上世纪八十年代，随着国内艺术家对现代艺术潮流的深入研究，随着国内艺术观逐步与世界接轨，各种优秀的绘画作品如雨后春笋，层出不穷。曾经被认为是传统和正统的写实绘画，却在这股艺术思潮中，陷入了两难的境地。其中最突出的表现是，写实绘画开始被视作为封闭和保守的代表，被看作和照相术没什么两样。而我，就是在这个时候，坚定的选择了写实油画这条道路。

　　之所以有的画家放弃写实艺术，其主要原因就是认为写实难有新意，当下的写实难以超越前人；当然，还有人认为写实油画过于简单，只要静心来画，就能做到惟妙惟肖。这些观点都过于偏颇，就说在当下这个时代，崇尚后现代的时代，能够真正静下心来，踏踏实实走写实道路的画家，又能有多少？

　　想成为一位优秀的写实油画家，其实挺艰难，画者必须很好的掌握，深入的去研究解剖、透视、色彩、素描等传统的绘画知识、还必须掌握油画的复杂技法和材料的运用技巧，同时，还必须具备对写实的理解能力和领悟能力，对绘画语言的表达能力和提炼能力，这些，都是需要长时间的艰苦卓越的学习和实践，才能真正具备的。其实，我觉得艺术家们完全不必担心不必怀疑写实油画的功能性和艺术性。事实上，任何摄影技术，都不能取代写实作品，只会迫使写实艺术作品更加有思想有内涵，而这，也是写实艺术发展的必然追求。

　　写实油画有着不可抗拒的魅力，同样，也有一大批和我一样迷恋写实的画家，被其吸引，投身其中。写实是从古典艺术衍生而来的油画技法，是取之不尽用之不竭的艺术宝藏，而写实作品中的物体质感，以及其生动性、形象性，往往出人意表，令人倍感愉悦。写实不仅仅是一种画法，更是一种描摹外部物象的角度。从艺术的角度讲，单纯意义上的写实，的确不够丰满不够充实，然而，加上理性的思辨，必然能够实现艺术语言的升华达到源淤生活之上的创新。

　　在我的潜意识中，一直在追求一种超现实的美感。超现实主义的画法在象征意义上，有其他画法无法比拟的优越性，然而作为一个画家，如果过分的，不恰当的运用超现实的手法，只是使作品过于神秘，给人一种无秩序感。要想准确运用超现实的画法，避免结构和思想的无序性，就要先在画面内容的选取上下功夫。画面的内容不要太随意，应该让观赏者可以理解的，画面比较熟悉的生活环境。油画源于西方，作品一定要表达出其特有的中国特色。所有的物质与人，都是相互依存，相辅相成的，不一定非要紧张和对立的关系。在中国古典绘画中，一草，一石，一叶，一人，都是物我相融、物我皆具的境界。我追求一种超现实的时间和空间的转换，一种不受时空限定的内在关联，喜欢从我的心理时间和心理空间，和被描绘对象的心理时间和心理空间，来安排画面的时间和空间。作品中，天空和大海，城市和汽车，动物等都可以和被描绘的人物共享一个客体时空，不受时空限制，任由观者自由生发想象。所有这些物像，隐喻明晰，自然，符合我所追求的画面效果。

　　在我的作品《衍》中，婴儿，少女，少妇，老妇，共同置身于一个纵横自如的隐秘世界，整幅画面，沉浸在一种时间流逝的荒芜感中，对人类的衍变过程展露无疑，这种看似穿越，看似不易于感知的人物特征，实质上是一种现实的重叠。

　　在物像的架构上，画家要充分发挥想象力，不放过内心的一丝悸动，要充分运用意识的延展性，而不是注重传统的超现实主义者所注重的意识的荒诞性，只有这样，才能真正摆脱超现实主义的晦涩难解，实践真正的超现实当代性的写实油画。

　　生活中的美，最具吸引力和穿透力，每个画家，对生活都会有一定的感悟和偏爱，对表现的对象，也都有不同的偏爱感受。除了客观条件的可能性外，画家的情感偏好和后天形成的品味，也是选择表现对象的重要因素。近些年，我一直以丝绸和女性作为自己的表现对象，丝绸发出的艳丽耀眼的光彩，显示出的热情、温和、纯洁和高贵，和女性一样，在我眼里，都是至真至纯的人格象征，都是热情洋溢的现实抒情。以我最近花了三年创作的作品《她们从哪里来？》为例，我首先用了一组不同年龄的女性，来表达人类的衍生和延续，探索女性在人类繁衍过程中的重要地位和历史使命。另一幅作品中，用一些漂浮在时空之中的青年男女，来表现人物的重叠、凝聚，生命的沉重和无常。所有的文艺作品，不管是绘画还是雕塑，最终的指向，还是人类本身，通过我的作品，表达出对人类本体的思考，对社会发展的忧思。男人们的焦虑与疲惫，女人们的彷徨与无助，整个人类的繁衍与前进，这些，都是生命进程中，一个必然的过程。

　　在创作过程中，我比较强调作品的审美情趣和独特构想，这样才能突破画面本身的单调写实，实现作品的象征意义和哲理升华。比如《画架的背后》这幅作品，基调浓郁深沉，构图起伏流畅，将老人和小孩的形体，镶嵌在大海和画架之间，我意欲通过强烈的对比和想象的空间，希望能给观者无穷的遐想。

　　在创作的道路上，我一直在努力学习与探索，力图寻找一条适合于自己的创作之路，不断的调整，大胆实验，我将继续从生活中汲取灵感，实践中不断创新，用油画语言，表达更多的人文关怀精神，为当代写实油画的发展和进步出一份微薄之力。

Adhere to the road of surrealist and realist oil painting, creating distinct language system and humanistic concern

Written by Dai Pingjun

　　In the 80s of the last century, along with the intensive study of the domestic artists for the modern art trend, along with the domestic art view joining the world step by step, all kinds of excellent paintings spring up like mushrooms, emerging in endlessly. The realist paintings, once considered as the tradition and orthodox have sunk into difficult choice in this art trend of thoughts. The prominent phenomenon, among which is that the realist paintings begin to be regarded as the close and conservative representatives, as the same as photography. While, I, at this time, select firmly the road of realist oil paintings.

