靳尚谊(原中国美术家协会主席)

　　刘春潮作品很现代，给人很强的视角冲击。是自身思想观念的物质载体，画面中对材料的运用也很合理，是年轻人的艺术，但又不乏传统的元素。

　　Shangyi Jin (Chair of China Artists Association)

　　Being the material carrier of his own philosophy, Liu’s works have a keen sense of modernism and a strong visual impact on the audience. Reasonable and imaginative usage of different materials in painting makes his art the art for the young; while in the meantime, traditional factors are still found richly employed.

　　蒋采萍(中央美术学院博导、中国工笔画学会会长)

　　春潮的绘画色彩浓而不俗，色墨交融自然，体现出扎实的基本功。他对画面构成的认识及运用也较为自觉和主动，这是其艺术的一大亮点。

　　Caiping Jiang (PhD Supervisor of China Academy of Art and Chair of Association of Chinese Elaborate-style Painting)

　　Chunchao’s paintings are rich and thick in colors but never fall into the vulgar category. Instead, colors blend in well with ink in his painting, revealing his solid foundation in drawing. He has the awareness and takes the initiative to understand and arrange the constitution of a painting, which is an outstanding feature of his art.

　　叶武林(中国壁画学会理事、著名壁画家)

　　春潮能洞察到物象的精微末节，能触摸到物象的材质肌理，能疏理出物象的形式结构。更为可贵的是，春潮既是诗人又是画家，这种双重身份，使他的绘画更容易抵达思想与诗意，让作品在传达与理解的过程中实现互译。

　　Wulin Ye (Councilor of China Fresco Council)

　　With a painter’s eyes, Chunchao is capable of perception of every fine detail such as the texture and organic structure of materials. Moreover, the duplicate role that Chunchao has played as a painter and poet enables him to convey more easily poetic conceptions to his paintings and to realize the mutual interpretation between poetry and paintings during the process of conveyance and understanding.

　　涂志伟(美国油画家协会主席)

　　“莲”自古就成了文人们常画的题材，正因为如此，这一题材领域的传世精品才相对丰富，也难以超越，可以表现的空间已非常狭小。而刘春潮知难而上，再以“莲”为题材，却立意于“莲”的死亡意识和性意识，这应该说是大胆的也是明智的。这一崭新的角度给他的绘画呈现出与众不同的效果提供了可能。

　　Zhiwei Tu (President of the Association of Oil Painters in America)

　　“Lotus” has become a frequent subject of paintings since ancient times. As a result, there is a sea of classics with the lotus as the subject. Since there is little room left for new expression_r_r_rs on this subject, it is extremely difficult to transcend former painters. However, not shrinking back from difficulties, Liu deliberately chooses lotus as his subject for painting. But unlike all other painters, he founds his subject on the death of lotus and its symbolism of sex, which is well said to be bold and wise. This brand new angle facilitates possibilities for the uniqueness of his paintings.

　　滕小松(湖南师范大学美术学院 副院长)

　　在刘春潮心灵的光芒中呈现为神秘、厚重的审美意象的“莲”，特别是莲蓬的浑厚深沉、辉煌灿烂甚至凄凉悲壮几乎完全远离了中国传统诗意中的高洁、飘逸和柔美，而成为一种浓墨重彩式的秋思和静观默想式的禅境。还有那频频呈现的残叶、莲子、蝌蚪，又在昭示生命的轮回与运化、消逝与重生。也就是说，他内心的情感和思想的磁场所筑构的“意向性结构”已把中国传统年画中绿色莲蓬转变成金色的莲蓬，把民间莲蓬吉祥喜庆的寓意转变成生命轮回的符号，把常理中“处世高洁”的爱莲情结升华为“春华秋实”的生命意识。显然，他画笔下的“爱莲说”是“生命之诗”，更是“生命之思”。因此有人说，从刘春潮的画中仿佛能听到秋声，看到佛光。

　　Teng Xiaosong (Vice Dean of the College of Fine Arts, Hunan Normal University)

　　The mysterious “Lotus”, especially the lotus seedpod, in Liu Chunchao’s aesthetic presents an impression of massiveness, splendor and even solemness, far beyond their conventional image of nobleness and gentleness as that in the Chinese ancient poetry, and generates a contemplative atmosphere. And the broken leafs, lotus seeds and tadpoles frequently appearing in his paintings represent the vanishing and renaissance of life. That is to say, in his intentionality structure composed of his emotions and philosophical thinking, the green seedpods in conventional Chinese new-year pictures has been turned into golden seedpods, the seedpod has been transformed from a folk sign of happiness into a symbol of the palingenesis of life, and the conventional “lotus complex” (feeling noble) has been sublimed to a sense of life. Apparently, the “Lotus Saga” series are not only his “poetry of life” but also his “reflections on life”. No wonder it is said that the sound of autumn winds can be heard and the Zen meditation can be felt in Liu Chunchao’s paintings.