中国山水画作为以自然景观为主要表现对象的中国画的重要画科，是中国绘画中的最有特色的分支。它形成于魏晋南北朝时期，独立于隋唐，至五代、北宋时期趋于成熟。南朝·宋宗炳在他的《山水画序》中，提出了“澄怀观道”和“卧游”美学观念，为历代文人所服膺，他还提出山水画要以形写神，其中“神本亡端，栖形感类，理入影迹，诚能妙写，亦诚尽矣。”既强调要写山水之神，又指出写神须从形入手。当然宗炳的《山水画序》主要阐述的是怎样把“道”即中国哲理的内涵通过山水画表达出来，在他看来中国山水画的创作和欣赏是人们观“道”、悟“道”方式。这对中国山水画的发展及审美意识都有着深远的影响。

　　从唐朝开始，中国的山水画逐步形成南、北两派，北派具雄奇之美，给人震撼和惊叹之感，南派具隽秀之美，给人陶醉和倾心之韵。北派以唐代画家李思训为宗，他运用的大斧劈皴法，重视用色彩，主要以表现北方峭壁高耸的山峰为主。宋代画家张择端、李唐、马远、夏圭等继承了他的风格。南派以提倡“诗中有画，画中有诗”的著名诗人王维为滥觞，主要运用披麻皴和宋代画家米芾发明的雨点皴或叫米点皴，多用墨少用颜色以表现濛濛细雨中的江南丘陵，后来发展到只用墨的水墨山水，王蒙、倪瓒等画家发展形成了南派风格。到近现代，山水画不断地发展，一代大师如黄宾虹、李可染、傅抱石、关山月等人吸收西方绘画理论，深入观察自然，创作自己的风格，给传统山水画注入生气，使中国山水画发展到一个新阶段。

　　记得还是在2006年底，赓华兄拿来父亲徐浩田先生的一些画作，想给父亲办个画展，看了他的作品，我感觉这些作品让人耳目一新，它摆脱了传统文人画单纯追求雅逸冷隽的书卷气，而赋予作品浓厚的田园乡土气息，既不拘泥于传统笔墨，又没有取宠做作，同时笔墨随意，信手拈来，决非率意，挪用组合，而是内心流露出的匠心结晶，达到了相当高的艺术造诣。听了赓华兄的介绍，使我对徐浩田先生有了更深的了解。他1943年出生于浙江龙游县。自幼酷爱绘画，早年以临摹画谱入手，后又从事各种绘画工作，并长期生活在田园乡间，他坚持造化为师，经年深入生活研究自然，坚持实景写生，重视对各种不同地域神貌的个性特征的艺术性研究。他的大部分作品都有写生依据，然后再进行提炼重构的再创造。因此，徐浩田的山水画能让人感到浓郁鲜活的生活气息，呈现出多样多变的妙境胜景，百看不厌，绝没有那种千山一面、万景一貌、因因相袭的俗套积习。在他看来，中国画家只要离开了现实生活的活水源头，胸中丘壑就会用尽枯竭。时下有些所谓艺术理论家迷恋于形而上学的抽象化和符号化，以为这才是人类艺术高级演化的指向，其实这种偏见正堵塞了艺术鲜活的辩证发展源头，阉割了艺术家无穷的创造潜力，把充满生命活力的艺术导向僵死化。沿着徐浩田的创作轨迹来看，他早期在笔墨的锤炼、设色的考究和构图的营造方面下了很大工夫;而近些年，他更注重主体精神的张扬和内心图式的营造，故作品中的形象与技法都化成了他表达情思的介质，显示出一种新的意象。

