摘要：写一篇文字之前，不知道会写什么，写着写着就生发出一些新的面貌来，甚至发展出从来没有出现的想法。画画更是如此。
空山·1
38cm×22cm ║ 绢本水墨 ║ 2022年
◆ 游走生发｜Wander - Genesis
文｜王科华
写一篇文字之前，不知道会写什么，写着写着就生发出一些新的面貌来，甚至发展出从来没有出现的想法。画画更是如此。
Before writing a piece of text, I have no idea what I will write. As I write, it gradually takes on new features, and I even develop ideas that have never occurred to me before. This is even truer when it comes to painting.
空山·2
46cm×69cm ║ 绢本水墨 ║ 2022年
画画状态，相对于经营，我多在随意地自在游走，笔在画面里面自由穿梭，看它最后会呈现出什么就是什么。
When painting, I just move the brush around freely, letting the artwork turn out however it ends up. The brush moves back and forth across the picture surface without restraint. Vivid, unchained, they roam—igniting creation.
Liveliness and carefree grace waltz, leaving trails of inspiration in their dance.
空山·3
46cm×69cm ║ 绢本水墨 ║ 2024年
◆ 自我审视｜Inner Gaze
文｜王科华
目前，我的画多是写生或自然场景触发偶得而来。
Most of my paintings today spring from happy accidents.
当然，这种画面的信息量和能量密度是底线。既然是印记就需要留下好的内容。
Information imprints require good content. Information volume and energy density are the bedrock of a compelling image.
空山·4
46cm×69cm ║ 绢本水墨 ║ 2023年
我认为一个好的画画儿的人，要具备个人气质和风格，通气的画面，审美独立，追气格高古。审美价值独立是我目前认为最宝贵的品格。
Exude personal charm and style; create images with a sense of dynamic coherence; uphold an independent aesthetic; pursue an elevated and archaic artistic spirit. Currently, I believe that an independent aesthetic value is the most invaluable quality.
空山·5
46cm×69cm ║ 绢本水墨 ║ 2024年
天、山、水的层次，从自然中来，然后忘形。越高古的画越无时间感，比如：有时候我看《溪山行旅》，简直是既传统又当代，真正的好的艺术，超越装饰性但不代表不具装饰性（比如自己的临摹挂在家中蓬荜生辉就是说；与现代家具又意外合拍）。
The sky, mountains, and waters layer naturally, a gift from nature. As artists paint, they lose themselves in creation. The more ancient the art, the more time seems to vanish. Take Fan Kuan’s Travelers among Mountains and Streams: great art rises above mere decoration, yet still captivates.
空山·6
22cm×48cm ║ 绢本水墨 ║ 2022年
审美的高下就在最细微之处，但本无一二也就没有高下，讽刺吧。
Aesthetic superiority lies in the tiniest details, Ironically, ranking art contradicts the idea that there's no true superiority.
平淡的视觉艺术大概如此，放在愉悦与象征性的审美中，避免可能如衣只穿一次便索然无味，法律词条有一说叫权利用尽，而能量高的艺术品则神往矣而不知多年已过，塑造了观者，一面未必惊鸿，比如董北苑，再看已数年，而观者已混然一体矣。
This is often the case with mundane visual art. Embraced by aesthetic paradigms of pleasure and symbolism, it risks ephemerality, much like a garment cast aside after a single wear—a parallel to the legal concept of "exhaustion of rights." In stark contrast, artworks of profound energy possess an otherworldly allure, ensnaring the beholder in a timeless reverie. Over the passage of years, they quietly transform the viewer. Some masterpieces, like the oeuvre of Dong Yuan, may not strike one as breathtaking at first glance, yet upon revisiting after years, the boundaries between the art and the observer dissolve, melding into a harmonious whole.
空山·7
22cm×48cm ║ 绢本水墨 ║ 2022年
云山，太虚之境，古有高人谈山水，似云起。我自己追这个感觉也很久。
Cloudy Mountains, the Realm of the Great Void. In ancient times, sages conversed about mountain as if clouds were rising.
山水有灵性，一贯之笔写宇宙。我的体会是，山水的体验也不是画者的感受，画者只是在创作的过程中享受笔墨的乐趣和一些心流体验。
Scenery possess a spiritual essence. Painting does not merely represent or reproduce tangible forms; instead, it uses a consistent brushstroke to depict the universe. The experience of scenery is not solely about the painter's feelings either. The painter merely savors the joy of brush and ink and experiences moments of flow during the creative process.
