侄女Real，见字如面。
就从你为五爸剪接的《怪叔叔》短片里，下面这幅图像，展开这篇文章的开头吧。当短片里闪现出这张照片时，我心里一震，我都不记得这照片拍摄时的场景了。但图像上的建筑信息，明确无误的使我知道，这是我求学时的艺术教学楼。青春面孔的我，抱着还是幼年的你，图像的力量穿越时空，一同复活了那一刻被定格的静止时间，时间涟漪扩散开来，泛起模糊记忆时光波浪，激活我回味着大学青葱时光，因被图像存证的惊喜。
My dear niece Real, it feels like we're meeting in person.
Let's begin this article with this image from the short film "The Weird Uncle" that you edited for Fifth Uncle. When this photo flashed in the film, I was startled. I couldn't even remember the scene when it was taken. But the architectural information in the image clearly told me that it was the art school building where I studied. A young me, holding you, still a child—the power of the image transcends time, reviving that frozen moment. Ripples of time spread out, stirring up hazy memories, activating my joy at the joy of my youthful university days, preserved by this image.
同时，也因这幅照片传递的信息，使我想起，在家族相册里，同样有一幅在老家房屋楼顶，五爸抱着不满周岁侄女的照片，这应该是你第一次到老家的影像证明，从我充满笑容的脸上，不难读出，我们的家族因晚辈长女的到来，是满怀欣喜的。我再多剧透一点哈，你的阿爷，一直心念念期冀家族里添个女孩，来调和一下家族中男丁众多的状况，你恰好如青白月光一样倾泻进这家族里，我们是有大欢喜的。
At the same time, the message conveyed by this photo reminded me of a similar picture in the family album, taken on the rooftop of our old house, where my fifth uncle is holding my niece who is less than a year old. This should be the visual proof of your first visit to our hometown. From my smiling face, it's easy to see that our family is overjoyed by the arrival of our eldest daughter. Let me spoil a little more: your grandfather has always hoped for a girl to join the family, to balance the large number of men. You have arrived like a ray of pure white moonlight, bringing us immense joy.
因摄影图片留存的信息，使人类试着解释世界，不管是正解或误读，都宛若人类头顶洒下的一道光，在光影里，在头脑中，似乎有了可以复活时间的凭证。正如哲学家阿甘本在《渎神》一书里，对人类摄影史上，第一幅银盐照片的剖析，令我印象深刻，我反复阅读多遍，似乎不得要领。人类第一幅照片是由路易.达盖尔（Louis Daguerre）于1838年拍摄的巴黎繁华的圣殿大道。
Because photographic images preserve information, they allow humanity to attempt to interpret the world. Whether the interpretation is correct or misinterpretation, it's like a ray of light shining down upon us, providing evidence in the light and shadow, in our minds, that allows us to resurrect time. As philosopher Agamben's analysis of the first silver gelatin print in the history of photography in his book *Blasphemy* has deeply impressed me; I've read it repeatedly, yet I still seem unable to grasp its essence. The first silver gelatin print was taken by Louis Daguerre in 1838, depicting the bustling Boulevard de la Temple in Paris.
路易.达盖尔（Louis Daguerre）1838 圣殿大道
Louis Daguerre, 1838, Boulevard de la Temple
在这幅作品里，阿甘本认为，这不仅仅是摄影技术的里程碑，更是一场“末日审判”的隐喻。
因当时的银盐感光技术需要长达数分钟（约10分钟）的曝光时间，在这段时间里，繁华大街上，处于移动中的马车和行人没有被抓取到，在底片上没有留下任何痕迹，整条大街空空荡荡，宛若鬼城。画面上，唯一留存的是，左下角一个人因停下来，擦皮鞋这个相对静止的状态，而被镜头捕捉到了。
阿甘本认为，这正是“末日审判”的微缩模型，在那个决定性的时刻，众生皆因匆忙和流动而遁入虚无，擦鞋匠与被擦鞋的人，偶然处于相对静止，被拣选和纪录了，从而进入了人类摄影史的永恒。
阿甘本指出，这幅照片揭示了影像的一种诡论：它捕捉到了最真实的事实，却呈现出了最荒诞的景观。
我不认同阿甘本对这幅银制照片的论述，影像既不是对现实的复刻，也不是对现实的清算，和审判更无多大关系。而是人类文明到了当时的一个绝妙的时间节点，那是法界（上帝）抛掷过来的，通过最早的摄影术基质，一种交换和互摄（无名的擦鞋匠与被擦鞋的人的影像显现，只能留存这么丁点信息，已经足够了，使人类逐步解放，对摄影技术的改进和摄影事物的认知。），馈赠给人类视觉，可解读的物质性影像文本（扩展人类文明的认知边界），点拔人类需信仰，独属于法界的、永恒的“静止与存在”的觉悟，那即是神性的美意。
In this work, Agamben argues that it is not merely a milestone in photographic technology, but also a metaphor for a "Judgment Day."
