Chinese individual case：

Breaking Through the Myth of Flatness - On Cai Xiaohua

Chen Xiaoxin

　　我一直都认为：当今中国缺少纯粹的艺术家，更缺少有说服力的个案。可凡事都不能说绝，因为：总是会有例外！蔡小华就是这么一个。我与蔡少华做了十多年的朋友，一次又一次地走进他的工作室（包括三次上韦曲——他安在西安市郊的工作室），一次次地进行面对面的交流，友情可谓深厚！可若是有人问我：你真的了解他吗？你真知道他在画些什么吗？还真没有这个自信来作出肯定的回答。

　　I always hold that in present China pure artists are rarely found,let alone the persuasive individual case. Yet,I may not be absolutely right,for there might be an exception!Here Cai Xiaohua is such a case!We have been friends for more than a decade,and I have gone into his studio many times (including three times to Weiqu Studio - one of his studios that is located in the suburb of Xi'an City). So many face to face communications made us very intimate friends!But if anyone asks me,do you really know him,or do you actually understand what he paints?Honestly,I don't have enough confidence in responding definitely.

　　解读永远都是一个过程，一个体验和智力双重冒险的过程。但我们可以去尝试。面对一个真正有份量的个案，我们根本就是别无选择！蔡小华的身上潜伏着艺术家的优秀“基因”，秉赋极好。上个世纪五十年代，生活在“八闽之乡”的“岭南派”第二代传人——蔡氏一门来到了大西北安家落户，不久就有了蔡小华。十一岁那年，他的父亲仙逝。这个沉重打击使他突然明白了自己的“使命”似的，于是，在他母亲的督促、引导下拿起了画笔，踏上了这条追求艺术的漫漫长路……四十余年的坚持，四十余年的不懈努力，才成就了今天的他。

　　Interpretation is always a process,which calls for the risks of both experiences and intelligence. But we can have a try. Facing a case of weight,we have no other choices at all!Born with a potential gene of art,Xiaohua has the excellent natural endowments. In the 1950s,the Cais family - the second generation of Lingnan School who lived in Fujian,came and settled in the great northwest,where Cai Xiaohua was born soon. When he was eleven,his father passed away. This was a devastating blow for him but made him suddenly realize his mission. Since then,with his mother's supervision and guidance,he embarked on a long journey in pursuit of art…It is his forty years' adherence and unrimitting efforts that make him what he is today.

　　在这漫漫长路上，母亲一直都是他的启蒙者和守护神。尽管母亲也已仙逝十多年了，可在他的耳边仍然听得见父亲、母亲的声音。父辈们成了他的一面不倒的旗帜，引领着他去攀登那座横亘在他眼前的、依稀可辨的高峰！四十多年以来，他很少为生计而画画，尤其是最近十年来，他几乎完全不考虑市场和画商的需求，“一心只读圣贤书，双手只画自己的画”。所以，他的市场时有时无，不温不火。对此，他自己却并不怎么在意。就是在这样一种相对轻松、自由的心态支配下，他实现了“韦曲变法”，完成了我所目及的当今中国的一批最棒的作品！所以，我相信：没有纯粹而敬畏的心态，就不会产生伟大的艺术。过程极其艰难，甚至还是痛苦的。靠的是玩命似的坚守，日复一日，年复一年，单调与重复的坚守。所谓的“游于艺”纯粹是精神层面的享受，在行为的层面，简直就是一种无休止的折磨和不断地受伤害！

　　During the long journey,his mother was always his enlightenment and guardian. Despite the fact that his mother had passed away for more than a decade,the voice of his mother and father still echoed in his ears. Father became an eternal flag that led him to climb the dimly discernible mountain ahead of him. It has been more than forty years that he seldom paints for living,and almost never considers the need of market and painting-sellers. "Regardless of the vicissitudes of the outside world,I only put my heart into my own painting." Therefore,the market for his painting was unsteady and tepid. However,he seldom cared about that. It was such a relatively easy and free attitude that made him realize his "Weiqu Reform",and finished the best works that I have never seen in China nowadays!Hence,I believe that： where there is pure and fear mentality,there is great art. The course was extremely arduous and even torturous. He just depended on the crazy,boring and repetitive adherence through days and years. The so-called "playing in the art" is purely a kind of joy in the spirit level,while in the behavioral level,it is nearly a kind of endless torment and hurt!

