俞關佑，1947年生于杭州書香門第80年代定居香港，現為中藝聯合書畫院院士香港漢唐書畫院院長，中國黃賓虹藝術研究會會員。
Yu Guanyou, born in 1947 in a scholarly family in Hangzhou, settled in Hong Kong in the 1980s. He is currently a member of the Chinese Academy of Painting and Calligraphy, the Dean of the Hong Kong Han Tang Academy of Painting and Calligraphy, and a member of the Chinese Huang Binhong Art Research Association.
俞關佑先生深得艾青、王己千等前輩教誨。68年-75年，在劉家峽水電部工作期間，又得常書鴻、關山月、黎雄才、朱乃正、趙正一等名家嫡傳，之後又赴日本東京藝術學院深造。
Mr. Yu Guanyou has received profound teachings from predecessors such as Ai Qing and Wang Jiqian. From 68-75, while working at the Liujiaxia Water and Electricity Department, he was passed down by renowned figures such as Chang Shuhong, Guan Shanyue, Li Xiongcai, Zhu Naizheng, and Zhao Zhengyi. Later, he went to the Tokyo Institute of Arts in Japan for further studies.
雄闊與壯美皆出真 學養與才情盡其妙
Both grandeur and magnificence come true Education and talent are at their best
相對于藝術，人生很短，手摩心追，筆耕不辍，彈指一揮，悠悠幾十年，最讓藝術家欣慰的是：丹青抒懷，記錄着心境，留下了永恒。
Compared to art, life is very short, with hands touching the heart and chasing after it. The pen never stops, and with a flick of the finger, it lingers for decades. What pleases artists the most is that the painting expresses emotions, records the state of mind, and leaves eternity behind.
俞關佑1947年出生于杭州一個彌漫着文化氣息的書香之家，父親崇尚孔孟之道，在家庭文化的熏陶中，俞關佑自由就喜歡傳統文化，尤其喜歡繪畫。青少年時期，俞關佑曾得到著名詩人艾青、著名收藏家王季遷等文化名人的教誨。從杭州水利學院大學畢業之後，俞關佑本打算像父親一樣沉浸于文化世界，做一個文化人，可是，1968年至1975年，正趕上轟轟烈烈的“上山下鄉”活動，于是，俞關佑相應國家号召，積極投身于火熱的社會建設之中。俞關佑被配置設定到劉家峽水電部工作，那些年，他一邊兢兢業業地工作，一邊因酷愛繪畫而引起關注，先後得到著名藝術家常書鴻、關山月、黎雄才、朱乃正、趙正一等藝術家的指授，在諸多藝術大家耳提面命的教導下，俞關佑進步很快，既打下了堅實的筆墨基礎，也開拓了藝術視野。後來，俞關佑赴日本東京藝術學院深造，80年代定居香港，現為藝術家同盟會會員、中國黃賓虹藝術研究會會員、香港漢唐書畫院院長，……。俞關佑先後在很多國家和地區舉辦過展覽，贊譽餘音繞梁，不絕于耳，他有很多作品或出版發行、或被國家級媒體報道轉載，好評如潮，引起專家、學者的矚目。當然，俞關佑的作品也成為收藏者眼中的瑰寶、成為國家級文化殿堂和文化美術機構争相追逐的對象、成為各家拍賣行的熱門。他本人因其美輪美奂的潑彩被社會大衆譽為“當代潑彩之絕筆”，他也因熱心公益事業被評為2008年抗震救災模範。盡管俞關佑早已功成名就，可是，他依然進行着花甲之年的“十年寒窗”。
Yu Guanyou was born in 1947 in a scholarly family filled with cultural atmosphere in Hangzhou. His father admired the teachings of Confucius and Mencius, and under the influence of family culture, Yu Guanyou freely enjoyed traditional culture, especially painting. During his youth, Yu Guanyou received education from cultural figures such as the famous poet Ai Qing and the famous collector Wang Jiqian. After graduating from Hangzhou Water Conservancy University, Yu Guanyou originally planned to immerse himself in the cultural world like his father and become a cultured person. However, from 1968 to 1975, he was caught up in the grand "going to the mountains and going to the countryside" activity. Therefore, Yu Guanyou responded to the national call and actively participated in the hot social construction. Yu Guanyou was assigned to work at the Liujiaxia Water and Electricity Department. During those years, he worked diligently while also attracting attention due to his love for painting. He received guidance from famous artists such as Chang Shuhong, Guan Shanyue, Li Xiongcai, Zhu Naizheng, and Zhao Zhengyi. Under