王林（美术批评家、四川美术学院）：冯斌作品也许对他作为一个“中国画”画家来说已经走得很远，但这并无多大意义。他用绵绸、丙烯作画，有时也用水墨，材料而已，重要的是他怎么使用怎么表达。实际上，民族传统只有在古典时期才是完整的。今天的中国画已很难在自身语言系统中推进，它或是作为一种手段进入更广阔的创造领域，或者加入异质成分作一种综合性画面处理。因而所谓民族性，不过是中国人的精神特征，亦即东方人在和世界发生联系时那些独特而富有魅力的东西。 　　亚德里安.肯尼（Adrian Kenny,爱尔兰艺评家）：现代中国画就像父母富有的小孩，家庭条件优裕，但这小孩却不能享用，这财富便是中国的传统绘画。简单地模仿传统只会惯坏现代中国艺术家，就像把钱给孩子一样。小孩必须学会依靠自己。 　　殷双喜（美术批评家、中央美术学院）：冯斌对于中国画的认识和实践，具有世界文化交流背景下的紧迫意识，这使他将自己的创作，自觉地作为对中国画传统的提问和再认识。冯斌认为：“中国画作为民族传统文化，在承传中也必须以今日艺术的姿态存在和发展，区域文化的概念应该是一个与我们的生存环境、地理气候、人文内涵更相关联的概念。”在一九九三年创作的西藏建筑与喇嘛系列作品中，冯斌将人物的形象与建筑物都作为一种媒介，来表达自己对传统文化与宗教历史的感受。另一方面，他通过中国画材料、手法的多样性试验，进一步回溯中国画的早期传统，媒介本身的转换使用，也预示着冯斌对中国画现代转型的清醒认识和执着努力。在冯斌那里，对于明清以来高度成熟的水墨写意画的笔墨趣味和程式化的范式技术的自觉超越，实际上是先行牺牲某种传统规范，进而在广泛的视野中重新探寻当代中国画的文化位置。 　　顾丞峰（美术批评家、《江苏画刊》）：冯斌的转换可能来得方便些，他有着一种进可攻、退可守的优势：在作品的精神内涵上他可以着意于人在当代环境中的无所适从和随风飘荡，实际上这正是他已在开掘的主题；从图式和制作的角度看，即使主题方面进展不顺利，他在中国画绘制方式上的探索也是值得投入的，他作品本身使用了绵绸，以立德粉作底层层敷色，色彩也是非中国画材料的丙烯，同时他采用了传统的工笔画法去画一个没有羁绊的当代的心理场景。 　　张颖川（美术理论家、成都画院）：近几年来冯斌的创新探索过程经历了两个阶段，第一阶段为“红色喇嘛系列”。对于四川画家来说西藏题材早已司空见惯，众多艺术家到西藏高原来并不仅仅是表达对藏区的喜爱，更多的还是被这片土地上所蕴涵着的原始强悍的自然生命力，东方宗教神秘的魅力所吸引。而冯斌走进西藏高原却是为了借取嬗变的图式，寻求中国画进行现代主义模式形式化图式化的革命语言。冯斌第二阶段创作的代表作为“女儿的风景”组画。画家在这一批作品的创作中逐步摆脱开西藏题材，做了一番减法式的画面清理，把“简单而丰富”的要求努力推到一个极至，并加以符号式的形象定义。 　　王林（美术批评家、四川美术学院）：冯斌作品的文化意味更浓一些。他画西藏喇嘛，一方面把寺庙作为宗教在世俗世界的实存之物来加以描绘，强烈、繁复、庄严，而空间的深度表现与色彩的平面处理使寺庙的实在性有一种浮华的虚妄。另一方面，对喇嘛的绘制则采用化虚为实的方式，让人在现实界中的存在，不论是在寺庙的深宅大院还是在荒野的空旷冷寂中，都如飘风如幻影如魂魄，但色形虚化的身影又有具体实在、斑驳如遗痕的肌理，似乎意味着画家对抛弃今生的宗教亦终存疑虑。 　　潘森（Bruce Parsons、加拿大艺术家、约克大学）：冯斌在丝织品上的作品因其激跃的色彩而具魅力。在他那里，藏区的天光充满异域风光，藏区的建筑物宽厚地拥围着我们，这是一个欢迎人们前来之地，然而尘行其间的世人却似漂魂，与地面、与天光甚或与投影擦边而过。他的作品体认着藏族和尚的精神追求，却并未指明追求精神所必需的信仰的力量。强烈的色彩呼唤着灵魂和肉体的安身之处，作品为生命而激动，然而精神体悟之门却是关闭的。 　　艺术家提出了物质与精神追求的问题。作品的表面有种精神满足的内在可能性，沿此线索便是人类个体生命的实质，而路却在此终止了。也许精神因素需要有社会因素，比之家具抑或自己的房间更需要有共同的信仰。他的探索在继续：它定然在某处，内在于或外在于我们居家之所或神圣之处。他知道，在想象中，在艺术实践中，精神自有其地位，从本质上讲，它不存在于刻板的血亲关系或意识形态理论中。 　　顾丞峰（美术批评家、《江苏画刊》）：在冯斌九三年前后的作品“红色喇嘛系列”中，庙宇的沉重的硬边和具有鲜明对比的色彩勾勒出了一个经验形而上意味的场景，那是一种威严的静穆，用他自己的话说就是体现了“色”与“空”。画面上唯一模糊的是身披袈裟匆匆而过的僧人，也正是这个僧人形象使得冯斌作品有了新的可能：在九四年以后的作品中原先硬边的轮廓开始模糊，僧人与背景有了更多的溶入感──但沉稳的造型和浓重的色调仍然保持着某种对古典崇高的追求；真正使冯斌作品产生质的变化应以此次展出的“女儿的风景”为标志──这正是我想谈到的──从古典趣味中出走。 　　这组作品一改藏区题材而代之以现代生活。一个人走在城市的钢筋水泥建筑中，阵风之中，城市的楼宇、烟囱匆匆闪过，明艳的色彩（近乎原色的粉红、青绿以及墨色）和着颤动、抽搐的画面，画家勾勒出了一幅场景的心理图画，用作者自己的话说是“中国人玫瑰色的现代化之梦”。一种感叹由衷而生：“这世界变化快”！在这种“快”之中，人们失去许多难以言表和内在的东西。在“女儿的风景”展览时，冯斌特意在墙上作品旁摆放了几台电视，里面是三个按时间差播放的画面──人走在喧闹的街景中，三个画面分别为正常、粉红色调的以及粉红色调的负象。可以看出冯斌意在强化在粉红感觉中热的迷失与惶惑。 　　这组题为《女儿的风景》的系列作品完整看下去有从具体形象到逐步抽象的过程，特别是该系列之六、之七，人的形体已完全化为一团旋转的原色，光与形几乎不复存在，一种强烈升腾感由然而生，也许归于虚空的寂寞是作品想要透露的情绪。在这里，画家对色与色旋的偏爱已流露出来。 　　冯斌能自觉或不自觉地意识到古典趣味与当代生活、当代艺术的距离，从这种趣味中出走以后，他的归依又在何处呢？ 　　亚德里安.肯尼（Adrian Kenny,爱尔兰艺评家）：冯斌用一种泛国际化的抽象风格作画，他的作品即使挂在伦敦或纽约的画廊里也会非常合适，因为他描绘的是在任何一个现代城市都一样的都市风景。一切都不确定，一切都谈不上“美”， 他的色彩是电视广告的色彩。如果说冯斌只是想反映这种空虚，那么他已经成功了。但我更倾向于认为他有更大的抱负。在其中的一幅作品中，色彩之间的关联更紧密，线条更清晰，使作品更具个性和生命。我认为艺术家应该朝这个方向发展──使形象更明晰 更独立于城市的丑陋和无常，并从中凸现出来。黄桷坪的两个大烟囱，作为城市风景的一部分耸立在城市风景线上，这也许是冯斌的理想题材，就象圣维克多利亚山之于塞尚。 　　王林（美术批评家、四川美术学院）：冯斌用电脑荧光屏似的色彩画“女儿的风景”，画高楼、烟囱、少得可怜的绿树和街道上晃过的孩童。除了通过背景的横向性和人物的视觉后像以及模糊含混的身影来表达转瞬即逝的感觉外，他特别强调人物肌理的某种紊乱和背景色彩横向平涂之间的对比，仿佛在挽留人的具体性与实在性，关注环境与人相应而又相异的关系，思考影象文化中人的存在与虚无。可以看出，冯斌的画心存忧虑──忧虑人在工业文明和公共文化中的现状与未来。对比他对同一场景拍摄的不同影象，从纪实到模糊，再到负片的白日梦效果，其用心的良苦是可以体悟出来的。 　　殷双喜（美术批评家、中央美术学院）：在近作《女儿的风景》中，冯斌回到了都市和个人，在影像的变异方面，具有突出的变化，即作品中的形象与环境的关系发生了变化，更具有视觉的张力。在冯斌那里，居于画面主体的女儿，在单纯的都市风景之中，幻化为彩色的云团，与都市的现在和未来的关系难以确定，传统中国画中线条的速度在这里转化为运动中的形象的痕迹与平面化的模糊影象。他放弃了人物轮廓线，即放弃了理性认识对事物形体边界进行界定的企图。冯斌放弃已经定型的传统水墨，具有由技进道、返朴归真的艺术追求和表达独特的个人感受而寻找个性化的艺术语言的执着信念。 　　