走近王迦南的山水画,我常常觉得自己突然变得很渺小:那千岩万壑的雄伟气势,那喷涌爆发的火热岩浆,那飞流直下的野山瀑布都营造出一种博大,一种纪念碑式的博大。但在那些博大的山川之间,又常常点缀着小小的茅屋、一座小桥、几棵寂寥的老树,在小桥和老树的旁边,还有一个渺小而寂寥的人物在徘徊。这似乎表现出画家内心的矛盾:入世与出世,现代与传统,严肃与玩世不恭。 Approaching the landscape paintings of Wang Canan, I often feel myself suddenly become very small: that the magnificent momentum of thousands of valleys, that burst out of hot magma, the waterfall that flows down the wild mountain waterfalls have created a kind of broad, a Monument type broad. But among the vast mountains and rivers, they are often dotted with small huts, a small bridge, lonely old trees, small bridges and old trees, and a small and lonely figure wandering. This seems to show the painter’s inner contradictions: accession and birth, modernity and tradition, seriousness and cynicism.