传统山水画所描绘的对象：一为心中之山，“外师造化，中得心源”;二为眼中之山，是为写生。因画家足迹所限，所写山水大多为中国之名山大川，而对异域风景，则鲜有所涉。虽然自民国以来，已有陈树人、高剑父、傅抱石、张大千、黎雄才、关山月、周千秋等等诸多名家有过描写异域风景的记录，但毕竟都是浮光掠影式的表述，从描绘的广度而言，也属极少数而也。最近读到山水画家洪波先生一批专门以美国风景为描绘对象的艺术佳作，颇有心得。传统山水画所描绘的耳熟能详的中国风景，正在洪波笔下得到拓展。

　　洪波长期生活在美国，来往穿梭于美中两国之间。这种独特的生活方式不仅为其山水画注入了新的活力，更在绘画题材方面，使他具备了其他很多画家所无法企及的优势。他将在美国所见的各类风光，均囊括于笔下。以传统山水画的笔法，描绘异域风景。无论是在构图，还是皴法，以及意境方面，洪波均秉承了中国传统山水画的一贯模式。在此基础上，使他游历所见的美国山水尽收笔底。很显然，洪波的绘画开拓了中国传统山水画的新视野，为千百年来程式化的山水画题材开启了新的路径。虽然以传统笔法描绘异域风景并非洪波首创，但他在题材的广度与深度方面，已属前所未有。洪波阅历所及，美国科罗拉多大峡谷壮美的风光、洛杉矶森林公园的秋景……在其笔下，都被赋予了中国元素。浅绛设色、高远、平远、深远、白云深处人家、小桥流水，以及折带皴、披麻皴、晕染、墨色交融等等完全中国画的各类元素，都在异域风景中得以体现，使一向以油画或水彩面貌出现的美国风景被赋予了中国文化的内涵，同时也为一向以中国风光出现的山水画带来清新的气息。这是洪波绘画的特别之处，也是我们在阅读洪波山水画时最为直接的视觉体验。

　　洪波是近年来蜚声中国画坛的青年才俊，在国内外具有广泛的影响。他每年都会往返于中国、美国多地，一方面足迹所至，均以画笔将所见山水运之于纸绢，不断有艺术佳构呈现于艺界，为我们奉献出人意料的精神大餐;另一方面，在美术交流、促进中美绘画界交融与合作方面出力尤多，为中国画注入了新的活力。他的异域风光山水画，不仅拓宽了中国山水画的题材，为传统山水画在程式与语言变革方面提供了新的参照体系，同时也搭建起了一座沟通中国绘画与美国风景的桥梁，为本来仅属自然风光的美国景致添加了人文内涵。

　　“幸有我来山未孤”，美国的山水是幸运的，因为有了洪波的画笔，使这些本来仅属自然景观的风光增添了新的涵义。洪波以其精湛的画笔、传统文人的情思、对异域风景的深层次解构技巧，为我们解读了他眼中之美国风景与心中之山。他的山水的空灵、淡雅，笔墨的明净、意境之深远，为我们深入了解一个融合中西的艺术家提供了蓝本。中国山水画如何变革，怎样在题材及语言上有所突破，怎样以自己独有的面貌示人，为画界留下浓墨重彩的一笔，洪波的异域风光山水画为我们提交了一份自己的答卷。完全有理由相信，随着洪波先生阅历的进一步拓宽，画笔的老辣，笔墨的深入提炼，其山水画必将在此基础上百尺竿头，更进一步。

2013年元月于广州

(朱万章，广东省博物馆研究馆员，广东省美协理论委员会委员)

　　Foreign Scenery and Hong Bo's Landscape Paintings

　　Traditional landscape paintings depict two different elements: One element is the mountain within one's heart, “Look for instruction in the natural world around you, but look for inspiration within your own heart”; the other element is the mountain in front of one's eyes, and is a representation of how the mountain actually appears. Because a painter can only travel to so many places, most of the natural scenery selected for paintings are the famous mountains and great rivers of China. When it comes to the scenery of foreign lands, however, it is a rare painter that makes such travels. Granted, there are records of many famous artists since the Republic of China was established that have sketched the scenery of foreign lands, artists such as Chen Shuren, Gao Jianfu, Fu Baoshi, Zhang Daqian, Li Xiongcai, Guan Shanyue, and Zhou Qianqiu. But the depictions in works by these artists have been very superficial, and when looking at the breadth of the content of these depictions, it can be seen that variance is a rarity. After viewing recently a batch of wonderful art works by the landscape painter Mr. Hong Bo, who specializes in the painting of American scenery, I have learned quite a bit. The Chinese scenery that we are all familiar with that is usually depicted in traditional landscape paintings is being expanded under Hong Bo's brush.

