Han Meilin told me a story: not long ago, after working non-stop for a few days, he produced several hundred pieces of artwork, all featuring human figures. Friends from several publishing companies applauded him for these amazing works, and urged him to publish them as a collection. Meilin agreed to this idea and then asked me to draft a few words for a short preface. To persuade me into the task, he purposefully invited me to his art workshop at home, and showed me these recent creations. In the process, he emphatically called my attention to the speed at which he created these great paintings. To illustrate his point, he further repeated and explained that some pieces only took him a few seconds to finish, as evidenced by friends who were on site to determine the time with a stop watch. At first, I was not impressed by this claim on speed, murmuring to myself, “Why must he emphasize speed?” I believed that the quality of artwork should never be measured by speed. But as I set to examine his artwork, it suddenly dawned upon me that speed was indeed an unavoidable factor; each piece displayed beauty empowered by speed as each item foretold an enlightening mixture of a casualness of the mind, an unconscious flow of beauty, and a subtle touch by a transient supernatural hand, as if the lines were hurriedly pushed along a destined path, leaving behind various human figures with numerous delicate variations. Han Meilin did not need a virtual model for his sketches. His grip on the pulse and rhythm of life along with his understanding of the details of human posture has already been internalized into his profound artistic mind.
　　At this point, another question can be put forth: How do we name these works of art that portray human figures, painted with unconventional hard pens? How do we categorize them? Are they line drawings? Are they live sketches? Or are they rapid sketches? All these terms were imported from the West, and they can hardly apply to these works. Although these drawings appear similar to “sketching” in form, the original meaning of the term “sketch” implies drawing while observing a real model, and yet none of these drawings by Meilin had anything to do with modeling. Simply put, every piece of these artworks was construed in his imagination. After some hesitation however, I still decided to name these artworks as “sketches”. Since they were not conventional “sketches” (in the Western sense), these items essentially better fit the original Chinese definition of “sketches” which is “速写”（speedy writing）。 This is because “写” (writing) is a unique conception in traditional Chinese art. As far as the brush pen is concerned, the requirements and rules of pen movement differ from those of “描” (to draw) or “画”（to paint）。 Accordingly, the term “writing”, by which I mean “speedy writing” based on the face value of the term, does not necessarily require an artist to use a model object. Therefore in this sense, Han Meilin’s artwork should best be labeled as “速写”（speedy sketches）.
　　The ancients used the phrase “求贤若渴” to figuratively describe the search for virtuous people as comparative to a thirsty person’s search for water, using the phrase “从善如流” to describe those willing to accept people’s kind advice as following the natural flow of rivers. To borrow these metaphors for Meilin’s works here, I reworded them into “求美若渴，从美如流”, which means to pursue beauty as if a thirsty person for water and to follow that beauty as if flowing naturally with the water in a river. Han Meilin’s quest for beauty has far transcended the thirst for water! His desire for beauty compares well to following the natural course of rivers! He has passions for all things related to beauty—beautiful images, beautiful figures, beautiful poses, beautiful moments, beautiful structuresＬ…. No matter what, as long as something in his field of vision or his imagination has anything to do with beauty, he would strive to attain them and possess them.
　　Meilin’s “speedy sketches” can generally be divided into two categories: those mirroring dynamic movements and those echoing static moments. As carriers of life, human figures can hardly be regarded as static objects. At any given moment, a human figure can virtually assume any kind of dynamic posture or position, whether it be sitting, standing, or sleeping. The difference between the dynamic or the static exists only relatively. The works delineating static status are no less than snapshots of standing, sitting, or sleeping, with numerous variations, illustrating more so the structures or the wholeness of an image with only subtle distinctions. On the other hand, in works featuring dynamic movements, an artist tends to capture underlying motifs and broad actions, as well as the harmony among all parts of a human figure. A human figure in action will equally reveal flexibility, elasticity and a sense of explosiveness backed by speed. On the other hand, in work reflecting static moments, we experience a sense of beauty that is prompted by elegant flowing lines.
　　Looking at Meilin’s works, we cannot help but be impressed by his solid artistic skills and by his profound knowledge with human figures, all acquired through years of practice and hard work. This foundation of knowledge and skills allows him to create artwork at an astonishing speed. Without such a foundation, an artist can hardly have a clear idea of where to start, let alone accurately delineate figures. Accuracy, therefore, is rooted in a profound understanding of human figures, which we can also find in Meilin’s paintings of animals. He is able to capture the most vital parts of human posture, while allowing the remaining parts to flow naturally with lively variations. What I mean by vital parts is the fundamental “structural components” of a human body. With the exception of various forms generated by differing perspectives, the primary structure of a human body is always stable. What can be subjected to differentiation are parts such as the waist and the neck, as well as some minor functioning joints. Because Meilin has spent all his life observing human activities and recording behaviors of animals, he has become exceptionally familiar with their peculiarities and patterns of movement. That is why when he puts his pen on paper, he can adroitly create various figures and shapes.
　　The sense of masterful ease discovered in Meilin’s artworks came from his unremitting effort and enduring cultivation. A different person would have been self-satisfied with his own natural talent while giving up unremitting effort or hard work. This type of artists can rarely master artistry. Meilin was endowed with spectacular talent, yet he has also knowingly toiled through the world of art as a self-torturing monk. While the great artist Shi Tao in Ming and Qing once stated that he “started to draft his art only after visiting all extraordinary peaks,” comparably, Meilin would do his homework by exhausting all images before he started to create his art. When you have a chance, you might want to have a peek at Meilin’s multiple volumes of art manuscripts. You will definitely be overwhelmed by the crude and rudimentary images contained in the volumes and feel the fiery spirit of a great artist, maybe even more than from any of his finished work. Every page of the sketch books is full of vigor and life, uniquely characteristic of Han Meilin. Each page reveals an artist’s untiring pursuit and exploration. Jotted on each page were a multitude of images, sparing little space as if he did not want to waste paper. While chewing tastefully these crude images of various shapes and sizes, we cannot help but hear his heartbeat and feel his pulse. Equally we cannot help but be amazed by the inspirations of a great artist. These sketch books are packed with shapes and images full of life, serving as a nourishing tank to store and create artwork, and standing as a resourceful dictionary of fine art. All his finished artworks almost exclusively derive from these sketch books, every single piece tracing back to their content. These sketch books form an immense foundation for his creativity, a source of inspirations, and a control center: they function as his training field or nursery, nurturing his art.
　　Han Meilin says, “I still feel like I having a long way to go before I can draw all images.” Motivated by such interminable aspirations, he has been working persistently. He is like an active volcano, his hand, the volcanic vent from which artistic creations incessantly spout. As his beautiful and able wife Zhou Jianping put it, “I am so tired! When the construction of the Meilin Gallery is complete, it will be time for us to take a break.” I told her, “I don’t think you will get that break! Meilin is a workaholic, and you know that. As long as he refuses to take a break, you have to sacrifice yours!” Indeed, Meilin will forever be crazy about his work, and nobody can slow him down! After all, who can alter the fate of a determined “craftsman”? The front page of one of his notebooks created in 2006 carries an illuminating line about himself, which reads:
　　“Heaven has told me this: Han Meilin, you are destined to toil all your life! ...!!!”

作者：JIAFANGZHOU