空山·8
22cm×48cm ║ 绢本水墨 ║ 2022年
◆ 笔落无我相 神游物外天｜No self in strokes, spirit soars beyond.
文｜王科华
只是我有时的一种状态：画面中不是表现和再现具象的物体，也不是经营构建（哈！这与我缺乏那些构图知识可能有很大的关系），但也并不表达自我的感受，即不是自我在笔端的延续，没有我在笔端的延续。心在物外。
It is not an extension of the self through the tip of the brush. There is no such continuation of myself at the brush tip. The heart resides beyond the material realm.
随意，有时近乎轻描淡写。是某些画中的状态。
Paint without a tightened rein,A gentle trace, art’s essence plain.
空山·9
22cm×48cm ║ 绢本水墨 ║ 2023年
“空山系列，更多地是重视墨气和润泽感，扑面而来的温润之气以滋养人，笔法则致敬宋人山水，山既空，则漂渺又厚重。如入无人之境，却似乎可闻泉涧鸟飞，林木幽幽。”
The "Void Mountain" series exalts the depth of inkiness and the sumptuous luster, radiating a soul - soothing warmth. Its brushstrokes resonate with the aesthetics of Song Dynasty art, rendering mountains that are at once ethereal and palpable. These artworks conjure a hushed realm where the melodious chirping of birds and the gentle murmur of flowing brooks seem almost audible.
空山·10
23cm×44cm ║ 绢本水墨 ║ 2022年
“入虚境系列，这一系列既非描绘现实，也不是抽象或意向类靠记忆进行创作，也不是经营后的感受的表达，这里没有我，多数在写生现场完成，有各种偶然性。”
The "Entering the Void Realm" series defies conventional categorization. It neither replicates the tangible world nor relies on memory-based abstraction or ideography. Crafted predominantly on-site during live sketching sessions, each piece in this collection unfolds with an element of delightful unpredictability.
“只是以自然为灵感，却并不刻意地去发展主观感受，没有自的我需要在笔端去传达，只是放松地画，看发生什么，是一种享受的状态。”
Inspired solely by nature, this series eschews the conscious cultivation of subjective emotions. There is no intent to project a defined self onto the canvas; instead, the artist surrenders to the creative flow, painting with a sense of ease and openness, embracing whatever artistic revelations may emerge. It’s a liberating journey of creation, a profound indulgence in the sheer joy of artistic expression.
入虚境·1
46cm×69cm ║ 绢本水墨 ║ 2022年
入虚境·2
46cm×69cm ║ 绢本水墨 ║ 2022年
入虚境·3
43cm×38cm ║ 绢本水墨 ║ 2024年
入虚境·4
34cm×46cm ║ 绢本水墨 ║ 2023年
入虚境·5
46cm×69cm ║ 绢本水墨 ║ 2022年
入虚境·6
34cm×46cm ║ 绢本水墨 ║ 2022年
入虚境·7
34cm×46cm ║ 绢本水墨 ║ 2024年
入虚境·8
46cm×69cm ║ 绢本水墨 ║ 2024年
“庭院系列，中国的园林和古建村落，其核心一是空间的折叠，二是庭院空间的生气。是留白与堆砌的动感韵律。”
The "Courtyard Garden Series" delves into Chinese gardens and ancient architectural villages. Their essence lies in two key aspects: the intricate folding of space and the vibrant vitality of courtyard areas. It embodies a dynamic rhythm that balances the art of leaving void with the deliberate arrangement of elements.
柴火
34cm×46cm ║ 纸本水墨 ║ 2024年
梨树院
34cm×46cm ║ 纸本水墨 ║ 2024年
破
34cm×46cm ║ 纸本水墨 ║ 2024年
遗村山野·1
34cm×46cm ║ 纸本水墨 ║ 2024年
遗村山野·2
34cm×46cm ║ 纸本水墨 ║ 2024年
长亭
34cm×46cm ║ 纸本水墨 ║ 2025年
《田野》系列，在这个系列中，走向了更多的意向表达，升腾的线条感隐约的语言，如果你能捕捉到；
The "Fields" series. In this series, it moves towards more expressive intentions. The soaring sense of lines is a veiled language, if you can capture it.
山野轮廓从寻求概括模式到表现空间与多层物质交错的复杂感。
The contours of the mountains and fields shift from seeking a generalized pattern to expressing the complex feeling of the interlacing of space and multiple layers of substances.
