如果联系王文生的艺术经历思考问题，我们无疑会发现一个耐人寻味的变化;那就是再85新潮时期，他更多是借鉴德国表现主义的观念和模式，因此作品突出的是对压抑、苦闷、冲动和悲剧的表现;而在近作中，他则更多借鉴的是法国印象主义的观念与模式，这也使得他的近作洋溢着幸福、甜美、喜悦和欢快的感觉。

　　为什么王文生对人生境界的表达会由一个方面转向另一个方面?他的画面也随之由单色转向了多色呢?

　　据王文生讲，这里边有两个原因：第一，在85新潮时期，他的艺术思维在很大的程度上是受了特定文化氛围的影响，所以他当时比较注重对生活、人生消极面的表现。但随着年龄的增长，他的生活态度已经发生了很大的变化。在他看来，人生苦难已够多了，好的艺术就应该要用积极的因素来激发人们对生活的热爱。例如画家凡高，虽然在生活中饱受磨难，但他的艺术总是散发着对生活的热情歌颂，给人以美的享受;第二，通过对西方艺术原作的学习观摩，同时通过对个人的深刻反思，他发现个人的特长正在于色彩的表现上;此外，他生活的兴奋点也与印象派较为接近。要是继续沿着德国表现派的路子走下去，就是扬短避长。这充分意味着，王文生近期艺术的转向实际上是向自我的回归，向生活的回归，向绘画本体的回归。

　　王文生近作《欢乐的海洋》系列是以他对青岛海边的观察为基础创作出来的。但与法国印象派画家不同，他并不是借助于现场写生，而是借助现场所拍的照片来创作的。正是凭着人们在海边休闲游玩的母题，他着意赞美了生活的美好和亲情的弥足珍贵。的确，这样的母题在艺术史中也不是十分新鲜的东西，单方在一个十分强调用符号来表达观念的背景中，却可以启发人们反思艺术与生活的问题。

　　在进行艺术表现时，王文生总是用鲜明直接的办法把对自然的体验转化为十分具体的色彩、笔触、构图与造型。比如在色彩表现上，他着意突出的是色彩内在的关系。由于注重补色之间的对比关系，并采用白色来提高亮度，所以光线感被他表现得十分充分，这也巧妙的烘托了幸福美好的感觉;在笔触的表现上，他着意树立了一种横跨画布的流动笔法，并很好突出了自由书写的意味;在构图的处理上，他总是从自己的观察出发，强调的是自然而然与不拘形式，所以画面没有丝毫的设计感;而在造型上，他则着意突出的是人物与色彩、笔触及周围的物象的协调。因此，我认为王文生的组破可称为中国式的印象派作品，其中传达出了与传统文脉的紧密关系。英国艺术家JOHN HOVSE曾撰文认为，印象派艺术为后来的艺术发展留下了伏笔，我相信王文生将可以由此探寻到自己更辉煌的道路。

　　王文生是一个实力派画家，其对色彩的处理能力有着过人之处。这些年来，他在追随观念表现的大潮时，也不自觉压抑了自己的特长。他的重回自己，应该所对他今后的发展具有重要的意义。

　　2006年5月1日于深圳香蜜湖

　　Momentary Vision-On Wang Wensheng's Series of Works "Happy Ocean"

　　By Lu Hong

　　If we think in terms of Wang Wensheng's personal artistic experiences, we will undoubtedly find an interesting change. That is ‘85 New Wave Movement. During this time, his paintings featured the style of German Expressionism—depression, stress, grievance, impulsiveness and pessimism. However, his recent paintings underwent a drastic change and adopt strong characteristics of French Impression. Happiness, sweetness, joyfulness and cheerfulness become the main subjects

　　What is it that makes Wang Wensheng's outlook on life change? And why is the single color in his paintings replaced by multiple colors?

　　In his words, there are two reasons here. First, during "'85 New Wave Movement", his artistic thinking was greatly influenced by the specific cultural background. At that time he tended to depict the dark side of life. When he is getting older, his attitudes towards life have greatly changed. In his view, there is too much tribulation in life already. Good art is to use positive factors to inspire people to love life. For example, Van Gogh had experienced a lot of sufferings, but his art all the time eulogizes life, impressing us with beauty. Second, through his observation of original paintings of the western art, plus his self-reflection, he realizes that his strength lies in the representation of color. And he finds himself closer to Impressionism in the excitement of life. If he continues to walk on the path of German Expressionism, it would work to his advantage, which fully means that the recent transition in Wang Wensheng's art is in fact a return to self, to life, and to painting itself.

　　The series of "Happy Ocean" are produced based on his observation of Qingdao seaside. However, unlike French Impressionist painters, he resorts to the photos he took there to paint, rather than paint from life on the spot. With people enjoying themselves along the seaside as the subject, he intends to eulogize the beauty of life and the love between family members. Indeed, this subject is nothing new in art history, but put in a social context that stresses expressing ideas with symbols, it can inspire people to reflect on art and life.

　　While painting, Wang Wensheng tends to directly render his experiences of nature into very specific color, brushwork, composition and shape. For instance, in using color, he manages to emphasize the inherent relationship between colors. Since he attaches importance to the contrast between complementary colors and adopts white to enhance brightness, the sense of light is fully achieved, skillfully giving rise to the feelings of happiness. In his use of brushwork, he manages to achieve a kind of flowing brushwork across the canvas, better highlighting free handwriting. In composition, he tends to start from his own observation, stressing on naturalness and informality, so the painting does not have the slightest sense of design. In modeling, he focuses on the harmony between figures and colors, between the brushwork and the objects around it. So, I think that the works by Wang Wensheng can be called as Chinese-style works of Impressionism, expressing its close with tradition contexts. According to British art historian John Hovse, he wrote, Impressionist art leaves much room for the subsequent art development. I believe that Wang Wensheng will be able to explore a more splendid path of his own.

　　Wang Wensheng is a capable painter, especially good at using color. Over these years, he follows the tide of conveying concepts, unconsciously suppressing his own strength. His return to self, we can say, will play an important role in his future development.

　　May 1, 2006, in Xiangmi Lake, Shenzhen

　　Dr. Lu Hong is art critic and curator of Shenzhen Art Museum.