谭圣卓 —— 醉墨留痕：万象更新，还看今朝

图文：李烱才 (安谷举人)

# 谭圣卓

Tam SingChuk

出身自香港万国艺术专科学校

毕业于岭南艺苑

由赵少昂老师亲授毕业证书

岭南画派第三代传人

Born in Hong Kong from the Universal Art College

Graduated from Lingnan Art School

Graduated from Lingnan Art School with a certificate from Mr. Zhao Shao'ang

The third generation of Lingnan School of Painting.

# 序

时代的巨轮不断地转动，人类的改进不断地创新，不断地进步，书画亦不例外，百家争鸣、各展所长。

先师岭南画派大师赵少昂教授，是当今艺术之表表者，自创一格・把岭南画派发扬光大。他的弟子遍布世界各地，本人为岭南画派赵少昂大师的入室弟子。

在 50 年代跟随老师到处写生。岭南画派主张多写生，老师的话时刻记在心中，久而久之，养成了习惯。赵老师主张创新，多变化，不可固步自封，岭南画派的用色与用笔都较为大胆，著重光暗，透视饰局，空间的虚与实都十分著重。本人曾习西洋画出身，对以上的画理早已深入了解，因岭南画是中西合璧，古今并用，本人觉得，初学画者应初学素描，这对绘画着色十分重要，岭南画派的特色若调子不够功夫，画出来一定有所偏差；其次是用水、用笔用墨等一定要仔细和讲究，不然的话只用笔法、造形，仍是不足的。

谭圣卓近年绘著出版的《岭南花鸟解码》对初学者有一定的帮助：并随书附送教学影碟。更可从 “谭圣卓的艺术世界” 网页中查看，可先了解其中一二。从事教育工作 50 多年，谭圣卓对学生的需求十分了解。也时刻不忘提醒他的学生，你的下一代弟子跟你学习时，应抱同样的教学态度，鼓励从大自然中取材，观察入微，自然会领会个中奥秘，大自然是取之不尽的元素，而我所喜好的海浪和云海等，皆是从写生中领悟个中的道理，师承是你的启蒙老师，大自然就是你的向导。

# 创新引力 视觉享受

INNOVATIVE GRAVITY VISUAL ENJOYMENT

# 写意・抽象作品

水墨画是不易画的，云也是，写形不难，但要形以外的变化才是主要的要求。而创作是很个人的，不是盲目模仿的，是要打好基础和吸取经验，以及参考各家之长处，但归根究底，都是从大自然写生中加上经验与思考的造型，然后创新。

Abstract Painting

Ink painting is not easy, and neither are clouds. It is not difficult to write the shapes, but the main requirement is to create variations beyond the shapes. It is not a matter of blind imitation, but of laying a good foundation and learning from experience, as well as taking into account the strengths of various schools of thought, but in the final analysis, it is all a matter of drawing from nature and thinking about the shape, and then creating something new.

伟大的艺术品不必追随潮流，它本身就能引领潮流！

# 原野

# 溪流

# 高山流水

# 地心

# 紫云涧

# 黄河颂

# 蓝红黑

# 秋意

# 清新

# 艳阳

# 岭南雾峰

# 江影

# 红日

# 洪

# 秋意盎然

# 藏日

# 水蓝

# 内蕴

# 青绿山水

# 冰蓝

# 白鹭

# 拨云见日

# 红

# 小鸟天堂

# 江影如云

# 天苍苍野茫茫

# 平湖

# 蕴育

# 水清山秀

# 金秋

# 只缘身在此山中

# 白鹭

# 缤纷

# 晨光第一线

# 飞跃

# 风急浪高

# 荷色

# 湖光山色

# 几何

# 蓝湖

# 落英缤纷

# 青莲

# 秋天的山涧

# 提防山火

# 溪流

# 休憩的港湾

# 魚戏图

# 云端

# 云海

# 云山雾海

# 谭圣卓【 作画如同科学研究 】

来源：大公网 / 时间：2018-04-11

绘画上的创新如同一次次科学实验，岭南派画家谭圣卓如此形容其作画感受。以富有立体及动感的山水画为特色，他将于 2017 年四月十三日至十六日在香港中环大会堂举办 “醉墨留痕” 画展，展出其本人及学生作品共一百七十幅。展前，谭圣卓接受大公报记者专访，分享其研习岭南画派心得及多年经验。/ 大公报记者 王丰铃 文

