作者：冯信群
出版社：江西美术出版社
格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT
水色游历：冯信群水彩作品集试读：
作者简介
冯信群，男，1962年5月生。毕业于江南大学设计学院，艺术硕士学位。
东华大学艺术设计学院教授，环境艺术设计系主任。上海市环境艺术专业委员会副主任，上海水彩画家协会理事，SSDF设计论坛委员会副会长，澳大利亚水彩画协会荣誉会员，亚洲基础造型学会、日本现代美术协会正会员。
出版《新概念素描》、《冯信群水彩画集》、《住宅室内空间设计艺术》、《室内设计快速表现技法》、《空间无限》、《公共环境设施设计》、《设计表达》、《景观元素》、《融合》、《手绘埃及•尼泊尔》、《建筑水彩画艺术》、《人物水彩画艺术》等专著。
作品曾入选和参加“中国水彩画大展”，“全国水彩画精品展”，“文化部世界巡回展”，“亚洲水彩画展”，“日本现代美术展”，“中韩交流展”，“中法交流展”，“马来西亚中国六人展”，“传统与现代艺术展”，“马来西亚建国五十周年国际艺术邀请展”“当代中囯水彩名家邀请展”，“法国蒙斯市政府邀请展”“2009、2010囯际名家水彩画展”“全国水彩粉画展”，“澳大利亚水彩画年展”，作品多幅被国内外机构收藏，作品和论文多次在专业核心期刊上发表。
在国内外多次进行艺术、设计、教学交流和演讲。
THE BRIEF INTRODUCTION
Feng Xinqun，male，born in May in 1962，graduated from the design institute of Jiangnan University，has earned the degree of MFA.
Feng Xinqun is an associate professor of the art design institute of Donghua University. And he is also the associate director of the environment art committee of Shanghai，the syndic of the watercolour painters association of Shanghai，the vice president of the SSDF Design Forum Committee，an honorary member of the Watercolour Association of Australia，the member of the basic sculpt academy of Asia and the member of the modern art association of Japan.
Feng Xinqun has published many monographs such as《New Concept Sketch》，《Watercolour Paintings Collection Of Feng Xinqun》，《Art For Indoor Interspace Design Of Houses》，《Artifice Of Prompt Representation Of The Indoor Design》and《Spaceless Interspace》，《Public Environmental Facilities Design》，《Design Expression》，《Elements of Landscape》，《Syncretism》，《Handpainting of Egypt• Nepal》，《Art of Building Watercolour》，《Art of Character Watercolour》，etc.
The works of Feng Xinqun has ever been selected to be shown in the China watercolour paintings exhibition，the nationwide exhibition of the essential works of watercolour paintings，the worldwide itinerant exhibition organized by the culture department of China，the watercolour paintings exhibition of Asia，the Japan modern art exhibition，the intercommunion exhibition between China and Korea，the intercommunion exhibition between China and France，the exhibition of six Chinaman's works in Malaysia，the traditionary art and modern art exhibition，the International Art Exhibition for the founding of Malaysia for 50th anniversaries，the invitational exhibition of the modern China watercolour painters，the invitational exhibition of the government of Mons City in France，the international watercolour paintings exhibition in 2009 and 2010，the nationwide exhibition of watercolour and gouache paintings，the annual exhibition of watercolour painting in Australia，etc. And many works of his has been collected by inland and overseas organizations and been published in professional periodical.
