雷子人说，办这个展览的目的，是想将他在中央美术学院国画系四年的学习作一个总结。

　　这些作品最能说明雷子人的刻苦，每次读到这些画，我都有一种震动的感觉。我清楚地记得四年前我们一同来北京参加美院的考试时同住在由车库改成的临时住所的经历。给我很深印象的是五月里正午阳光下杨树叶发出的如雨声般沙沙的响声以及傍晚夕阳中金色的树干和叶。在南方我从未见过如此赤足在北京却无比平常的金色。我记得那时候雷子人是一个羞涩的孩子，却能用狂异的腔调唱戏。或许现在的雷子人依旧如此：内向、敏感、怀旧以及做事情的一丝不苟，这些画是很好的证明。我喜欢雷子人画中那些最纤细的线条，柔美的色彩，飘忽的人形和画中人物镇定、迷惘、忧郁或者伤感的表情。人们在花园、河滨、田野，或者居室中多种令人感动的姿态被雷子人记录在一张张画中，却不是简单的？记录？。雷子人的作画方式有些类似夏加尔、雷东、布莱克等各位时常被称作？心象主义？的大师。所谓？记录？，常常仅仅是记录了种种如同梦境的幻觉。但我从这些画中能够清晰地感知，这就是我们的青春，我们在大学里的日子，雷子人常常将它们与童年的追忆联系在一起。我不能想象？采莲？以及？放风筝？等如烟往事在雷子人的心灵中究竟唤起了怎样的一种美好感觉，使他会不厌其烦地在多种场合描绘它们。

　　雷子人实际上是在画时间。

　　不想多说在这些画与艺术传承的关联。因为我更趋于认同绘画是一项情感的事业。我看见雷子人的藏书中有陈洪绶和恽寿平等人的画集，于是也不难联想到雷子人的画和老莲及南田们的关系。另外，我相信雷子人也受到了老师田黎明等人的影响，这用不着避讳，理所当然，雷子人代表了中央美术学院国画人物新时尚的延续。

　　在今日社会艺术应以何种面目出现，这是困扰人心的难题。我以为，对于生活以及心灵的记忆将仍只能由艺术来完成。雷子人无疑是在做着这样的事情，我相信这一工作有不可低估的价值。

　　雷子人说他将在这个展览之后沉潜几年以期新的蜕变。相信绝不止我一人在关注着雷子人这位充满灵性的艺术家的将来。

　　伍劲

　　1993年10月20

　　Painting: a career of heart

　　Foreword to Lei Ziren's  First Personal Exhibition

　　Wu Jin

　　This exhibition, according to Lei Ziren, emerges from his plan to review his four-year study in the Chinese Painting School of the China Central Academy of Fine Arts.

　　These paintings are vivid demonstrations of his diligence, which touch me deeply whenever I look into them. I clearly remember those days when we shared one garage as our shelter to prepare CAFA's entrance exam four years ago. The rustling poplar leaves which sounds like raining in the May midday sun, the glittering trunk and leaves at dusk, all live in my memory. The glittering gold was so rare and rich for me, a lad from South China, yet I know in Beijing that was like the most ordinary colour. At that time, Lei Ziren was still a bashful boy, who could surprisingly sing opera in a special and unrestrained tune. Perhaps he is now still the boy, shy, sensitive, nostalgic and never negligent. I can see it from his paintings. I love the most fine lines in his drawing, and the soft colour, ethereal figures as well as their calm, lost, melancholic or sentimental countenances. Lei uses his canvas to record but not just record people's touching gestures in gardens, along the streamside, in fine fields or the living rooms. Lei's way of drawing is fairly like what those "MindArt" masters do, such as Chagall, Redon and Blake. The so-called "record", usually ends up as various dream-like delusions. However, I know and I understand, what he has painted is our youth - our days on the university campus - that he always relates to his recollection of childhood. I could never imagine what a beautiful feeling that "lotus gathering", "kiteflying" and other smoke-like faded events have aroused in his heart, which is so glorious that he has painted them again and again in different occasions.

　　In reality, he is drawing the days.

　　It is unnecessary to go into details on these pictures' connection to art inheritance. That's because I, myself, incline to identify drawing as the course that outlines heart. In Lei Ziren's library, I saw the painting albums of Chen Hongshou and Yun Shouping. Therefore, it is obvious what influence these two artists have wielded upon Lei's paintings. Moreover, I believe that Lei also got influence from Tian Liming and other teachers. There is no need to evade this; naturally and properly, Lei Ziren represents the continuation of a new fashion from the CAFA's Chinese Painting masters.

　　In what way should art be presented to the present world, is the perplexing problem indeed. For me, art is the only solution to recollect the days and our souls. Undoubtedly, that's what Lei is doing and I can see the tremendous value of it.

　　Lei says that he wants a few years in the shade after this solo show, expecting a transformation from it. I know that I am not the only one who concerns him- or herself about the promising future of Lei Ziren, a gifted artist.

　　Wu Jin

　　October 20th, 1993

作者：伍劲