我这一辈子最让自己欣慰的事，就是选择了画画。画画已同我的生活、我的生命融为一体。我的最丰富的情感也都在这里。不管我的画好不好，都是我的真情所为。

　　画室是我的精神家园，是一个让我引发遐想的地方。这里也如同一个充满艺术气息的气场。我一走进这里就很快进入一种淡定、入化的境界，进入一种工作状态;无关的杂念随风而去，一些艺术的遐想漫漫涌来。这里就是我自由冥想的天地。对一个艺术家而言，面对大海可以自由冥想，而面对墙壁自由冥想也同样可以飞翔。

　　画画那一刻，是我入境的时刻，一切都是这般宁静，一切都变得这般单纯。因为画就是我内心的感受，我的心境，我的愿望，我的追求。

　　画室竟成了我难舍难弃的地方，寸步难离的地方。没有特殊的情况，我每天都按时来到这里。这已成为生活的习惯，生活的方式。

　　风景画是我的最爱，画它、看它都是一种快乐。

　　通过它，我们可以与大自然沟通，实现心灵的印证、心灵的对话。我们画风景画的过程，是一种诠释情感的过程。是情感的释放、情感的抒发、情感的流淌、情感的宣泄。

　　大自然是一部永远也看不完的书，也是一部看不懂的书，充满了奥秘。但它又是一部充满了灵性，可以用心灵去感知的书。亲近大自然、感悟大自然、陶醉于大自然，这是一种莫大的感化，人的心灵、人的情感都在净化、提纯。

　　画风景画感觉心里很甜蜜。但在画风景时，你必须有充沛的真诚的情感。真情实感，有感而发的那种真情，发自内心的真诚与激情，情真意切。

　　大自然中那些生动感人的形象，那些令人难忘的形象，那些使人震撼的形象，如同影视一样投射在心灵的屏幕之上，留下图像的印迹。偶然间，受其他一些事儿的影响，有时还要回放这些图像，让你梦幻、想象、畅游，让你激动，使你产生画画的欲望。有些图像事隔多少年之后你突然之间还要画它，像陈年老酒一样。

　　“搜尽奇峰打草稿”、“外师造化，中得心源”、“形神兼备”、“气韵生动”，画出我心中的风景。在万物丛生的大自然中艺术神经与自然万物碰撞出心灵的火花时，艺术创作的冲动、艺术的灵感就在其中。

　　大自然的永恒与瞬间，珠穆朗玛峰、太平洋、黄河、长江、罗布泊的沙原……都使人感受到一种千古不变的永恒的尊严;阳光、月光、霞光、风霜、雷鸣、闪电、云、雾……都使人感受到时光的短暂与突变，感受到千变万化的神奇与美妙。永恒与瞬间的万般感受与印象都积存于心，随着时间的过渡，随着时间的延长，积存心间有着太多的、太重的、太深的印迹。在心间，经过融合、组合、就会有些画面升腾而出。这就是我要画的心中风景，令我感动的风景，表达我心境、心绪、心思、心情的那种意境的风景，来自自然又超越自然的风景。

　　我有过一次终身难忘的奇遇，它打开了我的心门。2004年的10月，我和朋友去韩国，去雪岳山国际滑雪场。在去雪岳山的途中下起了大雪。这是我有生以来第一次见到这样白的雪，太白了!太净了!太纯了!令人昏眩。我们下了车，走在这白白的、软软的雪地上，眼前的山景朦胧而又恍惚，忽隐忽现，忽远忽近，令人飘飘然。眼前的一切轻灵而又柔美，一下子把我的灵魂都吸走了，忘了自我的存在。我第一次感受到了什么叫灵魂出窍，灵魂在这大自然的雪雾的美景中飘逸，这是一种奇异的感觉。一种美妙得令人陶醉的感觉。当我回过神时，心中一下子升腾起一种冲动，我要画的，就是它!我的朋友们也都急急忙忙地帮我拍照，搜集素材。其中一棵挂满了雪的婀娜多姿的小树，真的美极了。这是一个画家独有的感觉方式。回到沈阳后，我就把手头正在画的画都放下了，画起了《雾迷雪岳山》这张画。