　　Hong Bo has lived in the United States for a long period of time, and often travels between the US and China. This unique lifestyle has not only helped to inject new life into his landscape paintings, it has also given him an advantage that many other painters will never be able to obtain when it comes to the selection of painting subjects. He has brought all of the different kinds of scenery that he has seen throughout America to the tip of his brush. He presents foreign scenery with the styles seen in traditional landscape paintings. When it comes to the composition of the picture, the textural strokes, and the artistic conceptions, Hong Bo has adhered to the same traditional patterns seen throughout Chinese landscape paintings. On this foundation, he has been able to bring out with his brush all that he has seen during his travels throughout the scenic areas in America. It is very apparent that Hong Bo's paintings have allowed for new perspectives to take root in regards to Chinese traditional landscape paintings, and have opened up new options in the selection of subject matter for landscape paintings that has been rigidly stylized over the past millennia. Although using traditional painting methods to depict the scenery of foreign lands is not the original brainchild of Hong Bo, the breadth and depth of his subject matter has been unprecedented. All of the scenic beauty that Hong Bo has experienced, be it the magnificent beauty of the Grand Canyon in Colorado, USA, or the autumn views seen in the Angeles National Forest, has been adorned with Chinese elements. All of the different elements that are completely unique to Chinese paintings, elements such as the use of light reddish-purple to set the color tone, the inclusion of long-reaching heights, of far-stretching flats, and of prodigious depths, the personal dwellings hidden amongst the white clouds, the small bridges over bubbling creeks, as well as the folding texture, the earthen texture, the colored-smudging, and the intermingling of dye colors, etc., can be seen in his foreign landscape paintings. His styling has allowed for these American sights that have always appeared in oil and water color paintings to be appear through a Chinese cultural lens, and at the same time has allowed for a refreshing new energy to be brought to landscape paintings that have always featured Chinese scenery. This is what is unique about Hong Bo's paintings, and this is the most direct visual experience that we have when enjoying Hong Bo's landscape paintings.

　　Hong Bo is a young talent that has been widely discussed within Chinese painting circles in recent years, and has had wide-reaching influence both inside and outside of China. Every year he travels between many locations throughout China and the US. On the one hand, he will transfer all of the scenery that he sees throughout his travels to paper with his paint brush, constantly providing the world of art with wonderful new works of art, and presenting us with spiritual feasts that exceed our expectations. On the other hand, he has expended a great amount of energy when it comes to artistic exchange and the encouragement of the intermixing and cooperation between painting circles throughout China and the US, and has injected new life into Chinese paintings. His landscape paintings of the scenery of foreign lands have not only served to broaden the possible subject matter for Chinese landscape paintings and provide a new system of reference for the stylistic and linguistic reformation of traditional landscape paintings. They have also, at the same time, served to build a bridge that allows for the linkage of Chinese painting with American scenery, adding a touch of cultural content to the beautiful American scenery that has traditionally only been considered for its natural beauty.

　　“Mountains that are fortunate enough to see my arrival do not remain lonely.” The American natural world is very fortunate, as Hong Bo's paint brush has added new meaning to its natural scenery that has traditionally only been considered for its natural scenic beauty. Hong Bo, with the exquisite talent of the brush, the affection of a traditional literati, and the ability to deconstruct at the very basic level the scenery of foreign lands, has provided an interpretation of the American scenery that he has taken in with his eyes, and then blended with the mountain that exists in his heart. The ethereality and elegance of his landscapes, the clarity of his ink, and the depth of his artistic conceptions, have provided us with a blueprint for the in-depth understanding of an artist that is a fusion of Chinese and Western traditions. How will Chinese landscape paintings evolve, how will advances in its subject matter and language be realized, and how will its own, unique style provide us with direction? With the deep, dark strokes of his brush, Hong Bo has provided us with his own answers to these questions through his landscape paintings of foreign scenery. We have full reason to believe, that as Mr. Hong Bo continues to further expand his experiences, the pizzazz of his paint brush and the deep refining of his brush and ink techniques will provide a foundation from which he will be able to soar to new heights, and continue to make further advancements.

　　The First Lunar Month of 2013, Guangzhou

　　Author: Zhu Wanzhang , Research Librarian at the Guangdong Provincial Museum, Member of the Guangdong Artist Association Theory Committee.

作者：朱万章