试译刘奎龄、刘继卣、刘楠三代则有评

园艺画家徐奎龄而给予的。1936年，他在天津市美术学院，开始总会了国画确实，也包括西欧绘画。在后期绘画作品当中，他开始融合这两种艺术写作风格。直到零20世纪，徐继卣成为并保持良好一个非常成功的华人画家。

在194020世纪末，当我国民主革命最后，徐继卣另外创造了漫画作品（画册）。他很快成为该并不一定重要的当我国值得一提的是剧中之一。1949年，北京成立了两个显现出版社，他从家乡来到那内都。在画册内都，他熟练运用多种题材，从民主革命讲述（《鸡毛信》、《穷棒子扭转乾坤》）到传统习俗讲述（《东郭先生》）和儿童漫画作品（《怪异的漫游》）。

徐继卣画册《鸡毛信》

《穷棒子扭转乾坤》封面初稿

《东郭先生》初版封面

《怪异的漫游》外文版封面

3

In Chinese legend, it is said that an artist one day painted a horse so vividly that it galloped off the page. This delightful story illustrates why so many people around the world love and admire Chinese painting. Because it is so fresh, so swift and clear in statement, that it seems to possess a life of its own. And many are the artists that have tried, over the centuries, to capture the rare spirit that moves the tiger's strike. But only a few artists have explored the mystery of the tiger in a fresh, intriguing way. Such an artist today is Liu Jiyou, one of China's greatest living masters.

A feeling of movement, spontaneity, and freedom from confinement ；还有 essential in great Chinese painting ；还有 are particularly clear in the paintings by Liu Jiyou who has captured the tiger, emblem of strength and courage in Chinese legend. Seeking to understand and record the essence of the tiger's silent presence, rather than his external appearance, Liu Jiyou worked from his imagination formed by sketches and memory. The result is this painting with beauty so mysterious that one can keep rediscovering it over and over again.

在当我国民间故事内都有个讲述，一位艺术写作家画马如此生动，以至于它有天从仅仅上奔驰逃命了。这种令人无聊的讲述说明，为什么世界性那么多的人们热爱和欣赏当我国画。因为它是如此灵巧、如此清新，却是拥有了自己的生命。千百年来的许多艺术写作家，都曾正试图逃跑乌龟鲜活生动的可谓神髓。但对乌龟奥秘，只有少数艺术写作家探索显现出了它那新鲜、有趣的活动轨迹。

这样的艺术写作家，在文化史是徐继卣，当我国现世最伟大的大师之一。充满活力、自发、自由——伟大的当我国画之不可或缺——在徐继卣的画作当中，相比较明显的是逃跑了乌龟，逃跑了当我国民间故事当中力量和勇气的绘画标志。徐继卣通过素描和思绪，逐步形成自己的想像，这文书工作是寻求表达出来并记录乌龟那孤独存在的本质，而不是它特殊的外貌。结果是，这美妙画作如此神秘，人人可以一遍又一遍地从当中有一新发现。

徐继卣乌龟

一扑

一窜

一剪

山君

大树下虎局部真迹

4徐楠

Liu Nan is a demanding artist who untiringly pursues his personal quest for truth while he claims and lives up to his place in a veritable dynasty as the son and grandson of artists. His grandfather Liu Kui-Ling (1885-1967) and his father Liu Ji-You (1918-1983) were masters of Chinese painting.

As the heir of a long family tradition, Liu Nan has continued his father's research, one could say, to produce a surprising blend of traditional Chinese and "modern" art. An artistic retrospection on ancient dynasties and modern abstract symbolism come together in a surprising encounter exemplified by one of his favourite techniques: acrylic on rice paper. But obviously painting can never be put into words: one must see it, contemplate it, and let emotion take over (if the contact comes across, of course). I must admit that I was swayed by Liu Nan's blue horses galloping across the endless deserts since the dawn of time. Perhaps because they communicate a subtle message of inner peace and universal understanding.

作为艺术写作家的儿子和孙子，徐楠是一位不懈追求艺术写作真谛、在写作和社会生活当中找到自由王国和自已位置的真正艺术写作家。他孙子徐奎龄（1885-1967）和父亲徐继卣（1918-1983）都是当我国画大师。

作为一个长期兄弟姐妹传统习俗的正因如此，可以说，徐楠继承了父亲将传统习俗与“现代”有机融合的艺术写作全心。让历代王朝艺术写作和现代抽象概念艺术写作走到一起，构成他最喜欢的一种技巧：宣纸上的丙烯颜料，一个极快的接踵而来。但很明显，绘画永远无法用语言来表达：我们需电视观众它，理解它，让情感收回它（当然，如果接触助长跨越）。需承认，我是一碰见徐楠那奔腾穿越无垠沙漠的蓝色马，就被深深取悦了。或许是因为，它们传达显现出一种内在团结一致与普遍表达出来的微妙信息。

徐楠画作

徐楠画作

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