读丁寺钟的水彩画是一种享受，这种享受既是形式美感的，也是艺术哲理的。在艺术作品的阅读中，这两种享受相互交织在一起，彼此难以分割，因为艺术创造中的形式美感的后面，往往有艺术家哲理性的思考，即使追求纯形式美感的艺术也不例外。不过，丁寺钟不是追求纯形式美感的艺术家，他的作品饱含着来自客观自然的勃勃生机。
中国的水彩画从西方引进，受英国水彩的影响很大。但中国人凭借自己的智慧和具有的悠久文化艺术传统积累，经过不断的实践，逐渐赋予这一西洋画种以新的特色。而使中国水彩画发出耀眼光辉的，是中国传统美学体系中写意观念在实践中的探索成果。由写意理论申引出来“意象说”是中国传统的美学思想，也为现代各国艺术家们所关注、所实践。它深刻地反映了艺术创作与欣赏的一些原理，反映了艺术家主体与自然客体、与创造对象、与受众的某些辩证关系。一切艺术创造本身，都免不了包含意象的成分，而“意象说”则是艺术家们为了充分发挥自己的想象力和创造性所做的一种自觉追求。丁寺钟是在意象创造上有杰出表现的艺术家。
丁寺钟像许多当代艺术家一样，是从写实—具像的路子走上画坛的，他早期偏于写实的水彩画颇有个性特色，颇有情致和神韵，受到画界的好评。但他不满足于此，逐渐吸纳抽象因素，摆脱客观物象的束缚，转而更注重写感觉、写印象、写记忆、写情绪，走向意象创造。水彩画创新的途径宽阔，写实水彩画只要有意境，自有发展的空间，不能说水彩画的唯一前途是走向抽象。丁寺钟的新探索决不意味他对写实—具像表现方法的鄙弃，只是他在对自然、对现实体验和思考的过程中产生的内心感情、内心体验和内心冲动，驱使他做出新的尝试。此外，他新的创作欲望之所以产生，还由于他对艺术现代感的理解和他传统水墨的迷恋。水彩，就其表现性能来说，最接近水墨。掌握水的性能，把握水与墨、水与彩调和的关系，机智地掌握其中的“度”，是水墨、水彩画家的基本功。在熟练掌握水彩画技艺的过程中，善于探究艺术奥秘和自然界奥秘的丁寺钟，自然而然地会把目光转向传统水墨，在坚持水彩特性的基础上从写意水墨中吸收营养；与此同时，他关注西方现代艺术潮流，并有所借鉴。实践经验的积累，视野的开阔，见识的增长，修养的提高，在他的创作中不断有所体现，形成他艺术的新面貌。我们可以明显地看到这样一个事实，那就是丁寺钟在水彩艺术上的创新中没有矫情和造作，没有雕琢的痕迹。他将传统中国画奌擦皴染的“笔墨”功力与西画的块面造型及构成法巧妙地结合在一起，用来真实地吐露自己的感情。他凭自己的技巧，更凭自己的悟性处理画面，语言似行云流水。他的近乎抽象的意象水彩画也与西方的许多抽象画不同，有东方的、中国的情韵，有激越不失沉稳、犷放不失严谨的气度。很有意思的是，他的早期偏向写实的水彩画与他近几年来较为抽象的创作，虽然表现手法迥异，但精神趋向却一脉相承：追求一种境界，那是他心灵与自然交融的一种诗的境界。
对艺术家来说，两种品质最为可贵，一是创造性的思维，二是诚实的劳动态度。在丁寺钟身上这两者都具备。因此，我们不仅看重他现有的创造成果，而且还满怀信心地期待着他的未来。
Amidst images
——Shao Dazhen
It is enjoyment to read Sizhong’s watercolors. The enjoyment is derived from both the aesthetic feelings of formal values and from the philosophical meditation of the art per se. These two types of enjoyment melt with each other, inseparable in artistic interpretation. The reason consists in the fact that, in the process of artistic creation, the artist’ pursuit of formal aesthetic is always accompanied with his philosophical contemplation. Even those who seek after purely formal beauty in their art are no exceptions. Nevertheless, Sizhong is not among them. His works of art clearly embody the vivacity that originates from nature.