Because the silver halide technology of the time required exposure times of several minutes (approximately 10 minutes), the moving carriages and pedestrians on the bustling street were not captured during this time, leaving no trace on the film; the entire street was empty, like a ghost town. The only thing preserved in the image is a person in the lower left corner, stopped to polish shoes—a relatively still state captured by the lens.
Agambben believes this is a miniature model of the "Judgment Day," in which, at that decisive moment, all beings, in their haste and movement, vanish into nothingness. The shoeshine man and the person having their shoes polished, by chance, are in a relatively still state, chosen and recorded, thus entering the eternity of human photographic history.
Agambben points out that this photograph reveals a paradox of imagery: it captures the most authentic facts, yet presents the most absurd landscape.
I disagree with Agamben's interpretation of this silver-plated photograph. The image is neither a replica of reality nor a reckoning of it, and has little to do with judgment. Rather, it represents a pivotal moment in human civilization, a gift from the divine realm (God). Through the earliest medium of photography, a process of exchange and mutual capture (the images of the nameless shoeshine man and his shoeshine man, leaving only a small amount of information, were sufficient to gradually liberate humanity, leading to improvements in photographic technology and the understanding of photographic subjects), it bestowed upon humanity a visually interpretable, material image text (expanding the boundaries of human cognition), and enlightening humanity to the need for faith, to the unique, eternal "stillness and existence" belonging solely to the divine realm—that is the divine's benevolent intention.
文字一下扯得有些远了，但我却不这么认为，因为这和侄女你的选择，你已经在从事的摄影道路相关，所以，我是以一个艺术同行，与你来共同探讨这方面的事物。你知道吗？在你读幼儿园的一个下午，我来接你（应该是唯一的一次吧），看你迈着小步，向我走来，午后温暖的阳光包裹着你，我望着你，想到你的名字中带有一个“艺”字，就想到，你可能与艺术有不解之缘。果不其然，这是命里带的，你正在从事的职业已诠释了这一切。
尽管我从没指望、引导这些，因为在你的童年、学生成长、走向社会时期，你的五爸是没有在场的，但多次从亲人的口中得知，你从小就成绩优异，读书时期可以说是顺风顺水，并且在一所重点大学以研究生毕业，我的心里是欣慰的。
直到几年前，你辞去在北京的一家大企业的“牛马生涯”的那一刻，决定成为一名独立的摄影师后，我是替你捏一把汗的。同时，对你的这次非同寻常的决绝，心里是暗自佩服。
自由与独立，只能是那些真正有梦想的人敢去实践的。所有的选择都是有代价的，这世间，没有既要，又要的事物。重要的是，正是你的无惧与勇气，打开了真正属于你的“Real” 空间。在这时期，我依然是默默注视你的长辈。
The conversation has strayed a bit, but I don't see it that way. This is related to your choice, my niece, and your path in photography. Therefore, I'm here as a fellow artist to discuss this with you. You know, one afternoon when you were in kindergarten, I picked you up (probably the only time). Watching you take your little steps towards me, enveloped in the warm afternoon sun, I looked at you and, remembering the character "艺" (art) in your name, I thought you might have an inextricable connection to art. And indeed, it seems destined; your current profession exemplifies it all.
Although I never expected or guided you in this, because your fifth uncle wasn't present during your childhood, your school years, and your entry into the workforce, I repeatedly heard from relatives that you had excellent grades from a young age, your school years were smooth sailing, and you graduated with a master's degree from a prestigious university. This filled me with pride.
