glossiness of uncarved jade special cui ruzhuo ·...

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太璞如琢 –

崔如琢精品專場

(VI)

Cui Ruzhuo｢太璞如琢｣ - 崔如琢精品專場 [VI]

G l o s s i n e s s o f U n c a r v e d J a d e

[ VI ]

SpeCialauCtion of

HoNG KoNG 4 APRIL 2016香港 2016年 4月 4日

7TH FLOOR, ONE PACIFIC PLACE, 88 QUEENSWAY, ADMIRALTY, HONG KONG • 香港金鐘金鐘道 88號太古廣場 1期 7樓 • +852 2303 9899

Embracing thE Past and PrEsEnt,

and OPEning a Way fOr thE futurE懷抱古今，繼往開來

故宮博物院院長單霽翔

Director of the Palace MuseuMshan jixiang

故宮的午門，是紫禁城的正門，東西城台從門樓兩側向南伸展，形如翅膀，也叫雁翅樓。遠遠看去，

午門雁翅樓就像張開的手臂，環抱著端門廣場，迎接著四海遊客。

紫禁城有近六百年歷史，作為故宮人，有一個美好的願望，要把壯美的紫禁城完整地交給下一

個六百年。為了這一目標，這些年來，故宮博物院著手維護、恢復紫禁城的空間，讓他更加壯

麗，更加有尊嚴；而紫禁城的壯美，不僅僅體現在建築層面，更重要的是，要讓紫禁城的空間，

充滿歷史與文化內涵，讓作為公共博物館的故宮，為公眾奉獻上一道道豐盛多彩的文化大餐。

午門雁翅樓的修復，是故宮古建築整體維修保護工程的一部分，於 2015 年竣工投入使用後，

成為獨具特色的博物館展廳，雄踞古都北京的傳統中軸線上，高舉在半空中，外觀完全保持中

國傳統建築風貌，內部則是能夠迎接任何級別珍貴文物的大型現代化展廳。在這裡舉辦的第一

個展覽是“普天同慶——清代萬壽盛典展”，為故宮博物院九十歲生日，獻上一份喜慶、吉祥、

厚重的大禮。今天，午門雁翅樓又迎來了崔如琢先生的作品大展。

如果說萬壽盛典展，是對紫禁城歷史的回顧和致敬；那麼崔如琢先生的作品展，則是故宮博物

院對未來的探索和拓展。故宮博物院擁有 180 多萬件文物藏品，這些文物，經過歲月洗禮而愈

發珍貴，是我國歷史、文化、藝術最重要的組成部分，是中華民族的精神寶藏。面對歷史，我

們是守護人，面對未來，我們是傳承人。故宮博物院從歷史中走來，也有責任參與中華民族未

來歷史和文化的建構。前些年，故宮博物院舉辦過吳冠中、劉國松等當代藝術家展覽，開始對

當代文化藝術的關注；今天，在午門雁翅樓舉辦崔如琢先生的作品展，更表達了故宮博物院對

當代以及未來文化藝術的參與和判斷。故宮博物院不僅典藏歷史，也在創造歷史。

崔如琢先生的藝術成就，有諸多大家點評，毋庸贅言。我感受頗深的是崔如琢先生的文化視野、

胸襟和氣魄。凡大家，必有大氣象，大目標，大追求。崔如琢先生一直認為，在世界藝術史論述中，

西方價值觀主導下的藝術判斷，極大低估了中國藝術所取得的成就，因此，他從理論以及實踐

兩個層面，積極拓展中國藝術影響力，爭取其應有的評價和地位。

對於傳統文化，崔如琢先生更有拳拳赤子之情，多次贊助與傳統文化相關的公益事業。近日，

如琢故宮基金會成立，將致力於故宮學術研究、古建築修繕、古器物修復技藝傳承等領域，不

僅為博物館發展貢獻力量，更為社會各界捐助文化遺產保護公益帶了一個好頭。我相信，在崔

如琢先生的帶動下，我國的文化事業會得到越來越多的支持和關注，在發展中迎來新的繁榮。

太璞如琢。願崔如琢先生的藝術，如同渾厚的璞玉，在歲月的焠鍊和琢磨中，一步步走向高峰。

The Meridian Gate of the Palace Museum, also known as the main entrance of the Forbidden City

has two corridor-like buildings at each side of the central tower. They extend southward as if

wings of the Gate, and thus are named as Bird-wing Corridor. At distant look, the Meridian Gate

greets its visitors from all over the world with its arms open and embraces the Duanmen Gate

Square.

The Forbidden City is almost 600 years old. As a member of the Palace Museum, I wish to

pass on its magnificence wholly to the future for another 600 years. To achieve this goal, the

Palace Museum has started a project of maintenance and restoration for years, to enhance the

magnificence and nobility of the Forbidden City. Yet the magnificence of the Forbidden City is not

only about the architecture itself, but also the historical and cultural connotation hidden inside

the space of the Forbidden City. As a public museum, it is the Forbidden City's responsibility

to offer the most sumptuous culture feasts for all. The restoration of the Bird-wing Corridor is

part of the Forbidden City's ancient architecture maintenance and restoration project. After the

completion of the restoration in 2015, it was put into use as a unique exhibition hall. In terms of

the exterior appearance, the Meridian Gate remains as a traditional ancient architecture lies on

the central axes. While in terms of its interior, it is a huge and modern exhibition hall that can

hold any level of antiquity exhibition. The first exhibition held in the Meridian Gate – The World

Rejoices as One: Celebrating Imperial Birthdays in the Qing Dynasty is an auspicious and sincere

gift offered to celebrate the 90th birthday of the Palace Museum. Today, we once again welcomes

the exhibition of Mr. Cui Ruzhuo's works.

If the Exhibition of the "Imperial Birthdays" is a retrospect and tribute to the history of the

Forbidden City, then Mr. Cui's exhibition is the Museum's exploration toward the future.

The Palace Museum has a collection over 1,800,000 antiques. These objects are becoming

increasingly precious as time goes by. They are essential part of China's history, culture and art.

They are the spiritual treasury of the Chinese nation. We are guardians when facing the history,

while successor when facing the future. The Palace Museum is part of the history. And also, it is

responsible for construction the future history and culture of Chinese nation. A few years ago,

we have held exhibitions for modern artists like Wu Guanzhong and Liu Kuo-sung and have

begun to pay attention to modern cultural arts. Mr's Cui Ruzhuo's exhibition, which is held in

the Bird-wing Corridor today demonstrates once again the Palace Museum's involvement and

judgement of future cultural art. The Palace Museum not only reserves history, but also creates

one.

The artistic achievement of Mr. Cui is well recognized by many masters. There's no need for

repetition. What I feel most deeply is Mr. Cui's cultural respective, the broad breath of mind and

the boldness of vision. All masters must be bold, ambitious and aspiring. Mr. Cui always believes

that the Chinese artistic achievements are extremely underestimated in the global art history

narration guided by Western mainstream values. Therefore, he actively explores the influence

and promote the status of Chinese art through both theoretical and practical aspect.

Mr. Cui has a sincere and simple love toward traditional culture. He sponsors many traditional

cultural related public causes. Recently, with the establish of the Ruzhuo Palace Museum

Foundation, a series of programs including academic studies, ancient architecture restoration,

implement of antiques and inheritance of traditional techniques has begun. It not only contribute

to the improvement of museum, but also set an example for all circles of society to support

cultural heritage projects. I have strong faith in Mr. Cui. Driven by him, China's cultural

undertakings will win more support and attention, and is increasingly likely to achieve another

peak in the process of development.

The uncarved jade glosses. I wish Mr. Cui Ruzhuo's works are like pieces of dense and uncarved

jades. They will head all the way toward the summit in the refinement and polish of time.

