对待艺术,少平兄是位如醉如痴、如颠如魔的追求者。数十年来,他不顾生涯坎坷和岁月蹉跎,始终把艺术视为自己的第二生命,勤奋不懈地耕耘着。正是这第二生命的精神支柱,支撑和滋润着他的内在需要。志诚通乎金石,化为巨大的精神力量,使他一步步地走进了艺术殿堂,终于建构起自己独特的水彩世界。每当想起三十多年前,我们西上彝陵,直穿巴山蜀水作水彩写生的情景时,清晰可见的场面便浮现于脑海。诱人的白帝城朝霞,巫山云雨的魅力,发思古之幽情的月涌大江流,杜工部的感情诗篇,大自然神工鬼斧的创造,民族悠久文化的熏陶,都在我们心灵的深处播下了种子。在五十年代下半叶,少平与我在武汉美术家协会共事的数年中,他言必谈色彩,话必称道印象派。我们对话的题目,大都不离印象派的巨匠,对梵高、塞尚、马蒂斯推崇备至。要么就是对齐白石、林风眠高谈阔论,并且津津乐道于石涛、八大山人。此外,再也想不起有什么离经叛道之论。那时能够看到的西方绘画资料是有限的,但不知他从何处购得一本印象派的原版小册子,惊叹不绝,如获至宝。他不仅从中发现了色彩的价值,找到了参照系,似乎也寻觅到一早期追求的线索。当然,他并没有把自己限制在印象派的框架内,而真正对他影响大的是东方的意笔神韵,齐白石的减笔大写意,吴昌硕的以书入画。民间艺术的响亮色彩和林风眠中西融汇所给予的启迪,有了对东方笔墨神韵的心领神会,有了对西方色调的接通,两者令拍即合,形成了陈少平的艺术风格 Treat the arts, less peace is a bit mesmerizing, such as the demons of the suitors. For decades, despite all the ups and downs of his career and his life, he always regarded art as his second life and worked diligently. It is this second pillar of life that supports and nourishes his inner needs. Zhicheng almost stone, into a huge spiritual force, so he step by step into the palace of art, and finally build their own unique watercolor world. When we think of more than thirty years ago, our scene on the west of Yi Ling, straight through Bashan Shu water for watercolor sketching, a clear scene will emerge in my mind. Seductive Baidicheng glow, the charm of the Wushan Yunyu, the ancient poems of the moon pouring River, Du Pok feelings of poetry, the creation of the gods of nature, the long culture of the nation, are in our hearts Sown seeds in the depths. In the second half of the fifties, when Shao Ping and I worked with the Wuhan Artists Association, he talked a lot about color and would like to call Impressionist. The topic of our dialogue, most of them are not from the masters of the Impressionists, praised Van Gogh, Cezanne, Matisse. Or is aligning Whitehead, Lin Fengmian talkative, and relish in Shi Tao, Badashanren. In addition, I can no longer recall any theory of deviantism. The Western paintings that were available at that time were limited, but I did not know where he bought the original Impressionist pamphlet. He not only discovered the value of color, found the frame of reference, also seems to find a clue to the early pursuit. Of course, he did not limit himself within the framework of the Impressionists. The real influence on him was that of oriental meaning, Qi Baishi’s cursory brushwork, and Wu Changshuo’s calligraphy and painting. The loud color of folk art and Lin Fengmian’s enlightenment from Chinese and western melts together with the inspiration of oriental brushwork and charm. With the turning on of the western color tone, both of them make a perfect match and formed Chen Shaoping’s art style