一、荷花礼赞

　　荷花是圣洁之物，有“出淤泥而不染，濯清涟而不妖”的高尚品质，所以，如果画荷的话，不把花中君子这种高贵的品质给表现出来，那不算是一位艺术家。石墨是一位画荷的大家。因为他笔下的荷花或悠闲自得、清纯无瑕;或浓墨重彩、清淡素雅;或临风沐雨、戏水含苞;或流光倩影、月下曼舞，真是把荷画到了香远益清，亭亭静植，可远观而不可亵玩的境界。石墨的荷虽然千姿百态、风流娇艳，但是娇而不失其大家之气，艳而不失其高雅之色，妩媚而又不失其恬淡之风，笔墨运用随心所欲，应酬自如，大起大落的氛围里中国文人的纤细和艺术家的洒脱被表现得淋漓尽致，读起来会产生观雨雪、听雷鸣、阅风华、赏日月之心情，画幅中既洋溢着中国传统的翰墨精神，又充满了现代绘画艺术的视觉因素，实在是难得的。荷花之所以被他表现得如此之美，是因为石墨有一颗与荷一样的心境。绘画，其实是艺术家心灵的表现，在当今艺术界画风浮夸、物欲横流的情况下，艺术家一定要有淡泊如水，脱俗超尘的心境，要像荷一样中通外直，不蔓不枝，庄严自重的品性，才能够画好荷，否则，无论你有多么高的技巧，也无论是怎样地努力，恐怕难以表现出荷的严净香妙的境界!

　　05年在加州办画展的时候，应邀到石墨家去品尝他珍藏着多年的普洱茶饼子。一进门茶还没有喝到，便被客厅里挂着的一幅墨荷所吸引，那是一幅极具现代感的水墨画，作品的构图、色调、笔墨等且不说，那种带着墨香的神韵和充满表现性的画面，使我的眼睛为之一亮，于是顾不得主人的用意竟独自观赏其作品来。那是一幅题为《天与地》的水墨画，所用道具和技法虽然是传统的，但是一眼就能够看出作者的艺术思想和观念却是现代的，因为强烈的颜色、大胆而巧妙的构图、极具现代风格的“版式设计”，是古人难以所为的，即使是现代的水墨艺术家，也难有如此的大胆、细腻、既现代而又有深厚传统底蕴的表现手法，画面只有黑、白、红三种颜色，把画面大约分为三部分，右面的部分最大，大约占整个画面的五分之三，整个画面是用大刀阔斧的笔墨排出的天地方圆的结构，中间的空白处用疾笔旋出来的朱色的星云，与画面的金箔交相映辉浑成天地之气，表达了一种原始的、宇宙的和太极的意境;左边的也是黑底金箔为主色调，朱色的方块利用金文写着一个“福”字，构成了一个福的世界，福的世界与右边太极世界之间，有一条窄窄的空白之处，像一条河自天而降，落款是弘一法师“其心无所著，诸佛常现前”的法句，在“河”里随波逐流，很是随意，妙极，趣极，用意之深远，非得面壁“自悟”方可解得!最精典的是作品左边的那一小块边条，本应是提款的地方，却画了支笔直的、含苞待放的荷，那不是一支普通的荷，虽位于画面的边隅，却静静地如临无人之地，淡淡地不见笔墨之始终，别有一番风味，用心去感觉，大有“应无所有而生其心” 的味道……

