应作林之邀让我给他写序,着实让我惶恐。几日后,我慢慢平静下来,这么多年,想必是让我为他作个见证。可能是因为岁月,我时常也开始怀旧。人说:“衣不如新,人不如旧。”老朋友会有很多昔日珍惜的画面。二十世纪九十年代,对作林和我而言,是一个物质贫乏而精神充实的时代。我们常常打起“光巴斗”、喝着“吹吹稀饭”和“豆豆酒”、听着一些不那么入时的音乐、放肆地谈论着人生、艺术和“粉子”……时而在帕尔曼优美的琴声里沉默着,时而在《神秘园》哀婉的歌声中悲叹着,时而又在《大峡谷》壮美的乐曲中愤世嫉俗。这些年,尤其是作林留俄回来之后,疯狂的绘画状态让我震惊。无论是城里还是乡间,教室还是工作室,他画了大量的作品。无论是钢笔淡彩、油画还是素描,它们都承载了作林对艺术的情感和执着。作林出生于二十世纪六十年代,在中国当 Let me write an order to him for Lin’s invitation, which really made me panic. A few days later, I slowly calmed down, so many years, presumably let me be a witness to him. May be because of the years, I often start nostalgia. People say: “clothing is not as good as people, not as old. ” Old friends will have many cherished pictures of the past. In the 1990s, for Lin and I, it was an era of material poverty and spiritual enrichment. We often play “Bumbo”, drinking “puffing porridge” and “Peas”, listen to some less time-consuming music and talk about life, art and “ Powder ”... and sometimes silent on the graceful sounds of Perlman, sometimes in the mournful song of“ The Secret Garden, ”sometimes cynical in the magnificent music of the Grand Canyon. These years, especially after I returned to Linliu, I was shocked by the crazy state of painting. He has painted a large number of works both in town and country, in classrooms and in studios. Whether pen light, painting or sketching, they carry the forest for the art of emotion and perseverance. Lin was born in the twentieth century, the sixties, when in China