Feng Xinqun has made communication and presentation in the field of art，design and teaching at home and abroad frequently.序
水彩画属外来画种，传入我国仅百余年历史。外来水彩与中国传统绘画同属于水性画种，在表现手法上有诸多相似之处，所以水彩在中国很快得到普及和发展。现今的中国画坛，已涌现了许多优秀水彩画家，冯信群就是其中的佼佼者。
信群十分注重继承和借鉴欧洲绘画传统的艺术表现，并在实践中努力糅入中国的审美元素。他对待艺术持一种认真严肃的态度，对欧洲画界的诸大家作品常进行理性的分析，对画面的构成法则和形体透视的变化进行细致的琢磨和研究，特别是依据造型中光影所呈现的色彩要素有他独到的体验，因此反映在信群的水彩作品中色彩十分浓重，冷暖对比的“欧”味甚强，从中还能渗透出中国传统的美学趣味，他的作品是有自己的艺术表现和符号的。他深信水彩画要具有本民族特色，并不是将中国传统方法和外来水彩在技法层面的叠加，而应是在精神上的融合，是灵魂的融合。
信群热爱生活，对生活寄以深情，他游历自然人生，抒写真诚情怀，他勤奋作画，乐在其中。正如他自己所说：“只有当灵魂化作自然的时候，才能真正得到升华，才能感到愉悦。”
在中国水彩发展的进程中，静物画、风景画占有较大的比重，而人物画一直是个薄弱环节，近些年虽有一些水彩画家从事人物画创作，但出色的并不多。冯信群在水彩人物画方面表现出他的才能，由于他的素描功底坚实，色彩方面的素养又甚强，对水色的运用也很纯熟，在面对各种人物形象的刻画，他总是能很快捕捉到对象的形神，然后赋以流畅、明快的水色，他的水彩人物画具有形神兼备、光色兼得的艺术效果。
他忠于自然，忠于现场写生，在如实表达客观对象的同时，总是不断地追求画面的内在美感，因此，他的作品获得了广泛的审美共识，也赢得了众多欣赏者的青睐。他的作品正如他的为人一样，具有一种亲和力。
信群的这本画集较之十年前出版的那本画册来说，更进一步地表达出对自然、人生的挚爱，对现实世界真、善、美的认识和把握，也进一步证明了他艺术的日趋成熟。
愿已入知天命之年的信群继续创作出更多更好更美的水彩画作。2011年元月于上海“光明城市”寓所
PREFACE
Watercolor painting is a foreign species which introduce to our country just over a hundred years. In common with traditional Chinese painting，foreign watercolor paintings belong to water painting. There are many similarities in the technique of expression，hence watercolor painting quickly gained popularity and development in China. Many excellent watercolor painters have emerged in today's Chinese painting world. Feng Xinqun is an outstanding one of them.
While heeding on the reference and absorption of the traditional artistic expression of European painting，Xinqun integrates Chinese aesthetic elements into his paintings in practice. With serious attitude on art，he studies in an intellectual way about paintings of the famous maters in European paiting world. He pays a careful analysis on the structual rules of view and the variation of perspective. Particulary，he develops a unique understanding of presenting colors based on brightness of structure，hence we see in his watercolors the intensity of colors and the European-featured contrast between warm-tones and cool-tones. It also can seep the Chinese tradition esthetics interest，hence，his works have their own artistic expressions and symbols. He deeply believed that the watercolor painting must have the national characteristics，which is not the summation of Chinese traditional routes and the external watercolor on the level of technique，but should be in the spirit and soul of integration.
Xinqun loves life and has a deep sentiment of life. He writes his honest feeling as he tours the nature；he keeps painting diligently as he enjoys himself. What he says is“only when the soul merges into the nature can one get sublimation and happiness.”
The development of Chinese watercolors sees a large evolvement of still life painting and landscape painting while figure painting is weak link. Though in recent years some painters tried on figure painting，few of them made great achievement. But Feng Xinqun has his talent in figure painting. With solid sketch skills，successful color arrangement，and professional application of watercolor，he，using watercolors smoothly and brightly，can always picture different figures vividly. The success of his figure paintings is in drawing，inspiration，brightness and colors.
He loves nature and devotes himself to painting. He pursuits the inner sense of beauty built on truly-described object. His works，just like himself，with an affinity，have largely won appreciation and admiration.
By contrast with the old album he published ten years ago，this new album further expresses his love for life and nature，and his understanding of truth，morality and beauty. Also，this album proves his growing talent.
