姬子，大宇畅神图长卷（40米）尾端局部图

　　《大宇畅神图》，长四十米，宽九十七公分，创作于1994-2009年。全图起伏跌宕，气势恢宏，汹涌澎湃，浩然磅礴，如同是一部宇宙交响曲鸣奏着大音与天地同和的境界。在浩瀚平静的卷首部分，一片汪洋，波涛微荡，给人以俯瞰大泽的博大感，这是宇宙之初的天然，是风雷之前的平静，也是乐章初奏的序曲，继而出现动与静的相互对比，山岳巍然出海，波涛翻飞激荡，使人感到动的激情，静的凝重。

　　动与静是转化的，又是包容的。画面紧接着由动与静的协奏，转入了二者的交融，海化山，山化为云，云化为势。作者用超乎寻常的构成，变幻莫测的笔墨，描绘出一派深奥险历的景象。这可以是暴风骤雨，可以是怒涛急浪，这是一种既凛然逼人，又峥嵘奇崛的意境，似乎是白山黑水的战斗，是雪山草地的拼搏，是摧枯拉朽的较量，是天崩地裂的激变。

　　巨变带来的是万马奔腾的动势，那似潮似云的冲击，一泻千里，遽然把乐章推向高潮。随即转入了如碑如雕的稳健节奏，以一种与天地并立的雄姿，表现出悲壮崇高的意境。

　　乐章再一次变调，由巍然耸立转入平川万顷，又以行云流水的渺然悠远、再宕然变为天地并举、山岳蒸腾的气势，孕生了新的图景和世界，那是又一番畅想，是宇宙的洪茫无迹，长卷结尾处以铿锵之笔昭示了宇宙的无限与永恒。

　　The 40 meters long and 97 centimeters wide "The Epic of Nature" (dayu changshen tu, literally a painting of the free flowing spirit of the universe) was painted between 1994 and 2009. The painting resounds like the great music of a universal symphony, and it represents a realm that harmonizes heaven and earth: the entire painting rises and falls free and unrestrained; it surges forward awe-inspiring and majestic. In the vast quietude of the opening section of the painting, the waves are slightly swaying, giving the observer a broad sense of overlooking a vast lake. This represents the nature of the universes at its inception, the calm before the storm, the overture played at the beginning of a musical score. What follows is the mutual contrast of movement and stillness: towering mountains emerge from the sea, waves swirl and surge, allowing the observer to feel the passion of movement and the dignity of stillness.

　　Movement and stillness are not only transformed, but also accommodated. The surface of the painting immediately welcomes the duet of movement and stillness, and depicts the fusion of the two: oceans transform into mountains; mountains, into clouds; and clouds, into tremendous force. The artist uses extraordinary composition and the fluctuating vagaries of brush and ink to depict esoteric and perilous scenes. These scenes could be violent storms, or they could be high seas and angry waves. The painting is an artistic conception that both compels awe and also has a sublime distinctiveness: the depiction of a battle between white mountains and black waters, a struggle between snowy mountains and grasslands, a contest to destroy with overwhelming force, a cataclysm that rends heaven and splits earth.

　　Radical changes bring out a momentum that charges forth like stampeding horses, a charge that appears like tides, like clouds spilling forth over thousands of miles, unexpectedly pushing the musical score to its climax. Then the score immediately becomes a rhythm as steady as a stele, as a monument. The painting uses the majestic appearance of heaven and earth side by side to express a solemn and sublime conception.

　　The musical score once again modifies its tone: towering mountains transform into a vast expanse of level land, and in the remote distance are wandering clouds and flowing waters that then unrestrainedly once again become heaven and earth, while the power emanating from the mountains is pregnant with new scenes and new worlds. Herein lies a vivid imagination, a universe vast and boundless. At the painting's end, the artist uses a vigorous brush to demonstrate an infinite and eternal universe.

　　Written By Yu Fan

　　Translated by: E. F. Connelly