半个世纪前会看过法兰克·卡普纳（Focapra）导演的Lost Horizon（中译桃源艷绩），首次揭开了古演国神秘的面秒，印象至今深刻。1968年读《李霖灿西南游记》，爲那生花妙笔所吸引，说那儿雪是绿的，瀑布又凝又哑，山中终年云遮雾绕，琼台玉阶，传爲女娲炼石补天之处，还可随便与麋鹿游······魅力四射。近日偶然发现傅啓中先生的水彩画，老眼爲之一亮。较早也欣赏了故宫博物院所藏谢遂 〈职供图〉中的「丽江幺此蛮」，以及时人所绘青藏高原风光，都没有激起我的惊异与感动。今天艺林中居然有这等神品，急于探个究竟，先从在台好友处探得其情，不久即设法与傅先生取得联系并通了电话，粗知其大概，当

　　下表示希望他能亲自来台展览。

　　观其画必知其人，方能领略其画之所以如此。傅啓中是湖北人，1938年，即抗战次年出生于武汉法租界一间小屋内。乃父希咸(字恒伯)，从伯父希奕，相偕人湖北新军八镇十五协二十九标，因思想先进，暗中加入了革命组织共进会。辛交十月十日，希奕兄弟与测绘学堂五十三名学生，会同熊秉坤攻占楚望楼军械库。旋即希奕先生升爲都督府卫队营**，希咸先生则转战汉阳前线扫荡清军残余部队。南北议和，希咸先生编人陆军学校，后升入保定军校四期步兵科，毕业后仍在军旅，积功升至陆军少将，先后任**会南昌行营干训班教官、五战区司命部督训处副处长、恩施区行政督察专员、湖北省政府建设厅厅长等职。后弃官从事煤矿事业，华中剿总白崇禧劝其复出末应。有堂兄弟在台，一爲少将飞行官，一为既利公司董事长。

　　啓中自幼即喜涂鸦，自小学至大学，始终保持优秀成绩，期间且常躐等跳级，不但其见天赋也颇示其远大的志向。他读湖北艺术学院美术科时，唐一禾兄弟的班底还在，尚维持纯艺术的教学，阳立光、刘依闻老师更是倾囊以授，他珍惜这一良机，用志不茶，夙夜不懈地苦学，死心蹋地地追求亚波罗(Apollow)，邃奱定坚实的绘画基础。开始默默做水彩画，因爲油画颜料不易购得，他说：「只要能拿起画笔就使我激动不已，忐记了一切。」画水彩流畅明快，他有控制水行乎不得不行，止乎所不得不止的本领，用色也深沉不绚，以酿造氛围为定。无论如何似乎不够厚重雄浑，他总觉得不能十分如愿表达其心灵所向，于是尝试各种技法思以改观。诸多画家也有同感也同样努力过，傅啓中是其中最成功而有所突破的一位。看来他是借助了油画式的质感、版画式的拓痕，特别在肌理的研发上堪称独到。擘肌分理本是制

　　玉之法，在诗学上翁方纲推爲「穷形尽变」之法，而移用于绘画上效果更见显著，据他说是：「必然中的偶然，偶然中的必然。」我们三复斯言，意味酸甜苦辣，喜怒哀乐尽在其中矣！现在艺术殿堂诸神，正好奇欲追问这技法的正果是怎样练成的。其实有何秘诡之处，天下无难事，只怕有心人而己。

　　接到云南艺术学院的聘书后，可从容地来教书和作画，以收教学相长之效。假日便到名胜写生，足迹遍瑞丽、芒市、元阳、中甸、德钦、圭山和大理，甚至青藏高原，有此是徐霞客想去而未去成的地方。中甸香格里拉，是举世之人向往之所，他前后去过十一次。李霖灿生前有诗爲证：「显倒安想亦可喷，不意人间有觅处。」「香格里拉」一词在藏语的意义爲「心中的日月」(亦即希尔顿J-Hilton笔下的蓝月谷），风光如斯，但傅啓中则画出人世的现实深隐的一面。他这样说：「我到了雪山、峡谷、草原之后，深感环境的恶劣，生存条件的险峻，这儿的人民能世世代代生活在这里，就要和大自然搏斗，确实锤炼了他们的坚韧、顽强、豪迈的气质。我认爲，这顽强的生命力，才是我礼赞的。」这也是他自我写照的扩大，因此，每-幅画都是眞气喷溢，命人直觉到刚毅木讷、悲而且壮。

