如今理论界对“中国画”这个词汇的定义，似乎不会有太大的异议，而对于由这个定义派生出来的外延纠缠不休。1931年民智书局出版孙俍工编的《中国文艺辞典》里并没有“中国画”一词。相关资料表明最早使用“中国画”这个词汇的应该是1957年周恩来在北京中国画院成立时的相关指示。这个指示，结束了被后来称之为“中国画”的画种是不是叫“彩墨画”的争论。当人们一直在约定俗成地使用着“中国画”这个词汇的时候，也忽视了这个词汇的基本概念。比如从这个词结构和修辞的本身来讲，就存在界定不清的缺点。只要略加深究，问题就会出来：至少可以理解为“中国的画”或“中国人画的画”，再往下深究问题就更多了，比如黑山岩画、敦煌壁画、杨柳青年画、宋徽宗的画、八大山人的画、李铁夫的画、齐白石的画、颜文樑的画、古元的画由于都可以纳入“中国的画”或“中国人画的画”这个概念，那么这些难道也都可以称之为“中国画”吗？
　　再来看看《辞海》（上海辞书出版社1980年第一版，1985年第6次印刷1410页）对“中国画”的定义：具有悠久历史和优良民族传统的中国民族绘画。在世界美术领域中自成独特体系。约可分为人物、山水、界画、花卉、禽鸟、走兽、虫鱼等画科；有工笔、意笔、勾勒、没骨、设色、水墨等技法形式。（略）由于书、画同源以及两者在达意抒情上都和线条的运用紧密结合，因此绘画同诗文、书法以至篆刻相互影响，形成了显著的艺术特征。工具材料为中国特制的笔、墨、砚、纸和绢。新中国成立以来，中国画在“古为今用，洋为中用，百花齐放，推陈出新”的方针指引下，通过革命的现实主义和革命的浪漫主义相结合的创作方法，更加丰富多彩，而进入了一个崭新的阶段。《辞海》在对中国画界定的时候在传统概念和材料上作了比较谨慎的诠释，甚至连人们认为天经地义的“毛笔”的“毛”字，也有意忽略，对新中国成立以来中国画的一些创作思想和创作手法只是作了泛泛而论。更加值得注意的是，《辞海》没有对“中国画”一词的原出有所交代。因此，在本文我们暂且采信1957年之说。
　　用两大段文字来纠缠“中国画”一词的定义，有利于我们更好地理解袁野的绘画，我们比较疑惑的问题是不少人会指着袁野的画问：“这是中国画吗？”。为了加深印象，还是让我们读一读《袁野画集》。《袁野画集》副标题为：袁野彩墨画作品，共收入袁野作品23幅。画集里袁野的简历是这样写的：1967年生于江苏沛县，1988年考入江苏省轻工业学校美术系，1997年9月入中国美术学院国画系研究生班，2000年游学欧洲，现就读与中国美术学院油画系第四工作室研究生班。（《袁野画集》　中国美术学院出版社出版　2006年12月第一版）我们暂且把画集里的23幅作品搁在一边，以他的简历作为切入点，这样大致可以勾勒出这样的轮廓：一位20世纪60年代末出生于京广线和陇海线交汇处中原腹地徐州七尺男儿，为了实现自己对美术的追求，自从所在省的轻工业学校美术系毕业后经历了七八年的游历，选择了中国美术学院国画系作为他对艺术追求的一个新的起点，后来他又把目光投向西方，从而游学欧洲。从西方回归以后，他又一次重新对自己的艺术思想进行了梳理，为了更加接近自己的梦想，他进入了中国美术学院第四工作室。袁野的生命中有12年时间在广东度过，据考此间还担任过某画院院长。如果没有猜错，广东的经历对于袁野的艺术思想所产生的作用是关键的。二十世纪末的十年，是中国意识形态变化最大的十年，而这十年的头几年，又是处于转折期或转型期。尤其在中国的广东，当下社会的政治、经济、文化的认识产生了前所没有的震荡，这在史学界则被称之为：中国改革开放的窗口。事实也是如此，一段时间里中国人从这里了解世界，而世界又从这里了解中国。我从袁野的片言只语和其他的一些信息里知道，袁野曾经是这个时期在广东绘画市场里走的最好的画家之一。他当时就用一些不同于时下内地中国画家所用的绘画材料在作一些瓶花，方的构图辅佐以亮丽有点向南北宋交替时期的壁上余晖，厚厚的矿物质颜色，又被淡淡的墨韵烘托而出，流露出一丝丝汉唐盛世繁华过后的伤感。这段经历，给了袁野机遇和挑战，广东的香雨薰风簇拥着袁野的绘画无论从材料到形式，都朝着相反于人们对传统“中国画”的界定和认识的方向走去。
