那年，在欧洲，穿梭流连于大师之间，色光缭绕，诗意扑面，其中，维米尔画面的细腻，严谨，色彩妙渐，笔端神秘，造就了贵族似的神圣境界。而毕沙罗画面的质朴，阳光闪烁，冷暖有致，笔笔自然，温暖的色系里，派造出亲切的自然景色。两位前辈，遥相呼应，神圣对应自然。我不禁萌生念想，若把维米尔画面的神圣境界，与毕沙罗画面的质朴，合二为一，在画面中品质相合，其魅力谅必直逼胸室，占据观者眼界。当时也是无际浮想，杂念闪现，自笑牵强，此后渐淡，但在心中却刻下一种期盼的铭记。

　　日前，画家刘文到我画室造访，并带来其油画近作的印刷品，掬捧急睹，我的眼睛不禁为之一亮。画面，色调赭暖，色节妙微，构图典雅，造型精致，线条流畅。其洋溢的品味里，古典精神的氤氲葳蕤在质朴的自然态中。我的情绪在频频触动，不禁蓦然心动，当初那遗失巳久的浮想又跃上心头，于是我好生感概，寻寻觅觅，,猛回头，景色就在眼前。

　　刘文的画面，多以少妇稚童为题，色彩，因黄赭色系而弥漫出温暧的气氛，色节，因微弱的渐变而显现出秩序的井然。构图，因图形的几何建构而凸显出端正的品质。线条，因强、弱、急、缓的巧妙接连而流淌着音乐般的气韵。造型，因动静形态的有机牵连而塑造出画面的泰然风度。再细致体会，他的画面因艺术语言的熟练运用，委婉而抒情，赋于平凡生活场景以温暖隽永的古典诗意。这样的趣味反映在他的每一幅画面中。

　　作品《三月》，刘文巧妙地利用画面形象的轮廓线的运动趋向，完成了画面的古典式的构筑和视觉图形，生动着缭绕不绝的音乐般的动感，画面左侧女孩弯曲的轮廓线，跃过与右侧少妇头部的空间距离，接连成一条快节奏的视感斜线，这条线，又沿着少妇坐像的右侧的轮廓，缓慢地向下方脚部延伸，形成竖向直线，用于构图的轮廓线仍在运动中缓进,从右侧轮廓下方少妇左脚尖,通过视觉心理的跃动，又搭接上少妇的左脚尖,再通过左侧女孩自然曲伏的左腿，使这条活动着的轮廓线，很自然地，延续至女孩向少妇倾斜弯曲的背部。这条神秘的轮廓线，即是人物造型的边界，又用做构图之布阵兵垒。这左右两侧人物的外轮廓钱的视觉接联，急、缓、曲、直、斜、竖、横，快慢有致，刚柔兼济，反复循环，让我们仿佛听到，一种音韵，随着轮廓线的运动，不断缭绕，优雅而瑰丽，同时也使以两侧人物为主题的画面，呈现出稳重又神圣的金字塔构图。在这个赋于古典精神的金字塔大构图里，左侧女孩的天真无忧的表情，与右侧少妇端庄恬静的仪态，形成年龄与个性的对比。女孩自然弯曲的习惯动作，又与少妇正襟端坐的形象，出现了动与静的韵律与和谐。女孩双眼的甜蜜微闭，又与少妇双眸的恬淡凝视，形成颇具动感的开合反差。画面，温暖的赭黄色调的空间里，在不同的方位，频繁不断地闪烁出亮黄或深赭的色痕，这些色痕，或涂抹，或揉擦，或罩染，或刀捺，像频频涌动的音符，时响时弱，化做彩色的空气，轻轻地飘浮在画面优雅的时光里。刘文象魔术师，以艺术语言为手法，反复地搅动与对比，使他画面中非常稳固的金字塔构图里，生动着持续不断的音乐般的动感。

　　刘文的画面，平整严谨而不失生动，笔意朦胧而不失节奏，色彩徽渐而不失大度。展现的是一种生命的状态，是一种淡泊的气质，是一种引领善良的境界，是一种古典精神的追随。其唯美的画面形式中，蕴含着一个年青艺术家对信念的虔诚，同时，也标志着刘文的艺术语言已进入到相对个体完善并走向成熟阶段。

