认识冯倩是一种缘份。为她新出版的画集作评论更让我感到莫大的荣幸，确实是“缘之所至，一切皆有可能”。

　　我们相识时间不长，两年时间里在广州见过两次面。职业迥异——她是我国书画界名人，我是广东南方日报的一名记者，彼此关注的领域相差甚远。我虽然出过《芳姐鉴定珍宝》一书，讲的绝大多数是钱币、邮票等收藏价值方面的见解，对书画界的人和事知之甚少。但所有这些差异绝不影响我们之间的交流。尤其是谈到她最推崇的世纪学人、我国书画界泰斗林风眠，我们的话题一下子被拓宽了，可谓是滔滔不绝，相见恨晚！从她的出生地(北京)到下乡祖籍山西当知青，回京后继续苦苦追求书画艺术(到中央美院深造)，师从俞致贞教授、金鸿钧、史秉有、高宗水等著名画家的逸事，苦苦钻研林风眠的绘画风格等等，我们无所不谈。

　　冯倩崇敬的书画大师林风眠生于1900年广东梅州，《南方日报》2011年开辟的“广东世纪学人”专栏曾作专题报道。林风眠的画既不是传统的中国画，也不是传统的油画，又不完全是西方的现代派。他使东方的水墨和西方的色彩结合，孕育出独特的“风眠体”。冯倩学习研究林风眠大师有造诣吗？是否失去了自己的风格？我带着一个个的问号，认真欣赏、琢磨起她的画作来。

　　整体来看，冯倩的画作确有“风眠体”的特性。不但画风像——兼收并蓄，东西结合，传统与创新相济；运笔和技巧上也有神似的地方——每幅画都创造着令人神往的意境，虚实相间，粗犷构图，细微处精雕点泼。再仔细两相比较，可以看出，冯倩没有临摹或刻意制造“风眠体”，应该是她对林风眠大师的虔诚学习态度和长期以来自身艺术修练、渐渐地产生出一种独特的艺术效果，给人以强烈的视觉冲击，让人浮想联翩！

　　注重意境描绘，运用大写意的手法，水墨色彩并重，给人以无限的想像空间，是冯倩画作的一大特点。如《出尘》，让我们赏荷而联想到了荷塘，体味到那静静的清悠处，呈现出一幅自然景观中的朦胧美。虽然画中没有月儿的出现，却使人有了对月的遐想——“荷塘月色”！“曲曲折折的荷塘上面，弥望的是田田的叶子。叶子出水很高，象亭亭的舞女的裙。层层的叶子中间，零星地点缀着些白花，有袅娜开着的，有羞涩打着朵儿的”。晚归的鸟儿，爪子嵌立荷柄，回望硕大的荷叶，那神态分明告诉大家，这里十分清新幽静，世间万物宜居地！丝丝凉风吹来，和着零星小雨……这是天籁的乐韵，万物的和声，是人与自然交流的音符！

　　打破条条框框，让传统与创新、中西画风格浑然一体，尽显冯倩画作的独特技巧。如《凝艳》，她把工笔画的精雕与西洋画的抽象风格结合得天衣无缝。每一花瓣棱角是那样的分明，色彩或浓或淡，层次分明；近看、远观，极富三维视觉效果；用工笔手法雕刻的花芯，细如游丝，却也那样生动活泼；枝梢上的喜雀，羽翼丰润而楚楚动人，令观者无不为之动容！

　　信手拈来的“小昆虫”，却让冯倩充分展示其精湛的工笔功夫。无论是荷花系列或牡丹系列，她都喜欢拿小昆虫来点缀，发挥点睛的作用。有拍着翅膀从天空俯冲直下的小蜜蜂、栖息于荷池花丛中的小蜻蜓、牡丹园中迎风起舞的小蝴蝶，都是那样逼真传神，栩栩如生……

　　冯倩每到广州，便有大批画友围着她转。善于画作的各自发挥所长，与她来个集体创作；懂画、识画、喜欢收藏书画的，乘机向她索取画作，她都尽量满足要求。作品如人品，她的漂亮容貌和美丽的心灵，如她的作品一样，在圈中圈外，国内、外艺坛中，赢得崇高的赞誉。艺术无国界，愿她以画会友，以画为乐，如荷花般清远益香，如牡丹般在国际艺坛上绽放得越来越灿烂！

