(fēng)靡社會(huì)？許是它觸動(dòng)了許多人心底的美好蘊(yùn)藏吧。

邵葉道說(shuō)：“畫家是一種孤寂的職業(yè)，若一個(gè)畫家常常周旋于熱鬧中生活，雖可免去寂寥之苦，然其作品往往會(huì)流于平庸。”也許，正是孤獨(dú)成就了他的藝術(shù)高度。

“葉道軒”畫廊眾多佳作，在此不及一一敘述。“美是永恒的喜悅”。畫的美妙之處在于透過(guò)視覺(jué)而直訴觀者的心靈。觀賞這一幅幅賦予生命的藝術(shù)作品，令人愉悅，給我以一種心靈上的享受，我對(duì)畫家孤寂背后的艱辛付出，有了更深的理解。

Beauty： Eternal Joy

By Xu Rongmu

I met Shao Yedao over 20 years ago. We became friends because of a painting he created and because of the painter. He lived and created paintings in Beijing， Nanjing， Shenyang and Gansu for years before he was invited back to live in Ningbo， his hometown. After he settled down in Ningbo， he set up a gallery name Yedao Studio， an inscription handwritten by Qigong （1912-2005）， a famed sinologist and calligrapher. In fact， there are several galleries in the country all sharing the name handwritten by Qigong. The existence of these galleries indicates that Shao Yedao enjoys a fine reputation among collectors at home and abroad.

If the Yedao Studio galleries in other cities are operated by other people， Shao runs the gallery in Ningbo by himself， but he is no longer engaged in day-to-day administration. As his reputation spreads， the gallery attracts many visitors. Some visitors want to take a look at Shaos works and will make a purchase if they like something there. Some visitors just want to while away time by chatting with Shao. Some visitors come to seek assistance. He cant afford time for these daily things. He wants to dedicate his time and energy to painting.

On view at Shaos nearly 1，000-m2 gallery in Ningbo are various kinds of paintings， which showcase Shaos artistry and versatility. I have visited the gallery several times and some works appeal in particular to me.

Big creatures such as animals and hawks are a category Shao specializes. I prefer the tigers he paints in the? style， a style that focuses on very small details. Some critics admire Shaos tigers and go so far as to say that he is the best tiger painter in China.

Shao is excellent in painting flowers and birds， which is another category in traditional Chinese painting. Like some artists who focus exclusively on painting one kind of plant or flower such as plum flowers or lotus flowers， Shao paints peonies. Some Chinese believe that peonies should be the national flower of China. The flower， as believed by some people， symbolizes prosperity， longevity， wealth， harmony. As Shao is innovative and versatile， he paints peonies in a way that is unprecedented. His breakaway from stereotypes has earned him a lot of followers.

Shaos landscape painting is also wonderful. Landscape painting flourished in the Song （960-1279）， the Yuan （1279-1368） and the Ming （1368-1644） dynasties， establishing some rules and norms which have been copied and upheld by many artists. Shao does not copy. Innovative and creative， he introduces oil painting techniques into Chinese ink painting. His landscapes present a grand structure rarely seen before. Unlike ancient landscape artists who lived in the south and preferred landscapes in the south， Shao has created quite a few paintings depicting mountains in the northwest of China.

Shao also paints female figures and religious images. One of the religious images he paints is Guanyin， an East Asian bodhisattva associated with compassion as venerated by Mahayana Buddhists. Shaos portrayal of the Goddess of Mercy is very popular with believers. Guanyin has been a subject matter since the Tang Dynasty （618-907） and most artists followed more or less the norms created by Yan Liben， a portrait artist of the Tang. Shao has introduced some innovative touches to the portraits of Guanyin he creates.

Shao considers painting as a solitary dedication. If an artist loves to engage himself in the buzz of everyday life， which， though， could possibly prevent him from solitude to some degree， he could easily get lost in mediocrity. Shao keeps himself away from the excitement of everyday life and pursues creativity in his art. That explains how and why he has accomplished so much in his art.

For me， a visit to his gallery is big joy， for beauty is eternal joy. Watching his works on display at his gallery in Ningbo， I have had a good time and have a deeper understanding of the artists hard work.