　　二、唯心是道

　　最近见到石墨的作品是在他上海的工作室里，情景竟和在美国十分地相似。一进工作室就被架上的作品所吸引，但已经不是荷花，而是以人物为主的、传统文脉加上综合素材制作的具有现代表现主义风格的水墨画。全新的画面令我震惊，震惊之余，还是震惊，怎么搞的，画风能产生如此巨大的变化，真是百思不得其解，解不得还是品茶吧。石墨有一手调茶的好本事，且又存有上好的普洱茶，转眼之间琥珀色的、闪着诱人的光泽的茶就摆在了我们的面前，散发着质朴的清香，茶好，器皿也好，情绪就好，谈起来就格外的投缘。原来今春石墨从美国回到了上海，看到他生活成长的地方，经济文化的发展速度如此之快，实在令他难以想象，更让他吃惊的是人们的思想和观念意识所发生的巨大变化……谈到了艺术，大家都围绕着眼下艺术界发生的种种现象、中国艺术界的现状与未来、一个艺术家的责任等侃来侃去的，石墨侃得尤其激动昂扬，特别是对这次从美国回来后，对所见的十分地感心和慨叹，从绘画艺术、艺术市场、艺术家与社会等，海阔天高地议论了一番，在美国时我们经常侃，但都是些侃大山的话，像这样认真地谈论艺术与人生还是第一次，但也只能是说说而已罢了，真正能够做到的，唯有将思想寄托于笔墨，将观念寓于于表现形式，流动于画面上，传阅于世人间，真实地表现生活，才算得上一个真正的艺术家，此时，我猛然地觉悟，难怪刚看到这些作品时，尽管惊叹，却有一种似曾相似的感觉，联想到那些藏于荷下的“呆头呆脑”的小鸟，有的憨态可掬，有的闭目静思，有的半睡半醒，有的醉眼朦胧，有的虽然睁着圆圆的眼睛(如《鸟还巢》系列作品里那只白鹭)，但以平淡而无所谓的神态注视这大千世界，有点冷眼看世界的意思，也含有超脱的味道!这一切，如同参禅，参到妙处，自然就能够超脱自然，自然也就有了自己心中的世界，眼前这些充满了新意的作品，便是石墨“感悟”的结果，也是其心中世界的写照!比如石墨的最新作品《分目》，就是他“参禅”的写照吧。从作品的题目上看就有双重的含义：从解字上看，两个字合在一起就是“盼”字，盼什么呢?作者并没有说，而是用画中的人物去说话的。画面的中心涌动着一群像似在赶场的人流，沉浮在不安的灰色的背景中，看看那些人的眼神吧，迷茫中闪着白光在寻觅着什么，不经意的红色好像是一种欲望的表达，在灰色的人流中蔓延。作品的构图更是巧妙，人群是安排在画面中间靠下的部分，上部是一大片青灰色闪着幽光的天空，大大小小的人物用现代构成技法堆列在一起，拥挤而又涌动感，追逐中有沉浮不定之意，画面读起来真是惊心动魄，发人深省。再从作品题目的注音去解读，《分目》与《坟墓》谐音，坟墓是埋葬腐朽和净化生灵的圣地，这是不是在告诫那些带着欲望随波逐流的过客，在告诫那些在浮华喧噪中乐不思蜀的游艺者：游荡的灵魂需要净化，艺术和生活一样，需要夯实生存的基础，需要纯朴和坦诚的心境，需要脚踏实地的工作，需要有甘于孤寂的精神，才能够发现生活的真谛，创造出真、善、美的世界来，游戏的人生，其作品就是“‘伪造的怪物’，除了使观众产生恐惧之外，别无他益”， 这样的话，也只能将它们送到“坟墓”里去净化了。

　　萨特在《没有特权的画家;拉普加德》里面说过这样的一句话，我觉得很适合于石墨现在作品的境界：“美，并非是单一性的，它必须是两种因素的统一，一是它的可视性，二是它的隐蔽性。如果我们经过一番艰苦的艺术努力，观众却能一眼看透了作品的本质，那就应该减少它的呆板性，否则就会失去美感，只剩下装饰性的外表。要是赋予它以更多的技巧，画家和观众所渴望的二者的协调一致，就能够通过对某些存在的不断的重新组合来实现。”石墨画的荷作品，其可视性是毫无疑问的，但是变法后石墨不仅以新的构成方式去整合作品，还赋予作品更多的技巧，加上其特殊的处理过程，所以要想从作品可视性的经纬里，看到那些藏于作品深处的东西，是需要花费一些功夫的，因为这些潜藏于笔墨之间的是艺术的灵魂，是具有生命力的，对中国水墨画来说就是贯通古今的气，对此石墨说得很明白：“我的作品里，气有时能看见，有时看不见，似乎能捉摸，仿佛又不存在，在有形和无形之间，在虚虚实实之中。它是一种感觉的传递，又是生命不可缺少的依靠。如果一个人没有了气，灵也不复存在了。灵和气是息息相关的人类的生命，气是一种自然的需要，而灵是一种精神的需要，有时灵要通过气来显示，灵气是生命。”所以，如果潜心地观赏他的《冥思一号》和《冥思二号》等新作，或许你会有一些新的意想不到的发现。这如同是品茶，茶虽好，更得回品位，才能得道!

