二十世纪中国水墨画的最大成就，是在理论上确立了纯「以画论画」，不以“人品”来定画品的评审标准;在观念上打倒了七八百年来封建文人的一言堂“笔墨观”，所有的绘画都用一个“标准”去衡量，那就是「作品」有没有内容，有没有传承与创建;在技法上，除了使用传统笔墨技巧外，我们有更多的创新技法，如拓墨法、撕纸筋法、水拓法、渍墨法、等等;中国画的表现能力增强了，表现领域拓广了。突破了传统公式化的形式后，创造了各种不同的新形式和新风格，画家的个人的风格清楚地建立起来。

　　中国水墨画革新一定要在观念和技巧上同时进行，但不是全盘西化，而只应借鉴，所谓「他山之石可以攻玉」，我们可以从西方近百年来的美术发展史上反省自己，改进自己。

　　如果一般人在工作之余，寄托于笔墨情趣，亦无可厚非;但作为一个专业画家，就必须有所寄望，要拓展、创新，发扬本土民族精神，为世界文化增加财富，我们要丢掉的是传统的旧形式、旧语汇;而保留的是传统中兼容并包的精神，胸怀宽广的创造力量。

　　陈成球自1978年毕业于中文大学校外进修部第二届现代水墨画文凭课程后，一直坚持信念，努力不懈，寻求自己的目标与理想，专心致力于现代水墨画的探索;这二十多年的时光，他在香港画坛保持着活跃的动力;更可喜的是，经过近十年的努力，他已渐渐创造出独特的风格与技法;他画雪山、滚流、飞瀑、急湍，都是利用宣纸上流动着渗染的墨蕴，配合桌面拓印的抺点效果(抺点皴)，配合得亦幻亦真、似与非似之间，令人百味回甘，思量再三。

　　近年来，陈成球放弃了高职厚薪，全身投入绘画事业，可算是一个专业画家了;除了在画艺上钻研外，他还担任「香港现代水墨画协会」会长的职务;通过策动香港与两岸三地的交流活动，使香港的本土艺术日益蓬勃，树立了独特的不凡色彩。

　　今次展览，是陈成球的个人作品第四次向公众汇报，希望他在未来能发挥有更多的表现，很快便有第五次、第六次的继续，在我国艺坛产生积极的作用。

　　　Foreward

　　In a fact, the most remarkable achievement in Chinese ink painting of the 20th century has been the introduction to the new way of criticizing art. Critics start praising or criticizing art by the quality of the artwork rather than moral character of the artist. The theory of brush and ink proposed by the “one speaking hall” of feudal literati, lasting for about eight hundreds years, has thereupon come across objective criticism. It is nothing but a fallacy to believe that using the perpendicular brush point is the best way to paint. From then on, new techniques, such as the “ink rubbing” and the “ink staining” have been created, while new texture strokes, such as the “pearls”, the “leaf veins”, the “fish nets”, the “shifting sands”, the “ripples”, the “earthquakes and landslides”, the “peeling skins and plucking sinews” have been developed. By breaking through the traditional format, artists have expanded different tyles and expressive ways for Chinese ink painting and that formed anew tradition of pluralism.

　　On the other hand, it must be pointed out that the innovation and modernization of Chinese ink painting should depend simultaneously on two ways, one is to enrich the painting concepts, and the other is to develop the painting techniques. By reviewing thoroughly the western art history of recent one hundred years can make further evaluation and improvement for us, or else a total inclination towards westernization will be created. Moreover, modernization of Chinese ink painting is not a movement to desert our traditional culture, nor a road to completely westernize the Chinese painting.

　　It is generally understand that no one will criticize a Sunday artist who paints only at the time left after working. However, a professional artist should have great ambition, ideal, mission and be responsible, together with an all-inclusive mind, making contribution to the development of Chinese culture in order to further broaden the nation’s culture and enlarge the heritage of the civilized world.

　　In 1978, when Chan Shing-kau was graduated from the Modern Chinese Ink Painting Programme at the Department of Extra-mural studies in CUHK, he began seriously striving without cease, concentrating on exploring modern Chinese ink painting. He has actively participated in art activities for twenty years, and gradually developed an entirely unique painting style in the recent ten years. He always merges the ink spots pattern rubbed from the table with beautiful flowing ink made on the rice paper, then the snowy mountains, flying waterfalls, rivers and rapids become beautiful visio0ns on the paper. Such mysterious, insubstantial and mild scene in poetic forms is always formed naturally and unforgettably.

　　Recently, he has quitted his high-ranking job, devoted all the time and effort to the artist career. He is now Chairman of the “Hong Kong Modern Chinese Ink Painting Association”, responsible for keeping on organizing different activities between Hong Kong, China and Taiwan, that help the viable and fast growing of modern Chinese ink painting as well as the local art development at large. Therefore, he is very deserving to be recognized as a model artist.

　　This is the fourth solo exhibition of him. Hoping that he will hold next solo exhibitions very soon with brilliant accomplishment and take affirmatively a concerted action for the Chinese artists’ circles.

　　LIU Guosong (world-famous artist, founder of the “Fifth Moon Group”, Executive Committee of the “21 Century Modern Ink Painting Association, China”)

　　(Translated by Margaret Yeung Kwok-fan)