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2017年2月，画家阿衡（朱秉衡）女士将100幅作品捐给夫家的故乡浙江龙游县。她以百幅整数捐画已不是第一次：2008年4月，捐给父亲的故乡湖南长沙一百幅作品;2014年5月，捐给母亲的故乡上海嘉定一百幅作品。
阿衡，1940年生于衡阳。父亲在抗战中意外殉国后，她随母亲回到外婆家生活。1956年，她考入中央美院华东分院附中，毕业后保送浙江美院版画系学习并留校工作。1962年，她主动要求到龙游从事中小学美术教学教研工作。从16岁算起，她画画已经整整62个春秋。
我是在1996年“三八节”前夕，在衢州一个女书画家的座谈会上认识阿衡的。阿衡，胖乎乎的一位中年妇女，剪短发，戴眼镜，衣着朴素而端庄儒雅。会议结束时，她拿出一幅四尺整张国画《牛与女娃》，送给市妇联。
有感于阿衡的热忱纯朴和潇洒大度，我与她聊了几句闲天，嘱咐女记者许彤今后多关注她。此后，市里有画家的采风活动，许彤必随行。许彤每每告诉我，所到之处，阿衡大凡会作速写，很是敬佩。
上世纪六七十年代，阿衡在教学之余，经常独自或带领三五、七八學生去乡下画画，这也许与她童年生活在农村有关。牛是一道古老的活的风景。于是，阿衡喜欢画牛，并且将牛画得生动可爱。她写过一首《摸鱼儿·牛友》：“小时候，常去姑家，踏青欢笑十里。表兄牵牛相迎候，牛吟轻轻昵。大牛眼，笑眯眯，久等小女云霞起。相伴无声，倚角上牛背。田埂细步，尽日好天气。篱笆前，见屋后炊烟舞，太阳正中午。老牛带我清池畔，嬉水柳下卧……”这首词，读来通俗，感情轻松洋溢。
阿衡画的牛，水墨淋漓，姿态可爱。我以为，她融会中西画技，以大写意手法创作，是打着“阿衡”印记的牛。我经常诙谐地叫她“衡牛”，她总是欢快地应诺。
阿衡曾经说：“我画牛不忘师传统，师造化。我特别看重画牛的眼神，从而画牛的精神。画牛其实是画自己的思想，也就是画修养，画感悟，画人品。”
阿衡画牛，有一股牛劲，数十年坚持不懈。什么是阿衡“自己心中的牛”呢？即不怕苦、不怕累、不居功、不吹牛的牛。这“四不”精神，也是阿衡自己的追求。她对我说：“画牛使我心旷神怡、从容平和、淡泊名利、慈爱待人，也使我俭朴、勤敏、不争人先。”
“不争人先”？见我有疑惑，阿衡即解释：“不争人先，就是不争画名。”此话我信，阿衡确是一头“不居功、不吹牛”的“牛”。在书画界，她实干，低调。
阿衡画牛“不争人先”，却以画牛为荣为乐：“年少就读西湖畔，苍烟落照南山上。今朝卧牛游钱塘，美院展出心意长。”
“今朝卧牛游钱塘。”多么风光，多么气派，又多么自得其乐！这是1999年9月阿衡在母校中国美院举办“汇报展”时写下的诗句。
阿衡画了无数的牛而不“千牛一面”，以牛点缀的山水画亦不“千景一色”，这是她数十年如一日坚持上山下乡画速写的硬功夫所致。
20年前，我曾为阿衡写一篇小文：“凡有牛照片或牛图画的报刊，她都收藏;凡与牛有关的文章，她都剪贴;她还将古人韩滉、戴嵩，今人齐白石、徐悲鸿、吴作人、李可染、丁荦，外国人戈雅、毕加索等百余位画家画的牛临摹下来;历代文人咏牛的诗词，她一一摘抄诵读;外出写生，她见牛必画。十年间，若将草稿也算在内，可以毫不夸张地说，阿衡画的牛，已成千上万。”（《十年画一牛》）
2017年3月，阿衡邀我到龙游文化馆看她的画展。她指着六尺整张的《池畔树下牛，相对水底影》对我说，多年来，她一直想以唐朝诗人贾岛诗句“独行潭底树，数息树边身”为内容创作一幅画，总无从下笔。一天，同是画家的丈夫采风归来，给她看一张池边长着一棵参天大树、树下站着一头大水牛的照片，阿衡喜出望外，这就是自己追索多年的意境啊！她泼墨挥洒，浓涂淡抹，题款：“……唐人贾岛三年得二句，泪流满面地说：‘此音如不赏，归卧故山秋。’是年我夫君去乡间采风竟喜得同此一景：‘池畔树下牛，相对水底影’。”
