作為一個(gè)始終沿著寫實(shí)人物繪畫道路前行的藝術(shù)家，劉文很關(guān)注形式語言。我們知道，無論選擇什么樣的主題或試圖表達(dá)何種觀念，都應(yīng)注重形式語言，因?yàn)樾问秸Z言本身既是審美的，同時(shí)也承載著觀念或隱喻的指向。畫家內(nèi)心深切的感悟、深刻的思想必然要通過色彩、明暗、線條、筆觸、質(zhì)感、光感、空間、構(gòu)圖等多項(xiàng)藝術(shù)語言去表現(xiàn)，沒有對(duì)形式語言高度駕馭的能力，也就無法完美地表達(dá)出作者的視覺感受，無法傳達(dá)出作品存在于形式構(gòu)造之能中的、給人印象深刻的秩序的功能。藝術(shù)作品之所以打動(dòng)人，毫無疑問是形式語言獨(dú)特的精神氣質(zhì)，歷史上偉大的藝術(shù)大師都是善于經(jīng)營(yíng)藝術(shù)語言的大師，如賈克梅蒂、拉斐爾、倫勃朗、維米爾等。作為一個(gè)寫實(shí)畫家，劉文深知形式語言的重要性：小時(shí)父親的嚴(yán)格訓(xùn)練，后來在大學(xué)里得到的正規(guī)教育，加上迷戀寫實(shí)的內(nèi)在要求，這些因素使他幾十年不受風(fēng)潮、市場(chǎng)的影響，也不因物質(zhì)生活的貧乏與生活的孤寂而放棄藝術(shù)、放棄對(duì)繪畫語言的錘煉。特別是在廣州美術(shù)學(xué)院研修班、研究生班學(xué)習(xí)期間，他潛心研究寫實(shí)人物繪畫，如饑似渴地從中外繪畫大師的作品中吸收營(yíng)養(yǎng)，并不斷地加以實(shí)踐?！抖铡贰ⅰ稕錾揭妥褰M畫》、《女孩》、《春》是他在廣州美術(shù)學(xué)院學(xué)習(xí)期間的作品，從中可以看出他在古典寫實(shí)繪畫形式語言研究上的最初痕跡。

　　藝術(shù)史是一個(gè)在傳承基礎(chǔ)上的創(chuàng)新史。宗白華先生在《中國(guó)藝術(shù)意境之誕生》中說：“……‘溫故而知新’卻是藝術(shù)創(chuàng)造與藝術(shù)批評(píng)應(yīng)有的態(tài)度。歷史每向前一步的進(jìn)展，往往是伴隨著向后一步的探本求源?！乃噺?fù)興追摹著希臘，19世紀(jì)的浪漫主義憧憬著中古。20世紀(jì)的新派且溯源到原始藝術(shù)的渾樸和天真?！比魏我粋€(gè)藝術(shù)家都不會(huì)僅僅停留在純摹寫傳承的層面，在對(duì)古典寫實(shí)語言掌握得比較嫻熟后，都會(huì)尋求自己的繪畫語言和風(fēng)格。劉文在藝術(shù)上的追求也體現(xiàn)了這種特點(diǎn)，多年苦苦探索，努力追求，最終形成了自己的語言特色，這充分表現(xiàn)在他對(duì)意象的選擇、對(duì)畫面結(jié)構(gòu)的安排、對(duì)造型節(jié)奏的處理、對(duì)色彩色調(diào)和空間層次的把握中。我們從他的“像花兒一樣”系列中可以明顯感受到：選擇的意象是現(xiàn)實(shí)生活中清純的小孩或少女;畫面結(jié)構(gòu)采用寫實(shí)的人物與平面的背景結(jié)合，使古典寫實(shí)繪畫的三度空間減弱而趨于半平面化，在壓縮的淺空間里完成畫面視覺圖形的構(gòu)筑;線條的虛實(shí)處理注重動(dòng)與靜的韻律的和諧;細(xì)節(jié)刻畫典雅精致;色彩的涂抹、揉擦、罩染形成豐富的肌理……畫面構(gòu)成元素的提純和擴(kuò)大運(yùn)用，增強(qiáng)了視覺的強(qiáng)度和張力，有著獨(dú)特的視覺意味和精神含義，賦予平凡生活場(chǎng)景溫暖、雋永的詩意，它標(biāo)志著劉文的藝術(shù)語言走向了成熟。