平面化，这一20世纪现代艺术的基本特征，正是20世纪人类生活的写照，即精神生活深度的消失，情感生活的缩减，大众文化的复制，信仰与价值的迷失。冯斌的这批作品不能说是十分成熟，但却是富有意义的观看方式的转变，它折射出艺术家对都市文化的人的生存的反思，影像变异的后面是对都市生存的态度转变。冯斌的作品，以形象的模糊与运动，反映了我们时代人际交流与理解的困难，对于都市文化信息的惊人膨胀与重复性的消费复制，他的作品恰恰是对都市生活的真实把握，恢复了我们对生活的凝视与沉思，这曾经是人类精神生活的基本核心。 　　冯斌不是那种改造社会、济人救世的知识分子，其更为关注的是自己独立的精神探索和文化创作活动，对都市生活的激烈变化和世俗化的文化平庸，采取了一种宽容的淡漠。在与生活保持距离的同时，潜心于自我的人格完善和艺术探索，这属于比较超脱的精神自救。正是在这种执着的精神自救之中，我们感受到都市文化变迁中的中国知识分子的独立人格。它将引导我们关心人类与大地的某种永恒性的关系，将自己的精神视野，拓展到21世纪人类生存的风景之中。 　　分别摘自： 　　王林 　　《在虚幻中保持距离》（1997年7月） 　　《找寻生命中不能承受之轻》（1994年11月） 　　发表于台湾《艺术家》1997年第11期 　　亚德里安.肯尼（Adrian Kenny） 　　Feng Bin and Pang Maokun at the Art Museum of Sichuan Fine Arts Institute （1997年6月） 　　殷双喜 　　《影像的变异》（1997年6月） 　　发表于南京《江苏画刊》1997年第11期 　　顾丞峰 　　《从古典趣味中出走》（1997年6月） 　　发表于广州《画廊》1997年第4期 　　潘森（Bruce Parsons） 　　The Role of Social Change in Chinese （1997年7月） 　　发表于南宁《美术界》1997年第6期 　　张颖川 　　《中国画的现当代转化》（1997年5月） 　　发表于广州《艺术界》双月刊1997年9月、10月号 　　（文章来源：艺术家提供） 　　REVIEWS ON FENG BIN’S WORK 　　WANG LIN (art critic of Sichuan Fine Arts Institute): As a painter of “Traditional Chinese Painting”, Feng Bin may have gone too far, but this does not mean much. He paints with Chinese ink as well as acrylic on silk. What is important is how he uses his media and how he expresses his ideas. 　　ADRIAN KENNY (Irish art critic): Modern Chinese painting is like the child of rich parents. There is great wealth in the family, but the child cannot have it. The great wealth is the great tradition of Chinese painting. To simply imitate it would spoil the modern artist, just as giving money to the child would spoil him. First the child must learn to stand on his own feet. 　　YIN SHUANGXI (art critic of the Central Academy of Fine Arts): Feng Bin is more conscious of the inter-communication of world cultures in his understanding and practice of Chinese painting. His creation is a questioning and re-understanding of the tradition. Feng Bin thinks: ”Chinese painting as a national tradition must exist and develop as an art of today. The concept of regional cultural is one closely related with our existing environment, geography, climate and humanistic connotation.” In the Red Lama Series created in 1993, he made both figures and buildings the media to express his understanding of traditional culture, religion and history. On the other hand, he experimented on the materials and techniques of Chinese painting and sourced back to the early tradition of it, which had predicted his sober realization of the need of the modern transition of Chinese painting and his persistent efforts on it. By his conscious abandonment of the highly matured brushwork and stereotyped techniques in the free-hand ink works since Ming and Qing Dynasties, Feng Bin has sacrificed certain traditions, and has been searching a new cultural position for contemporary Chinese painting with an extensive dimension. 　　GU CHENGFENG (art critic of Jiangsu Art Monthly): Feng Bin’s transition is more natural. He can either advance or retreat as to spiritual connotation of his works, he can put his emphasis on man being at loss and drifting with the tide, which is actually the subject he is exploring; as to the patterns and techniques, he has made valuable research into traditional Chinese painting even if his subject is not well projected. In his works, he makes his bases with lithopone on silk. Then, he applies colors layer by layer. He replaces traditional Chinese pigments with acrylic. Meanwhile, he paints an unfettered and contemporary psychological scene with traditional meticulous skill. 　　