阿衡的“牛画”，大致分三类。一是山水“牛”画。她画山水，几乎幅幅都有牛的出现。如《数峰晚霞青似染，回首山路在云间》，80厘米×80厘米的画面上，五六头只有金龟子大小的牛鱼贯穿行在林间小道上，一位赶牛人穿着红背心走在后头。由于有牛和人的存在，山水画“活”了起来，有了动感。
二是人物“牛”画。阿衡画人物，也以牛为主角，人物大都是稚气未脱的牧童，有鲜明的时代特色，男孩弹吉他、放风筝、钓鱼、读书、弈棋，女孩摘果子、做作业、洗衣、跳舞……于是，人和牛之间有情节故事，组成一幅幅盎然的生活画面，牛的精神，人的气韵，景的明丽，跃然纸上。她偶尔也画老人与牛，如新作《钓翁》，题款简直就是一篇优美的小散文：“垂钓者，古有‘愿者上钩’的姜公、‘持竿不顾’的庄子，今有垂纶逍遥的老翁，不图水中鱼儿跃，只钓夕阳气恢宏”，可以想见画面内容。
三是花鸟“牛”画。阿衡画花鸟，自然以牛为代表。她曾作一幅《百牛图》，赠送给衢州孔氏南宗家庙。此图成于2000年8月，由四张四尺整张宣纸拼成，图中有牛109头。画幅的天头又拼上一长条书法《牛颂》。这《牛颂》，是阿衡自己创作的散文。
阿衡早年学的是水彩画，并会木刻，懂水印，这就使她的国画形成了独特的风格。在用墨上，她多吸取水印技法，比如，先在宣纸上洒一层水，再铺墨敷色，使之产生水墨晕染的效果，显得平和、恬淡，能较好地描绘出江南水乡山色空蒙、水光潋艳的美丽风景。
畫牛成名的阿衡，近年来喜欢模山范水。阿衡山水画中的溪涧云烟、叠嶂层峦、危崖飞瀑、山花老树，无一不透出江南丘陵的秀美——在一层水淋淋的薄雾中展示其千姿百态，如《灵山江边》《沐尘桥头》《梧村小街》《龙游石窟》《山村小学》《古村雁飞来》《廿八都小巷》等。老画家寿崇德先生曾言：“见阿衡的画，纵横淋漓，墨浓虚空，诗书画浑然一体，情景交融，还有水印的痕迹，很有新意，令人舒畅。如此潇洒不拘一格，我为之振奋，女画家中有如此魄力和追求实为难得。
阿衡以画出名，其书法也别有风味，独树一帜。早些年，资深编辑、作家项冰如先生观看“朱秉衡国画作品选”后，写道：“我的注意力很快被题画的书法所吸引。用一句时髦的话来说，她的书法十分‘牛气’。质朴而大方，如山涧泉流，飞泻而下，富有动感;初看似随意而书，实则经过精心安排，功底非常深厚，而且与整幅画面浑然一体，相得益彰。”
阿衡画画，但文学功底也了得。她题款，多用自己创作的典雅诗句，如“最是看牛可人处，角大如虹腹如海”“石村一夜雨，泉鸣远山碧”“烟岚散影云水游，山乡学子独清幽。书声朗朗乘风飞，飞向世界竞所求”……近年她出过一本小册子《诗雨绘风》，收入个人诗词百余首，如《满庭芳·2007宁波画展》中的“斜阳外小巷口，热汤团，螃蟹横走。襟袖里，灌满咸味，销魂渔村头”，不就是一幅宁波独有的风情画么！
“数载春秋龙游居，山乡美术半生缘。”阿衡大半辈子居龙游，无视荣辱，不计苦乐，“感悟造化从容度”——在美丽的灵山江畔，在巍峨的鸡鸣塔下，听“牛歌声声”，观“云峰翠绿”，画自己的画，走自己的路，“上下求索得心源”，终于“画到真情无俗形”。
作为教师，阿衡已经退休;作为画家，77岁的阿衡仍然朝气蓬勃。阿衡有一句座右铭：“真诚地做人，真诚地画画。”实践了“真诚”两字，阿衡的人品画品，也就为人敬慕。
（本文图片由阿衡提供）
In February， 2017， artist Zhu Bingheng donated 100 of her works to Longyou County. This was the artist’s third donation. She had donated 100 works to Changsha - the birthplace of her father， in 2008; and another 100 to Jiading， Shanghai – the hometown of her mother， in 2014.
