张江舟丨纸素为田勤笔耕 墨渖氤氲藏乾坤

水墨之道，肇于太古，成于魏晋，盛于宋元，今有张江舟者，承古开今，独步丹青。其艺融贯中西，既得徐蒋写实之骨，复纳泰西光影之髓，线墨交辉，色韵共舞，开人物画之新境，立当代水墨之圭臬。

The way of ink painting originated in ancient times, matured during the Wei and Jin dynasties, flourished during the Song and Yuan dynasties, and today, Zhang Jiangzhou carries the tradition forward, forging a path of his own in the world of traditional Chinese painting. His art combines both Chinese and Western elements, inheriting the realistic bones of Xu and Jiang's works while absorbing the essence of Western light and shadow. The interplay of lines and ink, the harmony of color and rhythm, create a new realm in figure painting and establish a standard for contemporary ink painting.

观其人物，形神兼备，若顾恺之点睛，吴道子运笔。衣褶纹理，勾皴若游丝，婉转含劲；眉目传情，点染似星辉，幽邃藏真。承悲鸿写实之精微，兆和塑形之谨严，然不囿旧范，自辟蹊径。线非止界形，更化空间之维；墨非惟状物，尤彰光影之变。一笔既落，虚实相生；数染叠加，骨肉浑成。故其笔下人物，或立若松岳，或动似云烟，恍然有金石之质，飘逸具仙灵之气。

Looking at his figures, they possess both form and spirit, akin to the piercing gaze of Gu Kaizhi or the brushwork of Wu Daozi. The folds and textures of the garments are delicately outlined, like flowing threads, gentle yet powerful； the expressions in the eyes convey emotions, with a sparkle like starlight, deep and mysterious. Drawing from the precise realism of Xu Beihong and the rigorous modeling of Zhao Chang, he does not adhere to old conventions but forges his own unique path. The lines go beyond merely delineating forms, evolving into dimensions of space； the ink does not only describe objects but also highlights the shifts in light and shadow. Once a stroke is made, the interplay of emptiness and solidity arises； multiple layers of ink and color build a harmonious whole. Therefore, his figures stand like towering pine trees or move like drifting clouds, seemingly possessing the quality of metal and stone, yet floating with an ethereal, otherworldly aura.

至若施彩，尤见匠心。墨色本玄，张氏独能破其沉寂。朱砂点唇，若朝霞破晓；石绿染袂，似春水初融。浓墨积染，层叠如夜雾凝山；淡彩轻敷，晕散若晨露泫叶。墨渖与丹青并置，非徒炫目，实乃情思激荡。赤者如心火灼灼，青者若幽潭深深，黄者似金晖泻地，斑斓间隐见人世悲欢，色相中暗藏乾坤玄机。

As for his use of color, it is especially skillful. While the ink itself is inherently profound, Zhang has the unique ability to break its stillness. The red cinnabar on the lips is like the dawn breaking at daybreak； the stone green stains on the sleeves resemble the early spring waters thawing. The deep ink builds up in layers, as thick as a misty mountain at night； the light color is applied gently, spreading like morning dew on leaves. The juxtaposition of ink and color is not merely for visual impact； it stirs emotions and thoughts. Red is like the burning fire of the heart, blue like the deep quiet of a hidden pool, and yellow like golden sunlight spilling to the earth. In this vibrant palette, the joys and sorrows of the human world are subtly hidden, and within the colors lie the mysteries of the universe.

其墨法之妙，更在积染渗透。纸素为田，笔耕为犁，层层皴擦，若岁月沉淀；处处渗化，似心潮起伏。浓淡相冲，若阴阳交泰；枯润互济，如刚柔并生。墨色非止黑白，乃含万象之变：焦墨似铁，苍劲沉雄；宿墨若云，氤氲迷离。观其作，墨渖淋漓处，似见洪荒初辟；飞白疏朗间，恍闻大化希声。此非技之巧，实心与墨契，神与纸通。

His ink technique is particularly remarkable in its gradual build-up and infiltration. The paper and silk are the fields, and the brush is the plow. Layers of brushstrokes and texture, like the sedimentation of time, permeate every inch, resembling the ebb and flow of the heart's emotions. The contrast between light and dark resembles the harmonious balance of yin and yang； the dryness and moisture complement one another, like the coexistence of hardness and softness. The ink is not merely black and white but encompasses the changes of all things: burnt ink like iron, solid and weighty； old ink like clouds, mysterious and elusive. In his works, the lush ink appears to reveal the primordial chaos； between the sparse and orderly white spaces, one can almost hear the faint sounds of great transformations. This is not simply a display of technical skill, but a deep connection between the heart and the ink, the spirit and the paper.