ZHANG YINGCHUAN (art historian of Chengdu Art Academy): Feng Bin has experienced two phases in his search for a new style. The first is his Red Lama Series. Tibet subject is common among artists in Sichuan. They are fascinated by the strong natural life and enchanted by the mysterious religion on that land. However, Feng Bin tries to borrow the pattern of Tibet to make his search of revolution of traditional Chinese Painting. The second phase is represented by Daughter’s Scenery Series. The artist subtracts his pictures and makes symbolic definition of his figures. Therefore, he explains what “rich as well as simple” is. 　　WANG LIN (art critic of Sichuan Fine Arts Institute): Feng Bin’s work had more cultural connotations. He illustrates the temples into a religious existence in the secular world, powerful, intricate and dignified. To its contrast, the spacious depth and plane coloring turn the existence of temples into an illusory uncertainty. By de-realizing the lama in the pictures, the existence of man in this secular world is made into a gust of wind, a phantom, a pure soul, no matter it is in imposing and spacious temples or in isolated and solitary wasteland. However, the ghostly figures which still possess shapes, and the variegated texture which resembles vestiges of time seem to indicate the artist’s doubt about the religion of escaping from the present life. 　　Bruce Parsons (Canadian artist of York University): Artist Feng Bin treats us to the seduction of vibrant colors on silk. The exotic light of the Tibetan sky, and architecture surrounding us in a comforting embrace. The place is a welcome one but the people in it are ghost-like travelers in planetary time, barely in touch with the ground, the light, or the shadows. The work recognizes the spiritual quest of the Tibetan monks but does not show the power of belief necessary to follow these spirits. The colors call vigorously upon the soul and the flesh for a secure vision. The paintings vibrate with life, but a doorway to spiritual understanding has been closed. 　　The artist addresses the questions of a material and spiritual quest using strategies focused on absence and presence. The surfaces of pictures glow with the immanent possibility of spiritual satisfaction. The trail is followed to the individual human essence, but then, the way is lost. Perhaps the spiritual element requires a social factor, a shared belief in something more than furniture or a room of your own. The search continues: it has to be somewhere, inside or outside our domestic or holy places. These artists know that the spiritual has a place in the imagination, in the action of art practice, and ultimately, rigid kinship systems or ideological theories cannot give it to us. 　　GU CHENGFENG (art critic of Jiangsu Art Monthly): in his “Red Lama Series” before 1993, he depicted for us a metaphysical scene with the intense and definite outlines of the temples and strongly contrasting colors. That was a majestic solemnity, in his words, a presentation of “emptiness” and “form." The only obscurity on the pictures was the red-robed lama, and it was just the lama that has provided Feng Bin new possibilities. In his works after 1994, he began to obscure the definite outlines so that the lama and the background were better united — though the steady composition and the heavy colors still revealed his ideal for classicism. What really marks Feng Bin’s substantial transformation is his “Daughter’s Scenery” exhibited this time. 　　