The artist， known by many as A’heng， is best known for her ‘buffalo’ paintings that show her unique freehand brush work style.
Born in Hengyang， Hunan Province in 1940， Zhu Bingheng spent her younger years with her mother and grandmother after her father died in a resistance battle fighting Japanese invaders. After graduation from the Print Art Department of Zhejiang Academy of Fine Arts （today’s China Academy of Art in Hangzhou）， she taught in her alma-mater for many years before settling down in Longyou， where she taught art in primary and secondary schools till her retirement.
In the 1960s and 1970s， Zhu Bingheng spent most of her free time taking students to the countryside to “paint from life”. It was during that time that ‘buffalo’ became her favorite artistic motif， probably because of her childhood memories about the sweet time spent with her cousin herding cattle in the fields.
“The key is the cattle’s eyes，” she summarized succinctly.
“Painting cattle is essentially expressing my thoughts about the world. In this sense I am painting myself. I feel relaxed and happy when I am painting cattle， because ‘cattle’ is the symbol of humbleness， indifference to fame and wealth， benevolence and diligence，” she explained.
In real life， Zhu Bingheng is a ‘cattle’ – loving， hardworking， down-to-earth and unassuming woman.
Her love and passion in the ‘cattle’ theme can be seen from her huge ‘cattle’ collection of everything from pictures， newspaper clippings and literary works to all genres of art works that include the image of ‘cattle’. Also behind the artist’s accomplishments is her interaction with her artist husband. The chemistry between the two remained a source of inspiration for her artistic exploration.
Her ‘buffalo’ works roughly fall into three categories – landscape， cowboys， and bird-and-flower， with ‘buffalo’ being a common thread and adding life to the presentation. Many of her paintings are full of the innocence of cowboys playing guitar， or flying a kite， or playing chess with the company of a girl picking fruits， or doing homework， or dancing around. Occasionally， she would improvise a lovely essay to go with the image. One-hundred Buffalos， finished in 2000 and donated by the artist to the Confucius Ancestral Temple in Quzhou， is a combination of painting， calligraphic art and literary beauty.
A’heng started as a watercolor painter. Her attainment in wood print and watermark contributes to her unique artistic style in traditional Chinese painting， especially in the technique of Chinese ink. The result of sprinkling water on the rice paper before adding ink and colors is the desired ‘shading’ that brings out peace and tranquility of the Jiangnan water village vista. In many of her landscape creations， one can see through different poses and expressions of the undulating mountains and cascading waterfalls， all set in mesmerizing haze. These refreshing artworks highlight the artist’s unrestrained boldness in artistic pursuit.
The unique charm of her calligraphy， often used for decoration in her paintings， once caught the eye of famous writer Xiang Bingru， who praised the calligraphy as “unadorned and powerful”. “The seemingly effortlessness in her calligraphy shows the artist’s amazing artistic attainments，” the writer commented after seeing her landscape paintings.
The artist’s literary proficiency and taste， as shown in a poetry collection published a couple of years ago， also adds flair to the paintings.
