序:石鲁的警世之作都出自精神病发作的时期,《孔子鲁班之宏台》就是典范。这一融会中外古今的神来之笔,任意调度正草隶篆,自由粘贴史实与臆想,将一腔愤懑刻画在藏头露尾的字画之中。这幅画作于“破除旧思想、旧文化、旧风俗、旧习惯”的疯狂时期和迫害文艺家最严酷的年代,不能不说是一个奇迹。它虽然是一帧小画,却比当时画坛徒有其表的一堆大画加起来更有分量。它不仅见证了石鲁生前身后大起大落的世俗遭遇,更见证了文明进程中的愚昧与良知。它值得投身和关注艺术的人们永远铭记和反思。然而作品公示以后的20年来,或许由于画面题字难以识读,美术界竟然始终对它漠然置之。 Preface: Shi Lu’s poetic masterpiece comes from the period of mental illness, “Confucius Luban’s Hongtai” is a model. This blend of ancient and modern from all over the world is a divine intervention, arbitrarily scheduling the grass is Zhizhu, free to paste the historical facts and imaginary, will be an indignant depict in the head and tail of the paintings. It is a miracle that the painting was made in the craziness of “breaking old ideas, old cultures, old customs and old habits” and the harsh era of persecuting artists and artists. Although it is a small picture, it is more weighty than a large pile of paintings that were unique in painting circles. It not only witnessed the ups and downs of Shi Lu’s life before the secular encounter, but also witnessed the process of civilization, ignorance and conscience. It is worth remembering and reflecting on people who are willing to devote themselves to and concerned with the arts. However, in the 20 years since the publication of the work, the art world has always been indifferent to it because of the difficulty of reading inscriptions on the screen.