　　近读徐嘉瑞的 《大理古文化史稿》 及钱锺书 《管锥篇》，发现傅啓中的画与屈原 《离骚》有异曲同工之妙，他们同是楚人，又同是放逐者，一个用辞一个用画，创造了让人回肠荡气的艺术之作，所作对象又有所重叠。徐嘉瑞说楚国神话，多来自西北，与大理古代文化之来源相同，举〈天问〉、〈九章〉等篇爲例，认爲屈原对金沙江上游，即汶山一带，在禹所生之地，会发生极大的憧憬。钱锺书也举〈九章 o 悲回风〉中所描绘的，亦即金沙江的气候及形势：「凭崑仑以瞰雾兮，隐汶山以清江，惮涌湍之瓂瓂兮，听浪声之沟沟。…？悲霜雪之俱下份，听湖水之相击。」钱氏指爲「揭开后世诗文写景法门，先秦绝无仅有。」而傅啓中画的，也可以说是古人之所未及，亦后世之所不可无的，他自谓是当前之景与心灵背景的合成。在此，我们祝愿他更上一层楼，要与同乡先贤共创千古得未有之奇。

　　傅啓中的画，1985年即入选全国水彩画展，但要进到1988年，由中国美术馆副馆长曹振峰推介，在北京美术馆开个展时，才造成轰动，才引起艺坛瞩目。传啓中突然成了焦点人物，当时阿根廷总统正在北京访问，很激赏他的作品，邀他访阿并在首都举办展览。文化部部长王蒙大力促成。1990年至1991年在美国斯特摩尔接连举办 「国家艺术展」，傅啓中也都被隆重邀请，不但博取热烈的反应，并获得头奖及宾州水彩画会主席团奖，以后不断在世界各地参展均获殊荣。我认爲傅啓中是继会景文、程及、蓝荫鼎后，又一位杰出的华人水彩画家，他如同被誉爲蒙古草原上之苍狼的腾格尔一样，震动了世人的心弦。

　　我们很兴奋将可看到他傲视的洗练凝重的风格，不一而足的表现：有纯英国传统式的，有明暗极端对比林布兰(H.Van.Renmbranbr式的，有主题突破四周留白中国画式的，也有看似抽象然绝对具象式的，集精华于一堂。可说不主于一家，而别成其家。故既能醇乎奇醇，亦复出奇尽变者也。我再一次提醒：那吾土吾民起居礼拜的场景，才是他锥心泣血之作，更谢谢他连同玉埂银丘一并搬到我们眼前来。兹值水彩画传华百周年之际，展出傅啓中之画更具特别意义。附上粗诗一首，聊表秀才人情：

　　天矝画种状天垓，世外先源始洞开；

　　尺幅都凝膏与泪，边民韧性夺框来。

黄祖荫

(台湾著名艺术评论家，本文有删节）

原载于云南美术出版社 《傅啓中水彩精品集》 （2011年）

The Painter from Shangrila--Fu Qi-Zhong

　　Half a centry ago， I saw a film directed by F. Capra， Lost Horizon， which unveils the mysteries of the ancient place Of Dian. I still remember it very wall. When I read Travel Notes in Southwest China by Li Lincan in 1968，I was attracted by his wonderful writing with vivid description. He said in the book that snow there was green， the waterfall was dense and dumb， and the mountains were enveloped in thin clouds and mist all the year round. It‘s around you.

　　The description is so fascinating. I have seen Mr. Fu Qizhong’s watercolor paintings by chance recently， and they caught my eye immediately. Earlier I had appreciated Lijiang Moxieman of Xe Suizhi‘s paintings of tribute collected at the Palace Museum and the landscapes of Qingzang Plateau drawn by modern painters， but I saw neither amazed nor touched. Now I have found there is such an excellent painter in the artistic circles， so I am anxious to know about him.

