沈承书的“再田画印”

The Painting Seal (background)

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沈承书师从吴镜汀后，导师赐字“再田”，希望他成为明代画家沈周（石田）再世。勉励他继承“三石一米”，即沈石田（明），石涛（清），王石谷（清）和米芾（宋）的技法风格。退休重拾画笔后，刻了一枚“再田画印”，以怀念先师，勉励自己。

After Shen, Chengshu studied under Master Wu Jingting, his teacher gave him the name "Zai-tian" in the hope that he would become the reincarnation of the Ming Dynasty painter Shen, Shi-tian. Encouraged him to inherit the techniques and styles of the Ming Dynasty painter. After retiring and picking up the brush again, he carved a "Zaitian Painting Seal" to commemorate his teacher and to encourage himself in the field of painting.

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沈石田与文征明、唐寅、仇英并称“明四家”，他上承宋，元诸家，下启清初“四王画派”，集历代名家之大成，在师法宋元的基础上有自己的独到之处，发展了文人工笔山水的表现技法。沈石田同时还是一个诗人，首开集诗书画于一体的表现形式，诗意，画境，翰墨相互烘托，使作品意境更加深远。明史《沈周传》称他：“诗拟白居易、苏轼、陆游，字仿黄庭坚，并为世所爱重。尤工于画，评者谓为明世第一。……周决意隐遁。所居有水竹亭馆之胜，图书鼎彝充牣错列，四方名士过从无虚日，风流文彩照映一时”。他的书风“遒劲奇崛”，与其山水画苍劲浑厚十分相似、协调。沈石田终生隐居田园，朝中有慕名者请他出仕，他都以陪伴老母婉拒。沈母活了99岁，三年后沈周(石田)辞世。

Shen Shi-tian was among the "Four Masters of Ming Dynasty"(1368 – 1644). He inherited the painting styles of the Song and Yuan Dynasties and initiated the King Styles in the Qing Dynasty. He had his own unique features on the basis of learning from the Song and Yuan Dynasties and developed the expression techniques of the brushwork landscape paintings. Shen, Shi-tian was also a poet. He pioneered the expression form of poetry, calligraphy and painting. The poetry, painting and calligraphy can complement each other, making the artistic concept works more profound. The Ming History "Biography of Shen" said of him: "His poems imitated Bai Juyi and Lu You, (Antient Chinese poets) and his calligraphy imitated Huang Tingjian(Old Chinese Poet), he was loved and respected by the country. He was especially good at painting, and critics said he was the best in the Ming Dynasty. His residence was a pavilion in the deep mountains with bamboos and streams surrounding it, people from all over the world came to visit him. His calligraphy style was very unique,  which was very similar and coordinated with his vigorous and thick landscape paintings. Shen Shi-tian lived in seclusion in the countryside all his life.

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沈石田一生隐居乡里，吟诗作画，优游林泉，追求精神上的自由，终生未仕，专心致力于书画创作。他学识渊博，富于收藏。交游甚广，极受众望，平时平和近人，求画者“屦满户外”，“贩夫牧竖”向他求画也从不拒绝。甚至有人拿来模仿他的赝品，求为题款，他也欣然应允。沈承书导师吴镜汀希望他做“石田在世”，不光让他学习沈周的绘画才华和技法，更要他以其品德，节操为榜样，做一个高雅正直的文人画家.

Shen Shi-tian(Ming Dynasty) lived in seclusion in his hometown all his life, reciting poems and painting, pursuing spiritual freedom. He never served as an official and devoted himself to calligraphy and painting. He was knowledgeable in the art of painting and had a rich collection of paintings and calligraphy. He was well known in his time and highly respected. People often asked favors from him to do some paintings or to teach the youth, he often accepted with grace. Wu Jingting, Shen Chengshu's master, hoped that Chengshu would reflect the Ming Dynasty painter in the current time, not only to let him learn his painting talent and techniques, but also to take his character and integrity in life, and become an elegant and upright scholar.

