胡金全评论著名画家鍾建新教授“石质虚点法”（中英双语版）
中国画史上从未有过的独有石质感
——鍾建新教授在宣纸上成功创造“石质虚点法”
Never seen before in
the history of
Chinese painting
文/胡金全（Hu Jinquan）
中国国家一级美术师建鍾新教授的精湛画艺太令人惊叹了，他与所有大师级的前辈画家一样，能驾驭多种不同的艺术，中西共融。
他钻研多年的水彩石质感独一无二，大型的水彩画（152cmx102cm）石质感，真是轰动画坛，其独特性可谓“前无古人”。（图1至图7）
With unique stone texture, Professor Kinsan Chung created the “The method of Stone Texture Spacing Dot ” on rice paper.
Professor Kinsan Chung, a national first-class artist in China, has amazed the public with his painting skills. Like all master-level predecessors, he can control a variety of different arts and blend Chinese and Western art.
The texture of the watercolor stone
that he has studied for many years is far better than that of the predecessors and is unique. The large-scale watercolor painting has a stone texture that really hits the art world and is hailed as unprecedented. (Picture 1 to Picture 7)
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大约在四年前，研究水彩画和国画的钟建新教授对我说，他终于成功把这独有的石质感肌理的技巧以水墨单一媒介，成功的在宣纸上表达出来了，而这是他已进行了多年努力的成果。［天长地久］、［寒湖晓雪］（见附图8至图26）
About four years ago, Professor Kinsan Chung, who studied watercolor and Chinese painting, told me that he finally succeeded in expressing this unique stone texture technique in a single medium of ink and use on the thin rice paper, and this is what he has already done, and it is the result of his hard working in these years. [Eternity], [ The cold lake in the early morning] (See photo 8 to photo 26)
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（图24-26寒湖晓雪图及其局部）
整体来说，以［天长地久］为例，这是一张经过大湿染的水墨画，上面却呈现无数的石头。虽然大小不一，却非常写实；虽然结构随意，却不失严谨。质感的真实度和肌理的周密程度，远超人物想像，放大后更发现画里有“书”，而且那非常抽象的形态更见深入。加上是纯单一物料，国画水墨或西画水彩，这确实是“古之未有、今之未见”的石质感表现方式。
古人画石，在乎于形丶气丶神丶伟丶奇 为主。
下面我们引证鍾建新教授画中石质感如何的［古之未有，今之未见］。为免过于冗长，尚且从唐代开始，旨在对照中体悟鍾建新教授之精湛画技！
唐高宗上元二年（公元675年）出生的名家李昭道的［明皇幸蜀图］（见图27至28）,
( Eternity and It’s partly texture p. 8-23)
(The Cold Lake in the Early Morning Picture and Part p. 24-26)
On the whole, I use [Eternity] as an example. This is an ink painting that has been stained with great dampness, but it is very realistic, and countless stones, large and small, the structure is random and rigorous, and the texture is authentic and strong. The thoroughness of it’s bush strokes is far beyond the imagination of the characters. After zooming in, it is found that it is looked like picture having small picture in the every parts of the paintings, which are very abstract and
in-depth. In addition, it is a pure single art material, Chinese ink painting or western painting watercolor. This is indeed a way of expression of stone texture that has never been seen in the past or today.
The ancients painted stones, caring about form, momentum, spirit, grandeur, and strangeness.
大贺文艺与评论 10:37:33
We quote how the texture of the stone in Professor Chung’s paintings [None was found in ancient times, never seen today], we must start from the Tang Dynasty. In order not to be too lengthy, I will only compare the most important Artists in China !
[Emperor Visiting Sichuan Picture] by
Li Zhao-dao(675AD-758AD), a famous Artist in Tang Dynasty (see Figures 27-
28),
Beside, rocky hills are steep and steep, with colour, strangeness, and spirital. It is famous for its shape like a god axe. It is unprecedented in the prosperous Tang Dynasty. Compared with his father Li Si-xun(651AD-716AD), he is more majestic and strangeness. The texture can be said to be replaced by stone color.
In the Southern Tang Dynasty of the Five Dynasties of Tenth century , Wei Xian painted the famous stone garden, from his artwork “The Senior Scholar” (pictures 29 to 30).
Surrounded by strange stones in the garden, it is rich in layers. This method,
with dry brush rubbing, side-brushing, brush sweeping, has infected the later North Song, South Song dynasties, Yuan, Ming, and Qing Dynasties.
