古人谈到人的成功机遇有三：遗传一也，命运机遇二也，个人努力三也。前两者为先天偶然因素，后者只要勤奋，缺一不可。现今社会对成功要素多强调个人的奋斗，好像种瓜必得瓜，种豆必得豆，其实很形而上学。一个人的成功，或者大成功，第三点緃然具备，没有机遇，或见机遇稍緃即逝而抓不住，成功不过枉然;终有机遇，而遗传基因大打折扣，只有望洋兴叹，特别是玩艺术的。

　　看了乃钟的画我就很感到他的勤奋与基因遗传的催发。在海外的画家中，能达到对物体写生如此娴熟的造型能力是不多的，他的造型能力是建立在深厚功力、敏锐观察、日积月累的勤奋中得来，在海外他是艺术造型的高手，我想这是毫无疑问的。他的动物、花卉乃至香港景物的写生，能达到这种艺术高度，海外画家不多。

　　然而，我想谈的是他的先天条件。古人就很看重从袓辈、父辈中一直遗传下来的基因优势。“三代纔出一个贵族”就很能知道古人对文化承传及基因遗传的重视。在中国，张爱玲之类的作家现在纔慢慢受人注意，学术地位慢慢越抬越高，多少是个证明。王蒙、八大、石涛、三苏父子就更不用证明了。乃钟为岭南画派第一代传人司徒奇之子，赵少昂、司徒奇艺坛几十年堪称岭南画派于海外的只璧，我就很感到这种先辈艺术气质及基因对乃钟的遗传作用。在艺术界，他的画总比庸常多了一点点灵气 (客观地比较就可以看出)，说不清，道不明，很偶然，也很神秘化。近百年，对于西方遗传学，中国人谈的最少或避而不谈，以为是唯心主义或是唯天才论。没有深入的实证及生理、心理、基因、环境、家族的熏陶积累等等的研究，其实是真正的不科学或反科学。当然，我不是就乃钟而证天才，艺术上多些遗传细胞，总比没有遗传细胞硬要玩艺术的好。

　　我最欣赏乃钟的景物写生，大胆泼辣、放緃、无为、无所顾忌，很有味道，作风完全反叛于他的花卉、鸟兽画。他的景物画，进入一种现代的而又不失承传的大开大合大放的艺术格局，很可喜可贺。《九龙观音庙》印象朦胧之点染很受西方印象派之鼓舞;《码头、驳船》的几幅轻松自如，墨线緃横交错，不顾私害的笔触看到他思想变化的高度;《钻石山大勘树》诚是一幅佳构，肆无忌惮的笔触组织一派清静淡雅之悠然。这批作品都是他近年有所悟而有所突破的诉说，是一种上升的征兆。不知观者以为然否?

　　我与乃钟见过三四次，皆行色匆匆，彼此于生活工作营营役役，失却静心攀谈学习之机会，这次他邀我为其作品向国内浅介，很尊敬他于艺术上的努力和欣赏他的艺术成就，祝其画展成功举办。

　　广州美术馆馆长     卢禺光

　　于朝天路半半居

　　一九九九年六月十一日

Diligence·Opportunity·Inheritance

　　There was an old saying regarding the essential factors of success:  1. inheritance;   2. opportunity;   3. diligence.  Among these factors, the first two are gifts from the heaven; the last one requires one’s effort.  Nowadays, when we talk about success, we often emphasize on the amount of effort one has made, leaving us a false impression that once we have tried our best, it would be as much rewarding.  However, even one has made an effort; success may never materialize without a grab of opportunity at the right time.  By the same token, even one has taken a great opportunity and has worked hard, if inborn talents remain the missing factor, success would still be distant to one.  This is particularly true to artists.

　　I can see the energy of both diligence and inheritance in Nigel Szeto’s paintings.  Not many overseas artists can master imaging to such a high level of achievement like Nigel Szeto.  The artist’s maturity of imaging is grounded from his excellence of technique thorough years of experience, serious observation, as well as diligence.  His marvelous imaging abilities undoubtedly topped the art field overseas.  His drawing of animals, flowers and Hong Kong sceneries has reached a remarkable degree of proficiency as compared to fellow artists abroad.

　　What I want to talk about is, however, his natural gift.  In ancient time, inheritance of good qualities from ancestors was prominent importance.  As the old saying states, ‘one noble appears after three generations’, which shows how people in ancient time highly regarded inheritance of culture and superior genes from the ancestors.  In fact, Zhang Ailing’s case is one of the many cases of manifestation. Authors in China like Zhang have not gained attention till lately, yet their status in academy has eventually been highly ranked since then.  Needless to say, examples also include Wang Meng, Bada, Shi Tao, the three Su Father and sons.  Nigel is the son of the first successor of the Lingnan School, Szeto Kei.  At that time, Zhao Shaoang and Szeto Kei were two prominent figures of the Lingnan School overseas.  I can feel the supreme spirit of liveliness inherited emerged from Szeto Nigel’s paintings as compared to many paintings by others (indeed such a difference is obvious with objective comparison), which is so mysterious and occasional that can hardly be conveyed by words…

　　In the last century, there were few discussions in China about the study of inheritance by the Westerners.  It was somehow misunderstood that such discussions are about idealism or merely philosophy about pro-genius theory.  The lack of study into factors of one’s success with reference to physical, psychological, environmental aspects and the influence due to genetic heritage or the family are reasons why such study cannot be more scientific, or even anti-scientific.  Of course, I am not using Nigel Szeto’s case here as a proof of the effect of inheritance towards genius’ qualities, what I am saying is the involvement in art is better to have a talent than to begin with nothing.

　　I appreciable the landscape paintings of Nigel most.  They demonstrate confidence, unrestrained force, carefree character that let things to take their own course… they are full of spice!  Remarkably, his style of landscape painting is a rebellion against his paintings of flowers, birds and animals.  His landscape painting is modern in form, but without losing the traditions in a graceful manner.  The hazy dotting and paint-wash effect in Temple by the Temple Street, Kowloon is a result of inspiration from the Western style of painting, the Impressionism; the Spring in Aberdeen shows piers and barges in relaxing atmosphere through occasionally intertwining lines, which in turn also reveal the artist’s variation of emotion; Dakan Village in Diamond Hill is indeed an excellent piece of composition, with powerful brushwork forming a work of elegance and peace.  The artist’s recent works are a reflection of his enlightenment in past few years and a result marking his breakthrough, they are signs of sublime.  I wonder if the audiences agree with me or not?

　　I had met Nigel three to four times but we were both rushing this and that, missing a chance to sit peacefully and discuss in depth.  This time he invited me to have a brief introduction of his work in the country.  I highly appreciate Nigel Szeto’s hard work and his successful achievement in art.  May I congratulate him for every success in his exhibition!

　　Lu Yuguang

　　Director of the Guangzhou Fine Art Museum

　　(The article was written on 11th June, 1999)

作者：卢禺光