晁海的作品在整体上处于一种浑沌的综合状态,很难用三言两语说明白。“恍兮忽兮,其中有象”,这个“象”是什么?我想,那是晁海心中挥之不去的“人”;一个大写的“人”。晁海在作品中所表现的,是一个民族的精神,一种人类的不屈不挠的生存意志。所以在晁海的作品中,人物的服装、劳动工具、身处的环境并不明显,也不重要。晁海所描绘的人,从直观上看,当然还是他所熟悉的农民,但这里的农民,不是以一个具体的劳动者出现,不如说他们是一种象征,是千百年来世世代代生活在中国的土地上的无数生命的象征。“所要者魂”,晁海关注的是历尽沧桑后依然存在的那种生命的潜流,那是超越时空的历史的积淀,这种历史的积淀在晁海生活的西北地区特别厚重,在霍去病墓的雕塑中,在汉唐墓室壁画中,在碑林石刻中,我们都能感受到这种凝重斑驳、沉默无言的沧桑古痕。“一画有千秋遐想”,眼前无非生机。晁海笔下的人物,并非出 Chao Hai’s work is in a chaotic state of synthesis as a whole, and it is difficult to explain it in a few words. “Come and go, there are elephants”, what is this “elephant”? I think it is “lingering” in Chao Hai’s heart; a human being in capital letters. What Chao Hai shows in his works is the spirit of a nation, a kind of indomitable will to survive. Therefore, Chao Hai’s work, the figures of clothing, working tools, living in the environment is not obvious, it does not matter. The people depicted by Chao Hai are, of course, intuitive peasants familiar to him. However, the peasants here are not represented by a specific laborer, but rather as a symbol of their survival for thousands of years for generations to come. Symbol of countless lives on China’s land. “The soul of the soul”, Chao Hai is concerned about is the kind of life after the vicissitudes of life, which is beyond the accumulation of time and space history, this historical accumulation in the life of Northwest Chaohai particularly heavy, Sculpture, in the tomb murals of the Han and Tang Dynasties, in the stone carvings, we can feel this dignified and mottled, silent ancient mark. “A picture of a long time imagination,” nothing more than life. Chao Hai characters, not out