令人神想的中国画，受中国古典现实主义熏陶，引“外师造化”而进入充满哲理的畅想意境，抒情人文的倾情。正如董其昌对传统山水的解读，中国画笔意别有一种仙气，是南宗山水灵性的气场张扬。赏读了徐葆欣先生的作品，透现出这位画家的艺术气质、精神品格、思想高度、笔墨技能、人生道路的不寻常。在他作品中彰显出特殊的灵动、厚重与禅意，形成了泼墨与泼彩并融，传统与现代相携的独特风格。

　　徐葆欣，字徐僊，号溪山居士，1943年出生于上海青浦。六十年代就读于堪称上海美术人才摇篮的上海美专，八十年代东渡扶桑就读于日本庆应大学，又多年在日本传授中国绘画。归国后从市区移居郊外，告别喧嚣，远离浮躁;沉下心来，潜心作画，重新调整人生坐标，埋首于泼墨挥毫，不断探索，因此造就了他艺术追求上的又一次新的裂变，可喜可贺。

　　纵观徐葆欣作品，他对传统的笔墨很有认识，就是说很有一种功力的张扬，具有海派画家求实求新的现代观念。海派国画的求实求新也就是现代绘画的视觉效应与独创性在大写意上得到了尽情的想象。徐葆欣的泼墨写意山水画，就是一种现代观念和着灵性对传统山水的创新。他的山水承载着宋元的开门见山的宽宏气势，但徐葆欣由于身置江南，对南方酣畅的自然造化所奠定的笔墨完全不受自然的束缚，行随笔畅，音吐清畅。如吴湖帆先生赞美米芾的“多景楼”一样，远眺景楼，笔随心至，大写酣畅。心中的意向蕴籍着笔墨的功力，挥洒得尽情尽致，把文人画的灵性置于营造 淋漓和现代的放眼中。所以徐葆欣大幅的画作和着水墨如长岛人歌，变化着灵性的大自然本性。很有一种“绚烂归平淡、真放本精微”的道家法理。

　　徐葆欣的泼墨写意山水的建树，完全是开放以来南派山水画家对南宗山水倾情的大写，厚重沉稳的笔墨压住画面，黝黑隐约，透进山谷，空谷回响。这样的南派的山水，实属是一首与时俱进的现代文人画笔墨的春的交响曲，抒情与表现合一，大写与精当通融，一曲新辞酒一杯，潇洒笔墨挥成章，为当代海派山水现代平添华彩。

　　南派山水到了海派山水中最彰显的特点就是灵性，徐葆欣的泼墨山水给当代海派山水倾注的新颖就是扩张灵性的张力，以道家的法理从心境与笔墨的对话，特别是画中徐葆欣很有宋元画中的文人画的心境，以大写意表现诗境的文人画的创作手法。画家的笔在画面信步游来，如入无人之境，满目清辉，水墨一清如水，隐约透心，墨与水的相互渗化作用，呈现出奇幻莫测的效果，墨色之变幻和浑然一体的笔墨结构，处处着意又处处率意。在可控制和不可控制之间蕴藏着向外的张力，达到笔墨浑沦的效果。在徐葆欣的作品中不难看出画家是在一种宽泛和谐、悦乐的精神状态下挥写与自己心灵相通的山河美景。

　　信手拈来是神笔。徐葆欣笔耘墨耨，潜心书画，国内外个展三十余回，出版书册六集，现将“徐葆欣中国画作品展示厅”常设于澳亚俱乐部，在艺术道路上徐葆欣正不断地书写着新的篇章，我期待着徐葆欣先生在新一轮的创作中会有更丰富、更精彩的作品问世。

　　国家艺术杂志社社长兼主编

　　Combination of Splash-ink Paintings with Color Paintings，

　　and Traditional Style with Modern Style

　　The fascinating Chinese paintings，influenced by the Chinese classical realism，express philosophical ideas and humanistic feelings after introduction of 'learning from external nature'. Just like interpretation by Dong Qichang on traditional landscape paintings，Chinese paintings have an element of fairyism，and present spiritual vitality of the Southern School’s landscape paintings. After appreciating the works by Xu Baoxin，we can sense his artistic temperament，spirit and morals，thoughts，brushstrokes and unusual life. His paintings have a special spiritual vitality and a solemn feeling，expressing thoughts of Zen to combine splash-ink paintings with color paintings，and traditional style with modern style.

　　Xu Baoxin，also known as Xuxian，styled himself Xishan Recluse，was born in Qingpu，Shanghai in 1943. In the 1960s，he studied in Shanghai Training School of Fine Arts which was called a cradle of artists. In the 1980s，he made his voyage to Japan and studied in Keio University. He also taught Chinese paintings in Japan for many years. After he returned to China，he moved to the suburb from downtown in order to keep himself away from hustle and bustle in cities. He readjusted his life goal and absorbed himself in splash-ink paintings to seek after sublime. Now，he has reached a new achievement，and we are pleased for him.

　　In view of his works，we can find that he has deep knowledge of traditional brushstrokes，namely a display of painting skills，and he advocates the modern idea of Shanghai-style artists which is to seek for truth and innovation. The idea of 'seeking for truth and innovation' in Shanghai-style traditional Chinese paintings brings visual effect and originality of modern paintings into a fully play in free sketches. The splash-ink landscape sketches by Xu Baoxin are innovative with the modern idea and spiritual vitality of traditional landscape paintings. His landscape paintings follow the styles of artists in Song and Yuan dynasties and are overwhelming. Although Xu Baoxin lives in South China，his brushstrokes of the Southern School are not constrained by the traditional style; he paints with a free pen at his free will. The style of his paintings is similar with Mi Fu's 'Multi-View Tower'(Duojinglou) highly admired by Wu Hufan which is natural，smooth and profound. His brush and lines with his ideas blend the spiritual vitality of literati paintings into the modern style. Therefore，his large paintings，such as the Island and Song，depict changing spiritual vitality of the nature，reflecting the thought of Taoist 'the extreme of gorgeousness is simplicity and the truth underlies the essence'.

　　The splash-ink landscape sketches by Xu Baoxin are an innovative approach of the Southern School after China’s Reform and Openness. The pictures are painted with solemn colors and have hazy feelings and profound meanings. These landscape paintings of the Southern School are a symphony of spring keeping pace with the times，unifying sentiment with expression，and free sketches with detailed approaches. They add brilliance to the present splendor of the modern Shanghai-style paintings.

　　The Shanghai-style paintings focus on spiritual vitality. The innovation by Xu Baoxin in the modern Shanghai-style paintings is an increase of a tension of spiritual vitality and expression of Taoist's thoughts，especially the ideas of literati painters in Song and Yuan dynasties through free sketches. The painter’s brush takes a leisurely walk and enters a mysterious world on paintings which were between fantasy and reality. A clear and bright light is everywhere in his paintings，his ink paintings are as translucent as water，and the water and ink are fused to present a magic and changing effect. The change of ink colors and an integral structure shows his elaborate decoration and natural style. His brushstrokes have the controlled and uncontrolled tension to the external world. It is easy to find that Xu Baoxin created the landscape paintings in a relaxed and pleased mood.

　　Painting freely without too much hesitation is miraculous. Xu Baoxin has devoted himself to painting and held more than thirty solo art exhibitions at home and abroad，and has published six art collections. Now，Xu Baoxin Chinese Painting Exhibition Hall has been established in the Australia-Asia Club. In the future，he will continuously create more new paintings. I look forward to his new wonderful works.

　　Qin Geng

　　President and Chief Editor of National Arts Magazine Agency