Instead of a Tibetan subject, Feng Bin aims at modern life in this series. A single person walks among the cement forest of the city. In a gust, buildings and chimneys rapidly recede. By his twitching and quivering pictures as well as bright colors (almost pure rose red, light green, cerulean blue and ink), the artist narrates a psychological scene of “the rosy dream of modernization of the Chinese”, as he puts it. You just cannot help feeling that it is a fast changing world. In its fastness, man has lost what is intrinsic and spiritual to him. In the exhibition, Feng Bin installs three televisions which play three same pictures simultaneously—three pictures of a man walking in a noisy street, one of normal effect, one of rosy and ambiguous studio work effect, and the third of rosy and negative studio work effect. It is obvious that Feng Bin intends to stress man’s perplexity and confusion in the rosy passion. 　　From first to last, “Daughter’s Scenery” is a process of converting from loyalty to the concrete to gradual abstraction. In the 6th and the 7th paintings of the series, the figures turn into a swirling primary color without light and form, which brings a strong sense of distillation from the bottom of your heart. Maybe the artist wants to disclose the emotion of empty loneliness. Here, he shows his preference for color and swirling color areas. 　　ADRIAN KENNY (Irish art critic): Feng Bin’s paintings are in the impersonal international abstract style. They would be at home in a gallery in London or New York—for they are urban landscapes, and modern cities are everywhere the same. Nothing is certain, nothing is beautiful, the colors are those of TV advertisements. If Feng Bin’s aim is simply to reflect this emptiness, he succeeds. But I would rather think that he aims at something more. In one painting the colors are more intensely related, the lines more definite, making a picture with a personality and life of its own. I think that this—making an image clear and independent of the ugliness and uncertainty, and yet rising out of it—is the direction this artist should take. Perhaps painting the two huge chimneys of Huangjiaoping, which are part of yet rise above the urban landscape, would make an ideal subject for Feng Bin, what Mt. St. Victoire was to Cezanne. 　　WANG LIN (art critic of Sichuan Fine Arts Institute): Feng Bin paints his “Daughter’s Scenery” with the bright colors like computer screens: tall buildings, chimneys, few green trees and drifting children on the streets. He conveys the feeling of a transient existence by traversing the background, rear-viewing the figures and obscuring their movements. He puts special emphases on the disorderly textures of the figures and the contrast between colors, seeming to retrieve the concrete existence of human-beings, to ponder upon the interdependent relationship between man and the environment and to think about the being and non-being of the people in the mirror. Feng Bin is worried—he worried about the presence and future of man in the industrial civilization and public culture. From the video recordings he made—realistic pictures, vague pictures and pictures of dreamlike negative effect of one same scene, his deep intention is manifest. 　　