Now that Xinqun has entered his fifties，I hope he can produce more beautiful watercolors.Wang WeixinJan. 2011Bright City Apartment，Shanghai山里的村子 76cm×56cmTHE MOUNTAIN VILLAGE
浙江楠溪江上游，在群山绿荫间隐逸许多古老农舍，深褐色木结构建筑体陈旧而残缺，屋前，溪水潺潺，气息幽雅。我与马来西亚一位画家途经此地已近中午，见青翠古朴的景色，迫不及待地跳下车，支起画板，此刻风景俨然成为最佳午餐。画完后寻进村子，农妇用刚下的鸭蛋煮了两大碗面条，美味异常，一番狼吞虎咽后，我们背起画夹又重新上路。
On the upper reaches of the Nanxi River in Zhejiang Province，the rolling hills are orderly scattered with old houses of the ancient village. A running stream slowly rolls down the old houses，sending out a fresh and quiet smell.老挝的木屋 76cm×56cmLOG CABINS IN LAOS
在老挝北部的琅南塔山区，山峦起伏，森林密布，大部分生活在这里的少数民族部落至今仍保持着自给自足的农耕、游牧生活。吊脚楼式宅屋，木质墙体、树皮屋顶，光线穿透高湿度的空气，在木屋的表层幻化出微妙的色差来，受光部位呈丰盈的粉润色质，阴影部分却显蓝色。农舍前堆放着各种杂物，竹席上晾晒的食物引来鸡禽觅食。闭塞的农家生活，充满着原真的质朴。
Deep in the huge mountains of Laos，there stand primitive log cabins，whose bark roofs hanging and supported by wooden walls. All sorts of sundries pile up in front of the farmhouse，chickens and birds seek for grains drying on bamboo mats. The sheltered farm life is full of mysterious authenticity.泊岸 76cm×56cmANCHOR
从老挝湄公河写生归来，途经泰国南部宋卡，沿河而行，船只来往穿梭，激起层层涟漪，靠岸的渔船上堆满捕鱼的器具。桅杆上，绳索斜拉，与忙碌的人群以及堆积的货物形成向上升腾的气势，淡蓝色的调子与鲜明的红橙色，使主体间对比跳跃。近处的码头上盘绕的缆绳宛若一条线索，将视线延伸。
Back from nature drawing along Meigong River，we passed Songkhla，a southern city of Thailand. Along the shore，ships and vessels ply as across the extensive docks，where fishermen are busy loading or unloading cargos piling up on the fishing boats ashore. The inclined riggings on masts，the busy crowds on decks and the mountains of goods together create an upward atmosphere.寂静的渔村 76cm×56cmA SILENT FISHING TOWN
马来西亚北部班茶海边，空旷而静寥，萧瑟的海风中挟裹着腥咸的海水味，吹拂至残屋，更添丝丝清愁。颓败的墙体，被海风侵蚀得破旧不堪，颇觉清冷与单调，透露着一股遗世的孤寂与深沉。
The Bancha River in the North of Malaysia flows great hollowness and silence. The miserable house walls covered by wood strips have been eroded and ruined by the sea wind，and become dull and desolate. Rigid tin roofs，with tenderness hidden in its lines and old walls，painted by strong bleak colors，show a calm feeling.槟城小吃摊 76cm×56cmSNACK STALLS IN PENANG
画面在马来西亚槟城巷口屋檐下的小吃摊展开，镜头的焦点汇聚于摊头用餐的情景，记忆变得清晰无比，一切仿佛刚刚经历。用笔无需规整工稳，逸笔草草下的物象还原出自然的感受，虚化背景中的老屋，与小摊情景用色是艳与灰的互衬，恍惚中，时空已然交错。
In lane entrances in Penang，the life-like crowds，environment and atmosphere of the snack stalls are reminiscent of years long gone. The stall and the old houses in background highlight each other，and the color contrast of brightness and grey gives a relaxed and natural feeling.曼谷街景 76cm×56cmSTREETSCAPE OF BANGKOK
这条在曼谷被称为洋人街的街市，招牌林立、商铺密集、人群熙攘。许多酒吧餐馆和旅馆，虽算不上高档，却吸引了许多欧洲游客前来光顾，晚上更是热闹，人声乐声喧嚣不绝。趁中午人稀，才在街边僻静处展开画板，表现街景建筑体块和阳光下的光影。外形简明的块状建筑上，错落点缀的招牌以及零乱的电线穿梭其中，使街景的空间秩序获得变化与延伸。
