俞关佑，1947年生于杭州书香门第80年代定居香港，现为中艺联合书画院院士香港汉唐书画院院长，中国黄宾虹艺术研究会会员。
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.
俞关佑先生深得艾青、王己千等前辈教诲。68年-75年，在刘家峡水电部工作期间，又得常书鸿、关山月、黎雄才、朱乃正、赵正一等名家嫡传，之后又赴日本东京艺术学院深造。
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.
雄阔与壮美皆出真 学养与才情尽其妙
Both grandeur and magnificence come true Education and talent are at their best
相对于艺术，人生很短，手摩心追，笔耕不辍，弹指一挥，悠悠几十年，最让艺术家欣慰的是：丹青抒怀，记录着心境，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.
俞关佑1947年出生于杭州一个弥漫着文化气息的书香之家，父亲崇尚孔孟之道，在家庭文化的熏陶中，俞关佑自由就喜欢传统文化，尤其喜欢绘画。青少年时期，俞关佑曾得到著名诗人艾青、著名收藏家王季迁等文化名人的教诲。从杭州水利学院大学毕业之后，俞关佑本打算像父亲一样沉浸于文化世界，做一个文化人，可是，1968年至1975年，正赶上轰轰烈烈的“上山下乡”活动，于是，俞关佑相应国家号召，积极投身于火热的社会建设之中。俞关佑被分配到刘家峡水电部工作，那些年，他一边兢兢业业地工作，一边因酷爱绘画而引起关注，先后得到著名艺术家常书鸿、关山月、黎雄才、朱乃正、赵正一等艺术家的指授，在诸多艺术大家耳提面命的教导下，俞关佑进步很快，既打下了坚实的笔墨基础，也开拓了艺术视野。后来，俞关佑赴日本东京艺术学院深造，80年代定居香港，现为艺术家同盟会会员、中国黄宾虹艺术研究会会员、香港汉唐书画院院长，……。俞关佑先后在很多国家和地区举办过展览，赞誉余音绕梁，不绝于耳，他有很多作品或出版发行、或被国家级媒体报道转载，好评如潮，引起专家、学者的瞩目。当然，俞关佑的作品也成为收藏者眼中的瑰宝、成为国家级文化殿堂和文化美术机构争相追逐的对象、成为各家拍卖行的热门。他本人因其美轮美奂的泼彩被社会大众誉为“当代泼彩之绝笔”，他也因热心公益事业被评为2008年抗震救灾模范。尽管俞关佑早已功成名就，可是，他依然进行着花甲之年的“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.
因为，与荣誉相比，最让俞关佑值得骄傲的事，莫过于他的作品，每一幅作品都带着丰富的内涵，有困惑、迷茫，也有喜悦、陶醉，每一幅作品也都似若默默地倾诉着缕缕不绝的心语，静静地表达着情感跌宕的人生。
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，笔者窥豹一斑，尝试着解析俞关佑的艺术面貌，试图以此抛砖引玉、投砾引珠。
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.
“多彩气象，苍茫大意”；“张大千的幻化世界”；“色彩的海洋、飘渺的仙境”，……,诸如此类留言，不胜枚举，苛刻挑剔的观众丝毫没有吝惜溢美之词。这些描绘确实凸显了俞关佑泼彩的视觉美感，可是，如果把俞关佑的泼彩仅仅归结为视觉感观，显然不够准确，或者说不够全面。那么，作为一名专业的艺术评论工作者，笔者则认为：俞关佑的泼彩是艺术表象中的抽象、是视觉形式下涌动的情感、是具象之中意的精神，宛如一座横亘于当代画坛峻拔而浑厚的高山，孕育着博大深邃的文化内涵，是那么沉静、那么肃穆，又是那么葱茏。
"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.
如果从艺术形式方面讨论俞关佑的泼彩，可以发现，俞关佑确实与张大千有异曲同工之妙，比如雄奇壮丽的阔美、酣畅淋漓的彩墨交融，以及具象与意象的变幻、浓淡虚实的相融相生等等视觉感官，俞关佑完全可以做到与张大千无缝对接。可是，除了张大千泼彩的形式美感，俞关佑还有着自己的独特，比如对细节的刻画，光影、透视、明暗、造型，俞关佑都能恰到好处，显得更逼真，更传神；再比如在大面积色块中，俞关佑也显现出非同寻常的表现力。他那挥洒自如的笔触，仿佛不着一字，却尽得风流，他那大胆而灵变的用色，似若不着一笔，韵致却精彩四溢。远观，境界宏阔而直达本心，细品，清脱纯净而高古脱尘，色彩与笔墨的碰撞，空而不虚，寂而不灭，简而能远，淡而有味，画面给人一种“尽精微，致广大，而尽精微却很明快，致广大却很秀润”的审美体验，徜徉其间，如清风拂面，轻轻松松，流连其中，似秋水视底，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.
纵览俞关佑的泼彩，可以发现，俞关佑善于以精微之笔刻画具象，以豪放之笔渲染意象，精细处，一丝不苟而活波灵动，豪放处，尽情敷色而高旷辽阔，同时，他也善于通过微妙的笔触进行具象与意象之间的过渡，笔道中含着阴阳，色彩中藏着虚实，让具象与意象交相辉映，从而使眼中之景与心中之境神遇而迹化，构建成宇宙八荒、万象阴霾尽收眼底的视觉力量，给人一种“定是人为，而浑然天成”的艺术境界。这种境界的表达不再是张大千晚年变法之后，受身体的影响，或受造型、光影、透视欠缺的影响，而给人一种都好、都美，却总有一点不尽兴的阻塞感，俞关佑更不是传统意义上的文人山水的样式，而是一种更能驾驭微妙，更能表达情感的状态，放的开、收的住，很有现代风、很有时代感，体现出新时代的新气象，契合了当代大众的审美感受。当然，笔者不是说俞关佑一定比张大千高明，然而，俞关佑确确实实在张大千的基础上往前迈了一步。
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.
