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三七之比 大凡處事都喜歡“取其中焉”，白石老人曾不無憐憫地畫了兩只小雞爭食一條蚯蚓，我每觀此圖，都竊願一把天剪飛來，擇中一刀，五五分成，讓兩只小雞各得其美。其實(shí)能這麼想，已很有那麼點(diǎn)中國聖賢的意思了。五五分成是個好辦法，與此旨趣相仿的事太多了。 
A Demonstration on Bird Behavior
然而畫畫就不同了。雖然中國畫也講點(diǎn)事理，但畫起畫來確乎不可有什麼公平的情態(tài)，不用說五五之比已屬不宜，恐怕四六之比亦屬板滯。在那些要求公正的職業(yè)中，離畫畫最近的要算是藝評家了，不過，一旦當(dāng)了藝評家其公正的品質(zhì)又可疑了，因?yàn)樗囋u家多少會沾點(diǎn)藝術(shù)家那種挺靈活的情緒。五五率既象徵著公正，那麼我想三七率則象徵著美。生活的樂觀主義者常說，“三分長相七分妝”，以此褒揚(yáng)人文之美；若遇到醜的，人們就說，“三分像人七分像鬼”。而婉約派詞人的千言萬語說到底也不過一句話：“三分春色七分愁”，所謂怎一個“愁”字了得，還是因?yàn)檫@愁揮不走。我們的行話裏有一句叫做“三分畫七分裱”。聽起來也頗有點(diǎn)匠比藝高的感覺。以上這些話都屬審美體驗(yàn)，去其枝蔓，則不難看出三七率是最有藝術(shù)旨趣的黃金率。如果落實(shí)到繪畫上，三七率可以具體得多。我有時天真地想，三七率是否可能作為一種法則指導(dǎo)一個畫家。誰知道，沒準(zhǔn)它是造物主為了讓世界更加美妙和生動，才在人腦中設(shè)置的興奮點(diǎn)，所以它是這樣行韻不凡。想想看，還能有怎樣的比率可以如此有效地超越常理而又不失常理；可以如此有效地打破平衡而又不失平衡，不用諱言， 只有三七率。 
Warm Jade
具體地說，一個畫家的基本需要無非三個方面：生活、學(xué)養(yǎng)及看家功夫。關(guān)於生活，不妨這樣認(rèn)識，一種是重現(xiàn)實(shí)的，一種是重心靈的。這很好，生命有限，人們應(yīng)該有所倚重，只有倚重的尺度關(guān)涉成敗。其實(shí)不難想像存在著一個最巧妙最舒服因而也最具普遍意義的尺度，這個無上巧制就是三七率，它直示我們：重現(xiàn)實(shí)的人們須有三分精神，重心靈的人們則須有三分現(xiàn)實(shí)，只有這樣，方能夠不迂不俗，不流於偏狹。學(xué)養(yǎng)與生活本同一理，只是學(xué)養(yǎng)系出自大腦中樞，不免更顯迷彩，舉凡品格修養(yǎng)、性格修養(yǎng)、文化修養(yǎng)、專業(yè)修養(yǎng)種種，也許還包括開發(fā)天賦的內(nèi)容，從中又派生出重做人的，重讀書的，重悟性的，重性靈的，以及重練氣養(yǎng)神的?？纯粗T多路數(shù)，雖有相異，卻都算得上是上好功法，倘若能融合之，則棟樑之材可成。那麼又如何融合呢？我意仍是三七率，理由是三七率確能使其框架分明，配置得當(dāng)。至於說畫家的看家本領(lǐng)，也無非是將物理形象和心造意象混攪起來，而且攪得越混越見本領(lǐng)，之後, 再佐以某種比外科醫(yī)生更高明也更有效的再生手段並在某種尺度上使之二度形象化。其實(shí)質(zhì)與其他藝術(shù)門類相仿，大概只是手段不同罷了。即便在這麼個使用錯覺去編造神話的領(lǐng)域中，我相信三七率仍可以無所不至地關(guān)懷到每個細(xì)節(jié)，同樣，我相信它確是產(chǎn)生和諧與生動的基本形式因子，也是眼睛最樂於接受的善意的哄騙。說穿了，三七率不僅是心理的，它更可能是生理的；也不僅是藝術(shù)的，而可能關(guān)乎人類的整個感覺領(lǐng)域。作為國畫家，我們有理由去大膽構(gòu)想三七率在圖式中的運(yùn)用，甚至視它為筆墨內(nèi)涵中的一個新成員。再具體的話我不想說了，因?yàn)榫唧w的運(yùn)用應(yīng)該是很有個性色彩的，是很個人的東西，甚至這一切，你可以不信。關(guān)於比率的種種附會本來就和藝術(shù)和宗教和人類通靈一樣同屬超自然類，是被神經(jīng)衰弱者感應(yīng)出來的，信則有，不信則無，大可不必執(zhí)著於是非。還有一點(diǎn)我要說明，三七率不是絕對命令，是一種感覺，比模糊數(shù)學(xué)更易感覺。故而在作畫的當(dāng)兒，既不可操弄木尺，也無須掐指心算，大抵只要感覺到了即可。最後，本著神機(jī)難求的道理，我勸你姑且信它三分，其餘七分另請自便。A Seventy-Thirty Ratio Wei Xiaorong We all like to “steer a middle course”. With pity, Qi Baishi once painted a picture of two chickens competing for an earthworm, and every time I look at this picture, I wish that a pair of heavenly scissors would fly in, cut in half and split it into fifty-fifty, so that the two chickens could each get their own share. In fact, if I can think this way, I already have the thought of the Chinese sages. Fifty-fifty is a good idea, and there are too many things that are similar to this idea.Painting, however, is different. Although Chinese painting also emphasizes reason, there can be no fairness in painting, not to mention that the ratio of fifty to fifty is already inappropriate, and I am afraid that the ratio of sixty to forty is also stagnant. Among those professions that require fairness, the closest to painting is the art critic, but once you become an art critic, the quality of fairness is questionable again, because art critics will more or less get involved in the kind of flexible emotions that artists have. If the fifty-fifty ratio symbolizes justice, then I think the seventy-thirty ratio symbolizes beauty. The optimists often say, “three points by looks, seven points by putting