In the streets of Bangkok，there are various signboards，thickly dotted shops and bustling crowds. Noise of the people incessantly lingers on. Signboards dotted on the buildings with concise shapes echo the crowd noise；they together play rhythm of the city.晋南农家小院 76cm×56cmA SMALL FARM HOUSE IN JINNAN
晋南乔家大院山下，普普通通的农家小院里，典型的山西土窑民居、老式的拖拉机、晾晒的衣物、觅食的家禽、绳索拴住的狗，片断的生活痕迹重组成闲适和谐的视觉亮点。时光仿佛就在这样的放松和惬意间悄悄划过，生命也在这里简简单单地延续下去，以记录式的语调将院落中的场景再现，让记忆的片段在心中回荡。
At the foot of Courtyard of Family Qiao in Jinnan lies an ordinary farm house. There are typical earth kiln dwellings，old-fashioned tractors，drying clothes，poultry seeking for food，dogs tied by ropes，all slices of life permeated with a fresh and rich folk flavor.高原上的木栅栏 76cm×56cmFENCES ON THE PLATEAU
云南，香格里拉草原。早已废弃的木栅栏，带着深秋的苍凉零乱地堆放于荒原上，犹如一条巨蟒在荒旷的草地中穿梭。斜拉式的构图方式，在赋予画面张力的同时，展现出一种曲线美。栅栏以静物式特写的姿态处于蓝紫倾向的冷色基调下，在暖黄色调的环境中更显忧郁，带着粗莽而野性向远方无限延展。
The Shangri-La grassland is open and rough in autumn. The discarded fences randomly put on the wasteland，look as if a python slithers about on the desolate land. Cold colors of blue and purple show up melancholy against the yellow background，and the fences extend desolation and wildness into a very far distance.河边的旧房子 76cm×56cmOLD HOUSES BY THE RIVER
质感，时间的质感，绘画的质感；叙述，形体的叙述，色彩的叙述。在法国中南部，依河而建的这处老房子，曾是产业工人的集居地。剥落的墙体罩染上时间的厚重，冷调天空背景下，米黄、灰白、紫红色的墙痕透出历史的积淀。面对强光，建筑墙体以平面式的构成方式呈现，天空与河面上下呼应。孤零零的船舶是情感的载体，仿佛默默倾诉着这里的生活。
This old house seated by the river in the south of France is once a settlement of industrial workers. Chipped wall construction reflects the long history；old scenes of life are hidden in windows. The sky and river echo with each other，the solitary ship turns into an emotion carrier，telling the story of life here.大昭寺前 76cm×56cmIN FRONT OF THE JOKHANG TEMPLE
在西藏拉萨，站在庄严而圣洁的大昭寺前眺望，藏民们沐浴在佛光之下，安宁而平静。或许是虔诚的顶礼膜拜，这里的宗教气氛显得圣洁无比，感化着所有来到这里的人们。画面处理，强化线条所特有的表现力，用色方式与民俗画类似，同大昭寺前的情调氛围相吻合。
The solemn and holy Jokhang Temple is a magnificent human landscape. Bathed in Buddha's lights，Tibetans on square in front of the temple seem to be composed and peaceful. Heart devoted worship adds touches to sacred and mysterious religious atmosphere. The color scheme like folk drawings well fits this kind of atmosphere.圣泉庙的沐浴者 56cm×76cmBATHERS IN THE PURA TIRTA EMPUL
印尼巴厘岛圣泉庙耸立有各种雕刻精美的石塔，青石砌垒的水池里流着清澈的圣水，乡民们在池中浸泡，希望得到神的庇护。画面采取逆光光色，加重庙宇轮廓的色度，在凝重的深蓝色调中凸显苍穹之势。沐浴瞬间的捕捉，则以留白的手法将逆光里沐浴者的外轮廓线空出，蓝色调子在圣泉水与石塔间造成刚与柔、动与静的对垒，稳重而不乏欢快。
The Pura Tirta Empul of Bali Island rises in holy lights，firmly stand on the plateau and watches believers come to bath. The temple within dignified dark blue demonstrates magnificence of the firmament. Sketch of bathers in backlighting is gilded by Buddha's lights. Different blues tunes of spring and temple forms a contrast between flexibility and rigidity，motion and stillness，seeming tranquil as well as cheerful.博斯腾湖的雪景 76cm×56cmSNOWY SCENERY ON THE BOSTEN LAKE