the guidance of many artists, Yu Guanyou made rapid progress, laying a solid foundation in writing and expanding his artistic horizons. Later, Yu Guanyou went to Tokyo Academy of Arts in Japan for further study. In the 1980s, he settled in Hong Kong. He is now a member of the Artists Chinese Revolutionary League, a member of the Chinese Huang Binhong Art Research Association, and the president of the Hong Kong Han Tang Calligraphy and Painting Academy. Yu Guanyou has held exhibitions in many countries and regions, praising him endlessly. Many of his works have been published or reprinted by national media, receiving rave reviews and attracting the attention of experts and scholars. Of course, Yu Guanyou's works have also become a treasure in the eyes of collectors, a sought after object for national cultural halls and cultural and artistic institutions, and a hot topic for various auction houses. He himself was praised by the public as the "masterpiece of contemporary watercolor splashing" for his magnificent watercolor splashing, and he was also named a model for earthquake relief in 2008 for his enthusiasm for public welfare. Although Yu Guanyou has already achieved great success and fame, he is still undergoing a ten-year study in his sixties.
因為，與榮譽相比，最讓俞關佑值得驕傲的事，莫過于他的作品，每一幅作品都帶着豐富的内涵，有困惑、迷茫，也有喜悅、陶醉，每一幅作品也都似若默默地傾訴着縷縷不絕的心語，靜靜地表達着情感跌宕的人生。
Because, compared to honor, the most proud thing for Yu Guanyou is nothing more than his works. Each work carries rich connotations, including confusion and confusion, as well as joy and intoxication. Each work seems to silently express endless thoughts, quietly expressing the emotional ups and downs of life.
于是，筆者窺豹一斑，嘗試着解析俞關佑的藝術面貌，試圖以此抛磚引玉、投礫引珠。
So, the author caught a glimpse and attempted to analyze Yu Guanyou's artistic appearance, trying to use it as a way to throw bricks and stones to attract jade and pearls.
“多彩氣象，蒼茫大意”；“張大千的幻化世界”；“色彩的海洋、飄渺的仙境”，……,諸如此類留言，不勝枚舉，苛刻挑剔的觀衆絲毫沒有吝惜溢美之詞。這些描繪确實凸顯了俞關佑潑彩的視覺美感，可是，如果把俞關佑的潑彩僅僅歸結為視覺感觀，顯然不夠準确，或者說不夠全面。那麼，作為一名專業的藝術評論工作者，筆者則認為：俞關佑的潑彩是藝術表象中的抽象、是視覺形式下湧動的情感、是具象之中意的精神，宛如一座橫亘于當代畫壇峻拔而渾厚的高山，孕育着博大深邃的文化内涵，是那麼沉靜、那麼肅穆，又是那麼蔥茏。
"Colorful weather, vast expanse"; "Zhang Daqian's Illusionary World"; The ocean of colors, the ethereal fairyland, and so on are countless comments, and the demanding and picky audience does not hesitate to praise them. These depictions indeed highlight the visual beauty of Yu Guanyou's splashing of colors, but if Yu Guanyou's splashing of colors is only attributed to visual perception, it is obviously not accurate or comprehensive enough. As a professional art commentator, the author believes that Yu Guanyou's splashing of colors is an abstraction in the artistic representation, an emotion surging under the visual form, and a spirit that represents the meaning of concrete representation. It is like a towering and profound mountain spanning the contemporary painting world, nurturing a profound and profound cultural connotation. It is so calm, so solemn, and so lush.