POstscriPtglOssinEss Of uncarvEd

JadE: ExhibitiOn Of cui ruzhuO at thE PalacE

musEum解讀崔如琢先生指墨藝術

故宮博物院副院長王亞民

Vice Director of the Palace MuseuMwang yaMin

近日來，風輕雲淡，木葉落盡，頓感天地間一片澄明。昨日月夜，

閑讀故宮出版社出版的《崔如琢大觀》數卷，但覺先生妙筆清韻、

手指生花，不論冊頁、團扇等小品，還是手卷、尋丈巨幅，如奇

峰錯列，錦屏舒張，煙雲變滅，絡繹奔會，千里不絕，將一段段

南北好山好水，紆徐，舒展，呈現眼前。蓋先生之畫，已入得秋

山浪漫、冬林沉寂，複歸天淡之境，而與窗外之竹影，遠方之西風，

內外相益，婆娑共舞。神遊山水畫卷，真有悠然心會，妙處難與

君說之慨也。

1

前年冬初，與詩人陳超聚，陳持視世長，有卓識，見先生畫，相

與絕叫奇特。余非畫家，于畫理粗通，見先生指墨新作《春雨江南》

手卷，亦覺心花怒開。因與陳超究問今人勝於古人處，其說不能一。

餘笑曰：“自如琢指墨山水出，所有今人亦有勝古人處。”陳莫能對。

餘曰：“今日但見如琢意到之作，淡墨淋漓，縱橫自在，便失聲叫好，

不知其平日經幾爐錘，經幾推敲。大山長水，丘阜溪壑，一一全

具於胸中，不差毫末，然後拋卻影響，指筆具遂。所以量有限之

宣紙，勢若千里，模糊之處，具諸生韻。就是古人寫得一草一木，

一壑一丘，未有幾分相似，便從大師意到之作學起，都成淡薄，

了無意致，故今人未必不如古人矣。”惜兮，知余者陳君已成故人。

先生少時師承苦老，繼則遍仿名家。先生嘗言，凡臨古畫，須細

閱古人名跡，先看山之氣勢，次究法格，以用意古雅，筆墨精妙

者為上。先生作畫，雖摹古人如董源、郭熙、黃公望、石濤等之

丘壑梗概，亦必追求其神韻，不可只求形似。誠從古畫中多臨多

記，飲食寢處與之為一，識得各家乃是一鼻孔出氣者，而後自己

的筆墨與之相通，即如琢之所以成為如琢者，神韻自然渾化，蹊

徑自然幽深，林木自然蔥郁，亦於此而見。初則依門傍戶，後者

自立門戶，如五代董源，巨然宗之，米氏父子宗之，黃、王、倪、

吳皆宗之，今日先生亦宗之，宗一鼻祖而無分毫蹈襲之處者，正

其自立門戶而成其所以為我也。先生指墨山水，蒼潤宗董源，雄

渾宗李、範，體勢宗石濤，潑彩宗大千，格局宗潘天壽，皴染宗

傅抱石，以前人之規矩，開自己之生面，不襲不蹈，而天然入穀，

可以擢前人而同符，可以傳後世而無愧。自此以後，凡有所作，

偶有會於某家，實為自家面目。所謂“落筆要舊，境界要新”，

自有一番自家面貌在。如米芾學書，四十以前自己不作一筆，時

人謂之集書，四十以後放而為之，卻自有一段光景。先生作畫，

六十以前專肖一家，沒有自己，六十以後天眼方開，日日新、月

月新，顯出自家本色。

六十後，如琢開始用指、掌、背蘸墨作畫。指墨系是中國傳統繪

畫之秘技，難以掌控，絕少有畫家觸及，唐宋元明墨蹟不見，唯

清代高其佩、高鳳翰，近代潘天壽偶一為之，題材以花鳥、人物

居多，尺幅也小，偶見潘天壽花鳥巨作。如琢指墨繼承前人，指、

掌並用，巧妙利用紙的纖維和皮質效果，別出新意，突破了前人

熟紙或半熟紙的指畫材質，創新地使用生皮紙，使得指墨從以前

適合表現小品，發展到巨幅大作，如長達 60 米的手卷《千山飛雪》，

指墨技藝爐火純青，畫面大氣磅礴，氣韻生動。《指墨江山》冊

頁為先生指墨山水代表之一，或春或夏，或秋或冬，為綠為赭，

為水為墨，為焦墨為灰墨，為潑墨為潑彩，極具變化之能事。如

琢指下的枯樹和古坡縱橫變化，有環轉飛動之勢，其煙光草木，

如帶香氣，山蒼樹秀，水活石潤，於天地外，別有一種靈奇。

2

余觀如琢指墨，美則美矣，曰古茂，曰蒼潤，曰秀逸。就巨幅、小品，

雖粗豪工致，表達有所差異，而各有美之觀念存乎其中。古茂者

如《日出遠岫明，鳥散空林寂》，氣味醇厚，是美之發於靜穆者也。

蒼潤者如《煙水茫茫，千里斜陽暮》，草木華滋，峰巒峻厚，是

美之發于雄偉者也。秀逸者如《寒溪竹影》，沙明山淨，林木蕭疏，

是美之發於清幽者也。總之觀其作品，無論大珠小珠，均有動人

的撞擊玉盤之聲，各有各的好：古茂的作品，令觀者生靜穆之想；

蒼潤的作品，令觀者生雄偉之想；秀逸的作品，令觀者生清幽之想。

複而言之，如琢凡制一幅圖畫，皆能引人入勝，斯為大美焉。

余觀如琢指墨，氣韻生動。《浮雲不共此山齊，山靄蒼蒼望轉迷》

有筆氣，有墨氣，有色氣；而又有氣勢，有氣度，有氣機，此間

即謂之韻。而生動處，又非韻之可替，生者生生不已，深達難盡，

Poly Hong Kong 2014 Spring Auction, Lot 2017, set artist's world auction record

2014 年保利香港春拍，Lot 2017《丹楓白雪》，成交價 HKD:184,000,000，創藝術家世界拍賣記錄

動者動而不板，活潑迎人。《春雲如白鶴》、《江南春遊》、《春

雲江南》，盡巒嶂波瀾之變，亦盡筆內筆外起伏升降之變，蓋其

設境也，隨筆而轉，而構思隨筆而曲，氣韻行於其間。凡物無氣

不生，山氣從石內發出，以晴明時望山，其蒼茫潤澤之氣，騰騰

欲動。見青煙白道而思行，見山川落照而思望，見幽人山客而思居，

見岩丘泉石而思遊，此思之意外妙也。

余觀如琢指墨，胸有丘壑，方能奔赴於腕下，勤賞名跡，自能得

應於心胸。搜羅焉，鑒賞焉，收藏焉，皆觸諸眼前，不論于天化

於人造，無不加砥求探索之功，窮其奧妙，極其底蘊，自然神明

於法，既不為法所拘，又不至流無所據。如琢《飛雪伴春》、《夏

木蔭蔭更可人》、《秋晚煙嵐》等作品，指墨神逸，能於無筆墨處，

顯出情真景真之活潑形影，其山水畫作之妙，如真山真水，四時

不同，春融洽，夏蓊鬱，秋疏薄，冬黯淡，不為板刻之形，則之

氣之態變活矣。其煙嵐之氣四時有異：春山澹冶而如笑，夏山蒼

翠而如滴，秋山明淨而如妝，冬山靜穆而如睡，如真在此山中，

則煙嵐之景象正矣。

余觀如琢指墨，《雨氣薰薰遠近峰》營丘作山水，危峰奮起，蔚

然天成。喬木倚磴，下自成陰。軒暢閒雅，悠然遠眺。道路深窈，

儼如深居。用墨濃而皴斫分曉。凝坐觀之，雲煙悠生。澄江萬里，

神變萬狀，不知身置千岩萬壑中。

余觀如琢指墨，手卷《明麗春山》、《莫怪孤帆江上行》則霧鎖煙籠，

長煙引素，水如藍染，山色漸青。夏景則古木蔭天，綠水無波，

瀑布穿雲，幽亭近水。《秋韻圖》則天如水色，幽林簇簇，雁鴻

秋水，蘆鳥沙汀。冬景則借地為雪，樵者負薪，漁者倚岸，水淺沙平。

余觀如琢指墨雪景，《雪溪冬韻》、《郊野吟雪》得寒凝淩競之意，

長林深峭，澗道人煙，攝人渾茫，游於靜穆，其象凜冽，其光黯慘。

披拂屈曲，循境涉趣，岩氣浮于幾席，勁飆發於毫末，得其神跡，

以式造化。如琢指墨，觀其運思，纏綿無間，飄渺無痕，寂焉寥焉，

浩焉渺焉，塵滓盡矣，靈變極矣。

余觀如琢指墨，天分與學歷兼到，則勾勒之勁逸，皴擦之松靈，

氣韻之渾厚，色澤之古雅，達此境界，其功夫克奏，有自然矣。《金

秋無限》、《風船解興月徘徊》如琢用意，墨生指活，橫來豎去，

空虛實際，輕重綿遠，俱有腕中指上出之，其指在松。松者，變

化不測之先天也。所以愈松愈緊，愈遠愈近，愈今愈古，趣在畫外，

意在手前。

3

如琢之畫，勝在境界。晉人王羲之云：“從山陰道上行，山川自

相映發，使人應接不暇。若秋冬之際，尤難為懷。”先生之指墨

山水，綿延多姿，會稽山水難以與其媲美。夫大雅之作，唯在境

界，此先生所嘗言也。境界之大，在格局；境界之高，在格調。

先生巨畫作《葳蕤雪意江南》、手卷《雪溪江南》，灑灑落落，

一望無際，格局開闊，洵有其大；指墨蒼潤，結體雄健，塵滓汰盡，

天然脫俗。得境界者得自在，一似閑鷗翔集，又如雲水風度。先

生諸多畫作，如《荷葉似雲香不斷》、《蒼蒼楚色水雲間》等作

隨心所欲，信手拈來，卻出以淡然天真，閒雅平和，不著力而力沉，

不雕琢而意豐。指、掌積墨映帶之際，閑和自在，故如風起秋山，

落英匝地，繽紛絢爛之極，卻又有著平淡沖和之境界，此正先生

之襟懷使然也。指墨運用處，比多了一支毛筆來得痛快，有質感，

有溫度。

畫中唯山水最高，雖人物花鳥草蟲，未始不可稱絕，然終不及山

水之氣味，風流瀟灑，變幻萬千。昔米元章題王維畫云：“雲峰

石跡，迥出天成。筆意縱橫，參予造化。”至題韓幹畫時則曰：

“肖象而已，無大物色。”看山川之美，觀山水之畫，同一理也。

凡山之可貴，在層疊起伏不盡之狀。先生指墨山水，精於謀篇，

高下大小，參差錯落，以蒼潤濕蘊之狀，而有峰巒起伏之妙。手

卷創作取自古人常見手卷形式，案頭把玩，橫向舒卷，溪山無盡，

次第推衍。團扇、冊頁，以及尋丈、尺幅，兼大小疏密之變，通

甲骨、鐘鼎收放之體，往往不故常主，佈局多方，絕無雷同之感。

其高昂峭拔者如《飛雪伴春》，似孤峰突起、四面削成；其平緩

低矮者如《夏山煙晚》，若平疇遠風，漸行漸遠。

山水原是風流瀟灑之事，與寫草書、行書無異，不是拘泥用工之

物，如畫山水與畫人物、花鳥，描勒界畫粉色，那得有一毫趣致？

是以虎頭之滿壁滄州，北苑之若有若無，河陽之山蔚雲起，南宮

之點墨成煙雲，子久、元鎮之樹枯山瘦，如琢手卷《雪處疑花滿，

花邊似雪回》，雪滿千山，迥出人表，皆不著象，真足千古。

如琢之畫，勝在生機。夫畫家之心思才力，精神運用，意匠構造，

窮天地之所至，顯明之所照，縱橫千里，經緯萬端，上下高低，

八方遠近，有形有象之物，若隱若現之景，無不一一含蘊胸中，

展之腕底。雖高諸天空，遠若萬里，一入如琢之眼，即可縮之於

宣紙，無處不露其生氣，起伏變滅，動靜生植，奇異萬端，畫卷

呈現有存造化之功。其手卷《杜牧詩意圖》，其手腕莫不達其周詳，

其筆墨莫不見其渾然，其畫面魄力沉厚，氣韻虛靈，生機流行。

此無他，心焉、腕焉、手焉，無一處不到，真所謂一以貫之。

如琢之畫，勝在氣勢。如琢巨幅作品《近峰鑄鐵遠嶺嬌》、《寒

塘清幽》，其指墨的蒼勁、氣勢的磅礴，真是到了令人驚歎的程

度，猶如讀太史公《項羽本紀》，那種筆陣縱橫、元氣淋漓的氣勢，

不由使人驚心動魄；其用筆勁峭佈局嚴密處，猶如讀滎陽之戰、

垓下之圍文字，真有狂飆突起、風雨驟至之勢。所以讀如琢之畫，

首先給人的印象就是他那雄渾之氣勢和感人之力量。不論是尋丈

巨幅還是尺頁小品，他都以澎湃之激情、充沛之精力、酣暢之指

墨和色彩之和諧構成這種氣勢，表現了畫家雄視千古、氣吞山河

的精神力量和氣概。先生作品以雄渾勝，就其小品亦能于溫婉處

見遒勁。即如其《天寒遠山淨》，氣勢壯、用墨豐，以此頗見沉實。

至其《布穀聲中夏令新》，慷慨壯懷，氣奔如注，竟有奔雷墜石

之勢，是為雄壯氣象發於指墨之間。觀其《千山紅到樹，一水碧

依人》，用墨清壯，且隨其蒼茫歎喟中而曲折變化，交相映發。

如琢之畫，豪邁雄渾，讀其手卷《雪溪冬韻》、《江北江南水拍天》，

無不感到他早已超越於筆墨之外，傳統之各種皴法，早已被他融

化生新，成為無法之法，法外之法了。司空圖的《詩品》解釋“雄

渾”這種風格時說：“返虛入渾，積健為雄，具備萬物，橫絕太空。”

如琢之畫《千山飛雪》、《玉山銀海送清輝》，可當“雄渾”二字。

清人楊振綱說到“雄渾”二字時說：“此非有大才力大學問不能，

文中唯莊馬，詩中唯李杜，足以當之。”所謂“雄渾”風格，文

章中唯有《莊子》和《史記》，詩中唯有李白、杜甫的詩可以稱

得上，當代畫壇之中，唯有如琢足以當之。

如琢之畫，畫中有詩。石濤曾把陶淵明、蘇東坡的許多詩畫成畫，

詩畫相得益彰。如琢畫作，以詩入畫，每幅畫都是一首無聲的詩。

《富春山居圖》，不同于元人黃子久，別開生面，是那麼壯美的

畫境，那麼動人的詩境，夕陽的餘暉映照著水邊的岸崖以及隱現

在嶙峋巨岩後的村落，村後是郁勃幽深的叢林和草木森秀的崗巒。

畫境是那麼寧靜，寧靜得連飄浮在山腰的白雲也似乎凝固不動了。

但是，靜謐中也洋溢著熱烈——那胭脂色般的殘陽，使我們感到“余

霞散成綺”這名句的具體形象。《四望桃花紅滿潮》是一幅描繪

了江南春色的動人畫面：平坡上春樹疊翠，沃野千里，青蔥欲滴，

遠山如黛與碧水相映，白雲如織，群鶩齊飛，畫面上散發春的氣息，

那暖風快要把遊人熏醉了。《花開紅樹亂鶯啼》、《溪上青松秀

色開》等如琢山水畫作，大都是有這種詩之氣質。

如琢之作，貴在善化，如琢山水，借鑒西畫印象派，表述朦朧的

意境和氛圍，用暗示、象徵手法，給人以飄渺微茫的感覺，留有

遐想的餘地。如琢繪畫《畫洗春林圖》、《山路原無雨，空翠濕

人衣》、《岑翠映湖月》中的寫意指墨、淡墨淡色往往也有這種

效果，以極其概括，有時甚至以抽象的指墨表現物件，既酣暢淋漓，

又飄渺空靈，給人可意會不可言傳之美。大千居士的濃彩啟發了

如琢，如琢山水畫加以創新，《春蔭春雨複春風》以淡彩淡墨出之，

更有中國傳統山水的神韻，藝術效果上有飄渺微茫的感覺，留有

遐想的餘地。

如琢之畫，技法新穎，作品將傳統的皴法第一，改變為色彩為主，

使中國山水畫呈現新的生機。試看他的《春山清流》、《布穀聲

中夏令新》，整個畫面的很少看到一筆皴筆，然而卻是一幅山水

雲煙渾然一體的傑作，就連水間的樹木，也只見一處以濃淡的積墨，

連半樹枝幹也沒有，然而任何人看這幅畫，都十分清楚，哪裡是

山，哪裡是水，哪裡是煙，哪裡是雲，哪裡是樹木，哪裡是房屋。

請再看《春雨積籬落，聲聲響春樹》，這是一幅水墨山水，畫的

Poly Hong Kong 2014 Fall Auction, Lot 2010

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也是風雨中的山水，然而情景與上一幅畫不同，上圖畫面上一片

煙雲，留空曠處極少，蓋因當時是暴雨，煙雲迷漫，一片混沌也。

此圖只是風雨，顯而易見，不是特大風雨，看樣子是薄霧小細，

故遠處尚露山坡，近處尚能辨樹木，最近處略用指肚微抹，稍見

堤岸，尤其是江面上的一大片飛墨和樹梢頭的飛墨，恰恰重重渲

染了煙雨薄霧的氣氛。在這幅畫上，沒有用勾和皴。類似這樣的畫，

還有《颯颯秋雨中，淺淺石榴瀉》、《溪山煙雨》等，畫家在畫

煙雨雲霧之時，往往採用這種表現手法。

如琢之畫，用色大膽，不論何種色彩，在他的指下都十分的沉穩，

和諧。如《山色無定姿，如煙複如黛》、《夢荷》，畫面上顯然

是大塊的墨，大塊的白，和斑駁的藍和紅，這樣用色的效果，卻

使你感到元氣淋漓，青紅斑駁，是一種雪後千山蒼蒼茫茫的氣勢。

如琢在用色，謹守一個原則，在同一幅上，只以一種顏色為主，

其他色澤均服從主色調，不能喧賓奪主。一年四季之山水，其用

色都是有講究的。他的畫，不同于傳統水墨，也不同于傳統青綠

山水，色彩豐富且平和。

如琢指墨，改變了傳統筆墨線的流動感，像手卷《寒雲雪霽》、《蒼

山連東浦，雪屋入寒林》改變了我們正常看到的線條的流動感，

黑白效果超過我們看到的筆墨效果，在二維的黑白墨色中，增加

了灰色，色彩更具豐富性、流動性。那種飛白是我們意想不到的，

就是這種帶有意料之外的美感在指墨上達到枯和韌有機結合，以

尋求筆墨的理解。吾等可從留存至今的歷代指墨作品看到，沒有

先生指墨山水此等境界，指和掌是一種限制，而先生于此限制中，

硬生生地開創出這樣新的指墨天地。

如琢之畫，使人振奮，其多彩多姿的指墨山水、花鳥和指書，以

強有力的指墨和雄渾的色調，恰好反映了我們時代多彩多姿的面

目，是對吾國大好河山之熱烈歌頌。如琢指墨山水、花鳥、指書，

在畫壇上樹立了一個嶄新的畫派，而且這個畫派，將產生愈來愈

大的影響。更重要的是，先生指墨畫就其創新而言，確是煥然一

新的一代風標，是無人可與類同的異軍突起，但就其民族風格、

中國氣魄來說，又是傳統山水畫的繼承和傳新。先生之繪畫藝術

所透露的，是先生對家國的一份情懷、對社會的一份使命，所反

映的是我們的時代精神，一種奮發有為、樂觀進取的精神，一種

社會的正能量。

4

夫當代山水畫作，無慮千數，大抵呈現山川、雲水、亭榭、草木、

古跡，粗觀尚可，數日數月複觀，便覺乏味。要之，有先生之膽，

有先生之識，又有先生之才，而後能為此超世絕塵之畫作。先生

指墨山水，並其喜怒動靜之性，無不描畫如生。若夫扇面、冊頁、

手卷、尋丈巨幅，皆心所欲言，指墨到處，種種入妙。余觀董源、

巨然山水，雄渾勁健，氣勢磅礴，千載之下，為之心胸闊大；石

濤山水，縱使筆不筆，墨不墨，自有我在，至今如親見其人。蓋

其情真而境實，揭肺肝示人，人見之無不感動。先生作品，其思

欲沉，其調欲響，其骨欲蒼，其味欲雋，而總歸于高華秀朗。從

巨幅到小品，都自真情實境流出，與董源、石濤落墨，異世而同符。

先生其作，雄健大氣，氣象萬千，洋洋乎，灑灑乎，纖乎，巨乎，

淵微乎，漭漭乎，各臻其妙，兼總其極，而畫境之奇觀備矣。數

就當世能寫善畫者，一當其鋒，無不披靡，斯已奇矣。如琢先生

是二十世紀以降與黃賓虹、張大千、傅抱石、李可染、陸儼少諸

先生齊名的最為重要的山水畫家，他的指墨山水開宗立派，其藝

術成就已達到歷史的高度，為我們開啟了一個指墨繪畫的新時代。

“太樸如琢——如琢先生書畫故宮大展”在即，且有畫集問世，

余為文而傳之。先生指墨作品，獨出胸臆，指、腕、掌、背流動間，

一任自然，成此洋洋大觀、卓有落落之作，風韻流走，別具風貌。

其畫山，千岩競秀；其畫水，百轉紆徐。此乃人與書畫俱老，心

手兩忘之機也。故宮出版社梓印其作，得近水樓臺之便，先人一

步仰視華章、一挹風味，何其幸哉！

Recently, with the autumn comes, the sky becomes clear. The wind is soft and all the leaves fall. All of a sudden, the world is all-pervading. Yesterday under the moonlight, as I leisurely went over the several volumes of The Collection of Cui Ruzhuo, published by the Forbidden City Press, I was impressed by Mr. Cui's superb artistry and exquisite style. Despite the dimension of his works - albums, circular fans, sketches, hand scrolls and large size paintings, they all have fully illustrated the magnificent and diversified beauty of the mountain sceneries all over China. Hence, Mr. Cui's works have already achieve a superb level of innocence and simplicity. The autumn mountains and winter woods in Mr. Cui's work are accompanied by bamboo shadows and west wind outside my window. They echo with each other in a way as if they are dancing harmoniously with one another. This kind of mind-wandering in Mr. Cui's painting scroll is so marvelous that is hardly to be explained in words.