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中国传统山水画理论讲究学画先学做人，山水有灵气，只有品雅节高者，才能领悟其神韵，不仅写山水之形，还能传其神。山水画开山祖师荆浩就言道：“嗜欲者，生之贼也。名贤纵乐琴书图画，代去杂欲。”把作画当成一种修身养性，摆脱名利杂念的方式，君子生于乱世而保持正直清高，道德操守。因此文人画中的景物不光是自然风景，还被赋予人文内涵。以苍松翠竹象征忠贞气节，丛山峻岭寄寓胸怀志向，林泉高瀑意味清雅脱俗，田园草舍暗喻宁静淡泊。只有领悟了风景的人文涵义的画家，才能画出有灵性，有感情的山水。仿冒者只能临摹其形而难表现原作的神韵，意境，因为画家的道德人品，和他赋予山水的感情是无形的，别人是模仿不来的。

The theory of traditional Chinese landscape painting emphasizes on characters, that learning to paint should be a way to shape your moral principles. Old Chinese people believed that Landscapes have spiritual energy, only those with high moral character can comprehend their charms and convey their energies from within. The act of Painting is regarded as a way to cultivate one's spiritual character and get rid of one’s greed for fame and fortune. There’s an old saying that, true gentlemen even living through troubled times can still maintain their integrity and moral ethics.

Therefore, the expressions of these paintings is not only just to show the natural sceneries, but endowed with one’s understandings for the world. In Chinese paintings, green pines and bamboos symbolize loyalty and integrity, mountains and ridges represent ambitions, forests, springs and waterfalls represent elegance and refinement. Only the painters who have comprehended the deep meanings behind their brush works can add those spiritual and emotional aspects into their works.

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但凡名留史册的文人画家，大都具有文人的清高风骨，脱俗人品。他们或隐居山野，优游林泉，潜心画艺。或生长于书香门第，从小受琴棋书画的熏陶，在家庭文化气息影响下走上笔墨丹青之路。他们专心致力于继承和发展前人理论技法，追求画面意境高深，力求完美，而从不在意自己作品的市场价值，也不靠卖画发财。中国古代的山水写意画家，从五代的荆，关，董，巨，至清代的四王，四画僧的作品，虽风格笔法各有特色，但其传世作品，无不是笔墨精致，至臻完美，一石一树没有丝毫怠慢之处，每一幅画都力求达到最高水平。

Most of the literati painters who have left their names in history have noble characters and unworldly personalities. They either lived in seclusion in the mountains, enjoyed the forests in nature, or devote themselves to painting. Those who were raised in a scholarly family were often influenced by classic music, chess, calligraphy and painting from childhood. They have dedicated to inheriting and developing the theoretical techniques of their predecessors, pursuing a profound artistic conception of the picture, and striving for perfection, but never cared about the market value of their works, nor relied on selling paintings to make a fortune.  These painters inheirited refined skills you can see special attentions were given in the finer details, they strived to reach the highest level in all of their works.

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文人画之所以精致细微，是因为画家追求艺术最高境界，最完美的表现形式，而不是商业价值和市场需求。一幅画首先要立意选题，明确表达的意境，然后构思画面，以笔勾勒山水的整体轮廓，布局结构，然后再以墨取韵，反复皴擦，晕染，着色。为了表现远山虚无缥缈的效果，他用墨色反复氲染，先浓后淡，一遍晾干后再染下一遍，最后用清水湮湿淡散，直到在咫尺平面上表现出群峰深远，山峦高远，河川平远的视觉感受。这个过程往往要二，三十天才告一段落。然后把作品悬挂起来，反复揣摩玩味，思入画中，神游山水，寻找灵感，做最后修改，然后才题款，用印，装裱。在清理遗物时，发现多张无字无印的画稿，其实都已经基本完工，但还在观摩思考阶段。或者是觉得不满意，又无法修改，就束之高阁了。

The reason why literati paintings are exquisite and subtle is that the painters pursued the highest realm of art and the most perfect form of expression, rather than seeking for the commercial demand of their works. A painting must first set the theme and clearly express the artistic conception, then conceive the picture, lastly they would use their brush to outline the full picture.  

