说实话,要是在十年前,我是准备为他写“文集”序言的。那时,我们一起在《美术》杂志共事,他做编辑,也勤于手耕,不断有美好的美术评论文章问世,在和他的接触中,我觉得他有较高的艺术鉴赏力,很能发现受读者欢迎的画稿和文章。他的眼光也很敏锐,能透过纷纭复杂的表面现象,看到事物的本质。那时,美术界流行“新潮”、他是支持艺术革新的,和青年人有较多的联系,但在编辑杂志时,却很慎重,他支持有修养的创新,对那些华而不实的东西持保留态度。这一点,我是看在眼里,对他表示赞赏,并悄悄地向他学习的。 士增调到中国画研究院之后,重操旧业,拿起画笔画中国画。因为笔疏了近二十年,开头的艰难是可想而知的。我看过他那时的一些作品,感到他的造型和感觉都不错,但画的比较拘 To be honest, if a decade ago, I was prepared to write a “Anthology” preface to him. At that time, we worked together in the Art Magazine. He was an editor and also diligently hand in hand. There have been a number of fine art commentary articles coming out. In his contacts, I think he has a high artistic appreciation ability. Can be found by the readers of the drawings and articles. His vision is also very sharp, through the complex surface phenomena, see the essence of things. At that time, the art world became popular “trendy”. He supported artistic innovations and had more contacts with young people. However, he was very cautious when editing magazines. He supported innovative innovations and reserved those flashy things attitude. This point, I see in the eyes, praised him, and quietly learned from him. After he was transferred to the Chinese Painting Research Institute, he returned to his hometown and took up the brush strokes of Chinese painting. Because the pen is sparse for nearly two decades, the beginning of the hardship can be imagined. I have seen some works of his time, I feel his shape and feel good, but the more painterly