河洛毓秀，钟灵舸兰。艺者赵珂，生于中州，孕天地菁华，得河岳神韵。其艺兼通八法六要，并蓄丹青翰墨。挥毫则龙蛇竞走，泼墨则云烟满纸，真所谓「书中有画，画里藏书」是也。
观其行书，若天孙织锦，机杼自运。起笔似孤鹤冲霄，收锋如倦云归岫。点画间疏星朗月，转折处叠浪崩云。或疾若惊飙掠地，墨痕未干而气已吞山;或缓如老衲补衲，笔锋暗藏而力能扛鼎。尤妙在刚柔相济，铁画银钩隐婀娜之姿，游丝映带含金戈之气。昔张伯高观公孙剑器而得草圣三昧，今舸兰法自然万象以成行云妙谛。
其篆书深得商周遗韵，若龟甲呈祥，钟鼎献瑞。结体如老柏蟠空，笔势似古藤缠石。方圆兼备处，可见圭璧庄严;粗细交错间，犹闻雷斧铿锵。每作虫书鸟迹，必究甲骨籀文之秘，化刀刻斧凿为笔墨风流，故能于肃穆中见灵动，在朴拙内存精微。
至若隶书，则取法汉碑，熔礼器之峻整、石门之开张于一炉。横若阵云千里，竖似孤峰擎天。波磔如燕尾裁波，撇捺若兰桨分水。尝见其八分书巨幛，蚕头凛凛含威，雁尾翩翩欲飞，真所谓「铁锁横江」之势、「金绳度峡」之姿。此等隶法，非但得汉碑筋骨，更融简牍帛书之意趣，故能古朴中透清新，严整处见洒脱。
赵珂之书，三体并举，行篆隶三绝，笔端所至，气韵悠长，气贯长虹。三者并用，各擅胜场，气势恢弘，不拘一格。观其笔墨，可见古贤之精神流贯其间，既得传统之矩矱，亦开时代之新章。
赵氏之画，尤擅山川，写江海之雄浑，绘丘壑之幽深。其山水，或云雾氤氲，隐约苍茫;或松涛浩荡，劲挺巍峨。远山如黛，近石嶙峋，流泉清泠，曲折萦回。画境之妙，非徒写形，乃寓意其中。山巅之松，挺拔独立，如君子之风;江流之势，奔腾不息，如时运之转。或以轻岚笼翠微，或以劲笔写崇岭，墨染云海，笔拓苍崖，顿生烟霞变幻之态，气象超然。非仅摹写自然形貌，实则心灵之写照。
彼善用墨，或浓或淡，或润或枯，黑白相间，层次井然。重峦叠嶂，以积墨烘染，显嵯峨之态;飞瀑流泉，以细笔点苔，呈跃动之势。溪桥渔父，杖策而行，草堂茅舍，寂然空灵，画中人物，虽寥寥数笔，然神采毕肖，动静相生。其作虽静，而其中意境，恢宏壮阔，烟霞满纸，意趣无穷。
赵氏画法，承六朝遗韵，得宋元精髓，兼习近代创新。观其笔墨，既不囿于陈法，亦不背离古意。于峰峦勾勒间，存北宗之苍茫;于林壑皴染中，寓南宗之韵致。或清润如唐人设色，或苍莽如宋人水墨，信手挥洒，自有法度，落笔间，山川之神韵宛然在目，非凡手可为。
其画中动植，亦皆形神兼备。翎羽灵动，飞禽翱翔于九天之上;草木葱茏，幽花绽放于涧壑之间。禽鸟之态，或昂首长鸣，或展翅振飞，羽毛轻盈，灵韵生动;草木之姿，或摇曳风中，或疏影横斜，笔致清雅，意态横生。赵氏绘虎生风，墨浓如夜，力透纸背，威猛之态，神采奕奕。观其笔端，似见猛兽之怒，风云变幻，然内蕴一股睿智沉静，生命之力，悠远深邃。
赵氏书画交融，翰墨互生。其书法之势，寓于山川层峦之际;其绘画之神，溢于笔锋转折之中。书中见画，画中含书，二者相得益彰，神采焕然。此非偶然，乃修学之深，思虑之远，故能水到渠成，臻乎化境。
昔贤云：“丹青之道，妙在神遇而不可以貌求。”赵氏之作，精研古法，兼具新机，既得山川自然之奥妙，又得心源灵府之真趣。其笔墨挥洒之间，天机流露，神韵自生。爰斯艺林翘楚，诚堪翘首仰止。
Zhao Ke: Mastering Calligraphy and Painting, Capturing the Spirit of Mountains and Clouds
The fertile land of the Heluo region nurtures talent, and among them stands the artist Zhao Ke. Born in Zhongzhou, he embodies the essence of nature and the spirit of mountains and rivers. Mastering both the "Eight Methods" of calligraphy and the "Six Essentials" of painting, he seamlessly blends ink and brush. When he wields the brush, dragons and serpents seem to dance; when he splashes ink, clouds and mist fill the paper. Truly, his calligraphy contains painting, and his painting holds the essence of calligraphy.
Observing his cursive script, one finds it as natural as the weaving of celestial looms, moving with its own rhythm. His strokes begin like a lone crane soaring into the sky and conclude like weary clouds returning to the mountain peaks. Dots and strokes resemble scattered stars and a bright moon, while his turns and curves resemble cascading waves and crumbling clouds. Sometimes, his strokes are swift like a sudden storm sweeping the ground, where the ink is still wet yet the energy already dominates the scene; other times, they flow slowly, like an old monk mending a robe, the brushwork seemingly hidden yet powerful enough to support great weight. Most remarkable is his perfect balance of strength and grace—his iron strokes and silver hooks conceal elegance, while his fine lines and floating threads emanate a warrior’s spirit. Just as Zhang Bo’gao gained insight into cursive script from observing swordplay, Zhao Ke derives his calligraphic philosophy from the natural world, capturing the essence of flowing clouds and drifting water.
