Yi Ying：

　　The main tendency in Liu Qinghe’s recent works is to present themes on environment and survival in his unique language. Just as the heavy ink color in his paintings to symbolize smog，his series of works on environment and survival are actually presenting environmental deterioration，or a deteriorated surviving environment awaiting our offsprings. It is actually a tragedy he presents well in his paintings. Liu Qinghe is gradually entering into a shared spiritual world from his individual spiritual world，that is，he sets his theme on a common pressing problem for human beings. He shifted from description of personal experiences to presentation of the surviving difficult situation with common meaning. He is not urban pastoral-like home-watching，but describing a vision of city wasteland from a wider level，which is hard to not offering heart convulsion.

　　Pi Daojian：

　　Rather than saying Liu Qinghe describes contemporary life vision in cities through his paintings，we would say that he describes the spiritual images of contemporary people. In his expression of ink and wash paintings，the free infiltration of ink creates a space and structural implication with individual strain. Without breaking up relations with traditional ink mode，Liu Qinghe dissolves the traditional ink mode，from which he finds out factors corresponding to current experiences. Then images of people emerge between the emotional exertion of colors and ink and relatively strict balance of human body structure，match well with the background environment，so that the classic sentiment can be effectively merged into lonely and quiet images of people in reality，forminng the spiritually and modern wordless surviving pictures of people. The way of combination between realistic images and psychological images gets rid of either current experiences and indulgence in self-admiration commonly fading out of ink and wash portraits or abuses like skin-deep illustration of life scenes and facial make-up speeches，so as to offer cases to refer to for ink and wash portraits.

　　Guo Xiaochuan：

　　Liu Qinghe’s works represent a kind of style in China’s contemporary ink and wash paintings and show great influence. Liu Qinghe is an idiotropic artist and his works reflect a kind of depressed emotional appeal. The apathy，primness and homeless of modern urbanites is discovered by the creator. Distinctively，Liu Qinghe does not blindly highlight this kind of spiritual trance of urbanites，but places hope on a ghost of nicety or warmth when presenting this kind of lost status. That is to say，Liu Qinghe does not execratively portray those urbanites，but regards them as his mirrors，even himself. Therefore，whether content presented or ink mode，Liu Qinghe creates a kind of modern classic mode to reveal Chinese traditional ink’s developing potential and expressive force in modern society.

　　Lu Hong：

　　Liu Qinghe is a painter who searches for his own breakthrough point all the time. For over ten years，the object he focused on and his language of painting had greatly changed. Now，the modern northern youth image that he presented in his paintings had become the represent of modern ink and wash paintings. According to Liu Qinghe's painting series，we can see his well controling on characteristic and localization of ink and wash painting. In order to give prominence to marginized people in modern city，and relate to some subjects such as resignation，fastidium，loss，emptiness，and so on. He had never reappearanced the object，but change it to the appearance of ink and wash image. These image are painted with personal characteristic，take on complanation and surrealism as its feature.

　　It is a successful exceeding in modern ink and wash painting of Liu Qinghe’s practice on art. He provides a precept of practise which is worth to learning，and indicate to that deep develope on the language of ink and wash will come true.