施大畏，庚寅歲生于吳興。少時于滬上造船廠執(zhí)漆刷，埋首勞作，心藏丘壑。偶拾畫筆，漸悟丹青之妙，遂以自學(xué)為徑，終成畫院之宗。連環(huán)畫為其初起，研習(xí)素描，刻意求工，筆底人物，形神兼?zhèn)洌瑲鈩菘v橫。早歲《三棵棗樹》《恩瑪?shù)倌棠獭范?，已顯鋒芒，畫風(fēng)大氣而不失精微，筆意蒼勁而不失溫潤。氣象開闊，透顯“學(xué)院”風(fēng)骨，勾勒人物，入木三分。

《朱德同志在井岡山》之作，水墨運筆如風(fēng)雨，筆勢靈動，朱德形神俱備，剛?cè)岵?，神韻自出。施公于此，以筆窺心，揮灑自如，畫面中山川隱現(xiàn)，人物氣度宏偉，畫語成熟，造詣深湛。人如其畫，施公身形高大，舉止間有泰山之勢，然言行謙和，儒雅溫文。行走畫室，四壁大幅宣紙鋪陳，未竟之作，隱現(xiàn)其胸中丘壑。畫前凝思，神情自若，如覽天地于尺幅間。偶撫言曰：“若無變革，吾今或猶困于舊途?！毖噪m簡而意深，吐露歲月流轉(zhuǎn)之感?！独相l(xiāng)》一作，寫毛公與鄉(xiāng)民對坐，神態(tài)平易。施公不高抬偉人，而還其本色，以常人面目呈之，親切自然。畫雖小，意自遠，情感真摯，觀者動容。施公不事花鳥，不逐小景，專注歷史長河，尋求民族精神之脈絡(luò)。言曰：英雄無問成敗，唯不屈者，堪為吾所敬。施公崛起于風(fēng)波之末，昔為工匠，戲言漆工與畫藝殊途同歸。因天資敏悟，時人命其繪畫宣傳，遂與丹青結(jié)緣。后專于連環(huán)畫，漸入藝道。

改革開放，風(fēng)氣大開，施公目光漸遠，探人情之奧，探人性之真，轉(zhuǎn)向更廣闊之天地。其揮筆縱橫，心懷廣遠，不拘成法，不拘小節(jié)。其所敬仰者，非功成名就之偉人，乃是逆流而上的平凡眾生。畫中浩然之氣，溢于紙上，隱顯人文關(guān)懷。其筆所至，非止于形，直探人心，繪出中華精神之深邃。

施大畏懷愿，欲當代丹青多入藝苑，存今日之實錄。知其道難行，故恒自勵，擔負重責。或評曰：“繪事非游娛，乃正道;造化非快意，乃天命;探幽非逸情，乃宏志。”施公行事，如僧修道，自加重負。兼畫院之任，執(zhí)掌海上以來，常思于市風(fēng)中引領(lǐng)藝士，守藝道之本。深知藝非獨美，乃關(guān)國之大雅。于是行“課題制”，紓困振院。適逢抗戰(zhàn)六十載，遂將此策施行，畫家競從，意氣如潮。施公嘆曰：“今時不藏，當后難求。畫家有期，藏宜并行。大題非逐利，乃藝道所必行。若有厚資，方可安心?！闭n題之策，正解斯困。施公寄望，以薪火相傳，古今同輝。繪事非獨創(chuàng)作，亦擔時務(wù)。丹青鋪展，不止人物山川，亦施公心志，承古開新，重如千鈞。

施大畏心懷浩然，素不事蟲草花鳥，未染閑情雅趣，恒于史途探尋，究天人之變，察盛衰之跡。其筆端氣象恢宏，寫悲歌于畫中，寓壯志于丹青。或云繪者當有綺麗，施公獨鐘蒼涼，披風(fēng)霜于紙上，追古今英雄之魂，筆墨間自有沉思。大畏常歲行于黃河之畔，步入荒野，問俗情，察人間冷暖。每歲一月，循河而行，訪民間之事，錄世間之相。黃河兩岸，風(fēng)物蒼茫，百姓滄桑。施公每至，或疾步入村，或駐足畫山水，草圖速寫，凡所見所聞，皆藏心中。黃土黃河，水天一色，融于心而發(fā)于筆。每一畫作，如長河萬里，沉潛厚重，情深意遠。

施公嘗言，藝道貴在定志，若心有所守，必得其道。凡有志者，當靜居書齋，疏離塵囂，涵養(yǎng)胸臆。歲月流轉(zhuǎn)，心性自明。筆墨精妙，不在浮華，而在沉實。藝道如是，久煉方見真功。其作如同歲月對語，雖無聲，而言深。筆底悲歡離合，心中沉浮萬象。追尋古跡，徘徊今古，畫卷如痕，世事如夢。每每執(zhí)筆，似與古今對話，往事如煙，流年如水。丹青之上，隱隱流露悲壯，雖不言，而意自現(xiàn)。施公筆下，皆歲月沉淀，心跡相融。此中韻味，唯靜觀默會，方得其妙。

Shi Dawei: Expressing Great Aspirations with Brush and Ink, Unveiling His Heart in Painting

Shi Dawei, born in the Year of Gengyin in Wuxing. In his youth, he wielded a paintbrush at a shipyard in Shanghai, buried in labor, yet harboring grand visions. By chance, he picked up a brush for painting and gradually grasped the essence of art. Through self-study, he eventually rose to prominence as a master at the Shanghai Art Academy. His journey began with illustrated books, meticulously practicing sketching, striving for excellence. His early works, Three Jujube Trees and Grandma Emma Dee, already revealed his talent, marked by a grand yet refined style, powerful yet gentle strokes. His broad vision and mastery of the "academic" painting style brought characters to life with penetrating insight.

