那年，在歐洲，穿梭流連于大師之間，色光繚繞，詩(shī)意撲面，其中，維米爾畫面的細(xì)膩，嚴(yán)謹(jǐn)，色彩妙漸，筆端神秘，造就了貴族似的神圣境界。而畢沙羅畫面的質(zhì)樸，陽(yáng)光閃爍，冷暖有致，筆筆自然，溫暖的色系里，派造出親切的自然景色。兩位前輩，遙相呼應(yīng)，神圣對(duì)應(yīng)自然。我不禁萌生念想，若把維米爾畫面的神圣境界，與畢沙羅畫面的質(zhì)樸，合二為一，在畫面中品質(zhì)相合，其魅力諒必直逼胸室，占據(jù)觀者眼界。當(dāng)時(shí)也是無(wú)際浮想，雜念閃現(xiàn)，自笑牽強(qiáng)，此后漸淡，但在心中卻刻下一種期盼的銘記。

　　日前，畫家劉文到我畫室造訪，并帶來(lái)其油畫近作的印刷品，掬捧急睹，我的眼睛不禁為之一亮。畫面，色調(diào)赭暖，色節(jié)妙微，構(gòu)圖典雅，造型精致，線條流暢。其洋溢的品味里，古典精神的氤氳葳蕤在質(zhì)樸的自然態(tài)中。我的情緒在頻頻觸動(dòng)，不禁驀然心動(dòng)，當(dāng)初那遺失巳久的浮想又躍上心頭，于是我好生感概，尋尋覓覓，,猛回頭，景色就在眼前。

　　劉文的畫面，多以少婦稚童為題，色彩，因黃赭色系而彌漫出溫曖的氣氛，色節(jié)，因微弱的漸變而顯現(xiàn)出秩序的井然。構(gòu)圖，因圖形的幾何建構(gòu)而凸顯出端正的品質(zhì)。線條，因強(qiáng)、弱、急、緩的巧妙接連而流淌著音樂般的氣韻。造型，因動(dòng)靜形態(tài)的有機(jī)牽連而塑造出畫面的泰然風(fēng)度。再細(xì)致體會(huì)，他的畫面因藝術(shù)語(yǔ)言的熟練運(yùn)用，委婉而抒情，賦于平凡生活場(chǎng)景以溫暖雋永的古典詩(shī)意。這樣的趣味反映在他的每一幅畫面中。

　　作品《三月》，劉文巧妙地利用畫面形象的輪廓線的運(yùn)動(dòng)趨向，完成了畫面的古典式的構(gòu)筑和視覺圖形，生動(dòng)著繚繞不絕的音樂般的動(dòng)感，畫面左側(cè)女孩彎曲的輪廓線，躍過(guò)與右側(cè)少婦頭部的空間距離，接連成一條快節(jié)奏的視感斜線，這條線，又沿著少婦坐像的右側(cè)的輪廓，緩慢地向下方腳部延伸，形成豎向直線，用于構(gòu)圖的輪廓線仍在運(yùn)動(dòng)中緩進(jìn),從右側(cè)輪廓下方少婦左腳尖,通過(guò)視覺心理的躍動(dòng)，又搭接上少婦的左腳尖,再通過(guò)左側(cè)女孩自然曲伏的左腿，使這條活動(dòng)著的輪廓線，很自然地，延續(xù)至女孩向少婦傾斜彎曲的背部。這條神秘的輪廓線，即是人物造型的邊界，又用做構(gòu)圖之布陣兵壘。這左右兩側(cè)人物的外輪廓錢的視覺接聯(lián)，急、緩、曲、直、斜、豎、橫，快慢有致，剛?cè)峒鏉?jì)，反復(fù)循環(huán)，讓我們仿佛聽到，一種音韻，隨著輪廓線的運(yùn)動(dòng)，不斷繚繞，優(yōu)雅而瑰麗，同時(shí)也使以兩側(cè)人物為主題的畫面，呈現(xiàn)出穩(wěn)重又神圣的金字塔構(gòu)圖。在這個(gè)賦于古典精神的金字塔大構(gòu)圖里，左側(cè)女孩的天真無(wú)憂的表情，與右側(cè)少婦端莊恬靜的儀態(tài)，形成年齡與個(gè)性的對(duì)比。女孩自然彎曲的習(xí)慣動(dòng)作，又與少婦正襟端坐的形象，出現(xiàn)了動(dòng)與靜的韻律與和諧。女孩雙眼的甜蜜微閉，又與少婦雙眸的恬淡凝視，形成頗具動(dòng)感的開合反差。畫面，溫暖的赭黃色調(diào)的空間里，在不同的方位，頻繁不斷地閃爍出亮黃或深赭的色痕，這些色痕，或涂抹，或揉擦，或罩染，或刀捺，像頻頻涌動(dòng)的音符，時(shí)響時(shí)弱，化做彩色的空氣，輕輕地飄浮在畫面優(yōu)雅的時(shí)光里。劉文象魔術(shù)師，以藝術(shù)語(yǔ)言為手法，反復(fù)地?cái)噭?dòng)與對(duì)比，使他畫面中非常穩(wěn)固的金字塔構(gòu)圖里，生動(dòng)著持續(xù)不斷的音樂般的動(dòng)感。