位于新疆东部的博斯腾湖是我国最大的内陆淡水湖，水域广袤，犹如明珠镶嵌在茫茫戈壁中。冬日里，皑皑白雪将地面一切生机掩盖，河水挣扎着不断冲刷河岸上的覆雪，似要打破周围死寂的气氛。深蓝色湖水与河岸覆雪以特写的方式放大，将船只推向远方，在一远一近的视觉转换中，同生共荣，相映成趣。
The Bosten Lake，located in the east of Xinjiang，is the largest inland freshwater lake in our country. In the wintertime，all life on the ground is blanketed in snow，the flowing water bubble over the snow covered banks. The deep blue lake water combines views of white snow on the bank；they enjoy co-existence and common prosperity. Ships along the bank have become the best metaphor for this picture.冬时 89cm×64cmTHE WINTER TIME
冬天，新疆南部环塔克拉马干沙漠公路附近，当地农民利用晴朗的天气整理地里干枯的杂粮草秆，打捆装运过冬。拖拉机前缕缕青烟，在草垛映衬下格外突出，黄灿灿的草垛，以小笔触并置的方式表现心中的光影印象，升腾的烟气宛若老农心里冉冉升起的希望。地面上，几条简洁的曲线条将视线引向成捆的草垛和远处的沙丘。
In Winter，taking advantage of the sunny weather，local farmers near Taklimakan desert road clear up dry straws in the fields，bind and carry them away，preparing for the winter. The blue smoke，rising from tractors，asserts itself against golden haystacks. Several clean lines on the ground successfully lead people's sight to straw bundles and rivers faraway.阳光下的街市 76cm×56cmSTREETS IN THE SUNSHINE
喀什是新疆东西交汇的重要城市，古丝绸之路汇集于此，并最终通往亚欧国家。老城区的街市，土质建筑墙体在强光下呈现明黄色，暗部背光处则泛明艳的紫红色调。人流熙攘着流向远处的阴影，手牵小孩的妇人行走的步伐与小孩协调一致，擦肩而过的推车老妇回望这对母子的背影，似乎在追忆自己的过去，水果摊主还在跟顾客讨价还价，鲜活的趣味细节在戏剧性的场景布局中展开，逐渐推向街市深处，亦推向记忆深处。
Kashgar is an important city in Xinjiang，which is the hinge of north and south. In the old town of Kashgar，the wall made of clay is gradually decaying. In the early morning，Active and interesting details of life scene slowly spread into the busy street. The typical business form of shop after workshop becomes unique scenery here.喀什老街 76cm×56cmOLD STREETS IN KASHGAR
午后的光线将这条喀什老街区的建筑照得光影分明，两边的店铺建筑在受光与背光的交错中，产生了丰富的空间韵律。将最具喀什特色的建筑风貌、店铺格局置于受光处作为视线的关注重心。街上的行人大都处于大面积阴影中，随着光影产生变化。近处，刻意描画了几位行走的人物，力图从他们的服饰上表现喀什民俗特点。
In the afternoon，on buildings of this old street in Kashgar，lights and shadows are structured by the sun. Buildings of most special styles and shops with unique patterns are placed in bright lights，as in the center of attention. While the walkers in the streets all reduced in great shadows，moves with light and shadows.通往楼兰的戈壁 76cm×56cmGOBI DESERT TO LOULAN
在通往楼兰的戈壁滩上，一望无垠，向导只好靠着卫星定位器带领我们前行。一路几乎看不到绿色，只有大片雪一般的盐碱荒沙和寸草不生的戈壁将视线占满。偶尔有几处凸丘，长有枯萎凋零的荆棘，植物枝干已经开始龟裂、剥落，只剩下最简单的灰土色来昭示生命的存在，朴素的生命元素，不乏凄艳的震撼。
In sight of the endless Gobi desert to Loulan，not even a blade of grass grows. The ground is covered by snow-like salt marsh. Occasionally，thorns droop and languish on an earth mound，their limbs chipped-off or cracked，only a grey coat left to declare what life once was.南疆的集市 76cm×56cmMARKET IN THE SOUTH OF XINJIANG
这处维吾尔族老集市，是我途经于田时的就餐点。狭窄的街道，店铺成片、作坊比连，空气里飘满泥土、羊肉、烟熏的气味。售馕摊和裹头布的女子静静地处在阴影色调中，与摊铺前的行人形成构图变化。即便时光早已逝去，画面中的人与物却总能在不经意间勾起我对南疆生活的深刻回忆。
