坐在我面前的南海岩,不象一位充满激情的画家,更象一位气质优雅的书生。他说话的声音很轻,谈到激动处,不时蹦出一两句山东方言。“太偏于光色则近洋,过求水墨则泥古”,一些探索者往往抛弃了水墨的奥妙,又不曾获取光色的精微。时至今日,中国的现实主义绘画实际上是中断了,我觉得其中的原因在于画家失去了关注现实、表现现实的动力和能力,失去了现实主义绘画最重要的情感基础。有人认为南海岩已经远离了中国画的写意精神,在素描的“歧途”上越走越远;而另外一些批评家却坚持认为:“南海岩的水墨人物在宣纸上完全立体地站起来了。他将西画的摹写自然与中国的意象造型相结合,丰富了中国画的绘画语言,使画面形象既具象逼真,又富有笔墨语言的意蕴魅力。”面对业内人士的褒奖和贬抑,南海岩不张扬,不争辩,他的生活看上去单调而枯燥——从卧室到画室,专心埋头于自己的工作。 Nanhai rock sitting in front of me, unlike a passionate painter, more like an elegant scholar. His voice was very light, when talking about excitement, one or two Shandong dialects popped up from time to time. “Too biased to light color is near the ocean, while seeking ink and water is muddy”, some explorers often abandon the mystery of ink, but also did not get the subtlety of light color. Nowadays, the realistic painting in China is actually interrupted. I think the reason for this is that the painters have lost the motivation and ability to pay attention to the reality and show the reality, and have lost the most important emotional foundation of realistic painting. Some people think that the South China Sea rock has been away from the freehand brushwork of Chinese painting, in the sketch of the “astray” farther and farther; while some critics insisted: “South China Sea rock ink character stood up three-dimensional full of rice paper, The natural representation of western painting combined with the imagery of China has enriched the painting language of Chinese painting and made the image of the painting vivid and full of the charm of the language of the brush and calligraphy. ”Faced with the praise and derogatory from the people in the industry, Arguing that his life looks dull and boring - from the bedroom to the studio, concentrate on his work.