Until a few years ago, when you resigned from your grueling job at a large company in Beijing to become an independent photographer, I was filled with anxiety for you. At the same time, I secretly admire your extraordinary decisiveness in this situation.
Freedom and independence are only for those who truly have dreams. Every choice comes with a price; in this world, you can't have everything. The important thing is that it is your fearlessness and courage that have opened up your truly unique "Real" space. During this time, I remain a respected elder who silently observes you.
Real 摄影作品 Photographic works
一切都在悄无声息的发生着，在人与人，人与万物命运秩序的安排里，总有那么一些神奇的时刻，注定的事就会发生。那就是，五爸已决定离开四川，去往云南的前一天，你和亲友来到了我的画室，想想，我们已有十多年没见面了，看着你们亲眼目睹我创作的作品，这些作品道出了我追求的一切。
特别是当你写出了有关五爸的“他从树上走来”这篇文章后，你发给我后，在你我语音交流里，我激动的有点语无伦次了，感谢你对我入木三分的解读和心灵层面的理解。“在我的生命里，只有三位女性，真正理解过我，毫无疑问，我阿妈是一位，侄女也是一位……”我惊叹于侄女驾驭文字能力的才华，随性且纯净，句子简练，段落转承间有着音乐曲调般的优美。
哈！可能你写的是有关五爸的经历，难道我不应该，把读到你文字的美美惬意感告诉大家么？你的这段文字，我反复思考了多遍：“一个人，有两种方式，在他人的生命中留下痕迹，要么通过绵长的相处，日夜浸染，避之不及；要么，浓墨重彩地出场，即便上台的次数有限，照样力透纸背）五爸之于我，就是第二种。”
你五爸何德何能？一面感慨，能给侄女某些积极的影响而高兴，另一面却有不安，任何人都无需神化，真实就好，把追求的创作作品，靠近神性才是紧要的事。你的这篇文章的出现，五爸充满感激，至少在亲友层面，搬正了五爸的“形象”，能使他们从另一个角度，思考一下，一个“离经叛道”者的选择，自有内在逻辑的，但我也从不指望他们理解我。你我一旦认定了，自己追寻的纯粹的事物，舍弃其它是必然选择。
“侄女，当你要靠摄影养活自己，并且在摄影上有所建树。”确立理想这一刻时起，据我有限的，从当代艺术圈，从事摄影的艺术家的了解和观察来看，这都是一项巨大的挑战，他们（极少数）都经历了漫长而卓绝的摸索努力，才有所成就。你摄影事业刚起步时，我是有担心，随着你对摄影的理解和解决生存之道的探索，已经慢慢步入正轨，渐入佳境了。
先从你执行的摄影生活方式来看，就是借助互联网社交平台这便捷的工具，约拍的方式来达成，这是一条行之有效的方法。我发现，真正通过你这样的方法，去探寻摄影之路的人也是很少的，很多人都挂靠在各个机构里。你可能已经在不经意中创造了摄影之路一种可能性，那就是与被拍摄者之间，创造了一种深度的精神沟通。拍摄事前的文字交流，拍摄时间的安排，见面交流后（彼此沟通日常生活的点滴）这些都会激发你创作灵感的升起，拍摄后期，图文并茂的制作等等，事无巨细，你做得井井有条。
我记得，五爸当着你的面说过，“你从事的摄影事业，也是一种菩萨行的微光。在拍摄期间，彼此在心灵层面的交流，影像效果图文呈现后，很多人，会激励自己活出精彩或走出过去潜在的阴影，彼此治愈，也使你了知到个体被社会异化，渴望被看见尊重和认可的诸多可能性，这就是人性之光芒，这些都不是小事，对互相皆是功德无量的事。”
Everything was happening quietly. In the orderly arrangement of fate between people and between people and all things, there are always some magical moments when the destined things happen. That was the day before Fifth Uncle decided to leave Sichuan for Yunnan. You and your relatives came to my studio. Thinking about it, it had been over ten years since we last met. Seeing you witness my artwork firsthand, these works expressed everything I pursued.