　　劉文的畫面，平整嚴(yán)謹(jǐn)而不失生動(dòng)，筆意朦朧而不失節(jié)奏，色彩徽漸而不失大度。展現(xiàn)的是一種生命的狀態(tài)，是一種淡泊的氣質(zhì)，是一種引領(lǐng)善良的境界，是一種古典精神的追隨。其唯美的畫面形式中，蘊(yùn)含著一個(gè)年青藝術(shù)家對(duì)信念的虔誠(chéng)，同時(shí)，也標(biāo)志著劉文的藝術(shù)語(yǔ)言已進(jìn)入到相對(duì)個(gè)體完善并走向成熟階段。

　　劉文，蜀中硬漢，言訥行敏，崇拜古典，發(fā)奮探索，耐于寂寞，潛心藝術(shù)，且心底善良做人智慧。有人感嘆，人品與畫品并不對(duì)等，意思是說(shuō)，畫好，不一定人好，但我認(rèn)為，劉文，人好，畫好，畫如其人。人就在眼前。畫，就在畫冊(cè)中。

　　2007年6月于畫室

　　Following of classical spirit

　　That year, in Europe, I shuttled back and forth to appreciate the paintings of the masters of art and enjoyed the color, light and poetic flavor. Among them, the paintings of Jan Vermeer create a noble, holy realm with exquisite, strict style, gradual change of color, and mysterious technique of drawing. While the paintings of Camille Pissarro create cordial, natural scenes with a plain style, sunshine, natural technique of drawing and warm tones. The two seniors coordinate with each other from afar. I couldn’t help thinking that if someone could combine the holy realm of Vermeer’s paintings with the plainness of Pissarro’s, his paintings would certainly attract every spectator. The thought flashed across my mind as a matter of imagination, and was gradually forgotten. But since then, there has been an expectation in my mind.

　　Recently, Liu Wen, a painter, paid a visit to my studio, and brought with him some printed works of his recent oil paintings. When looking at them, my eyes sparkled with excitement. The paintings have warm brown tones, elegant composition, delicate molding, and smooth lines, whose classical spirit is presented in a form of nature. At that moment, the lost feeling appeared again. All sorts of feelings welled up in my mind. After so many years’ sought, the expected scenery was in front of my eyes.

　　Most of Liu Wen’s paintings have young women or children as the subject matter and spread warm atmosphere by his using yellow and brown tones. The compositions display a dignified quality because of the geometric characteristic of figures. The lines, which are linked cleverly, resemble the rhyme of music. And the molding gives the picture a peaceful feature. His paintings of ordinary life show a kind of warm, classical and poetic style. Such interests are embodied in every piece of his paintings.

　　In the picture named MARCH, Liu Wen used the movement of the outline of the figures cleverly and accomplished its classical structure and visual effect. Look, the outline of the bending girl on the left seems to stretch out and jump over the young woman’s head, and forms an oblique line. Then the line stretches down, follows the woman’s outline and forms a vertical line. The outline of the composition stretches on. It follows the outline of the woman’s left foot and her right foot and then the crooked outline of the girl’s back. This mysterious line can be considered as not only the boundary of the modeling but also the layout of the composition. The outline of the two figures gives people a good visual effect. It makes a steady and holy pyramidal composition, which is a reflection of classical spirit In the picture, the na?ve expression of the girl and the sedate deportment of the woman form a comparison of different ages and personalities. The girl’s bending body and the woman’s upright sitting figure match well, expressing a harmonious meter of movement and calmness. The girl is closing her eyes and smiling sweetly, while the woman is looking into distance with fixed eyes. It forms a wonderful contrast. The whole picture has warm yellow and brown tones as its base. In different places, bright yellow or dark brown are frequently used. These colored marks are like dancing notes, floating gracefully in time. Liu Wen seems to be a magician. He takes artistic language as means of expression, and makes his pyramidal composition to be lively music.

　　Liu Wen’s paintings have unique features. They are well-knit but vivid, hazy but rhythmic. His paintings express a lively state and a simple temperament, follow classical spirit, and can lead to a kind, noble realm. From his perfect paintings, we can see Liu Wen’s faithful belief to art and that he has improved his artistic language to a perfect extent and he is stepping into a mature stage.

　　Liu Wen is a dauntless, unyielding man from Sichuan, who is a man of few words but quick deeds. He admires classic, explores with efforts. He is kind and wise. Some people sigh with feeling, saying that one’s quality doesn’t certainly equal to his quality of paintings. He means a painter may be good at painting, but it is not necessary he is a good person. The saying has its sense. But in my eyes, Liu Wen is both a good person and an excellent painter. Now the very man is in front of you and his paintings are in this album, please judge by yourselves.