萧希， 萧立聲 “佛像图”： 纸本 设色 镜心： 尺寸：55.5x90.5cm/ 42.5x80cm。 钤印：萧 (红款） 款识：立聲。 拍品来源：北美书画收藏家 旧藏品，真迹。 注释：人物画家萧立声（1919-1983），广东潮安人，自幼随其父习书画，曾为香港中文大学艺术系教授。其父善行书、墨梅，他则喜作人物画。萧立声对罗汉画的兴趣尤为浓厚，并以罗汉画独步画坛，山水画和行书也独树一帜。 　　萧立声1948年定居香港后，开始从事美术教育工作；1962年起任教于新亚书院艺术系及校外课程部国画班；1964年出任香港中文大学校外进修部国画班导师，培育艺术人才，桃李满门，弟子丁志仁、杜菊生、何才安、徐嘉炀、陈法兴、项永昌，皆活跃于当今香港艺坛。 　　萧立声水墨画创作恪守传统，追慕古风。他认为，中国传统绘画注重笔墨，笔墨纯熟老练便能挥洒自如、淋漓尽致；但他也力求创新与变化，力争达到绘画的更高妙境。他的画风深受唐代阎立本、五代贯休和石恪、宋代梁楷、明代陈老莲等名家的影响，而对其影响最大的是梁楷。由此也可见，其对传承中国文化的热忱与坚守。 　　萧立声于上世纪50年代开始绘罗汉画。其笔下的罗汉风格贯彻、一佛多变，形态神情千变万化。其作《佛光普照图》中的罗汉手捧佛塔、眼神内敛，凸显佛家空灵境界；《行脚僧》中的人物流露出一种特立独行的傲骨，与常见的祥和法相异，别具异趣。 　　萧立声自上世纪70年代以后开始绘画神佛，如观音、无量寿佛、刘海戏蟾等，人物形象同样神态生动，与罗汉画同出一辙。他不会刻意经营、精雕细琢，只是寥寥数笔、率性而就。他以淋漓的墨色表现人物的衣冠和容貌，勾勒形神兼备的人物，蔚成大气。饶宗颐在《萧立声回顾展》一书序中曾 这样描述：“萧立声擅写佛像，以篆势入画，间用大泼墨，当其下笔如风雨骤至，顷刻成巨构，见者叹异”。--------------------------------------------------------- Xiao xi, xiao lisheng "figure of Buddha" : colored mirror center on paper: size: 55.5x90.5cm/ 42.5x80cm. Seal: xiao (red) seal: sound. Source: north American painting and calligraphy collectors old collection, original. Notes: portrait painter xiao lisheng (1919-1983), born in chao 'an, guangdong province, studied calligraphy and painting with his father since childhood. His father good book, mo mei, he is fond of painting figures. Xiao lisheng's interest in arhat painting is particularly strong, and with arhat painting, landscape painting and calligraphy are also unique. After settling in Hong Kong in 1948, he began to work in art education. Since 1962, he has been teaching traditional Chinese painting in the department of arts and external programmes of new Asia college. In 1964, he was appointed as the tutor of the Chinese painting class in the external repair department of the Chinese university of Hong Kong, cultivating artistic talents. Xiao lisheng abides by tradition and admires the ancient style. In his opinion, traditional Chinese painting pays attention to the brush and ink. But he also strive for innovation and change, and strive to reach the higher beauty of painting. His style of painting was greatly influenced by yan liben of the tang dynasty, guan xiu and shi ke of the five dynasties, liang kai of the song dynasty, Chen laolian of the Ming dynasty, etc. This also can be seen, its to inherit the enthusiasm of Chinese culture and adhere to. Xiao lisheng began painting arhats in the 1950s. The arhat style in his pen is carried out, the Buddha is changeable, and the shape and expression are ever-changing. In the Buddha light photo, arhat holds the pagoda and looks inward, highlighting the ethereal realm of Buddhism. The characters in the walking monk show a kind of unique pride, which is different from the common peaceful law. Since the 1970s, xiao lisheng began to paint the Buddha, such as avalokitesvara, wuguangshou Buddha, liu hai chan and so on. He will not deliberately manage, elaborate, just a few pen, frank and. He expressed the clothes and appearance of the characters with dripping ink color, and drew the outline of the characters with both form and spirit. Rao zongyi once described in the preface of xiao lisheng retrospective as follows: "xiao lisheng was good at writing Buddha statues. He entered his paintings with the gesture of a seal and splashed ink between them.