在西方的油画艺术传入中国的百年历史中，中国的绘画先生们就在西方绘画艺术发展的形式上匆匆地演练了一番。可是这种形式上的过场到底产生了多大的意义，我们的民族生活和思想内涵表现的深度如何，我们大概就很少有有自信心了。所幸，当看到了王江扬的油画时，我们增强了民族的自信心。

　　当我们要评价一位艺术家存在的艺术价值时，则需要以令人折服的理论依据和事实依据来论证和确立了。各种画派和流派无论再怎样翻新或搞怪，绘画艺术的人性品格、美学的直观感受，所反映的核心价值的思想意义却是一切绘画艺术价值的一道道铁闸，不可无视和亵渎，这是历史可以见证的。

　　今天在评定王江扬的绘画艺术价值时，我想从以下几个方面的特征和意义来进行探讨和论证，也一并参考了其他几位美学评论家的观点，来确立王江扬油画艺术的价值和地位。

　　一、王江扬是一位弘扬中华民族精神、思想性强、感情真挚、艺术内涵表现丰富的油画家，画家中极其少见。他的画近乎于民族史诗一样，超越了一般意义的绘画。他用纪念碑般的画面续写了民族精神和历史，以不可重复性地生成了社会重大意义的现代性。

　　二、王江扬用西方的绘画材料，而用东方民族的思维特征创作作品。他把鲜明的艺术个性，创造性的艺术特征，直观地表现在他的画面中。他最看重的是艺术思想的感受，手法只是他下意识的选择而已。他独立于任何说教形式、画派之外。通过思想，他用自然生成的艺术形式表现了他的情感和思想，他用朴实的笔触表现画面。他的这种情结是他独有的，个性鲜明的，没有人可以模仿和重复的，他就此为中国油画乃至世界绘画创造了一种独特的美学品格。

　　三、假如一个人一生只有一种爱好和技能，我们很难说这个人的品格和生活是完美的。而丰富的情感和广泛的知识才应该是一种人生趋向完美的标志，王江扬也正是在实践着这种意义。他从自己坎坷的生活经历、丰富的感情取向上获得了充分的学识。他的思想敏锐而深刻，很多独特的正确见解令人折服，他充满个性的艺术表现力远远超越了一般意义上的艺术家。

　　四、在王江扬的绘画里、生存行为中也显露了他的人格魅力。如果我们相信宿命论的话，我们就肯定王江扬是天生的艺术家，没有人可以教化他，一切都靠他自己的感知和成熟。

　　1988年，他在对中国“绘画圈”一无所知的情况下，只身到北京的中国美术馆申请举办他平生第一次个人油画展，并获得审查通过，成为国内第一位在中国美术馆举办个人油画展的艺术家（因为现查证不到此前已举办过个人油画展的画家）。仅此已显露出他的人格精神和强烈个性，问他为何这么自信，他说：“我的画有真情。”

　　1994年，他又以极大的魄力于四川省广元市修建了国内第一家民办的集教学和展览为一体的“蜀道油画院”（《美术报》有相关报道，后因多方原因，于1997年停办）。“王江扬现象”在中国绘画艺术史册中由此就应该留下浓墨重彩的记载。

　　五、王江扬的油画艺术已经得到了评论家和观众的肯定，对中华民族精神和真实生活的表现是真诚的。他以自己的良知感染了许多观众，三十年前就有“苦难真知，无声惊雷”的赞扬，有“王江扬现象”的讨论、“中国现代的米勒”的评价。而可以预见的是，王江扬油画艺术表现的巨大张力还在不断发展，我们也没有理由不惊喜地去接受他。

　　我希望观者从以上论述中能增进对王江扬油画艺术的了解，更期待王江扬有更多更好的绘画创作出来，从而造成更大的文化意义和社会价值。我们拭目以待。

大地 美学评论家

2016年1月30日

　　Afterword--The practical significance of Wang Jiangyang's painting art

　　Dadi

　　Since a hundred years ago when western painting art was introduced to China, Chinese painters have practiced all the forms of western painting art in a quick speed. However, to what degree is this practice in form significant? And to what extent have our national life and thoughts been expressed? I don't think we have much confidence in this. But luckily, when we saw Wang Jiangyang's oil paintings, our national confidence was strengthened.

　　When we comment on an artist's value, we must find persuading theoretical and factual basis to prove it. No matter how innovative or strange the painting styles and genres are, the human nature of paintings, the intuitional aesthetic feelings, and the core values they reflect are guards of all painting value, which cannot be ignored or blasphemed. This can be proved in history.

　　I. would like to discuss the features and significance of Wang Jiangyang's paintings from the following aspects. I also borrowed the viewpoints of other aesthetics critics to establish the value and position of Wang Jiangyang's painting art.

　　1. Wang Jiangyang is an oil painter who has strong Chinese national spirit, high ideological level, sincere feelings, and rich ways of artistic presentation. This is rarely seen in painters. His paintings are close to national epics and surpassed those in common sense. He depicted national spirit and history with monument-like pictures, and formed the modernity of great social significance.

　　2. Wang Jiangyang created the works with western painting materials but Chinese thinking model. He expresses his unique art personality and creative art features on his paintings in an explicit way. He values most the artistic ideas; skills are just his subconscious choice. He is independent from all the preaching styles and painting genres. With thoughts in mind, he expresses his feelings and emotion in natural art forms, and depicts the pictures with plain strokes. This feature, which is distinct and unable to be copied or repeated, is unique to him. He thus creates a peculiar aesthetic quality for Chinese and even world painting sphere.

　　3. If one has only one hobby or skill in his/her lifetime, it's hard to call his character and life a perfect one. Rich feelings and wide knowledge are symbols of a perfect life, which Wang Jiangyang possesses. He acquires adequate knowledge from his life experience full of difficulties and rich emotions. His thoughts are keen and deep; many of his unique but correct viewpoints are quite convincing. The expressive force of his works transcended the artists in common sense.

　　4. Wang Jiangyang's paintings reveal his personal charm. If we believe in fatalism, we can be sure that Wang Jiangyang is a born artist. No one can teach him. All his achievements rely on his personal perception and maturity.

　　He submitted application for his first oil painting exhibition to National Art Museum of China in Beijing in 1988 when he knew nothing about China's "painting circle". The application was approved, which made him the first domestic artist that organized personal oil painting exhibition in National Art Museum of China (because we cannot find proof that someone else had organized such exhibitions before him). This fact alone shows his peculiar personality and spirit. When asked why he was so confident, he answered "there is true feelings in my paintings".

　　In 1994, he built the first domestic private oil painting academy that integrates teaching and exhibition—"Shudao Oil Painting Academy". (China Art Weekly used to report this, but the academy was closed in 1997 because of complicated reasons.) Wang Jiangyang phenomenon should be recorded and highlighted in Chinese painting art history.

　　5. Wang Jiangyang's oil paintings have been recognized by critics and the audience, because of his sincere representation of our national spirit and people's life. His conscience hidden in the works touched many audiences. His works have been regarded as "truth out of misery and soundless thunder" since thirty years ago. There are discussions over "Wang Jiangyang phenomenon", and someone call him "Miller in modern China". It's predictable that his oil paintings will be further improved and developed in terms of presentation, and we have no reason not to accept him with pleasant surprise.

　　I hope that the audience can have a deeper understanding of Wang Jiangyang's oil paintings after reading the comments. I also look forward to seeing more better works of him, which I believe will create bigger cultural significance and social value. Let's wait and see.

Dadi

Critic of aesthetics

January 30, 2016