朱桂芳

2012年2月22日于广州

Attainments Seen from Subtlety

　　It is fortunate for me to know FengQian, and an honor for me to write a review on her newly published album.
　　Feng and I have known each other for only for two years. I met her in Guangzhou twice. The careers we two engaged in are quite different. While I am a reporter from the Guangdong Nanfang Daily, she is a celebrity of Chinese painting and calligraphy. Naturally our concerns are far different. I have written a book "Identification of Treasure”, which is mainly about my understanding of the value of collection of coins and stamps, but I have very few acquaintances in the painting circle. However, all these big differences have never affected the exchange between us. Whenever it comes to the topic concerning those most respectable scholars, such as Prof. Lin Fengmian, a master painter of China's painting circles in the last century, the topic would be suddenly widened. Our conversation would carry on and on and both of us regretted not having got to know each other sooner. Our chats covered widely, including her stories of her birthplace Beijing, as well as her experiences as an educated youth in her ancestral place, a countryside in Shanxi; anecdotes about her continuing to learn painting and calligraphy under the guidance of Professors Yu Zhizhen, Jin Hongjun, Shi Bingyou and GaoYongshui in the Central Institute of Fine Arts; and her hard pursuit of Lin Fengmian’s style of painting, and so on so forth.
　　Lin Fengmian, master painter and calligrapher, greatly admired and respected by Fengqian, was born in 1900 in Meizhou, Guangdong Province. Lin was once reported in “Great Century Scholars of Guangdong”, a special column opened up in" NanfangDaily " in 2011. It says that Lin’s paintings are of a style, neither traditional Chinese painting nor traditional oil painting, nor Western modern painting. Lin had masterly integrated the color of ink of the East with the color of the West, thus developing a unique ‘Fengmian style’. Has FengQian successfully learned the style of Master Lin’s and made any accomplishments? Has she departed away from her own style? With these questions, I have carefully observed her paintings and thought about them a lot.
　　On the whole, FengQian’s paintings present the features of Fengmian style. The style is alike, it is a combination of the East and the West, of tradition and innovation. The techniques in using the pen are also similar. Each painting has created an enchanting artistic conception, subtle or concrete; rough composition but with finest subtle impression. Further carefully comparing their paintings, one can see: FengQian tried hard neither to deliberately copy the Fengmian’s style nor create a “Fengmian’s style”, but consequently produced a unique art effect, producing a strong visual impact, and appealing to the imagination. It is no doubt that this is due to Feng’s pious attitude towards learning from Master Lin and a long-time art practice!
Paying attention to depicting artistic conception, using impressionistic approach, and laying equal stress on both ink and color, so as to result in an unlimited imagination is a major feature of FengQian’s painting. Take "Beyond Secularity" for example, while enjoying the beauty of the lotus, we naturally associate with the image of lotus pool, sensing the odor from that quiet clear pool, which shows a hazy beauty of a natural landscape. Although there is no moon in painting, but people can have a reverie of the moon -- " Lotus Pond" ! The high lotus leaves like Kingston dancer’s skirt above the lotus pond. Layers of leaves dotted with white flowers, late back home birds with their claws embedded in the stems, looking aback to huge lotus leaves. All these tell us that here the air is so fresh, the place so quiet and livable! The slight, cool breeze blows with light rain scattered here and there seems to be the voice of nature, like harmonious music from the heaven, which is really an exchange of notes between human and nature!
　　By breaking the rules and seamlessly integrating the tradition and innovation, the Chinese style and the western style, FengQian has fully demonstrated her unique painting techniques. Take “Coagulated Glamour” for example, she has perfectly integrated the meticulous brushwork and the abstractionism in the Western painting. The edges of each petal is so clear; the color either thin or dense, composition well-arranged. Either taking a close look or a look at a distance, one can have the highly three--dimensional visual effects. The flower core drawn by meticulous brushwork, as fine as gossamer, appears extremely lively; the joyful birds on the shoots, are all with wings rich and lovely.
　　Those "insects" appeared in her paintings fully display FengQian’s exquisite meticulous effort. Either in her lotus series or peony series, she prefers to paint small insects for decoration so as to add a finishing touch to the painting. Those small bees diving straight down from the sky, flapping dragonfly inhabited in flowers near the lotus pond, butterflies dancing with the wind over the peony garden, are all so vivid, realistic and life-like. .
　　Whenever FengQian comes to Guangzhou, a number of friends will certainly come to visit her. Those who are skilled in painting will display their talents in a collective creation with her. Those who like the collection of painting and calligraphy and know the value of her paintings would try hard to take the opportunity to obtain a copy from her. And Feng would never fail to feed their appetites. Feng’s character is also well reflected in her paintings. Both her pretty face and beautiful soul are just a resemblance of her paintings, all of which have won lofty praise from the art circle, both at home and abroad. Art is beyond borders. I sincerely hope that FengQian as well as her paintings will obtain even greater acclamations, like the lotus-like incense spreading afar, as the peony blooming even more brilliantly in the international art circle!

by  ZhuGuifang
in Canton, on Feb. 22, 2012