1In the winter of 2014, I gathered with poet Chen Chao. Chen is an elderly man with wisdom. When he saw Mr. Cui's works, he was amazed. I am not a painter, and therefore my understanding toward painting is rather shallow. Yet when I saw Mr. Cui's new painting – the Spring Rain of the South, I was also elated. And I asked Chen: “Whether Mr. Cui's work can exceed the previous masters'?” “They can't be compare together”, Chen answered. I laughed and responded: “Starting from Mr. Cui's finger painting, all contemporary works can overweigh the ancient ones.” Chen answered with silence. I continued: “Today I have the chance to see the meticulously work of Mr. Cui. I see the light ink scattered willfully, and so I can't help but applaud. I wondered how much time and effort Mr. Cui has put into his work. He must have engraved all the details of the huge mountains and great rivers into his mind. However he then manages to throw away the stereotyped influence but the essence only. Though the size of the paper is limited, still the momentum erupt. Even the most blurry strokes are full of vigor. While the ancient painters learnt their strokes from masters' most mature works, which are far apart from the real mountains and trees, and therefore their works are rather dull. In this way, the contemporary painters may not necessarily inferior to the ancient masters.” Unfortunately, my bosom friend Chen Chao has left us forever.

Mr. Cui learnt from master Li Kuchan when young. Then he imitated various masters. He once stated: to imitate ancient paintings, one must closely examined the masters' authentic works. First of all, one must observe the vigor of the mountain, and then learn from their skills. The most prominent works are those with classic style and delicate strokes. In the process of learning from the ancient masters like Dong Yuan, Guoxi, Huang Gongwang and Shi Tao, Mr. Cui not only imitate the shape, but manages to grasp the essence. Since Mr. Cui has spent much effort in copying the ancient paintings and in the meanwhile he hung the paintings all over his home, he is able to grasp their essence and then integrate with his own understanding. As a result, all the elements in Mr. Cui's paintings, such as the woods and paths, are highly natural. And this is what makes Mr. Cui a contemporary master. At first, one follows a certain genre or school, and then develops one's personal style. The Five Dynasties Painters Dong Yuan and Ju Ran fit into this pattern, and so are the Mi father and son, and the four Yuan painting masters. And today, Mr. Cui also fits into this pattern. His work is originated from one school but is much more than a simple imitation, because he has established his own style. From Mr. Cui's finger landscape, we see the influences from Dong Yuan, Li Cheng, Fan Kuan, Shi Tao, Chang Dai-chien, Pan Tianshou and Fu Baoshi. He borrows from the past masters to make his own breakthrough. His works are not mere repetitions of the masterpieces but successors of the past and inheritors of the future. From then on, though other master's influence is sometimes evident, Mr. Cui's works take on a new look with his own style. And this is what is called “the strokes inherit the past, while the connotation follows the time”. Taking Mi Fu's story of learning calligraphy for example, Mi Fu never wrote a single stroke before the age of 40. Instead, he focused on comprehending the various styles of calligraphy. Yet after 40, Mi started to write and his calligraphy spontaneously carries personal style. Similarly, Mr. Cui learnt from one certain master before age of 60. We see there's no trace of Mr. Cui himself in the painting before 60. But after 60, his personal style suddenly established.

After age of 60, Ruzhuo begun using fingers, palms and the backs of hands to draw. Finger ink painting is a unique skill in Chinese traditional painting. It is difficult to learn and is seldom seen in other masters' works. There was no evidence of finger painting in Tang, Song, Yuan and Ming Dynasties. Only Gao Qipei and Gao Fengxiang in Qing Dynasty did


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them. Modern painter Pan Tianshou sometimes painted with fingers as well. Yet most of the themes were concentrated on bird-and-flower and human figures. The size were small too. There were only a few bird-and-flower finger painting in larger sizes, painted by Pan Tianshou. Ruzhuo inherits the past masters' skills by using both the fingers and the palms. He ingeniously takes advantage of the fiber and leather-like quality of the rice paper. To innovate, Cui creatively uses bast paper instead of treated rice paper and half-treated rice paper. His finger painting is therefore able to shed the constraint of the dimension, resulted in particularly large ones. For instance, the 60-meter-long hand scroll Blowing Snow in the Thousands of Mountains, of which the image is vigorous and majestic, is an outstanding demonstration of Cui's adept finger painting skill. The album Various Landscape is also one of Cui's representative works. The images in the album is full of variations. It not only contains sceneries from all four seasons, but also has various shades of ink colors. Moreover, the dry branches and the archaic hills are as well rich in variations. All the elements in the image all highly alive-looking.

2From my perspective, the beauty of Ruzhuo's finger paintings is difficult to summarize, since some of them are elegant such as the piece The Bright Sun Emerges from Clouds and the Birds Scatter Away from Lonely Woods, some are vigorous like the piece The Misty Water and the Setting Sun, and some are delicate such as Bamboo Shadows in the Cold Stream. Despite the various dimensions, each piece is unique. Cui's works are like pearls with uneven sizes. All of them, no matter the big ones or the small ones, can generate the same euphonious sound when dropping on the jade plate. The elegant ones bring about solemn and serenity. Vigorous ones generate majesty. Delicate works produce a feeling of tranquility. In other words, each one of them is absorbing. They are images of grand beauty.

In my opinion, Ruzhuo's finger paintings have rhythmic vitality. Scattered Cloud and Misty Mountain contains different types of flowing energy. And that is the so-called lively spirit. Spring Clouds and White Crane、Traveling in the South in Spring Days、Spring Cloud of Jiangnan reminds us of the Qing Dynasty painter Yun Xiang's comment on the rhythmic vitality. Apparently, all the variations have been demonstrated by Ruzhuo and has come to an end in Ruzhuo's works.

Ruzhuo's must have been traveled to many beautiful places, and thus is able to keep these magnificent mountains and waters in mind. No matter natural landscape or cultural landscape, only by visiting and exploring them, one can turn the sceneries into conceptions, and finally transform them into painting. Ruzhuo's work The Spring Snow, Lovely Tree Shades in Summer Days, Smoky Mist in Autumn Night for instance, although depicting different seasons, still they originate from reality instead of deriving from the artist's sole imagination. In this way, the image is vivid and full of variations. Just as the Song painter Guo Xi pointed out that: “the smoky mist of four seasons are distinctive: the spring mountain is elegant, just like smile; the summer hill is lush as water drop; the autumn one is bright as if wearing make-ups; and the winter one is solemn as sleeping. And this is why the image seems real. ”

The Pleasant Rain illustrates of Dong Qichang's painting theories, it says: “Cliffs thrust against the ground. Trees lean over steps and cast tree shades. The winding and long road stretches, as if there's a lodge hidden at the end of it”.

The image of Ruzhuo's handscroll Bright Spring Mountain and Sailing Alone is in accordance with the Wang Wei's comment on depicting spring scene: “(spring scene should be)surrounded by mist. Fog that pervaded looks like flying white silk. Water seems to be dyed by blue pigment. Mountain gradually turns greenish. While summer scene should be filled with old trees towering to the sky. Water is green and calm. Waterfall hangs high up with white cloud surrounded. Pavilion at close is quiet and secluded. ” What's more, the piece Autumn perfectly demonstrates Wang Wei's ideal concerning autumn: “Sky and water have the same color. Dark forest clustered. Goose fly toward south. There are reeds on island and nearby water.” While for the winter scene, “blank space is to indicate snow. There should be woodsmen carrying firewood. Fishermen waiting at shore. Water is shallow and so reveals the bank.”

Ruzhuo's finger paintings that depict snow scenes, such as Snowy Stream in Winter Days and Countryside Snow, suggest a feeling of bitterly cold, which is mentioned by painter Yun Ge when mentioning snow. “The small path stretches all the way into the deep woods. No human figure is seen in the picture. The world is solemn, quiet and even gloomy.”

Poly Hong Kong 2015 Spring Auction, Lot 2314, rewrite artist's world auction record

2015 年保利香港春拍，Lot 2314《葳蕤雪意江南》，成交價 HKD:236,000,000，刷新藝術家世界拍賣記錄

The achievement of Ruzhuo's finger painting results from both his talent and diligent. To achieve the strong lines, the lively texturing, the powerful vitality and the elegant coloring, hardworking helps, but still talent is necessary. The key to paintings llike The Golden Autumn, Traveling on Boat with Moonlight Surrounded is to loosen one's finger. And artistic talent is crucial for loosen one's finger.

3The most prominent feature of Ruzhuo's painting is his artistic state. The Jin Dynasty master Wang Xizhi once said: “If one walking on the north side of mountain Kuaiji, the hill and the water will form a delightful contrast, resulting in a completely stunning scene”. “If it's autumn and winter, the scene will be even more unforgettable”. Nevertheless, Ruzhuo's finger landscape is even more fascinating that outweighs the scenery of Mt. Kuaiji. Mr. Cui once pointed out that it is the artistic state that makes a great piece of work. And one's artistic state results from one's vision and taste. Ruzhuo's large painting Snow in the Lush Jiangnan and hand scroll Snowy Stream in Jiangnan are the perfect examples of his insight and bearing. Furthermore, Ruzhuo's many other works, such as Lotus Leaves and the Scented Cloud and The Vast View of Chu are rather unsophisticated and simple. All the strokes are strong but causal, simple but rich in connotation. The image is splendid yet flat, just like the autumn wind in the mountains, or the rain of flowers falling to the ground. All of them is originated from Mr. Cui's vision and magnanimity. Comparing with brush, fingers are much more straightforward, more substantial and carry more warmth.

Landscape is the most valued category in painting. Portrait and bird-and-flower painting can be extremely ingenious as well. Nevertheless, they can't outweigh landscapes, because they are lack of the variations and unrestrained quality of the latter. Ancient master Mi Fu once wrote a colophon for Wang Wei's painting, it says: “The cloud, mountain and the rocks are abundant in variations. All have gone beyond the reality; the strokes are so free that has achieve the state of Buddha”. However for Han Gan's painting, he put: “Only portrait and nothing special.” To judge landscape paintings, the same principle can be applied. Great mountain scenes are always fluctuating with layers. And Mr. Cui's finger paintings are always well-structured. The large and the small, the up and down

are always well distributed. The hand scrolls are good to be enjoyed on desk. With the scroll unrolled, the hills and rivers successively reveal one after another. Circular fan, album, xunzhang, chifu and all other sizes of paintings are diversified as well. Similar to the oracle bone scripts and bronze inscriptions, nothing is unchanging. Each character is unique. There is high and steep mountain, like the one in The Blowing Snow and the Coming Spring. And there is also gentle one such as the hill in Nightfall in the Summer Mountain.

Similar to the running script and cursive script in calligraphy, landscape painting is unrestrained and graceful in nature. It would be no fun if we delineate landscape in the same way of portraying human figure and bird-and-flower. Therefore, the art of Gu Kaizhi, Dong Yuan, Xia Gui, Mi Fu, Huang Gongwang, Ni Zan and Cui Ruzhuo are all extraordinary masterpieces that were and are going to be valued forever. Ruzhuo's work is exceptional in vitality. He manages to involve everything in mind, then release them through his palms and fingers onto the rice papers. Although everything seem to be incorporated in one piece of paper, yet every corner is full of vitality. The hand scroll Du Mu Poetic Painting excellently demonstrates this sense of vividness. To achieve this, there's no other shortcut but to manage one's mind, wrist and hand skillfully as one.

Ruzhuo's painting is also exceptional in momentum. The huge pieces Irony Mountain at Close and Graceful Mountain Afar and Tranquil Pond are of great momentum. Looking at these works is as if going through Sima Qian's Xiang Yu Annuals in Shiji. Especially the when looking at where the strokes are intensive and powerful, it is like reading passages of the Battle of Xingyang or the Besiegement of Gaixia, with tempest blowing harshly directly into one's face. Undoubtedly, the first impression of Ruzhuo's painting is its momentum. It is driven by the artist's passion and energy, and reveals the artist's grandeur and heroic spirit. Even in the smaller pieces, we are still able to discover the vigor hidden behind the softness. Take Bold Mountain in Winter and Summer Approaching in Cuckoo Sound for example, the former's momentum lies in its heavy ink, however the latter's lies in the rapidity of strokes.

Ruzhuo's painting is magnanimous and powerful (xionghun). From his


2015 年保利香港秋拍，Lot 2309《山水四條屏》，成交價 HKD:133,930,000

handscroll Winter Scene Nearby on the Stream and The North and the South Shore of River, it is obvious that Ruzhuo has already break away from the traditional skills and texturing, and has developed his own method. For the explanation of style of xionghun, Sikong Tu mentioned in his writing Twenty-Four Poetic Qualities: “When return to the void-quietness, one can achieve the state of completeness; reserve one's positive energy to manifest the powerful quality; magnanimous and powerful poem is all-encompassing, as if the sky high above”. Ruzhuo's Blowing Snow in the Mountains and In Snow illustrate this explanation perfectly. Yang Zhengang of the Qing Dynasty pointed out when referring to xionghun: “To achieve the state of xionghun, one must be talented and omniscient. There's only Zhuangzi and Shiji in the realm of literature, Li Bai's and Du Fu's in the realm of poetry (can be labeled as xionghun)”. Yet among contemporary painters, only Mr. Cui's works are able to be regarded as xionghun.

There are poems in Ruzhuo's works. For a time, Shi Tao portrayed many poems of Tao Yuanming and Su Shi. The painting and the poetry achieved complementarity. Since Ruzhuo's work is also integrated with poem, each of them can be regarded as a silent poem. Dwelling in Mountain Fuchun, rather deviated from Huang Gongwang's, creates a magnificent poetry-like scene, with the sunset glow reflecting in the water, the villages hiding behind the jagged boulders, and the lush woods fading afar. The image is so quiet that even the floating white clouds half way up the mountain seem to be stagnant. Nevertheless, there is a sense of ardency in the serenity – the blush-like sunset. It vividly depicts the poem “the afterglow spreads out like a piece of brocade”. Likewise, Peach Blossom portrays a touching spring scene of southern China. In the painting, spring trees grow exuberantly on the vast land. The green hill far away echoes with the clear river water. Groups of birds soar up into the clustered white clouds. Viewers even can feel the warmth of the spring breeze. Other landscape works like Spring Scene and Pine Tree on the Shore also illustrate similar poetic quality.

Another asset of Ruzhuo's painting is its enlightenment quality. Cui learns from the Western Impressionist to create a misty atmosphere and a feeling of uncertain. And it is manifested in Ruzhuo's freehand finger paintings, such as Spring Woods, Verdant Hill and the Wetted Clothes and Greenish Tress and Moon in the Lake. The objects in the picture are depicted by rather hasty strokes, and sometimes even abstract lines, and in this way has resulted in an unutterable beauty. Inspired by Chang Dai-chien's heavy color, Ruzhuo furthermore develops the colored landscape. Take Tree Shade, Rain and Breeze in Spring Days for instance, the pieces are treated by light color and light ink. It creates an ethereal art effect, allowing for further imagination.

In terms of skills, Ruzhuo stresses the employment of color, instead of the texturing method which is valued by tradition. Therefore, he has made an innovative progress. In Ruzhuo's work Limpid Stream in Spring Mountain and Summer Approaching in Cuckoo Sound, there's nearly no texturing stroke. The entire image is masterpiece that the hill, water and cloud all integrated with each other. Even the trees growing in the water are depicted by plot ink (aka. jimo) solely. There's not a single twig in the picture. Nevertheless, to any viewer, the scene is highly straightforward. Raindrops on the Spring Trees is also a landscape depicting the mountains in the rain. Yet scene is rather different. The former is a stormy scene, which has left almost no blank space. While this piece is only a scene in the drizzling rain. Therefore, the viewers can identify the hills afar and the trees at close. The bund at close is treated by slight smearing by the pad of fingers. The ink misting on the river and branches highlights the misty atmosphere. But there's neither texturing nor hook in the picture. Similar method can also be seen in work Rustle Autumn Wind

and the Splashed Water Drops, Misty Rain in the Mountains and so on, which is used to represent a hazy scene quite often.

