屈指数来，我跟随洪瑞生老师学画至今已有四十几年了，我从一个返乡知青一路成长都离不开洪老师的培养和影响，几十年来我们从师生到朋友再到知己，已经是亦师亦友亦兄弟的情感，初见洪老师，意气风发中带有一点严肃和认真，接触之后发现他为人谦和，颇有儒生之气，他总把自己看成是艺术的仆人，孜孜不倦地探索绘画，尽力以平实的声音说出绘画的本体语言。他带来了中央美院油画系吴作人工作室的真诚、朴实、厚重又含蓄的画风，秉承中央美院的宗旨：尊重自然，热爱生活，坚持“艺术来源于生活”，以严谨坚实的艺术风格持续地影响着我的艺术态度。他带我下部队，走乡村，进工厂，登海岛去收集鲜活、生动的形象和绮丽的风景，我们在海边守望日出，感悟日落，听涛声澎湃，迎海风榕声，感受惠安女的五彩集市和收获的喜悦。这一切的艺术经历让我领略到老师认真治学的态度和对生活敏锐的感受并伴随我走过艺术生涯。改革开放不久，中国迎来了西方各类高级别的画展，记得有一次我们到北京参观哈默藏画展和德国表现主义画展，老师捧着画册，面对一幅幅的名作仔细端详研究，做着详细的记录，这也使我在之后几经访学欧美参观美术馆养成了“读画”的习惯。老师虽然是第一工作室的学生，但对第二工作室的苏俄画风和第三工作室的表现风格都是兼容并蓄，得其所长，这些艺术态度在他不同时期的作品中都可以发现他对油画艺术的研究和发展轨迹，他曾经对我说：我们不仅要创造美，同时还要赋予观众一双欣赏美的眼睛。这也成了我在艺术教学中的一种教学理念。他的作品体现出多元性和独立性，无论是题材还是表现方式都认真吸取东西方多元艺术的精华并有所创新，他的创新绝非简单地从外部形式中“面具”式的换脸，而是从个人学养，素养和学术品位中对真、善、美的追求，从东西方艺术的内涵中寻求借鉴，再通过自身的内心思考和艺术积累，引领自己的艺术追求，以实践的方式加以构建并贯穿在作品的艺术价值信仰，确立为自己的奋斗目标。

　　音乐届人士都知道卡拉扬(KARAGAN)是世界著名指挥家，这位奥地利指挥家以富丽堂皇的音响风格得到了“金色光辉”。也许有很多人不知道另一位与其相伴生辉的，具有另一种闪着温润含蓄纯净如洗银光的指挥风格的匈亚利指挥家索尔蒂(SOLTI)。他用敏锐的眼光和才智将音乐中潜在的内涵，在他指挥的音响世界里发挥到了极致。他精致、认真、有独到的音乐感觉和理解力，以其独特的指挥风格和极大的控制能力将音乐作品的音色带进纯净的境界。索尔蒂是大器晚成者，早年积累下深厚的音乐基本功和音乐修养，最终酿成了他的银色绚丽。

　　我观看洪老师的画，就如同倾听索尔蒂指挥的音乐作品一样——耐人寻味。洪老师作画很慢，深思熟虑，每一笔色彩如同每一件乐器发出的音响，在和弦中组成每一个声都有清晰可辨的特殊音色。他的慢工出细活就像是文火慢炖的美味。“尽精微，致广大”是他坚守的信念，他坚持油画语言的纯粹性和表达情感的特殊功能，在色彩、色层、轻重缓急的笔意等油画技巧的运用上，总是认真仔细地琢磨，反复地推敲，对他们之间精微的关系进行内敛而有控制的表达，使他的精神的内收力不事张扬地凝聚在画面上。就像他所说的：艺术是一门“需要讲究的学问”，他从立意、构思、表达方式都尽显个人的气质、素养、学识和品位。他的油画让人感受到一种音乐性的流动，所有的色彩仿佛是无数的和声交响成华彩的调性，一些作品中的点、线、型、色的各种内在张力在收放、聚集、上升或消隐中让人感受到不同的情绪运动，并产生“音乐化”的生命联想。看他的画也仿佛在倾听德彪西的交响素描《大海》和《牧神午后》，更像布鲁克纳(BRUCKNER)的第七交响曲《英雄》，绝不以张扬响亮的辉煌之势先声夺人，而是以一种自然深刻的思想品质、明亮爽健的情绪，从容不迫地展开叙述，含蓄内敛的激情尽显其中每一笔精致的色彩!画中的美是那么地深刻持久，仿佛在日出时刻那种平缓沉稳与期待兴奋相交织的状态中，更加地令人细细品味到那份醇厚绵延。在这种精致和欣悦的色彩美中蕴含着人类情感的丰富性，荡漾着艺术的感化力。洪老师不是昂扬炽烈的画家，而是将激情、冲动、赞美、悲悯，自始至终让庄严、朴实、澄明、平和所环绕，在此中流露他的坦然与达观。“宁静、沉思的生活”是他的人生态度，也是他在艺术生涯的时光中一直如此坚守的力量之源，他将自己从现实世界中自我升华为一个思索和自我体察的生命，获得了马拉美式的“内滋性的生命空间”。他的这种内倾的生命形式借助于沉潜的思索与想象，获得了对内在艺术生命的滋养与固守，无意间达到一种自在性和神圣性。

