水墨语言的地域性、时代性和国际化，一直是全球视野中发展与审视中国画艺术的焦点课题。旅美画家洪波，以自信的心态和开放的视野，通过多年的艺术实践，力图打通两相隔膜的东西方话语体系，重新构建一个超越时间与空间的审美新范式。

　　近年来，洪波花了大量时间在美国西海岸写生，异域山川在带给画家创作激情的同时，也带来很大的挑战。因为，上千年积累的传统中国画技法不足以表现眼前的风景和表达内在的感受，在这样的背景下，经过数年时间艰苦探索，以美国加州山川为粉本的“云影透光法”逐渐成熟，并成为洪波独有的语言符号。

　　云影透光，是我们每个人都有的生活体验。日光朗照，云卷云舒，在云朵与太阳的追逐中，天光云影变化多端，云朵遮住了太阳，阳光会给云朵镶上一个金边，云层透出一条缝，日光会变成一束追光投射在地面山峦之上，“上帝的追光”为自然景色增加了无穷的魅力，让我们醉心不已，在加州，这样的光影变化更是常态，但传统山水画技术却无力表现，这因此成为洪波突破的方向。

　　洪波从表达内心感受出发，将西方色彩表现与东方水墨语言相融合，在水墨勾皴基础上，大面积施以泼彩、积色和积墨，大开大合，大破大立，云影处岚气浮动，透光处高光耀眼，层次丰富，浑厚清新，营造出冷暖和虚实对比强烈的画面效果，一下子抓住了“加州印象”。

　　山无云不活，云是国画山水重要的构成元素，传统技法中有勾云、留云、染云等，积色泼彩云是洪波对于云影表现的开创性贡献。

　　传统山水画并不刻意表现光，或者说一般都是平光，直到近现代黄宾虹、李可染等山水大家兴起，才有了暮光山、侧光山和逆光山，中国画要表现光并不难，难在引入明暗光影的同时不失国画意趣。洪波的“云影透光法”是“写”出来的，既尊重客观表现又不失中国味道。

　　洪波生活在美国，艺术之根在中国，他孜孜探寻中国画的当代性和普适性，“用中国画画美国山水”是一例，“云影透光法”是继“排梳皴”、“如意云”之后，他再次突破传统，师法造化的成果。

　　洪波是一个有远大目标永不满足的艺术家，于他而言，艺术创作更像是一场在熟悉和陌生之间迂回辗转的游戏，是一个不断提出问题解决问题的过程。此种熟悉与陌生，道出了洪波与观者、与自然之间的微妙关系，一方面，异域山川与中国传统艺术形式分别对于中美两地观众来说，都是一个全新的领域，是陌生的。洪波通过形式与内容的交叉转换为两地观众提供了从陌生到熟悉的可能性。另一方面，“中国画画美国山水”的提出，不仅仅局限于技巧，让一些美国观众看到熟悉的事物产生些许共鸣，而是突破当代中国艺术发展的瓶颈，与西方艺术形成平等的交流。

　　从“泉声松韵”到“凝丹流翠”，从“溪山清远”到“岭上留云”，直至今天的“云影透光”，洪波的艺术作品有一条明晰的艺术探索脉络，而他也将于这样持续的自我革新中，以源自中国的水墨语言和浪漫诗性赋予美国山水真挚而清新的诗意。

　　FOREWORD

　　Chinese ink painting has a universal and timeless appeal, today expressed eloquently in the masterful paintings of Chinese artist HongBo . Living and working in the United States, HongBo has constructed a new aesthetic paradigm blending East and West, transcending time and space. His work reflects his inner feelings as he studies and paints the mountains and rivers of the California landscape.

　　In recent years, Hong Bo spent a lot of time sketching on the west coast of the United States. While exotic mountains and rivers have brought passion to painters, they also pose great challenges. Because, thousands of years of accumulation of traditional Chinese painting technique is not enough to present the immediate landscape and expression of inner feelings, in this context, after years of hard exploration, the United States, California, Mature, and become the only language symbol of Hong Bo.

　　Cloud and Light Troubadour, is that we each have a life experience. What is the shadow of the clouds? For Hongbo, it is nothing short of our life experiences. In the interplay of the clouds and  the sun, the clouds cover the sun,  the sun sets, rimming the clouds    with a golden edge, the clouds part briefly, and the sunlight turns into a piercing beam. Each of us can follow the light cast on the ground above the mountains - "God's chasing light.” As expressive as ink painting is, to Hongbo, God’s light deserves a new and bold approach.

　　Starting from the expression of inner feelings, Hong Bo blends western color performance with the oriental ink language. On the basis of ink paintings, Hong Bo applies splashes of color, and ink to large areas, mountain air floating, high-light Department at the transparent, rich layers, fresh and fresh, creating a strong contrast between the actual situation and the actual picture, all of a sudden to seize the "impression of California."

　　In traditional landscape ink painting it is difficult to introduce light and shadow without losing the focus of the painting, but  Hongbo's method of painting clouds and light creates a new paradigm without losing the Chinese flavor.  Starting from the expression of his inner feelings, Hongbo blends Western color technique with Eastern ink language. He applies splashes of color and ink to mountains which seem to float in the air. He creates rich layers of color and ink, seizing the "impression of California." Though clouds are a vital component of things, but erase the divide between Chinese and Western art to form a new convergence of both.

　　Traditional landscape painting does not express the light, or generally plain, until modern Huang Binhong, Lee Keran and other landscapes painters rise, have the Twilight Hill, side light mountain and Backlight mountain, Chinese painting showing the light is not difficult, it is difficult to introduce light and shadow without losing the interest of traditional Chinese painting. Hong Bo's Method of Cloud and Light Troubadour" is "written" out of respect, both respecting the objective performance without losing the Chinese flavor.

　　Hong Bo lives in the United States, derived from Chinese art., he diligently explores the contemporary nature and universality of Chinese painting. "Drawing American landscapes painting with Chinese ink painting" is an exploit. "Method of Cloud and Light Troubadour" After the cloud of smooth, he once again broke through the traditional, teacher-made achievements.

　　Hong Bo is an artist who will never meet with ambitious goals. For him, artistic creation is more like a game of detours between familiarity and strangeness. It is a process of constantly raising questions and answering questions. This kind of familiarity and unfamiliarity bring out the subtle relationship between Hongbo and the viewers and mother nature. On the one hand, the difference between the exotic mountains and the traditional Chinese art forms is a brand-new area for both Chinese and American viewers. unfamiliar. Hong Bo through the cross-conversion of form and content provides visitors from both strangers to familiar with the possibility. On the other hand, the proposal of "Painting American landscape painting by Chinese ink" is not limited to skills. Let some American viewers find some resonance with familiar things, but break through the bottleneck of contemporary Chinese art development and form an equal exchange with western art.

　　From "Sound of spring and charm of pine" to "coagulating red and flowing green ", from "Stream Mountain clean and far away" to "Leaving cloud on mountaintop", until today's "Cloud and Light Troubadour", Hong Bo's artwork has a clear artistic exploration thread , And he will also give his true and fresh poetic beauty to the American landscape in such continuous self-renovation with ink language and romantic poetic origins from China.

　　HongBo continues to give true and fresh poetic beauty to the American landscape in the traditional language of Chinese ink painting, elevating it with his unique vision and depiction of the romance and mystery of the California landscape.