如何在学理思辨的基础上，对中国传统文化进行深度解读，并且还能够使用个性化特点的艺术语言加以表述，这是当代每一个有学术追求的艺术家共同面对的课题。此类问题，也是二十世纪以来中国美术面对的时代课题。遗憾的是，因为受制于近代中国落后的生产力发展水平，很多人认为经济的落后终将导致文化的不如人，从而对我们自己的文化先进性失去了信心。这种在文化发展战略上体现出的自卑心理，一直持续到上世纪八十年代的改革开放。因此，重拾对中国本土文化的自信，就成为我们所处的这个时代的文化主题。

　　在我们本土文化系统中，写意精神一直居于核心位置。当我们对本土各类文化遗产的进行盘点，自然感受到中国是一个富于写意精神的土壤。无论是夏、商、周三代青铜器物的立体造型，还是魏晋汉唐时期的敦煌重彩，更不用起于宋元的笔墨山水，都有“写意”的线索贯穿其中。遗憾的是，这种写意精神被元代以后的一大批官宦画家，钳锢在文人私赏的低级趣味之下，受众范围极其有限，其审美功能一度沦落到与缠足女人的裹脚布等同的不堪境地。虽然经过“五四”运动的革旧布新，但是仍然未能摆脱以往窠臼的羁绊。近几年，经过欧风美雨洗礼之后的中国美术界，创作中以模仿古代为能事的沉渣又有所抬头，而对真正立足当下社会实际生活的的、具有生发意的新传统的形成却未能有任何建树。

　　早在大学二、三年级的时候就，本人就对当时日渐流行开来，以描摹照片为能事的创作样式的发展态势表现出极大的怀疑。也就是从那个时候起，我就开始在创作中寻找探索别样的表现途径。契机发生在大学三年级（1998年）的一次西北艺术考察，参观过敦煌壁画和西安博物馆的唐代壁画遗存之后，找到了自己创作中的图像参照。十几年来，本人一直从事着“中国古代壁画（敦煌壁画）向现当代架上绘画的转换”的专题研究。其实，这也是一个协调“写意”和“重彩”两个看似矛盾的概念的过程。“写意”是中国艺术精神的核心本质，“重彩画”则是中国古代绘画在宋元文人水墨画发生之前的主要艺术样式，将二者做一结合必将产生超乎寻常的现实意义。只要能够把握住这种随意而发的写意精神，至于使用何种材料就不是问题的关键，只不过本人更愿意选择矿物质色粉这种重彩画材料。这种艺术体验，清初的石涛在其《苦瓜和尚画语录》中表述的最为明确，我将之表述为“写意重彩”。

　　这一概念的实质，就是在发挥色彩表述张力的基础上，充分尊重中国艺术中的写意精神，进而探寻写意精神与当代人的审美追求和心理诉求之间的呼应关系。其学术目标的终极指向，是现当代文化语境下，创作实践参与者和本土优秀文化资源的有效互动，表现为当代艺术家对自己文化立场的身份确认。

　　所以，这一学术探索和创作实践，不仅具有积极的学术价值，更具有深刻的现实意义的。

　　 My "Freehand Brushwork Painting"

　　How to conduct the in-depth interpretation of traditional Chinese culture on the basis of academic principle and speculative thinking,and express it by using artistic language of personalized features is the common issue faced by every contemporary artist who has an academic pursuit. This kind of issue has been the subject of times faced by China Art since the 20th century as well. Unfortunately, many people believe that the backward economy will eventually result in inferiority of culture subject to the underdeveloped development level of productive forces in Modern China, losing confidence about the advanced nature of our own culture. This sense of inferiority appeared on culture development strategy had continued to the reform and opening-up in the last century,80's. Thus, regaining confidence of the Chinese native culture becomes the culture theme of our times.

　　In the system of our local culture, enjoyable spirit has been the core all the time. When we were counting on all kinds of native cultural heritage, we feel that China is a very enjoyable spirit soil naturally. No matter the stereo modeling of the bronzes from the Xia, Shang and Zhou Dynasty, or the Dunhuang heavy color from Wei, Jin, Han and the Tang Dynasty, or the pen and ink landscape painting started from the Song and Yuan Dynasty, there are all "freehand brushworks" in them. It is a pity that this lyricism spirit is restrained to the vulgar taste of literati themselves by a bunch of eunuch painters after the Yuan Dynasty. Meanwhile, its audiences are extremely limited while its aesthetic function was once reduced to an unbearable situation that was the same as women's foot-wrappings. Although after the shake-up of the "May 4th" movement, it still failed to get rid of the fetters of rut. In recent years, influenced by Western culture and civilization baptism, China's art circles returns to the vicious circle of imitating the ancient, but the formation of new tradition based on the current social reality with new meaning has failed to be achieved.

　　When I was in the second or third grade at university, I was very suspicious of the creation style of photo copy, which is increasing popular at that time. From then on, I started looking for and exploring different ways of expression in the creation. The turning point is the northwest art study in my third year at college (1998). After visiting the Dunhuang frescoes and the remains of the Tang Dynasty frescoes in the Xi'an Museum, I founded the image reference in my own creative work. For more than a decade, I have always been studying the subject of "transforming ancient China wall painting (Dunhuang frescoes) to modern and contemporary easel painting". Actually, it is also the process of coordinating the two incompatible conceptions of "abstract" and "color". "Freehand brushwork" is the core essence of Chinese art spirit, and "heavy-color painting" is the major art form of Chinese ancient painting before the ink and wash painting of literary persons of the Song and Yuan Dynasty. There will surely generate extraordinary practical significance by combining this two together. It only matters if you can grasp the spontaneous enjoyable spirit and which material is used is of no key importance, while I myself prefer to use such heavy-color painting material as mineral pigments. About this kind of art experience, Shitao from the Early Qing Dynasty described the most explicitly in his work Drawings and Quotations of the Bitter Gourd Monk, which I describe as freehand strong coloring.

　　The essence of this concept, foundation is in the play of color expression of tension, full respect for China art spirit of freehand brushwork, and then explore the relationship between the aesthetic pursuit of echo of freehand brushwork spirit and modern people's psychological demands and. The final direction of its academic objectives is to create effective interactions between participators and local brilliant cultural resources under the contemporary cultural, which is shown as the identification confirmations of the contemporary artists to their cultural position.

　　Therefore, this academic exploration and creative practice not only have active academic value but also have profound practical significance.

2014.02