Ruzhuo acts bold when employing colors. All colors in his works seem harmonious. Take the Ever-changing Mountain Scene and Dream Lotus for example, the large areas of ink and blank take up the majority of the image. There are variegated blue and red in between. The coloring brings about a boundless feeling to the snowy mountain scene. Ruzhuo strictly follows a coloring principle: there's only one dominant color allowed in one piece. Other colors must comply with the dominant one. Of all four seasons yearly, each one has its proper color. Rather deviated from traditional ink painting or blue-and-green landscape, Ruzhuo's coloring is rich yet mild. His finger painting has transformed the fluidity of traditional ink strokes, which can be seen in hand scroll Cold Clouds after Snow and Icey Mountain and the Lodge in the Snowy Woods. Ruzhuo applies grey in between the sharp contrast of black and white, adding a sense of flowability to the image, and in the meanwhile producing an effect similar to feibai (half-dry strokes in calligraphy). In the past finger ink painting, the fingers and palm are somewhat constraint. However, Mr. Cui's manages to make an innovation out of it.

Ruzhuo's paintings are inspiring, since the colorful and vigorous mountains, flowers and birds have exactly reflected our splendid times. There are paeans to China's wonderful landscape. Ruzhuo's finger paintings and calligraphies has found a whole new painting school. This school is going to have increasingly tremendous impact. What's more, in terms of Ruzhuo's innovation in finger ink painting, he is undoubtedly the outstanding model that outweighs any other nowadays. But in terms of the traditional style and Chinese spirit, he is also the successor of the tradition. What lies in Mr. Cui's art pieces is his responsibility to the society and the nation. They reflects the spirit of the time and produces a kind positive energy – enthusiastic, progressive and optimistic.

4Contemporary landscape paintings can be categorized into mountains and rivers, clouds and rivers, pavilions, woods and historical sites. It is fine to skim over, however over tedious to examine for days and months. But Mr. Cui has the boldness, wisdom and talent to offer us a unique experience. All of his finger landscape are as vivid as life. All the sizes of works are able to speak for themselves. Dong Yuan and Ju Ran's landscapes are magnificent and powerful. Even after thousand years, we are still impressed by its liberality. Shi Tao's landscapes, though revolutionary in skill, still manifests the painter's personality. Everyone is moved by Shi Tao's truthful expression. Although Ruzhuo lives in different ages with Dong and Shi, but their works are of same artistic value. Ruzhuo's work is majestic and delicate, vast and minute at the same time. He talentedly manages to manifest all kinds of beauty. Cui Ruzhuo is one of the most significant landscape painters since 20th century, abreast of Huang Binhong, Chang Dai-chien, Fu Baoshi, Li Keran, Lu Yanshao, and so on. Moreover, Cui is the bellwether in finger painting. Driven by Cui, Chinese finger painting has achieved another new level and has entered a whole new era.

Glossiness of Uncarved Jade: Exhibition of Cui Ruzhuo at the Palace Museum is soon to be inaugurated. There is a catalogue published along with the exhibition. And I am glad to have the chance to write its postscript. Mr. Cui's finger painting is so unique that has reach the peak of perfection – his paintings aged along with his age, and both his hands and mind become unrestrained. Thanks to the Forbidden City Press, I'm able to have a look at Mr. Cui's brilliant collection and distinguished style ahead. How lucky I am!

cui ruzhuO art chrOnOlOgy崔如琢藝術年表

崔如琢艺术年表

1944甲申 / 出生

出生于北京市西城區新街口。

祖父爲清代總兵，父親是民族

資本家。時逢家國多難之際，

其父遂取《詩經》中「有匪君

子，如切如磋，如琢如磨」意，

名之如琢。

Born in Xin J ie Kou street ,

Xicheng district, Beijing. His

grandfather is the commanding

officer of Qing dynasty, father is

a national capitalists. They have

lived in a wartime, therefore,

his father named him with the

meaning taken from Shi Jing :

“There is a gentleman, like the

cutting and grinding stones.” This

implied his father’s wish for him.

在父親督導下學習《三字經》、

選讀《論語》等典籍，並逐篇抄

寫，雖不甚解，卻由此迷上小楷，

是爲日後研習書法的蒙發。

Under his father’s supervision, he

has learned Three Character Primer, The

Analects and so on. In the meantime,

he started to transcribe the articles.

Although he could not understand

so well, he became interested in

regular script. This enlightened his

study in calligraphy after date.

1949己丑 / 5 歲

入北京西四關華小學讀書。因天性頑皮，年內三易其校。自于關華小學

因踢球擊碎學校廣告櫥窗不肯認錯遭除名後，又先後就讀于北京四中補

習學校與北京鐵路三小。

He entered Xi Si Guan Hua elementary school. Due to his naughty and

mischievous actions, he has changed school for three times. Since he was kicked

out from Xin Hua school because he broke the window display but denied his

mistakes. He has transferred from Beijing fourth Cram school to Beijing Railway

third school.

同年，受愛好藝術的三哥影響，始于宣紙之上塗鴉，對傳統中國繪畫有

了最初的認知。加之祖父以來，家中小有收藏，耳濡目染，漸成癖好。

In the same year, due to the influenced of his third older brother who loves

art, he began to sketch on the Xuan paper, and that was his fist awareness of

Chinese painting. Furthermore, from the age of his grandfather, his family has

had many collectables, and he has been influenced by what he constantly sees

and hears then finally created his own hobbies.

1950 庚寅 / 6 歲

1960庚子 / 16 歲

無人引薦，獨自上門求教于陳半丁先生，先生垂愛有加。尤對其大寫

意花鳥贊賞不已。

Nobody introducing him but himself go to Mr. Chen Banding. Mr.Chen likes

him very much. Especially appreciates his talent in flower and bird free hand

painting.

得半老提攜，喜不自勝，信心尤增。鼓足勇氣參加北海公園畫坊齋舉

辦之北京市迎春畫展，《梅花》意外入選。

From Mr.Chen’s guide and support, he was so happy and confident. He

decided to take the courage of joining

the Spring Exhibition which host by

Beihai park painting studio. His work

Plum Blossom was unexpectedly been

selected.

是年，正式拜李苦禅先生爲師，

系統學習大寫意花鳥畫。

This year, he officially became one

of the student of Mr. Li Kuchan,

systematic learning flower and bird

free hand painting.

考上北京藝術學院附中，任國畫課代

表。

He got in School of the Art Institute

of Beijing Affiliate High School, and

selected to be the subject representative of

traditional Chinese painting.

是時，中國繪畫教學基本因襲前蘇聯

繪畫教育體系，因對契斯卡可夫素描

教學體系不感興趣，經常逃學去故宮

博物院繪畫館臨習中國古代名畫。

In the same time, because Chinese painting

lessons is taken from the former Soviet

Union education system, and he is not

interested in sketch teaching system, he

always skip the class and go to imitate

traditional Chinese painting in Palace

Museum.

藝術學院解散，轉中央

美術學院附中繼續學業。

Due to the dismiss of Art

Academy, he transferred to

Central Academy of Fine

Arts Affiliate High School

to continue his study.

1 9 6 1辛丑 / 17 歲

1962壬寅 / 18 歲

Cui Ruzhuo Art Chronology

在北京展覽館（原蘇聯

展覽館）參觀「齊白石

遺作展」，震撼于大師詩、

書、畫、印造詣。始習

篆刻、書法。

He v i s i t ed Qi Ba i sh i ' s

Posthumous Exhibition

at the Beijing Exhibition

Center. He was inspired by

Master Qi Baishi’s poetry,

calligraphy, painting, and

sea l cut t ing. He began

to study seal cutting and

calligraphy.

1957丁酉 / 13 歲

入北京市第三十九中學讀書。

He entered Beijing 39th middle school.

繪畫天賦突出，深得鄰居名醫劉子實先生喜愛，推薦他拜會了北京畫院秦

仲文、胡佩衡兩位山水名家。甚受啓迪，反複去故宮博物院臨摹歷史名畫。

Due to his outstanding gift of painting, he was recommended to visit two famous

landscape painter which are Qin Zhongwen and Hu Peiheng from Beijing Painting

Academy by his neighbored who a well-known doctor is called Liu Zishi. He was

enlightened by these two masters so much, so he came to Palace Museum to imitate

historical paintings again and again.

1959己亥 / 15 歲

1958戊戌 / 14 歲

拜會王鑄九。課余潛心寫意花鳥畫

創作，在立意、爲象、造型、布局、

筆墨上循序漸進。同時，于詩書畫

均有涉獵，並漸悟其三位一體之道。

王鑄九先生言：「孺子可教，後生

可畏……」

After visiting Wang Zhujiu, he started to

specialized studying in free hand flower

and bird. He proceed step by step in

the order of conception, polish, styling,

layout, and ink. Meanwhile, he dabbled

in poetry, calligraphy and painting, and

learned how to combine these three to a

one unit. Wang Zhujiu said that the boy

is worth teaching, the younger generation

will surpass the older.

1963 癸卯 / 19 歲

1964 甲辰 / 20 歲

創作丈二巨幅《白梅圖》。

恩師苦禅先生看後大加

贊賞，並欣然題跋：「筆

墨氣勢頗正確，從此努

力可矣。癸卯正月題以

勉之。禅」

He created the magnificent

work Plum Blossom Figure

which is four meters long.

C u i Ru z h u o ’s t e a ch e r

Mr. Kuchan gave him a

big applause after he saw

it, also he postscript the

painting joyfully. He wrote:

The ink and the imposing

manner are all quite right,

study harder from now on

is enough, inscript in 1963,

by Kuchan.

中央美術學院附中畢業。時值「四清」運動如火如荼，

中央美院停止招生。苦于求學無門，遂服從分配，至

北京西城區三里河小學任美術教員。

He graduated from Central Academy of Fine Arts Affiliate

High School. It was just between the time of socialist

education campaign, and Central Academy of Fine Arts

suspended recruiting new students. He could not continue

his college study, so he obeyed the arrangement which is

teaching painting in Beijing Xicheng District San Li He

elementary school.

于教學、創作之余，在李苦禅先生影響下開始精讀《中

國美術史》、荊浩《筆法記》、郭熙《林泉高致》。

In his teaching and creating period, he started thoroughly

reading History Of Chinese Fine Arts, Strokes In Mind from Jing

Hao, The Elegance Of The Bamboo And Spring from Guo Xi

under the influence of Mr. Kuchan.

創作現實主義作品《廠甸》。由于構圖需要的視覺變形

等因，于表現領袖像上並未刻意正面突出、放大，不料

竟被人诋毀爲醜化革命領袖，並誣陷指證爲現行反革命，

遭停職反省。

He made a actualism work called Chang Dian. Due to the

visual deformation made by composition need, it could

not highlight and exaggerate the greatness of revolutionary

leaders. Unexpectedly, he was calumniated by somebody

that he defamed the revolutionary leaders and he was a

counterrevolutionary. This accident caused him a temporarily

suspension for self-examination.

然坦蕩不肯消沈。于無人之際，苦讀謝赫《畫品》、鄧椿《畫

繼》、沈宗骞《芥舟學畫編》, 寫讀書筆記十余篇。

However, he felt no shame and did not want to fall down

this way. He studied Hua Pin by Xie He, Hua Ji by Deng

Chun, Jie Zhou Xue Painting Series very hard. Moreover, he

have written more than 10 reading journals during by Shen

Zongqian the time he was suspended.

1965 乙巳 / 21 歲


1966丙午 / 22 歲

「文革」全面爆發，學校無限期停課。假赴全國各地「串聯」之機，

于「紅寶書」中夾帶速寫本，遊歷黃河、長江之畔，登臨泰山、

黃山等名山大川，所到之處不忘寫生。此行，爲其後來之創作

積累了大量的真切感受。接受現實生活的磨砺，也堆積起其人

格的最初博大與寬厚。

The Culture Revolution exploded, school was suspended for undefined

period. He made the use of going to make connection all over the

country, he got away with his sketching book. During this period, he

traveled The Yellow River, The Changjiang River, climbed up to Mount

Taishan, Huangshan, and so on. Wherever he went, he would forget

to sketch the them down. This journey brought him so much feeling

for his later painting creation. For accepting the real life sharpening, he

built a broad and generous character.

初春步涉冰封黃河，恰遇冰裂，幸及時跳出冰層坍塌處，絕處

逢生。

Once he was walking on the frozen Huang river in the early spring,

suddenly the ice cracked. Fortunately, he jumped out of the ice-crack,

and he snatched from the jaws of death.

自覺進入選擇性臨摹階段，其間「元四家」、「明

四家」、「四王」、「四僧」、「揚州八怪」至近

代海派名家虛谷、趙之謙、任伯年、吳昌碩等均有

涉獵。

He consciously enter the path of selective facsimile. He

dabbled in “Yuan Si Jia”, “Ming Si Jia”, “Si Wang”, “Si

Seng”, “Eight Eccentric of Yang Zhou”, contemporary

Haipai Master Xu Gu, Zhao Zhiqian, Ren Bonian, Wu

Changshuo and so on.

讀石濤《苦瓜和尚畫語錄》，對其「無法之法乃爲

至法」之說深有體會，遂取百家之長，爲自家所養，

藝術上漸漸直指心意。

When he read Shi Tao’s Bitter Gourd And Monk Quotations,

he resonated by one sentence very much which is “no

law is as to the law”. He took the advantages from

all the masters, and kept the essence to himself, his

accomplishments in art is gradually came to the mind

state.

師從章草大師鄭誦

先，系統學習書法、

書論、書史。

Y i e l d t o Z h e n g

S o n g x i a n w h o i s a

m a s t e r o f c u r s i v e

script, he star ted to

systematically studying

calligraphy, theory of

calligraphy, and history

of calligraphy.

1969 己酉 / 25 歲

1 9 7 1辛亥 / 27 歲

1979己未 / 35 歲

娶妻劉美華。恩

師李苦禅先生

贈畫《雙鷹圖》

祝賀，題跋「蒼

鷹不搏即鴛鴦。

如琢美華嘉禮

之祝」。

He married Liu

M e i h u a . H i s

respected teacher

Li Kuchan gave

them a painting

n a m e d C o u p l e

Eagl e as a g if t ,

a lso inscr ipted

t h e b e s t w i s h

to Ruzhuo and

Meihua.”

得長子崔遠。

His f i rs t son was born

named Cui Yuan.

從「改革開放」至此年，

爲其第一個創作高峰期。

這一時期的作品以純熟

的筆墨、生動的構圖、灑

脫的風格奠定了其在當

代中國大寫意花鳥畫壇

的地位。

From the reform and open

up until now, this is his first

creation highlight. His work

in this period has dexterous

ink, lively composition, and

unbuttoned style which

established his status in

China flower and bird free

hand painting.

借道香港，移居美國。

Channeling through Hong Kong, he moved to the U.S.

應紐約中國藝術研究會邀請，在紐約林肯藝術中心作《現代

中國水墨》專題演講，在大洋彼岸聲名初著。

He was invited to China Fine Arts Research Association in New

York, and he made a keynote speech which talks about Contemporary

Chinese Ink Painting at New York Lincoln Art Center. That was the

first time his fame expanded in overseas.