　　三、涅磐之路

　　绘画作品的个性表现，是艺术家在艺术实践活动过程中思想观念的折射，因此，艺术家作品的表现形式的本质是一种特殊的自我表现的形式，而特殊的自我表现形式又是艺术家思想意识不断升华的印记。静观石墨最近的作品，其画面中传统水墨画朦胧自然的视觉效果更加强烈，表达的内涵较之荷要深厚的多，高度简练的笔墨，虚无缥缈的境界，同时又容纳了欧洲表现主义绘画的表现技法，使石墨作品达到了一个更高的境界，这个境界主要表现在三个方面：

　　第一、通过变法，使物象表现的主观性和具体物象存在的客观性达到了高度的统一;第二、特殊的构图及特殊材料的使用，增强了作品的规则性(石墨特有的个性)，使表达的物象有了更深切的内容;第三、则是通过特殊的造型和具有装饰性的色彩增强了画面的可视性。

　　艺术是讲究变法的，没有变法，就没有艺术的新生，如同凤凰涅磐。经历烈火的煎熬和痛苦的考验，获得重生，并在重生中达到升华，古人称之为“凤凰涅磐”，寓意不畏痛苦、义无返顾、不断追求、提升自我的执著精神。在烈火中新生的凤凰，其羽更丰，其音更清，其神更髓。从画荷到《分目》作品的产生，是石墨一次大的变法过程，如同凤凰的一次涅磐，通过涅磐石墨放弃了画荷那种有点甜美的笔墨，使画风变的雄浑有力，厚重凝练，增加了作品的思想空间，使作品的可视性变得更加耐人寻味，比如作品《逆光》。《逆光》描写的是在虚无缥缈的背光的角落，有一对回首探望的男女，其惶惶兮兮的目光流露着恐惧与不安，两个变形的人物在浓墨重彩下紧紧地扭在一起，像似在抵抗某种无形的压力;再看细节形态的处理，较之荷是极其的“丑陋”，肢体的变形更是离奇的不堪入目，但是在若即若离、自然洒脱的画面里，却变成了超越常识的美妙，构成了耐人寻味的画面，这是一种真实苦涩之美。古典艺术造就了现代艺术，因为人们从古典的艺术中发现了美学价值，这种美学的价值也同样存在于原始的古老艺术和非洲艺术之中，因为形态虽然变了，但是美学的价值没有变，而且从视觉的角度看更有说服力，毕加索的成功就源于此。因此石墨作品里物象的变形，并没有失去传统美的意义，相反，因为是具有现代表现风格的绘画，所以在传达现代“美学之意”方面更有独到之处。为了追求最佳的表现效果，石墨还亲自与造纸商一起研制特殊的纸张，制作特殊的颜料，在这种纸张上作画，不仅能充分地发挥色彩的力量，还能使通篇画面产生细小的如云母状的亮点，会给画面增加梦幻般的效果，这种效果与石墨要表达的内容是非常吻合的。

　　在今天急速发展的信息化社会里，艺术的自我表现形式也越来越丰富多变，当下已经形成了一个十分庞大的多元化的世界，因此，艺术真实性和个性的表现就显得尤为重要，现代不少水墨画家，急功近利，为参加大赛赶作品，为市场制作品，为赶场画作品，更有的是为了片面地追求水墨画的革新，将西方的一些抽象的或者是过时的表现因素不加分析地拿进来，以追求作品的个性，画面倒是改变了不少，但是读起来却更加的乏味，真是难为了东方奇葩水墨画的艺术。石墨作为一个有志向、有思想的艺术家，在如火如荼的经济变革时期，始终持有一颗平常心，甘于寂寞，勇于在生活的大浪里净化自己的精神世界，石墨近期的作品，其表现形式虽然也是多样的，但无论表现形式怎样地变化，也不管石墨的色彩表现是如何地变化莫测，都不难从新颖细腻的表现形式里看到石墨生活的真实之处，发现石墨心灵涅磐的过程，就这样，石墨通过自己涅磐般的拼搏，使自己的画境有了质的飞跃，进一步拓宽了艺术的视野，石墨从荷、小鸟到山水，再由山水到人物，是一个否定的过程;由传统到现代是一个否定和涅磐的过程;而由苦涩到甜美，再由甜美到苦涩则是一个痛苦涅磐的过程，因为从苦涩到甜美易，而从甜美到苦涩则是非常艰难的，没有痛苦的磨难和大彻大悟的智慧，是难以在衰变中得到升华的。人们常说舍弃是大智慧，那么作为一个艺术家，要有否定自己的勇气，通观石墨的作品，不难发现其艺术的创作其实就是一个不断否定自己的过程，因为只有否定过去，才能有新的开始;只有不断地否定自己，才能够在永恒的涅磐之路上完成自己的使命。

　　殷切地希望石墨在自己的艺术之路上不停地“涅”下去!