In order to express the ethereal effect of the distant mountains, he must repeatedly brush multiple layers of ink using varied pressures to give the paintings dimensions. This process often takes 20 to 30 cycles to give the picture a full and elaborated look.

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文人雅士作画不是为了赚几两润笔银子，而是不断向艺术最高境界的挑战和冲击，或寄托志向，情趣。他们的作品或互相赠送，交流技法心得；或作为礼物赠送亲朋好友，恩师故交；或为陋室补壁，卧游山水。清代画家恽南田就曾在诗中写到：“何须着履寻山去，万豁烟灵在此中”。王石谷的诗也谈到室内观画的感觉，“云中泉瀑流无尽，壁上松涛听未休。”“林高风静峰峦淡，卧对青山笔底云”。 画家称在家中欣赏山水画，怡悦性情，为“卧游”，表现出文人的淡泊宁静，闲散飘逸的心态。

The literati and scholars do not paint to make a profit, but to constantly challenge and impact the highest realm of art, or to pursue their ambitions and interests. They often would give their works away to others to share their skills and experiences; or gave them out as gifts to the relatives, friends, mentors and old friends. The Qing Dynasty painter Yun Nantian once wrote in a poem: "Why bother traveling miles looking for the mountains, yet the spirits of the sceneries are within us.

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文人画家崇尚气节而耻言利禄，他们的作品很少有直接流入市场换取利润的。他们远权贵，近平民。对冒充风雅，重金求画的富商财主不屑一顾， 而对“贩夫牧竖”，街坊邻里则来者不拒，不取分文。由于沈周，文徵明的社会名气，很多无名画家靠模仿他们作品为生。他们不但不追究，反而在赝品上题款用印，帮那些仿制者用他们的名气获利生存。

Scholarly painters value integrity and moral ethics, they often despise those who are in it to seek fame and wealth. Very few of their works were directly sold in the market for profit, they would donate or sell their works to places where the art and culture would be passed on to future generations. They stayed away from the rich and powerful to stay close to the common people. They disdain the wealthy merchants who pretend to be elegant and ask for paintings for a lot of money.

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沈承书从抗战爆发后弃艺学工，中共国建立后成为重型机械工程师，投身于当时的工业建设，脱离了国画界。直到1962年与老师吴镜汀重逢后，才重拾画笔，业余作画。但由于当时的政治形势恶化，红卫兵打砸抢烧，没多久就又被迫停笔。在清理他的遗物时，发现了六张作于1964年前后的未裱画稿。画面上一个身披蓑衣的渔夫，逆风挽船而行，表达了他面对政治压力的不屈精神。几张画因卷在一捆破宣纸里躲过文革浩劫。

Shen, Chengshu gave up art and studied engineering after the outbreak of the Sino-Japanese War. After the CCP took over the country in 1949, he became a heavy machinery engineer and devoted himself to the industrial construction at that time, leaving the traditional Chinese painting behind. It was not until he reunited with his teacher Wu, Jingting in 1962 that he picked up his brush again and painted as a hobby. However, due to the deterioration of the political situation at that time, the Red Guards smashed, looted and burned cities down, Shen was forced to stop painting again. When cleaning up his relics, six unmounted drawings from around 1964 were found. In the picture, a fisherman wearing a straw raincoat was rowing his boat against the headwind, expressing his unyielding spirit in the face of political persecution. Several paintings escaped the catastrophe of the Cultural Revolution because they were well hidden from the Red Guards.