In the Song Dynasty, many famous painters of stone, in addition to form, momentum, spirit, grandeur, and strangeness, also developed the [realism] path, which is the texture of stone. The following are only a few of them, and we can even quote Professor Chung’s [New Song Faction], to recognize that it is not out of thin air, but also see that Chung’s unique stone texture looks like a white rainbow studdenly crossing the Sky to the sun.
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其石山丘壑峻峭，以色丶奇丶神，而见称，形如神斧，是盛唐以前所未有，比其父李思训，来得雄伟称奇，由于重于形丶伟丶奇而未见有特别的质感，可以说以石色代之。
至五代南唐，卫贤画石苑之名家，从他的《高士图》（图29至30），
Beside, rocky hills are steep and steep, with colour, strangeness, and spirital. It is famous for its shape like a god axe. It is unprecedented in the prosperous Tang Dynasty. Compared with his father Li Si-xun(651AD-716AD), he is more majestic and strangeness. The texture can be said to be replaced by stone color.
In the Southern Tang Dynasty of the Five Dynasties of Tenth century , Wei Xian painted the famous stone garden, from his artwork “The Senior Scholar” (pictures 29 to 30).
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当中院外奇石环抱，富层次感，此方法，干笔皱擦，扁峯旬笔，感染后来的北宋丶南宋丶元丶明丶清至今。宋代以多位画石之名家，除了形丶气丶神丶奇丶伟，还开展了［真］的道路，那便是石质感。以下只述其中数位，更可引证鍾教授之［新宋派］，非凭空而出，更见其独特石质感横空如白虹现世。
第一位是同期的范宽，出生于五代后汉末年为盛宋时期的真宗丶仁宗时期的大师名家，以小斧劈法丶旬笔丶点墨丶技麻皱为主，以示形丶质。《谿山行旅图》（见图31）。
Surrounded by strange stones in the garden, it is rich in layers. This method,
with dry brush rubbing, side-brushing, brush sweeping, has infected the later North Song, South Song dynasties, Yuan, Ming, and Qing Dynasties.
In the Song Dynasty, many famous painters of stone, in addition to form, momentum, spirit, grandeur, and strangeness, also developed the [realism] path, which is the texture of stone. The following are only a few of them, and we can even quote Professor Chung’s [New Song Faction], to recognize that it is not out of thin air, but also see that Chung’s unique stone texture looks like a white rainbow studdenly crossing the Sky to the sun.
The first one is Fan Kuan ( 950AD.- 1032AD), the same period with Wei
Xien. He was born in the late Han Dynasty. He was one of the master in art in the Heyday of Song Dynasty. He mainly used (small axe shape) chopping method, and varies technique to show shape and quality, even so, I haven’t seen Chung’s technique inside. “Traveling in Streams and Mountains” (see Figure 31).
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第二位 李唐，大师中之大师，石画能人，生于宋英宗平治三年（公元1066年），石如积铁，沉郁凝重，老辣神奇，故石之形丶神丶奇丶色丶气，集于［真］，从《万壑松风图》（图32至33）可见之。李唐的大刀劈法也是如此的精妙，《万壑松风图》等作是松石作品之极致，今再看鍾建新教授十八年前的作品《伴我同行》及其局部，以他独有的石质虚点方法加上中锋和扁锋旬笔而成(看附图a丶b丶c)，可发现了承传和创新。
The second one is Li Tang (1066 AD- 1150 AD), the master of the Masters in Song Dynasty of China, a man of stone painting, the stone is like iron, depressed and solemn, old, skillful, and magical. All the good skill in it, he set it in [True and near super realism], can be seen from the “The ten thousand mountains pine and wind ” (pictures
32 to 33). Li Tang’s brushing method of “ Big Axe shape cutting” is also so subtle. His works such as “Ten Thousand Pines and Wind” are the culmination of turquoise works. Let’s look at Professor Kinsan Chung’s work “Stand By Me” and its parts 18 years ago. The method of Stone Texture Spacing Dot is combined with Chinese sharp brush drawing and Side brush sweeping (see attached photos a, b, c), and the inheritance and innovation can be found.
