曾用名徐振武，浙江绍兴人。1956年入浙江美术学院附属中学，1960年毕业继入该院版画系，1965年毕业后任人民美术出版社编辑，1978年为该社专职创作人员。1 级美术师。中国美术家协会会员。擅长中国画。

 徐希的作品清新隽永，富有浓厚时代、地方及生活气息，尤以笔下的江南水乡，更为中外人士赞美 。后移居美国，创作题材更扩展至描绘世界各地风光。显示出其超卓的艺术才华和雄厚的实力。

 北京中国美术馆，日本东京小野美术馆，第八届国际绘画展，美国费城乡村俱乐部画廊，日本世界博览会，维也纳联合国分部前后 收藏其作品十件。

1982年至1988年，前后 有三幅作品在国际绘画比赛中获大奖、二等奖及三等奖各1 次。另外二幅作品在亚洲获1 等奖。1993年至1994年，前后 获美国传记学院国际研讨 委员会颁“世界毕生 成就奖”和“1993年名人奖”、美国传记学院“世界杰出人物与领袖人物贡献奖”、美国传记学院国际研讨 委员会“人类艺术贡献奖”、美国传记学院“近十年间最杰出人士奖”、英国剑桥国际名人传记中心“20世纪成就奖”之金质奖章，银质奖章各1 枚和 获美国传记学院“名人最高成就奖”。1997年在瑞典举行的第1 届国际素描大赛，速写作品《林间》获金质奖。

 1960年，徐希在一名 中学绘画老师的鼓励下报考浙江美术学院附中。徐希是这个班上最年轻的先生 之1 ，但他却获得了这所附中的最高奖赏，两年后他被直接保送进了大学部。他的第1 专业是版画，故很快就掌握了木刻，铜版，石版等技巧。二十二岁那年，徐希在报上发表了本身 构思大胆的处女作，立即引发 全国性反响。出于对艺术技巧的不懈寻求 ，他曾前往地区病院 学习解剖学，并不断来往于乡村田野，对景写生。版画色彩上黑与白的强烈对比，结构上对力与度的强调，构图设计上的清晰简明都体如今 他后来更为柔和抒情的创作中，显示出1 种在技巧上对情势 的控制力和在抒情上捕捉意象的敏感性。

由于不满足仅仅掌握版画艺术，徐希不久在浩瀚无垠的中国艺术遗产中潜心中国画和水彩画的研习。与此同时，与东方 艺术的接触也唤起了他全新的，更为复杂的美学思绪，在视觉空间情势 上与中国画具有不同风格的法国，英国和俄国水彩画，都使徐希沉迷和流连。从先生 时代起，徐希就开始了融会东东方 艺术的探索，在这类 将当代东方 水彩与传统东方水墨技法相结合的摸索中，他逐步 结合了古今东西的两种抽象技巧而构成 鲜明的个性色彩。传统中国画表现静物和风景时的重要特征是静中有动，通过不同物体之间张力关系的把握，和 对表现情势 的韵律化抽象技法，来表现大自然的生命力；东方 式的抽象则建立在纯粹的情势 上，很少寻求 东方绘画中各种对主物之间的和谐转化。在徐希的作品中，特别是他在成熟期描画的城市风景中，这两种抽象技巧和视觉对象已 融为1 体了。

曾任北京市人民美术出版社艺术编辑的徐希，在文革结束后就已 在新中国羽毛丰满的艺术家群中确立了本身 的1 席之地。这时候 期的创作没无为 传统所束缚，而是用法国式的色彩打破传统中国水墨画的单色规则，同时强烈的黑白对比仍是他艺术布局中的基本调和 手法，从中可见其中国版画的根基，正如那些奥妙 柔和的暗部处理，体现了他传统中国画的控制技巧和内在韵律感。

生擅长 南方而1 向钟情于朦胧山水，田园牧歌情调的徐希，留意 到中国画派的酣畅无力 和简练明快，从而开始探索另1 种新的调和 手法-中国艺术所1 向推崇的理想境界-在雄壮 的气魄和抒情两极之间寻求和谐。因而 ，徐希在有时过于柔弱 的南方风格中结合了北方画派大胆超常的想象和几乎是非显示存在的均衡感，避免了平淡无味，也正是从这个时期起，徐希创立了本身 的画风。

也是在这些年里，他开始确立本身 最次要 的题材，美丽的雨景。雨景不断 是中国画的1 个普遍题材，随应季节，时间和地区的变化而在各种画家笔下呈现出雨景的千姿百态。徐希在这些已有的艺术提炼中更添1 笔，描画了维也纳雨景中蕴涵着的抒情音符，纽约城雨景中无声的诗行那样，表现大自然的变幻无常和内在情韵。古典中国画在“雨”题中传统的“沉思”基调在徐希的创作中被赋予更为积极的特征。

