作者：鲁虹 　　在近代中国画的发展史上，每当出现一些具有创新意识，并与传统艺术标准、范式相矛盾的重要作品时，总会遭到强烈的反对。更有甚者，还会被划入“另册”。有意思的是，其中一些作品不仅后来变成了十分经典的中国画，还使得中国画的表现空间得到了很好的发展。例如，徐悲鸿、林风眠、李可染、石鲁、吴冠中等艺术大师的作品无不经历了这样的过程。他们的艺术实践充分证明：传统终究是创造出来的，而不是守成出来的。否则，中国画很快就会走向衰亡，更不会出现今天的大好局面。 　　如果用传统文人画的艺术标准看问题，冯斌与白海的作品肯定算不上中国画。事实上，我已经听到了类似的评价。因为在材料的使用上，他们两人常常采用的是棉布、矿物质颜料与丙烯颜料；而在艺术的表现上，他们两人则明显消除了笔墨表现在画面上的中心地位，取而代之的是对于平面构成与色彩的大力强调。当然，更加重要的是，为了充分表达现代人的思想观念与意识，他们两人都自觉地对中国画的入画标准及意境构成方式进行了大胆而有新意的革命。对于冯斌而言，他更多是借用西藏的寺庙符号来突出一种超凡脱俗的人生境界；而对白海而言，他则更多是借用在蓝天上自由飞翔的人类精灵来突出对现实的超越。我认为，针对物欲横流的消费社会，他们的作品都有着深刻的社会意义，这是非常难得的。相对那些只知道沿续传统的人，他们无疑要高出很多。 　　近年来，在许多文章与场合中，我都一再强调，由于中国画在中国的形成具有一千多年的历史，所以，与一般画种——如油画、版画等不同，它是中国身份的象征，这也使得它在全球化的艺术格局中，有着十分重要的、不可替代的意义。不过，它面临的当务之急是如何在继承传统的基础上解决当代性的问题，要不然也根本无以参加国际性对话。我觉得，虽然冯斌与白海的作品与传统文人画相去甚远，但我们并不能说它缺乏传统，只不过他们两人是在以传统工笔画为基点借鉴西方绘画，而这显然与我们时代的特色，还有人们新的审美需要有关。我的老师、著名艺术史家阮璞教授生前曾多次强调：中国工笔画潜藏着巨大的表现力，应该给予更加充分的关注。冯斌与白海的作品很好地证明了这一点，因此，我高度评价冯斌与白海的艺术追求，相信其对于同道也会有所启示。借这个机会，我还要衷心祝愿他们两人在今后的艺术创作中取得更大的成就。 　　是为序。 　　2005年9月10于深圳美术馆 　　鲁虹为冯斌、白海2005年10月在韩国首尔da vinci gallery展览 　　“The letter from China”所写的序，发表于该展览场刊 　　Preface 　　by Lu Hong 　　In the history of Chinese Painting in modern times, whenever significant works emerged with innovations against traditional criteria and conventions, they would certainly be opposed fiercely and categorized as “the unorthodox”. However, what is interesting is that some of these works not only became classics as time passes, but also gave Chinese Painting better expansions. Xu Beihong, Lin Fengmian, Li Keran, Shi Lu and Wu Guanzhong are some of such masters. Their artistic practice has proved that tradition, indeed, is created, instead of being merely followed. Without creation and innovation, Chinese Painting would have gone to extinction, not to say the prosperity today. 　　Judged from the artistic criteria of traditional Chinese literati art, Feng Bin and Bai Hai’s works should certainly be otherwise categorized. In fact, that is the kind of comments I have heard of. One of the reasons is the application of materials. Both of them use a lot of cotton, mineral pigments and acrylic. More importantly, both of them have eliminated the central position of ink work and replaced it with greater emphasis on composition and color. What is more, they have made conscious efforts to innovate on subject matters and ideas of traditional Chinese Painting in order to better express contemporary conceptions. To Feng Bin, Tibetan lamaseries are symbols of an unworldly life; while to Bai Hai, the spirits flying freely above the blue sky are to surpass the reality. Their works hold profound social significance in this consumptive society. This is by far easy, and on this point, they differentiate themselves from those tradition followers. 　　In many of my essays and on many occasions, I have been stressing the difference of Chinese Painting between other art genres as oils and printmaking. With a history of over 1000 years, it has become the symbol of China. This, in turn, makes Chinese Painting extraordinary and irreplaceable in the globalization of art today. However, one of the most urgent tasks it faces is to inject contemporary languages into it on the basis of tradition. Otherwise, there is no way for it to participate in the international conversations. Feng Bin and Bai Hai’s works are not at all traditional literati paintings, but we cannot judge that they are “traditionless”. They borrow the elements of western art but they lay their foundation on the traditional meticulous painting. Obviously, this choice is related with the features of our time and the aesthetic orientation of the people today. Prof. Ruan Pu, an art historian who was my teacher wrote that traditional meticulous painting possesses enormous expressive power and deserves more concerns. Feng Bin and Bai Hai’s works have exemplified his words. I highly acknowledge the art of Feng Bin and Bai Hai, and believe that their practice is enlightening to other artists. I sincerely wish them greater achievements in the artistic creation in the future. 　　Shenzhen Art Museum 　　Sept. 10, 2005 　　（文章来源：艺术家提供）