In the south of Xinjiang，we happened to meet a Uyghur market when sauntering across the farmlands. Shops and workshops push and squeeze one upon another in the narrow streets，old houses stand as close as lips and teeth in the zigzag small lanes. In front of door，rough shelters are set up to sell local roasted mutton and naan，and the air is filled with smells of soil，mutton and smokes.克孜尔的冬季 76cm×56cmWINTER IN KIZIL
新疆中部克孜尔地区是古丝绸之路的要塞。胡杨不惧风雪，倔强挺立，野芦花则在暗淡的光色中闪动。纵横交错的褐色枝干让我联想到安德鲁•怀斯（AndrewWyeth）干笔下表现的人格化自然——宁静画面下涌动着紧张不安和黯然神伤。这种挥之不去的孤独感，幻化成一种隐喻：万物生息，不外是永恒中的片刻。
The Kizil district，in the middle part of Xinjiang，was an important fortress on the ancient Silk Road. Deep snow seals vitality of the ground，and only populus，still stand rock-firm in the winter snow. Wild reed catkins flicker in a dim light. Brown interlacing boughs reveal a sort of life in solitude. Haunting loneliness turns into a profound metaphor.库木吐拉的雪景 76cm×56cmTHE SNOWY SCENERY IN KUMTULA
库木吐拉位于新疆中部，至今留存着古丝绸之路留下的石窑壁画。在寒冷的冬季里，我踏着厚厚的积雪来到这片山坳深处，探寻先人留下的壁画痕迹。途中，一道道被车轮碾过的雪路痕迹，弯弯曲曲地通往远处。远山的强烈光感由近景处背光山石衬托，低沉的马蹄碾轮声在山坳幽幽回荡。
Kumtula is situated in the middle part of Xinjiang. On trips in the cold winter，tracks of wheels snake through the misty and snowy valley afar. By contrast of stones in the shadow in vicinity，far-off mountains show a sense of brightness；loneliness of the traveler is colored by the gray valley.戴黑色羊绒帽的维族老汉 24cm×32cmTHE ELDER UYGUR IN BLACK CASHMERE HAT
在和田遇见的这位维族老汉，白色的大胡须以及高高的黑色羊绒帽子夺人眼球。仔细观察他在阳光下的脸色和眼神，投射出坚毅的个性光芒，形象上的冲击力让人久久不愿离去。为了突出老人白色的络腮胡须，在画完胡须形态的基础上，用刀刮的方法提亮受光面的层次，使起伏的白胡须更显灵动。黑色羊绒帽的表现，采用点水的方法刻意留下斑斑水渍，水滴星星点点渗开的肌理很适合表现羊绒帽的质感。
The elder Uyghur wears a distinctive long white beard and a tall black cashmere hat. His eyesight，full of fortitude，shows strong personality. His white beard moves up and down vividly. Emphasis of these features makes him outstanding. As for drawing techniques of the black cashmere hat，water stains are intentionally put on，and permeation of these water drops can well display texture of a cashmere hat.行乞的老人 56cm×76cmTHE OLD BEGGER
喀什街头，这位衣衫褴褛的老人，表情木讷漠然，黑色的羊毛帽子下难掩疲惫的神态，厚厚的旧军大衣包裹着老人瘦削的身体，一皮一布两个大包挎在右肩。逆光里，老汉的面部藏匿于暗影中，头部、双臂弯曲的动势产生环抱画面视觉中心的合力，集中对大衣、右肩布袋以及斜挎皮包进行质感对比，突出表现身背重物的负重感。
In the street of Kashgar，this old man in rags looks dull and indifferent，and a black wool hat can not conceal his exhaustion. His thin bones wrapped in a heavy military coat，with two bags of leather and cloth over his right shoulder. This helpless situation fills sadness on the homeless man's face.渡口 76cm×56cmFERRY CROSSING
马来西亚东部岛屿城市沙捞月，屋顶用类似铁皮的材质搭建，色彩明丽。强烈的日光将本不相容的屋顶色彩糅合，呈现对立而统一的视觉美感。我抓住暴雨前最后的一线阳光，用强对比色相表现渡口以及建筑物的色彩气氛，乌云映衬下橘黄色的楼体格外亮丽，画面看似宁静而又蓄势待发，似有疾风暴雨即将来临。