如果從藝術形式方面讨論俞關佑的潑彩，可以發現，俞關佑确實與張大千有異曲同工之妙，比如雄奇壯麗的闊美、酣暢淋漓的彩墨交融，以及具象與意象的變幻、濃淡虛實的相融相生等等視覺感官，俞關佑完全可以做到與張大千無縫對接。可是，除了張大千潑彩的形式美感，俞關佑還有着自己的獨特，比如對細節的刻畫，光影、透視、明暗、造型，俞關佑都能恰到好處，顯得更逼真，更傳神；再比如在大面積色塊中，俞關佑也顯現出非同尋常的表現力。他那揮灑自如的筆觸，仿佛不着一字，卻盡得風流，他那大膽而靈變的用色，似若不着一筆，韻緻卻精彩四溢。遠觀，境界宏闊而直達本心，細品，清脫純淨而高古脫塵，色彩與筆墨的碰撞，空而不虛，寂而不滅，簡而能遠，淡而有味，畫面給人一種“盡精微，緻廣大，而盡精微卻很明快，緻廣大卻很秀潤”的審美體驗，徜徉其間，如清風拂面，輕輕松松，流連其中，似秋水視底，爽爽朗朗。
If we discuss Yu Guanyou's splashing of colors from the perspective of artistic form, we can find that Yu Guanyou does have similarities and differences with Zhang Daqian, such as the magnificent and magnificent beauty, the seamless integration of color and ink, and the transformation of concrete and imagery, as well as the fusion of strength, lightness, virtuality, and reality. Yu Guanyou can seamlessly connect with Zhang Daqian in terms of visual perception. However, in addition to the beauty of Zhang Daqian's colorful form, Yu Guanyou also has his own uniqueness, such as the depiction of details, light and shadow, perspective, light and shadow, and shape. Yu Guanyou can all be just right, appearing more realistic and lifelike; For example, in large areas of color blocks, Yu Guanyou also exhibits extraordinary expressive power. His free and unrestrained brushstrokes seem to be without a single word, yet they are all elegant. His bold and flexible color choices seem to be without a single stroke, yet they are full of charm and brilliance. From a distance, the realm is grand and straightforward, refined, pure and ancient, free from dust, the collision of color and ink, empty but not empty, quiet but not extinguished, simple but able to be far away, light and flavorful. The picture gives people an aesthetic experience of "being as subtle as possible, reaching the vast, yet as subtle yet very bright, reaching the vast yet very beautiful". Strolling through it, it feels like a fresh breeze brushing the face, light and loose, lingering in it, like autumn water seeing the bottom, refreshing and bright.
縱覽俞關佑的潑彩，可以發現，俞關佑善于以精微之筆刻畫具象，以豪放之筆渲染意象，精細處，一絲不苟而活波靈動，豪放處，盡情敷色而高曠遼闊，同時，他也善于通過微妙的筆觸進行具象與意象之間的過渡，筆道中含着陰陽，色彩中藏着虛實，讓具象與意象交相輝映，進而使眼中之景與心中之境神遇而迹化，建構成宇宙八荒、萬象陰霾盡收眼底的視覺力量，給人一種“定是人為，而渾然天成”的藝術境界。這種境界的表達不再是張大千晚年變法之後，受身體的影響，或受造型、光影、透視欠缺的影響，而給人一種都好、都美，卻總有一點不盡興的阻塞感，俞關佑更不是傳統意義上的文人山水的樣式，而是一種更能駕馭微妙，更能表達情感的狀态，放的開、收的住，很有現代風、很有時代感，展現出新時代的新氣象，契合了當代大衆的審美感受。當然，筆者不是說俞關佑一定比張大千高明，然而，俞關佑确确實實在張大千的基礎上往前邁了一步。
Looking at Yu Guanyou's splashing colors, it can be found that he is good at depicting concrete images with delicate brushstrokes and rendering images with bold and unrestrained brushstrokes. He is meticulous and lively in every detail, bold and unrestrained in every aspect, and can freely apply colors with high and vast expanses. At the same time, he is also good at transitioning between concrete and image through subtle brushstrokes. His brushstrokes contain yin and yang, and his colors contain virtual and real elements, allowing concrete and image to complement each other, thus transforming the scenery in his eyes and the realm in his heart into a visual force that captures the vastness of the universe and the haze of all phenomena, giving people a feeling that "it must be human made." And an artistic realm that is completely natural. The expression of this realm is no longer influenced by the body, or by the lack of shape, light and shadow, and perspective after Zhang Daqian's reform in his later years. It gives people a feeling of being both good and beautiful, but always with a bit of dissatisfaction. Yu Guanyou is not the traditional style of literati landscape, but a state that is more capable of handling subtleties and expressing emotions. He can open and close, has a modern style, a sense of the times, and reflects the new atmosphere of the new era, which is in line with the aesthetic feelings of the contemporary public. Of course, the author does not necessarily say that Yu Guanyou is superior to Zhang Daqian. However, Yu Guanyou has indeed taken a step forward based on Zhang Daqian's foundation.
