王璜生多年的绘画表达的是两种相异而又相关的视觉情境，一种是由建筑形象片断构筑出来的有空间感的情境，一种是由处在空间的花木形象形成的有时间意味的情境，这在表象上呈现了他的艺术旨趣，也即对于生命事物的关注，而在深层次上，则透露出他的人文情怀，那就是对于事物常态和异态倏忽转换这种本质的体验与关切。

　　在“天地”这个系列中，王璜生运用了许多南方建筑的符号，它们在画面上的构成方式不是建筑的实存状况，而是画家依据自己心里感怀或者情感节奏表达出来的意象。概而言之，王璜生笔下的“天地”是与他在粤东这个南方地带生活经验有关联的世界，作品中的空间通常具有向纵深发展的深度，但通常又是被阻隔而形成的空间片断的组合。他用有控制的亚灰色调的墨色渲染出空间的氛围，造成恍惚中身临其境的效果。古语中“曲径通幽”的景致在他的画面里变为了“曲境通幽”的“山水”，如是一位梦游者所经历的空间感受。

　　与“天地”系列在内容上相异的是他的“悠然”系列。他作花木，与已有的传统和当今各家的视角不同。他取的是花木在荣衰的生命周期中的意态，画的是花木于大自然空间中的整体状貌，这就画出了一种别有新意的“花鸟”。在这个过程中，王璜生一方面是寻求“古意”的，他丰富的古典诗词修养和自幼而为的诗词创作使他自然地将诗意词兴带入了绘画的笔端，在花木的笔法和墨色上都委婉细丽，满幅动态摇曳，清影如斯。另一方面，他要表达的是自己超尘避世的向往，这就使他总在观察自然的基础上积累素材，成竹于胸，下笔之际表达的是想象中和意念中花木的整体仪态与意境。

　　欣赏王璜生的这两种作品的最好方式是把它们“叠印”起来——在我看来，这两类作品的空间意味是可以相接的，甚至是彼此互生、相互浮现的，似乎这样，才可以获得对他的创造的领悟：他的艺术处在静观与冥想之间，处在热切地观照与回忆性的叙述之间。由此我也感到，他的这种创造方式还与他的现实工作经历与经验有关。作为一个美术馆的馆长，他在业界是一位资深者了，他对当代艺术的了解、研究以及他在广东美术馆主持、策划、实施的许多当代艺术项目，给了他对空间的独特感知与体察。他的心理乃至思维的特征使其不可避免地浸染了“空间”的感受，这个“空间”既是视觉的，又是文化的。他的绘画似乎都是在回忆、缅想与关切、体察的交织状态下完成的，先验性的怀想催生了画面中的历史意味，而当下性的感受则使形象充满直接诉诸视觉的魅力，因此，他的作品具备了优雅的格调和绵延的气韵，也具备了描绘性的古典传统和幻想抒情的现代表现气质。

范迪安 中国美术馆馆长

2006年初冬谨识

　　Three Kinds of Space: Wang Huangsheng's World of Perception
　　What have been expressed in Wang Huangsheng's paintings in many years, are two different but related visual situations; one is a spatial situation constructed by fragments of building images, another is a situation of sense of time constructed by flowers and plants in the space. His artistic interest as well as his attention paid to life and things are represented on presentation level while in a deeper level, it is his humanistic emotion that is revealed, namely his experiences and care for the essence in the normal state of things and the transient changes among different conditions.

　　In the Heaven and Earth series, Wang Huangsheng adopted a lot of symbols of buildings from southern part of China; the composition way they are on the picture is not the real condition of the buildings, but imagery represented by the artist based on his inner mood or rhythm of emotion. In one word, the "heaven and earth" under Wang Huangsheng's brush is a world associated with east Guangdong province which is a southern area of his own living experiences; the space in the works usually possesses a increasing depth but is often combination of spatial fragments produced when being separated and blocked. He coloured the atmosphere of the space with well controlled inferior grey tone and produced the immersive effect like being in it by oneself. The scenery of "a winding path leads to a quiet seclusion" in ancient works became "landscape" with "a winding place leads to a quiet seclusion" in Wang Huangsheng's paintings, like the spatial sense experienced by a nightwalker.

　　His Carefree series is different in content from the Heaven and Earth series. He has a different angle of view from both the existing tradition and other art masters of today. He chose the mien of flowers and plants in their life cycle with both bloom and decay, to draw the whole appearance of them in the large space of nature; thus he painted a kind of "flower and bird" with new conception. During this process, Wang Huangsheng is on one aspect pursuing "ancient taste", his rich cultivation in classical poem and his poem creation started from his childhood enabled him to bring poetry naturally into the brush strokes in painting and both brushwork and ink colour in his painting of flower and plant featured delicate, vivid, fresh and clean. On another aspect, what he want to express is his yearning for going beyond the noisy world, thus, he always collects materials upon observing the nature and has a good accumulation in his mind; when he presses the brush on the paper, it is the overall manner and perception in his imagination and mind that is painted. 

　　The best way to appreciate these two kinds of artworks by Wang Huangsheng is to "overlap" them-in my mind, the spatial meaning of these two kinds of works can be connected and even mutually reflect and promote one another. It seems that only in this way could one acquire a good realization of his art: his art is between close view and meditation, between passionate reflection and reminiscent narration. Thereupon, I also feel that this creation approach of him is related with his work experiences in reality life. As the director of an art museum, he is very professional and senior in the art circles; his comprehension and research of contemporary art as well as his role in many contemporary art projects in Guangdong Museum of Art as organizer, curator and executer, have given him special perception and observation upon space; while his psychological as well as thinking characteristics has inevitably given him the sense of "space", which is both visual and cultural. It seems that all his paintings are finished in the state in which memory, recall, favor and experiences are interwoven; transcendental yearn generated the historical sense in his painting, while the contemporary sense made the images full of direct visual charm. Therefore, his works have elegant taste and sustained flavor, together with the classical tradition in painting and modern expression temperament in fantastic and lyric expression.

Fan Di'an Director of National Art Museum of China
In early winter of 2006

作者：范迪安