段正渠的笔下是一片厚重的土地,“饱和,深沉,不无苦涩但充满温馨。他几乎以黑色为主旋律,但并不压抑,并不苦闷,而是充满动态和激情”(王林语)。段正渠的作品来自他对陕北独特的感受。1987年段正渠第一次来到陕北,立刻就被高古孤寂的黄土高原和凄厉高亢的民歌所吸引。他太喜欢这单纯和朴素的感觉了,于是便开始一次次在寒冬腊月里往陕北跑。多少年来,他的足迹几乎走遍了陕北大大小小的地方,交下了不少陕北的朋友,而且无数次地坐在窑洞中就着豆油清灯听老乡唱民歌。嘹亮而忧伤的陕北民歌令段正渠激动不已,他从中获得了艺术上的顿悟。“当黄土高原撕肝裂胆的歌声与个人心境水乳交融,作品的形式就自然天成”(段正渠语)。他选择粗犷直率的表现性语言来表达他对陕北民歌的喜爱和对黄土高原的理解。1989年全国七届美展的获奖作品《红崖讫岔山曲渠》,这幅有着粗犷的力度和质朴的造型的作品,与画展其他作品的细腻精致形成反差,被评论家称为“大展中唯一有力度的表现主义绘画” Duan Zhengqu’s pen is a heavy piece of land, “saturated, deep, not without bitter but full of warmth.” He is almost black in the main theme, but not depressed, not depressed, but full of dynamics and passion “(Wang Lin language). Duan Zhengqun’s work comes from his unique feelings about northern Shaanxi. In 1987, Zheng Zhengqun first came to northern Shaanxi, and was immediately attracted by the ancient loneliness of the Loess Plateau and the merciless folk song. He liked this simple and simple feeling, so he began to run north and south again in the winter and the twelfth lunar month. Over the years, his footprints have traveled almost all over northern and southern parts of Shaanxi, handed over a number of friends in northern Shaanxi, and countless times sitting in the cave on the clear light of soybean oil listening to fellow folk songs. Exciting and sad Northern Shaanxi folk song Duanzheng Dao excited, he won the artistic epiphany. ”When the song of the loess promontory on the Loess Plateau blends with the personal mood, the form of the work is naturally natural“ (Duanzheng Dictum). He chose straightforward, straightforward expressionist language to express his love of northern Shaanxi folk songs and his understanding of the Loess Plateau. In 1989, the winning works of the 7th National Art Exhibition, ”Red Cliff Cha Cha Canal“, this piece of work with rough strength and rustic style contrasts with the exquisiteness and exquisiteness of other works in the exhibition, and is praised by critics as ”big The only expressive painting of the show "