水墨之道，肇于太古，成于魏晉，盛于宋元，今有張江舟者，承古開(kāi)今，獨(dú)步丹青。其藝融貫中西，既得徐蔣寫實(shí)之骨，復(fù)納泰西光影之髓，線墨交輝，色韻共舞，開(kāi)人物畫之新境，立當(dāng)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.

觀其人物，形神兼?zhèn)洌纛檺鹬c(diǎn)睛，吳道子運(yùn)筆。衣褶紋理，勾皴若游絲，婉轉(zhuǎn)含勁；眉目傳情，點(diǎn)染似星輝，幽邃藏真。承悲鴻寫實(shí)之精微，兆和塑形之謹(jǐn)嚴(yán)，然不囿舊范，自辟蹊徑。線非止界形，更化空間之維；墨非惟狀物，尤彰光影之變。一筆既落，虛實(shí)相生；數(shù)染疊加，骨肉渾成。故其筆下人物，或立若松岳，或動(dòng)似云煙，恍然有金石之質(zhì)，飄逸具仙靈之氣。

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，尤見(jiàn)匠心。墨色本玄，張氏獨(dú)能破其沉寂。朱砂點(diǎn)唇，若朝霞破曉；石綠染袂，似春水初融。濃墨積染，層疊如夜霧凝山；淡彩輕敷，暈散若晨露泫葉。墨瀋與丹青并置，非徒炫目，實(shí)乃情思激蕩。赤者如心火灼灼，青者若幽潭深深，黃者似金暉瀉地，斑斕間隱見(jiàn)人世悲歡，色相中暗藏乾坤玄機(jī)。

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，更在積染滲透。紙素為田，筆耕為犁，層層皴擦，若歲月沉淀；處處滲化，似心潮起伏。濃淡相沖，若陰陽(yáng)交泰；枯潤(rùn)互濟(jì)，如剛?cè)岵⑸Ｄ侵购诎祝撕f(wàn)象之變：焦墨似鐵，蒼勁沉雄；宿墨若云，氤氳迷離。觀其作，墨瀋淋漓處，似見(jiàn)洪荒初辟；飛白疏朗間，恍聞大化希聲。此非技之巧，實(shí)心與墨契，神與紙通。

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.

尤可稱道者，在其融古鑄今之膽識(shí)。傳統(tǒng)水墨，尚留白虛靜；張氏獨(dú)以彩入墨，破千年窠臼。朱藍(lán)輝映，若霓虹貫空；黃紫交織，似星斗列漢。然艷而不俗，烈而含韻，蓋因色中有墨，墨中蘊(yùn)色。其作深意，尤在象外之旨。人物非徒寫形，乃載哲思。或蹙眉凝目，若憂黎元疾苦；或振袖昂首，似抗命運(yùn)樊籠。背景墨色混沌，隱現(xiàn)城池傾覆、江河逆流，此非臆造，實(shí)乃對(duì)世道之隱喻。一筆一劃，俱含蒼生之嘆；一皴一染，皆藏天地之問(wèn)。故其畫非止藝也，實(shí)為心史，為世鑒，為眾生立言。

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。張江舟以古法為舟楫，以新意為風(fēng)帆，橫渡藝術(shù)之長(zhǎng)河。其線，勾連古今；其墨，吞吐八荒；其色，輝映萬(wàn)象。昔謝赫論畫，以氣韻為宗；張氏作畫，則以時(shí)代為魂。觀其作，但見(jiàn)傳統(tǒng)血脈涌動(dòng)其間，現(xiàn)代精神飛揚(yáng)其表。筆墨之道，貴在通變。張氏既不棄六法之根柢，復(fù)敢越雷池而創(chuàng)新。故其作也，有晉唐之骨，宋元之韻，明清之性，更兼當(dāng)代之思。后之覽者，當(dāng)臨畫靜對(duì)，或可見(jiàn)墨瀋深處，有先賢低語(yǔ)；彩痕明處，聞今人長(zhǎng)嘯。水墨至此，豈獨(dú)技藝之精進(jìn)？實(shí)乃文明之延續(xù)，心靈之共鳴。

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.

（來(lái)源：中書國(guó)畫）

藝術(shù)家簡(jiǎn)介

張江舟，當(dāng)代水墨藝術(shù)家。現(xiàn)任中國(guó)國(guó)家畫院院委、研究員，西安美術(shù)學(xué)院博士生導(dǎo)師，俄羅斯國(guó)家藝術(shù)科學(xué)院榮譽(yù)院士，中宣部文化名家，文旅部?jī)?yōu)秀專家，享受國(guó)務(wù)院政府特殊津貼專家。曾任中國(guó)國(guó)家畫院副院長(zhǎng)、中國(guó)美術(shù)家協(xié)會(huì)理事、《水墨研究》執(zhí)行主編。