　　藝術(shù)的形式語言不完全只是一種技術(shù)，還是一種本于心、感于物的精神表現(xiàn)手段。形式語言應(yīng)當(dāng)具有對(duì)精神的傳達(dá)和表現(xiàn)。一個(gè)具有豐富、深刻思想的藝術(shù)家，不會(huì)僅僅停留在對(duì)純形式語言的追求上，一定會(huì)以心靈映射萬象，觀照具體的現(xiàn)實(shí)人生和對(duì)象，把藝術(shù)的表達(dá)與時(shí)代的情緒和精神聯(lián)系在一起，表達(dá)他對(duì)人生事象的熱切關(guān)注與對(duì)生存意義的追求，使作品承載豐富的精神內(nèi)涵。例如文藝復(fù)興時(shí)期的意大利，人的個(gè)性得到了重視與彰顯，整個(gè)時(shí)代精神是高雅的、開放的、積極的、有活力的，社會(huì)將精神生活看得高于一切。在這樣的條件下出現(xiàn)了大批杰出的藝術(shù)家和偉大的作品，我們所熟知的拉菲爾、米開朗基羅、達(dá)芬奇，他們的作品打著時(shí)代的烙印，充盈著偉大的“文藝復(fù)興”的人文精神。藝術(shù)史評(píng)價(jià)藝術(shù)家藝術(shù)成就高低的依據(jù)是他的語言形式與精神內(nèi)涵的融合所達(dá)到的高度。如何以寫實(shí)的語言傳遞自己對(duì)社會(huì)、對(duì)人生的感悟，使形式與承載的精神內(nèi)涵達(dá)到和諧之境，是劉文藝術(shù)追求的更高境界。

　　社會(huì)的轉(zhuǎn)型、觀念的轉(zhuǎn)變，使人們的生活發(fā)生著重大的變化，似乎一切都在忙亂與惶恐之中，如何立足現(xiàn)實(shí)、直面人生、反映深刻的社會(huì)問題成為當(dāng)今藝術(shù)的重大社會(huì)課題。藝術(shù)家們以強(qiáng)烈的社會(huì)責(zé)任感和藝術(shù)使命感在各自的領(lǐng)域里“突圍”，努力思考并探索語言圖式與時(shí)下人的生存狀況、心理期待、生命意義、內(nèi)在精神的吻合，以期獲得豐富的文化內(nèi)涵和人文氣息。劉文作為一個(gè)在古典主義精神中浸潤(rùn)頗深的畫家，對(duì)人的生存狀態(tài)的關(guān)注與思考自然也就成了他藝術(shù)創(chuàng)作的主題，以語言圖式表現(xiàn)詩意人生的追求是其作品的主旋律。劉文說：“詩意的生活才是人類生活的本真狀態(tài)。盡管‘現(xiàn)實(shí)充滿勞績(jī)’，但我們不可放棄對(duì)它的追求，特別是在當(dāng)今的社會(huì)?！闭且?yàn)檫@種對(duì)生存意義的追求，他常常通過對(duì)繪畫諸要素的意向性掌控，將寫實(shí)的人物與抽象的背景結(jié)合，象征隱喻借物抒情，營(yíng)造出詩意境界，在這境界里表達(dá)自己對(duì)人生的思考。如《聽?！吠ㄟ^描述母女的生活場(chǎng)景，靜靜地陳述一種古典的審美觀念，為因人生現(xiàn)實(shí)性欲望無限膨脹而導(dǎo)致精神無根的人們尋求一塊詩意的棲息之所，喚起人們對(duì)人生問題的哲學(xué)思考?！洞猴L(fēng)又綠》中小女孩站在一覆蓋著殘雪的一堆玉米稈垛前遙望遠(yuǎn)方，遠(yuǎn)處冰雪消融，露出嫩綠的麥苗，顯示出萬物無限的生機(jī)和頑強(qiáng)的生命力。《像花兒一樣》描繪三個(gè)女孩，三支黃色小花、一支飄浮在空間中連接著三個(gè)女孩的箭蘭，一字形的構(gòu)圖、寫實(shí)的人物、平涂的背景、抽象的色點(diǎn)符號(hào)、暖色的調(diào)子，隱喻著“無垠的宇宙萬象歸一”之意，在虛實(shí)相生的境象中觀照人類的生生不息及和諧美好的景象。劉文筆下的人物既內(nèi)斂、含蓄，又清新、純潔，沒有突顯的戲劇沖突，沒有造作的粉飾，畫面溫馨淡雅，泛著恬靜的詩意，所有的喧囂都在靜靜的、純凈的詩意中消解。藝術(shù)家的生活是基于現(xiàn)實(shí)又超越現(xiàn)實(shí)的生活，他們能創(chuàng)造出慰藉人心靈的理想世界。綜觀劉文作品，我們可以看出一個(gè)畫家對(duì)生活、對(duì)人類的熱愛以及對(duì)理想境界的追求。