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沈承书66岁时从领导岗位上退下后就开始重继丹青，到70岁从二线完全退休后，就把全部情趣精力用在作画上。二十多年来，书画作品多达二百余张，包括立轴，横幅，册页，长卷等多种形式。除了重拾传统技法，仿巨然，郭熙，黄公望，沈石田，王石谷，石涛，等名家笔意的临摹之作。他还策杖游历名山大川，走出了“从写实到创新”的发展之路，创作了多幅以黄山，北武当山，张家界，九寨沟为题材的作品。1996年沈承书应美国明尼苏达州政府亚太裔委员会邀请，在美国办画展期间，还以密西西比河边一条小溪瀑布的景色创作了《清溪高瀑》赠送主办单位。

After retiring from his position at the age of 66, Shen, Chengshu began to pick up his art skills and devoted most of his time in painting. For over 20 years, he has created more than 200 paintings and calligraphy works, including vertical scrolls, horizontal scrolls, long scrolls and other formats. In addition to revisiting traditional techniques, he also made replicas from the Great Masters in different historical eras. Shen traveled to many parts of China where he would get his inspirations for his works. He created many works of the Yellow Mountains, North Wudang Mountain, and other National Parks. In 1996, Shen, Chengshu was invited by the Asian Pacific Council of Minnesota State to hold an exhibition in the United States. During the exhibition, he also created "Clear Stream High Waterfall" based on the scenery of a small stream waterfall on the Mississippi River and presented it to the organizer.

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沈承书作画完全是出于继承传统，锤炼技艺，充实生活，陶冶情操，社会交往，增进亲情，根本就没想过卖画盈利。他向亲人们赠送了多幅书画作品，内容多以怀念父母，兄妹情谊为题。沈承书也曾多次为其夫人作画，为纪念金婚创作了《漓江秋艳图 》《伏波烟水图 》为题的桂林风景（他们相识于桂林）。夫人去世前两个月，沈承书以91岁高龄创作了平生最后一幅作品《竹林溪水》，挂在其夫人床前，以慰病中的夫人暮年思乡之情（祖籍广东顺德甘竹林村）。他为自己九十周岁生日作《松瀑优居图》，是中国画史上唯一九十岁依然能画出工笔山水画的画家。沈承书的3个子女都在西方留学定居，临行之际，他为我们每人作画题款，鼓励留念。他不仅对同事，朋友，旧交求画尽量满足。对为他治印，裱画的工人师傅也主动赠画表示感谢。

Shen, Chengshu devoted his art works for the purpose of inheriting traditions, enriching lives, cultivating sentiments, and enhancing family affections. He never thought about selling paintings for profit. He presented many paintings and calligraphy works to his relatives, friends and members of his communities. Shen, Chengshu also painted for his wife many times. In commemoration of the golden wedding, he created the Guilin landscapes titled "Li River Autumn Beauty" and "Cloud in Mountain" (they met in the city of Guilin). Two months before his wife's death, Shen Chengshu created his last work "Bamboo Forest On Stream" at the age of 91, and hung it in front of his wife's bed to comfort his wife's homesickness in her old age (her ancestral home is Ganzhulin Village, Guangdong). He painted "Waterfall and Beautiful Residence" for his 90th birthday. He was the only painter in the history of Chinese painting who can still paint meticulous landscape paintings at the age of 90.

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虽然沈承书一生没卖过画，但他的画却曾标价出售过一次。1993孙子 Allen Shen到美国后，被送进私立贵族学校上学，为表示我们的感谢心情，把他创作的一幅《山亭文会图》赠送给学校义卖。校方把画送当地专营亚洲艺术品的画廊评估，拍卖鉴定师认为，这是他所见过最好的当代中国山水画，以五千美元售出。

Although Shen, Chengshu never sold his paintings in his life for money, but he donated one of his paintings for auction. In 1993, after his grandson Allen Shen received an offer to study at Breck School in Minnesota. To express his gratitude, he donated a painting he created, "Mountain Pavilion Literary Gathering", to the school for charity. The school sent the painting to a local gallery specializing in Asian art for evaluation. The auctioneer believed that this was the best contemporary Chinese landscape painting he had ever seen and it was valued at $5,000 in the year 1993.

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In the below image you can see Shen's Painting Seal in Red