朱振庚曾剥李可染对于传统的名言“以最大的功力打进去,以最大的功力打出来”为“在感受传统的精神中,不知不觉地走进去；在‘不离自性’的创作中,不知不觉地走出来”,其中消息自是不同。前者,我与传统隔,故用“打”字,且“以最大的功力”去打；后者,我与传统无隔,且自然相通,且彼此会心；传统就象自家的后花园,走进走出本无需费力。拿明儒泰州学派王襞的话说,就是“省力处便是得力处”。
因此,朱振庚的绘画实践是具有中国画学方法论上的意义的。笔者以为中国画学基本方法无出“集其大成、自出机杼”八个字。这八个字,分则为学画次第而设,合则为画品圭臬。集其大成,难成之说也,历来我与古人合者往往屈指数家而已,此无非学画初始阶段所历要多要博之意。而以堆砌古人笔法与图式为高,实乃误会“四王”者布下的陷阱。自出机杼,即有我在。此为画家于画学中成品立格的最终目的。参强加个注解吧,董文敏公论书法云：“其初须与古人合,其后须与古人离。”此之谓欤？因此,朱振庚在绘画上博取约出的绘画实践印合的正是这条轨迹。
近几年来,朱振庚于传统书法与东巴文化颇有会心处,其所出画作在以往重彩的基础上更现笔性,造型更似随手拈来,此番化境,我辈宜当拭目。
My Recommendation for Painter Zhu Zhengeng
By Qian Zhongping
Zhu Zhengeng has an opinion against Li Keran’s popular saying, “to surpass the tradition, you need strike into it first.” He said, why should we need to strike into the tradition as our tradition is within us as natural as the breathe of our body？Coincidentally, this idea was also brought forth by Wang Bi, a Confucian of Taizhou School in the Ming Dynasty who said you need not put any physical force with which you are the most familiar.
A typical Chinese philosophy in painting, which I’d like to sum it up as “root all advantages of others first and then create yourself way.” Sure, to say is easy, but to do is difficult. The newcomer in painting often try the best to trace and copy the old masters such as four Wang painters, and it always few who really coming to a self style and ever rooted all the advantages in the tradition. Seems that the four Wang painters laid us a trap only. And I think the painter Zhu Zhengeng is on that way right now.
The painter, in recent years, committees himself to the traditional calligraphy and regional ancient culture, Dongba culture of Naxi minority nationality. Comparing to his old pieces, the recent works are freer in shape, focusing on stroke, and where his work will go, we are waiting expectantly.
【编辑：姚丹】
