深远的内观

戴士和老师把绘画看成“人生知己”，数十年坦诚相待，绘画成了交心的朋友。你看他画中的风景、人物、花卉、草木，扑面的率真之气，坦坦荡荡，又雅趣横生。在戴士和老师笔下，绘画无他，唯尽心、尽兴、尽意。也只有如此纯然，绘画才能成为内观的通道，才能进入无限的深远的内在之中，得自在，得安宁。这些绘画本该具备的品质，失落已久，我们有幸，又在戴士和的绘画中寻见了。

我们在石煜的绘画中也看到了这种少见的品质。只是同为内观，戴士和多得自在，而石煜则求安宁。

石煜在学院受教于戴士和，其艺术志趣自然受其影响，然则再深入追索渊源的话，石煜关于绘画的基本认知与理解，最早应该是少年时期受父亲以及无名画会的影响。无名画会所处的时代背景注定了它的艺术旨归——从生存现实中出离，然后寄托于绘画，疏解心意。这一线索承续于中国传统的文人画，其实是一种从现实中的放逐与出走。石煜在之后的近30年中，历经了学院绘画的训练，历经了社会的极速发展，商业文明、新兴科技等对文人画所依托的农业文明的强势冲击，失落的已然不是少年时代的心绪意趣，他要寻找的应该是更高远的精神慰藉。那么我们也许可以理解，石煜不停地去世界各地游走的原因，这可能是注定的更长距离的出走，更大范围的放逐，就像少年时去玉渊潭，而如今则是到印度，到埃及……

戴士和于绘画之道浸淫半生，如今信手拈来，自在由心。石煜则于山河游历中念念不忘，道路悠长。而绘画终究是最“体己”的，无关其它，始终要解决的还是“人”自身的命题。内观自身，涵泳世界，藉由绘画，求安宁，得自在。

胡少杰

A Profound Inner Vision

Mr. Dai Shihe sees painting as a "life confidant" and has been treating each other honestly for decades, so painting has become almost the friend. Looking at his painting, one gets a sense that the landscapes, people, flowers, plants, and trees are not only frank and honest, but surprisingly elegant. In Dai Shihe's brushwork, there is no other way to paint, but to do one's best, to enjoy oneself, and to have fun. Only with such purity painting transforms. It becomes a gateway to one's inner view, to that infinite depth of one's inner being, to being at one with freedom and peace. To those that such qualities have long been lost in painting, one is fortunate to find again in the paintings of Dai Shihe.

One also detects such rare qualities in Shi Yu's paintings. While Dai Shihe is more at ease with his inner vision, Shi Yu is seeking peace.

Shi Yu was taught by Dai Shihe at the Academy and was naturally influenced by Dai's artistic aspirations. However, if one traces back to the origins of Shi's work, one can see that Shi Yu's knowledge and understanding of painting was initiated by his father and the No Name Painting Association as a teenager. The context in which the association was founded predetermined its artistic purpose - to detach oneself from the realities of everyday life and to relieve oneself to painting. This thread was inherited from traditional Chinese literati painting, which was indeed a certain exile and exodus from everyday realities. In the nearly 30 years that followed, Shi Yu went through the training at the Academy and the radical transformation of society, with commerce and new technologies impacting profoundly to the agrarian society, from which literati painting was born. What he might have lost is not the interest of his youth, but a lofty spiritual solace. It is entirely understandable, that Shi Yu's incessant travels around the globe may have been destined for a long exile, a profound exile, like Yuyuan Lake in Beijing he visited often in his youth, but nowadays it is to India, to Egypt......

Dai Shihe has devoted half of his life immersed himself in the ways of painting, and now he is at ease with it and follows his heart. Shi Yu, on the other hand, has travelled a long way through the mountains and rivers. Painting the most "self-conscious", after all, it is not about anything else, but always about the proposition of "the human being" himself/herself. Looking within oneself, taking in the world, through painting, one seeks peace and be at ease.