再看俞關佑的潑彩技法。俞關佑常常通過色塊之間的潑、染、積、融取代墨的任意流動和暈染效果，以色差、色溫、色調的對比關系去調節畫面的節奏和韻律，讓大片色彩取代或抑制墨韻所占的比例，呈現出五彩斑斓的效果，進而使傳統審美單一墨韻為主的獨奏，轉為以色彩為主的交響。當然，從俞關佑的潑彩中，還可以看到，他通過色彩的自然暈染去表現流動的色調，并以色彩所形成的大片沖融，作為整幅作品的中心，作為畫面的焦點，讓大面積色調呈現出似動而靜的浩瀚空間，給人一種溢于畫外的視覺張力。顯然，石青、石綠、朱砂等石色顔料之間的關聯，俞關佑已經純熟于手底，形成肌肉的記憶，色彩與墨色交融方法，他也熟爛于心，自由生發，妙趣橫生。心胸與心象通過手中之筆傳輸于色彩，他有的放矢地處理各種介乎于具象與抽象之間的變化關系，有時看似無筆，而勝卻有筆，有時以色為形，以色寫色，卻又充盈着色彩淋漓、元氣生發的格調。想必，那是對造型、光影、透視、色彩等新時代藝術表現技法的高度駕馭能力，也是審美意趣與心性情感的高度融合。
Let's take another look at Yu Guanyou's splashing color technique. Yu Guanyou often uses splashing, dyeing, accumulating, and blending between color blocks to replace the arbitrary flow and halo effects of ink, and adjusts the rhythm and rhythm of the picture through the contrast relationship between color difference, color temperature, and color tone, allowing large areas of color to replace or suppress the proportion of ink rhyme, presenting a colorful effect, thus transforming the traditional aesthetic of solo music dominated by ink rhyme into a symphony dominated by color. Of course, from Yu Guanyou's splashing of colors, one can also see that he expresses flowing tones through the natural halo of colors, and uses the large blending of colors as the center of the entire work and the focus of the picture, presenting a vast and static space with large areas of color tones, giving people a visual tension that overflows beyond the painting. Obviously, the association between stone pigments such as stone blue, stone green, and cinnabar has become familiar to Yu Guanyou, forming a muscular memory. The method of blending color and ink has also matured in his heart, allowing him to freely grow hair and be full of wit and humor. The mind and image are transmitted through the pen in his hand to color, and he deals with various changes in the relationship between concrete and abstract in a targeted manner. Sometimes it may seem like there is no pen, but it is better to have a pen. Sometimes it takes color as the form, writes color with color, but it is filled with a style of vibrant colors and vitality. Presumably, that is a high level of mastery of new era artistic expression techniques such as form, light and shadow, perspective, and color, as well as a high degree of integration of aesthetic taste and emotional emotions.
