张江舟丨纸素为田勤笔耕 墨渖氤氲藏乾坤

水墨之道，肇于太古，成于魏晋，盛于宋元，今有张江舟者，承古开今，独步丹青。其艺融贯中西，既得徐蒋写实之骨，复纳泰西光影之髓，线墨交辉，色韵共舞，开人物画之新境，立当代水墨之圭臬。

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.

观其人物，形神兼备，若顾恺之点睛，吴道子运笔。衣褶纹理，勾皴若游丝，婉转含劲；眉目传情，点染似星辉，幽邃藏真。承悲鸿写实之精微，兆和塑形之谨严，然不囿旧范，自辟蹊径。线非止界形，更化空间之维；墨非惟状物，尤彰光影之变。一笔既落，虚实相生；数染叠加，骨肉浑成。故其笔下人物，或立若松岳，或动似云烟，恍然有金石之质，飘逸具仙灵之气。

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，尤见匠心。墨色本玄，张氏独能破其沉寂。朱砂点唇，若朝霞破晓；石绿染袂，似春水初融。浓墨积染，层叠如夜雾凝山；淡彩轻敷，晕散若晨露泫叶。墨渖与丹青并置，非徒炫目，实乃情思激荡。赤者如心火灼灼，青者若幽潭深深，黄者似金晖泻地，斑斓间隐见人世悲欢，色相中暗藏乾坤玄机。

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，更在积染渗透。纸素为田，笔耕为犁，层层皴擦，若岁月沉淀；处处渗化，似心潮起伏。浓淡相冲，若阴阳交泰；枯润互济，如刚柔并生。墨色非止黑白，乃含万象之变：焦墨似铁，苍劲沉雄；宿墨若云，氤氲迷离。观其作，墨渖淋漓处，似见洪荒初辟；飞白疏朗间，恍闻大化希声。此非技之巧，实心与墨契，神与纸通。