　　画家的思维方式是图像、是画面，是形、光、色，是开幕式、是构成，是点、是线、是画，是画画时的语言个性。这些是画家的情感媒介，是思绪的载体，是艺术创作的载体，是艺术行为的载体。艺术的品质、艺术的层次都依据你在艺术实践中是否把这分寸拿捏得恰到好处，对画面的经营是否到位。

　　心仪经典，追求完美。这是一个伴随艺术家终身的梦想，这是一个不断追求，而又最终很难达到的艺术创作的过程。在作画过程中不断地加工打磨，不断地纠偏纠错，只能是一步步地靠近这一目标——完美。有时，一幅画的创作我反反复复地画，甚至达到六七幅之多。如《夏日•冲凉》，如《一池春色》。

　　风景画的画魂，恰恰就似诗性的表达，在于抒情写意。对我来说，就是中国文化传统的精神与我的艺术理念的契合。人和宇宙的关系，就是人和自然的天人合一的关系。中国画家有着自己的思维模式;将天下万物的形象烂熟于心，形不阻情;以技艺娴熟得来于心意的写意之自由;舒怀而潇洒。中国文化传统的哲思与智慧，中国传统文化的某些元素，中国人的审美情趣都合力助推中国风景画的发展与超越。它们体现着鲜明的中国特色，体现着鲜明的中国文化精神。这些也确实是难以用西方的美术理论的批评标准来套用的。

　　在以西方话语为中心的语境里我们难以合辙。东西方文化的碰撞中使我们清醒，使我们觉醒，那就是我们要力主东方文化的话语权。要倾心于中国人对时代、对当下的真实感受，要偏重于中国人对美的切实感觉和审美情趣所在。在21世纪的今天，我最为看重的是我们中国人自己对艺术品评和审美的标准。

　　令人陶醉的艺术氛围，生活于其中，年复一日的平静，又年复一日的不断重演着画家的冲动与激情……美妙得令人忘乎所以。

　　作为画家都期待这平实的生活。

　　作为画家也都在享受着这快乐的人生。

　　Reading Notes

　　What I gratified the most through my whole life is chosen painting as my career; I am deeply attached to painting with all my passions. Painting has already become a part of my life. No matter I paint well or bad, the works are all done with my heart and soul.

　　The studio is home for my spirit, a place in which I could be lost in fanciful thoughts and it is also a space filled with artistic atmosphere which enhanced me to a calm and spiritualized mind state as soon as I walked in. Concentrating to the work, all irrelevant thoughts has gone away while some artistic ideas emerging out gradually. This is my place for free meditation, as an artist, he not only meditates freely by facing the vast ocean, but also could meditate in front of the wall to emancipate the mind.

　　I could reach into my mind for the moment I am painting. At this moment, everything is so quiet and purified to me for what I have painted is my inner feelings, my state of mind, my wishes and my pursuits, therefore, the studio is become a place for me hard to live without. If there is no emergent issue, I will be there every day on time, which has already been a daily habit to me.

　　Landscape painting is always my favorite. It brings happiness either you paint or you watch it.

　　Landscape painting is a media, through which we could interact with the nature; hence we could corroborate what we believed in our souls and realize the communication between us and our souls. Creating a landscape painting artwork is a process of emotion exploration, i.e. the release and express of the emotion, the flow and discharge of emotion.

　　The nature is a hard understanding book without an end; it is full of mysteries while it is also full of spirits and needs you to read it with your soul. If you come close to the nature to feel it and get yourself intoxicated within it, you will be greatly touched by it; human soul and emotion are all under purifying and refining when they are with the nature.

　　There is always sweetness filled in heart when creating the landscape artworks. You must, however, be filled with adequate sincere emotions as well, which should be your real and freely expressed feelings, sincerity and excitement from the bottom of the heart.

　　The touching, unforgettable and astonishing images in nature have reflected on the screen of human hearts, just as the way of movies, leaving the tracks. Occasionally, we need to flashback these images, due to affected by other things, keeping ourselves imaginary and excited, thus, motivating your desire for creation. For some images inside you, you may still get the desire to put them on the canvas all of a sudden even many years later, just like you get the desire to have a taste of the old vintage wine.

　　The landscapes I have painted are the images originated from my inner perspective toward the natural world I have seen with my heart, but what I believed as the essence of the natural out looking and natural inherence are remained in a original and vivid way as they are. The impulse and spirit, in another word, are laid in the sympathy between the artistic nerve of the world-growing nature and all the things in nature.

