看见一个白衣白裤的身影在舞剑

编者按：人生应该储蓄的不仅仅是金钱，还应该储蓄情感学识，只有这样，人生才会充实和富足。 　　清晨，郊外蒙着一层虚幻。那淡淡的淸雾迷蒙着远山，遮掩着近前，飘飘渺渺，来了去了，若即若离。空气湿 润，清新可人，野花草叶上沾着露珠，一种特有的清香，四处弥漫着，吐纳之间，能感受到自然精华沁入肺腑心脾 的惬意。
　　一条小径在草丛中蜿蜒前伸，走的再小心，露水还是会把裤腿扫的湿漉漉的。阳光渐起，雾越来越淡，视觉慢 慢的清晰，前面开阔了，一片平整的草地出现在面前。这是我经常光顾的地方，有时骑车来，有时走 着来,abercrombie，虽离城不远，但这里的环境和空气与城里不能同日而语。
　　每次来到这儿都是我一个人，今天算是遇到了捷足先登者。隔着一段距离，看见一个白衣白裤的身影在舞剑。 他舞的很专注，动作自然潇洒,Christian Louboutin，一招一式有板有眼，姿态轻柔，含着刚柔并进，剑穗摆动，转体腾挪内敛，剑刃在阳光下闪烁点点，剑穗在舞动 中上下翻飞。我静静的观赏着，心中不觉赞叹，好一个亲近自然的舞剑人。
　　一轮招式下来，舞剑者站立不动，静静的凝神运气。靠得近前看，他的头发全白且稀疏，眉毛灰白且浓密，胡 须花白且长髯，白色宽松的中式对襟袄，白色肥大松散的长裤，手中白剑红穗，脚踩一双黑帮布面的练功鞋。这白 红黑的色彩叠到一起，对比是那么的强烈，一幅仙风道骨的视觉图就在眼前。
　　身后传来悉悉索索草叶被拨动的声音，回头看，不远处又走来了一个人。今天是什么日子，难得有人来这里散 心。近了，更近了，看清了，原来是和我来过此地晨练的一个朋友。我们相互打着招呼，不等我问，朋友告诉我， 舞剑者是他的亲戚，老家是本地人，自小离家，一直在城里书画院授课。这不，退休后嫌大城市吵得慌，非得在小 城买了栋搂两头轮居，是他告诉亲戚来这散步的。怪不得，清静之地现出了清净之人。
　　就着早晨的阳光，我们天南地北的闲侃了一会儿。看得出，老先生文雅中透着含蓄，言谈里保藏 经论。
　　半月后，有幸和朋友到老先生家造访。
　　开门的是一位典雅的老年女士，这应该是老先生的夫人了。进得门来，一股墨香扑鼻而来,moncler homme，一种书卷气萦绕其间，来得巧，老先生正在画室写字。见来人了，他刚想起身接待，被我们示意打住了，主随客 便吧。在一旁，我们饶有兴致的看老先生继续笔走龙蛇，但见饱蘸墨汁的笔，抑扬顿挫，只见洁白的宣纸，走笔浸 润。老先生手腕抖动，笔力透纸，字构布派有大家风韵，他的呼吸随笔运作，一气呵成后款款的放下笔。这种动作 ，我似乎在他晨间舞剑的时候见过，这时，一幅岳飞的《满江红》词赫然纸上。
　　我静静的观察画室，四壁洁白，墙上挂着老先生的几幅画作,doudoune moncler pas cher。其中有一幅寒江垂钓图，画的颇具神韵，真的是浓妆淡抹总相宜，不愧为学府教授。回转眼看，他还是全身素白 的打扮，不同的是，脚上穿了双圆口的布鞋。今日近前细观，老先生虽白发，白眉，白须，但脸色红润，举手投足 学者风度。
　　静静的品一杯清茗，听老先生的书画经，品味满室的书卷气息。那大小不一的笔，在笔架上悬着，那洁白无暇 的镇纸，在纸上压着，那方端砚在桌子的右上角放着，一枚墨块在砚台里躺着，墨香徐徐的飘来，与杯中清茗的味 道混合在一起，充盈着室内。
　　话间，老先生好像想起了什么事情，他慢步走到阳台上，深情的抱起一盆兰花，像对我们又像是自言自语，这 花呀，怕晒，得适时的搬动才好。这时的老夫人，嘴角撇了撇，眼睛里露出了一缕特有的柔情。
　　有人按门铃了,abercrombie and fitch。老先生去开门，话到人进，来人是县里的文联主席，听老先生说，他们是小学同学。我们知趣的退出，看来，老 先生轮居地的清净要被打破了。相关的主题文章：


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Having worked overseas nearly 30 years, Chinese-born painter Jia Lu has made unique contributions in helping Western audiences understand more about the East through her canvases.
She was recently short-listed in the “Ten Most-focused Chinese in the World" by none other than the Global Times. The reason? “Her paintings fuse Chinese and Western elements, showing a modern China with beautiful colors," according to the panel.
“I have a deep sense that my mission to help the rest of the world understand China is not only an artistic goal but a personal responsibility," Lu says, when asked how she felt. “This award reminds me of the importance of that obligation."
Her father, Lu Enyi, was a famous painter who taught her to paint when she was very young. Like many painters of the time, she learned Chinese ink painting first, and was taught by master painter Fan Zeng.
But like many artists who traveled abroad in the 1980s, Lu felt lost in the collision of cultures, and turned to different ways of appreciating art.
When she left China for Canada in 1983, she quickly discovered that, for her new friends, without an understanding of Chinese culture and history, her art was “simply too alien to understand."
“In Chinese painting, we value the traditions passed from one generation to the next; for Westerners, true art is about originality and individual expression," Lu told the Global Times. “Ink painting explores the expressiveness of black ink and the bamboo brush; but to a Westerner, who has never held a brush before and is used to the color and richness of oil painting, my art seemed dull and lifeless."
Although her paintings sold well in the overseas Chinese community, to reach a larger audience, communicating essential concepts of traditional Asian culture to a Western audience was key.
Her solution? Borrow the techniques and expressive power of oil painting, with its illusionistic perspective and realism, and substitute Asian content. The method is known as “Jiechuan Chuhai", or “Crossing the sea in a borrowed boat."
“We have a unique, complex and rich culture. But we share [that] among ourselves, using a difficult written and spoken language, raising a high wall that excludes the rest of the world." Lu says. “By borrowing Western art history to communicate Eastern ideas, I have been able to tear down a small section of that wall."
Having grown up in a Confucian society that emphasized personal sacrifice, selflessness and hard work, Lu discovered her Western friends appreciated these values much more than their wealth and luxury.
Her painting was infused with Buddhism, an Eastern spirituality cherished by many Westerners.
Having first visited Dunhuang in 1980, spending several weeks copying its Buddhist art – some of the rarest early examples of Chinese figurative art – directly from the cave walls, Lu studied figure painting.
But it was not until she worked in Japan in the early 1990s that she began to explore their significance, finding their ideas represented what was most enduring and special about Chinese culture: compassion, mindfulness, a deep respect for learning and wisdom and a belief in the perfectibility of the human state.
Lu began to show her works in China: at the Shanghai International Art Fair, Art Beijing and CIGE expos, and found how “vibrant the Chinese art market had become in the so-many-years I’d been away, and how open it was to new ideas."
“I am both humbled and inspired that my work has been recognized in this way by the Global Times. It is an honor to be included among the other outstanding artists whom I have admired for so long," says Lu.
“But in the end, I think it is not important if I live or work in China or in the West, The important thing is to continue to paint for a global audience, to improve my own art as far as I am able, and to strive to be a better person."