水彩畫是一門古老的國際性畫種，在歐洲已經(jīng)有相當(dāng)長的歷史，它具有清晰明快、絢麗高雅的藝術(shù)特色。早在德國文藝復(fù)興時(shí)期已出現(xiàn)水彩畫，丟勒被公認(rèn)為第一個(gè)用水彩作畫的畫家，在十八、十九世紀(jì)的英國，水彩畫日臻成熟享譽(yù)世界。水彩畫自從20世紀(jì)初傳入我國，迄今已有百年歷史。近日記者采訪了浙江省美術(shù)家協(xié)會(huì)副主席兼秘書長、著名水彩畫家駱獻(xiàn)躍先生，欣賞到了一批清新靈秀，充滿江南水鄉(xiāng)情韻的水彩畫創(chuàng)作作品，并了解了中國當(dāng)代水彩畫創(chuàng)作的整體脈絡(luò)和浙江水彩畫創(chuàng)作的面貌。

記者：您能介紹一下當(dāng)代中國水彩畫創(chuàng)作的背景和現(xiàn)狀嗎？

駱：中國水彩畫經(jīng)過近百年的曲折發(fā)展，經(jīng)過幾代畫家的不懈努力，已逐漸形成獨(dú)具特色的美術(shù)門類，呈現(xiàn)其明麗、輕快的創(chuàng)作風(fēng)格。尤其是近年來，水彩畫在我國發(fā)展十分興旺，勢(shì)態(tài)可嘉，是藝術(shù)創(chuàng)作與學(xué)術(shù)活力最強(qiáng)的畫種之一。全國目前從事水彩畫創(chuàng)作的畫家數(shù)量可觀，各地區(qū)的藝術(shù)、學(xué)術(shù)團(tuán)體不斷涌現(xiàn)，作品的地域面貌強(qiáng)烈，民族特色鮮明，藝術(shù)風(fēng)格和表現(xiàn)手法豐富多樣。

記者：浙江是水彩畫創(chuàng)作強(qiáng)省，您認(rèn)為當(dāng)前我省水彩畫藝術(shù)創(chuàng)作隊(duì)伍的發(fā)展態(tài)勢(shì)怎樣？

駱：浙江地區(qū)的水彩畫家，無不浸淫著中國源遠(yuǎn)流長的文化傳統(tǒng)，如此濃重的中國文化底蘊(yùn)，使得他們的水彩畫作品洋溢著一種特殊的中國文化情懷。“外師造化，中得心源”的中國式藝術(shù)思考方式，形成了獨(dú)特的浙江水彩畫。今天，年輕一代的浙江水彩畫家同樣秉承這一傳統(tǒng)，重人格，崇修養(yǎng)，尚意境，使自己的水彩藝術(shù)深深地植根于浙江秀美的大地上。

浙江秀美的山川和豐富的人文景觀，使得這塊土地滲透了別樣的詩情畫意，浙江水彩畫家深得其中情韻，使得他們的水彩畫充溢著濃濃的詩意。在吸取了中國傳統(tǒng)水墨的精神之后，浙江水彩畫成長歷程是一個(gè)典型的異域文化發(fā)展為新的本土文化的過程。早期的水彩畫家有林風(fēng)眠、吳冠中、潘思同等，他們是這一時(shí)代對(duì)后世產(chǎn)生深遠(yuǎn)影響的大家。上世紀(jì)70年代以后，何志生、吳德隆、潘長臻、周詩成、高而頤、黃裳、王維新等成為中國水彩畫的重要畫家，引領(lǐng)著中國水彩畫在當(dāng)代的發(fā)展。我們可以從他們身上解讀到中國傳統(tǒng)文化在他們創(chuàng)作中的延續(xù)。這個(gè)時(shí)期，浙江水彩畫的藝術(shù)氛圍是非常寬松的，尊重多樣性、保護(hù)彼此不同的藝術(shù)見解，營造了“兼容并蓄”的水彩畫創(chuàng)作的良好環(huán)境，也使得浙江水彩畫保持著可貴的多樣化藝術(shù)與百花齊放氣氛。