　　在“韦曲变法”期间，他因劳累过度和化学成分的毒害，画聋了一只耳朵！此行为，已堪比梵·高！所谓过程就是不断地调整，不断地寻找最佳方式的表达，不断地使画面的效果臻于一个完美的状态——几乎无懈可击。

　　During the "Weiqu Reform",one of his ears lost hearing due to the overwork and harmful chemical component for painting. His behavior was as great as Van Gogh's. The so-called course is one that needs constantly adjustment,one that needs to seek the best expression and one that makes the painting approximating perfection - almost flawless.

　　这一切靠的是修养、智慧和悟性，而绝不是单纯的勤奋和资历。 在他的身上，发生了三次大的调整：

　　All of these depend on cultivation,wisdom and understanding,but never simply diligence and seniority. There were three major adjustments happening to him：

　　第一次调整发生在上个世纪九十年代后期至新世纪之初，目标是放弃写实油画和装饰性创作，转向了构成性抽象的方向。蔡小华虽不曾受过正规的学院训练，但他的恩师——张荣国却是毕业于央美的一位现实主义油画家。正是在他的引导下，蔡小华花了七、八年的时间接受了素描、速写与色彩写生的严格训练，后又深入到各地的乡村，进行了大量的风景画创作。一句话，他是在自己的大学里完成了绘画的基础训练。国内新潮运动飚起的那些年里，他开始转换艺术观念，做起了抽象的实验性创作。期间，他还在“上戏”和“南艺”进修过。1995年他进驻北京圆明园艺术村，他的“实验”也终于有了一些眉目。这批构成性的抽象创作，是他独立创作的第一块基石。这批作品显得阳刚气十足，色彩沉着，富有激情，除了线条、团块等纯粹性抽象元素外，其中还夹杂了一些意象性符号：如窑洞、脸谱等。这些都是他所钟爱的意象，但在具体处理上，已经为后来的拓展埋下了一个伏笔，例如他喜欢平涂一大块单色层，把一些内在的东西深藏于其中。

　　The first adjustment happened from the late 1990s to the beginning of the new century,which aimed at giving up realistic oil painting and decorative creation,and turning to the direction of constitutive abstraction. Although Xiaohua had never been educated in formal college,his teacher Zhang Rongguo was a realistic painter graduated from Central Academy of Fine Arts. It was because of his guidance that made him spend seven or eight years to accept the strict training of drawing,sketching and color sketching,then he went deep into different villages and created a lot of landscape painting works. In one word,he finished his basic painting trainings by himself. In the years of domestic New Wave Movement(这类包括前面的“韦曲革命”可能译文需要加时注解),he started to change the art concept,and turned to the experimental abstract creation. During that period,he studied in Shanghai Theatre Academy and Nanjing University of the Arts. In 1995,he moved into Art Village of Beijing's Old Summer Palace,and his "experience" finally had some prospect of a solution. These constructive abstract creations were his first cornerstone of his independent creation. These works were masculine,calm in color and full of passion. Besides the pure abstract elements,such as lines and block mass,these works also consist of some image symbols： cave dwelling，facial makeup,etc. These were all his favorite images,but in the specific method of treatment,they had sowed the seeds for the future development,for example,he liked to paint a block of solid color layers,in which,something internal was hidden deeply.

　　第二次调整发生在十年前。当时，我们都在“上海画家村”，相处了有二、三年时间。这个时期，他在原有的基础上，削减了自己所钟爱的意象和构成性元素，而转向更加单纯的符号抽象。画面的背景，经过了一遍又一遍的处理后，显得深邃、幽冥而透彻，背景上漂浮的是类似气泡或细菌一类的圆形符号，时而生成，时而纠结，时聚时散，聚散总依依，欣喜又无奈，似是在演绎生命的无穷变幻和不可预测（当时，正处于“非典时期”），也更像是在谱写他自己的心曲：委婉而动人，忧伤而绵长……这种缠绵在离开上海后又延续了几年才戛然而止。这一时期，在综合绘画方法的实验上收效颇多，为他后来的“冲刺”打下了一个良好的基础。

　　His second adjustment happened ten years ago. At that time,we both lived in "Shanghai Artists' Village" for two or three years,during which,he decreased his beloved images and constructive elements on the original basis and turned to more pure symbol abstraction. Through repetitive treatments,the background of the painting appeared profound,dim and penetrating. On the background floated some round symbols,which seemed bubbles or germs,now appearing in our eyes,now gathering together,and now separating from each other,meeting and parting with reluctance,delighted but helpless,which seemed to show us the ever changing and unpredictable life (at that time,China was suffering from the SARS),or compose his own song of soul:euphemistic but touching,sad but endless… lingered for a few years since he left Shanghai. In this period,he acquired a lot in the experiment of comprehensive painting methods,which laid a solid foundation for the "sprint" in the future.