不久，其作品經旅美華人收藏家王安女士（原台灣國民黨副

總統嚴家淦之兒媳）帶到台北，得黃君璧、張大千兩位國畫

大師首肯，消息傳到紐約 , 美國華人上流社會開始關注並收藏

其繪畫作品。

Soon after, his work has been collected by American Chinese Mrs.

Wang An (former Taiwan Nationalist party vice President Yan Jiagan’s

daughter in law). She brought his work to Taipei, and the work was

confirmed by Huang Junbi and Zhang Daqian who are the two great

masters of traditional Chinese painting. This news was spread in New

York City, therefore, many upper class American Chinese started to

pay attention to his work and collecting them.

獲美國綠卡。

He got the American green card.

參加紐約國際藝術雙年展，

成爲唯一入選的中國畫家，

作品《秋韻》獲評委會「提

名獎」。

H e j o i n e d t h e N e w Yo r k

International Arts Biennial, and his

work was the only one been selected

among all the Chinese painters.

應邀于泰國教育部、日本大

坂藝術大學舉辦「水墨意

象——崔如琢中國畫展」。

He was invited by Thailand

Ministry of Education, and

Osaka University of Art to have

a exhibition called “The Image

of Ink Painting-Cui Ruzhuo

Chinese Painting Exhibition”.

1980庚申 / 36 歲

1981 辛酉 / 37 歲

1982 壬戌 / 38 歲


應邀爲廣州交

易會創作花

鳥、山水作品

近百幅。

He got invited

to create flower

and bird free

hand painting

and landscape

p a i n t i n g i n

Guang Zhou

Trading Fair.

爲《體育報》畫動作分

解插圖，賺取每幅 0.15

元稿費，以充畫資。

He has drawn illustrations

showed the decomposition

of movement for Daily

Sport. Each illustration

worth 0.15 RMB, so he

could use the money to

supply his painting fund.

開始在榮寶齋、寶古

齋、北京畫店等處挂單

售畫。

This year, he began to

sell his work in Rong Bao

Zhai, Bao Gu Zhai, and

Beijing Painting Shop etc.

爲人民大會堂

創作丈二巨幅

《東風朱霞》，

受到學界同仁

贊譽，並被永久

收藏。

H e m a d e a 4

m e t e r s l o n g

paint ing cal led

E a s t W i n d &

Sunset Glow for

Great Hall of the

People. It received

m a n y p r a i s e

from academic

colleagues, and

the work was kept

in permanently.

文革結束，基于美術界對其藝

術水准的認同，遂從三里河小

學直接調入中央工藝美術學院

任教。

The Cultural Revolution ended.

Because the art circle identify his

attainments, he left San Li He

elementary school and dispatched

him to teach in Central Institute

of Arts and Crafts.

同年，其繪畫作品被中國海關

列爲限制出境的 131 位畫家之

列。

In the same year, his painting

works has been labeled as one

of the 131 res t r i c ted f rom

exportation painting by China

Customs.

借調至文化部中國畫創作組（現中國畫研

究院），在頤和園與李苦禅、黃胄、關山月、

亞明、程十髮等一起進行創作。這既是美

術界對其繪畫造詣的高度肯定，又使其融

入頂級國畫大家的圈子，得窺各家風範。

交流切磋，眼界更寬，獲益自然非比尋常。

He was dispatched to Chinese painting group

in Ministry of Culture (currently Research

Institute of China Painting). He was painting

with Li Kuchan, Huang Zhou, Guan Shanyue,

Ya Ming, Cheng Shifa in Summer Palace. This

does not only show the highly affirm that art

circle gave to him but also lead him into the

top traditional Chinese painting circle. So he

could learn and communicate with them. He

gained so much and has broaden his horizon

from this precious experience.

1972壬子 / 28 歲

1973癸丑 / 29 歲

1974甲寅 / 30 歲

1977丁巳 / 33 歲

1978戊午 / 34 歲

收藏流失美國的石濤十二開《山水冊頁》及其八尺山水《風竹圖》；漸江六尺

山水《溪橋秋興圖軸》、十二開《山水冊頁》；董其昌《書法長卷》；傅山《草

書千字文》長卷；文徵明《錢塘春圖卷》；唐伯虎《西園雅集圖》長卷等。

He collected Shi Tao’s Landscape Figure which was lost in America, and also his Bamboo

Figure, Xi Bridge In Prosper Autumn, Landscape Figure, Calligraphy Long Roll by Dong

Qichang, Cursive Calligraphy by Fu Shan, Qian Tang Spring Figure by Wen Zhenghui, Xi

Garden Figure by Tang Bohu.

在紐約拜會宋美齡女士。

Visit Mrs. Soong May-ling in New York.

作品《石竹》被聯合國總部收藏；

作品《濃夏圖》被美國前總統里根先生收藏；

作品《野趣圖》被美國前國務卿基辛格博士收藏；

作品《山花怒放》被宋美齡女士收藏。

Dianthus Chinensis is collected by United Nation Headquarter.

The Heaviness Of Summer is collected by former U.S. president Reagan.Pastoral Wild Fun

is collected by past U.S. Secretary of State Henry Alfred Kissinger.

The Bloomiing Mountain Flowers is collected by Mrs. Soong May-ling.

作品《山雨欲來》被泰國教育部收藏；作品《秋聲》被日本大坂藝術

大學收藏；作品《春濃》被加州資深參議員濤爾收藏。

His work Coming Rain was collected by Thailand Ministry of Education, The

Sound Of Autumn was collected by Osaka University of Art, The Heaviness Of

Spring was collected by California state senator.

首次進入佳士得國際拍賣有限公司，作品《香充幽谷》以 2 萬港元成交。

First time his work entered Christies, and his work Full Of Fragrance In The

Valley closed the deal in 20 thousand HKD.

拜會台灣塑膠集團董事長王永慶博士並收王永慶先生之女瑞慧小姐爲徒。

He visited the director of Taiwan Plastic Group, Wang Yongqing and became

the teacher of his daughter, Miss Wang Ruihui.

同年，開始系統收藏中國書畫。收藏流失美國的石濤的淺绛山水《煙

江晚眺圖卷》；漸江六尺山水《雪景山水圖卷》；金農《鍾馗夜遊圖

軸》；李方膺《花卉冊頁》；羅聘《梅花冊頁》等。

Same year, he started to systematically collecting Chinese calligraphy and

painting. He has collected Shi Tao’s work Over Look The Yan River which was

lost in America, Snow Covered Landscape, Zhong Kui Waling Iin The Midnight by

Jin Nong, Blossom Figure by Li Fangying, Plum Blossom by Luo Pin and so on.

1983癸亥 / 39 歲

崔如琢艺术年表崔如琢艺术年表

在台灣國立歷史博物館舉辦大型個人書畫展，時

任台灣當局副總統謝東闵剪彩。此爲大陸畫家第

一人。這次展覽作品銷售總額超過 3000 萬元港幣。

He has held a grand personal calligraphy and painting

exhibition at Taiwan’s national museum of history,

Taiwan Vice President Xie Dongmin at that time cut

the ribbon at the opening ceremony. It never happened

on a mainland painter before. His works had been sold

in this exhibition is 30 million HKD.

台灣國立歷史博物館出版《崔如琢畫集》，萬青

力作序。同時，作品《晨曦》被台灣國立歷史博

物館收藏。台灣《雄獅美術》雜志爲此特作長篇

專版報道。

Cui Ruzhuo Painting Album was published by Taiwan’s

national museum of history, Wan Qingli wrote the

prelude. At the same time, Morning Glory was collected

by Taiwan’s national museum of history. Taiwan’s

magazine Lions Fine Art wrote a specialized long page

report.

探索現代水墨。

Discovered contemporary ink paintings

作品《晚風》被美國國際合作委員會主席陳香梅女士收藏；

Midgight Wind is collected by the chairman of America International cooperation committee –Mr.s

Chen Xiangmei.

作品《秋夜雨》被美國著名建築大師貝聿銘先生收藏。

A Midnight Rain In Autumn is collected by well-known American architect—Mr. Ieoh Ming Pei.

紐約中國藝術研究會出版中英文對照大型畫冊《崔如琢的世界》。

The World Of Cui Ruzhuo is published by New York Chinese Arts Research Association in both

Chinese and English version.

榮獲紐約杜威大學榮譽藝術博士學位。

Awarded as honorary doctorate degree in Fine arts of Dewey College.

應台灣故宮博物院院長秦孝儀邀請訪問台灣。

Invited by Mr. Qin Xiaoyi who is the dean of Taiwan Palace Museum to visit Taiwan.

作品《晨曦》被台灣塑膠大王王永慶博士收藏；

Morning Glory is collected by the director of Taiwan Plastic Group—Mr. Wang Yongqing.

作品《紅梅》被台灣報業大王王惕吾博士收藏。

Red Plum is collected by the Taiwan newspaper tycoon—Dr. Wang Tiwu.

1984甲子 / 40 歲

應邀訪問泰國。拜會泰國王室，收泰國公主提娜小姐

爲徒。

He was invited to visit Thailand, and Thailand Royal family.

香港《美術家》雜志對其藝術成就作長篇評論。

Artist magazine had a long page report that talks about his

great achievement in art.

作品《東風朱霞》被韓國漢城大學收藏；

作品《報春》被菲律賓遠東大學收藏。

East Wind And Sunset Glow was collected by Seoul

University.

Herald Spring was collected by Far Eastern University.

在紐約收藏八大山人《仿古書畫合璧冊頁》；沈度草

書長卷《赤壁懷古》；陳洪绶《松嶽高秋圖卷》；徐

渭水墨《花卉冊頁》。

He collected Ba Da Shan Ren’s work Fang Gu Calligraphy

Painting Album, Shen Du cursive script Chibi To Mediate On

The Past, Chen Hongshou Pine Trees And Relaxed Autumn, Xu

Wei ink painting Flowers Figure.

1985乙丑 / 41 歲

參加首屆北京國際水墨大展，作品《山之夢幻》獲優秀獎。李可染先生評價其作品：「山不

像山其山自在，水不像水其水自流，千山萬水畫理盡在其中」。

Attend the first Beijing International Ink Painting Exhibition, his won the prize because of his work

Dream Of The Mountain. Mr. li Keran commend is work “ The mountain is not like the mountain but it is

free, water is not like the water but it flows, thousand miles of mountains and river is all in it.”

在北京釣魚台國賓館作畫兩個月。八尺巨幅《雙鷹圖》被谷牧副總理作爲國禮贈送新加坡總

理李光耀。

Working in Beijing Diaoyutai Guesthouse for two months. His eight feet long work Double Eagles is

collected by the former vice premier Mr. Gu Mu and was given to the former Singapore President, Mr.

Lee Kuan Yew.

應邀參加沈陽博物館建館 40 周年紀念活動。

He was invited to attend the 40 years anniversary celebration for Shanyang Museum.

讀羅丹《藝術論》，丹納的《藝術哲學》。

Read Rodin’s Art Theory, Taine’s Philosophy Of Art.

收藏鮮于樞《書法長卷》；黃賓虹《山水長卷》；徐悲鴻《五駿圖》, 張大千《工筆荷花八條

屏》等名家珍品十余件。

Buy in Xian Yushu’s work Calligraphy Long Roll, Huang Binhong’s work Landscape Painting, Xu Beihong’s

work Wu Jun Figure, Zhang Daqian’s work Lotus Fine Brush Work and so on.

1988戊辰 / 44 歲

1989己巳 / 45 歲

Cui Ruzhuo Art ChronologyCui Ruzhuo Art Chronology

在香港與劉海粟先生合作巨幅《風荷圖》，海粟先生爲其

畫室提字「靜清齋」。

Complete a grand work The Lotus with Mr. Liu Haisu in Hong

Kong, Mr. Liu Haisu named his studio “Jing Qing Zhai”.

陪同亞裔共和黨領導人陳大緯女士回國訪問，拜會李可染、

吳冠中、白雪石。

Accompany Mrs. Chen Dawei who is the Asian Republic leader

comes back to China, visiting Li Keran, Wu Guanzhong, Bai

Xueshi.

參加恩師李苦禅先生在濟南的紀念館「萬竹園」開館儀式。

Attend his respected teacher Mr. Li Kuchan’s grand opening of

its memorial hall “Bamboo garden” in Jinan.

作品《幽趣圖》被比利時天主教蘆文大學收藏；

作品《飛流直下》被印尼基督教大學收藏。

Funny Figure is collected by Belgium Catholic University of

Leuven.

Water Falls is collected by Universitas Kristen Indonesia.

入美國國籍。

Became American citizens.

《崔如琢作品選集》畫冊由人民美術出版社出版。

Cui Ruzhuo Painting Works is published by People’s Fine

Art Press.

受董其昌「南北宗論」影響，尚率真，輕功力；

崇士氣，斥匠筆；重筆墨，輕丘壑；尊變化，黜

刻畫。藝術上承其理論直追「四僧」。

Due to the impact from Dong Qichang’s “South North

theory”: be outspoken, less in skills, admire morale,

rebuke exaggerate pen, pay attention to ink, despise

gully, respect the change, dismiss description. He

carried on Dong Qichang’s theory to catch up the “Four

monks”.

在巴黎收購西周青銅器燕候鼎、燕候盤。

He purchased bronze ware, Yan Hou Ding, Yan Hou

Pan in Paris.

台灣寒舍畫廊舉辦「崔如琢的水墨世界」

個人作品展。

“The Ink Painting World of Cui Ruzhuo” personal

exhibition was held at Taiwai Han She gallery.

在台灣國立歷史博物館舉辦「回歸徹悟——

釋禅宗美學」專題演講。

“Return to the Origin---Zen Aesthetics”

keynote speech was held at Taiwan’s national

museum of history.

至此爲其第二個創作高峰期，作品多爲寫

意花鳥，間有山水小品，大部被北美、亞

洲以及港台地區公私收藏機構、知名人士

收藏。

This was his second highlight of his creating life,

most of his works are about flower and bird free

hand painting, several of them are landscape

painting. Most of the work have been collected

by agency and well-known people from North

America, Asian, Hong Kong, and Taiwan.

得次子崔

近。

His second

kid Cui Jin

was born.

遊歷歐洲諸國，參觀盧浮宮、大英博物館、倫敦

國立美術館、維也納藝術史博物館、慕尼黑美術

館、普拉多美術館、德累斯登美術館、布雷拉美

術館，重點研究各國博物館館藏中國書畫，並以

筆記形式按編年作力所能及的評注。

He traveled many countries in Europe, visited

Louvre, British Museum, London’s National Gallery,

Historisches Museum der Stadt Wien, The gallery in

Munich, Museo el Prado, Dresdner Gallery, Pinacoteca

di Brera. He focus on studying Chinese painting which

exhibited in museums of each country, and wrote down

the comments in a form of journal as much as possible.

在柏林收藏西周青銅簋。

He bought in Bronze Gui of Xi Zhou in Berlin.

在倫敦收藏契丹金版畫四件；收藏六尺整紙八大

山人《風荷圖》。

He bought in four piece of Qidan Gold Editions in

London, he collected six feet long Lotus Figure from

Ba Da Shan Ren.

愛女崔嘉寶出生。

His beloved daughter Cui Jiabao was

born.