到了上世紀(jì)90年代以后，周剛、蔣躍、周崇漲、安賓、劉正、林紹靈、楊斌、鄭士龍、蔡瑞蓉、徐明慧、陳立勛等浙江新一代中青年水彩畫家以傳承與創(chuàng)新的姿態(tài)，逐漸成為中國當(dāng)代水彩畫的優(yōu)秀代表，也為浙江水彩畫創(chuàng)作奠定了厚實(shí)的團(tuán)隊(duì)基礎(chǔ)。

記者：怎樣來欣賞中國當(dāng)代水彩畫？投資中國當(dāng)代水彩畫作品要注意哪些方面？

駱：欣賞水彩畫的美，主要從水彩畫的表現(xiàn)意趣、意境、內(nèi)涵和色彩的傳情及特殊的水味等入手，水彩畫透明、輕快、水色淋漓等各種神奇的藝術(shù)效果，不知迷倒了多少美術(shù)家和愛好者。作為藝術(shù)創(chuàng)作活動(dòng)的另一種形式，水彩畫是表達(dá)藝術(shù)情感語言的一種載體。與油畫的濃厚不同，水彩畫作品清新怡神，濃淡相宜，顏色透明輕快，水滲彩融，使觀眾如同感受涼爽的拂面清風(fēng)。那畫面中流動(dòng)的光波，以及隨機(jī)變化的筆觸，其意境是其他畫作難以類比的。

水彩畫藝術(shù)價(jià)值高，但其收藏價(jià)格并不高?，F(xiàn)在除了老一輩水彩藝術(shù)家外，一些中青年的水彩畫家也是佳作不斷涌現(xiàn)，他們的畫作具有相當(dāng)水準(zhǔn)，且價(jià)位較低。所以，水彩畫還具有充分的投資、收藏空間，前景看好。

浙江大地，有著中國水彩畫創(chuàng)作得天獨(dú)厚的條件。中國當(dāng)代水彩畫正在如朝陽般崛起，相信浙江水彩畫家能描繪出更多清新感人的時(shí)代新畫卷。

Watercolor Art of Zhejiang

By A Tong

The other day I chatted with Mr. Luo Xianyue， a prominent watercolor artist， executive director and secretary-general of Zhejiang Artists Association， before viewing a series of eye-opening watercolor paintings. We chatted about how， over the last 100 years， watercolor painting has adapted itself to the beauty of Zhejiang， a coastal province in eastern China. We chatted about how the imported art now fares in China. The following is a summary of the conversation.

Watercolor as a modern genre of art started in the early 16th century as Albrecht Durer is generally regarded as the first watercolor artist in a modern sense. The painting method became popular in England in the 18th and 19th century. It came to China in the early 20th century. Watercolor in China has become a distinct art genre thanks the joint endeavors of the Chinese artists of the past and present generations over the past 100 years. Now watercolor in China features a bright and light style and the art genre is flourishing. In fact， it is one of the most flourishing art genres in China in terms of creativity and academic activities. China has now a large galaxy of watercolor artists， organized into various art and academic groups across the country. Chinese watercolors feature regional and ethnic distinctions， diverse styles， and sophisticated and expressive techniques.

Zhejiang is a powerhouse of watercolor thanks to a strong team of young and mid-age watercolor artists. The watercolor artists of Zhejiang stand out highlighting a strong regional cultural tradition. Their watercolor paintings display a special cultural dimension as Zhejiang is famed for gorgeous natural beauty and a wealth of culture and history， giving a special poetic touch to the land.

The history of watercolor in Zhejiang is a process of localization. The earliest masters are Lin Fengmian， Wu Guanzhong and Pan Sitong， which exerted a strong influence upon following generations. A new generation of watercolor artists emerged after the 1970s. They pioneered a new path for the genre. Their inspirations helped us understand how traditional Chinese culture plays an influential part in their works. The 1980s witnessed a liberalizing trend for the growth of various styles and various understandings. In the 1990s， a new group of artists emerged. With their works displaying both tradition and innovation， these artists are considered the best.

Watercolor paintings are highly artistic and valuable. However， they are somewhat irrationally ignored by collectors. At present， watercolor artists of the old generation are still highly active whereas younger artists keep producing very good watercolors. The artworks by younger artists are very good and relatively cheap. Their works should be highly valued for investment and collection.