Especially after you wrote the article about Fifth Uncle, "He Came from the Trees," and sent it to me, during our voice conversation, I was so excited I was almost incoherent. Thank you for your insightful interpretation and understanding of my inner world. "In my life, only three women have truly understood me. Without a doubt, my mother is one, and my niece is another..." I marvel at my niece's talent for wielding words—free and pure, concise sentences, and the beautiful transitions between paragraphs, like a musical melody.
Ha! Perhaps you wrote about Fifth Uncle's experiences. Shouldn't I share the beautiful and pleasant feeling I had while reading your words with everyone? I've pondered your words many times: "A person leaves a mark on another's life in two ways: either through long-term interaction, immersing themselves day and night, leaving an indelible impression; or by making a grand entrance, even if their appearances are limited, their impact still resonates. For me, Fifth Uncle is the second."
What merits has Fifth Uncle possessed? On one hand, I'm grateful to have had some positive influence on my niece, but on the other hand, I feel uneasy. No one needs to be deified; authenticity is enough. The important thing is to strive for a creative work that approaches divinity. Fifth Uncle is deeply grateful for your article; at least among relatives and friends, it has corrected Fifth Uncle's "image," allowing them to consider from another perspective that the choices of a "rebel" have their own internal logic. However, I never expect them to understand me. Once you and I have decided on the pure things we pursue, abandoning everything else is an inevitable choice.
The story behind your article isn't over yet. One evening, while I was idly scrolling through WeChat, several notifications popped up from WeChat official accounts. I didn't pay much attention at first, but their repeated appearances piqued my curiosity. I clicked on them and found they were from my followers. Soon after, the number of followers increased significantly. I initially thought it was just WeChat's official spamming, wondering why they would do this when I'm not some big shot. As more readers followed, it felt like a flood, and they messaged me privately, asking, "Fifth Uncle, why did you come down from the tree? Fifth Uncle, you've really put me through this..."
I was completely baffled and couldn't answer their questions. Then, the number of people adding me on WeChat also increased significantly, asking almost the same questions. I didn't know what to do. It wasn't until the next day that I learned my niece's article, "He Came Down from the Tree," had been selected as an essay topic for the graduation exam of tens of thousands of students in a certain district of Beijing. The fact that my niece's article was chosen as an exam topic was a result of your diligent writing. Several of your articles have been published in magazines, and I, your fifth uncle, feel a surge of pride. I never imagined that these students would find us through your articles. In just a few days, I've had the honor of "accepting" three or four hundred children who call me "Fifth Uncle." Thinking about it makes me feel incredibly happy.
I follow the information of these students I've connected with. They've all entered university, and everyone is very diligent, a far cry from the "involution and complacency" narrative about contemporary university students that's often spread online. I want to thank my niece; it was your articles that connected me with them, opening a window and allowing me to see a glimpse into the lives of contemporary university students.
"Niece, when you decide to support yourself through photography and achieve something in it," from the moment you set that goal, based on my limited understanding and observation of contemporary art circles and photographers, it's been an enormous challenge. They (a very small minority) have all undergone a long and arduous process of exploration and effort before achieving anything. When your photography career was just starting out, I had some concerns. However, as your understanding of photography deepened and you explored ways to make a living from it, it gradually got on the right track and improved significantly.
Looking at your chosen lifestyle of photography—utilizing the convenience of internet social platforms and using appointment-based shooting—is an effective method. I've noticed that very few people truly explore their photographic path using your method; many are affiliated with various institutions. You may have inadvertently created a possibility for your photographic journey: a deep spiritual connection with your subjects. The pre-shoot written communication, scheduling, and post-shoot discussions (sharing snippets of daily life) all inspire your creative ideas. Post-production, including the creation of richly illustrated images, is meticulously handled.
I remember your fifth uncle saying to your face, "The photography career you are engaged in is also a kind of glimmer of Bodhisattva practice. During the shooting process, the spiritual communication between each other, and the presentation of the images and text, will inspire many people to live a wonderful life or get out of the potential shadows of the past. They heal each other and also make you realize the many possibilities of individuals being alienated by society and longing to be seen, respected and recognized. This is the light of humanity. These are not trivial matters. They are all immeasurable merits for each other."