　　王传杰于大连市金海花园自宅三心书房 2007年7月17日

　　(笔者现为大连美术学院院长)

　　The Road to Nirvana

　　—Some thoughts on Shi Mo’s work

　　1. A Tribute to Lotus

　　The lotus flower is a symbol of holiness and purity, as it grows out of the dirty mud yet is clean, cleansed by the pure waters but not seductive. So, if anyone fails to capture the noble quality of this classic flower with his or her brush, he or she is not a real artist. Shi Mo is a master in painting lotus. In his work, lotus flowers are at ease, complacent, pure and flawless; being rich and colorful, or light, simple but elegant; standing against the wind, being showered by rain, playing with water while getting ready to blossom; appearing beautiful and dancing under the moonlight. He brings lotus painting to a higher realm where their fragrance spread afar; they stand gracefully tall and erect and can be only appreciated distantly but not touched blasphemously. His lotus flowers are of all kinds of shapes and postures, romantic, delicate and charming, but never loss good manners, exquisiteness and tranquility. He paints by following his instinct and handles every situation with ease. His painting gives a full and vivid expression to the fine touch of the Chinese literati and the free style of artists against great ups and downs. Appreciating his pieces, you feel like you are watching the falling snow and rain, hearing the thunder, reflecting the prime of life and enjoying the sun and moon. These paintings combine the traditional ink-and-wash painting spirit with visual elements of modern art, which is hard to achieve. Why Shi Mo can paint lotus in such a beautiful way - because he has the “lotus mind”. Painting is actually a reflection of the artist's soul. In today's pompous and material world of art, artists must be free from social customs and indifferent to fame, and be straight, sublime and dignified like lotus, in order to produce good lotus paintings. Otherwise, no matter how good you are at skills and how hard you work, it is almost impossible to capture the seriousness and grace of lotus!

　　When I was in California in 2005 for my painting exhibition, Shi Mo invited me to his home to try the Pu'er Tea that he had kept for years. Stepping into his home, I was immediately drawn by the lotus painting hanging in the living room. This is a Chinese ink-and-wash painting with a strong modern touch. Not to mention its construction, tone and details, the romantic charm with a smell of ink and the expressionist style touched me deeply. I could not help but stood there and appreciated it, forgetting about the tea. This painting is titled “Sky and Earth”. Its adoption of traditional tools and techniques cannot hide the painter's modern artistic thinking and philosophy, as its strong color, bold and smart composition and contemporary “layout design” can hardly come from an ancient artist. Even current Chinese painters find it difficult to convey such a bold, delicate and modern style but with strong traditional heritage. The painting features only three colors – black, white and red, and is divided into three parts. The part on the right is the biggest, making up three fifths of the total. The whole piece has a round-sky and square-earth structure, using bold and resolute strokes. The blank in the center is dotted by red star clouds, complementing the gold foil on the surface to create sky and earth, and a primitive, universal and Supreme-Ultimate conception; the black color dotted by gold foil is the main tone for the left part. A “Fu” (meaning happiness in Chinese) is written in Gold language on a red square, creating a happy world. Between the happy world and the Supreme Ultimate world, there is a narrow blank space like a river descending from heaven, scripted with, a quote from the eminent monk Hong Yi. The words float freely in the “river”. They are so casual, smart, funny and deep that they can only get across by self-realization! The best element lies at the small part on the left, which in common sense should be devoted to inscription. Instead, an erect lotus bud stands there. It is not an ordinary lotus. Though placed on the far left, it sits there quietly like there is no one else. It has a special flavor that can only be appreciated by heart, making one feeling that……

