傅啓中教授的艺事，在大陆早负盛名，台湾知者或许不多，但不论知与不知，一见其画，没有不倾心折服的。直观而言，画的内容多是滨藏地区人们起居礼拜、力耕放牧的生活写照，画中人物饱经风霜、质朴坚毅的面容，深深打动观者的心。他们的服饰或轻盈或厚重，侔随着鲜明或暗沉的色调和皱折，分人击节赞欺。还有四季流转，反映在大地景观的光影变化，不论是雪山深谷的峻极之势，或是密林返照的夺目之奇，细腻入微的刻画，处

　　处皆是惊喜，时时引人向往。

　　作画的方式很特别。据傅教授说是以彩爲主，水中加了胶，加了蛋和面糊，甚至汽油、松节油也都用上了。实际操作时可以画可以洗，可以沾、印、抹、喷、洒，或者索性用干笔，只要产生效果便好，无所谓绝对的步骤和方法。这此话说起来轻松，却是尽家经过多少年无数次尝试后得到的成功，自然也就成了独家之秘。这让我们想起清代大画家石涛所说的「无法之法乃爲至法」一明确反对以古人笔墨程序束缚了自家艺术。水彩画传至中国百年，冲决前人技法程序的尚未多见，傅教授取法乎上，借鉴西方达文西的绘画，擘肌分理，积微观而至巨观，突破传统尺幅的规制，呈现小大游之，愈大愈壮的气势，提高了水彩画于当代的辨识度。台湾资深艺评家黄祖荫先生称他是会景文、程及、蓝荫鼎之后，又一位杰出的华人水彩画家，可谓推崇备至。

　　独特的画风来白新实践新成果的显现，还要注入作者的思想和眞情，方能产生感染力。傅教授自幼于困阨的环境中成长，凭着勤奋学习和绘画天分，历经重重关卡，终于考取武汉艺术师范学院。毕业后怀抱作育英才之志，岂料遭逢**批斗摧折，几至殒命，然而黑暗的尽头，对绘画的渴望宛如明灯，支撑他活下去的勇气。古人云：「诗穷而后工」，经此劫难的他，盆加坚信，他的生命得自绘画，将来也要由绘画来完成。干反后恢复自由之身，被压抑的艺术之心得以充分释放。课余之暇，到处写生作画，会七赴德钦，四往西藏，十余次去丽江，遍览石林、大理、新丕、元阳等世界级宝地风光。心凝形释，与万化冥合，画笔镂刻他对边民韧性的歌颂，以及自然大美的礼赞。

　　自1988年北京中国美术馆展出作品九十幅，造成聂动后，傅教授成爲艺坛焦点，屡次应邀至国内外知名美术馆展览，佳评如潮。2013年来到水彩画发祥地上海举办个展，专家评论称爲「不同于上海水彩画的优秀作品」，肯定他别辟蹊径的创造性成就。他的画格如此迥然秀出，「如同被誉爲蒙古草原上之苍狼腾格尔，震动世人的心弦」（黄祖荫评），情系世外洞天「香格里拉」的传教授，无疑就是演藏风光的代言人。

　　十年前傅教授首度来台展出期间，会应艺术中心陈钦忠主任之邀，来兴大参访，兴酣之际，许下他日莅校展览之诺。岁月不居，恍如昨日，今年春，经陈主任力邀，复承张书昭先生鼎力赞助，得以实践昔日之约。订于本校校庆之日，举办盛大特展，继之于明年三月于国立彰化生活美学馆、四月于国父纪念馆展出。欣幸绝代艺术风华行将扩及广远，艺坛人士当翘企以待，欢迎先生之翩然驾临也。

台湾中兴大学校长

薛富威

President‘s Preface

　　The artistic achievements of Professor Fu Qi Zhong have been well-known throughout Mainland China. While not known to many people in Taiwan， Fu’s paintings still capture the admiration of viewers. These paintings are mainly depictions of the daily lives of farmers and herders in Yunnan and Tibet. The hardship-stricken， yet modest and determined faces of the figures in the paintings， whether dressed in light or heavy clothes， with bright or darkly colored folds， deeply touch the hearts of viewers. Moreover， the cycle of the seasons is reflected in the variations of light and shadow upon the landscape in such a way that these marvelous paintings are able to surprise and draw the viewer‘s eyes， no matter if they are about the magnificence of snowy peaks， or valleys or flashes in dense forests.