Real 摄影作品 Photographic works
自摄影术发明以来，影像风格万千。我想举两个案列，与你探讨摄影的诸多可能性。一个是克里斯.马克的《堤》这部影片，这是一部令人绝望，深感不安的影片。整部影片由一帧帧黑白照片切换，配有极少的文字提示词，足足有28分钟时长。我惊叹于摄影师脑洞大开，用静止的照片达成极其深邃的切入点，给予观者巨大的视觉冲击力和叙述故事的幽深能力。
促使观者脑补故事情节，提高观者思考维度，有时静止的画面照片，远比动态的影像更能说明问题，更加深刻。此刻，照片本有的单幅图像信息，貌似已经渐隐，慢慢与其他帧图片，汇聚成一条影像叙事的河流，我们的观看经验被冲击了，已悄然发生了改变，被提升至一种哲学的、神圣的高度。
Since the invention of photography, countless photographic styles have emerged. I'd like to cite two examples to explore the many possibilities of photography. One is Chris Marker's film *The Levee*, a film that evokes despair and deep unease. The entire film, a full 28 minutes long, consists of frames of black and white photographs, accompanied by minimal textual narration. I marvel at the photographer's boundless imagination, using still photographs to achieve an extremely profound entry point, giving the viewer a tremendous visual impact and a deep narrative ability.
It prompts the viewer to fill in the gaps in their understanding, elevating their thinking. Sometimes, a still photograph can be far more telling and profound than moving images. At this moment, the individual image information of the photograph seems to fade, slowly merging with other frames to form a river of visual narrative. Our viewing experience is impacted, subtly altered, and elevated to a philosophical and sacred level.
Chris Marker, *The Embankment*克里斯.马克 《堤》
第二个案例，是德国“照片绘画”（Photo-paintings）大师，里希特的这幅《摩托艇》绘画，因我在德累斯顿，观看过这幅原作，带给我长久震撼。单从绘画技巧上看，我至今都没明晰，里希特究竟掌握了何种独门秘籍，能把摄影照片与绘画结合得如此登峰造极。
有评论如此说： 里希特将原始照片投影到画布上，用油画颜料精确描摹后，趁颜料未干时用软刷或刮刀进行模糊处理。我对此一说保持怀疑，只有在看到原作的精彩后，不得不感叹有如神助，远远不是如此简单的。国内众多照相写实主义，鹦鹉学舌之辈，只能用惨不忍睹来形容。当然，这也从侧面证明了，摄影术的出现，不光没有终结绘画，反而是加持了绘画。
The second case is the painting *Motorboat* by the German master of "photo-paintings," Johann Richter. Having seen the original in Dresden, I was deeply moved. Technically speaking, I still don't understand what unique secret Richter mastered to combine photography and painting so masterfully.
One commentator said: Richter projected the original photograph onto the canvas, meticulously traced it with oil paint, and then blurred it with a soft brush or palette knife while the paint was still wet. I remain skeptical of this explanation. Only after seeing the brilliance of the original can I truly appreciate its divine intervention; it's far more complex than that. Many domestic photorealists, mere parrots, produce works that can only be described as atrocious. Of course, this also proves that the advent of photography did not end painting; rather, it enhanced it.
里希特 《摩托艇》
Richter's "Motorboat"
因我对摄影作品有限的了解，在我脑中已存有，或者说看多了那些商业广告的夸张虚假、戏剧性冲突、怪异人士、底层人物、荒诞图景、少数族裔、异域风情、炫丽风光、猎奇审视、宏大叙事等等诸风格的印象感觉，甚至一度认为，中国摄影家似乎极爱关注“老少边穷”的题材。
Because of my limited understanding of photographic works, I have already formed an impression in my mind, or rather, I have seen too many of the exaggerated and false, dramatic conflicts, strange people, people from the lower class, absurd scenes, ethnic minorities, exotic customs, dazzling landscapes, curious observations, grand narratives and other styles of commercial advertisements. I even once thought that Chinese photographers seemed to love to focus on the subject of "old, young, remote and poor".