　　2. Listening to Your Heart

　　My recent encounter with Shi Mo took place in his studio in Shanghai, which was quite similar to our meeting in the US. Once again, I was immediately drawn by his paintings on the shelf. They are not about lotus flowers, but people in ink and wash paintings featuring conventional coherence, comprehensive materials and modern expressionism. I was more than shocked. How come his style changed so dramatically? Since I could not figure out, I decided to sit down and have a nice cup of tea. Shi Mo is very good at making tea and he keeps premier-quality Pu'er Tea. In the blink of an eye, amber-colored, glistening tea was before us, emanating moderate fragrance. A nice cup of tea coupled with nice tea set made the right occasion for quality chat. I came to know that Shi Mo came back from the US to Shanghai this spring. He was amazed to see that the place he grew up was going through such rapid economic and cultural development. He was even more amazed to discover huge shifts in people's mind and ideas. We talked about the art, focusing on various phenomena in the art community, the present and future of China's art industry, and obligations of artists. Shi Mo was quite excited and uplifted, in particular, about what he had seen since being back to Shanghai. He commented freely on painting, the art market, artists and society. We used to chat a lot in the US, but most of the time we were boasting without any substance. This was the first time for us to have a serious talk about life and art. But words are just words. We can only act by expressing thoughts and ideas through painting. By then, it suddenly came to me that no wonder I felt a sense of similarity when looking at those paintings in the living room. They reminded me of the “dumb” little birds hidden under lotus flowers, some were cute, some were thinking with eyes closed, some were half sleeping, some had drunken eyes, and some were watching the world with their round eyes (e.g. the egret in the Birds Back Home series), like they were indifferent, emanating an unconventional grace! All this is similar to the Buddhist practice of mediation for truth. If you practice smart, you will transcend nature and have your own world. The innovative pieces before me represent Shi Mo's revelation, and the world deep inside his heart! His latest work “Fen Mu” is the perfect example of his “mediation for truth”. Put the two words in the title together, you have the word Pan in Chinese, meaning hope. What is hoped for? The painter does not give a direct answer. Instead, he lets people inside the painting talk. At the middle part of the painting, a crowd of people were on their way to some place. if you look at their eyes against the uncomfortable and gray backdrop, you will find they seem lost but are up for something. The casual red stroke is an expression of desire, spreading across the gray crowd. The composition is quite crafty as the crowd is in the lower part of the middle, with steel-gray sky shined through by dim lights on its top. Big, small-sized men and women are clustered using the modern composition technique, emitting the sense of congestion and gushing, filled with a spirit of pursuit but uncertainty. Taking another angle, the title has the same pronunciation in Chinese as the word –“tomb”, which is the sacred place to bury decays and cleanse mind. This is to warn those passer-bys who are driven by lust and follow the trend, and those who play with art and sink into vanity and clamor, that idling souls need cleansing, and that art like life needs solid foundation, pure and frank heart, earnest and down-to-earth efforts and willingness to tolerate loneliness, in order to discover the truth of life and create a world of truth, goodness and beauty. Anybody who plays with life can only produce “fabricated monsters”, which “do nothing but scare the audience”. So, we can only send them to the “tomb” to be cleansed.

　　Mr. Sartre made the following remark in his book, which I find matching the state of Shi Mo's paintings - “Beauty is not single - folded and must command the unity of two elements, one is visibility, and the other is disguise. If the outcome of our hard efforts can be seen through by audience at a glance, its rigidity should be reduced. Otherwise it will lose beauty and become an empty decoration piece. If coupled with more techniques, it can achieve the coherence of the two – long desired by the painter and the audience, by regrouping some existing elements.” Lotus paintings by Shi Mo definitely have the visibility. But in his changed style, Shi Mo not only adopts new compositions but more techniques, plus some special treatments. So, it takes time to read things hidden inside the visible appearance of those paintings. They are the soul hidden among strokes, they have life, and they are the legacy force that transcends time. Shi Mo is very clear about this, “such force sometimes is visible, and sometime is not. It seems attainable, or not there. It is something between material and immaterial, between virtual and real. It is a signal of feelings and an indispensable part of life. Force is needed by nature, while soul is needed by spirit. Sometimes, the expression of soul needs force. The two together make life. ” So if you savor his latest pieces e.g. Deep Thoughts No. 1 and Deep Thoughts No. 2, maybe you will find something surprising. Just like when savoring tea, it is not enough to just have a nice cup tea. You have to know how to appreciate to get it right!