YIN SHUANGXI (art critic, the Central Academy of Fine Arts): Feng Bin reverts to urban life and individuality in his recent work, though there is a prominent change—the deformation of images. That is to say that the relationship between images and their environment has more visual tension. Feng Bin turns his daughter, the central theme of his pictures, into a cloud in the urban scenery. To Feng Bin, even his beloved daughter is just a swirling cloud, uncertain of the present and future of cities. Instead of the speed of lines in the traditional Chinese painting, the plane images are painted in movement. He gives up the outlines of figures, which means he gives up the attempt to identify the edge of an object with rational cognition. Feng Bin’s transition is a demonstration of his artistic pursuit of truth and his belief in finding the artistic languages of his own to express his personal feelings. 　　Two-dimension, the basic feature of the 20th century art, is the very reflection of the life of the 20th century--disappearance of spiritual life, reduction of emotional life, endless copying of pop cultures and loss of believes, values and ideals. The works of Feng Bin are not yet at his best, but is a meaningful transition. They reflect the artist’s retrospection of man’s existence in urban culture. Behind the deformed images is the reversion of the attitude towards urban life. By movements and obscurity of images, Feng Bin narrates us difficulty of communication and understanding between each other at our time. He catches the very point of urban life: surprisingly swelling of information and copying of repetitive consumption. He leads us back to meditation of life and nature, which was once the basic center of the spiritual life of human beings. 　　Feng Bin is not the kind of intellectuals who intends to change the society and save the world. He pays more attention to his independent spiritual searching and cultural creation. By keeping distance from the drastic changes of urban life and worldly indifference, he concentrates on his self-perfection and artistic creation. This is a kind of detached spiritual salvation. It is this spiritual salvation that reminds us of the independent personality of Chinese intellectuals in the changes of urban culture, which will lead us to some perpetual relationship between man and the earth, and explore our spiritual vision into the scenery of the 21st century of human existence. 　　Excerpted from: 　　Keep Distance in Visionary Representation, Wang Lin, Artist, vol. 11, 1997, Taiwan 　　Unbearable Lightness of Spirit and Thought, Wang Lin, Nov, 1994 　　Feng Bin and Pang Maokun at the Art Museum of Sichuan Fine Arts Institute, Adrian Kenny, Jun, 1997 　　Deformation of Images, Yin Shuangxi, Jiangsu Art Monthly, vol.11, 1997, Nanjing 　　Departure from Classical Disposition, Gu Chengfeng, Art Gallery, vol.4, 1997, Guangzhou 　　The Role of Social Change in Chinese Art, Bruce Parsons, Arts Circle, vol.6, 1997, Nanning 　　Modernization of Traditional Chinese Painting, Zhang Yingchuan, Art Life, vol.9,10, 1997, Guangzhou