　　徐浩田先生，虽长年蛰居乡村，远离现代文化中心，但却能深入大自然苦心孤诣，孜孜不倦地写生和创作，取法于自然，心无旁骛，形成了自己独特的笔墨语言和画风。他的山水画清新雅静，妙造自然。品读他的山水画，一股清新静谧之气扑面而来，没有丝毫的委靡之风，也没有点滴的粗俗与浮躁。再细审他的山水画，雅致中蕴涵着雄健，充实中洋溢着空灵，自然中彰显着冲淡。这源于他能很好地将自己的学识修养融入传统笔墨之中，把静穆之气内蕴于形象之中，以淡泊的心性营造一种脱尽尘俗、闲淡雅静的艺术境界，使画面庄重而富有生机。他的画面密而不乱，繁杂却不累赘，突出的表现山石树木的勃勃生机。特别是在山谷间白色雾气衬托下的树木，淡绿色彩更加迷人，山里人家古朴温馨，人与自然达到了自然和谐，富有无限的诗意。这种俨如世外桃源一般的人间仙境，正是作者表达的思想情感，富有传奇色彩的画面不仅具有观赏价值，也具有极大的感染力。观徐浩田先生的山水画，能使我们忘却世间的纷扰，使芜杂的灵魂在此得以荡涤、净化，疲惫的身心得以休憩。

　　黄宾虹说：“山水画乃写自然之性，亦写吾人之心。”在徐浩田的山水画中，我们既能看到大自然的神奇造化，也能聆听到画家的心灵之音。他的作品不是简单地模山仿水的自然表现，亦非晦涩难懂的抽象之作，而是内心对自然万象的映射。他把主观情思与客观景象交融成情与景的结晶，形成一种景中俱是情，情使景醉人的独特意象。他的山水画更像是雅逸灵秀的桃源景色，使我们感受到一种令人产生亲切感的自然清新之美。看他的画很轻松愉快，没有负担，恐怕有负担的人在画前也可以放下。

　　“绚烂之极归于平淡”似乎是国画的最高境界。徐浩田的山水，无论是在设色上，还是审美境界上，都力求与传统山水画拉开距离。他的山水画，没有精工细致、富丽堂皇的气派，没有刻意雕琢的制造痕迹，也没有大红、大绿的极力对比，完全是自然地写出来的，在“玄与素”中达到“五色俱”的境地。从某种意义上说，徐浩田山水中的“色”就是“墨”，于清新雅逸的平淡中蕴涵着绚烂。由于徐浩田的山水画善用淡墨又多以同类色为主，且明度和纯度逐渐变化，所以看似平淡的画面构成和色墨搭配中，又透露出章法的“奇”、色彩的“变”与“绚”。这不是靠画家描摹出来的，而是以写意的手法表现出来的。画面上，远山泼墨而出，天空与水中的倒影以湿画法一挥而就，充溢着一种文人气息。

　　在当今艺术商品化的大潮中，徐浩田坚守着自己的精神家园、徜徉于自己的艺术世界，只为把心中的意象化成一个个精神图式。他通过释放对大自然的激情来诠释人生;通过释放对艺术的感悟与理解，以重构自己的心象，这使他的作品在具备古人意境的同时又富于现代意味，更蕴涵一种哲理，展现一种智慧，给人灵气十足、气韵自然生动之感。是以自己个体生命的角度体验天地宇宙的永恒，体味画家在此中的自由，他的山水画，都充盈着一种“静”的气息、“雅”的韵味，那是其心灵与自然和谐的结晶。

　　2007年6月徐浩田先生在我馆举办了第一个画展，没想到得到媒体和市民的广泛关注，引起很大的反响，我从此一直关注他的发展。2008年徐浩田先生又应邀到北京国家画院美术馆举办了第二个展览，并由时任中国美术家协会中国画艺委会秘书长的孙克先生邀请了京城美术界的学者举办了一个学术研讨会，2011年又在香港成功地举办了第三个展览，他的每一个展览都引起很大的轰动，成为当今画坛崭露头角的一位重要画家，也使他的山水画备受收藏家们的关注。