　　3. The Road to Nirvana

　　Paintings are the reflection of personality. They mirror the ideas of artists when they practice art. So, the essence of an artist's work is a special form of self - expression, which tracks the constant distillation of his or her consciousness and thoughts. Examining latest paintings by Shi Mo, you will find that they have even stronger, obscure and natural visual effects of traditional ink and wash paintings, and have even deeper meanings to convey. Most of these paintings feature simplistic strokes, illusory state and European expressionist techniques, which bring Shi Mo's work to a higher realm in the following three approaches:

　　Firstly, making the subjectivity of expression and the objectivity of concrete objects highly coherent by adopting changes; secondly, using special composition and materials to strengthen the regularity (Shi Mo's signature quality) of all pieces, and making objects more intriguing; thirdly, enhancing the visibility through special designs and decorative colors.

　　Art needs changes. No changes, no rebirth of art. This is like the story of Phoenix Nirvana passed on by ancient people, in which Phoenix was reborn after going through hardship and pains. The word stands for the persistent spirit of constantly seeking for self - improvement without any thought of turning back and being afraid of pain. The phoenix reborn in fire has richer feathers and clearer voice, and is even more sacred. From painting lotus to the production of “Fen Mu”, Shi Mo has gone through big changes. Like being on the road to nirvana, Shi Mo abandoned the somewhat sweet touch in his louts paintings. Now he has a stronger, more solid and refined style, and his products are more thought-provoking. Take “Against the Light” as an example. It depicts a couple looking back in a corner against the light. Their eyes tell a sense of fear and anxiety. The two deformed figures are twisted together in rich colors, seeming to resist an invisible pressure; taking a closer look, the details and shapes are “uglier” than lotus flowers. The deformed figures are revolting, but appear unconventionally beautiful in an erratic, natural and free context, creating an intriguing scenario. This is the beauty of bitterness. Classic art makes contemporary art as we have found the value of aesthetics from the classic art. Such value also exists in primitive ancient and African art, though in different forms. It is even more convincing from a visual angle. Picasso's success comes from that. So, the deformation in Shi Mo's paintings does not lose the traditional sense of beauty. On the contrary, featuring a contemporary expressionist style, it is unique in conveying the contemporary “aesthetic awareness”. To achieve the best effects, Shi Mo developed a special type of paper together with a paper manufacturer and made special pigments. Painting on such paper can not only unleash the full power of colors but also generate small mica-shaped dots, adding a dreamy touch, which matches with what Shi Mo wants to express.

　　In today's rapid-growing information society, expression of art takes increasingly rich and diverse forms. Now we have a huge multi - polar world, where the expression of truth and personality is essential. Currently, quite many painters are anxious to get quick results and instant profits. They paint for attending contest, for the market and for rushing to exhibitions. Some of them even revolutionize for the sake of revolution by adopting some western abstract or out-dated elements without any analysis. They are doing so purely for highlighting the personality of their paintings, which have changed a lot, but look even more boring than before. Not a blessing trend for the art of ink and wash painting. Being an ambitious and sophisticated artist, Shi Mo has maintained calm in the booming economy. He is willing to bear loneliness and is brave to cleanse his spiritual mind in the waves of life. His latest pieces, though in various, novel forms and rich colors, tell the truth of Shi Mo's everyday life and his road to nirvana. Through hard work, Shi Mo sees leaping progress in his paintings, featuring widened horizon. From lotus, bird, mountain, river to people, Shi Mo has gone through a journey of denial; from tradition to modernity, he has gone through a journey of denial and nirvana; from bitterness to sweetness and then back to sweetness, he has gone through a painful journey to nirvana, as it is hard and one cannot succeed without huge suffering and the wisdom of revelation. People always say that knowing when to abandon is wisdom. Then an artist must have the courage of self denial. Looking at Shi Mo's collection, you will find that the creation of art is in essence a process of continuous self-denial. A new start can come only after a denial of the past; only through constant self-denial, can you realize your mission on the eternal road to nirvana.

　　I sincerely hope that Shi Mo will continue his road to nirvana in creating amazing paintings.

　　Wang Chuanjie, Sanxin Study, at home in Jinhai Garden, Dalian

　　Tuesday, July 17, 2007

作者：王传杰