The island city，Sarawak，lies in the east of Malaysia. Roofs of houses with brilliant colors are covered by steel like materials. Fishing boats and ferries lead down a busy river. The blue sky gradually gave way to banks of grey clouds，promising a raging storm. The orange buildings look especially bright against dark clouds. The whole picture seems still but overdue for a breakthrough.水上木屋 76cm×56cmLOG CABINS ON WATERS
东马来西亚沙巴，许多依水搭建的木板房，是当地渔民的居住地。房屋结构复杂，脚梯与纵横交错的木板结构交织在一起，表现较有难度。画面近处，将屋型一角进行平面化处理，与远景中的木屋形成明暗反差。一条白色的木板小径成为牵引视线的线索，使远、近房屋间气势得以连接、贯通。房屋周围粉嫩而透明的绿树，依靠深重的廓型来平衡。
In east Malaysia，log cabins by the river are populated by local fishermen. Ladders mixed with criss-cross boardings，together form a complex building structure. Nearby houses immersed in shadow，produce excellent contrast of dark and light with the white boardwalk，log cabins in the distance and surrounding trees of tender and clear green.穿白T恤的画家 38cm×56cmLEISURE PAINTER
在东马来西亚沙捞月采风期间，每天从炎热的野外回来，总是在富有异国情调的旅店中小憩，享受清凉和安静。同行画家当天身着白色T恤和星条旗纹宽松裤，非常闲适地整理画稿，姿态神情与环境光色构成装饰意味的画面，于是迅速打开画夹，以饱含水色、放松的笔调将其形象记录下来。画家蓬松的头发使面部处在阴影中，鼻头、眼睛处的高光，打破了面部色块的沉闷。
During the period of my sketching from nature in Malaysia，I was deeply touched by when having a rest in a hotel，I saw the painter companying with me wore a fashionable T-shirt that day and was sitting in a very relaxed way and drawing. His posture inspired me. Then I opened my painting folder quickly and recorded his image in a relaxed style full of water color.在普吉岛度假 35cm×44cmHOLIDAY ON THE PHUKET ISLAND
普吉岛是泰国著名的度假胜地，观光者络绎不绝，这幅人物写生，记录了海边旅游者休息时的片刻情景。画面构图以叙事方式展开，前景人物背身，依靠右上角人物补充，在将画面填补完整的同时形成向心力，讲述发生在这里的故事。近处，女子背部的白皙皮肤，采用质地细密的黑色紧身衣加以对比，身前白衣男子，成为深度色彩调子下的视觉缓冲，均衡视觉色彩的轻重。
The Phuket Island is a popular vacation resort，attracting a steady stream of visitors. This character sketch makes a memo for such holidaymakers. The composition develops via a storytelling method，nearby girl's fair-skinned back is set against black tights of fine texture，behind the girl，a man in white offers a buffer zone for visual impact of the dark finish，realizing perfect color matching.瓦西里大教堂 76cm×56cmVASILE ASSUMPTION CATHEDRAL
坐落于莫斯科红场南端的瓦西里升天大教堂，建于1553年，由九座塔楼巧妙组合为一体，其造型别致迷人，散发史诗般的浪漫。建筑师在外型上如此地挥洒才情，也许是想暗示，这座建筑不是供上帝居住的房子，而是让爱美的世俗中人观赏的艺术品。为了强化这种心灵感受，重调的红色表现教堂建筑早晨的光影与凝重，主观的心象色彩加强了民族及宗教的气氛，情不自禁地将天空与远景也画得很紫，行走人物旁，一道淡蓝色的残雪阴影为教堂建筑留出透气而神秘的空隙。
The typical classical religious building，Vasile Assumption Cathedral on the Red Square in Moscow was builded in 1553 and is symbolic of Russia. The church's tower typed main body is surrounded by onion bulb shaped structures，on whose surfaces abundant flowing curves are engraved. A deep red color in the changing lights shows dignity of the church building，intensifying a national and religious atmosphere.
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