　　第三次调整即是我所提到的“韦曲变法”，或称“韦曲蜕变时期”。始于他搬入韦曲工作室以后，直至眼下都还在延续。在友人的帮助之下，他有了这个工作室。工作室原是一户富绅的私家大院，院内杂草丛生，房屋破旧，但空间够大，却又离城几十里地，没有了喧嚣和俗务的干扰，使他可以天天沉浸在个人营造的创作氛围之中。于是，他尽量地早出晚归，披星戴月，像当年疯狂的梵·高那样，玩命似的耕耘着，忙碌着，从此也就进入了他的巅峰状态！（期间，他还常奔波于北京与西安两地之间）。

　　His third adjustment was the "Weiqu Reform" that I have mentioned above,or named "Weiqu Transformation Period",which started from the time when he moved in the Weiqu Studio until now. With the help of his friends,he owned this studio,originally a private courtyard of a rich squire with overgrown weeds and shabby rooms. Fortunately,the space was big enough,and it was a few tens of miles away from the city. Without the noise and the interference of mundane world,he could immerse himself in the creative atmosphere. Therefore,he worked day and night,just as crazy as Van Gogh. He threw himself into painting with his life and kept being busy until reached his peak state!（During this period,he also shuttled between Beijing and Xi'an often）

　　为了叙述的方便起见，我把这个时期统称之为“韦曲变法”。 纵观“三步走”的近二十年调整过程，可以做个简要的概括：他的创作一步一步地走向了更简约，更纯粹，更内敛，更自然，更极致的方向，并最终突破了平面性的神话。我个人于2011——2012的两年之内，三进韦曲考察现场，读画、交流，真是一次比一次兴奋、激动！

　　For the convenience of narration,I call the whole period "Weiqu Reform". Looking back upon the nearly 20 years' adjustment of the "three steps",we can make a brief conclusion:his works gradually stepped toward the direction of more brief,more pure,more implicit,more natural,and even perfect until breaking through the myth of flatness. I myself once visited his "Weiqu Studio" three times during the period of 2011 to 2012. Each time I read his works and communicated with others,and I felt more and more excited!

　　为与大家分享这份读画的喜悦，我将三次"原生态"的读画心得扼要地摘录如下：

　　To share my excitement of reading paintings with you,I make a brief abstract to the "original state" of reading paintings as follows:

　　一进韦曲（2011，5，24）：“这些画看似很薄，色彩相对纯粹和统一，但仔细去看，画中有画，里面的变化十分微妙，像是有呼吸、有阴阳的转换。无数遍的作画过程如同参禅一般，反反复复，既磨练意志，也沉淀了精神。正是这种东方蕴藉，使这些作品超越了西方的抽象或极简艺术。”

　　The first time when I came into his Weiqu Studio (May 24,2011):"these paintings seemed very misty,and the color was relatively pure and unified. But when watching them carefully,I found that they were complicated and have delicate changes and seemed like in a certain exchange of breathing and a transformation between yin and yang. The numerous times of painting process were just like practicing meditation over and over again,which could temper our will and settle our spirit. It was this kind of implication that made these works beyond the abstract or minimalist art of west.

　　二进韦曲（2011，9，26）：“可以把莱辛当年的10个经典判词——‘高贵的单纯、静默的伟大’——用在蔡小华的画面上。所谓‘高贵的单纯’就是说这种单纯和统一（仿佛没有什么层次，其实内藏层次十分地丰富——这是看不出层次的层次感）摆脱了平庸，又在同时趋向了恢宏、幽远、深邃的境界，且具有了一种难得的雅致；所谓‘静默的伟大’，就是说我们所看到的这些画面既是平心静气到了一极致状态，同时又可以感到——在画面的深处透发出了一种不可抗拒的生命活力——如同是在呼吸。”

　　The second time when I came into his Weiqu Studio (September 26,2011):"We can use Lessing's typical words to describe Xiaohua's paintings - 'noble simplicity and quiet grandeur'". "Noble simplicity" means that the combination of purity and unification is out of mediocrity,steps toward magnificent,remote and profound realm and has a rare elegance. (It seems that there is little level,but in fact,there is rich comprehension in the inner level - which is a layering that hides in levels);"quiet grandeur" means that these paintings we see are in a perfect state where we are in extremely peace,at the same time,we can feel that there is a irresistible life vitality springing from the deep painting - just like breathing.

