每次我从石鲁那里回来,便赶紧趁着记忆尚未淡却,感觉也还新鲜,作一些记录性的笔记。我早已不记日记了,历次运动中,由于这类白纸黑字的牵连,不知有多少人吃足了苦头,以至我认定这是一种极其幼稚而危险的习惯。不过,记录老师的谈话,因是纯艺术上的,我觉得择要作概略的记载,应当没事。当时还没有录音机,老师给我讲课又每每兴之所至,海阔天空,即使过后追记,也难免挂一漏万,仅得一鳞半爪,使我懊悔不已。因此,我决定以后去老师那里,备上一个小本子,以便随时记录。 老师教我临摹一点古画,可我没有很好的临本,他便特地借了一本《南画大成》给我。日本称中国水墨画为“南画”,《南画大成》一套许多册,很大的横开本,线装,珂罗版,画面十分清晰。中国的画家要从外国的出版物上临摹自己先人的墨迹,这多少有点讽刺的意味。 Every time I came back from Shilu, I quickly took advantage of the memory is not yet pale, the feeling is still fresh, make some note-taking notes. I have long forgotten my diary. In these previous campaigns, I do not know how many people have suffered enough because of the involvement of such black and white forms of black and white paper, and I think this is an extremely naive and dangerous habit. However, recording the teacher’s talk is purely artistic. I think it is necessary to make a summary record and it should be fine. At that time, there was no tape recorder yet. The teacher gave me lectures and rejuvenated each other. The brighter future, even after chasing after memorises, was inevitable. Therefore, I decided to go to the teacher later, prepare a small book, in order to keep records. The teacher taught me to copy a little ancient painting, but I did not have a very good copy of this book. He specially borrowed a copy of “Painted in South China” to me. Japan said that Chinese ink paintings are “South Painting” and “South Painting Dacheng” a lot of books, a large horizontal, the thread installed, Colo Edition, the picture is very clear. It is somewhat ironic that Chinese painters copy the ink of their forefathers from foreign publications.