2012年3月7日，我走进画室，在士辉的作品中追寻，弟弟的作品中，几块捆着的画框被打开，忽然，被一幅边缘浓厚的色彩所沉淀的质感所吸住，我细细地将二幅画布展示开，屏住呼吸，视觉与心凝固在画面上，在这个阴雨连绵的天气，我看到了光，充满的阳光，在这种被抓吸的良久，我随着画面而进入这个空间，人物的动作，不仅仅是以表情化的形象和笔触来呈现出人物的性格。寂静的空间却映射出外部盎然的世界。似乎正在打开的门与探试的浓郁而厚重人物形象，形成了一个“正在”的空间，在绘画关注形象的表达上，表情成为一种特定习惯性的阐述，在这里，另一种肖像的表达方式似乎被开启，人物的动作，不是以表情一般常态来进行表达，我们从画面上看到的几乎是一个完整的头与背部。这在肖像作为主体的艺术家的表达上几乎是不可能的与不被理喻的。直到二十世纪这种肖像的表达，才体现在部分画家的肖像画中，即使是这样，肖像画所特有的静态描绘仍被现在一种“犹在”搅动。急剧而凝重的手与头部形成了一种空间在时间中的发生，而造型却是依然体现出传统肖像造型的端正与典雅。缺失的传统五官刻画，恰恰成为一种去表情化的造型艺术本体的存在。在人物的发质表现上，区别于表面的模彷与渲滞，体现在这种造型的存在性。但是，这种造型的形态却被集中在正踱步的左脚所牵动，前脚的平稳而自信，后却正刚刚迈起。形成了正在发生的一幅动态肖像，仍呈现出金字塔般的传统绘画构图美学。问题在于，这幅作品并不是单一表现“正在”的一种图像式的作品，我们感到一种“犹在”的发生，阳光似乎刚刚照耀过地上;门似乎已经正在打开或正被虚掩，即使似乎正迈向户外的前脚，我们仍不知是否正在收回。光的“犹在”造成了人物的前后空间同时形成了开启的共同照耀，头发的光感与手下方的衣服光感几乎共同迸发。在这里，来自遥远的神圣之光，物本身的光亮和画家的“心灵之光”形成了光的厚重与凝静，热情而饱满，肖像正成为内部与外部世界打开与迎接的生命写照。

　　当我们的目光接近这幅肖像作品的最基本材料，质感，这种质感的油彩在时间上的重叠，形成了时间的厚度，肌里并不单单是一种材质，更是材料的显现，关于“材料”一词，在拉丁语中的词义，它包含了“大地”“母亲”的含义。正是这种朴素无华，厚重而丰富的材料质感，由画家坚信而肯定的笔触，形成了作品的不凡气质。如同生命的本质。在时间与空间流变中恒定。“犹在”不仅仅作为一种记忆和纪念的关联，因为它时时刻刻照亮和索引我们“存在”与“正在”的心灵。

　　“犹在”，我眼前总是浮现出，他凭以生命的毅力，伏笔作画的身影。创作了一幅幅感人的作品，是多么值得艺术尊重的人。

　　“犹在”，我耳边经常回响着士辉常对我说的一句话：“哥，我挺好的!”我相信并祝福他永远快乐，幸福。

　　“犹在”，我的兄弟!

　　2012年4月11日于五云山居

　　In March 7th, 2012, I walked into the studio and searched for the works of Shihui. Among all the works of my brother, I opened several pieces of picture frame which were bound together. Suddenly, I was attracted by a sense of texture precipitated from peripheral dense colors. With breath held, I unfolded two pieces of painting cloth carefully and concentrated my vision and heart on the painting. In such a cloudy and drizzly weather, I saw light and rich sunshine. With a long-time attraction, I entered this space along with the painting, and I found that the nature of character was presented from action besides expressive image and drawing style. An exuberant outer world was projected from this silent space. It seemed that the door being opened and the important character that was tentative and impressive formed an “existing” space. As for the expression of painting focused image, facial expression became a specified and habitual representation, and another way of expressing portrait seemed opened here. The actions of character were not presented by common facial expression, and we saw an almost complete head and back from the painting, which was nearly impossible and unreasonable in terms of the fact that portrait was the expression way of most artists. It was not until the 20th century that such portrait expression was reflected in the portrait painting of some painters. Even in this case, static drawing which was peculiar to a portrait painting was still disturbed by somewhat “Ringinging” in modern times. Sharp and dignified hands and head formed a sense of decorousness and elegance with space happens in time while shape still presenting traditional portrait. The lack of traditional presentation of face became an existence of facially expressive plastic arts. Different from an imitation and coloring in terms of the presentation of hair, it was embodied in the existence of the shape. However, the form of the shape was linked to the pacing left foot, the front foot stepped steadily and confidently, while the back foot was just about to step upwards. A dynamic portrait that was happening was formed while a pyramid of traditional painting composition aesthetics was presented. The problem was that this work was not an image-type work only presenting “existing”, we felt the happening of an “existing” and it seemed that the sunshine shone the ground just now; the door seemed being opened or unlocked, and we still have no idea whether the front foot walking outwards is being retracted. The “existing” of light formed the former and back spaces of character while formed an opened shining at the same moment. The brightness of hair and clothes below hands broke out almost at the same time. In this place, the remote holy light, the light of objects and “the light of painter's heart” formed the dignity, stillness, passion and fullness of light, the portrait was becoming the life description for the openness and acceptance of interior and exterior worlds.

　　  When our eyes were approaching the most basic material and texture of this portrait painting, the time superposition of grease paint with this texture formed a thickness of time. The texture was a presentation of materials in addition to quality. As for the word “material”, it means “earth” and “mother” in Latin. Just with such a kind of plainness, heavy and rich material texture, as well as the firm and affirmative drawing of painter, a remarkable quality was formed in this work. Just like the nature of life, which became constant during the transformation of time and space. “Ringing” is more than a connection between memory and memoriam, just because it always light up and direct our “still” and “existing” heart.

　　“Ringing”, his image drawing with will power of life always comes to my mind. He is such a person worth wining art respect with creation of all these moving works.

　　“Ringing”, some words that always told by Shihui frequently echoes around my ears: “brother, I am fine”. I believe that and wish him always happy.

　　“Ringing”, my brother!

　　April 11th, 2012 in Wuyun Mountain Residence