　　袁野的身材相貌并不太人们印象中的中原大汉，与人们想象中带领乡亲的挥着长剑唱着大风歌的刘亭长相去甚远。我们曾经问过袁野，画画是你终身终极的追求吗？袁野摇摇头说：“假如我生在刘邦那个年代，我肯定会跟着我这位老乡金戈铁马列土封疆去了！”袁野没有正面回答我的提问，是以一种阐述志向的自我叙述，把我的提问搁在一边。这使我们想起一次对陆俨少先生的提问，我拿着一本《中国当代书法选》问他：“这里面的书法谁的最好？”陆先生说：“顾廷龙。”其实这本书法集里，根本没有顾廷龙的作品。其实仔细观察袁野的言行以及稍稍注意他的人生经历，不难发现袁野是一位具备在绘画领域里有过月下射虎、鸿沟划界、暗渡陈仓等等经历的画家。袁野的举手投足里，人们还可以看到铮铮铁骨中原汉子的端倪，这和江南歌舞不休、塔铃不绝、细皮嫩肉、吞吐不知所云等不可同日而语。
　　也正是有这么高远的志向，袁野才从生他养他的中原厚土出来，负笈三吴又问业于越中，取于闽粤然又弄潮钱塘。袁野知道绘画虽是雕虫小技，倘若略有造就诚非容易之事，正是这样他才萌生游学西欧之举。二十世纪的中国美术发生了历史上最大的变革，袁野就读的中国美术学院的前身是国立艺术专科学校，1928年林风眠在蔡元培“以美育代宗教”（蔡元培《以美育代宗教说》二十世纪哲学经典文本　中国哲学卷80页　复旦大学出版社1999年12月第一版）思想指导下在这里创办了这所“介绍西洋艺术！整理中国艺术！调和中西艺术！创造时代艺术！”（《湖殇》许江著　《西湖论艺　林风眠及其同事艺术文集》3页　上卷）的学校。后来由于时局动荡和遇上社会大变革，林风眠亲手创办的学校已经再也不能容纳创办者自己。林风眠以无业游民的状态赋闲上海，他以自己独特的胆识，以坚强的毅力企图完成自己未竟的事业。袁野特别喜爱林风眠在这个时期所创作的瓶花，尤其是当袁野只身闯荡林风眠18岁离开，一辈子再也没有回来的他梦中的不堪回首的故乡阁公岭。袁野在这个花花世界里，深深地读到了寂寞和孤独。他在池塘、水草、槐树、斜坡后面一座白墙黑瓦石阶大门的老屋的木格直棂小窗向外眺望，他眺望到了这位一辈子为中国美术扛着沉重的十字架下地狱的大师的背影乃至灵魂。袁野于是给自己的视野一个特写，那就是一束射进窗棂抚摸着鲜花和瓶子的光。他认为世界的繁华和寂寞，尽在这一束光里，而当这一道光射在孤独地饮着那瓶中不再自由流淌的死水时，时间和空间才在这里凝固、定格、拐弯从而也获得了永生。
　　窗，抓住了袁野的思绪，成了袁野经久不衰的关注和躲避。也是从那时起，袁野才发现自己四处游荡满世界寻找的，原来竟是一扇最为普通不过的窗。曾几何时，袁野的目光就穿越窗的棂格，走过童年金色的岁月，走过骚动不安的青春，走进天使的翅膀，走进生活的烦恼和欢乐。如今，袁野渐渐地成熟，袁野依旧终日迷恋着这扇看起来一点也不特别的窗。就这意义而言，我们在审视袁野的世界时，我们不得不走进他的窗的世界。我们读出，是那窗那瓶花构成了他的精神世界的几乎全部。
　　袁野的瓶花系列是与他兼修中西艺术分不开的，他先在美术学院里学中国画，并逐渐将自己的研究方向调整到研究中国画色彩学及矿物颜料，如今，他干脆就读于中国美术学院油画系列第四工作室研究生班。这样“两手”开弓，使得他必然会在中西艺术的碰撞中迸发出美丽的火花，甚至，我们可以看出袁野的瓶花系列是他多样艺术生活的综合体。他选择的瓶花题材，在传统中国画里有清供与之相对应，在油画里，就是静物画。（王平《阳光般温暖的瓶花　袁野瓶花系列印象》）
