读张万凌的油画作品,无论是人物还是风景,都有着他不同寻常的哲性与诗性互通互动的观照。他的审美理想并不是乌托邦式的,而是直面现实人生和生存境况,以高于自然、高于真实的美学标格,把他所由衷记忆和梦索魂牵的生命内涵、生存境遇、自然精髓毫无例外地孕育成自己的艺术轮回。特别是创作的大量以陇东黄土高原上耕耘一生的农民为原型的人物油画,不仅超越了概念化或即兴化的创作,而且他所创作的作品似乎也已经不是简单个体的肖像、不是了无生气的机械味十足的特写,而是在有意记录和洞察生命的沧桑与时代的印痕,以及这两者之间的关联性。我几乎有点目瞪口呆地一口气读完了他的上百幅人物作品, Reading Zhang Wanling’s oil paintings, both figures and landscapes, have their unusual philosophical and poetic interplay of interaction. His ideal of aesthetics is not utopian, but rather confronts the real life and the living conditions, surpassing the natural and higher than the real aesthetic standard, putting the life connotation, existential situation and natural essence Without exception, bred into their own artistic reincarnation. In particular, the large number of oil paintings that have been pioneered by peasants working on the Longdong Loess Plateau have not only gone beyond conceptual or improvised creations, but also the works they create appear to be not portraits of simple individuals nor are they lifeless Mechanical taste full of close-up, but intentionally record and insight into the vicissitudes of life and the imprint of the times, as well as the correlation between the two. I almost finished reading one of his hundreds of portraits with a stunned breath,