当代中国绘画的发展特色之一，是画家普遍对传统文化资源的兴趣日增。从个性化的艺术需求出发，靠拢、吸收传统文化，成为新的创造沃土。顾黎明从现代艺术观念的角度研究传统文化和民间艺术，以民间木版年画为自己的创作资源，将木版年画鲜明饱和的色彩和绵密回旋的线条，重构为具有抽象意味的现代形式。强烈的色彩变得和谐厚重而不失其饱满，形象原有的特定民俗内容被淡化，实用的节令指向被解构为具有高度形式感的纯艺术。在人们开始痛惜民间艺术遗产濒临灭绝的时候，顾黎明早已化古调为新声，赋予失去生活依附的古老艺术形式以新的生命。这种移形而得神的创造，显然是中国油画在两个世纪交替之际最值得重视的发展。（2011年）

中国艺术研究院美术研究所原所长，美术评论家

　Shui Tianzhong （Former Director of the Fine Art Institute, Chinese National Academy of Arts； Art Critic）

　　Artist's increasing interest in traditional cultural resource is one of the features in the development of China’s paintings. To embrace and absorb traditional art with personalized artistic criterion has become a new approach to innovation. Gu Liming studies the traditional culture and folk art from a modern art perspective, and reconstructs the vibrant colors and spiraling lines in a folk Woodblock New Year prints into modern forms with abstract significance. Bright colors turn out to be harmonious and condensed, yet still full, and the meaning of folk tradition in the subject fades, thus utility of the subject decompose to pure art with strong expression of forms. While people are trying to save the extinguishing folk arts, Gu Liming has revitalized ancient art forms with new themes. Embracing the long-time tradition in innovated forms is no doubt a significant step for China's painting at the dawn of a new century. （2011）

作者：水天中