孟新宇，《四季太行》，200×100cm×4，布面油彩，2015

　　我是一个偶然的机会了解孟新宇其人其事的。听朋友说，多年来，他置身于豫北的太行山区，苦心悟道，潜心创作，以常人难以做到的执著和坚持，绘就了一系列令人刮目相看的油画作品。

太行屋脊工作室，林州，2016

　　熟悉的人都知道，孟新宇是画太行山出名的。太行山是北方大地上一座雄伟而又充满文化的名山，也是中华民族的脊梁。中国历史上很多的绘画名作都是以太行山为原型。著名的北派山水画大师范宽、荆浩等也都曾出自这条文脉。孟新宇热爱太行山，把创作基地建在山上，他画太行山的投入程度近乎达到了痴迷状态。

太行屋脊工作室，林州，2016

　　在一篇访谈中他曾经说道：「画画是一件掏心窝子的事情！」他将自身的生命和情感融入到太行的山山水水和一草一木当中去。在他的笔下，一座座原始古朴的太行村庄，静静地伫立在亘古绵延、粗犷幽野的山谷之中，炊烟弥漫，混杂着乡野泥土的气息；主人略显木讷的身影，黑马归来的叹息，以及那些在阳光下伸展开来的枝杈，还有飞鸟，一并彰显出生命的活力。他把对农耕文明自由朴素生活方式的景仰和怀念，用诗意的绘画语言记录下来，如痴如醉，如歌如诉，充满了真诚和感动。

孟新宇，《车佛沟金秋》，70×70cm，布面油彩，2016

　　中原大地上大量的自然文化遗存，如黄河、寺庙、古塔、古城门楼、石窟造像、石狮子等，也成为孟新宇的主要绘画题材。尤其是古塔、石狮子和石窟造像，尽管显得有点凋敝和陈旧，无多少新奇之处，但他以近乎书写的方式，敞开心扉，放飞思绪，将历史的沧桑和文明的光辉用丰富的色彩和激情的笔触呈现出来，让人产生一种强烈的情感共鸣，感觉他就像一位虔诚的信徒，不断以膜拜的方式，与宗教默契，与古人交流，与历史对话，将他对往昔的感怀和追思，凝聚成其绘画精神不可或缺的一部分。

巩义石窟寺，2011

　　孟新宇是一位对中国传统文化有至深感悟的人，也是一个胸怀文化理想的人。他选择从有文化高度的太行出发，注定肩负文化使命。他把代表中国传统文化主体的中原文化作为绘画研究样本，从熟悉的对象人手，以概括和凝炼的手法，将石窟造像、古塔寺院、石狮子、窑洞和园林之类的中原文化元素提炼出来，归纳为具有明确精神指向的个性化绘画符号。

孟新宇，《雪满太行》，60×180cm，布面油彩，2015

　　他以不落俗套的构图视角和带有强烈视觉冲击力的夸张画面，表现对中国传统文化的迷恋情结；以梦幻而浪漫的格调，绘就永恒追求、不离不弃的精神文化家园——一个超越时空，没有喧嚣、肮脏、仇恨和敌意，只有平和、拙朴和宁静的理想世界。并且，他把对中国文化元素朴素和庄严之美的热爱和敬畏，装进了内心里，镌刻在了画面的笔触里。读他的画，一眼就会被他作品中充溢着的浓烈中国文化气息所感染。他大量借鉴民间艺术手法，大胆运用浓烈的民间年画色彩。喜气的红、纯净的蓝、贵气的黄和略显深沉的绿，都是这位中原人喜欢用的颜色，也是中华泱泱大国几千年文化血脉中流淌的基本元素。与众不同的色彩体系和其所传达的人文精神，与中原文化的历史渊源和社会生活的变迁一脉相承。他的可贵之处在于，敢于扎根民间，沿着太行山这条延续了千年的文脉，用个性化的绘画语言表现平凡生活中所蕴含的生命真意和文化力量，并且他的心与这个时代的脉搏始终都是一同跳动的。

孟新宇，《巩义记游之五》，81×100cm，布面油彩，2012

　　孟新宇绘画的价值和意义，体现在其抛开了固有的成见和作法，食人间烟火接地气，找到适合油画这一外来画种与中国文化相嫁接的表达方式。在他的笔下，村庄、树木、山脉、天空、寺庙、佛像、古塔等，都是中原大地上再自然、简朴不过的东西，但他的手法、色彩、图式及诗意叙事的绘画方式，却让我们看到了油画这种绘画形式在中国大地上生发、成长和成熟的希望。我们有理由为此而充满期待。

（本文刊载于《艺术市场》杂志2015年4月号中旬刊）

太行屋脊工作室，林州，2016

Meng Xinyu: Starting from Taihang Mountain

By Yin Jianyi

　　I gain a chance to get acquainted with Meng Xinyu. I hear from my friend, that he has stayed in Taihang Mountain of north Henan for many years, comprehending philosophic theory and devoting himself to creating, and finished a series of extremely amazing oil paintings with his extraordinary perseverance and persistence.