再看俞关佑的泼彩技法。俞关佑常常通过色块之间的泼、染、积、融取代墨的任意流动和晕染效果，以色差、色温、色调的对比关系去调节画面的节奏和韵律，让大片色彩取代或抑制墨韵所占的比例，呈现出五彩斑斓的效果，从而使传统审美单一墨韵为主的独奏，转为以色彩为主的交响。当然，从俞关佑的泼彩中，还可以看到，他通过色彩的自然晕染去表现流动的色调，并以色彩所形成的大片冲融，作为整幅作品的中心，作为画面的焦点，让大面积色调呈现出似动而静的浩瀚空间，给人一种溢于画外的视觉张力。显然，石青、石绿、朱砂等石色颜料之间的关联，俞关佑已经纯熟于手底，形成肌肉的记忆，色彩与墨色交融方法，他也熟烂于心，自由生发，妙趣横生。心胸与心象通过手中之笔传输于色彩，他有的放矢地处理各种介乎于具象与抽象之间的变化关系，有时看似无笔，而胜却有笔，有时以色为形，以色写色，却又充盈着色彩淋漓、元气生发的格调。想必，那是对造型、光影、透视、色彩等新时代艺术表现技法的高度驾驭能力，也是审美意趣与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.
事实上，俞关佑的泼彩还具有很强的现代气息。俞关佑早年跟随常书鸿、朱乃正学习的是典型油画用色技法；跟随关山月、黎雄才学习的是典型的中国画的笔墨意趣；随后，他到日本深造，学习的则是唯美主义的用色方法，人到中年，俞关佑身处百花齐放的艺术时代，西方由古典走向现代，中方由传统走向多元，所以，当他立志把“泼”、“彩”作为艺术的主题，并付诸于追求的目标时，他倾其全力进行融会贯通，他上下求索以达完美。首先他依仗过去所学、所感、所想，开始着眼于中国传统笔墨。他顺着李可染上追黄宾虹、顺着齐白石取法吴昌硕，并取法乎上，探索墨分五彩的笔墨表达方式，然后，他把西方油画的色彩、日本唯美主义的用色方法，以及中国画的墨分五彩统统笼于笔下，进行情景合一的酝酿。与此同时，他在不自觉之间把中国画的具象与意象，把西方油画的写实与抽象结合起来，让具象、意象、写实、抽象在微妙的色彩中各得其真，各得其所，从而使他的泼彩世界晓烟交碧，晨光欲动，骄阳初蒸，崇山如翠。画面之中，具象、意象、写实、抽象，乍合乍离，或聚或散，物态欣愉，神妙如动，既有着中国传统文化与中国山水审美的品味，又有着西方表现主义的浪漫情怀、印象主义的丰富和谐；既带着浓郁的传统文化熏染出来的意境、空间与趣味，又有着向现代审美形态发展的前瞻性。呈现出雄阔、壮美、浑厚、博大、精深的艺术境界，彰显着胸次、学养、才情、功力各臻其妙的艺术状态。
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.
俞关佑的泼彩是传统绘画的拓展，也是对张大千艺术的完善。当俞关佑把传统笔墨的墨分五彩延展为五彩缤纷的世界时，当他立足于张大千而进行更加深入的探索时，他的泼彩就不仅仅停留在传统的“品”，或者张大千“观”的范畴，更多的则是心绪遐想中的 “游”和“居”。纵览俞关佑的泼彩，可以感受到，他追求的远观、旷达，追求的精微、细致，同时，也在追求感受、体验，换言之，俞关佑在追求艺术的整体性之时，又锲而不舍地去关照当代人的审美情趣。由于，当代大众受快节奏生活的影响，疲惫、焦虑始终挥之不去，大众精神上需要精致的“品”、旷达的“观”，然而，潜意识里一直在渴望“游”，期待身心自由的“居”，因为，游能心旷神怡，居能神有所归。俞关佑似若无意，然而，他的泼彩却恰恰触及了当代大众内心深处最敏感的区域。瞩目俞关佑的泼彩，千里之远尽出奇，万里山水得其妙，静静地待他的作品前，目光随着色彩的变幻而关照内心，心境则随着意境之妙而优闲至极，仿佛身居世外桃源之中，又仿佛孤舟飘于茫茫湖水之间，心泯于超脱，情化于澄澈，流连、抒怀、神游、发呆，目之所及，心神澄澈，物我两忘。置身其间，飘逸的遐想油然而生，在妙境中养心，恬淡中悟道。岂是“品”、“观”可以悟得真味？又岂是“游”、“居”可以说的明白？
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?
一切触及灵魂的艺术都是渐变、渐进、渐悟而升华的精彩。在艺术的长河中，俞关佑扎扎实实探索，认认真真耕耘，几十年以来，从一笔一画学习古圣先贤到情归泼彩，从“师古、师心、师造化”到化为己有而卓然自立，俞关佑从不被浮云遮眼、蔽目，更不为趋利刻意讨好、奉迎，而是以真功为本，以纯粹为艺术宗旨，积学厚养，融会贯通，从而培育出独具一格的泼彩姿貌，着实让人感动，于是，笔者由感入心，情不自禁，滔滔不绝。
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/桑干）
(Text/Sanggan)