on makeup” to praise the beauty of the humanities. If they meet an ugly one, they say “only three-tenths like a man and seven-tenths like a devil.” Thousands and thousands of words of the graceful and restrained school boil down to just one sentence: three-tenths for the romantic love, and seven-tenths for sorrow. How can the word “sorrow” cover so many feelings? It is because the sorrow cannot be waved away. In our field, there is a saying that “three points for the painting and seven points for the picture mounting.” It also sounds like craftsmanship is more important than art, these words are aesthetic experience. Removing the branches, then it is not difficult to see that the seventy-thirty ratio is the most artistic interest of the golden ratio. If it is put into practice in painting, this ratio can be much more specific. I sometimes naively wonder if the seventy-thirty ratio could be a rule to guide a painter. Who knows, maybe it is the excitement that the Creator set in the human mind in order to make the world more beautiful and lively, and that’s why it rhymes so well. Think about it, what other ratio can be so effective in exceeding common sense without losing it; can be so effective in breaking the balance without losing it, needless to say, it is only the seventy-thirty ratio.  筆架山Pen Rack Hill Specifically speaking, the basic needs of a painter are only threefold: life, learning and cultivation and his special skill. Regarding life, it is better to recognize it in this way: one is realistic and the other is spiritual. Life is limited, people should have something to rely on, and only the scale of reliance is related to success or failure. In fact, it is not difficult to imagine the existence of the most ingenious and comfortable and therefore the most universally meaningful scale, this supreme rule is the seventy-thirty ratio, which tells us directly: people who emphasize on reality must practice three-tenths of the spirit, and those who emphasize on spirituality must have three-tenths of the reality, and only in this way can we not be pedantic or vulgar, and not be narrow. Learning and cultivation is similar to life. Only the learning and cultivation system from the center of the brain, can not help but show more camouflage, including character cultivation, cultural cultivation, professional cultivation, perhaps also the development of the talent, from which is derived the emphasis on behavior, reading, comprehension, spirit, and the practice of qi and nourishment of the spirit. Look at all the paths, although there are differences, they are all considered to be good techniques, if they can be fused, then a man of tremendous promise can be made. Then how to integrate them? I think it is still the seventy-thirty ratio, the reason is that this ratio can really make the framework clear and properly configured. As for the painter’s skill, it is only to mix the physical image and the mental image, and the more mixed it is, the more skillful a painter becomes, and then, with some kind of regeneration means which is more skillful and effective than the surgeon, and to make it visualized again in a certain scale. The essence is similar to that of other