Chinese watercolor, introduced from the West, has been strongly influenced by the British school. However, with our own wisdom and history-long art tradition, we have kept on trying and, gradually, added new features to the western artistic genre. That which gives Chinese watercolor a distinctive flavor is the fruits of applying the concept of freehand brushwork coming from the traditional Chinese aesthetic system. The school of imagery, extended from the conception of freehand brushwork, is our conventional aesthetic principle. Presently well practiced by many contemporary artists of different nationalities, the school of imagery suggests with depth several rationales of artistic creation and interpretation, and also the dialectic relationships between artists as subjects and nature as object, and between artists and their audience. All kinds of artistic creation cannot be isolated from elements of imagery, which represents artists’ conscious pursuit in exerting fully their powers of creation and imagination. In such artistic creation, Sizhong is one of those who have attained great achievements.
Like many other contemporary artists, Sizhong made his first appearance in the fine arts circles by focusing on representational depiction of natural objects. His earlier representational watercolors presented distinctive sentiment and verve, and thus were well-received in the circles. In spite of this, he did not cease on what he had achieved. Having steadily imbibed elements of abstractionism, Sizhong emancipated himself from fetters of depicting natural objects, and turned to creation of imagery, conveying his feelings, emotions, impressions, and memories. Undoubtedly, watercolor innovation allows of many routes, and taking the route of abstract expression is not all. Representational watercolors have their own space to flourish in so far as they communicate artistic conceptions. Sizhong’s later artistic exploration does not necessarily mean that he belittles representational depiction and techniques. It is the internal experiences and impulses in his tasting of and reflecting on nature that motivates him to make new exploration. Moreover, that which inspires his desire of creation is also attributable to his understanding of artistic modernity and his enchantment with the traditional brushwork.
Watercolor, in terms of its expressional scope, is most close to brushwork. Therefore, deep understanding of the essential features of water, good mastery of the relations indicated in the mixtures of water and ink or colors, and skillful control of the mixtures and their potentiality are the basics that good watercolor artists should be equipped with. While honing his watercolor techniques, Sizhong, who is adept at exploring the mysteries of both art and nature, has turned his eyes naturally to traditional brushwork. He has tried to absorb nutrients from freehand brushwork without losing the essential flavors of watercolor. In the meanwhile, he takes heed of modern art trends in the western world and learns from them. As a result, the accumulation of experience, the broadening of vision, the enrichment of mind, and the promotion of cultivation are all continually reflected in his works of art and mold his new artistic look.
Viewing his recent works, it is evident that there are no signs of affectation or artificiality therein. In conveying faithfully his personal experiences and reflections, he harmoniously merges the traditional Chinese brushwork techniques of “Dian (dotting),” “Ca (rubbing),” “Cun (brushing shade and texture with light ink),” and “Ran (tingeing with monochrome ink or colors)” and the western methods of combining lines and forms. With his practical skills and even more with his perceptive power, Sizhong’s artistic language can thus flow with rhythm. His near-abstract watercolors of imagery are differentiated from many western depictions, and exhibit sentiment and verve characterized of both western and Chinese styles. Some are emotional and intense but steady, while others bold and unconstrained but rigorous. Moreover, it is interesting to find that both his early representational watercolors and his recent abstract works follow the same line of development, though they are conveyed with dissimilar artistic techniques. They seek after an unchanged spiritual realm, a poetic kingdom where his soul can be unified with nature.
For all artists, two qualities are the most valuable: one is creative invention, and the other professional integrity. Sizhong possesses both. Therefore, there is good reason for me to value highly his current creation and expect as well with unwavering confidence his even brighter future.
【编辑：霍春常】