田野之枯树卧涛
33cm×33cm ║ 纸本水墨 ║ 2025年
田野·1
16cm×34cm ║ 纸本水墨 ║ 2024年
田野·2
16cm×34cm ║ 纸本水墨 ║ 2024年
田野·3
46cm×69cm ║ 纸本水墨 ║ 2024年
田野·4
46cm×69cm ║ 纸本水墨 ║ 2024年
田野·5
34cm×46cm ║ 纸本水墨 ║ 2025年
田野·6
34cm×46cm ║ 纸本水墨 ║ 2024年
田野·7
34cm×46cm ║ 纸本水墨 ║ 2024年
田野·8
34cm×46cm ║ 纸本水墨 ║ 2024年
田野·9
34cm×46cm ║ 纸本水墨 ║ 2024年
田野之蕨满山·1
34cm×46cm ║ 纸本水墨 ║ 2025年
田野之蕨满山·2
34cm×46cm ║ 纸本水墨 ║ 2025年
田野之山巅
34cm×46cm ║ 纸本水墨 ║ 2024年
田野之山坡
46cm×69cm ║ 纸本水墨 ║ 2025年
《出隐水墨》系列，这里缺少一些老练的东西，可笑的手感，致敬笔意，只有一次的机会。
"Emerging from Seclusion: Ink and Wash". Here, something sophisticated is lacking, along with a ridiculous tactile feel and a tribute to the brushwork style. There is only one chance.
火炉
34cm×46cm ║ 纸本水墨 ║ 2024年
上山
28cm×46cm ║ 纸本水墨 ║ 2025年
《遇光》系列，用亮的画面唤起对风和光的微妙感受，有力量且生动的具象物体多维叠加东方式的光感，呈现散点透视的光线和气息的流动，让你似乎能够触碰到那里的空气，如果看进去会获得力量和舒展新生。
The "Encountering the Light" series evokes subtle feelings of wind and light with bright visuals. Powerful and vivid concrete objects are multi-dimensionally superimposed with an Eastern-style sense of light, presenting the flow of scattered perspective light and the breath, making you seem to be able to touch the air there. If you truly immerse yourself in it, you will gain strength and a sense of new vitality and relaxation.
雨图
34cm×46cm ║ 绢本水墨 ║ 2025年
《滚石沟》系列，第一次尝试抽象恣意的这批线条，现在看来每幅画更像符号感和本身竟然是一组象形文字（似乎切身体会了如洞穴文化中图画到文字的变化），既然是文字就承载了更多的信息，绘画从而被赋予了超越绘画的意义。
The "Rolling Stone Gully "Series is my first attempt at using abstract and unrestrained lines. Looking back now, each painting in this series is more like a symbol, and it turns out that they are actually a set of pictographic characters (it seems that I have personally experienced the transformation from pictures to characters, similar to what happened in cave culture). Since they are characters, they carry more information, and thus the paintings are endowed with a meaning that goes beyond painting itself.
滚石沟印象·1
34cm×46cm ║ 纸本水墨 ║ 2024年
滚石沟印象·2
34cm×46cm ║ 纸本水墨 ║ 2024年
滚石沟印象·3
34cm×46cm ║ 纸本水墨 ║ 2024年
滚石沟印象·4
34cm×46cm ║ 纸本水墨 ║ 2024年
滚石沟印象·5
34cm×46cm ║ 纸本水墨 ║ 2024年
滚石沟印象·6
34cm×46cm ║ 纸本水墨 ║ 2024年
滚石沟印象·7
34cm×46cm ║ 纸本水墨 ║ 2024年
含有对物候影响下的表现，物候之韵，万物寻痕。
Phenology’s touch, nature’s portrait in such.
我们一边古法健身，一边追着白莲花度假村这种讽刺批判人性主义剧集；城市生活的咖啡馆和小院的树下清凉，都是惬意真欢；骨子里的华夏深情在平淡绽放，给休养生息一个安放的地方。
We practice fitness using ancient methods —DAO while following satirical and critical humanist TV series like "The White Lotus Resort." Whether it's the coziness of a café in urban life or the coolness under the trees in a small courtyard, both bring genuine pleasure and comfort.
Our deep - seated Chinese heritage is a quiet, guiding force. It weaves through our daily lives, creating a sacred space for rest and renewal. In this confluence of past and present, our souls find nourishment and timeless balance.
用绘画，探索世界多种可能性。
Ink spills, worlds thrill.
Painting is a symphony of hues, a dance of lines that choreograph the unknown , Brushes trace the world's unwritten possibilities.
关于王科华
自由艺术家，现居北京。
来源：七零后水墨