事實上，俞關佑的潑彩還具有很強的現代氣息。俞關佑早年跟随常書鴻、朱乃正學習的是典型油畫用色技法；跟随關山月、黎雄才學習的是典型的中國畫的筆墨意趣；随後，他到日本深造，學習的則是唯美主義的用色方法，人到中年，俞關佑身處百花齊放的藝術時代，西方由古典走向現代，中方由傳統走向多元，是以，當他立志把“潑”、“彩”作為藝術的主題，并付諸于追求的目标時，他傾其全力進行融會貫通，他上下求索以達完美。首先他依仗過去所學、所感、所想，開始着眼于中國傳統筆墨。他順着李可染上追黃賓虹、順着齊白石取法吳昌碩，并取法乎上，探索墨分五彩的筆墨表達方式，然後，他把西方油畫的色彩、日本唯美主義的用色方法，以及中國畫的墨分五彩統統籠于筆下，進行情景合一的醞釀。與此同時，他在不自覺之間把中國畫的具象與意象，把西方油畫的寫實與抽象結合起來，讓具象、意象、寫實、抽象在微妙的色彩中各得其真，各得其所，進而使他的潑彩世界曉煙交碧，晨光欲動，驕陽初蒸，崇山如翠。畫面之中，具象、意象、寫實、抽象，乍合乍離，或聚或散，物态欣愉，神妙如動，既有着中國傳統文化與中國山水審美的品味，又有着西方表現主義的浪漫情懷、印象主義的豐富和諧；既帶着濃郁的傳統文化熏染出來的意境、空間與趣味，又有着向現代審美形态發展的前瞻性。呈現出雄闊、壯美、渾厚、博大、精深的藝術境界，彰顯着胸次、學養、才情、功力各臻其妙的藝術狀态。
In fact, Yu Guanyou's splashing of colors also has a strong modern atmosphere. In his early years, Yu Guanyou learned typical oil painting color techniques from Suichang Shuhong and Zhu Naizheng; Following Guan Shanyue and Li Xiongcai to learn the typical charm of Chinese painting's brushwork and ink; Subsequently, he went to Japan for further studies, learning the aesthetic method of using colors. In his middle age, Yu Guanyou lived in an era of diverse art, with the West moving from classical to modern and the Chinese from traditional to diverse. Therefore, when he aspired to make "splashing" and "color" the themes of art and put them into his pursuit, he devoted all his efforts to integration, and he searched up and down to achieve perfection. Firstly, he relied on what he had learned, felt, and thought in the past, and began to focus on traditional Chinese brushwork. He followed Li Keran to catch up with Huang Binhong, followed Qi Baishi to follow Wu Changshuo's method, and explored the expression of ink and wash in different colors. Then, he integrated the colors of Western oil painting, the color methods of Japanese aestheticism, and the ink and wash in different colors of Chinese painting into his pen, brewing the integration of scenes. At the same time, he unconsciously combines the concreteness and imagery of Chinese painting with the realism and abstraction of Western oil painting, allowing concreteness, imagery, realism, and abstraction to each have their own truth and place in subtle colors, thus making his colorful world clear with the morning smoke, the morning light moving, the scorching sun steaming, and the mountains towering like green. In the picture, there are concreteness, imagery, realism, and abstraction, which come and go at first, either together or apart. The physical state is joyful, and the spirit is as moving as moving. It not only embodies the taste of traditional Chinese culture and Chinese landscape aesthetics, but also embodies the romantic sentiment of Western expressionism and the rich harmony of Impressionism; It not only carries the rich artistic conception, space, and interest influenced by traditional culture, but also has a forward-looking development towards modern aesthetic forms. Presenting a grand, magnificent, profound, broad, and profound artistic realm, showcasing the exquisite artistic state of mind, education, talent, and skill.
