他走遍了徽州的山山水水，抚摸过徽州许许多多的老房子,他把徽州当作欲罢不能的恋人，他在五年的时间里只做了一件事：那就是把他对徽州的爱之深、痛之切凝结成这一幅幅具有深厚文化积淀而又饱含诗意的风雅徽州系列画作。他，就是安徽青年画家李冲。

　　李冲自幼饱读诗书，早年毕业于中文系，后师从著名工笔花鸟画家周彦生。周彦生推崇宋代工笔花鸟画，尤其是宋徽宗赵佶之作，他在吸取宋代花鸟画精髓之基础上融入现代绘画的构成意识，自成一家。李冲在导师周彦生的影响下，潜心临摹研习宋代花鸟画作，师古而不泥古，数十年如一日，默默耕耘，如今已收获累累。这本《风雅徽州》正是他突破工笔画传统题材与技法的大胆尝试，也是他在艺术探索之路上的一次嬗变与创新。

　　然而，诠释徽州，不同于一般意义上的工笔花鸟画创作，画家易陷入世俗化的套路。舍弃常人之所见并深入挖掘与表现全方位的徽州，是需要画家在创作上苦心经营与再三推敲的。李冲俯察天地之灵气，澄观历史之陈迹，自成一番精心剪裁。这些构图饱满且颇具现代艺术审美的作品，或全景呈现徽州四季的变幻，或截取徽州文化的某个片段，抑或融合花鸟与徽派建筑。

　　李冲借鉴了中国其它传统艺术门类并融合了西方绘画的焦点透视技法，且在绘画的材质上进行了大胆的尝试，达到了他所追求的雅逸的画面效果

　　我们不妨把这种画面效果与李冲所一贯推崇的“远离尘嚣”的隐士情结联系起来，在“看”的过程中更加用心去“读”。也就是说，大凡具备一定徽州历史文化之涵养者，多能从中体会到深意。其作品如诗的意境传达出幽远的画外音，常引起观者的深入思考。如作品《诗意田园》把若隐若现的徽派建筑掩映于繁茂的竹篱丛蔬之中，其间粉蝶飞舞，人文与自然景观相得益彰，含蓄隽永。被称为“科举摇篮”的“竹山书院”，是我国古代教育的重要遗址，李冲的《竹山书院》，气势宏伟、构图饱满，左上角的留白使画面通透而不拥堵;画中虚竹环绕，繁而不乱，充满了宁静幽远之古意。作品《千帆过尽皆不是》亦不落俗套，并不着眼“千帆”，而是刻画了一只慵懒的小猫与一袭华服的徽州女人的背影，恰如一曲宋词慢调，把古徽州女人对夫君的思念与闺怨含蓄地倾诉出来。从作品《古徽无处不风雅》所截取的画面与视角来看，李冲无疑是个用心体察与感悟生活的文人。诸如此类的作品不胜枚举。当然，这些作品并不是全然统一的既定风格，这其间多种审美意象的并存，共同构筑了一个完整而又丰富多彩的印象徽州。这种大胆的艺术探索，是值得肯定的。

　　对中国画艺术的执著，使李冲远离了世俗的生活。他决然献身艺术的精神与毅力，正是我们持续给予他多方支持的理由。虽然漫长五年的徽州题材创作已经完成并结集出版，他在国画艺术领域的探索还在继续。我们将一如既往而且信心百倍地关注并支持他。

　　这本画集正是我们见证李冲艺术成长的一个重要的阶段性总结。

　　艺海堂美术馆

　　2013年1月

　　Preface

　　In five years, he has walked around mountains and rivers and touched many old houses in Huizhou that seems to be his beloved sweetheart, and done nothing except delineating paintings of deep culture and poetry because of his deep love and regret for Huizhou. He is the youthful painter Li Chong who comes from Anhui province.

　　Li Chong read lots of ancient books in his boyhood and graduated from the Chinese department later. After that, Li Chong learned from famous Chinese fine-brush flower-and-bird painter Zhou Yansheng who praised highly the fine-brush flower-and-bird paintings of song dynasty, especially emperor Hui-tsung (reigned 1101-1125) Zhao Ji’s paintings. Zhou Yansheng combined the essence of fine-brush flower-and-bird paintings of Song dynasty with compositions of modern paintings, hence developed a style of his own. Li Chong has also imitated the paintings of Song dynasty a lot，however he has attained a lot and developed his own style after ten years’ learning from the ancient paintings. The book Fengya Huizhou shows his bold experiment on breaking through the subject and technique of fine-brush flower-and-bird paining, and also his art originality and transformation.

　　However, It’s rather different to depict Huizhou than flower-and-bird because a painter is easy to fall into the stereotype when faced Huizhou subject. Furthermore, it is difficult for a painter to express Huizhou from new aspects instead of delineating what the average people have seen. After observing the natural landscape and relics of history in Huizhou, Li Chong has invented the full composition of modern aesthetics. His works either present panorama of Huizhou’s four seasons, or certain section of Huizhou culture, or combine flower-and-bird with Hui style architecture. Except absorbing traditional Chinese art, Li Chong has introduced focus perspective to his works and applied the media of western modern schools in order to attain the texture effects he has been pursuing as well.

　　It will be helpful for the beholder to link the pictorial effects with the complex of departing from the earthly world that Li Chong has been pursuing and to read his paintings as well. That is to say, anybody who has a better acknowledgment of Huizhou history and culture will find echoes in his works. For example, Poetic garden presents the Hui style architecture surrounded by bamboos and flowers in which butterfly are dancing. In the painting, human landscape and natural landscape are integrated into a meaningful and thought-provoking world. Zhushan Academy, the birthplace of Juren and Jinshi, is a famous relic of Ancient Chinese education. Li Chong’s Zhushan Academy surrounded by exuberant bamboos is so magnificent and impressive because the empty in the upper-left makes the full composition without a slight congestion. Furthermore, the painting embodies an air of depth and serenity. No traces of her lover though a thousand sails passing by does not portray a thousand sails, but a lazy cat and the back of a Huizhou woman. Therefore, it likes a boudoir-plaint poet expressing the yearning for her lover. Li Chong also exhibits his characteristic of literati through the subject and composition of Ubiquitous beauty in Huizhou. Obviously, these works are too numerous to mention one by one, and they are not the same established style, but the juxtaposition of multi-images of aesthetics that has formed a complete and colorful Huizhou impression. Anyway, Li Chong’s bold art exploration is worth praising.

　　Li Chong has departed far away from the earthly life for his purity and pursuit towards Chinese painting. The decision that he has made to devote himself to art is the reason why we constantly support him in many ways. Although he has suspended his creation in the subject after his five years efforts to invent Huizhou works, He will continue his art exploration in Chinese painting and we will support him with confidence as before.

　　The Selection of paintings witnesses an important phase of his progress in art.

　　Yihaitang Art Museum

　　In January, 2013