　　First I asked the Taiwan Liaison office for his information， and tried to contact with Mr. Fu. I called him and had a rough idea about him. I asked him to come to Taiwan to exhibit his paintings.

　　We know a person by his paintings， and understand why the painting has such a style by its painter. Fu Qizhong is from Hubei. He was born in a cabin in the French Concession in Wuhan in 1938， that was， the second year of War of Resistance against Japan. His father Xixian and uncle Xiyi joined the g’ Zhen 15th Xie 29‘’ Biao of Hubei New Army together. Having advanced ideas， they joined the revolutionary organization-“Gonging Assocition” in secret. On Otober 10‘， 1911， Xiyi brother and 53 students of Surveying and Mapping joined with Xiong Bingkun in attacking and occupying the ordnance depot in Chuwang

　　Tower. Soon Mr. Xiyi was Promoted to promoted to the battalion commander of the bodyguard battalion of the provincial military government， while Mr.

　　Xixian went to the Hanyang Front to fight the remnants of the Qing army. Atier the North and South held peace talk and ended the war through negotiation， Mr. Xixian was sent to the Army Training Centre， and then went to the fourth Infantry Section of Boding Military Academy. He stayed in the army after graduation and was promoted to major general. He had been the instructor of the Officer Class of Nanchang Battalion of Military Committee， the deputy director of the supervising office of the headquarters of the Fifth War Zone， the administrative superintendent of Enshi District. And the head of Construction Department of Hubei Provincial government successively. Later he left the army and took up coal mining. Bai Chong Xi， the general commander of suppressing bandits in central China. Persuaded him to come back to the army， but he refused. Mr. Fu Qizhong has two cousins in Taiwan， one is an air vice marshal， the other is the president of Jili Company.

　　Qizhong was curious about everything when he a child， and he liked scrawling. From primary school to university， he had kept excellent marks， and he often skipped grades. He had not only showed great talent but also strong ambition.

　　When he studied the fine arts at Hubei Art Academy， the ordinary personnel Of Tang Yihe brothers were still there， and they taught pure art. Yang Liguang and Liu Yiwen even made every effort to teach students all they knew. Qizhong took this good opportunity to study hard day and night， keeping steadfast to Apollo， and he had laid the solid foundation of painting. Later he began to practice watercolor painting quietly. Because it’s difficult to get the pigment for painting， he said， “IIl get very excited and forget everything else as long as I can take up the Painting brush.”

　　He draws watercolor paintings with ease and liveliness， and he is capable of controlling his stokes. Water flows when he draws it. And stops when he ends it.

　　He usually uses dark rather than bright colors to create the atmosphere. It seems that the paintings cant‘s fully express his ideas if the strokes are not heavy and vigorous enough， so has trids of technique to make them perfect， Mang painters have had the same feeling and tired a lot， and Fu Qizhong is the most successful in making the breakthrough. He has made use of the realistic feel of oil painting， rubbings of woodcut， and particularly he is original in the development of texture， Breaking off and analyzing is the method of dealing with jade， and it was developed by Weng Fanggan into the technique of “giving a Lively and detailed account” in poety. Fu Qizhong uses the technique in painting and has

　　achieved remarkable results. He said， “It’s the accident in certainty and certainty in accident， “these words contain all flavors of sour， sweet， bitter and hot， including the joys and sorrows of life. Now many artists are curious how he has achieved the success， the reason is quite simple and there is nothing mysterious about it： nothing in the word is difficult for one who sets his heart on it.

　　Having received the letter of appointment of Yunnan Arts University， Fu Qizhong can take his time to teach and paint， and teaching benefits him as well as students. On holidays， he often goes to scenic spots to paint from life.