His seal script carries the ancient charm of the Shang and Zhou dynasties, resembling auspicious turtle shells and the solemnity of bronze inscriptions. The structure is as gnarled as an ancient cypress twisting in the void, and the brushwork clings to the paper like old vines wrapping around stone. Where angular and rounded forms coexist, one sees the dignity of jade and ritual vessels; where thick and thin lines intertwine, the resonance of chisels and hammers can almost be heard. In his studies of "worm script" and "bird traces," he delves deeply into the mysteries of oracle bone and bronze inscriptions, transforming the chiseled marks of knives and axes into the elegance of ink and brush. Thus, his work exudes both solemnity and liveliness, simplicity and refinement.
In clerical script, Zhao Ke follows the tradition of Han dynasty steles, fusing the solemnity of ritual vessels with the openness of the Stone Gate inscriptions. His horizontal strokes stretch like an endless array of clouds, while his verticals stand like lone peaks piercing the sky. His wave-like strokes undulate like swallow tails slicing through waves, and his flicks and presses resemble oars gracefully parting the water. His grand clerical scrolls display silkworm-head strokes filled with majesty and wild-goose tails poised for flight, embodying the momentum of "iron chains spanning a river" and the grace of "golden ropes crossing a gorge." This mastery of clerical script not only retains the strength of Han steles but also incorporates the charm of bamboo slips and silk manuscripts, achieving a fusion of antiquity and freshness, rigor and elegance.
Zhao Ke’s calligraphy excels in three major styles—cursive, seal, and clerical—each demonstrating its own strength. His brushwork flows with an enduring rhythm, his energy soaring like a rainbow. By integrating these styles, he transcends convention, achieving grandeur and diversity. Through his ink and strokes, the spirit of the ancient masters is vividly present; he both honors tradition and pioneers new frontiers.
In painting, Zhao Ke is especially adept at landscapes, capturing the majesty of rivers and seas as well as the depth and serenity of hills and valleys. His landscapes are sometimes shrouded in mist, creating an ethereal vastness; sometimes filled with the roaring of pine waves, their trunks standing firm and towering. Distant mountains appear like dark jade, while foreground rocks are rugged and sharp. Streams flow clear and winding, meandering through the scenery. His mastery goes beyond mere representation—each brushstroke carries deep meaning. A lone pine atop a peak stands tall and unwavering, embodying the noble character of a gentleman; the rushing current of a river mirrors the ever-changing tides of fate. At times, light mist envelops the greenery; at others, bold strokes depict towering cliffs. With ink, he conjures seas of clouds; with his brush, he carves out precipitous ridges, evoking the dynamic transformations of mist and vapor. His work does not merely depict nature—it is an expression of his inner spirit.
Zhao Ke expertly manipulates ink in various forms—rich or light, wet or dry—balancing black and white with a refined sense of layering. He builds up mountains with layered ink washes to convey their towering presence; he uses fine dotting techniques on waterfalls and streams to bring out their lively movement. His rustic bridges and solitary fishermen, his thatched cottages and quiet retreats—all exude a tranquil elegance. The human figures in his works, though rendered with a few simple strokes, capture spirit and motion, achieving a harmonious interplay of stillness and dynamism. Though his compositions appear serene, their artistic realm is vast and expansive, filled with drifting mists and endless fascination.
Zhao Ke’s painting technique inherits the legacy of the Six Dynasties, absorbs the essence of the Song and Yuan schools, and incorporates modern innovations. His brushwork neither clings rigidly to old conventions nor deviates from traditional aesthetics. In his mountain contours, one senses the grandeur of the Northern School; in his textured shading of forests and valleys, he imbues the refined charm of the Southern School. Sometimes, his hues are delicate and fresh like Tang dynasty color paintings; other times, his ink work is bold and rugged like Song dynasty landscapes. Every stroke is spontaneous yet disciplined, and within his compositions, the spirit of mountains and rivers emerges vividly—a testament to extraordinary skill.
His depictions of flora and fauna are equally remarkable, capturing both form and spirit. Birds soar freely in the sky, their feathers shimmering with life; trees and flowers flourish in the valleys, their blooms unfolding in seclusion. His birds, whether calling into the wind or spreading their wings in flight, appear weightless and full of vitality. His plants, whether swaying in the breeze or casting delicate shadows, are rendered with elegance and an abundance of expression. Zhao Ke paints tigers with a forceful presence—his dark ink forming nocturnal hues, his strokes penetrating the paper with sheer power. His tigers exude fierce intensity, their piercing eyes hinting at both dominance and wisdom, embodying a deep and far-reaching vitality.
Zhao Ke seamlessly integrates calligraphy and painting, allowing ink and brush to complement one another. The force of his calligraphy flows through his landscapes, while the spirit of his paintings manifests in his brushwork. His art bridges these two disciplines, each enhancing the other, radiating brilliance. This fusion is no accident—it is the result of profound study and deep contemplation, a mastery that has naturally reached its peak.
As the ancients said, "The essence of painting lies in divine resonance, not mere imitation of form." Zhao Ke’s works, deeply rooted inical techniques while embracing innovation, capture both the mysteries of nature and the depths of the artist’s soul. His ink flows effortlessly, revealing celestial insight and innate charm. As a distinguished figure in the artistic world, he is truly worthy of admiration.
责任编辑：苗君
