编者按:石涛、八大、髡残、渐江,是谓清“四僧”。他们生逢明清易祚乱世,各种愿望破灭后隐退山林,削发为僧。万念俱灰中唯一不灭的是笔墨情怀,这或是他们对中国文化最好的阐释,他们的艺术史也是一部波澜壮阔的社会史,成为自宋以来的又一绘画高峰,无论山水还是花鸟。画家的人生苦难却成为艺术的大幸,也是文化的涅槃。本期推出的清“四僧”专题,对石涛与八大的笔墨交往、髡残的绘画艺术、渐江的思想嬗变与绘画风格、八大山人晚年的书法作了全新的探讨和研究,以期引起读者、专家学者的关注。 Editor’s note: Shi Tao, eight, disability, Jiang, is clear “four monks.” They were born during the Ming and Qing dynasties, all kinds of aspirations ebbed and retired forests, shaved hair for the monk. The only immortal in all despair is the pen and ink feelings, or they are the best interpretation of Chinese culture, their art history is also a magnificent social history, since the song has become another peak of painting, regardless of landscapes or flowers and birds. Painter’s life has become the great pain of art, but also cultural nirvana. The issue of “Four Monks”, which was released in this issue, made a completely new discussion and research on the interaction between Shi Tao and the Eighth Congress of Pen and Ink, the disabled painting art, the evolution and drawing style of Jiang Jian and the calligraphy of Bada Shanren in his later years. In order to arouse the readers, experts and scholars’ attention.