Real 摄影作品 Photographic works
但侄女Real，你的影像风格带给我一抹温情、静心之感。你对自然光的敏锐把握，投身于人与自然的连接，构图适当，中性温和的色调跃然其中，人物形态的松弛感，特别是对拍摄对象眼神的捕捉，少了镜头上常见的那种咄咄逼人之感。
我想，一种平等、民主多元的视角与你的摄影心性和主张已分不开了，你的影像风格已然建立，我在观看你的摄影作品后，常会自然的感受到画面上温暖、平和、松弛的美感，这些画面风格的呈现，应该是你在拍摄这些对象前，做足了功课有关，与拍摄对象适宜的相处，使他们保持平常自然的状态，都得益于你在摄影之内外的经验把控。
你正在为你同时代的人，如实的纪录，做影像存证，在这个浊世，把这份善良、美好留住在人世间。影像是具有时代存证功能的，譬如，我就比较喜欢八十年代的那些影像记录，他们的面孔是朴实而温情的，却不喜欢08年奥运前后，整个社会的狂热景象，在影像时间流里一览无遗。
But my niece Real, your photographic style brings me a sense of warmth and tranquility. Your keen grasp of natural light, your dedication to the connection between humanity and nature, your appropriate composition, the vibrant neutral tones, and the relaxed feel of your subjects, especially your capture of their eyes, all lack the intimidating intensity often found in photographs.
I believe that an equal, democratic, and pluralistic perspective is inseparable from your photographic spirit and principles. Your photographic style has been established. After viewing your work, I often naturally feel a warm, peaceful, and relaxed beauty in your images. This stylistic presentation is likely related to the thorough preparation you did before photographing your subjects, and your appropriate interaction with them, allowing them to remain in a natural state—all thanks to your experience and control both within and outside the realm of photography.
You are truthfully recording and preserving the lives of your contemporaries, preserving this kindness and beauty in this turbulent world. Images serve as evidence of a time. For example, I prefer the images from the 1980s, whose faces are simple and warm. However, I dislike the frenzied scenes of the entire society before and after the 2008 Olympics, which are clearly visible in the flow of images.
Real 摄影作品 Photographic works
中国应该有上亿台相机，但真正能拍好照片的人是不多的。就我身处的当代艺术圈来说，能拍好绘画作品照片的人都很少的，特别是在行为艺术圈，我就没撞见能拍好的摄影师。
我的真正意思是说，当下时代，看似人人都是摄影师，手机都在手的状态，但好照片极难出现，所以，就摄影这一块来说，都有极大的挖掘空间，要拍出较佳的照片，需要摄影师在其他方面，比如在摄影历史、文学、音乐等都有涉猎，好在我每一次发给你的像庄学本，吕楠以及国外摄影家等的影集及研究文章，和介绍认识摄影家王庆松等，以及几位近几年，诺贝尔文学奖作家的电子文本，你早已有学习、阅读和研究，是非常好的作为。
一个优秀的艺术家的出现，必然是各方面综合修为的结果。得知你在各方面充实自己，拍了不少偏重艺术性方面的照片，文章逐篇诞生，也在奋笔疾书写小说，兢兢业业剪接短视频，也在思考影像装置作品的创作，以及对拍摄对象五年期的持续跟拍计划，很棒的创意，你还帮着五爸与片山空卖陶艺作品，竟然失眠（不能这样）……
特别是你和你的母亲，去年来大理看我，你写的关于五爸的文章“他走向一颗有心脏的云”被《读者》杂志刊登等，你每取得一点成绩，我是欣喜的，作为你的同道，也在促使五爸更加精进，在艺术道路上，我们彼此鼓励，互勉。只是每次看到你北上南下，到各个城市去奔波，拍摄约拍的人，在光影漂流中为他人拍出好照片，这都是要付出极大心力、辛劳的事，我是心疼你的。侄女一定要照顾好身心，要好好的。
China likely has hundreds of millions of cameras, but the number of people who can truly take good photos is very small. In the contemporary art world I'm in, very few people can photograph paintings well, especially in the performance art scene; I haven't encountered a photographer who can do it well.
