小阳属于那种涉猎面宽广，生存能力极强，画起画来又能不管不顾的激情型画家。他也是早年跟随我学画的弟子中最热闹的一个，好酒、活跃、随和，人缘好，画画感觉也好。

　　20世纪90年代中期，我曾在他安排的画室和他一起画了几年，一起喝酒，一起吃街边的简陋小食。酒后的小憩，竟然也是用木凳拼起的容身处下榻，回想起来倒是一段斩获颇丰的美好时光。因为我的很多重要作品也正是在那段时间里完成的。无疑，小阳也是在那段时间里取得了长足的进步。

　　小阳的画从很早起就锁定了大笔宣泄的表现风格，正如其人的豪气。尽管后来他又入校读研，但他从不囿于理论说教的困惑，视直觉为真谛，重塑造，强化笔意，也不乏奇思妙想的灵光闪现。所以他的画在同侪画家里那种强悍特色和冲击力是显而易见的。在强调抒写性的捭阖中也能捕捉到应有的趣味，这一点在他后来的以风景为主的写生中发挥得更加淋漓尽致。

　　写实绘画的意象性表现其实很难，要跨越诸多的形式、意味法则的门槛。有人称之为不动声色的形式主义，或不露痕迹的抽象表达，除了笔意、节奏，还有境界、格调等方面的修炼。画家一旦登上这块求索的舢板，所有的“未知诱惑”和“偶然碰撞”都会激起巨大的热情和期待。相比之下，那些理性的设计和策划或者追赶时尚的杂念都会黯然失色。因为乐此不疲的人所享受的还是“回到绘画”的心智满足。

　　愿小阳的旅途不断跨越新的高度。

郭北平，中国国家画院油画院副院长

My Words About Xiaoyang

　　Immersed himself in the infinite plan of oil color and linen canvas, Xiaoyang is one of the most passionate and dedicate oil painters among all my students in Xi’an Academy of Fine Arts. He and his art would amusingly thrive on extensive fields of practice and beyond.

　　In the middle of 1990s,  we shared a studio space lived and painted together for some years.  Since then, I have been delighted to witness his breakthrough in painting. Including those works of lifelong significance, the result of monasticism was quit rewarding and satisfying for both of us. Besides painting, there was always a bittersweet piece of memory to be cherished in life.  The good time, when we could simply eat and drink by the roadside and resting on the wooden studio benches, is very much missed.

　　Xiaoyang has been practicing his unique wide-stroke expressionism since his early career. This particular style which has been carried on throughout most of his works somehow reflects his bold personality. Having refused to be imprisoned by academic theory and dogma since the very beginning, he chose to learn from his intuition. Oftentimes, he could hit upon something powerful, like a spark in the dark. By characterizing the object and emphasizing on the meaning of each stoke in his own way, he is able to enlighten his work with distinctive figure and powerful expression. Even in his dairy-like painting, you could still clearly feel the fascinating power and sensation. Particularly, in his landscape live painting series, the reality images are often captured interacting with sensational representation.

　　It seems to the majorities fairly far-fetched to practice impressionism in realistic painting. Nevertheless, Xiaoyang had once boarded himself onto a boat to reach realistic impressionism (also known as still formalism or untraceable impressionism). He then would be very much intrigued by the unknown temptation and coincident collision on his voyage.  The outcome, to some extend, would eclipse that of who decided to stay radical or to follow the fashion.  Yet the most satisfying destination is perhaps the origin of painting. 

　　I wish Xiaoyang the best in reaching new heights on his voyage.

Guo Beiping, vice President of the national academies oil painting school in China

作者：郭北平