　　The main reason why some painters give up realist art is that they think it difficult to get new idea. The current realist difficulties have already surpassed the predecessors. Of course people think that the realist oil paintings are too simple. So long as you paint with calm mind, your paintings can be remarkably true to life. These viewpoints are too biased. At the present time, the times advocating post-modernity, can any painters calm the mind and take the realist road in a thoroughgoing manner? How many?

　　Becoming an excellent realist oil painter is in fact difficult. The painters should deeply master and study the traditional painting knowledge, such as dissection, fluoroscopy, color, and sketch. They should also master the complicated techniques of oil paintings and material application skills. At the same time, they should have comprehensive and understanding ability for the realist works, presentation and purify skill for painting languages. All these need long time hard and prominent study and practice, and as a result you can really have these abilities. Actually, I think it is not necessary for the painters to worry about and being suspicious of functionality and artistry of realist oil paintings. In fact, any photography techniques can not replace realist works. They could only make the realist artworks ideological and connotative. Moreover, this is the necessary pursuit of the realist art development.

　　The realist oil paintings have irresistible charm. Also there are a large group painters like me who are infatuated with realism, attracted by it and throw into it. The realism is oil painting technique deriving from the classical art. It is an inexhaustible art treasure, while the object texture, as well as vitality, visualization are beyond all expectations, thus making you more cheerful. The realism is not only a technique of painting; it is more than an angle for depicting the external objects. From the art point of view, the realism, merely in meaning is indeed not full and rich, however, plus rational mental analysis, it is sure to achieve sublimation of the art language and  innovation origining from the life top.

　　In my subconsciousness, all the time I have been pursuing a kind of surreal aesthetic feeling. The surreal technique of painting has advantage which the other technique could not compare with in the symbol sense. However, being an artist, if you are excessive, you can not use surreal technique properly, just make the works too mysterious and give people the sense of chaos. If you want to use surreal technique properly, avoid randomness of structure and thought, you should make great effort to the selection of painting content which should not be random and should be understood by the viewers, also should be the familiar living environment. The oil paintings originate from the west, but the works should be sure to give expression to the proper Chinese characteristics. All substances and people depend on each other and supplement each other, not always are in the tense and opposite relation. In the Chinese classic paintings, grass, stone, leaf, people, figures and things are all in harmony and in all stats. I pursue a kind of surreal transform of time and space, a kind of relevance without limitation of space-time. I would like to arrange the time and space of the paintings from my psychological time and space and that of the depicted objects. In the works, sky and sea, city and vehicle, animals, they could share the same objective space-time together with the depicted objects, not be limited by the space-time. The viewers can develop any imagination. This entire objective image is beyond the invisible and clear. Naturally, it is in accordance with the painting effect which I am pursuing.

　　In my works << Proliferation>>, baby, girl, young married woman, old woman together stay in a secret world capable of moving in any direction. The whole painting is immersed in desolation of time lapse,  showing no doubt for the process of human   evolvement. This figure characteristics which seems traversing and not to be perceptive is overlapping in reality. In framework of objective image, the painters should fully display their imagination, let off a ray of throb in the inner heart. They should sufficiently put to use the conscious malleability, not emphasize on the conscious absurdity which the traditional surrealists pay attention to. Only in this way, they could indeed get rid of obscureness of the surrealists, put into practice the true surrealistic contemporary realistic oil paintings.

　　The beauty in life has more attraction and penetration power. Every painter has a certain sentiment and preference for life. For the expressional objects, they have different feeling of favor. Except the possibility of objective condition, the painters' emotion preference and taste which is formed later are also the important factor for selecting objects. In recent years, I always take silk and female as my expressional objects. Silk sends out gorgeous and dazzling colors, shows enthusiasm, tenderness, purity and dignity, just the same as the female. In my eyes, they are true and pure personality symbol,  warm and overflow actual lyric. Taking the works << Where are they from? >> for instance, on the creation of which I have spent three years recently. Firstly　I use a group of women with different age to express derivatization and  continuation of human beings, explore the important role and historic mission in derivatization of human beings. In another painting, I use some young men and young women floating in space-time to express the figures' overlaying, condensation, heavy and variable life. All art works, whether they are paintings or sculptures, the final sense of orientation is still the human beings of itself, giving expression to thinking of human beings and anxiety of the social development. Menfolk anxiety and exhaustion, womenfolk's hesitation and helplessness, proliferation and progress of humanity, all these are a certain process in the course of life.

　　In the process of creation, I comparatively emphasize on the aesthetic taste and unique composition, thus breaking through monotonous realism of itself, realizing symbolic significance and philosophic sublimation. For instance, the work<<Behind Easel >>, keynote is rich and deep, layout is of ups and downs, inlaying the shape of the old and children between the sea and easel. I would like to give the audiences endless imagine through striking contrast and fancy space. .

　　On the creation road, I study hard and explore all the time. I try hard to seek a road suitable for my creation, adjusting continuously and experiencing boldly. I will keep on drawing inspiration from life, creating something new constantly in practice, expressing more spirit of humanistic concern, contributing my small part to the development and progress of the contemporary realist oil paintings.