一三十年前,我第一次走进李乃蔚的画室时,那是挥汗如雨的武汉夏天,不足十平方米的画室迎着西晒,一把座扇放在地上,吹向他身后的一面墙,从墙上反打回来阵阵热风,让人更感觉闷。就是在这闷罐般的环境中,李乃蔚神情专注,一笔一笔一遍又一遍地在他后来的成名作《黄帝战蚩尤》上染色,那是在绢上浚染。他不停地擦拭着手上脸上的汗水,身上的汗衫早已浸湿。尽管如此,李乃蔚给人的第一印象,就是 Thirty or thirty years ago, when I first came to Li Naiwei’s studio, it was a sweaty summer in Wuhan. The studio of less than 10 square meters was facing the west sun, a fan was placed on the ground and a wall behind him was blown. Back from the wall bursts of hot air, people feel more bored. It is in this boring cans-like environment, Li Naiyu look focused, one after another in his later fame for the “Yellow Emperor War Chi You” on the stain, it is dyed in silk. He kept wiping the sweat on his face, the sweatshirt had already wet. Nevertheless, Lee Nai Wei gives the first impression, that is