His work Comrade Zhu De in Jinggangshan employs ink strokes like wind and rain, fluid and dynamic. Zhu De’s form and spirit are fully realized, combining strength and grace, radiating innate charm. Shi poured his heart into this piece, painting with ease, revealing mountains and rivers amidst the imposing figure of Zhu De, showcasing a matured command of the art. As a person reflects his art, Shi stands tall and commanding, yet his demeanor is modest and refined. Walking through his studio, large sheets of Xuan paper adorn the walls, revealing unfinished works that reflect the mountains and rivers within his heart. Gazing at his paintings, he remarked, “If not for the reform, I might still be struggling in old paths.” A brief yet profound statement, revealing his reflections on the passing years.In his work The Fellow Villager, Mao is depicted sitting with a villager, their expressions humble and natural. Shi does not elevate the great figure but returns him to his essence, presenting him as an ordinary person, warm and genuine. Though small in scale, the painting carries deep meaning, evoking sincere emotions in viewers. Shi does not indulge in flowers and birds, nor does he pursue minor scenes. He focuses on the grand historical narrative, seeking the pulse of national spirit. He once said, “Heroes are not judged by success or failure; only those with indomitable spirit earn my respect.”Shi Dawei rose from the tumultuous end of an era. Once a craftsman, he often jested that painting ships and painting art were not so different. With innate talent and keen insight, he was assigned to create propaganda art, thus beginning his journey with painting. He later devoted himself to illustrated books and gradually entered the realm of fine art. With the advent of reform and opening, Shi’s vision expanded, delving into human emotions and truths, reaching for broader horizons. His brush flows freely, guided by a vast spirit, unconstrained by conventional rules or minor details. He reveres not the illustrious heroes but the ordinary people who defy adversity. His works, brimming with heroic vigor, reveal deep humanism, capturing not just form but the very essence of the Chinese spirit.

Shi Dawei harbors a wish for contemporary art to enter more museums, preserving today’s truth. Knowing this path is difficult, he has always driven himself with a sense of responsibility. Some say, “Painting is not amusement, but a noble path; creation is not mere pleasure, but a divine calling; exploration is not a pastime, but a grand pursuit.” Shi conducts himself like a monk, burdening himself with greater duties. As the head of the Shanghai Chinese Painting Academy, he constantly ponders how to guide artists amid market pressures, upholding the true essence of art. He understands that art is not only for beauty but also concerns the cultural heritage of the nation. Hence, he implemented the “project-based system” to ease the difficulties and invigorate the academy. On the occasion of the 60th anniversary of the victory in the Anti-Japanese War, this policy was put into practice, receiving enthusiastic response from artists.Shi lamented, “If we do not collect now, it will be hard to find later. Artists have their prime, and collections should align with it. Major themes are not for profit but essential for the artistic path. With sufficient support, artists can create without worry.” The project-based system addresses this issue. Shi hopes to pass the torch, ensuring the brilliance of both past and present. Painting is not just about creation; it also carries responsibility. His art, depicting more than just people and landscapes, reflects his aspiration to inherit and innovate, bearing the weight of tradition and the spirit of the times.

Shi Dawei possesses a lofty spirit, never indulging in trivialities like flowers and birds, nor dwelling on leisurely themes. He constantly seeks the path of history, exploring the shifts between heaven and earth, observing the rise and fall of eras. His brushwork exudes grandeur, portraying laments in his paintings and heroic aspirations in his ink. Some say art should be beautiful, but Shi prefers solemnity, depicting the wind and frost on paper, pursuing the souls of heroes past and present, imbued with profound reflection.Shi often travels along the Yellow River, stepping into the wilderness, observing folk customs, and feeling the warmth and coldness of the world. Every year, he spends a month following the river, investigating the lives of the people, recording scenes of the world. On both banks of the Yellow River, the scenery is vast, the people’s lives weathered. Whenever Shi arrives, he either rushes into villages or pauses to paint landscapes. Every sight and sound he encounters is stored in his heart. The yellow earth and the Yellow River, the unity of water and sky, merge within him and are expressed through his brush. Each of his paintings is like the vast river itself—deep, weighty, rich with emotion.

Shi often says, “The key to the path of art lies in steadfastness. If one’s heart remains true, the way will be found. Those with ambition should reside quietly in the study, distancing themselves from worldly clamor, nurturing their spirit. As time flows, the heart and mind become clear. True skill in brush and ink lies not in superficiality but in depth.” Such is the path of art: only through prolonged refinement can true mastery be achieved. His works, like conversations with time, speak silently but profoundly. Beneath his brush are tales of joy and sorrow, reflections of a thousand worlds within his heart. He wanders between ancient ruins, traversing past and present, with each painting like a trace, each scene a fleeting dream. Whenever he takes up his brush, it is as if he is conversing with the ancients, past events drifting like smoke, years flowing like water. On his canvases, there is a subtle grandeur, unspoken yet evident. Under his brush, time’s essence is captured, his heart and art intertwined. To grasp its charm, one must observe quietly and contemplate deeply, only then can the true essence be discerned.

責任編輯：苗君