　　The nature has its own eternity and moment, the Everest Mountain, Pacific Ocean, Yellow River and Yangtze River and the sand plain in Lop Nor, by which people could feel the everlasting and perpetual dignity of the nature, while, others like sunlight, moonlight, thunder, lightening, cloud and fog, etc, has enabled human to capture the transient moment and sudden change of time as well as the ever changing miracles and beauty in the nature. Various emotions and feelings toward such kinds of eternity and transient moment has been subsided in my heart as time goes by to an extent that it is too much, too heavy and too deep to bear, great and fantastic spirits of fine arts creation, therefore, will come into mind through merging and reconstruction of these emotions and feelings. I am quite sure that this is the landscape I want to paint, which could deeply touch me and release my emotions, my feelings and my thoughts. This landscape is from nature but goes beyond nature. I have an experience which could not be forgotten through my whole life for it has opened up the gate of my heart. On Oct, 2004, my friend and I went skiing in the international ski resort of Seorak Mountain in Korea. On our way to the resort, it began to snow heavily. That was the first time in my life I saw such white snow. I felt dizzying by such white, clear and pure snow. When we got off the car, setting feet on the white and soft snow, the mountain in my eyesight is hazy and moony. I felt like I am in an illusory world as the mountain is flickering, now far away, now nearby. Everything showed in front of me looked light and graceful, unconsciously my soul had been absorbed away and I temporarily forgot my existence. It is for the first that I felt my soul extracted from the body, flying in the beautiful snowing world of the nature, which is so amazing and delighted. When I came to the real world, an impulse rushed into my head that I want to paint this great scenery down, that is it! My friends were all help me to take photos and collect the source materials in a hurry way, in which I found a small but graceful tree with snows laid from top to the bottom, it is so beautiful beyond my description and this is unique to a painter’s spirit for arts creation. After I was back to Shenyang, I stopped all my painting works on hand and started to create the artwork “Foggy Seorak Mountain”.

　　Painter’s way of thinking is based on images and pictures, shapes, lights, colors, inaugurations, structures, dots, lines, paintings and language individuality while creating the artworks, all of these are the media of painter’s emotion, carrier of painter’s state of mood and also carrier for artworks creation and artistic behaviors. The quality and level of the arts, in the meanwhile, lies in the properness of artist’s practices and his or her good manipulation of the scene.

　　Creating classic artworks and pursuing to the perfect is the dream of every artist for his or her whole life. It is a process of art creation, however, needs continuous effort yet hard to achieve. The artist could only draw near to “the perfect” step by step through ceaseless adjustment and modification of the works. Sometimes, the creation of one piece artworks will take the repainting step again and again. For some artworks, I have even painted six to seven times, such as “Summer Day, Shower” and “A Pond of Spring”.

　　The essence of landscape painting is that it expresses artist’s emotions and feelings in a poetic and lyric way. It means to me that the landscape painting could be the combination of the spirit of Chinese cultural tradition and my arts concept. When we talk about relationship between human and the universe, it is the unified relationship between human and the nature. The Chinese painters have their own unique way of thinking to keep the images of the world in their mind. However, the images will not be fixed as they are when painters create artworks. Chinese painters could use the sophisticated skills to freely express their feelings and emotions, which is in such a comforting and handsome way. The philosophy and intelligence of Chinese cultural traditions, some elements of Chinese traditional culture and the taste interest of Chinese people are all together to push the development and great leap of Chinese landscape paintings. These landscape paintings are with unique Chinese characteristics, reflecting the vivid Chinese cultural spirit. It is difficult, indeed, to judge these artworks by Western artistic theories and standards.

　　As it is hard for us to apply to Western-oriented artistic languages and our awareness of the conflicts between the Eastern and Western cultures, we must keep positive and stand firm to our Eastern cultures by inclining to the real emotions and feelings of Chinese people toward modern and current times. We need, furthermore, emphasize the real feeling of Chinese toward beauty of arts and their taste interest. In the current of 21st century, what I believe as the most important to the Chinese arts is the Chinese people’s judgment and appreciation standards toward artworks.

　　Living in such a delighted artistic atmosphere quietly day by day, year after year, I am so deeply attached to such great feeling of being a painter with impulsive and excited spirit.

　　As a painter, we all wish to have such kind of simple lives.

　　As a painter, we are all enjoying the happy lives like this.