The Lingnan School painter Tam Sing-chuk describes his painting as a scientific experiment. Featuring his three-dimensional and dynamic landscape paintings, he will be exhibiting a total of 170 paintings by himself and his students in an exhibition titled "Drunken Ink Remains" from 13 to 16 April 2017 at the Hong Kong City Hall in Central. Prior to the exhibition, Mr Tam was interviewed by a reporter from Ta Kung Pao to share his experience in studying the Lingnan School of painting. / Ta Kung Pao reporter Wang Fengling

●岭南画派一向以 “折衷中西，融会古今” 著称，谭圣卓上承传岭南画派，擅长山水、花鸟，但他认为艺术家要有自己的艺术风格，他将创新和钻研比喻成一次次科学实验，认为画家 “要有科学家的头脑”。以画纸为例，谭圣卓实验过报纸、水果包装纸、抹手纸等材质，在尝试了几十种纸后，发现中国宣纸最适合画水墨，用两张单宣裱在一起，而一种产自日本的麻纸，能够在画水和云雾时更好地表现层次感。

欲工其事先利其器。

He likens innovation and research to a scientific experiment, saying that a painter "must have the mind of a scientist". After experimenting with dozens of different kinds of paper, he found that Chinese rice paper was the most suitable for ink and wash painting, using two single sheets of rice paper mounted together, and that a kind of linen paper from Japan could better express the sense of layers when painting water and clouds.To work on a piece of paper, one must first use a tool.

●好画要有好的纸张、工具、技法、环境，可谓天时地利人和。” 谭圣卓现场取出不同产地的曙红、藤黄、朱砂来做对比，介绍说国画和进口水彩颜料的效果会有很大分别，为了达到最佳效果，他不会局限于使用传统色彩。例如现时常用的洋红为英国品牌，朱砂则购自日本，藤黄色提炼自树皮渗出的黄色树脂，他需要鏽色的质感，就会专门从泰国选购。

A good painting requires good paper, tools, techniques and environment, so to speak. He said that the effect of Chinese and imported watercolour paints would be very different, and that in order to achieve the best effect, he would not limit himself to traditional colours. For example, the magenta he now uses is a British brand, the cinnabar is from Japan and the garcinia is derived from the yellow resin that exudes from the bark.

●不同的材料需要用不同技法来表现。云和水是其近年的实验方向，作画后等待墨蹟乾后，再画五、六遍，层层迭迭直至景物的立体感及动感渲染而出，与岭南派常见的静态水面有较大差异。这种方法和传统的工笔画法又有区别，成画具有偶发性，因水分和环境湿度不同，每一次渲染出的效果亦不同。谭圣卓表示，如此作画的兴奋之处，就在于实验结果超出预期之外，“像发现宝藏。” 他又补充说，香港气候潮湿，其实较乾燥的天气更适合渲染。

醉心美术矢不移志

Different materials require different techniques of expression. After the ink has dried, he paints the clouds and water five or six times until the three-dimensionality and movement of the scene is rendered, which is a significant departure from the static water surface common in Lingnan. This method differs from the traditional brush painting method in that the finished painting is episodic, with the effect varying from one rendering to another depending on the moisture and the humidity of the environment. The excitement of painting in this way, says Tam, is that the results are beyond expectations, "like finding a treasure. He adds that Hong Kong's humid climate is actually more suitable for rendering than dry weather.

A passion for art

●谭圣卓与中国画的缘分并不是一蹴而就。毕业于香港万国艺术专科学校，最初从事广告行业，由于醉心美术，他再次进入校园进修美术与设计，继而当上了美术教师，展开了长达三十多年的教育生涯。一次偶然的机会，谭圣卓在朋友家中看见一幅水墨画，想拜作者为师，却被一句 “名将手下无弱兵” 婉拒，原来，这位前辈想将他推荐给岭南画派第二代传人赵少昂。

Tam's love affair with Chinese painting did not happen overnight. After graduating from the Universal College of Art in Hong Kong, he started his career in the advertising industry, but due to his passion for art, he re-entered the school to study art and design, and then became an art teacher. By chance, he saw an ink painting in a friend's home and wanted to be the teacher of the artist, but was turned down by the words "there are no weak soldiers under a famous general", as the senior artist wanted to recommend him to Zhao Shaoang, the second generation of the Lingnan School.

●谭圣卓回忆，一九九八年他办画展，作品以十五万一张的价格一售而空。近年更是明显感受到中国画在市场上的热度，不少人前来拜师学习水墨。

Tam recalls that when he held an exhibition in 1998, his works sold out at a price of 150,000 a piece. In recent years, the popularity of Chinese painting in the market has become apparent, with many people coming to learn ink and wash from his teachers.

图文由画家本人提供