　　三进韦曲（2012，9，18）：“在新的作品中，不露痕迹地转换了中国传统绘画的‘笔墨与皴法’，把西方的‘大色域’绘画的一套东西抛到了一边，而与中国文脉接上了气。所谓'笔墨'，最难做到的就是你个人所独有的'那一笔'和'那一墨”。

　　The third time when I came into Weiqu Studio (September 18,2012):"his new works transformed the 'pen and ink and texturing method'" with no trace,and abandoned the methods of 'great color gamut' of the west and linked with Chinese culture. The 'ink and texturing' means the most difficult unique stroke and ink.

　　现在，蔡小华做到了。这些精妙、细微的用笔，特具个性的'蔡氏皴法'，都在不显山露水之中焕发出了东方‘气韵’。

　　Now,Xiaohua made it. These subtle and tiny drawing techniques and the unique "Texturing Method of Cai Family" both reflect the oriental "spirit" unintentionally.

　　其实，东方的‘二维’绘画与西方的‘彻底的二维平面’在审美品位上相距甚远，气息更是不同，而这正是我们在做抽象或极简时必须强调的地方，否则就会被西方统统‘吃掉’了！遗憾的是，很多中国抽象艺术家尚未深察到这一点，故而难有大的成就。蔡小华不仅深察到了，而且做到了。他的特殊意义或许正在于此。这些“原生态”的东西如今读来，仍有一些地方没有说到或者说没有说透。所以，有必要在这里再作些补充。

　　Actually,the oriental two-dimension painting differs greatly from western 'complete two-dimensional plane' in aesthetic standards,and the style is even more different from that. This is exactly the point that we want to emphasize when we do abstract art and minimalist art,if not,we will be suppressed by the western style. Unfortunately,many Chinese artists are not aware of this point and it's the reason why they cannot have great achievements. Cai Xiaohua is not only aware of that but also successfully makes it. Maybe the special meaning is in this point. Till now,there are some points in these "original ecology" things that are not mentioned or explain incisively so it's necessary to give some more explanations.

　　“韦曲变法”成败的关键首先取决于作画的过程、材料与手法。作画的过程是一遍又一遍，多达几十遍的累积和沉淀。蔡小华这种创作习惯在十多年前就已养成。在过程中，通过身体与工具之间的不断地调整，使点、线、面、色划过画布的同时，夹带着心理意识上的转换，从而在运动的过程中注入偶发的元气和蕴籍；与此同时，利用自身本能的表现，使作用力与反弹力贯穿其中，从而形成了力量与节奏，并达到结构间的平衡与拓展，使作品中产生和弥漫出了一种矛盾冲突与心灵碰撞的视觉愉悦（参见《蔡小华自述：《呼吸是我的生命常态》）。

　　The key to Xiaohua's success of "Weiqu Reform" depends on the process of painting,materials and techniques. The process of painting is accumulated again and again even up to dozens of times. The creation habits of Xiaohua have been developed a decade ago. In this process through the constant adjustment of body and instrument,he makes dots,lines,planes and color sweeping the canvas and at the same time with a transformation of mental consciousness to inject occasional vitality and implication in it. Meanwhile,using the behavior of one's own instinct to make the acting force and counter force running through it so that to form the strength and rhythm. It can also reach the balance and expansion of structure and make the works produce and pervade a visual pleasure of conflict and soul collision. (See Cai Xiaohua autobiography:Breathing Is a Normal State of My Life)

　　“韦曲变法”期间，他把这个过程被推向了一个极致的状态，即：效果不理想，绝不收手。正所谓“语不惊人誓不休”！而在这个过程中，作者自身的行为、动作如同是献身，整个过程亦如同是修行，要完成的那个艺术——就如同是宗教性的神！所谓的累积和沉淀，实质就是要把肉身行为（呼吸及生命的存在）得到锤炼和升华，使之成为一种纯粹精神的存在——一种终极性追求！

　　During "Weiqu Reform",he propelled this process into an extreme condition,that is,until achieving the best effect he would never give up,which is called "desperately pursuing the surprising lines". While in this process,the author's behavior and action is just like a sacrifice in a sacred ritual. The whole process is like cultivating him according to a religious doctrine and the people who complete that work is similar to the God!Essence of so-called accumulation is to temper and sublimate physical behavior (breathing and existence of life) so as to make it a pure existence of pure spirit - a kind of ultimate pursuit.

