在当今中国美术界，我总以为韩书力是一个异类，一个特例。

　　多少人从不同角度写他、分析他、理解他、那么我对他又能说些什么呢？

　　那是1980年，中央美术学院成立了一个新系，调我负责组建，我决定研究生和本科生同时招，这是破格的，为此我跑文化部艺术教育司申诉，为了培养师资，研究生两个专业各招三名，其中就有从西藏来投考的韩书力。

　　两年后，研究生班毕业了，院方决定我们只能分一两个留校名额，韩书力是首选。留到美院任教是大家所盼的条件，未料韩书力提出回西藏，这使我极惊叹又惋惜。

　　更不用说他后来赴欧、美洲办画展、售作品，有人劝他留下，这也是当时不少青年画家所向往的一条路，而韩书力依然选择回西藏--。

　　韩书力看去规矩、诚恳、谦虚有礼，这是他的天性。那么人在短暂的一生中，何取何舍，也就是此生的道路和从业的艺事如何走这些严肃的决断，韩书力心里是惦着分量的。

　　一个北京人能将自己生命从而立、不惑到知天命和耳顺之年，全部虔诚的沉淀在西藏这片高天厚土之中，在那里摄取养分，从心灵到文化艺术上去滋养丰满自己。且不说四十年来他尊重本土，鞠躬体验、领军合力所造出的一片艺术辉煌，从职位到众多奖项，那是有目共睹的事实。

　　韩书力是带着自己汉族传统优秀文化去与精深而独特的藏族文化相交融，去再认知、再感悟。尤其当面对而今世俗的浮躁和浊气的嚣张，韩书力却受益着西藏文脉的滋养，而获取了纯静与安详的“护身符”，这难道不是一种修炼吗？

　　正如他所说：不是西藏离不开我，而是我已离不开西藏这方文化生态的沃土。

　　那么韩书力的艺术创造，必然保持着与众拉开距离不随大流的独特的“这一个”。他心灵上的追求与艺术风格及技艺上的体现是统一的。

　　作为画事，他为了所表现的内涵精深和脱尘俗去繁琐，也求文脉感悟而去获技巧上的纯洁与静沐。

　　记得1982年英国首相撒切尔夫人访华，在北京她提出要参观中央美术学院，而且要参观中央美术学院的展览馆。美院当时显得突然无备，因为美院那时没有自己的展览馆，只有个陈列馆，那里恰恰正展出韩书力等六位研究生的毕业班作品。

　　以吴作人院长为首，临时准备了国画系教员的一幅花鸟画轴作为礼品，然后只有参观陈列馆了。由我引领，撒切尔夫人走到韩书力的表现藏族故事--《邦锦美朵》组画前，停住了，她很感兴趣的询问画面的表现手法--。

　　这里说明一个问题，美术作品的技法的重要性。韩书力在以后一系列创作中，技法对其所表现精髓内容的讲究，他花费的心力可想而知。

　　绘画艺术能达到“远观惊心动魄，近视奥妙无穷”的境界，以及中国传统绘画所倡导的：“出新意于法度之中，寄妙理于豪放之外”的论理，韩书力不可能无动于衷。

　　韩书力太有心，他懂得人生中的取与舎，在西藏的四十年他是受益匪浅的一个艺术家。

　　六世**喇嘛仓央嘉措的诗句：

　　最好还是不相遇

　　如此便可不相识

　　最好还是不相知

　　如此便可不相思

　　这也是韩书力所喜欢的禅语。

　　2013年8月15日

　　（杨先让先生：中央美术学院教授）

　　Meeting， acquainting with， knowing and caring about Han Shuli

　　Yang Xianrang

　　I always regard Han Shuli as an alien and exception in the contemporary Chinese art circle.

　　What would I comment on him as so many others have written about him， analyzed him and understood him from different angles？

　　In1980， when a new department was established in Central Academy of Fine Arts， I was sent to take charge of the organization of it. I decided to enroll the postgraduates and the undergraduates at the same time， which was unconventional， for which I appealed to the Arts Education Department of Ministry of Culture. To foster teachers， three postgraduates were enrolled respectively in the two postgraduate majors， among whom was Han Shuli from Tibet.

　　After two years of studies， they all graduated. And the authority of the Central Academy of Fine Arts decided to choose one to two to teach there， and Han Shuli was the first choice. To be a teacher in Central Academy of Fine Arts was everyone‘s dream then. But out of expectation， Han Shuli declined the offer and appealed to go back to Tibet， for which I felt shock and a great pity.

　　Later， he held exhibitions and sold his works in Europe， America， where he was invited to settle down. This was no doubt a fatal attraction for quite a few young artists， but once again he chose to go back to Tibet.

　　By nature， Han Shuli is well-disciplined， sincere， modest and polite.

　　He has his own idea as to what to take and what to give in his span of life， that is， he has already made his decision on the direction of his career.

　　As a Beijinger， he has settled himself in Tibet - the plateau area in his thirties， forties， fifties and sixties to derive nutrients to nourish his soul as well as his art. It is obvious to all that during his 40 years’ stay in Tibet， he has been paying respects to the local， experiencing himself， and leading his group to create many splendid arts. His titles and awards prove all these.

　　He has combined the excellent traditional culture of Han with the profound and unique Tibetan culture so as to re-cognize and re-percept them all. Particularly， in the restless and rampant world of fame and fortune， he got his pure and peaceful amulet by taking the advantages of the nourishment of Tibetan culture. Isn‘t it a spiritual practice？

　　As he says： “ it is not that Tibet can not go without me， but I can not go without the fertile soil of Tibetan culture.”

　　As a result， Han Shuli’s creation of arts， keeping distance from the general and not following suit， is always unique. His pursuit of spirit， styles of arts and his expression of painting techniques are unified.

　　As far as his paintings are concerned， in order to express his profound contents and his laying apart all the mediocre and getting rid of complexity， he also pursuits the perception of contexts to acquire the purity and peace of the techniques.

　　I still remember that Mrs. Thatcher， the former Prime Minister of United Kingdom paid a visit to China in 1982. During her stay in Beijing， she requested to visit Central Academy of Fine Arts and its museum， which appeared to be abrupt and unprepared， for CAFA didn‘t have a museum but an exhibition hall， where， fortunately， a graduation show of the postgraduates was holding， including Han Shuli’s works.

　　Headed by Mr. Wu Zuoren， the president， we improvised a set of painted scroll of flowers and birds in traditional Chinese painting， created by a teacher from the department of traditional Chinese painting， as a gift for her. Then， led by me， we were touring in the exhibition hall. Mrs. Thatcher suddenly stopped in front of Han Shuli‘s series of works - The Flowers of Grassland， representing a Tibetan story， and asked me of the techniques of the expression with great interest.

　　This shows the importance of techniques in arts so that it is imaginable how many efforts Han Shuli has made to develop the techniques in expressing the essence in his later works.

　　I have good reason to believe that Han Shuli’s paintings have fully defined the art state of “Soul-stirring by a far view and inexhaustibly profound by a close look”， as well as “innovation originated from the traditional techniques and lingering charm out of the style of the wild”.

　　Han Shuli is a person with thoughts， for he knows what to take and what to give. He benefits a lot from his 40 years‘ stay in Tibet.

　　Verse of Tsangyang Gyatso， the 6th Dalai Lama

　　Without meeting，

　　We’d never get acquainted；

　　Without understanding，

　　We‘d never care about each other.

　　These are also Han Shuli’s favorite words of Zen.

　　August 15， 2013

　　Written in Huilongguan， Beijing

　　(Mr. Yang Xianrang Professor of Central Academy of Fine Arts)