　　The way Fu’s paintings are executed is very unique. According to Prof. Fu， he mainly uses water colors， to which he adds glue， eggs， paste， and even gasoline and turpentine. In actual practice he will wash， dip， press， plaster， spray and spill or simply use a brush. There are no fixed methods. As long as the desired effect is achieved， the artist can paint by whatever ways he wants.

　　This may sound easy， but the artist has tried for many years and went through countless difficulties before succeeding. As the great Qing dynasty artist Shi Tao said. “No method is the best method.”

　　The artist‘s creativity should not be constrained by any conventional painting methods.

　　Watercolour paintings have existed in China for centuries， yet rarely does anyone ever challenge conventional forms and techniques. Prof. Fu， however， takes watercolour painting to a new direction by learning from the works of Leonardo da Vinci， dissecting and separating the image， then building up a broader image made up of the accumulated details. He thus breaks the limits of traditional Chinese painting by turning small details into powerful images， thereby enhancing the degree of recognition for contemporary watercolour painting. As Mr. Huang Zu Yin， a renowned Taiwanese art critic， rightly says： Fu is without doubt one of the great Sinophone painters along with Tseng Jing Wen，

　　Cheng Ji， and Lan Yin Ding.

　　Fu’s unique style derives from constant practice and experiment. His inner thoughts and true feelings， moreover， are expressed in his paintings， so much so that they really touch people‘s hearts. Born into a time of hardship and struggle， Prof. Fu overcame many obstacles and was finally accepted by the Wuhan Academy of Fine Arts. After graduation， although he had the ambition of becoming a great artist， he nearly lost his life during the Cultural Revolution.

　　His passion for painting， nevertheless， was like a light guiding him out of the darkness， encouraging him to live. As the saying goes， “the greater the hardship， the greater the art.”

　　After this historical catastrophe， he was more determined than ever， so he lived to paint and hoped to complete his own life through painting. After his rehabilitation， Fu was restored to freedom. Now that his suppressed artistic yearning was given full release， he could spend his time painting the world around him. He has been to Dêgên County in Yunnan seven times， four times in Tibet， and ten more times in Lijiang. He has explored

　　numerous world-class natural scenic sites such as the stone forest， Dali， Xinping， and Yuanyang. A calm heart helps him connect to the world. Through his brush， moreover， he expresses his praise and love for the native people as well as the beautiful nature.

　　In 1988， since the Beijing Fine Arts Museum displayed ninety of his paintings with much fanfare， Prof. Fu has gradually become a central figure in Chinese art. He has often been invited to world-famous art exhibitions， both in China and abroad， and received widespread acclaim. In 2013， he went to Shanghai， the birthplace of Chinese watercolour painting， for a solo exhibition.

　　The experts there commended Fu’s “outstanding works that are different from the paintings of Shanghai，” giving recognition to his creative achievement. His paintings， as art critic Huang Zu Ying comments， “tug at people‘s heart strings， much like the performance by the well-known Mongolian singer Tengger， also known as the gray wolf on the Mongolian prairie.

　　Emotionally bonded with the hidden paradise “Shangrila， Professor Fu is without a doubt the best representative of the luminous beauty of Yunnan and Tibet.

　　A decade ago， Prof. Fu first came to Taiwan to display his works. At the invitation of Professor Chen Chin Chung， the director of the Art Center at NCHU， he paid National Chung Hsing University a visit. After a pleasant discussion， he promised another exhibition at our campus. Time really flies. Thanks to the effort of Director Chen and support by Mr. Chang Shu Zhao， Professor Fu was able to fulfill his promise a decade ago to hold another exhibition here. It is especially meaningful that it will be held during the university’s anniversary. After that， the exhibit will go on to be displayed until next March in the National Changhua Living Arts Center and until next April in Taipei at the National Sun Yat-Sen Memorial Hall. I am certain that Fu‘s new and creative style of art is going to spread far and wide in Taiwan， and people in the field of art are looking forward

　　to the arrival of this distinctive artist.

Dr. Fuh-Sheng Shieu

President of National Chung Hsing University

(Translated by Morgan Chang [张伟婷Jand Henry Lee [李享]