The 77-year-old artist spent half of her life in Longyou， staying away from the ‘vanity fair’ and pursuing nothing but inner peace and artistic purity. She has retired as a teacher， but will never cease exploring in the world of art. Her life and art is the best illustration of how ‘sincerity’ blossoms into the most beautiful artist ‘flowers’.
阿衡，1940年生于衡阳。父亲在抗战中意外殉国后，她随母亲回到外婆家生活。1956年，她考入中央美院华东分院附中，毕业后保送浙江美院版画系学习并留校工作。1962年，她主动要求到龙游从事中小学美术教学教研工作。从16岁算起，她画画已经整整62个春秋。
我是在1996年“三八节”前夕，在衢州一个女书画家的座谈会上认识阿衡的。阿衡，胖乎乎的一位中年妇女，剪短发，戴眼镜，衣着朴素而端庄儒雅。会议结束时，她拿出一幅四尺整张国画《牛与女娃》，送给市妇联。
有感于阿衡的热忱纯朴和潇洒大度，我与她聊了几句闲天，嘱咐女记者许彤今后多关注她。此后，市里有画家的采风活动，许彤必随行。许彤每每告诉我，所到之处，阿衡大凡会作速写，很是敬佩。
上世纪六七十年代，阿衡在教学之余，经常独自或带领三五、七八學生去乡下画画，这也许与她童年生活在农村有关。牛是一道古老的活的风景。于是，阿衡喜欢画牛，并且将牛画得生动可爱。她写过一首《摸鱼儿·牛友》：“小时候，常去姑家，踏青欢笑十里。表兄牵牛相迎候，牛吟轻轻昵。大牛眼，笑眯眯，久等小女云霞起。相伴无声，倚角上牛背。田埂细步，尽日好天气。篱笆前，见屋后炊烟舞，太阳正中午。老牛带我清池畔，嬉水柳下卧……”这首词，读来通俗，感情轻松洋溢。
阿衡画的牛，水墨淋漓，姿态可爱。我以为，她融会中西画技，以大写意手法创作，是打着“阿衡”印记的牛。我经常诙谐地叫她“衡牛”，她总是欢快地应诺。
阿衡曾经说：“我画牛不忘师传统，师造化。我特别看重画牛的眼神，从而画牛的精神。画牛其实是画自己的思想，也就是画修养，画感悟，画人品。”
阿衡画牛，有一股牛劲，数十年坚持不懈。什么是阿衡“自己心中的牛”呢？即不怕苦、不怕累、不居功、不吹牛的牛。这“四不”精神，也是阿衡自己的追求。她对我说：“画牛使我心旷神怡、从容平和、淡泊名利、慈爱待人，也使我俭朴、勤敏、不争人先。”
“不争人先”？见我有疑惑，阿衡即解释：“不争人先，就是不争画名。”此话我信，阿衡确是一头“不居功、不吹牛”的“牛”。在书画界，她实干，低调。
阿衡画牛“不争人先”，却以画牛为荣为乐：“年少就读西湖畔，苍烟落照南山上。今朝卧牛游钱塘，美院展出心意长。”
“今朝卧牛游钱塘。”多么风光，多么气派，又多么自得其乐！这是1999年9月阿衡在母校中国美院举办“汇报展”时写下的诗句。
阿衡画了无数的牛而不“千牛一面”，以牛点缀的山水画亦不“千景一色”，这是她数十年如一日坚持上山下乡画速写的硬功夫所致。
20年前，我曾为阿衡写一篇小文：“凡有牛照片或牛图画的报刊，她都收藏;凡与牛有关的文章，她都剪贴;她还将古人韩滉、戴嵩，今人齐白石、徐悲鸿、吴作人、李可染、丁荦，外国人戈雅、毕加索等百余位画家画的牛临摹下来;历代文人咏牛的诗词，她一一摘抄诵读;外出写生，她见牛必画。十年间，若将草稿也算在内，可以毫不夸张地说，阿衡画的牛，已成千上万。”（《十年画一牛》）
2017年3月，阿衡邀我到龙游文化馆看她的画展。她指着六尺整张的《池畔树下牛，相对水底影》对我说，多年来，她一直想以唐朝诗人贾岛诗句“独行潭底树，数息树边身”为内容创作一幅画，总无从下笔。一天，同是画家的丈夫采风归来，给她看一张池边长着一棵参天大树、树下站着一头大水牛的照片，阿衡喜出望外，这就是自己追索多年的意境啊！她泼墨挥洒，浓涂淡抹，题款：“……唐人贾岛三年得二句，泪流满面地说：‘此音如不赏，归卧故山秋。’是年我夫君去乡间采风竟喜得同此一景：‘池畔树下牛，相对水底影’。”
