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一日,青年画家曹小民,携其所作荷花长卷过有竹居,余览卷叹赏久之,信笔记所想以商诸小民。尝见某些工笔画,纤毫无遗,功夫到家,酷似活本,唯以再现对象为务,而不见作者之人何在,意何在,视作教科书插图则可,与艺术实不相干；又有一种则完全沿袭传统套路,一味追摹古人,毫无新意。小民之画则不然。其笔下之荷花皆来自写生,源于自我之观察、感受、创意,故所写皆为神姿情态,本于立意而归乎用笔。作者还着意描写荷花所处之环境,创造出光气浮动,雾露沛盈的大自然之一隅。看那些顾盼有情,或动或静,或藏或露,或虚或实,或含或放的花朵,在转折向背,摇曳生姿的绿叶掩映间,就像是一群天真无邪的仙子,徜徉在没有尘浊,没有罪恶,没有世俗污染的自由天地里。
One day, the young painter Cao Xiaomin brought his long scroll with a bamboo scroll and a reward scroll for a long time. Taste some of the works of art strokes, without exception, kung fu home, resembles a living, only to reproduce the object for the service, but not the author of what, where, as a textbook illustration can be, and art is irrelevant; there is a Then completely follow the traditional routines, blindly tracing the ancients, nothing new. Small paintings are not. The lotus flowers are from the sketch, from the observation of the self, feelings, creativity, it is written by God posture, the original intention of the pen. The author also deliberately describes the lotus where the environment, creating a floating phoenix, fog full of natural corner. Look at those who look forward to love, or moving or static, or possession or dew, or imaginary or real, or contain or release of flowers, turn in the back, swaying green leaves, like a group of innocent fairy, 徜 徉In the world of freedom, without dust, without sin, without earthly pollution.