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廣州美術館館長盧禺光

勤奮 ●  機遇 ●  基因
古人談到人的成功機遇有三:遺傳一也,命運機遇二也,個人努力三也。前兩者為先天偶然因素,後者衹要勤奮,
缺一不可。現今社會對成功要素多強調個人的奮鬥,好像種瓜必得瓜,種豆必得豆,其實很形而上學。一個人的成
功,或者大成功,第三點緃然具備,沒有機遇,或見機遇稍緃即逝而抓不住,成功不過枉然;終有機遇,而遺傳基
因大打折扣,衹有望洋興嘆,特別是玩藝術的。
看了乃鍾的畫我就很感到他的勤奮與基因遺傳的催發。在海外的畫家中,能達到對物體寫生如此嫻熟的造型能力是
不多的,他的造型能力是建立在深厚功力、敏銳觀察、日積月纍的勤奮中得來,在海外他是藝術造型的高手,我想
這是毫無疑問的。他的動物、花卉乃至香港景物的寫生,能達到這種藝術高度,海外畫家不多。
然而,我想談的是他的先天條件。古人就很看重從袓輩、父輩中一直遺傳下來的基因優勢。“三代纔出一個貴族”就
很能知道古人對文化承傳及基因遺傳的重視。在中國,張愛玲之類的作家現在纔慢慢受人注意,學術地位慢慢越擡
越高,多少是個證明。王蒙、八大、石濤、三蘇父子就更不用證明了。乃鍾為嶺南畫派第一代傳人司徒奇之子,趙
少昂、司徒奇藝壇幾十年堪稱嶺南畫派於海外的隻璧,我就很感到這種先輩藝術氣質及基因對乃鍾的遺傳作用。在
藝術界,他的畫總比庸常多了一點點靈氣 (客觀地比較就可以看出),說不清,道不明,很偶然,也很神秘化。近
百年,對於西方遺傳學,中國人談的最少或避而不談,以為是唯心主義或是唯天才論。沒有深入的實證及生理、心
理、基因、環境、家族的熏陶積纍等等的研究,其實是真正的不科學或反科學。當然,我不是就乃鍾而證天才,藝
術上多些遺傳細胞,總比沒有遺傳細胞硬要玩藝術的好。
我最欣賞乃鍾的景物寫生,大膽潑辣、放緃、無為、無所顧忌,很有味道,作風完全反叛於他的花卉、鳥獸畫。他
的景物畫,進入一種現代的而又不失承傳的大開大合大放的藝術格局,很可喜可賀。《九龍觀音廟》印象朦朧之點
染很受西方印象派之鼓舞;《碼頭、駁船》的幾幅輕鬆自如,墨綫緃橫交錯,不顧私害的筆觸看到他思想變化的高
度;《鑽石山大勘樹》誠是一幅佳構,肆無忌憚的筆觸組織一派清静淡雅之悠然。這批作品都是他近年有所悟而有
所突破的訴說,是一種上昇的徵兆。不知觀者以為然否?
我與乃鍾見過三四次,皆行色匆匆,彼此於生活工作營營役役,失卻靜心攀談學習之機會,這次他邀我為其作品向
國內淺介,很尊敬他於藝術上的努力和欣賞他的藝術成就,祝其畫展成功舉辦。
廣州美術館館長     盧禺光
於朝天路半半居
一九九九年六月十一日
Diligence ●  Opportunity ● Inheritance
There was an old saying regarding the essential factors of success:  1. inheritance;   2.
opportunity;   3. diligence.  Among these factors, the first two are gifts from the heaven; the last
one requires one’s effort.  Nowadays, when we talk about success, we often emphasize on the amount
of effort one has made, leaving us a false impression that once we have tried our best, it would be
as much rewarding.  However, even one has made an effort; success may never materialize without a
grab of opportunity at the right time.  By the same token, even one has taken a great opportunity
and has worked hard, if inborn talents remain the missing factor, success would still be distant to
one.  This is particularly true to artists.
I can see the energy of both diligence and inheritance in Nigel Szeto’s paintings.  Not many
overseas artists can master imaging to such a high level of achievement like Nigel Szeto.  The
artist’s maturity of imaging is grounded from his excellence of technique thorough years of
experience, serious observation, as well as diligence.  His marvelous imaging abilities undoubtedly
topped the art field overseas.  His drawing of animals, flowers and Hong Kong sceneries has reached
a remarkable degree of proficiency as compared to fellow artists abroad.
What I want to talk about is, however, his natural gift.  In ancient time, inheritance of good
qualities from ancestors was prominent importance.  As the old saying states, ‘one noble appears
after three generations’, which shows how people in ancient time highly regarded inheritance of
culture and superior genes from the ancestors.  In fact, Zhang Ailing’s case is one of the many
cases of manifestation. Authors in China like Zhang have not gained attention till lately, yet their
status in academy has eventually been highly ranked since then.  Needless to say, examples also
include Wang Meng, Bada, Shi Tao, the three Su Father and sons.  Nigel is the son of the first
successor of the Lingnan School, Szeto Kei.  At that time, Zhao Shaoang and Szeto Kei were two
prominent figures of the Lingnan School overseas.  I can feel the supreme spirit of liveliness
inherited emerged from Szeto Nigel’s paintings as compared to many paintings by others (indeed such
a difference is obvious with objective comparison), which is so mysterious and occasional that can
hardly be conveyed by words…
In the last century, there were few discussions in China about the study of inheritance by the
Westerners.  It was somehow misunderstood that such discussions are about idealism or merely
philosophy about pro-genius theory.  The lack of study into factors of one’s success with reference
to physical, psychological, environmental aspects and the influence due to genetic heritage or the
family are reasons why such study cannot be more scientific, or even anti-scientific.  Of course, I
am not using Nigel Szeto’s case here as a proof of the effect of inheritance towards genius’
qualities, what I am saying is the involvement in art is better to have a talent than to begin with
nothing.
I appreciable the landscape paintings of Nigel most.  They demonstrate confidence, unrestrained
force, carefree character that let things to take their own course… they are full of spice!
Remarkably, his style of landscape painting is a rebellion against his paintings of flowers, birds
and animals.  His landscape painting is modern in form, but without losing the traditions in a
graceful manner.  The hazy dotting and paint-wash effect in Temple by the Temple Street, Kowloon is
a result of inspiration from the Western style of painting, the Impressionism; the Spring in
Aberdeen shows piers and barges in relaxing atmosphere through occasionally intertwining lines,
which in turn also reveal the artist’s variation of emotion; Dakan Village in Diamond Hill is indeed
an excellent piece of composition, with powerful brushwork forming a work of elegance and peace.
The artist’s recent works are a reflection of his enlightenment in past few years and a result
marking his breakthrough, they are signs of sublime.  I wonder if the audiences agree with me or
not?
I had met Nigel three to four times but we were both rushing this and that, missing a chance to sit
peacefully and discuss in depth.  This time he invited me to have a brief introduction of his work
in the country.  I highly appreciate Nigel Szeto’s hard work and his successful achievement in art.
May I congratulate him for every success in his exhibition!
Lu Yuguang
Director of the Guangzhou Fine Art Museum
(The article was written on 11th June, 1999)

