范一鸣的绘画以西藏为创作题材，其绘画很有特点。作为写实绘画在技法、技巧上达到了相当成熟的地步。就此而言，在中国当前艺术转型的时代过程中尤其显得有意义。欧洲写实技法的引入，至今并没有完全消化，所以对中国的写实画，我们油画家有必要做更深入的探索和研究，并融入自己的理解，显示出自己的创作理念。

　　我看了范一鸣的画能触动我们对艺术对人文的感受，他的作品避开了通常画西藏，风情、风俗的道路，选择了一种非常"冒险"的创作方向，简化背景，空间平面化。他展示给欣赏者的是一个单纯的人的本我的形象，他在世俗和宗教之间找到了自己的创作方式。范一鸣在世俗和宗教之间做出自己的选择，这不是一日之功，需要漫长的积淀，包括对西藏的解读，包括对文化的理解，尤其是中西文化的碰撞当中，我们对艺术的认识逐渐深化，在这个深化的角度上表现了西藏的文化、西藏的哲学，并从绘画中凸现出来。我认为技法必须恰到好处，过于追求细节和古典的味道，在今天看来，它往往会导致技术主义倾向，忽略了人文的表达。如果能把技术和人文精神完美地结合在一起应该是一种最佳状态。范一鸣正向这个方向前进，在这条路上走下去，可以预见他的前途是非常广阔的。

　　Taking Tibet as subject matter, Mr.Fan Yiming's paintings are noted for his own characteristics. As realistic paintings, his techniques and skills have attained the extent of much maturity, which makes sense especially in the process of changing Chinese arts at the present time. The introduced European realistic painting technique has not yet been digested completely, and we painters must make a deeper exploration and study of it and blend it with our understanding showing our own creation conception.

　　Appreciation of Fan's paintings has stirred our feeling of arts and humanity. Instead of taking the conventional way of painting Tibet and its custom, Fan chose his "adventurous" creation direction simplifying the painting's background and emphasizing its complanation. He succeeded in making a choice between common customs and religion, emphasizing revealing to the audience the artless vision of a natural human person. What he has achieved is not the result of a single day's effort, but of a longtime accumulation including the unscrambling of Tibet's secret and the understanding of its culture, especially the gradual deepening of our cognition of arts in the collision of Chinese and western cultures with an aim of expressing Tibet's culture and philosophy. I think excessive pursue of minutia and classicalism may lead to overlooking the expression of humanity. The best way is blending perfectly techniques with humanity spirit. Fan Yiming is just going on this way which can be expected to be extremely broad.

作者：徐恩存