石濤畫語錄英譯

“古人寫樹葉苔色，有深墨濃墨，成分字、個字、一字、品字、厶字，以至攢三聚五，梧葉、鬆葉、柏葉、柳葉等垂頭、斜頭諸葉，而形容樹木、山色、風神態度。

 

吾則不然。點有風雪雨晴四時得宜點，有反正陰陽襯貼點，有夾水夾墨一氣混雜點，有含苞藻絲瓔珞連牽點，有空空闊闊幹燥沒味點，有有墨無墨飛白如煙點，有如焦似漆邋遢透明點。

 

更有兩點，未肯向學人道破：有沒天沒地當頭劈麵點，有千岩萬壑明淨無一點。噫! 法無定相，氣概成章耳。”

 

 

 

The ancients depicted leaves and moss in shades of deep ink and thick ink, forming characters like 分 (fen), 個 (ge), 一 (yi), 品 (pin), 厶 (si), or clustered in threes and fives—palm leaves, pine needles, cypress fronds, willow tendrils—some drooping, some slanting, all to capture the spirit of trees, mountains, and the essence of wind. But I am different.

My dots are suited to wind, snow, rain, or sun across the seasons. Some dots contrast light and dark, front and back; others blend water and ink in a single breath. Some resemble budding flowers, trailing algae, or dangling tassels; others stretch vast and barren, parched and flavorless. Some are inkless, like flying white strokes vanishing in mist; others are pitch-black yet translucent, like charred lacquer.

And there are two more dots I’ve yet to reveal to fellow scholars: the dot that strikes head-on, heedless of heaven or earth, and the dot of ten thousand cliffs—utterly clear, without a single mark. Ah! Method has no fixed form; it is the vigor that shapes the art.

讀石濤 《贈劉石頭山水圖冊》中畫語，譯錄分享。

 Translating and Sharing Shi Tao's "Notes on Landscape Painting for Liu Shitou"