　　为什么，国内的有些人采取了类似的方法，却出不来蔡小华目前作品中的那种气息和魅力呢？答曰：火候和功夫不到。身到、手到、心到、"功到"，功到自然成。可这个过程也留下了一丝遗憾：整个过程都是由艺术家来独享的，读者只能是在阅读它们时，借助“格式塔”心理学原理，部分地“还原”并分享这个过程。而独享与分享之间便永远遗留着一种差异性（除非有一部分影像全记录，方能弥补其中的一些遗憾）。

　　Why some domestic people take some similar methods while they cannot show the style and charm that Cai Xiaohua created in the present works?The answer is the accumulation and effort they make cannot reach a certain degree. The body,hand,heart and effort should achieve to some degree and then they can make achievements naturally. However,this process leaves some regrets:the whole process is exclusively enjoyed by artists. Readers can only depend on "Gestalt" which is the principle of psychology and partly "restore" and enjoy this process when they read. Otherness (unless there is a part of full record of image,which can make some defects up) always exists between exclusively enjoyment and sharing.

　　材料与技法都是综合性的（蔡小华曾长期地试验这种综合绘画的方法）。不管是油彩、丙烯、中国墨、金粉……也不管是手绘、喷绘、滚桶、“煲浆”……皆可为他所用。材料和技法的唯一“上帝”是“效果”——艺术家心目中所要达到的那个目标。

　　Materials and techniques are synthetic (Cai Xiaohua tested this methods of synthetic painting for a long time). No matter they are paint,propylene,Chinese ink,gold dust and freehand sketching,air brush,pulley and "slurry",all of these can be useful in his hands. The unique "God" of materials and techniques is the "effect"- which is the only goal that artists intend to reach.

　　由于材料和技法的不同，也会在“效果”和风格上产生偏差，或是呈现为冷峻、沉郁、空寂、清雅，像月光下的湖光山色；或是呈现为响亮、明丽、温馨、高贵，像阳光下的盛装美人。不管是那种效果，最终都达到了一个“总相宜”的平衡点。

　　Owing to the difference and techniques,the "effects" and styles will also have some differences such as the various styles- solemn,gloomy,open and quiet,elegant and alike. They are like a landscape of lakes and mountains under the moonlight, resounding,bright and beautiful,warm and sweet,noble;or like the beauty in splendid attire in the sunlight. Whether the two effects,they finally both reach a suitable balanced point.

　　其次一个关键是平面性与深度性的临界点把握。这个难度更大，也更能考验蔡小华的素养和才华。所谓“彻底的平面性”曾是“美式”抽象尤其是“大色域绘画”的灵魂和支持点。在“彻底的平面性”中一切的符号都归于了“零”，且非此不能称之为“极简”。我们的古人云“大道必简”，简则体道。

　　The second key point is the manipulation of flatness and depth of painting. It's more difficult and a big challenge to the attainment and talent of Xiaohua. The so-called "absolute flatness" was the soul and supporting points of "American" abstraction especially the "great color gamut painting". In the "absolute flatness",all symbols are gone. And except it,nothing can be named "extremely simple". There goes an old saying:"Da Dao Bi Jian" (the great artists must be simple in their works),and simplicity is the way.

　　表面上看，中西艺术在“简约”性的追求方面，走到了一起。实质却不然！西方的罗斯科们最终放弃了一切（叙事、状物、符号），真正地走向了“极简”，也就是说他们解决了这个问题！于是一些中国艺术家蜂拥而至，步其后尘。反观我们的"大道必简"却总是止步于“似与不似”的铁门之前。如何去解决呢？

　　On the surface,the pursuit of "simplicity" of eastern and western art comes together while the essence is different. The western Rothko finally gives up all the things (narration,description and symbol) and indeed goes into the "extremely simple",that is to say,we have solved this problem. Hence some Chinese artists come in great numbers and tread the heel of it. Reviewing our "Da Dao Bi Jian" (the great artists must be simple in their works ),it always stops at the doorway of "similarity or not". How do we solve this problem?