　　創(chuàng)作藝術(shù)需要有敏銳的直覺。藝術(shù)直覺既包括對(duì)藝術(shù)語言的直覺感悟，也包括對(duì)社會(huì)生活的直覺感悟。藝術(shù)直覺是藝術(shù)修為不斷磨練的結(jié)晶。劉文不善言辭，在藝術(shù)追求上卻善悟、善行，幾十年的歷練，已經(jīng)使他的藝術(shù)境界達(dá)到了一個(gè)高度。作為他的老師，我見證著他在藝術(shù)追求之路上一步步提升的足跡和堅(jiān)強(qiáng)的意志與精神。近年來劉文的作品被中國(guó)美術(shù)館收藏，連續(xù)在國(guó)家級(jí)、省級(jí)展覽中獲獎(jiǎng)，但他并不因此而自滿，相反，他把這看成是對(duì)他藝術(shù)追求的嘉許與鼓勵(lì)，使他更堅(jiān)定地在自己選擇的藝術(shù)道路上不斷地追求下去。

 文/郭潤(rùn)文

WILL AND SPIRIT OF CONSTANT PURSUIT

—Liu Wen’s Art Creation of Oil Painting

The 18th century, the great German enlightenment writer Goethe in his poetic drama Faust shaped such an explorer image Faustin constant pursuiting of knowledges and good ideals, showing the humanitarians’, classicists desire for transcend reality perceptual life pursuit of ideal life’s in the spiritual life. Goethe’s word“The vitality existed inFaust’s life”is what people need to pursuit their dream for their spiritual life. In The Decline of the West Spengler called “Faustian Survival” as “positive, struggle, conquer survival”, emphasizing that “Faust Spirit”is the willing spirit which iskeep pursuing. “The spirit ofFaust”-never satisfied, has the courage to explore, keep pursuing is what an artist shouldhave. Being a way of living condition or even a part of life, pursue can be various, such as pursuing the material comforts, pursuing the spiritual pleasure, pursuing the happy life, pursuing the ideal life, etc. People’s understanding of pursuit differ in degree, so that their ambition and the meaning of life is different, and the state of life is different, too.As a painter, Liu Wen is diligent, stead and keep forging ahead in the road of painting who fully embodies spirit of an artist’s pursuing constantly in his art. Liu Wen said: "The process of life is a process of constant pursuit, only never stop pursuing in his own painting domain can let the tired and distracted heart comfortable, and let the wandering soul to find spiritual habitat."

　　As a artist who is always marching along the path of the realistic figure painting, Liu Wenquite focus on formal language. As we know, no matter what choice about the theme or trying to express what kind of the concept, the formal language should be put at the first place, because the formal language itself is aesthetic, but also carries the perception or metaphor. Painters’ feeling in the deep heart and the profound thought must be shown through a number of art language factors like color, light, shade, lines, brush strokes, texture, light, space, composition and so on. Without the ability to control the formal language, a painter can’t express his feeling perfectly, can’t convey the impressive function of works that existing in the form of structure and order. The reason why an art work impresses people is no doubt the unique spiritual temperament of the formal language.Inhistory, all the great masters of art were good at artistic language, such as Giacometti, Raphael, Rembrandt and Vermeer, etc. As a realistic painter, Liu Wen knows the importance of formal language. His father's strict training in his childhood, then the standard education at university, and the inherent requirement of infatuated the realism, these factors make him unaffected by some agitations and markets in these decades.Also he did not give up painting and the temper for painting because of the poor material life and the lonely of life.Particularly when he was study graduate student art training class in the Guangzhou Academy of Fine Arts, he concentrated on realistic figure painting, devoured absorb the nutrition from the paintings by Chinese and western masters, and constantly practicing the paintings, Winter, The Series of Liangshan Yi,Girl,The Springwere all created during his study in Guangzhou Academy of Fine Arts, we can find from these paintings the original traces that he studied the classical forms of realistic painting language.