当前 十年，徐希创作的技巧和主题的进展正像他事业和进展1 样不断突破，不仅雪和夜成了他反复描画的题材，而且他笔下的所有景物都带有印象主义色彩。雪景和雨景1 样是东方绘画中的基本主题，常常因南凉北寒，晨降夜落，和 轻盈厚重而在画家笔下变幻多姿。徐希画自阿尔卑斯山的表现，优美而明丽，在世界风景画中可谓独具慧眼，非凡手笔。

除了对题材的开拓，徐希也拓宽了对传统中国画的主题和技巧。他在西藏之行中完成的西藏寺庙及民俗的组画，色彩辉煌，水墨酣畅。仅仅寻求 “地方色彩”的不满使徐希努力 捕捉西藏民族的内在气质，和体如今 他们那种异域风情中独特的人类抽象 价值。

1989年徐希移居美国纽约。这时候 正处于1 个顶峰期，并继续用广采博蓄各国艺术的方法抒发他对理想 世界的个人印象和抒情性想象。在其描画纽约的组画中，他给这座被有数 艺术家描绘过的城市提供1 个全新的视点，神秘，静谧，沉着和多姿多彩的内在生活力。满怀对世界进行个性化把握的渴望，使徐希的作品汇集了英国，澳大利亚，日本，新加坡，香港，中国和 美国的各地风光。

 每次与朋友们论及当今中国画坛近况，他们总少不了谈及画家徐希。这不只由于 徐希曾获多次国际性绘画奖项，在中国画坛享有殊荣之故，而是徐希的艺术作品曾留给他们深刻的印象。他们关心1 个被艺坛公认为大有希望的画家，在艰苦的艺术道路上是否半途而废。令人安慰的是大家都有1 个相反 的结论，徐希不单没有停顿上去 ，并且不断 在稳步前进。特别 是在他移往美国定居后，不仅没有因生活环境之改变而受到影响，相反他在艺术道路上又跨进了1 步，实在是难能可贵，使人欣喜。

早在十年前，我就留意 到徐希，当时发觉他的作品在众多的山水画中是最为突出的，不仅个性鲜明且十分大气。5 年后，我有幸成为其作品的推广者之1 ，故能日夕面对他的作品作更深入的观察和研讨 。如今，我们不仅是事业上的合作者，同样成 为可作思想交流的好友。

在我多年的观察中，徐希先生有几方面是非常突出的。

其1 ，他具有 敏锐的观察力和极强的艺术表达能力。不管面对着充满东方情调的江南水乡或繁嚣热闹的东方 都市，他都能成竹在胸的把握其中奥妙 的黑白对比关系，用大刀阔斧的笔触，1 下就把景物最感人的地方 表现出来。故作品不管 是小幅速写或大幅巨制都有明朗的视觉效果，且具大气度。

其二，徐希作品的艺术风格极为鲜明，这与他独特的审美观和寻求 有直接的关系。

他喜画雨景，因雨景中的朦胧美使他产生丰富的情思和想象力；

他喜画夜景，因夜景使他感觉神秘和兴奋；他喜画雪，因雪地银妆的气派令他心灵震动 ；

他也喜画花，因他可以完全自由自在 地表现他心中对花的印象。

徐希属感性之人，待人真诚，对创作同样真诚，在长时间 的创作历程中，力求把本身 的真感受表如今 作品中，其中付出的汗水和努力，非笔墨可以描述 。然而努力的结果使他构成 1 种完全属于他本身 的艺术言语 “徐希绘画技法”，这类 技法包融了他多年来吸收过的中西绘画养分 及审美认识 ，不仅是独1 无二，且具颇高难度。

其三，在已成名的中年画家中，徐希是1 个头脑特别清醒的人。他有成就却不自满，有自信却不狂妄。坚信艺无尽头 的道理，故不断 以来，他都保持谦虚好学的态度。他十分留意 其他中外画家的优点，每到1 处地方，他总是多走，多看，多听，不浪费时间，尽量多吸收1 些新的营养 和学问 ，犹如1 辆参加长途竞赛的越野车，干劲十足。正是这类 进取精神，使徐希能获得不断的进步，同时也赢取中外朋友的尊重 。

事实上，1 个画家能具有 本身 独创性的艺术风格已非容易，而作品具有难度和深度更属可贵，如再加上不断进取的精神，则其前景必然是无可限量的。徐希先生正具有 这三方面的条件，在此我谨祝徐先生如越野车普通 ，继续努力攀登1 个又1 个的艺术高峰，在艺术征途上取得更大的成就。

 Xu Zhenwu was born in Shaoxing, Zhejiang Province. He joined the secondary school affiliated to Zhejiang Academy of Fine Arts in 1956, graduated from the printmaking department of the Academy in 1960, edited by People's Fine Arts Publishing House after graduation in 1965, and was a full-time creator of the Academy in 1978. First-class artist. Member of China Artists Association. Good at Chinese painting.