阿衡的“牛画”，大致分三类。一是山水“牛”画。她画山水，几乎幅幅都有牛的出现。如《数峰晚霞青似染，回首山路在云间》，80厘米×80厘米的画面上，五六头只有金龟子大小的牛鱼贯穿行在林间小道上，一位赶牛人穿着红背心走在后头。由于有牛和人的存在，山水画“活”了起来，有了动感。
二是人物“牛”画。阿衡画人物，也以牛为主角，人物大都是稚气未脱的牧童，有鲜明的时代特色，男孩弹吉他、放风筝、钓鱼、读书、弈棋，女孩摘果子、做作业、洗衣、跳舞……于是，人和牛之间有情节故事，组成一幅幅盎然的生活画面，牛的精神，人的气韵，景的明丽，跃然纸上。她偶尔也画老人与牛，如新作《钓翁》，题款简直就是一篇优美的小散文：“垂钓者，古有‘愿者上钩’的姜公、‘持竿不顾’的庄子，今有垂纶逍遥的老翁，不图水中鱼儿跃，只钓夕阳气恢宏”，可以想见画面内容。
三是花鸟“牛”画。阿衡画花鸟，自然以牛为代表。她曾作一幅《百牛图》，赠送给衢州孔氏南宗家庙。此图成于2000年8月，由四张四尺整张宣纸拼成，图中有牛109头。画幅的天头又拼上一长条书法《牛颂》。这《牛颂》，是阿衡自己创作的散文。
阿衡早年学的是水彩画，并会木刻，懂水印，这就使她的国画形成了独特的风格。在用墨上，她多吸取水印技法，比如，先在宣纸上洒一层水，再铺墨敷色，使之产生水墨晕染的效果，显得平和、恬淡，能较好地描绘出江南水乡山色空蒙、水光潋艳的美丽风景。
畫牛成名的阿衡，近年来喜欢模山范水。阿衡山水画中的溪涧云烟、叠嶂层峦、危崖飞瀑、山花老树，无一不透出江南丘陵的秀美——在一层水淋淋的薄雾中展示其千姿百态，如《灵山江边》《沐尘桥头》《梧村小街》《龙游石窟》《山村小学》《古村雁飞来》《廿八都小巷》等。老画家寿崇德先生曾言：“见阿衡的画，纵横淋漓，墨浓虚空，诗书画浑然一体，情景交融，还有水印的痕迹，很有新意，令人舒畅。如此潇洒不拘一格，我为之振奋，女画家中有如此魄力和追求实为难得。
阿衡以画出名，其书法也别有风味，独树一帜。早些年，资深编辑、作家项冰如先生观看“朱秉衡国画作品选”后，写道：“我的注意力很快被题画的书法所吸引。用一句时髦的话来说，她的书法十分‘牛气’。质朴而大方，如山涧泉流，飞泻而下，富有动感;初看似随意而书，实则经过精心安排，功底非常深厚，而且与整幅画面浑然一体，相得益彰。”
阿衡画画，但文学功底也了得。她题款，多用自己创作的典雅诗句，如“最是看牛可人处，角大如虹腹如海”“石村一夜雨，泉鸣远山碧”“烟岚散影云水游，山乡学子独清幽。书声朗朗乘风飞，飞向世界竞所求”……近年她出过一本小册子《诗雨绘风》，收入个人诗词百余首，如《满庭芳·2007宁波画展》中的“斜阳外小巷口，热汤团，螃蟹横走。襟袖里，灌满咸味，销魂渔村头”，不就是一幅宁波独有的风情画么！
“数载春秋龙游居，山乡美术半生缘。”阿衡大半辈子居龙游，无视荣辱，不计苦乐，“感悟造化从容度”——在美丽的灵山江畔，在巍峨的鸡鸣塔下，听“牛歌声声”，观“云峰翠绿”，画自己的画，走自己的路，“上下求索得心源”，终于“画到真情无俗形”。
作为教师，阿衡已经退休;作为画家，77岁的阿衡仍然朝气蓬勃。阿衡有一句座右铭：“真诚地做人，真诚地画画。”实践了“真诚”两字，阿衡的人品画品，也就为人敬慕。
（本文图片由阿衡提供）
In February， 2017， artist Zhu Bingheng donated 100 of her works to Longyou County. This was the artist’s third donation. She had donated 100 works to Changsha - the birthplace of her father， in 2008; and another 100 to Jiading， Shanghai – the hometown of her mother， in 2014.