　　艺术是他内在生命空间的真实表达。他以敬重的目光观察一山一水、一草一木和普罗众生，这种敬重有着人格的魅力和对艺术理想的憧憬。他的“内滋性的生命空间”规定了他能够自发地开启生命经历中的思索、积累和蓄养;洪老师有三十几年写作艺术随笔的习惯就是明证。人的生活、人的自然和内省式的心灵与人的艺术相互关联着;由此，“象由心生”。内省的生命带进笔触的痕迹，充盈入色彩和所有的艺术要素中，构成了他心灵世界的具象表征;终又返归于“内在生命”，从而使艺术永葆青春活力

　　在老师家客厅正中悬挂着一幅朱熹苍劲雄浑的颜体拓本“涵养天机”，我揣想，这应该是他艺术人生的写照和圭臬。

　　2015年8月于集美大学

　　More than forty years has passed since I began painting with Professor Hong Ruisheng. Ever since I came back to my home city after the Cultural Revolution, Professor Hong influenced every step of my way to pursuing fine arts as a mentor, as a friend and sometimes like a brother. Mr. Hong is a modest man. He regards himself as a servant to the art in his tireless exploration of beauty in its highest form, while voicing the subjective language of painting in the most humble manner.

　　Mr. Hong has carried on the traditions of the Central Academy of Fine Arts – the respect of nature and life – and commits to his belief that fine artistry finds its roots from life itself. His rigorous artistic style continues to influence my perspective in arts.

　　Together, we have visited army barracks and factories. We’ve stayed in inland villages and remote islands, visited local markets, waited for the sunrise by the sea and reflected on the sunset. Fresh and lively imageries were the harvests from those visits and continued to inspire my work in painting.

　　Since the reform and opening up policy put in place in the late 1970s, China has seen a flow of high-level art exhibits from the West. Mr. Hong and I have seen many of them. Every time he would bring his painting catalogs, studying the artworks closely and taking notes. “Reading a painting”, a habit I’ve learned from him, has proved very useful whenever I visited art galleries in Europe and North America.

　　Mr. Hong once said to me, we are the art creators, but also enablers for the audience to appreciate beauty. This has since become one of the teaching principles. His paintings embody diversity of the East and the West and a sense of independence when it comes to both the subjects and artistic expressions. His internalized knowledge and sophistication in academic excellence, coupled with his deep understanding in Eastern and Western artistic essences, contribute to his pursuit of genuineness, kindness and beauty in his works of art.

　　Mr. Hong’s paintings remind me of the musical pieces by Hungarian orchestral and operatic conductor Georg Solti. Every stroke of color stands out like a unique sound that one can discern from a chord. He is a strong believer in combining precision and comprehensiveness. The language of oil painting, he believes, lies its specialty in expressing emotions. He painstakingly scrutinizes and elaborates the colors and layers, masterfully applying his painting techniques with careful strokes, some subtle, some pronounced. The link between techniques its delicate, and he controls them well.

　　His painting style flows with an apparent musicality. The colors weave into a cadenza presented by competing shapes and hues that concentrate and explode, ascend and fade. I compare his painting to Claude Debussy’s symphonic poem “Prelude a rélude à l'après-midi d'un faune” and Anton Bruckner’s Symphony No. 7. Without overwhelming, they touch the audience with their unassuming substance, cheerful optimism and patient narrations. His passion and urges for celebration give way to solemnity and peace. That’s his reflection on life. His introspective approach runs through all his art works and inspires the audience through imagination.

　　Art creation invariably hinges on the artist’s life, natural surroundings and inspective soul-searching. The image is born from the heart. Mr. Hong looks at mountains, rivers and every living creature with great humility. He looks into himself and nurtures the core of his character and artistic ideals. He wields all the aesthetic elements at his disposal, construct, convey and conserve. Mr. Hong’s artistry truthfully reflects his attitude towards life.

　　Huang Ping

　　Jimei University

　　Translated by Adam Chuanqi Hsu

作者：黄平