In 1960, Xu Xie, encouraged by a middle school painting teacher, applied to the attached middle school of Zhejiang Academy of Fine Arts. Xu Xi was one of the youngest students in the class, but he was awarded the highest prize in the attached middle school. Two years later, he was directly escorted to the University department. His first major was printmaking, so he quickly mastered woodcut, copperplate, lithography and other skills. At the age of 22, Xu Xie published his bold first novel in the newspaper, which immediately aroused nationwide response. Out of his unremitting pursuit of artistic skills, he went to regional hospitals to study anatomy, and constantly traveled to and from rural fields, sketching scenery. The strong contrast between black and white in printmaking color, the emphasis on strength and intensity in structure and the clarity and conciseness in composition design are all embodied in his later more soft Lyric creation, which shows a kind of control over form in technique and sensitivity to capture image in lyric.

Not satisfied with mastering only printmaking art, Xu Xi soon devoted himself to the study of Chinese painting and watercolor painting in the vast Chinese artistic heritage. At the same time, the contact with Western art also aroused his brand-new and more complex aesthetic thoughts. In the form of visual space, the French, British and Russian watercolor paintings with different styles from Chinese paintings made Xu Xi addicted and connected. From his school days, Xu Xi began to explore the integration of Eastern and Western art. In this exploration of combining contemporary western watercolor with traditional Oriental ink and wash techniques, he gradually combined the two abstract techniques of ancient and modern things to form a distinct personality color. The important feature of traditional Chinese painting in expressing still life and scenery is that there is movement in still. It expresses the vitality of nature by grasping the tension relationship between different objects and rhythmic abstraction techniques of expressive forms. The Western abstraction is based on pure form, and seldom pursues the harmonious transformation between various subjects and objects in Oriental painting. In Xu Xi's works, especially in the urban landscape he depicted in his mature period, these two abstract techniques and visual objects have been integrated.

Xu Xi, a former art editor of Beijing People's Fine Arts Publishing House, has established his position among the feathered artists in New China after the end of the Cultural Revolution. The creation of this period was not bound by tradition, but broke the monochrome rule of traditional Chinese ink painting with French color. At the same time, the strong black-and-white contrast was still the basic coordination method in his artistic layout. It can be seen that the foundation of Chinese printmaking, just like those subtle and soft shadows, embodied the control skills and inner rhythm of his traditional Chinese painting.

Growing up in the south, Xu Xi, who has always been fond of dim mountains and rivers and pastoral songs, noticed the fluency, strength and conciseness of the Chinese painting school, and began to explore another new method of coordination - the ideal realm that Chinese art has always respected - to seek harmony between the ambitious spirit and Lyric poles. Therefore, Xu Xi combines the bold and extraordinary imagination of the Northern Painting School and the sense of balance between right and wrong in his sometimes too delicate Southern style, avoiding dullness and insipidity. It is from this period that Xu Xi founded his own style of painting.

It is also in these years that he began to establish his main theme, beautiful rainscapes. Rainscape has always been a common theme in Chinese painting. With the change of season, time and region, it presents a variety of rainscapes in various painters'works. Xu Xie added a stroke to these existing artistic refinements, describing the lyric notes contained in Vienna's rainscapes, like the silent lines of poetry in New York City's rainscapes, expressing the changeability and inner charm of nature. The traditional "meditation" tone of classical Chinese painting in "rain" is endowed with more positive features in Xu Xi's creation.

In the next ten years, Xu Xi's creative skills and themes have been making breakthroughs just like his career and progress. Not only has snow and night become the themes he repeatedly depicted, but all the scenery he wrote has an impressionist color. Snow scenery, like rain scenery, is the basic theme in Oriental paintings. Often, because of the cold in the South and the cold in the north, the falling in the morning and night, as well as the light and heavy, the painter's brushwork is changeable and colorful. Xu Xi's paintings from the Alps, beautiful and bright, in the world landscape painting can be said to have unique vision, extraordinary handwriting.

In addition to exploring themes, Xu also broadened the themes and techniques of traditional Chinese painting. His paintings of Tibetan temples and folk customs completed during his trip to Tibet are brilliant in color and smooth in ink and wash. The discontent of merely pursuing "local color" made Xu Xi strive to capture the inherent temperament of the Tibetan nation and the unique value of human image embodied in their exotic customs.

Xu Xi moved to New York in 1989. At that time, he was at a peak, and continued to express his personal impression and lyric imagination of the real world by means of extensive collection of art from different countries. In his portrait of New York, he provides a new perspective, mysterious, quiet, calm and colorful intrinsic vitality to the city that has been portrayed by countless artists. Full of the desire to grasp the world individually, Xu Xie's works bring together the scenery of Britain, Australia, Japan, Singapore, Hong Kong, China and the United States.