　　在蔡小华看来，最好的办法是：把握它们之间的一个最佳临界点并把它营造出来！也就是说，要在“平面性”的“夹层”中打开一扇“门”，并把“灵魂”安放于其中！于是，他一方面大踏步地冲向平面性的极致状态：在“多遍累积”的同时，使画面保持了应有的一种单纯性和简约性，摒弃了一切的累赘，包括肌理感、笔触感，让他们藏身于虚、薄、空、灵的效果之中；另一方面却借助过程中的“微颗粒”、“纤毛皴”形成了一个个的隐象（或称它为潜象）的 新世界，把它深藏在画面的深处，使你既可以隐隐约约地感受到、呼吸到，像产生幻觉一般，却又实实在在地不干扰，不影响整件作品平面性的事实存在。

　　In Xiaohua's view,the best way is that;grasp their critical point and work it out. That is to say,to open a door in the interlayer of "flatness" and place "soul" in it. Therefore,on one hand he goes into extreme condition in big strides:accumulating for many times,he keeps picture pure and simple simultaneously. And he abandons all the redundancy including texture and brushwork and let them hide in the effects of being virtual,thin,void and intangible;on the other hand,depending on "microparticle" and "cilium texturing" which are in the process,the new world of hidden phenomena (or potential phenomena) has appeared one by one. Hiding them in the deep of paintings,you can not only feel and breathe it subtly just like illusion but it's genuine and cannot be disturbed. The flatness of the whole work is real.

　　所谓的“临界点”便出现在了这里！如此一来，所谓的“平面”似乎消失了，与此同是，又生成了一个动态性、生成性的系统。

　　So-called critical points come out here. Thus the so-called flatness seems disappear. In the meantime,there is a dynamic and generative system produced.

　　有必要在这里强调一下：在大的格局布置上，蔡小华尤喜欢用联画的方式，三联、五联、七联、九联等等，其中的原理是相通的。一个好比是“内循环”，另一个好比是“外循环”。正是在一个新的系统之中，也才有了呼吸，有了弥散的光，有了“动静”，有了音符和乐感，有了生成、乃至毁灭的过程，仿佛就是那个宇宙（不管是大宇宙还是小宇宙）本身，深邃而精微，开放而包容…也可以说，这是千年以来“气韵生动”文脉在现代意义上的一次真正的再生！正是这个隐象（或潜象）的营造——而这也是蔡小华“韦曲变法”的最大秘密！——才使得视觉的存在性意义超过了观念的突破性意义。同是也使得他终于摆脱了罗斯科们的纠缠，并终结了一个“平面性的神话”，从而成为了真正意义上的东方性创造，一个堪称伟大的中国个案！蔡小华今天所取得的成就，对他父辈来说，乃是一种大孝；对于一个民族和文化的振兴来说，乃是一种大爱！此孝，此爱，必将永存！

　　It's necessary to emphasize here:in a general layout,Xiaohua particularly enjoys using the method of polyptych such as triptych,pentaptych,and even more,among which the theory is interlinked. One is like internal circulation and the other is outer circulation. It's in this new system that breathing,the diffuse light,the vitality,the note,the rhythm,the process of creation and ruin,are created. It is just as the universe itself (no matter it's little or big),which is deep and subtle and open and inclusive. We can also say that it's the first time that context with lively spirit and charm truly has a rebirth in terms of the modern meaning. It's the construction of this hidden phenomena (or potential phenomena) - also the biggest secrets of Xiaohua's "Weiqu Reform" - that makes the existence meaning of vision surpass the breakthrough meaning of concept. Also he gets rid of the tangle of Rothko and ends a "flatness myth",and let it become a real sense of oriental creation;the one can be called the great individual case of China. The achievements that Xiaohua has got at the present,for his elder generation,are a kind of filial piety;while for the prosperity of a nation and culture,it's a kind of great love!This kind of filial piety and love will live forever!

2014年7月

完稿于 南京·草履书斋

Finished at Cao Lv Shu Zhai,Nanjing in July 2014