荷兰海牙莫瑞泰斯皇家美术馆，2016

　　Persons who are familiar with him, know that Meng Xinyu is famous for his painting of Taihang Mountain. Taihang Mountain is magnificent and full of culture located in the northern land, as a ridgepole of the Chinese nation. Many painting masterpieces in the history of China take Taihang Mountain as the prototype. The famous northern masters of landscape painting, Fang Guang, Jing Hao and so on, are produced from the cultural vein. Meng Xinyu loves the place, builds his creation base on Taihang Mountain, and pays too much attention to draw Taihang Mountain until close to obsession. In his interview, he said that to draw was to take from the bottom of his own heart, and he devoted his whole life and emotion to Taihang Mountain and water and even a tree or a stone. In his pictures, every original and quaint village stands quietly in everlasting-stretch, wild, secluded valley, filled with smoke and mixing with the smell of the earth here; a slightly stiff figure of the host, the sound from when a dark horse returns, stretching branches in the sun and flying birds, all demonstrating the vitality of life. He gets admiration and nostalgia to the free and simple way of life of the agricultural civilization to record down in poetic painting, intoxicated and lyric, full of sincerity and move.

孟新宇，手稿

　　A large number of natural and cultural relics on the land of the central plains, such as the Yellow River, temple, ancient pagoda, the ancient city gate tower, grotto statues, and stone lion and so on, are main painting subjects of him. Especially ancient pagoda, stone lion and grotto statues yet appear somewhat depressed and old, no wonders, but he adopts a way similar to writing to open his heart and fly his emotion, to present vicissitudes of history and the brilliant civilization out with rich colors and passionate and create a strong emotional resonance, as if he was a pious follower, continued to worship in the light of religion, exchanged with ancients, talked with history, to make his emotion and memory to the past condense into an integral part of his painting spirit.

商丘工作室，2016

　　Meng Xinyu is of a deep feeling to the Chinese traditional culture, and a person cherishing cultural ideal. He makes a choice to start from Taihang with full culture and is bound to undertake cultural mission. He regards Central Plains culture on behalf of the Chinese traditional culture as the sample for studying painting, sets about his familiar objects, uses general and refined methods to extract Central Plains culture elements from grottoes statues, ancient pagoda, temples, stone lions, cave and garden, and concludes personalized painting symbols of clear spiritual guidance. He adopts the drawing perspective conforming to no conventional pattern and exaggerated pictures with strong visual impact to convey fascination complex of Chinese traditional culture; employs fantasy and romantic styles to create an everlasting pursuing, not leaving, spiritual and cultural home--an ideal world that transcends time and space, no noise, filth, hate and hostility, and peace, plainness and tranquility left. Besides.

巩义石窟寺，2015

　　He puts love and admire for simplicity and grandeur of Chinese cultural elements in his heart and sketches with his brushes. If to enjoy his pictures, it is easy to be inflected by strong Chinese cultural atmosphere filled with in his pictures. He learns more from folk art techniques and boldly uses strong folk colors of New Year paintings. Festive red, pure blue, gold yellow and slightly deep green are all colors used by the Central Plains person and flowing basic elements along culture vein with thousands of years of the Chinese nation. Distinctive color system and its humanistic spirit keep in line with the historical origin of Central Plains and changes in social life. His praiseworthy point is to draw from folk, follow cultural vein of Taihang Mountain of thousands of years, and adopt individual painting to highlight meaning of life and cultural power contained in our ordinary life. In addition, his pulse beat keeps consistent with the times.

孟新宇，《深秋槐树洼》，100×100cm，布面油彩，2016

　　The value and meaning of Meng Xinyu's paintings reflect with no usage of inherent prejudices and practices, worldly and near to earth, to discover an expressing way suitable for blending foreign oil paintings into Chinese culture. In his pictures, villages, trees, mountains, sky, temples, statues, ancient pagoda, etc. are ordinary and simple things on Central Plains land, but his techniques, colors, schemes and painting methods for conveying poetry make us see appearing, growing and maturing of oil paintings on the land of China. Therefore, we have sense to fill with the anticipation.

作者：尹坚毅