《崔如琢畫集》由上海人民美術

出版社出版。

Cu i R uzhu o Pa i n t i n g A l bum i s

published by Shaihai People’s Fine

Arts Press.

收藏仇英長卷《蘭亭雅集圖》；

徐悲鴻《雄獅圖》、《竹報平安圖》；

傅抱石《竹林七賢》等書畫精品。

He collected Lanting Gallery Set by

Qiu Yingchang, Lions Figure by Xu

Beihong, Bamboo Wellness Figure, Seven

Distinguished Men In Bamboo Forest by

Fu Baoshi and so on.

收藏戰國錯金銀團花流鼎。

He collects fine works from the

warring state.

1986 丙寅 / 42 歲

1987 丁卯 / 43 歲

1990庚午 / 46 歲

1 9 9 1辛未 / 47 歲

1992壬申 / 48 歲

1993癸酉 / 49 歲


與妻劉美華離異。

He divorced his wife Liu

Meihua.

遊歷美國東、西部。

Traveling through East and

West of America.

臨藏品數十件，歷時七個

月，雖每有心得，卻致使

腰椎錯位。

He spent seven months in

America and collected tens

of collectibles. Although it

was a precious experience,

he had a lumbar dislocation.

出任世界華人書畫家收藏家聯合會榮譽會長。

He became the honorary President of World Chinese Calligraphy and Painting Collector Association.

榮寶齋出版發行《崔如琢書畫拍賣專場精品紀念郵票》。

Rong Bao Zhai published Cui Ruzhuo Calligraphy And Painting Special Auction Commem Orative Stamp.

人民美術出版社出版《中國畫名家小品集—崔如琢》。

China Well-Know Painters Album Cui Ruzhuo was published by People’s Fine Arts Press.

應邀在中國藝術研究院研究生班講課。

He was invited to be the postgraduate class’s instructor of Chinese National Academy of Arts.

應邀在杭州第七屆藝術博覽會演講。

He was invited to give a speech at Hang Zhou 7th Art Fair.

鑒于其在繪畫、鑒賞和收藏上取得的藝術成就，《收藏家》、《畫廊》、《中國美術》、《藝

術市場》、《收藏界》、《中華文化畫報》、香港《明報月刊》、台灣《典藏》等期刊以及《人

民日報》、《北京晚報》、《北京青年報》、《中國文化報》、《信報》等主流報刊均詳

盡報道。

Base on his outstanding achievement in art, appreciation, and collection, many main stream media

had published special report for him. They are Collectors, Chinese Fine Arts, Art Market, Cang World,

Chinese Cultural Pictorial, Hong Kong Ming Pao Daily, Taiwan Art Touch, People’s Daily, Beijing Evening

News, Beijing Youth Daily, China Culture Daily, Economic Daily and so on.

出任中華名人協會副主席兼中華名人書畫院院長。

He took up both posts of Vice-chairman of Chinese

Celebrities Association and the president of China Well-

Known Calligraphy and Painting Institute.

神舟六號成功發射 , 崔如琢和文化部原常務副部長高

占祥共同創作的書畫長卷《和平頌》被選爲搭載物 ,

隨同神舟六號遨遊太空。

Shenzhou VI Spacecraft was successfully launched, Cui

Ruzhuo collaborated with the former administrative vice

ministry of culture Mr. Gao Zhanxiang have completed a

calligraphy and painting long scroll named Ode To Peace. This

art work was selected to be the carry souvenir with Shenzhou

VI Spacecraft.

在香港研讀《歷代名畫記》，精

選藏畫數十件，逐一臨摹，從「理」

與「法」上對傳承有了更新的認識。

He studied precisely a book All

Previous Dynasties Painting Record in

Hong Kong, and he carefully selected

tens of paintings, and copied them

one by one. It brought him a greater

understanding of inheritance.

重遊台灣，參觀台灣

故宮博物院。

Rev i s i t Ta iwan , and

Taiwan Palace Museum.

在台收藏龔賢《深山

高隱圖軸》；吳偉《松

下吹蕭圖軸》；鄧石

如《隸書四條屏》等

數件精品。

Collected Hide Into The

Mountain by Gong Xian,

Play Bamboo Flute Under

The Pine by Wu Wei ,

Clerical Script Calligraphy

by Zheng Shiru etc.

應邀訪問菲律賓，在馬尼拉拜會菲律賓著名

收藏家鄭僑志（菲律賓首都銀行董事長）。

He was invited to Philippine, and visited famous

collector Zheng Qiaozhi in Manila (The President

of Metropolitan Bank& Trust).

重回大陸，遊黃山、華山、武夷山，訪龍門

石窟、大足石刻群、甘肅敦煌莫高窟。

He came back to mainland of China and traveled

many places such as Yellow Mountain, Hua

Mountain, Wu Yi Mountain, Long Men Shi Ku,

Da Zu Shi Ke, The Mogao Grottoes.

應邀訪問泰國，在曼谷拜會泰國著名收藏家

鄭午樓（泰國盤古銀行董事長）。

He was invited to Thailand, and visited the

famous collector Zheng Wulou in Bangkok (The

President of Bangkok Bank).

1994甲戌 / 50 歲

1996 丙子 / 52 歲

1997丁丑 / 53 歲

1998 戊寅 / 54 歲

2004甲申 / 60 歲

2005乙酉 / 61 歲


重回大陸，遊歷廬山、峨眉山、青城山。

Revisit mainland of China, and visit

M o u n t L u , M o u n t E m e i , M o u n t

Qingcheng.

遊歷太湖、鄱陽湖、洪澤湖。

Visited Lake Litai, Lake Poyang, Lake

Hongze.

溯黃河源頭遊歷青海、寜夏、甘肅、

陝西諸省，作尋根之旅。

His journey of looking for root started

from the origin of Yellow River. He has

visited Qinghai, Ningxia, Gansu, many

provinces of Shanxi.

年末，在北京寓所香江花園閉門作畫

三月。

In the end of year, he closed the door for

painting for three months at his apartment

in Beijing.

應邀在中央美術

學院國畫系郭怡

綜花鳥畫研究生

班講課。

He was invited to

be the instructor

o f f l owe r-b i r d

painting graduate

c l a s s a t Cent r a l

Academy of Fine

Arts).

在香港寓所會景

閣畫室繼續創作。

He continued his

c r e a t i o n a t h i s

apartment in Hong

Kong.

在北京畫室

靜清齋全力

投入創作，

進入第三個

創作高峰期。

He was all in

for paint ing

creation at his

Beijing studio,

and it was his

third highlight

o f p a in t i ng

career.

在北京靜清齋創作

作品逾百幅。

He created hundreds

o f w o r k a t h i s

Beijing studio.

天津楊柳青畫社出

版《崔如琢花鳥作

品精選》、《崔如

琢山水作品精選》

畫冊。

Cui Ruzhuo Flower-

B i r d A l b u m , C u i

Ruzhuo Lands cap e

A l b u m w e r e

published by Tianjin

Yang Liuqing Art

Group.

中貿聖佳國際拍賣有限公司舉辦《崔

如琢繪畫專場》拍賣。國內著名拍賣

公司爲當代中青年畫家舉辦專場拍賣

尚屬首次，而其參拍作品全部成交，

在畫界和收藏界引起巨大反響。此前，

中貿聖佳國際拍賣有限公司和雅昌藝

術網聯合舉辦《崔如琢繪畫藝術與市

場座談會》。

Sungari Auction House held a special

auction for him called Cui Ruzhuo Painting

Secial Auction. It was the first time that

a well-known auction house in China

held a session for modern middle-age

painters, and all of his works were sold

which created a huge reaction in the art

and collection circle. Before that, Sungari

allied with Artron held a forum called Cui

Ruzhuo’S Painting Art And Markert Forum.

應邀在江蘇省南京市、浙江省杭州市、山東省濟南市、青島市、

淄博市和北京中共中央黨校舉辦「墨采璀璨璞玉如琢——崔

如琢書畫藝術展」。

He was invited to hold an exhibition named 「Brilliant Ink Talent,

A Diamond in the Rough—Cui Ruzhuo Calligraphy Painting

exhibition」.

在香港佳士得拍賣公司春季拍賣會上，巨作《千山飛雪圖》以

1500 萬港幣成交。

His work Snow

Blowing through

the Mountain was

sold through

Christies Hong

Kong Spring

Auction. The

c los ing cos t

was 15 million

HKD.

出任宋慶齡基金會理事。

He became the trustee of Soong Ching Ling Fundation.

出任山東藝術學院客座教授。

He became the guest professor at Shan Dong Art Academy.

出任中國商業聯合會藝術市場聯盟顧問。

He became the art market advisor at China General Chamber of Commence.

中央電視台、北京電視台、四川電視台、江蘇電視台、寜夏電視台、新疆電視台、

浙江衛視、山東衛視、湖南衛視專題采訪。

Special interview by CCTV, BTV, Sichuang TV, Jiangsu TV, etc.

中貿聖佳國際拍賣有限公司十周年慶典 , 再次推出《崔如琢繪畫專場》拍賣 , 作品全

部成交 , 價格突破千萬元。

At the time of 10 year anniversary of Sungari, they once more held a special auction for him,

and again his works were all sold out. The turnover was more than 10 million RMB.

應邀參加中國畫研究院舉辦的崔如琢作品聯展。

He was invited to hold the Cui Ruzhuo Works Exhibition by China Academy of Chinese

Painting.

應邀參加北海公園畫坊齋舉辦的當代大寫意作品展。

He was invited to attend the Contemporary Spring Exhibition held by Bei Hai Park Painting

Workshop

2000庚辰 / 56 歲

2001 辛巳 / 57 歲

2002壬午 / 58 歲

2003癸未 / 59 歲

2004甲申 / 60 歲

2006 丙戌 / 62 歲


翰海春季拍賣會上，花鳥作品《寒月》以

3,427,200 元成交，花鳥四條屏以 2,800,000 元

成交。7 月 19 日崔如琢捐贈價值人民幣五千

萬元畫作給「榜樣公益基金」，在人民大會

堂舉辦了隆重的捐贈儀式，近二十幅山水巨

作由俄羅斯耶弗拉茲集團當場義買並捐贈。

His flower bird painting Frozen Month was sold at

3,427,200 RMB through Han Hai Spring Auction.

The four pieces paint of flower bird painting

was sold at 2,800,000 RMB. Cui Ruzhuo gave

a painting which is valued 50 million Yuan to

“Example of Public Funds”. The grand donation

ceremony was held at The Great Hall of the

People. Around twenties of landscape painting

were bought by EVRAZ and donated them at the

same time.

香港佳士得秋季拍賣會上，10 幅精品拍賣總成交

價 1628 萬港幣。香港大公報頭版整版刊登《崔如

琢新作再度入港》的文章。12 月 12 日崔如琢先生、

虛苑和張裕三方正式簽約，共同推進崔氏藝術發展。

《明珠不忍啄》（張裕愛斐堡國際酒莊收藏）、《素

妝千裏》分別作爲史上第一幅花鳥畫、山水畫用于

國産頂級幹紅、幹白葡萄酒酒標。

Tens of his painting were sold at 16.28 million HKD

through Christies Hong Kong Spring Auction. Hong

Kong Ta Kung Pao did a whole front page article talking

about new work of Cui Ruzhuo came to Hong Kong

again. Cu Ruzhuo, Xu Yuan and Zhang Yu signed a

contract to carry on the Cui’s art development. Can Not

Bear To Peck A Jewel ( collected at Chateau Changyu AFIP

Global Beijing), Simple look in Thousand Miles became the

label of top red and white wine according to the order.

收藏的《石濤羅漢百頁圖冊》新書新聞發布會在榮寶大廈多功能廳舉行。

The media press about the book he collected Shi Tao Painting Album was released at multi-function hall of Rong Bao building.

「大寫神州——崔如琢書畫巡展」青島站成功舉辦，共展出作品 120 幅。

“Freehand brush Shen Zhou---Cui Ruzhuo calligraphy and painting tour exhibition” was held at Qingdao, it has shown 120 pieces of his work.

「大寫神州——崔如琢書畫巡展」在上海美術館成功舉辦。50 米長卷《丹楓白雪》首次在展覽中展出。

“Freehand brush Shen Zhou---Cui Ruzhuo calligraphy and painting tour exhibition” was held at Shanghai Art Museaum. 50 meters long scroll Landscape In Snow was

shown at the exhibition for the first time.

「大寫神州——崔如琢書畫巡展」在杭州美術館成功舉辦。展出歷年作品 120 幅，其中國畫作品 45 幅、手卷 5 幅、指墨 60 幅、書法 10 幅。

“Freehand brush Shen Zhou---Cui Ruzhuo calligraphy and painting tour exhibition” was held at Hangzhou Art Museum. 120 pieces of his work were shown, including

45 of Chinese painting, 5 of hand scroll, 60 of ink painting, and 10 of calligraphy.

「大寫神州——崔如琢書畫巡展」在廈門美術館成功舉辦。爲人民大會堂創作的近 18 米長的鴻篇巨制《荷風盛世》在此次展覽中首次公開亮相。畫作《山

曉樹猶醒》由廈門美術館永久收藏。

“Freehand brush Shen Zhou---Cui Ruzhuo calligraphy and painting tour exhibition” was held at Xiamen Art Museum. The grand work Lotus In The Flourising Age which

made for The Great Hall of People were shown at this exhibition for the first time. The Awaking Trees were kept by Xiamen Art Museum eternally.

「大寫神州——崔如琢書畫巡展」在武漢市湖北美術館成功舉辦。展出歷年精品 150 幅。作品《金風飒飒繞層林》由湖北美術館永久收藏。

“Freehand brush Shen Zhou---Cui Ruzhuo calligraphy and painting tour exhibition” was held at Hubei Art Museum in Wuhan. 150 of his works were shown. The

Golden Wind Blowing Through The Woods were kept by Hubei Art Museum eternally.

「大寫神州——崔如琢書畫巡展」在南京美術館成功舉辦。

“Freehand brush Shen Zhou---Cui Ruzhuo calligraphy and painting tour exhibition” was held at Nanjing Art Museum.

崔如琢個人美術館開幕于 10 月 17

日開幕，展出各年代作品近百幅。

Cui Ruzhuo Private Museum was

opened on October 17th, hundreds

of his contemporary works were

exhibited.

2007 丁亥 / 63 歲

2008 戊子 / 64 歲

2009 己丑 / 65 歲

2010 庚寅 / 66 歲


元旦崔如琢書畫新作展在北京榮寶齋總店舉行。

Cui Ruzhuo’s new work of calligraphy and painting exhibition was held at Bao Zhai head office in New Year.

《荷風盛世》畫作于元月 26 日在北京人民大會堂隆重揭幕。

It had a grand ceremony Lotus In The Flourising Age at the Great Hall of the People.

香港佳士得春季拍賣會上，崔如琢指墨山水百開以 4320 萬元港幣成交，創香港佳士得春拍當代書畫家新高。

Cui Ruzhuo ink landscape painting was sold at 43.2 million HKD through Christies Hong Kong spring auction. It broke the highest record of Christies Hong Kong

spring auction.

「大寫神州——崔如琢書畫巡展」濟南站成功舉辦。

“Freehand brush Shen Zhou---Cui Ruzhuo calligraphy and painting tour exhibition” was held at Jinan successfully.