　　关山月美术馆 陈湘波 馆长

　　Elegant and Graceful Fairyland Scenery

　　——Profile of Landscape Paintings of Xu Haotian

　　Chinese landscape painting is an important type of traditional Chinese painting with natural landscape as object of demonstration and the most unique branch of it as well. It came into being in Wei, Jin and Northern-Southern dynasties, became independent in Sui and Tang dynasties, and matured in the Five Dynasties and Northern Song Dynasty. In his Preface to Landscape Paintings, Song Zongbing of Southern Song Dynasty made aesthetics proposals of “Realizing Tao with Pure Heart” and “Tour of Lying”, deeply convincing men of letters for generations. In addition, he advocated to describe spirit with form in landscape paintings in which the spirit of landscape shall be prominent while description of spirit shall be begun with that of form. As a matter of fact, the Preface to Landscape Paintings by Song Zongbing is mainly concerned with how to express the connotations of Chinese philosophy, i.e. “Tao”, with landscape paintings. In his mind, the innovation and appreciation of Chinese landscape paintings are the ways people observe and comprehend “Taos”, which has far-reaching influence on development of Chinese landscape paintings and aesthetics consciousness as well.

　　Starting from Tang Dynasty, there appeared north and south schools in the field of Chinese landscape paintings. The north school is famous for its beauty of magnificence and peculiarity expressing sense of shock and exclamation whereas the south school is famous for its beauty of grace extending flavor of enjoyment and indulgence. The north school regards Li Sixun, an artist of Tang Dynasty, as its originator, who shows the shades and texture of rocks and mountains by heavy colorful strokes to demonstrate high peaks in north China. He’s followed by such artists of Song Dynasty as Zhang Zeduan, Li Tang, Ma Yuan and Xia Gui. The south school regards the well-known poet Wang Wei as its originator who advocates the concept of “painting in poetry and poetry in painting”. It mainly shows the shades and texture of rocks and mountains by disorderly linen or raindrop invented by Mi Fu, an artist of Song Dynasty, in heavy ink and less color, to demonstrate hills in drizzle south of the Yangtze River. Later, it developed into landscape painting made with Chinese ink only. It’s followed by such artists as Wang Meng and Ni Zan. Further development of landscape painting was made in contemporary and modern times. Masters like Huang Binhong, Li Keran, Fu Baoshi and Guan Shanyue, based on understanding of western theory of painting and deep observation of nature, formed their own styles and granted new life to traditional landscape paintings, bringing China’s landscape paintings to a new stage.

　　At the end of 2006, Genghua brought here some paintings of his father Xu Haotian and wanted to hold a painting exhibition for his father. With a glance, I felt the refreshing works were far away from the pure bookworm style of pursuing elegance and cold gracefulness only in traditional paintings of men of letters, and granted the works with strong rural flavor. They were not limited to traditional painting styles, nor pretended as unnatural. Instead, the styles were rather free but not arbitrary as natural artistic achievements made inside at an extremely high level. With the introduction of Genghua, I had a better understanding of Xu Haotian. He was born in Longyou, Zhejiang in 1943. In his childhood, he was very fond of painting and learned from painting copybook. Later, he did various kinds of painting works and lived in rural areas for a long time. He studied nature in deep life for years to make sketches for real scenery paid much attention to study of individualized arts of different landscapes. Most of his sketches were motivated, renovated and reconfigured. So, his landscape paintings extend strong and fresh sense of life and deliver diversified wonderland and scenery without any outdated repetitions so that audiences will never be bored. In his mind, if separated from the fresh nutrition of real life, Chinese artists will use up their thoughts. Some so-called arts theorists at present indulged in metaphysical abstraction and symbolization think their practices are the only orientation of human arts towards sophistication. But in fact it is this prejudice that blocks the fresh dialectical origin of arts, destroys the endless innovation potential of artists, and turns the arts full of vitality into corpse. As seen from his innovation track, Xu Haotian paid much attention in practices of strokes, colors and configurations in his early years. But in recent years, he attached more importance to display or main spirit and building of inner schema, so symbols and techniques in his works have been turned into media to express his thoughts and new images.