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附图a
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第三位是宋徽宗赵佶，是国画史上极重要的人物，他有不少当时创新的画技和理论。在画石之中代表作《祥石龙图》（图34至35），
techniques and theories at that time. Among the painting stones, the masterpiece “Picture of Auspicious Dragon Stone ” (pictures 34 to 35), Made the people of the art world supeise with its shape,
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以形丶质丶奇，震动艺坛，他个人对太湖石的研究和钟情，一丝不苟地、冷静地处理石形，塑造石质感，呈现出深浅的凹陷位和肌理。可以说，在他之前没有一人可处理凹陷之暗位而令石质感加重了活化。正如他所说：［彼美蜿蜒势若龙］，［融结功深未易穷］。鍾教授承传了这方向，并再创新了技巧。见鍾教授的《龙怀古今》（图36）。 *中国北京钓鱼台国宾馆馆藏
quality, and strangeness, his personal research and love for Taihu stone, he calmly handled the expression of painting the shape and texture of the stone, creating deep and shallow expression of the depressions and texture of the stones in the pictures. Conclusively, nobody could deal with the dark spots of the depression and make the stone texture strong and look like alive. So as he said: [It’s beauity looks like a meander and vigorous like a dragon], [Compine with the high skill in art, I am still having
many method to paint ].
Professor Chung inherited this
direction and innovated his skills. See Professor Chung’s “The Dragon mind”
(picture 36). *Collection of Diaoyutai State Guesthouse, Beijing, China
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元代的高克恭，山石形奇，云轻雾濛，在元代可说是超时代之作，高克恭的《春云晓霭图》，（图37丶38）
Gao Ke-gong (1248AD-1310AD) of Yuan Dynasty, he painted the mountains and rocks which were strangely shaped, and the clouds were light and foggy. In the Yuan Dynasty, Those were the super-era works. Gao Ke-gong’s “Spring cloud and themoistymorning ” (Picture37,38)
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其韵其理出于浪漫，以笔触小点着墨，而鍾建新的笔触小点却是全不同矣，因皆出于技术及偶发性效果。鍾氏有的笔触小点不仅仅在于肌理，更是表现出点与点之间的环环相扣，通透而有层次，令人惊叹驻足、屏息而观，这源于鍾氏画出了会呼吸的而且有生命的石头。（见图39）
“The rhyme is based on romance”, Gao used small brush strokes to paint his Chinese ink artwork. On the contrary, Kinsan Chung’s small dots brush strokes are completely different, because they
are all based on technique and occasional effects. Some of chung’s small brushstrokes are not only the texture, but also the dots and dots, which are interlocking, transparent and layered, which makes people breathless. His artwork inspired that the stone breathes life. (Picture 39)
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明武宗时的唐寅（唐伯虎），是明代的超然大师，在他很多作品中，皆有石的质感处理，奇石宏伟，岩壑墨重，上承宋元大家，下启清代之先，石的质感笔触，多以中峯而素之，快笔墨准，阴阳有道，形丶气丶质老练（ 图40丶41 ），
Tang Yin ( Tang Bo-hu 1470AD-1524AD) was a transcendent master of the Ming Dynasty. In many of his artworks, there are stone texture treatments. The magnificent rocks, the rock gully and the heavy ink, inherited the great masters of the Song and Yuan Dynasties. The texture of the brush strokes are mostly based on the mid-peak of the brush, the quick brush strokes are
accurate, the dark and bright have the way, the shape, the magnificence, and the quality are sophisticated (Figure 40, 41),
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但亦从未出现像鍾氏这一门派的画法，在明代四大才子之后有清一代——清代居廉丶居巢，清末至民初高剑父丶高其峯等，以石质感来论，并没有突破。到二十世纪赵少昂等亦未见新创之石质感，直至上世纪六十年代至九十年代之王无邪，开拓了新的石质理念，数十年的经验传承一脉，创造了一系列的水丶山和石，表现出道法自然的境界。（图42）
However, I can find any painting method like Kinsan Chung, and after the four great talents of the Ming Dynasty, the Qing Dynasty did not make a breakthrough on the texture of Stone in Chinese painting.