尤可称道者，在其融古铸今之胆识。传统水墨，尚留白虚静；张氏独以彩入墨，破千年窠臼。朱蓝辉映，若霓虹贯空；黄紫交织，似星斗列汉。然艳而不俗，烈而含韵，盖因色中有墨，墨中蕴色。其作深意，尤在象外之旨。人物非徒写形，乃载哲思。或蹙眉凝目，若忧黎元疾苦；或振袖昂首，似抗命运樊笼。背景墨色混沌，隐现城池倾覆、江河逆流，此非臆造，实乃对世道之隐喻。一笔一划，俱含苍生之叹；一皴一染，皆藏天地之问。故其画非止艺也，实为心史，为世鉴，为众生立言。

What is particularly commendable is his bold integration of the old with the new. Traditional ink painting often leaves white space to suggest tranquility； Zhang, however, breaks with millennia of tradition by incorporating color into ink, creating a new visual language. The interplay of red and blue shines like a rainbow stretching across the sky； the combination of yellow and purple resembles the stars of the Milky Way. Yet his use of color is neither gaudy nor superficial； it is intense yet full of meaning, because within the colors is ink, and within the ink is color. His works convey profound meaning, especially in what lies beyond the surface. The figures do not merely depict shapes but carry philosophical reflections. Some furrow their brows and fix their gaze, as if contemplating the suffering of the people； others raise their sleeves and lift their heads, as if defying the cage of fate. The chaotic ink in the background hints at collapsing cities and rivers flowing backward. This is not mere imagination, but a metaphor for the state of the world. Each stroke and each layer of ink contains the sighs of the people； every texture and tint carries the questions of the universe. Therefore, his paintings are not just works of art but histories of the heart, reflections on the world, and a voice for all beings.

水墨千年，代有才人。张江舟以古法为舟楫，以新意为风帆，横渡艺术之长河。其线，勾连古今；其墨，吞吐八荒；其色，辉映万象。昔谢赫论画，以气韵为宗；张氏作画，则以时代为魂。观其作，但见传统血脉涌动其间，现代精神飞扬其表。笔墨之道，贵在通变。张氏既不弃六法之根柢，复敢越雷池而创新。故其作也，有晋唐之骨，宋元之韵，明清之性，更兼当代之思。后之览者，当临画静对，或可见墨渖深处，有先贤低语；彩痕明处，闻今人长啸。水墨至此，岂独技艺之精进？实乃文明之延续，心灵之共鸣。

Ink painting has a long history, and each generation has its talents. Zhang Jiangzhou uses ancient methods as his vessel and new ideas as his sail, navigating the vast river of art. His lines connect the past and present； his ink swallows and exhales all realms； his colors illuminate all phenomena. In the past, Xie He wrote about painting, emphasizing the importance of spirit and rhythm； Zhang, in his works, emphasizes the soul of the times. Viewing his paintings, one can feel the surge of traditional bloodlines within, while the spirit of the modern age soars on the surface. The way of brush and ink thrives in its transformations. Zhang does not discard the fundamentals of the Six Principles of Chinese painting but dares to innovate beyond conventional boundaries. Thus, his works carry the bones of the Jin and Tang dynasties, the charm of the Song and Yuan, the character of the Ming and Qing, and the thoughts of the contemporary era. Future viewers, when facing his works, may find that in the depths of the ink, they hear the whisper of ancient sages； in the bright colors, they hear the long cry of today's people. Ink painting, at this point, is not merely a refinement of technique but the continuation of civilization, the resonance of the soul.

（来源：中书国画）

艺术家简介

张江舟，当代水墨艺术家。现任中国国家画院院委、研究员，西安美术学院博士生导师，俄罗斯国家艺术科学院荣誉院士，中宣部文化名家，文旅部优秀专家，享受国务院政府特殊津贴专家。曾任中国国家画院副院长、中国美术家协会理事、《水墨研究》执行主编。