What I really mean is that in this day and age, it seems like everyone is a photographer, with phones in hand, but truly good photos are extremely rare. Therefore, there's a huge untapped potential in photography. To take excellent photos, photographers need to have knowledge in other areas, such as photographic history, literature, and music. Fortunately, the photo albums and research articles by photographers like Zhuang Xueben, Lü Nan, and international photographers that I send you, as well as introductions to photographers like Wang Qingsong and electronic texts by several recent Nobel laureates in literature, have already been studied, read, and researched by you—this is excellent.
The emergence of an outstanding artist is inevitably the result of comprehensive cultivation in various aspects. I'm delighted to learn that you've been enriching yourself in various ways, taking many artistic photographs, writing articles, diligently editing short videos, and contemplating creating video installations and a five-year ongoing project to photograph your subjects—all fantastic ideas! You've even been helping your fifth uncle and Katayama Sora sell their ceramics, and you've been suffering from insomnia (I shouldn't be like this)...
Especially since you and your mother visited me in Dali last year, and your article about your fifth uncle, "He Walks Towards a Cloud with a Heart," was published in *Reader's Digest* magazine, I'm happy for every achievement you make. As your fellow artist, I'm also encouraging your fifth uncle to improve. We encourage and support each other on our artistic journeys. However, seeing you traveling north and south to various cities, photographing people and capturing beautiful images for others amidst the changing light and shadow—all of this requires immense effort and hard work—it breaks my heart. My dear niece, please take good care of yourself, both physically and mentally.
Enjoying a drink with my niece Real under the shade of a walnut tree.
See, at my age, I often find myself unintentionally lecturing and playing the role of a teacher. I remind myself not to play that role. But I still want to tell my niece, "Pursuing art is a difficult thing. Perseverance is the only way. Give it your all, even unto death, and we will surely gain the deepest inner richness, giving back to society and making our journey through life worthwhile."
As I write this, I envision the future. On the path of artistic practice, let's establish a coordinate in our minds. I'll first place a small pebble labeled "Artistic Creation" on this coordinate. Then my niece will place another pebble. Every time we pass this coordinate, we'll place another pebble. With persistence and continuous practice, we'll naturally attract like-minded people to place pebbles. Over the years, this small pile of pebbles will gradually grow into a small hill, a "Mani pile." The moment the sunlight pierces through the clouds and the fog of the heart, the sunlight that falls will make the "Mani pile" of consciousness shine brightly, and the heart will be clear.
与侄女Real 在核桃树荫下小酌
Having a drink with my niece Real under the shade of a walnut tree
看，到五爸这个年纪，经常不经意的喜说教，好为人师，提醒自己别扮演这种角色。但，我依然要对侄女说，“从事艺术，是一件艰难的事，坚持是不二法门，全力以赴，生死相许，我们也必将获得最深沉的内在丰盈，回馈社会，也不枉来人间行走一场。”
行文到这里的时候，我在期冀，未来将会出现的图景。在艺术修行这条道路上，在心识上确立一个坐标，五爸先在这个坐标上，放一粒标注“艺术创造”的小石子，侄女再来放置一枚石子，我们每次途经这个心识坐标的时候，再放置一粒石子，只要坚持，周而复始的践行，自然会吸引同道中人放置石子，经年累月，从这里的小石堆，逐渐增长为小山包“玛尼堆”。当阳光穿透云雾、心雾的那一刻，洒下的阳光，会使心识“玛尼堆”熠熠生辉，心中澄明。
Look, at my fifth uncle's age, he often unconsciously indulges in lecturing and playing the role of a teacher; I remind myself not to play that role. But I still want to tell my niece, "Pursuing art is a difficult thing; perseverance is the only way. Give it your all, pledge your life to it, and we will surely gain the deepest inner richness, giving back to society, and making our journey through this world worthwhile."
As I write this, I envision the future. On the path of artistic practice, let's establish a coordinate in our minds. I'll first place a small pebble labeled "Artistic Creation" on this coordinate. Then my niece will place another pebble. Every time we pass this coordinate in our minds, we'll place another pebble. As long as we persist, practicing cyclically, we will naturally attract like-minded people to place pebbles. Over the years, this small pile of pebbles will gradually grow into a small hill, a "Mani pile." When the sunlight pierces through the clouds and the fog of the heart, the sunlight will make the "Mani pile" of our minds shine brightly, bringing clarity to our hearts.
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