Throughout Qing Dynasty, and the beginning of the Republic of China, from Ju Cian(1828-1904) and Ju Chao(1811-1865) , , Gao Jian-fu(1879- 1951), Gao Qi-feng(1889-1933), and to Zhao Shao-ang(1905-1998) in the 20th century, l did not see the new jade of the stone until Wong Wucius (1936-)
from the 1960s to the 1990s, who had new stone ideas from his decades of experience and inheritance, creating a series of water, mountains and stones, showing the way from the Nature. (Picture 42)
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如毕子融的［天榕］肌理质感如石如榕（图43）
Like Aser But’s (1949-2020)[Heavenly Banyan], the texture is like a stone, like a banyan (picture 43)
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八十年代传至鍾建新，受鍾氏这一脉的启发，驻足“石”质感肌理凡三十多年，其一直全心致力于“石”表现与处理及石质感的研究，最终在大幅的水彩和水墨画中，先后成功地、突破性地创造出前人未达之效果，把现代水墨正式在二十一世纪初同步迈进新世纪。鍾建新教授创造了一个既有古韵传承又有画技创新的派系——名为［新宋派］，［新宋派］承传了吕寿琨丶王无邪丶毕子融的现代水墨的旗帜，加上岭南派画家鍾琦美（鍾建新祖父）及先祖的艺术基因，使这［新宋派］的石头——石质坚刚丶肌理复杂丶粗豪如文人画丶细致又像院体，从二十世纪末至今已迷倒了多少画迷。［新宋派］正以其“独立特行”的气质与魅力感染着众多观赏者并在全国甚至全球的文艺发展中绽放着特有的艺术光芒。
In the 1980s, it was passed to Kinsan Chung. Inspired by Kinsan Chung’s art lineage, he stayed in the texture expression in art for more than 30 years. He has been studying the processing of painting stones.
In the end, he succeeded in creating unprecedented achievements in large-scale watercolor and ink painting. The effect of success
has really brought modern Chinese ink and watercolour into the new century at the beginning of the 21st century. Professor Kinsan Chung created this ancient and innovative faction, named [New Song faction], with strong stone texture art expression, bold and unrestrained as a literati painting, and Song Dynasty meticulous style. Thus, he inherited the flag of modern Chinese ink painting flag from Lui Sau-kwan (1919-1975), Wucius Wong, and Aser But, having the genes of his grand - father Chung Kee-mei(?-1954 Lingnan painter )and his ancestors, made this [New Song Faction] stone fascinate many painting fans since the end of the 20th century. [New Song Faction] is infecting the development of literature
and art across China and even the world.
Hu Jinquan
National first-class artist
Famous Chinese art critic
Chairman of Hong Kong International Association of Famous Teachers, Famous Masters, And Famous Persons Vice Chairman of China Art Association Vice President of the Council of Chinese Painting and Calligraphy Masters
Expert Advisor of China Cultural Information Association, Chinese Ministry of Culture
Vice Chairman of Hong Kong Federation of Literary and Art Circles Calligraphers Association
Vice Chairman of Hong Kong Federation of Literary and Art Artists Association
胡金全简介：著名文艺评论家。文化部中国文化信息协会工美委专家顾问、中国书画名家理事会副会长、香港文联副理事长、齐白石艺术研究会名誉会长、香港文联书法家协会副主席、香港文联美术家协会副主席等。
Hu Jinquan:
National first-class artist
Famous Chinese art critic
Chairman of Hong Kong International Association of Famous Teachers, Famous Masters, And Famous Persons Vice Chairman of China Art Association Vice President of the Council of Chinese Painting and Calligraphy Masters
Expert Advisor of China Cultural Information Association, Chinese Ministry of Culture
Vice Chairman of Hong Kong Federation of Literary and Art Circles Calligraphers Association
Vice Chairman of Hong Kong Federation of Literary and Art Artists Association
【名师名家名人坛】编委会
排名不分先后
荣誉顾问：
何达权（美）、 林文杰（港）、胡正云、孙其昌、邓瑛（德国）、向雲（港）、鍾建新（港）、黄汉然（美）、杨健鹰、木子（港）、岑明辉（委内瑞拉）、易人、周庆明（美）、晓风、胡金全（左龙右虎）
总编辑：大贺
执行主编：艺术名家赵军、胡家谊
荣誉主编：淑文（新西兰）、老男孩、胡诗云
副主編：熊晓冬、陈燕平、徐国平（旅欧）、山风、播音、季俊群（巴西）
荣誉编委：羊鸣、胡树新、周新生、苗电、高振东、殷雷、胡伟彬（澳门）
編委：张宗明、羊鸣、仿若、胡永贤、汤艳艳、邹小琴、谢宁、王印强、孙宝根、陈强、秋玲（港）、林金茂、曲万喜、刘洪生、马君、路杰、陈雅萍、赵银莲
法律顾问：王印强