那个暮时或者翌日的暮时或者昨日的暮时，著名的翰林郭熙②并未离世，然而当时所发生的那个静止、无声的事件，在本质上是被千百年来异口同声的荣誉宣称为与前人谢赫以及后人董其昌同样伟大的他一生中的最后一件事。历尽了岁月与光荣，这个人弥留在一张雕刻得极为精致的暗红色牡丹缠枝图案的紫檀木床上。一声不很尖利的洞箫声在心底缓缓奏出一曲《柳摇金》，他微微睁开眼，看见郭思③伫立在他的床前，不难想见几步之外的门前院落里也同样伫立着三株苍劲的松树，如同他早年所画的《早春图》里一般生机盎然；老人低吟着那几行不可避免的字句，他自己，说真的，对他们已略感厌倦：
看山水亦有体，
以林泉之心临之则价高，
以娇侈之目临之则价低。
接着他坠入了弥留之际的最后的梦中，随着悠扬的箫声首先看见了米芾④的儿子正在画一帧长卷，画得山峦连绵，云烟弥漫，平坡烟树村落隐现。老人没有去打扰他。接着他又看见了初为道人的朱耷⑤正在烛光下观看倪瓒⑥的一幅立轴，而这个道士身边的桌上翻开着一本册页，从画面的左侧闪出一小块陡坡，坡上潦潦草草地画了三棵树。老人摇摇头无奈地说，为什么画得如此少，可能在学倪瓒吧。接下来就在短短的十几分钟的梦里，他看见了差不多一千年之后的许多西洋画家，譬如丰塔纳⑦，克利⑧之流，而且他还奇怪地看见有人奇怪地从二楼的窗户里向外面碧蓝的空中飞身一跃⑨。老人看着这些，并且感到这些是在这些的永恒之中，而不是在他的词语里，感到只能提及或暗示而不能够表达，而那院落里的三株松树，虽然做着傲然的样子，也并非世界的一面镜子，而是附加给世界的又一件礼物。
事实上，伟大的郭熙在他弥留之际的最后一梦中最后一个见到的却是我，老人先是一愣，然后立即从梦中醒来，手指着我，问伫立在床边的儿子郭思，他是谁？说完便溘然长逝。
① 林泉高致：又名《林泉高致集》是郭思根据郭熙的遗墨整理而成。
② 郭熙：（1020～1100年）字淳夫，河南孟县人，北宋著名山水画家。官至翰林待诏直长。
③ 郭思：郭熙之子，字得之。
④ 米芾：（1051～1107年）字元章，号海岳外史，鹿门居士，山西太原人，后迁居襄阳，又曾长期居住镇江。先后做过礼部员外郎、太常博士，徽宗时召为书画学博士。其子米友仁（1086～1165年）字元晖，小字虎儿，晚年号嫩拙老人，画院学士，画学父风。世称“大米、小米”或“二米”。
⑤ 朱耷：（1626～1705年）号八大山人，江西南昌人，明朝宁王朱权的后裔。清初著名画家。
⑥ 倪瓒：（1301～1374年）字元镇，号云林子，江苏无锡人。元代著名山水画家。
⑦ 丰塔纳（Lucio Fontana，1899～1968年）：意大利画家。
⑧ 克利（Paul Klee，1879～1940年）：瑞士出生的德国画家。
⑨ 20世纪60年代初，法国艺术家可莱因（Yues Klein，1928～1962年）做了一件让全巴黎人困惑不解的行为艺术，他从一个朋友家二楼窗口向外飞身一跃，做出一个飞翔的动作，一位摄影家记录了当时的情景，人们从这幅著名的照片上知晓了可莱因神话一样的形象“跃向虚无的空间画家”。
Enjoying the Singing of Mountain Forests and Sprin
By Hong Lei
That evening or next evening or yesterday evening, the famous academician (Hanlin) Guo Xi didn't leave the world. He was considered as great as Xie He before him and Dong Qichang after him for many years. But the quiet and soundless incident that happened at that time was the last thing in his life. Having lived through so many years and so much glory, the man was dying on the sandalwood bed carved with wonderful red peony branches. An unshrill sound from a vertical bamboo flute played the music "Liu Yao Jin" . He opened his eyes a little, and saw that his son Guo Si was standing in front of his bed. It was easy to imagine there were three old strong pines also standing in the courtyard several steps away outside the door. The pines were flourishing just like pines in the "Early Spring" he had done in his youth. The old man sang several unavailing lines in a low voice, to himself, really, he felt a little bit tired:
They have styles when you look at the mountains and water,
It wilt be precious if you paint them using nature's way,
It will be worthless if you paint them using the pampered way,
And then, he fell to the last dream on his deathbed, with the melodious sound of the bumboo flute, he first saw the son of Mi Fu. He was painting a long scroll, with hills rolling, clouds and smoke heavy, trees on the slight slope, and villages slightly visible. The old man didn't interrupt him. Then he saw Zhu Da, just becoming a Daoist priest, was watching the hanging scroll painted by Ni Zan under the candle light. There opened a booklet on the table nearby the new priest. On the steep in the left side of the painting, there were three pines painted illegiblely. The old man shook his head and said, why did he draw so little? Was he learning from Ni Zan ? Soon after the tenminute dream, he saw many western painters one thousand years after him, like Lucio Tontana, Paul Klee. He also strangely saw that someone jumped into the sad sky from the window of the second floor. The old man saw this and realized there existed an the eternal world, different from his. He could touch them, hint them, but couldn't express them. And the three pines stood loftily in the countyard in front of the door. They were not the mirrors of the world, but they were the present attached to the world. In fact, the last person that the great Guo Xi dreamed of on his deathbed was I. The old man stared blankly at first, and then he woke up from his dream immediately. He pointed to me using his finger, asked his son standing nearby his bed, who was he? And then he left the world forever.
Translated by Ji Yaming