勤奮 ●  機遇 ●  基因

古人談到人的成功機遇有三:遺傳一也,命運機遇二也,個人努力三也。前兩者為先天偶然因素,後者衹要勤奮,缺一不可。現今社會對成功要素多強調個人的奮鬥,好像種瓜必得瓜,種豆必得豆,其實很形而上學。一個人的成功,或者大成功,第三點緃然具備,沒有機遇,或見機遇稍緃即逝而抓不住,成功不過枉然;終有機遇,而遺傳基因大打折扣,衹有望洋興嘆,特別是玩藝術的。

看了乃鍾的畫我就很感到他的勤奮與基因遺傳的催發。在海外的畫家中,能達到對物體寫生如此嫻熟的造型能力是不多的,他的造型能力是建立在深厚功力、敏銳觀察、日積月纍的勤奮中得來,在海外他是藝術造型的高手,我想這是毫無疑問的。他的動物、花卉乃至香港景物的寫生,能達到這種藝術高度,海外畫家不多。

然而,我想談的是他的先天條件。古人就很看重從袓輩、父輩中一直遺傳下來的基因優勢。“三代纔出一個貴族”就很能知道古人對文化承傳及基因遺傳的重視。在中國,張愛玲之類的作家現在纔慢慢受人注意,學術地位慢慢越擡越高,多少是個證明。王蒙、八大、石濤、三蘇父子就更不用證明了。乃鍾為嶺南畫派第一代傳人司徒奇之子,趙少昂、司徒奇藝壇幾十年堪稱嶺南畫派於海外的隻璧,我就很感到這種先輩藝術氣質及基因對乃鍾的遺傳作用。在藝術界,他的畫總比庸常多了一點點靈氣 (客觀地比較就可以看出),說不清,道不明,很偶然,也很神秘化。近百年,對於西方遺傳學,中國人談的最少或避而不談,以為是唯心主義或是唯天才論。沒有深入的實證及生理、心理、基因、環境、家族的熏陶積纍等等的研究,其實是真正的不科學或反科學。當然,我不是就乃鍾而證天才,藝術上多些遺傳細胞,總比沒有遺傳細胞硬要玩藝術的好。

我最欣賞乃鍾的景物寫生,大膽潑辣、放緃、無為、無所顧忌,很有味道,作風完全反叛於他的花卉、鳥獸畫。他的景物畫,進入一種現代的而又不失承傳的大開大合大放的藝術格局,很可喜可賀。《九龍觀音廟》印象朦朧之點染很受西方印象派之鼓舞;《碼頭、駁船》的幾幅輕鬆自如,墨綫緃橫交錯,不顧私害的筆觸看到他思想變化的高度;《鑽石山大勘樹》誠是一幅佳構,肆無忌憚的筆觸組織一派清静淡雅之悠然。這批作品都是他近年有所悟而有所突破的訴說,是一種上昇的徵兆。不知觀者以為然否?

我與乃鍾見過三四次,皆行色匆匆,彼此於生活工作營營役役,失卻靜心攀談學習之機會,這次他邀我為其作品向國內淺介,很尊敬他於藝術上的努力和欣賞他的藝術成就,祝其畫展成功舉辦。

廣州美術館館長     盧禺光
於朝天路半半居
一九九九年六月十一日