　　Being in the countryside in seclusion and far away from modern cultural center, Xu Haotian can go deep into the Nature, though, to make sketches and innovations diligently and attentively based on materials from the Nature to form his own unique painting language and style. His landscape paintings are refreshing, quiet and natural without any listlessness, vulgarity and flippancy. Upon further observation, his landscape paintings entail grandness in elegance, spaciousness in enrichment and dilution in naturalness. All can be attributable to the involvement of his knowledge into traditional painting and the inclusion of solemnity and quietness to symbols so that he can build an uncommon, light and elegant arts realm in a common mind making the painting dignified yet lively. His paintings are of high density but not disorderly, complex but not wordy, to make prominent the vitality of mountains, stones and trees. In particular, the light green trees against the background of white fog in valleys seem more fascinating. People living in the mountains are pure and gentle in harmony with the Nature full of endless sense of poetry. Such fairy land is the very thoughts that the artist wants to express. The romantic paintings are of great value of appreciation and infectivity as well. The landscape paintings of Xu Haotian can make us forget worries, cleanse our mixed soul, and relax ourselves for a while.

　　Huang Binhong said, “Landscape paintings are descriptions of nature of the Nature and mind of the artist”. In the landscape paintings of Xu Haotian, we can see the marvelous achievements of the Nature and hear the voice of mind of the artist. His works are not simple imitations of the performance of mountains and waters nor obscure abstractions, but inner mappings of natural phenomena. He integrates subjective thoughts and objective sceneries into a whole to form unique images in which sceneries are full of thoughts while sceneries intoxicate people with thoughts. His landscape paintings are like elegant and graceful fairyland scenery all the more which impress us with cordial, natural and fresh beauty. The smooth and clear strokes, free and merry flavors, and pure and light colors are combined into elegant paintings of artistic temperament and solid motivation. His paintings can make people in front of them relaxed, happy and free of burden, even for those full of burden.

　　The conception that “splendidness will be ending in dullness” seems the highest realm of traditional Chinese painting. Xu Haotian manages to keep distant from traditional landscape paintings in terms of colors and aesthetics realm. His landscape paintings are free from any intricate and magnificent flavor, from any intentional trace of carving, and from any extreme opposite of colors. Instead, they are rather natural and in a realm of “full colors”. In a sense, color in his landscape paintings is equivalent to “ink” entailing splendidness in fresh and elegant commonness. Xu Haotain is good at making use of light ink, colors of the same types, and gradually changing brightness and purity in his landscape paintings, so the seemingly common painting configuration and color-ink collocation are demonstrating the “uniqueness” of composition, and “change” and “splendidness” of colors. It’s not the result of copy by the artist but the result of freehand expression. In his paintings, the distant mountains are painted in splash-ink while the inverted images of sky in the water are shown in wet paint full of flavor of men of letters.

　　In the modern trend of commercialization of arts, Xu Haotian holds fast to his spiritual realm, and wanders in his arts world with a sole aim to turn his inner images into spiritual schemas. He attempts to interpret life by releasing his passion for the Nature and reconfigure his mind by releasing his comprehension and understanding of arts. It grants his works ancient and modern meanings, some philosophy and wisdom, full anima and natural flavor. He is experiencing the ever-lasting universe and his freedom in painting from the perspective of his own life. His landscape paintings are filled with a sense of “quietness” and a flavor of “elegance”, which are the combination of his mind with the Nature in harmony.

　　In June 2007, Xu Haotian held his first painting exhibition at our museum which, beyond expectation, witnessed wide concern and response from the media and citizens. Since then, I have always concerned his progress. In 2008, he held his second painting exhibition at the Art Museum of China National Academy of Painting, Beijing upon invitation when Sun Ke, the then Secretary General of Chinese Painting Committee, China Artists Association, invited some scholars of arts in Beijing to hold an academic seminar. In 2011, he held his third painting exhibition successfully in Hong Kong. Each of his exhibitions caused quite a furor. Now he is a striking and key artist in the field of Chinese painting, which arouses much concern from his landscape paintings from collectors.

　　Chen Xiangbo, Director of Guan Shanyue Art Museum

作者：陈湘波