　　Art history is a history of innovation on the basis of inheritance. In the workThe Birth of Chinese Artistic Conception, Mr. Zong Baihua said ‘…Gain new sights through reviewing old material’ is the attitude that the artistic creation and criticism should have. The progress of the history’s each step forward, is often accompanied by a backward step of the agent... The Renaissance imitate Greece, the romanticism in the 19th century looked forward of the Middle, the new school in the 20th century traced back and the austere na?ve of the original art.’ No artist will just stay in pure facsimile transmission level, when they master more proficient in the language of classical realism, they will seek for their own style of painting language. Liu Wen also shows the characteristics on the pursuing in art. By many years of hard exploration and great efforts in pursuing, he finally formed its own language characteristics, which was fully reflected in the selection of image, frame structure arrangement, modeling, color and rhythm. From his worklike Flowers we can feel that the images of his selection were pure children or teenagers in real life, The frame structures combined realistic characters with the plane background the three-dimensional space used in classical realistic painting was reduced and tended to half complanation, the picture visual graphic construction was compieted in compression shallow space .In processing the line’s virtuality and reality, he payed attention to the harmony of rhythm in dynamic and quiet. The detail depict elegant and delicate. And the color formed rich texture by covering was and rubbing.  Purification of compostition elements and its expanding utilization, enhanced the strength of the visual tension, and has an unique visual meaning and spiritual meaning, endowing the warm meaningful poetry to ordinary life scenes, All these showed the artistic language of Liu Wen had been mature.

　　The form language of artis not only a kind of technology, but also spirit content for feelings in mind. Form language should convey the spirit and be expressive. An artist who has rich, deep thoughts will not only stay in the pursuit of pure form language, he must be in the mind mapping and reflecting real life and the objects, connecting the artistic expressions and mood of the times and spirit together, express his earnest attention to life and the pursuit of survival significance, so as to make his works bearing the spirit of the rich connotation. Take Italy, for example, in Renaissance people’s personality was valued and revealed, in the whole time, spirit was elegant, open, active and energetic, a social spiritual life was regarded higher than all, in such conditions, appeared a plenty of outstanding artists and great works, as we know Rafael, Michelangelo, Leonardo Da Vinci, their works carried the brand of times, and were filled with great "Renaissance" of the humanistic spirit. In art history, how to evaluate the artists’ achievement level depends on the fusion of their language form and spirit. How to use the realism language to deliver the feeling of the society and life, and to carry achieve a harmony between form and the connotation that the mental, is Liu Wen’s higher realm of artistic pursuit.

　　The society transformed, the idea of people change people’s life ad great changed, too. Everything seems to be hectic and fear. How to be based on the reality, face the life, and reflect the profound social problems become a major social issue in today’s art field with strong sense of social responsibility and artistic sense of mission, artists try to “breakthrough” in their respective fields. They think hard and explore the language schemata of age person's living conditions, psychological expectation, life meaning and inner spiritual life, in order to obtain the rich cultural connotation and cultural atmosphere. As an artist who has deep infiltration in the classical spirit, Liu Wen focuses on people's survival state and think about it, which naturally has become the theme of his artistic creation, To pass the pursuit of poetic with language schemata is the main melody of his work. Liu wen said: "The authenticity of human’s life should be poetic life. Although reality is full of merits and accomplishments, we can not give up pursuing, especially in today's society." Because of the pursuit of survival significance, he often builds a poetic real through intentional control of the painting elements, by connecting realistic characters with abstract background and the symbol of metaphor. And he can express his thoughts about life. In the work Listening to the Sea he described the scene of a mother and a daughter’s life, quietly stated a classical and aesthetic idea, and seek a poetic habitat for human who have unlimited expansion desire, causing no root of the human spirit, so as to arouse people to ponder questions about life philosophy. In another work The Spring Breeze Turns Green again, alittle girl was standing beside a pile of cornstalks covered with thin snow, with eyes looking forward. In the distance, ice was melting and light green wheat was appearing showing infinite vitality and tenacious vitality. The work Like flower through three girls, three yellow flower, a floating gladiolus coherent with the three girls. One glyph composition, realistic characters, flat background, abstract symbols, and warm color tone, embodied a metaphor meaning of“in the infinite universe, ail arehomologous”. In the actual situation of phase boundary reflection on human life cycle and the harmonious, beautiful sight. In Liu wen’s paintings the characters are implicate pure and fresh,no prominent dramatic conflicts ,no artificial whitewash. The picturesare sweet and quietly elegant, with a quiet of poetic, all the hustle and bustle of the dust are melted in the quiet, and pure poetry. The artist's life is based on the reality and beyond the real life, they can create an ideaworld to comfort people’s mind.Throughout the works of Liu wen, we can see a painter’s love of life and humanand the pursuit of the ideal realm.

　　Art creation needs a keen intuition, which includes intuition comprehension of art language, and the feeling of intuition, social life.Intuition is the crystallization of one’s artist accomplishment. Though Liu Wen is not talkative, does well in art pursue by thinking and actions. Though decades of experience, his art realm has reached a high level. As his teacher, I witness that he advancedon the road of art pursuit step by step, I witness his strong will and spirit, too.In recent years , some of Liu Wen’s works were collected by National Art Museum of China and won awards in national and provincial exhibition. But he is not complacent, on the contrary, he regarded this as recognition and encouragement,more firmly on the road of art.