俞關佑的潑彩是傳統繪畫的拓展，也是對張大千藝術的完善。當俞關佑把傳統筆墨的墨分五彩延展為五彩缤紛的世界時，當他立足于張大千而進行更加深入的探索時，他的潑彩就不僅僅停留在傳統的“品”，或者張大千“觀”的範疇，更多的則是心緒遐想中的 “遊”和“居”。縱覽俞關佑的潑彩，可以感受到，他追求的遠觀、曠達，追求的精微、細緻，同時，也在追求感受、體驗，換言之，俞關佑在追求藝術的整體性之時，又锲而不舍地去關照當代人的審美情趣。由于，當代大衆受快節奏生活的影響，疲憊、焦慮始終揮之不去，大衆精神上需要精緻的“品”、曠達的“觀”，然而，潛意識裡一直在渴望“遊”，期待身心自由的“居”，因為，遊能心曠神怡，居能神有所歸。俞關佑似若無意，然而，他的潑彩卻恰恰觸及了當代大衆内心深處最敏感的區域。矚目俞關佑的潑彩，千裡之遠盡出奇，萬裡山水得其妙，靜靜地待他的作品前，目光随着色彩的變幻而關照内心，心境則随着意境之妙而優閑至極，仿佛身居世外桃源之中，又仿佛孤舟飄于茫茫湖水之間，心泯于超脫，情化于澄澈，流連、抒懷、神遊、發呆，目之所及，心神澄澈，物我兩忘。置身其間，飄逸的遐想油然而生，在妙境中養心，恬淡中悟道。豈是“品”、“觀”可以悟得真味？又豈是“遊”、“居”可以說的明白？
Yu Guanyou's splashing of colors is an extension of traditional painting and a refinement of Zhang Daqian's art. When Yu Guanyou extended the traditional ink and brush into a colorful world, and when he delved deeper into the exploration based on Zhang Daqian, his splashing of colors was not only limited to the traditional "taste" or Zhang Daqian's "observation", but more focused on the "travel" and "residence" in his mental imagination. Looking at Yu Guanyou's splashing of colors, one can feel his pursuit of farsightedness and broadness, as well as his pursuit of delicacy and meticulousness. At the same time, he is also pursuing feelings and experiences. In other words, while pursuing the integrity of art, Yu Guanyou is persistent in caring for the aesthetic taste of contemporary people. Due to the influence of fast-paced life, contemporary people are constantly tired and anxious, and they need exquisite taste and broad mindedness in their minds. However, subconsciously, they have been longing for "travel" and looking forward to a "home" with physical and mental freedom, because traveling can bring joy to the heart and mind, and living can bring a sense of belonging. Yu Guanyou seemed unintentional, but his splashing of colors precisely touched the most sensitive area in the hearts of the contemporary masses. Observing Yu Guanyou's splashing colors, the distance is extraordinary, and the mountains and rivers are marvelous. Standing quietly in front of his works, his gaze follows the changes in color and caresses his heart. His mood becomes extremely relaxed with the beauty of his artistic conception, as if he is living in a paradise, or as if he is drifting in a solitary boat among the vast lake water. His heart is lost in detachment, and his emotions are transformed into clarity. He lingers, expresses his emotions, wanders, and daydreams. As far as his eyes can see, his mind becomes clear, and I forget both things and myself. Immersed in it, ethereal daydreams arise naturally, nourishing the mind in a wonderful realm and understanding the Tao in tranquility. Is it true that "taste" and "observation" can truly comprehend the flavor? Can it be said that "travel" and "residence" can be clearly understood?
一切觸及靈魂的藝術都是漸變、漸進、漸悟而升華的精彩。在藝術的長河中，俞關佑紮紮實實探索，認認真真耕耘，幾十年以來，從一筆一畫學習古聖先賢到情歸潑彩，從“師古、師心、師造化”到化為己有而卓然自立，俞關佑從不被浮雲遮眼、蔽目，更不為趨利刻意讨好、奉迎，而是以真功為本，以純粹為藝術宗旨，積學厚養，融會貫通，進而培育出獨具一格的潑彩姿貌，着實讓人感動，于是，筆者由感入心，情不自禁，滔滔不絕。
All art that touches the soul is a brilliant and gradual process, gradually realizing and sublimating. In the long river of art, Yu Guanyou has been exploring solidly, earnestly cultivating and cultivating. For decades, he has gone from learning from ancient sages and sages one by one, to pouring colors into his emotions. From "learning from the past, learning from the heart, and learning from nature" to becoming his own and standing tall. Yu Guanyou is never blinded by floating clouds, nor is he deliberately pleasing or flattering for profit. Instead, he is based on true achievements, with purity as the artistic purpose, accumulating knowledge and nurturing, and integrating them, thus cultivating a unique style of splashing colors. It is truly touching. Therefore, the author felt it in his heart and couldn't help but feel it. Prohibit, speak endlessly.
（文/桑幹）
(Text/Sanggan)