纵观周宇光的作品,不难发现,他早期的戏典人物作品中,朱振庚先生作品的格局和气象时时呈现,人物的面具化和线条的满纸飞奔都是一种朱氏的繁式构成,作为学生这是一种自然的吸收和消化。但是到了2010年后,周宇光的达摩、罗汉、戏曲人物包括人体开始由繁入简,短线条的跳跃变成了长线条的波折,来自于朱振庚先生外在的束缚开始挣脱,内在的冲动和激 Throughout the work of Zhou Yuguang, it is not difficult to find out that the pattern and weather of Mr. Zhu Zhengeng’s works are always present in his early works of theater figures. The masquerading of figures and the full flight of lines are all Zhu’s traditional compositions This is a natural absorption and digestion as a student. However, by 2010, Zhou Yuguang’s Dharma, Lohan, and opera figures including the human body began to change from simple and short jumps to long lines, starting from the external bondage of Mr. Zhu Zhen-geng, who began to break free from internal impulses Excited