The artist， known by many as A’heng， is best known for her ‘buffalo’ paintings that show her unique freehand brush work style.
Born in Hengyang， Hunan Province in 1940， Zhu Bingheng spent her younger years with her mother and grandmother after her father died in a resistance battle fighting Japanese invaders. After graduation from the Print Art Department of Zhejiang Academy of Fine Arts （today’s China Academy of Art in Hangzhou）， she taught in her alma-mater for many years before settling down in Longyou， where she taught art in primary and secondary schools till her retirement.
In the 1960s and 1970s， Zhu Bingheng spent most of her free time taking students to the countryside to “paint from life”. It was during that time that ‘buffalo’ became her favorite artistic motif， probably because of her childhood memories about the sweet time spent with her cousin herding cattle in the fields.
“The key is the cattle’s eyes，” she summarized succinctly.
“Painting cattle is essentially expressing my thoughts about the world. In this sense I am painting myself. I feel relaxed and happy when I am painting cattle， because ‘cattle’ is the symbol of humbleness， indifference to fame and wealth， benevolence and diligence，” she explained.
In real life， Zhu Bingheng is a ‘cattle’ – loving， hardworking， down-to-earth and unassuming woman.
Her love and passion in the ‘cattle’ theme can be seen from her huge ‘cattle’ collection of everything from pictures， newspaper clippings and literary works to all genres of art works that include the image of ‘cattle’. Also behind the artist’s accomplishments is her interaction with her artist husband. The chemistry between the two remained a source of inspiration for her artistic exploration.
Her ‘buffalo’ works roughly fall into three categories – landscape， cowboys， and bird-and-flower， with ‘buffalo’ being a common thread and adding life to the presentation. Many of her paintings are full of the innocence of cowboys playing guitar， or flying a kite， or playing chess with the company of a girl picking fruits， or doing homework， or dancing around. Occasionally， she would improvise a lovely essay to go with the image. One-hundred Buffalos， finished in 2000 and donated by the artist to the Confucius Ancestral Temple in Quzhou， is a combination of painting， calligraphic art and literary beauty.
A’heng started as a watercolor painter. Her attainment in wood print and watermark contributes to her unique artistic style in traditional Chinese painting， especially in the technique of Chinese ink. The result of sprinkling water on the rice paper before adding ink and colors is the desired ‘shading’ that brings out peace and tranquility of the Jiangnan water village vista. In many of her landscape creations， one can see through different poses and expressions of the undulating mountains and cascading waterfalls， all set in mesmerizing haze. These refreshing artworks highlight the artist’s unrestrained boldness in artistic pursuit.
The unique charm of her calligraphy， often used for decoration in her paintings， once caught the eye of famous writer Xiang Bingru， who praised the calligraphy as “unadorned and powerful”. “The seemingly effortlessness in her calligraphy shows the artist’s amazing artistic attainments，” the writer commented after seeing her landscape paintings.
The artist’s literary proficiency and taste， as shown in a poetry collection published a couple of years ago， also adds flair to the paintings.
The 77-year-old artist spent half of her life in Longyou， staying away from the ‘vanity fair’ and pursuing nothing but inner peace and artistic purity. She has retired as a teacher， but will never cease exploring in the world of art. Her life and art is the best illustration of how ‘sincerity’ blossoms into the most beautiful artist ‘flowers’.