苏新平的艺术新作品又勾起了我对他的旧作品的审视。20世纪90年代初,精神性的草原在苏新平的版画中一直具有个人的象征性。他的视角不是牧民的、蒙古族的、草原的,而是知识分子的、异族的、城市的。那些空旷的草地、蒙古袍和白马明显的带有旁观者的想象性质。利用写实的表象进 Su Xinping’s new art works aroused my scrutiny of his old works. In the early 1990s, spiritual grasslands had always been personally symbolic in Su Xinping’s prints. His perspective is not herder, Mongolian, grassland, but intellectuals, interracial, urban. The open grasslands, Mongolian gowns and white horses apparently bear the imagination of onlookers. Use realistic representation