When I look at Hong Bo's pantings, I thought he was actually doing something different. Maybe this is not quite the same thing - they are parallels. His art style has already formed in another country, and then he comes here and the West is the subject matter. But still within the visual language of Chinese painting. So it is a little bit like the first wave. But he has now settled here, and made most of his life here, like the second wave. But yet he goes back and forth to China a lot, so he is not disconnected, includes China and not China. and it is very fluid map, because things are changing so fast in this face of globalization, and so it has two poles: a very strong Chinese-oriented pole, but then he has others who are very oriented towards Being outside China, but all of these voices who we might say they are articulating visions within this new space, which could be thought as a kind of fourth wave, of a kind of being in the Chinese diaspora , and being outside of China but yet looking at that outside through Chinese eyes .

　　And my colleague of my department had contributed a new word...when this is applied to literature, and she has made this word which is well-established in academia called SINOPHONE. SINOPHONE literature, literature written in Chinese by artists in the Chinese diaspora, but who may be writing outside of China. And I thought we need a word for the visual parallel to Sinophone literature, and that has not been invented yet. And I was thinking of some words: what about SINOSCAPE or SINOVIEW or SINOVISION.

　　Because in a way this is kind of parallel to what the novellas, the short stories writers are doing, in the diaspora as well. So, we have this very interesting phenomenon of a representation of places that are familiar to us here. But yet as Hong Bo has told us ,this is expressed in a very distinctive visual language, and this visual language is very deeply rooted in other aspects of Chinese culture, so that, if you don't know anything about Chinese panting, you can still enjoy these paintings . They're very beautiful, they're very attractive. You can walk into them and follow certain experiences that they provide……If you want to understand them a little more deeply, it does help to understand how this language works. It has a grammar, it has a vocabulary……In his painting, and how to decode it. So, I would just make one little point to add to what Hong Bo has told you……

　　当我看到洪波的作品的时候，我意识到他正在做与众不同的事情，很不一样的风格，但异曲同工。当洪波在中国的时候，他已经形成了自己的艺术风格，然后他来到了美国描绘西方的景色，但是依旧保持和延续中国传统山水画的艺术形式。这对于他来说是他艺术的第一次浪潮。如今他已经定居在美国，并且他生活的大部分重心也在美国，环境的改变带动了洪波艺术的第二波，与此同时，他在美国和中国两地之间穿梭，没有和中国的传统艺术脱离。他的艺术包含中国和非中国元素，他的作品犹如一幅流畅的地图，快速的环境和事物的演变使得他的艺术具有全球化的概念。这个概念的出现必然地掀起了洪波艺术创作的第三波。因此，他的作品融合中西方的精髓，一方面是非常传统的中国元素，同时另一方面也呈现出了中国以外的元素。 他整合了来自中国传统艺术的视觉感受和非中国的元素题材，这个可以被视作是其艺术的第四次浪潮。作为深受传统文化启发的中国人，洪波虽然身在异乡，仍然用中国艺术家的眼光来观察和表现世界。

　　我系里的一位同事曾经发明了一个适用于文学，然而在学术界也已经得到了广泛的认可的词汇叫做SINOPHONE（中国式语言）。 所谓SINOPHONE文学指的是用旅居海外的母语为中文的中国作家用中文写作的文学作品。因此我认为也许对于绘画艺术，我们也应该创造出一个相应的词汇，例如SINOSCAPE（中国式风景画）或者SINOVIEW（中国式视角）或者SINOVISION（中国式想像）。

　　因为洪波的创作思维和那些SINOPHONE的小说家的创作方式本质上是一致的。因此他才能创作出这些用创新手法来描绘那些我们熟知场景的有趣的绘画作品。正如洪波呈现给大家的作品，这是用一种非同寻常的视觉艺术的表达形式，并且这种独特的视觉艺术表达形式是深深扎根于中国文化的各个层面的。因此，即便你对中国文化并不了解，你仍然可以感受这些绘画作品的魅力。它们是那么美，那么具有吸引力。你可以想象自己身处画中，来感受其中的意境。如果你想对这些绘画作更深入的理解，弄清楚这些绘画语言是如何操作无疑会对你有所帮助。洪波的绘画有它的基本原理、有它独特的词汇， 你要学会怎样去解读它。

　　对洪波的演讲，我就补充这一些我个人的观点……

作者：石听泉