　　刘文，蜀中硬汉，言讷行敏，崇拜古典，发奋探索，耐于寂寞，潜心艺术，且心底善良做人智慧。有人感叹，人品与画品并不对等，意思是说，画好，不一定人好，但我认为，刘文，人好，画好，画如其人。人就在眼前。画，就在画册中。

　　2007年6月于画室

　　Following of classical spirit

　　That year, in Europe, I shuttled back and forth to appreciate the paintings of the masters of art and enjoyed the color, light and poetic flavor. Among them, the paintings of Jan Vermeer create a noble, holy realm with exquisite, strict style, gradual change of color, and mysterious technique of drawing. While the paintings of Camille Pissarro create cordial, natural scenes with a plain style, sunshine, natural technique of drawing and warm tones. The two seniors coordinate with each other from afar. I couldn’t help thinking that if someone could combine the holy realm of Vermeer’s paintings with the plainness of Pissarro’s, his paintings would certainly attract every spectator. The thought flashed across my mind as a matter of imagination, and was gradually forgotten. But since then, there has been an expectation in my mind.

　　Recently, Liu Wen, a painter, paid a visit to my studio, and brought with him some printed works of his recent oil paintings. When looking at them, my eyes sparkled with excitement. The paintings have warm brown tones, elegant composition, delicate molding, and smooth lines, whose classical spirit is presented in a form of nature. At that moment, the lost feeling appeared again. All sorts of feelings welled up in my mind. After so many years’ sought, the expected scenery was in front of my eyes.

　　Most of Liu Wen’s paintings have young women or children as the subject matter and spread warm atmosphere by his using yellow and brown tones. The compositions display a dignified quality because of the geometric characteristic of figures. The lines, which are linked cleverly, resemble the rhyme of music. And the molding gives the picture a peaceful feature. His paintings of ordinary life show a kind of warm, classical and poetic style. Such interests are embodied in every piece of his paintings.

　　In the picture named MARCH, Liu Wen used the movement of the outline of the figures cleverly and accomplished its classical structure and visual effect. Look, the outline of the bending girl on the left seems to stretch out and jump over the young woman’s head, and forms an oblique line. Then the line stretches down, follows the woman’s outline and forms a vertical line. The outline of the composition stretches on. It follows the outline of the woman’s left foot and her right foot and then the crooked outline of the girl’s back. This mysterious line can be considered as not only the boundary of the modeling but also the layout of the composition. The outline of the two figures gives people a good visual effect. It makes a steady and holy pyramidal composition, which is a reflection of classical spirit In the picture, the naïve expression of the girl and the sedate deportment of the woman form a comparison of different ages and personalities. The girl’s bending body and the woman’s upright sitting figure match well, expressing a harmonious meter of movement and calmness. The girl is closing her eyes and smiling sweetly, while the woman is looking into distance with fixed eyes. It forms a wonderful contrast. The whole picture has warm yellow and brown tones as its base. In different places, bright yellow or dark brown are frequently used. These colored marks are like dancing notes, floating gracefully in time. Liu Wen seems to be a magician. He takes artistic language as means of expression, and makes his pyramidal composition to be lively music.

　　Liu Wen’s paintings have unique features. They are well-knit but vivid, hazy but rhythmic. His paintings express a lively state and a simple temperament, follow classical spirit, and can lead to a kind, noble realm. From his perfect paintings, we can see Liu Wen’s faithful belief to art and that he has improved his artistic language to a perfect extent and he is stepping into a mature stage.

　　Liu Wen is a dauntless, unyielding man from Sichuan, who is a man of few words but quick deeds. He admires classic, explores with efforts. He is kind and wise. Some people sigh with feeling, saying that one’s quality doesn’t certainly equal to his quality of paintings. He means a painter may be good at painting, but it is not necessary he is a good person. The saying has its sense. But in my eyes, Liu Wen is both a good person and an excellent painter. Now the very man is in front of you and his paintings are in this album, please judge by yourselves.