《丹楓白雪》、《中國近現代名家畫集·崔如琢》先後由人民美術出版社出版，國學大師饒宗頤爲《丹楓白雪》畫卷題寫引首。

Landscape In Snow, Chinese Contemporary Well-known Painters Album - Cui Ruzhuo were successively published by People’s Fine Art Press, Rao Zongyi who is the master of

Chinese culture made the openninglead for Landscape In Snow.

《世界名畫家全集·崔如琢》由河北教育出版社出版，成爲第四位入選該全集的中國畫家。

World Famous Painters Album - Cui Ruzhuo was published by He Bei Education Press, becoming the fourth Chinese painters who were selected to be in the album.

人民大會堂繪制巨幅大寫意荷花題材作品《荷風盛世》，作品長 18 米，高達 3 米，是大寫意花鳥的巅峰巨作。

He made a huge lotus free hand painting Lotus In The Flourising Age at the Great Hall of People. This work length 18 meter, height 3 meters which was the great peak of

free hand painting.

《當代最具影響力國畫家作品集·崔如琢》由河北教育出版社出版，收錄了在崔如琢指墨全國巡回展中展出的大部分指墨畫精品。

The Most Influential Chinese Painter Album - Cui Ruzhuo, including most of his work from the past world tour exhibitions.

《中國近現代名家畫集·崔如琢》，收錄了包括從早年至今的大量精品畫作。

Chinese Contemporary Well-known Painter - Cui Ruzhuo, including most of his work from the past until now.

「指墨情懷——崔如琢書畫巡展」在北京畫院成功舉辦。展出指墨作品 60 幅，其中包括山水 46 幅、花鳥 10 幅、書法 4 幅。

“The Emotion of Ink Painting—Cui Ruzhuo Calligraphy Painting Tour Exhibition” was held at Beijing Painting Academy. The exhibition has shown 60 of ink painting, including

46 of landscape painting, 10 of flower-bird painting, and 4 of calligraphy.

2010 庚寅 / 66 歲

2011 辛卯 / 67 歲


「大寫神州——崔如琢書畫巡展」深圳站成功舉辦。首次展出崔如琢先生爲人民大會堂繪制的花鳥題材作品《荷風盛世》姐妹篇，作品副 11 米，高近 4 米，

是大寫意花鳥的巅峰巨作。

“Freehand brush Shen Zhou---Cui Ruzhuo calligraphy and painting tour exhibition” was held at Shenzhen successfully. It was the first time that the companion volum

of Lotus In The Flourising Age was shown. It length 11 meters, height 4 meters which was the great peak of free hand painting.

6 月 26 日，榮獲「文化中國十年人物」大獎。

He won the prize of “Cultural character of Chinese Ten Years” on June 26th.

「大寫神州 ——崔如琢書畫巡展」第十站在廣州藝術博物院成功舉辦。爲大會堂定制創作的寫意花鳥巨制《荷風盛世》亮相廣州。

“Freehand Brush Shen Zhou---Cui Ruzhuo Calligraphy and Painting Tour Exhibition” was held at Guangzhou Art Museum. Lotus In The Flourising Age was shown at

Guangzhou.

北京翰海秋季崔如琢書畫精品專場拍賣，17 幅作品以 1.32 億開創當代書畫家新紀元。

Han Hai Acution held an Autumn special auction for Cui Ruzhuo. 17 of his works were sold at 132 million RMB which initiated a new era of contemporary calligraphy

and painting.

「大寫神州——崔如琢書畫巡展」蘭州站成功舉辦。崔如琢藏《石濤羅漢百開冊頁》首次展出。

“Freehand Brush Shen Zhou---Cui Ruzhuo Calligraphy and Painting Tour Exhibition” was held at Lanzhou. Cui Ruzhuo’s collectibles Shi Tao Painting Album was shown

for the first time.

香港佳士得秋季拍賣會上，崔如琢單件作品《盛世和風》以 1.28 億港元成交。

His work The Peaceful Breeze In Peaceful Time was sold at 128 million HKD through Christies Hong Kong Autumn Auction.

「崔如琢指墨書畫展暨所藏《石濤羅漢百開冊頁》展」在清華大學美術學

院成功舉辦。

“Cui Ruzhuo’s Collectibles --Shi Tao Painting Album Exhibitions” was held at

Academy of Art Design, Tsinghua University.

香港佳士得春季拍賣會，崔如琢作品《千山飛雪圖》第二次亮相佳士得，

並以 7715 萬港元成交。

His work Snow Blowing Through Mountains was shown at Christies Hong Kong Spring

Auction for the second time. It was sold at 77.15 million HKD.

崔如琢日本美術館作品交接儀式在人民大會堂舉行。

Cui Ruzhuo Japanese Art Museum handover ceremony was held at The Great Hall

of the People.

崔如琢團城藝術館開幕。

Cui Ruzhuo Tuancheng Art Gallery opened.

保利香港「太璞如琢崔如琢精品專場」總成交額超 1.3 億港元。

Poly Hong Kong held a special auction for Cui Ruzhuo –“Glossiness of Uncarved

Jade Cui Ruzhuo Special Auction”. The closing deal was 130 million HKD.

崔如琢香港藝術館開館。

Cui Ruzhuo Hong Kong Art Gallery opened.

「大寫神州——崔如琢書畫巡展」第十七站在三亞市體育館成功舉

辦。2 月，被三亞市政府授予「三亞文化交流大使」。

“Freehand Brush Shen Zhou---Cui Ruzhuo Calligraphy and Painting Tour

Exhibition” was held at Sanya Gymnasium. He was awarded as “Cultural

Ambassador of Sanya” by Sanya Government.

「大寫神州—崔如琢藝術展」在中國國家博物館成功舉辦。展出

180 余件精品，向國家博物館捐贈 10 幅創作精品，李瑞環爲其題

字「繼往開來一大家」。

“Freehand Brush Shen Zhou---Cui Ruzhuo Calligraphy and Painting Tour

Exhibition” was held at National Museum of China. 180 of his work were

shown. Within, 10 of his work were given to the museum. Li Ruihuan

made an inscription which is “Family as a whole from the past until now”.

香港佳士得崔如琢指墨山水作品拍賣專場，總成交額達1.23億港元。

Christies Hong Kong held a special auction for Cui Ruzhuo, and the total

closing deal was 123 million HKD.

2012 壬辰 / 68 歲

2013 癸巳 / 69 歲

2011 辛卯 / 67 歲


「大寫神州——崔如琢書畫巡展」第十六站在海口市紫園恩祥藝

術館成功舉辦。展出歷年創作的國畫作品 35 幅，指墨精品 50 幅，

手絹 2 幅，書法 6 幅。

“Freehand Brush Shen Zhou---Cui Ruzhuo Calligraphy and Painting

Tour Exhibition” was held at Haikoy Ziyuan Enxiang Art Gallery. 35 of

Chinese painting, 50 of ink painting, 2 pieces of hand scroll, and 6 of

calligraphy were shown.

作品《丹楓白雪》亮相保利香港，

並以 1.84 億港幣成交。

His work Landscape In Snow was shown at

Poly Hong Kong and sold at 184 million

HKD.

保利香港「太璞如琢崔如琢精品專

場 II」總成交額超 3 億港元。

Poly Hong Kong held a special auction

for Cui Ruzhuo –“Gloss iness of

Uncarved Jade Cui Ruzhuo Special

Auction”. The closing deal was 300

million HKD.

「太璞如琢——崔如琢指墨藝術展」

在中國國家博物館開幕，展出作品

150 余件。

Glossiness of Uncarved Jade---Cui

Ruzhuo Solo Exhibition “was held in

Chinese National Museum, 150 of works

were shown.

作品《葳蕤雪意江南》亮相

保利香港，並以 2.36 億港幣

成交，刷新藝術家拍賣紀錄。

His work The Grand Snowing

Mountainous Jiangnan Landscape

was shown at Poly Hong Kong

and sold at 236 million HKD,

refresh his auction record.

保利香港「太璞如琢崔如琢

精品專場 IV」總成交額超

3.36 億港元。

Po l y H o n g K o n g h e l d a

special auction for Cui Ruzhuo

–“Glossiness of Uncarved Jade

Cui Ruzhuo Special Auction”.

The c los ing dea l was 336

million HKD.

2 月 25 日 ---5 月 25 日，“太璞如琢——崔如琢藝術故宮大展”

在故宮午門開展，開幕式上崔如琢向故宮捐贈一億元，這筆

捐贈成為故宮文物保護基金目前為止收到的最大一筆個人現

金捐贈，此次展覽展期 3 個月。

"Glossiness of Uncarved Jade - the Grand Exhibition of Cui

Ruzhuo" is on view from February 25th to May 25th at the Meridian

Gate in the Palace Museum in Beijing. Upon the opening ceremony,

Mr. Cui generously donated one hundred million RMB to the

Palace Museum, which became the largest individual donation to the

conservation fund of the Palace Museum in Beijing. The exhibition

will last three months.

「大寫神州——崔如琢書畫巡展」第十二站在包頭市美術館成功舉辦。展出 150

余幅作品。

“Freehand Brush Shen Zhou---Cui Ruzhuo Calligraphy and Painting Tour Exhibition” was

held at Baotou Art Gallery. 150 of his work were shown.

「大寫神州——崔如琢書畫巡展」暨崔如琢藏《石濤羅漢百頁圖冊》展在河南省

博物院成功舉辦。

“Freehand Brush Shen Zhou---Cui Ruzhuo Calligraphy and Painting Tour Exhibition” and

Cui Ruzhuo’s collectibles--Shi Tao Painting Album were held at Hanan Museum.

「大寫神州——崔如琢書畫巡展」第十四站在長春市東北亞藝術中心成功舉辦，

展示近 100 幅書畫精品。


held at Changchun East North Asian Art Center. 100 of his works were shown.

「大寫神州——崔如琢書畫巡展」暨所藏《石濤羅漢百開冊頁》展在貴陽美術館

成功舉辦。


held at Guiyang Art Gallery.

2012 壬辰 / 68 歲

2014 甲午 / 70 歲

2015 乙未 / 71 歲

2016 丙申 / 72 歲

CUI RUZHUO ( b.1944)

Slights of Spring崔如琢半夜一窗晓平明千树春

Painted in 2011Mounted; ink and color on paper74.5×47.5cm. (29 3/8× 18 3/4 in.)titled,inscribed,dated and signed in Chinesefour seals of the artist

二〇一一年設色紙本鏡心約 3.2 平尺題識：半夜一窗曉 , 平明千樹春 . 辛卯之夏如琢寫於靜清齋燈下。鈐印：崔（白文）、如琢（白文）、筆底煙雲（白文）、心源（朱文）

HK$ 1,800,000 - 2,000,000US$ 230,800 - 256,400

1201


Birds Singing in Spring崔如琢春柳鳴幽鳥

Painted in 2011Mounted; ink and color on paper67×51cm. (26 3/8× 20 1/8 in.)titled,inscribed,dated and signed in Chinesefive seals of the artist

二〇一一年設色紙本鏡心約 3.1 平尺題識：春柳鳴幽鳥，辛卯冬月如琢寫古京華靜清齋窗下。鈐印：崔（白文）、如琢（白文）、筆底煙雲（白文）、少許勝多許（朱

文）、吟風嘯月酌酒看花（朱文）

HK$ 1,700,000 - 1,900,000US$ 217,900 - 243,600

1202


Trees and Birds in the Mountains崔如琢北風蕩天地有鳥鳴空林

Painted in 2011Mounted; ink and color on paper75×47.5cm. (29 1/2× 18 3/4 in.)titled,inscribed,dated and signed in Chinesesix seals of the artist

二〇一一年設色紙本鏡心約 3.2 平尺題識：北風蕩天地，有鳥鳴空林。辛卯之夏初小雨後如琢指墨於靜清齋鈐印：崔如琢指墨（白文）、崔氏（白文）、如琢習作（朱文）、心源（朱

文）、少許勝多許（朱文）、落花時節又逢君（朱文）

HK$ 1,900,000 - 2,100,000US$ 243,600 - 269,200

1203


Autumn Landscape崔如琢一天秋色冷晴灣


二〇一一年設色紙本鏡心約 3.1 平尺題識：一天秋色冷晴灣，無松峰巒遠近間。辛卯冬如琢寫。鈐印：崔（白文）、如琢（朱文）、少許勝多許（朱文）、筆底煙雲（白

文）、一片冰心在玉壺（朱文）、吟風嘯月酌酒看花（朱文）

HK$ 1,800,000 - 2,000,000US$ 230,800 - 256,400

1204


Snowy Mountain Village崔如琢玉山銀海送清輝

Painted in 2011Mounted; ink and color on paper66.5×51cm. (26 1/8× 20 1/8 in.)titled,inscribed,dated and signed in Chinesesix seals of the artist

二〇一一年設色紙本鏡心約 3.1 平尺題識：玉山銀海送清輝，辛卯之初冬如琢指墨於京華。鈐印：靜清齋（朱文）、少許勝多許（朱文）、崔氏（白文）、如琢習作

（朱文）、崔如琢指墨（白文）、靜清苑生（朱文）

HK$ 1,700,000 - 1,900,000US$ 217,900 - 243,600

1205


Finger Calligraphy in Seal Script崔如琢重簾不卷篆香橫

Painted in 2014Mounted; ink on paper96×55cm. (37 3/4× 21 5/8 in.)titled,inscribed,dated and signed in Chinesetwo seals of the artist

二〇一四年水墨紙本鏡心約 4.8 平尺題識：重簾不卷篆香橫甲午秋日如琢書於靜清苑鈐印：靜清齋 ( 朱文 )、崔如琢印（白文）

HK$ 1,000,000 - 1,200,000US$ 128,200 - 153,800

1206


Finger Calligraphy in Seal Script崔如琢福壽安康

Painted in 2012Mounted; ink on paper137×56cm. (53 7/8× 22 in.)titled,inscribed,dated and signed in Chinesetwo seals of the artist

二〇一二年水墨紙本鏡心約 6.9 平尺題識：福壽安康壬辰初秋如琢指墨鈐印：試看筆從煙中過 ( 朱文 )、崔如琢（白文）

HK$ 1,500,000 - 1,800,000US$ 192,300 - 230,800

1207


Boating in Spring崔如琢一看郊原浩蕩春

Painted in 2012Mounted; ink and color on paper74×71cm. (29 1/8× 28 in.)titled,inscribed,dated and signed in Chinesefour seals of the artist

二〇一二年作設色紙本鏡心約 4.7 平尺題識：一看郊原浩蕩春壬辰之中秋後小雨如琢寫於靜清齋鈐印：心源（朱文）、崔氏（白文）、如琢習作（朱文）、吟風嘯月酌酒

看花（朱文）

HK$ 3,500,000 - 4,000,000US$ 448,700 - 512,800

1208


Blossoms in Spring崔如琢離離花影欲搖春

Painted in 2012Mounted; ink and color on paper74×71.5cm. (29 1/8× 28 1/8 in.)titled,inscribed,dated and signed in Chinesefive seals of the artist

二〇一二年作設色紙本鏡心約 4.8 平尺題識：離離花影欲搖春壬辰之秋尾如琢寫於靜清齋燈下鈐印：靜清齋（朱文）、心源（朱文）、崔氏（白文）、如琢習作（朱文）、

吟風嘯月酌酒看花（朱文）

HK$ 3,500,000 - 4,000,000US$ 448,700 - 512,800

1209


Snowy Night崔如琢風雪夜歸人

Painted in 2012Mounted; ink and color on paper74.5×71.5cm. (29 3/8× 28 1/8 in.)titled,inscribed,dated and signed in Chinesethree seals of the artist