art disciplines, probably only with different means. Even in a field where illusion is used to fabricate myths, I believe that the seventy-thirty ratio can still be concerned with every detail, and I believe that it is, likewise, a fundamental formal factor in the production of harmony and vitality, and a well-intentioned cajoling that the eye is most ready to accept. To put it bluntly, the seventy-thirty ratio is not only psychological, it is more likely to be physiological; it is not only artistic, but may be related to the whole field of human senses. As Chinese painters, we have reasons to boldly conceive the use of this ratio in the pattern, and even regard it as a new member of the ink connotation. I don’t want to say more specific words, because the specific application should be very personalized, it is something very personal, even all this, you can choose not to believe. All kinds of associations about the ratio are supernatural like art and religion and human psychic, they are sensed by the neurastheniac. If you believe in it, it is there, if not, it isn’t. You don’t need to be obsessed with the right and wrong. There is one more point I want to make clear, the seventy-thirty ratio is not an absolute order, it is a kind of feeling, which is easier to feel than fuzzy math. Therefore, when you are painting, you should not manipulate the wooden ruler, nor do you need to count on your fingers, you just need to feel it.Lastly, on the principle that it is difficult to find a miraculous chance, I advise you to believe in it for three points, and the remaining seven points are for you to do as you please.
女人花 Blossom of Women 本文收錄於由穗廬文化攜手藝術(shù)家尉曉榕先生推出的圖書《愛之夢》。本書以中英雙語對譯呈現(xiàn)，系統(tǒng)性地梳理了藝術(shù)家尉曉榕的藝術(shù)創(chuàng)作實(shí)踐與理論探索歷程，收錄其自八十年代至今各時期的精品之作，其中包含部分首次披露的作品，同時精選二十餘篇藝術(shù)家本人的隨筆、散文、名家評論，及部分首次公開影像資料等。【 點(diǎn)擊下方圖片，了解更多詳情】 封面題字：尉曉榕
主 編：穗廬文化 語 言：中文/英語 頁 數(shù)：332頁 字 數(shù)：80千字 開 本：787mm×1092mm 1/16 裝 幀：布面精裝 定 價：256.00元 敬請務(wù)必掃碼聯(lián)繫客服進(jìn)行預(yù)約1977年考入浙江美術(shù)學(xué)院（今中國美術(shù)學(xué)院）國畫系首任中國美術(shù)學(xué)院中國畫與書法藝術(shù)學(xué)院院長中國美術(shù)學(xué)院碩、博研究生導(dǎo)師，首屆中國畫創(chuàng)作與理論博士，二級教授曾任中國美術(shù)家協(xié)會第四屆中國畫藝術(shù)委員會副主任，浙江省美協(xié)副主席，杭州市美協(xié)副主席Pen name Xiaoyi, alias Owner of Si Yu Hall.In 1957, he was born in Fuzhou, Fujian Province.In 1977, he was admitted to the Department of Chinese Painting of Zhejiang Academy of Fine Arts (now China Academy of Art).He was the first Dean of the School of Chinese Painting and Calligraphy, China Academy of Art.He is a Level-two Professor of China Academy of Art, doctoral supervisor of the first batch of doctoral students in Chinese painting creation and theory.He was the deputy director of the 4th Chinese Painting Art Committee of the China Artists Association, vice chairman of the Zhejiang Provincial Artists Association, vice chairman of the Hangzhou Artists Association, and a member of the Zhejiang Provincial Institute of Culture and History.He enjoys the Special Allowance of the State Council.He has won the Erudite Craftsmen Award of the China Academy of Art.WEI XIAORONG'S WORKS EXHIBITION展覽日期：2024年08月19日 至 10月31日展出地點(diǎn)：香港大學(xué)圖書館地下及二樓
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