　　He has been to Ruili， Mangshi， Yuanyang， Zhongdian， Deqin and Dali， even Tibetan plateau， some of which are the places where Xu Xiake had wanted to go. Shangri-la(it was authorized to be new name of Zhongdian， the capital of Diging Zangzu Autonmmous Prefecture by the State Council in 2001)， is the place where people all want to go. He has been there for 11 time. Li Lincan wrote in his poem， “people are to blame for infatuation， but the paradise does exist in the wod. “The word “ Shangri-la” means “ the sun and the moon at one‘s heart. “(That is the blue moon valley by J. Hilton) in the Zang language. The scenery is so beautiful， but that Fu Qizhong depicts is the hidden and practical side of the word. He said， “When I got to the snowy mountains， canyons and grasslands， I experienced great hardships of the adverse circumstances and severe living conditions. People there have to struggle with nature for survival generation after generation， from which they have developed a disposition of being solid， indomitable and heroic. It is the indomitable life force under severe circumstances that I really want to praise. “It is also a real portrayal of his character. Therefore， every painting is the revelation of his true feelings， giving the impression of being resoult， solemn and stirring.

　　I have read The Historical of the Ancient Culture of Dali by Xu Jiarui and Zhui by Qian Zhongshu recently and found the paintings of Fu Qizhong have the same good effect as Li Sao by Qu Yuan. Both of them were bone in Hubei and later left their hometown. One used Chinese ancient poetry and theother uses painting to create the soul-stirring works of art and have they have depicted some common objects. Xu Jiarui said， like the ancient culture of Dali， most of the myths of the Kingdom of Chu originated from the northwest of China and took The Riddles and The Nine Elegies for example. He thought that Qu Yuan had yearne for Wen Shan area in upper reaches of Jinshajiang River， where King Yu was born. Qian Zhongshu quoted from The Nine Elegies the sentences describing the climate and situation of Jinshajiang River， Kunlun Mountain rises above fog， Wenshan is out of sight and Qingjiang River is characterized by swift currents.

　　Listening to the sound of the turbulent waves， people are scared of the rushing waterso-It’s said that frost and snow fall， and we only hear the sound of water striking.

　　The technique that Qian Zhongshu refers to has crated the new approach to writing poems and articles to describe scenery in later generations， which was quite rare in the pre-Qin period， and we can say that the paintings of Fu Qizhong have no parellel in history. He says they are the combination of the scenery before the eyes and spiritual background. We hope he attains an even higher goal and try to create the same unparalleled miracle as the sage of his hometown.

　　The paintings of Fu Qizong were chosen to the National Watercolor Exhibition in 1985， but it was not until 1988 that he caused sensation and received praise throughout the art circles， because of the recommendation of Cao Zhengfeng， the vice-superintendent of China Art Gallery and his personal art exhibition at China Art Gallery in Beijing. The Argentine president was visiting Beijing at the time， and he appreciated Fu Qizhong‘s work so much that he invited Fu Qizhong to go to Argentina and hold an exhibition in the capital. The visit was successful thanks to the great efforts of Wang Meng， the Minister of

　　Culture. From 1990 to 1991， National Art Exhibitions were held in Stermoland， America， and Fu Qizhong was formally invited there. His paintings not only caused strong repercussions but also won the first prize and the presidium prize of the 13’ Pennsylvanian Watercolor Exhibition. Later his paintings were on exhibition in many places of the world and gained great honor. He was unanimously regarded as another outstanding Chinese watercolorist after Zeng Jingwen， Cheng Ji and Lan Yinding. Like Teng Geer， who is called “the wolf of the Mongolian Grasslands‘ ， Fu Qizhong tugs at people’s heartstrings.

　　He plans to hold an exhibition larger than ever. Weexcited to see his succinct and dignified style， which is expressed in various ways. There will be the pure traditional English style， the style of strong chiaroscuro by；s van. renbranbr， Chinese painting style with subject breakthrough and space on all sides， and the concrete style which looks like an abstract one， the exhibition will bring together the cream of arts. We can say that his painting style doesn‘t come from one school but it does belong to a unique school. So it can be further improved and enriched， and also change in various ways. I emphasize again that he has exerted his utmost effort to express the scenes of the daily life of our native people. We’ll thank him for bringing the field ridge and which are as precious as jade and silver to us. It happens to be the hundredth anniversary of water color coming to China， and Fu Qizhong‘s exhibition is of great importance. I write a poem to express my

　　heartfelt congratulations.

Huang Zu-Yin (Famous Art Critic， Taiwan)