二〇一二年作設色紙本鏡心約 4.8 平尺題識：風雪夜歸人壬辰夏雨後如琢寫於靜清苑中鈐印：心源（朱文）、崔如琢（白文）、筆底煙雲（白文）

HK$ 3,200,000 - 4,500,000US$ 410,300 - 576,900

1210


Flowers by the River崔如琢渡水復渡水


二〇一二年作設色紙本鏡心約 4.8 平尺題識：渡水復渡水看花還看花壬辰之夏雨後如琢寫於靜清齋鈐印：靜清齋（朱文）、心源（朱文）、崔氏（白文）、如琢習作（朱文）、

筆底煙雲（白文）

HK$ 3,500,000 - 4,500,000US$ 448,700 - 576,900

1211


Visiting in Snow崔如琢雪中訪友圖


二〇一二年作設色紙本鏡心約 4.8 平尺題識：雪中訪友圖壬辰之夏尾如琢寫於靜清齋窗下鈐印：心源（朱文）、崔氏（白文）、如琢習作（朱文）、落花時節又逢

君（朱文）、筆底煙雲（白文）

HK$ 3,400,000 - 4,000,000US$ 435,900 - 512,800

1212


The Grand Snowing Mountains崔如琢飛雪伴春

Painted in 2013Mounted; ink and color on paper299.5×873cm. (117 7/8× 343 6/8 in.)titled,inscribed,dated and signed in Chineseseven seals of the artist

HK$ 150,000,000 - 200,000,000US$ 19,230,800 - 25,641,000

1213

二〇一三年作設色紙本鏡心約 235.3 平尺題跋 : 飛雪伴春癸巳之春月靜清苑庭院中玉蘭花桃花盛開如琢即興寫江南雪意於

京華鈐印 : 靜清齋主 ( 朱文 )、甲申生 ( 朱文 )、如琢（白文）、願與梅花共百年（朱文）

崔如琢先生是大寫意國畫家，書風承襲碑派書家鄭誦先，繪畫則師從花鳥畫大家李苦禪。崔先生善於從古今名家中

汲取營養。他曾經潛心研究過董源、巨然，尤其喜愛“元四家”中的黃公望和王蒙、“清四僧”中的漸江與石濤以

及近代名家黃賓虹、潘天壽、傅抱石。他極富收藏又精於鑒賞，這也成就了他的繪畫，使得他能博採眾長，他的藝

術修養有了很深的積澱。

崔如琢先生已過花甲之年，但他的閱歷卻遠遠超過了這一年齡段中的許多畫家。八十年代初，他離開中央工藝美術

學院去了美國，曾在紐約杜威大學擔任藝術系教授，也擔任過紐約中國藝術研究會副會長，在紐約華人的主流社會

中非常有影響。

近年來，崔如琢先生繪畫創作的題材更加廣泛，尤其大寫意的花鳥畫和山水畫給我留下很深的印象。他十分注重傳

統的筆墨意趣，強調中國畫的意境。他的大寫意荷花，有青藤、石濤的筆意，有李苦禪、潘天壽的精神，但風格上

完全有他自己的面貌，他的山水畫同樣借鑒了古往今來許多大家的東西，卻闖出了自己的一片天地，新穎而不失法度。

崔如琢先生是一位大的鑒藏家，他收藏的古代繪畫十分豐富。我每年去他家的時候，他從珍藏室中拿出的幾張畫，

都是我從來沒見過的，我很驚訝，他對傳統的理解會比我們深，那些寶物，他天天要去揣摩、研究，他近距離的接

觸這些大師的作品和歷史傳下來的經典作品。

中國畫有著特殊的藝術規律與傳承規律，中國畫家的成就是在中國傳統中養出來的，如琢的藝術道路正沿著中國畫

藝術的大道在前行，我們期待他有更多的精品問世。

——王明明 ( 國務院參事室副主任中國美協副主席北京畫院院長 )

Mr. Cui Ruzhuo is a renowned Chinese contemporary impressionism painter. His calligraphy could be traced back to

tablet Calligrapher Zheng Yongxian, while his painting is inherited from master Li Kuchan. Mr. Cui is good at taking

from both the ancient and modern masters. He has studied with great master Dong Yuan, Ju Ran, particularly Wang

Meng and Huang Gongwang from the "Four Masters of the Yuan dynasty". Besides, he is fond of the works by Jian

Jiang and Shitao of the "Four monks of the Qing dynasty", and modern masters like Pan Tianshou and Fu Baoshi. He

has great connoisseurship and rich collections, which largely benefit his paintings and mastery.

Mr. Cui Ruzhuo is over sixty years old, but his experience is far beyond many of his contemporary painters. During the

early 1980s, he left the Central Academy of Fine Arts to the United States, and joined New York Dewey University as

a professor of art, but also served as vice president of the China Art Research Association in New York. Mr. Cui was

quite influential in the mainstream Chinese society.

In recent years, Mr. Cui Ruzhuo's paintings cover broader themes, especially Chinese expressionistic bird and

landscape paintings. He pays great attention to the traditional brushwork, and the atmosphere of traditional ink painting.

His lotus paintings remind me of Shitao's brushstrokes and the spirit of Li Kuchan and Pan Tianshou. However, Mr.

Cui's works never resemble any of these artists. He has created an entire new world with artistic charm and subtle

creativity.

Mr. Cui Ruzhuo is also a remarkable art collector of classical Chinese paintings. Every year when I visit his house,

he shows me a few paintings that I have never seen before. I am deeply impressed by his understanding of Chinese

traditions. He enjoys the time with these masterpieces that have been passed down to him from hundreds of years.

Chinese painting has very unique artistic and traditional language that has neutered few Chinese painting masters.

Now Mr. Cui follows the steps of these great artists along this long way and let us look forward to more of his

masterpieces.

——Mr. Wang Mingming, Vice President of the Counsellors' Office of the State Council, Vice

President of China Artisits Association and President of Beijing Fine Art Academy


Pavillion by West Lake崔如琢誰將亭子傍西灣

Painted in 2013Mounted; ink and color on paper95×59cm. (37 3/8× 23 2/8 in.)titled,inscribed,dated and signed in Chinesesix seals of the artist

二〇一三年作設色紙本鏡心約 5.0 平尺題識：誰家亭子傍西灣高樹扶疏出石間落葉盡隨溪雨去只留秋色滿空山

癸巳之春如琢指墨鈐印：靜清齋（朱文）、少許勝多許（朱文）、崔氏（白文）、如琢習作

（朱文）、崔如琢指墨（白文）、吟風嘯月酌酒看花（朱文）

HK$ 4,200,000 - 4,800,000US$ 538,500 - 615,400

1214


Woods in Autumn崔如琢木落空山秋氣高

Painted in 2013Mounted; ink and color on paper94×57.5cm. (37× 22 5/8 in.)titled,inscribed,dated and signed in Chinesesix seals of the artist

二〇一三年作設色紙本鏡心約 4.9 平尺題識：木落空山秋氣高一聲疏磬出林皋歸帆點點知何處滿目蒼煙尚未消

癸巳之春如琢指墨鈐印：靜清齋（朱文）、心源（朱文）、崔氏（白文）、如琢習作（朱文）、

崔如琢指墨（白文）、吟風嘯月酌酒看花（朱文）

HK$ 4,000,000 - 4,500,000US$ 512,800 - 576,900

1215


Autumn Scenery崔如琢漠漠輕寒上小樓 , 曉蔭無賴似窮秋

Painted in 2012Mounted; ink and color on paper94×59cm. (37× 23 2/8 in.)titled,inscribed,dated and signed in Chinesethree seals of the artist

二〇一二年作設色紙本鏡心約 5.0 平尺題識：漠漠輕寒上小樓曉蔭無賴似窮秋壬辰之寒冬如琢寫於古京華鈐印：心源（朱文）、崔如琢（白文）、吟風嘯月酌酒看花（朱文）

HK$ 4,200,000 - 4,800,000US$ 538,500 - 615,400

1216


Autumn Leaves崔如琢空山霜葉無行跡

Painted in 2013Mounted; ink and color on paper95×60cm. (37 3/8× 23 5/8 in.)titled,inscribed,dated and signed in Chinesefour seals of the artist

二〇一三年作設色紙本鏡心約 5.1 平尺題識：空山霜葉無形跡癸巳之春如琢臨寫於靜清齋鈐印：少許勝多許（朱文）、崔（朱文）、如琢（白文）、筆底煙雲（白文）

HK$ 4,200,000 - 5,000,000US$ 538,500 - 641,000

1217


Floating Cloud崔如琢江上白雲連岸起


二〇一三年作設色紙本鏡心約 5.1 平尺題識：江上白雲連岸起 , 路邊山杏出籬開。片帆知傍誰家宿 , 春色還從萬

里來癸巳之春三月如琢寫於靜清齋鈐印：靜清齋（朱文）、少許勝多許（朱文）、崔氏（白文）、如琢習作

（朱文）、筆底煙雲（白文）、吟風嘯月酌酒看花（朱文）

HK$ 4,000,000 - 5,000,000US$ 512,800 - 641,000

1218


Streams in Spring崔如琢春風自恨無情水 , 吹得東流竟日西

Painted in 2012Mounted; ink and color on paper94×59cm. (37× 23 2/8 in.)titled,inscribed,dated and signed in Chinesefour seals of the artist

二〇一二年作設色紙本鏡心約 5.0 平尺題識：春風自恨無情水吹得東風竟日西壬辰之秋月如琢寫於靜清齋鈐印：少許勝多許（朱文）、崔（朱文）、如琢（白文）、筆底煙雲（白文）

HK$ 4,000,000 - 5,000,000US$ 512,800 - 641,000

1219


Sound of Spring崔如琢花雨晴天落 , 松風終日來

Painted in 2013Mounted; ink and color on paper102.5×66cm. (40 3/8× 26 in.)titled,inscribed,dated and signed in Chinesesix seals of the artist

二〇一三年作設色紙本鏡心約 6.1 平尺題識：花雨晴天落松風終日來癸巳之春尾如琢指墨於丁香花盛開時鈐印：靜清齋（朱文）、心源（朱文）、崔氏（白文）、如琢習作（朱文）、

崔如琢指墨（白文）、吟風嘯月酌酒看花（朱文）

HK$ 4,200,000 - 5,000,000US$ 538,500 - 641,000

1220


Resonating Temple Bells崔如琢溪上遙聞精舍鐘


二〇一三年作設色紙本鏡心約 9.7 平尺題識：溪上遙聞精舍鐘泊舟微徑度深松青山霽後雲猶在畫出東南四五峰

癸巳之春三月如琢指墨於靜清齋燈下鈐印：少許勝多許（朱文）、崔氏（白文）、如琢習作（朱文）、崔如琢

指墨（白文）、吟風嘯月酌酒看花（朱文）

HK$ 8,500,000 - 9,000,000US$ 1,089,700 - 1,153,800

1221


Pine Trees in the Mountains崔如琢誰將平地萬堆雪


二〇一三年作設色紙本鏡心約 9.7 平尺題識：誰將平地萬堆雪剪刻作此連天花癸巳之春三月如琢指墨於靜清齋

窗下鈐印：靜清齋（朱文）、崔氏（白文）、如琢習作（朱文）、崔如琢指墨

（白文）、吟風嘯月酌酒看花（朱文）

HK$ 8,000,000 - 8,500,000US$ 1,025,600 - 1,089,700

1222


Autumn Mountain崔如琢江北秋荫一半开

Painted in 2012Mounted; ink and color on paper143.5×72.5cm. (56 1/2× 28 1/2 in.)titled,inscribed,dated and signed in Chinesesix seals of the artist

二〇一二年設色紙本鏡心約 9.4 平尺題識：江北秋荫一半开晚云含雨却低徊。青山缭绕疑无路，忽见千帆隐

映来壬辰寒冬雪后写于静清斋灯下鈐印：静清斋（朱文）、少许胜多许（朱文）、崔氏（白文）、如琢习作

（朱文）、笔底烟云（白文）、吟风啸月酌酒看花（朱文）

HK$ 8,000,000 - 9,000,000US$ 1,025,600 - 1,153,800

1223


Scholar in the Snow Mountain崔如琢路出寒雲外


二〇一二年作設色紙本鏡心約 9.6 平尺題識：路出寒雲外人歸暮雪時壬辰之夏如琢指墨於荷花盛開時鈐印：靜清齋（朱文）、少許勝多許（朱文）、崔氏（白文）、如琢習作

（朱文）、吟風嘯月酌酒看花（朱文）

HK$ 8,200,000 - 8,500,000US$ 1,051,300 - 1,089,700

1224

2016 年 2 月 25 日下午，由故宮博物院主辦、北京觀唐文化藝術有限公司承辦的“太璞如琢——崔如

琢藝術故宮大展”在故宮午門展廳隆重開幕，展覽開幕式暨新聞發佈會在人民大會堂中央大廳隆重舉

行，展覽展出崔如琢先生代表性的寫意山水、寫意花鳥、指墨山水、指墨花鳥、指墨書法作品 209 件

（組），囊括其歷年最具代表性的作品，集中展現了崔如琢先生的藝術成就，全面反映他創作的心路

歷程以及對中國畫寫意精神的堅守和追尋。

針對展覽，故宮博物院還於 2 月 26 日在故宮建福宮花園舉辦“崔如琢藝術研討會”，邀請中外著名

藝術評論家、藝術家共同研討崔如琢的藝術創作理念以及與古典藝術的繼承發展關係等學術議題。

同期，崔如琢先生向北京故宮文物保護基金會捐贈 1 億元人民幣，用於故宮的文化遺產保護和博物館

事業發展，支援故宮文物保護及修繕工作。

In the afternoon of Feb. 25th, 2016, the exhibiton Glossiness of Uncarved Jade: Exhibition of Cui

Ruzhuo at the Palace Musuem, which is hosted by both the Palace Museum and the Guan Tang

Cultural and Art ltd., is solemnly opened at the Meridan Gate exhibition hall. The opening ceremony

as well as the press conference is held at the central hall of the Great Hall of the People. The exhibition

incorporates 209 pieces of the most representitve works of Mr. Cui Ruzhuo, ranging from freehand

landscapes, freehand bird-and-flower paintings to finger landscapes, finger bird-and-flower

paintings, finger calligraphy works. These works fully illustrate the artistic achievement of Mr. Cui.

They are the demonstration of Mr. Cui's life experience and his pursuit of Chinese freehand paintings.

Furthermore, the Palace Museum held "Cui Ruzhuo's Art Seminar" on Feb. 26th, at the Jianfu Palace

Garden. The seminar has invited art critics and artists from all over the world to discuss topics like the

creative concepts of Cui Ruzhuo, the connection between the ancient works and Mr. Cui's, and so on.

Meanwhile, Mr. Cui has donated one hundred million Chinese yuan to Beijing Palace Museum Cultural

Relics Protection Foundation. The donation will be used to support cultural heritage protection,

museum development and the restoration of antiques in the Palace Museum.

Glossiness of Uncarved Jade: Grand exhibition of cUi rUzhUo at the Palace MUseUM太璞如琢——崔如琢藝術故宮大展

glossiness of uncarved jade special cui ruzhuo ·...

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