《十里銀灘展書畫》香港東方書畫院20260412期［院長梁君度］

甲骨文香港馆 · 发表于昨天 16:20

香港東方書畫院20260412期［院長梁君度］

《十里銀灘展書畫》

DMSIXSEVEN / LIN JING DE /1973

主編供圖：香港DM德馬數字甲骨文集團

Hong kong-based DM Delmar Digital Oracle Group

粵港澳大灣區水墨概念協會在惠州十里銀灘舉辦的第十四回「天人共創」書畫展，於今日（4月11日）正式拉開帷幕。

惠州十里銀灘素有「中國馬爾代夫」之稱，坐擁十公里長的銀白沙灘、億年原生礁石群，以及不輸東南亞的海景度假配套。2025年，這裡已成為大灣區遊客心中首屈一指的「頂流度假地」。

今日從香港來的書畫界朋友有六十多位，開幕式簡樸而隆重。除了剪綵儀式，還有幾位重量級嘉賓在現場舉辦藝術論壇講座，從趙無極談到張大千，從創作論談到藝術品收藏，所論令眾人受益匪淺。

本次展覽主題仍是「天人共創」。我雖未上台開講，但準備了講稿，姑且在此作個書面發言：

《嶺南派「沒骨法」與「撞水撞粉」中的「天人共創」之道》

嶺南畫派以革新著稱，其中「沒骨法」和「撞水撞粉」不僅是技法，更承載着「天人共創」的哲學——讓人工意匠與自然天趣融為一體。

先看技法。「沒骨法」放棄傳統輪廓線，直接用色彩暈染塑造物象。譬如楊善深畫花瓣，以胭脂、藤黃層層漸變，自然柔美。而「撞水撞粉」更為精妙：在墨色未乾時撞入清水或白粉，水、墨、粉因濕度與濃度的差異而隨機滲化，形成斑駁、晶瑩的肌理——濃墨撞水，暈出雲霧邊緣；白粉撞石綠，沉澱出露珠質感。這些效果無法完全預設，自然媒介因此成為畫面的「共創者」。畫家不再是唯一的主宰，而是與水、墨對話，讓偶然與靈動取代機械複製。

這背後正是「天人共創」的理念。嶺南派尊重自然，不預設細節，鋪陳墨色後靜觀其滲化：水墨暈開的痕跡可化為枝幹紋理，粉水碰撞的形態恰似花瓣晨露。畫家從「設計者」轉變為「引導者」——對符合神韻的痕跡加以強化。如高劍父畫荷葉，便借撞水產生的淡墨斑痕表現葉脈與露光，再稍加點染，從而平衡「天趣」與「匠心」。這種「不即不離」的狀態，正是「人法自然，復輔自然」的生動實踐。

再看價值。這種創作方式延續了中國畫的寫意精神。沒骨法省去輪廓，讓色彩直接傳遞氣韻。例如趙少昂畫鷹，以濃墨沒骨寫羽翼，焦、濃、淡、清自然過渡，威猛之氣自現。撞水撞粉的隨機肌理，則使每片葉子上的水痕、每瓣花上的粉暈都獨一無二，避免了程式化的刻板。在工業化複製的今天，這種依賴自然偶然性的創作，堅守了藝術的「不可複製性」，讓每一幅作品都成為自然與心靈的瞬間對話。

總結而言，從技法到理念，嶺南派的「沒骨法」與「撞水撞粉」始終貫穿着「天人共創」——在尊重自然的前提下接納偶然，以智慧引導成就必然。這既是寶貴的遺產，也啟示我們：藝術創新，需要謙遜地與自然共生。

The 14th "Co-creation of Heaven and Man" Calligraphy and Painting Exhibition, organized by the Greater Bay Area Ink Concept Association, officopened today (April 11) at Shili Yintan in Huizhou.

Shili Yintan is known as the "Chinese Maldives," boasting a teter stretch of silver-white beaches, ancient natural coral reefs, and resort facilities that rival those of Southeast Asia. By 2025, it has become the top-tier resort deation in the hearts of tourists in the Greater Bay Area.

Over sixty friends from the calligraphy and painting circles arrived from Hong Kong today, and the opening ceremony was simple yet solemn. addition to the ribbon-cutting ceremony, several heavyweight guests held an art forum on-site, discussing topics ranging from Zao Wou-Ki to Zhang Daqian, and from creve theory to art collection, offering profound insights to the audience.

The theme of this exhibition remains "Co-creation of Heaven and Man." Although I did not speak on stage, I he prepared a script and would like to make a written statement here:

"The 'Co-creation of Heaven and Man' in the Lingnan School's 'Boneless Technique' anashing Water and Powder'"

The Lingnan School is renowned for its innovation, where the "Boneless Technique" and "Splashing Water and Powder" are not merely techniques bue philosophy of "Co-creation of Heaven and Man"—allowing human ingenuity to fuse with the natural charm of nature.

First, let us examine the techniques. Tss Technique" abandons traditional outline lines, directly using color washes to shape objects. For instance, Yang Shanshen painted petals with layers of gradual transitions between red and gamboge, appearing natural and soft. The "Splashing Water and Powder" technique is even more exquisite: while the ink is still wet, clear water or white powderplashed onto it. Due to differences in humidity and concentration, the water, ink, and powder seep and blend randomly, forming mottled and crystalline textures—splashiner into dark ink creates the edges of clouds and mist; splashing white powder onto stone green precipitates the texture of dewdrops. These effects cannot be fully predetermined, making the natul medium a "co-creator" of the painting. The painter is no longer the sole master but engages in a dialogue with water and ink, allowing chance and vitality to replace mechanical r

Underlying this is precisely the philosophy of "co-creation between Heaven and humanity." The Lingnan School respects nature and does not mine details; after laying down ink, the artist observes its seepage and diffusion: the traces of ink spreading can transform into the texture of branches, while the forms created by tcollision of ink and water resemble morning dew on petals. The painter shifts from being a "designer" to a "guide"—reinforcing those traces that align with the s the subject. For instance, Gao Jianfu depicted lotus leaves by using the pale ink stains produced by water collision to represent leaf veins and dewlight, then added slight toucheto balance "natural charm" with "artistic ingenuity." This state of "neither too close nor too distant" is a vivid practice of "man following nature, then assistinature."

Now consider the value. This creative method carries forward the spirit of freehand brushwork in Chinese painting. The Boneless technique omits outlines, allowing color to directly convey the ital energy. For example, Zhao Shaoyang painted eagles using heavy ink in the Boneless style, where the transitions from dry, concentrated, light, to clear ink occur naturall revealing a majestic aura. The random textures created by water and powder collision ensure that the water traces on every leaf and the powder washes on every petal are unique, avoiding the s of formulaic conventions. In an era of industrial reproduction, this creation that relies on natural chance upholds the "irreproducibility" of art, making every worant dialogue between nature and the soul.

In summary, from technique to philosophy, the Lingnan School's "Boneless technique" and "water and powder collision" are consistentlymbued with "co-creation between Heaven and humanity"—accepting chance while respecting nature, and guiding it with wisdom to achieve inevitability. This is both a precious heritage and aon: artistic innovation requires humbly coexisting with nature.