　　袁野窗前的瓶花，已经不同于在中国传统绘画里的“清供”。在传统的中国画里，并没有专门以窗景作为主题的绘画。在西方绘画史上也只有关于十五世纪意大利画家多米尼科1480年完成的《老人与孙儿》，在画的右上角画着一扇被打开的窗子，观者不但可以感受到从窗外射进的光线，还可以通过窗子看到窗外的风景。后来这种画法成了欧洲绘画的主要特征之一。
　　到了十九世纪的下半期，欧洲窗景绘画的传统，突然在构图上，发生了剧烈的变化。出生于荷兰的后期印象派大师梵高（1855－1890），正是产生了这种变化的重要人物之一。他在一八八九年完成的《画家的寝室》（Chamber at Arles）可以用来说明这个变化。（略）
　　这个绘画传统一直延续到二十世纪。从一九零八年开始创作，但到一九零九年方得完成的“和谐红色”（Harmony in Red），是近代法国画家马蒂斯（Henri Matisse,1869-1954）是马蒂斯早年的著名画作。（略）所见二十世纪的中国绘画之中的窗景绘画，是在西方绘画的影响之下的新发展，是无可讳言的。（略）林风眠的“静物”既以密封的窗子封闭了画面对外的空间，看来与梵高的“画家的寝室”的构图具有同一特征，而林风眠在静物中画了“向日葵”，正是直接采用为梵高所喜爱的他才之力证。（略）总之，根据这些了解，我国的窗景绘画与法国的近代画风甚有关系，其中由于法国的关系最深。（《由艺术史看
窗景绘画的发展》庄申《赵春翔》24－28页艺倡画廊2000年）写到这里我们似乎可以这样界定袁野的这种绘画形式：中国画科窗景画属，也可以称其为：中国窗景画。为了行文方便，在本文里还是简称为：窗景绘画或窗景画。法国画家皮埃尔，薛伐苏，第一次看到袁野展览的窗景画时，是这样描写的：他的画一下子就吸引了我的目光。我立刻感受到艺术的困难和挑剔，而自己的情感和这样一种艺术形式产生了共鸣。在西方，我们称这样的作品为“静物”，而袁野先生却运用其巨大的智慧把“静”物画的如此生动。他的作品具有无限的变化，我被他画中的色彩之美，如音乐般的丰富节奏感，笔法的娴熟和完美的构图所征服了！他的艺术中饱含着音乐之美,他向我们展现了宇宙最美的一面,诗的帝国。让我们感受到情感的最深处和最深的智
慧，这简直是艺术创作中登峰造极的奇迹！他让创作精神自由驰骋在西方人所说的“主的恩泽”之下。（《东方诗意和乐韵》皮埃尔，薛伐苏CHEVASSUS-AGNES）作为窗景绘画，袁野发现在中国美术史上它的历史最短，同时由于历史的原因，作为中国窗景绘画的先驱李超士（1893－1971）庞薰琴（1905－1985）林风眠（1900－1991）等优秀画家，没有很好地得到社会的认可。社会环境的偏见，文化思想的狭隘，遏制了这一辈艺术家的创作实践。换句话说，我们今天重新梳理中国的绘画，不难发现作为窗景绘画，在中国整个绘画事业中，其可拓展空间也是最大的。
　　袁野的窗景绘画采用了林风眠的正方构图。这既是作为窗景绘画和现代中国的建筑的密切关系，也是袁野在探索窗景绘画所延伸的文脉关系。袁野在创作的手法和材料上作了大胆的发展，这主要表现在对于水墨和留白的运用上，袁野认为林风眠的窗景绘画主要用的是生吞活剥式地改造中国绘画的理念，这才是林风眠未竟的事业。袁野认为林风眠的窗景绘画严格来说，与西方的绘画只有材料上的不同，这与林风眠所提出的：调和中西艺术，创造时代艺术是有一定距离的。其次是在色彩的运用上，袁野采取了中国绘画的原色辅色法，袁野认为中国绘画的原色是特有的辅色方法，中国绘画里的红蓝绿，不同于西方绘画中的红蓝绿，只有这种特有的颜色，才真正属于中国。袁野在思索中实践，在实践中思索，在沿着一条通往自己为自己营造的理想王国一步一步逼近。
　　袁野是中国岩彩培训班的最早学员，这是他对林风眠等老一代窗景画的使用材料经过分析后所作出的选择，他认为这一代画家大多有材料方面的硬伤，尤其是林风眠这样的大画家，他的不少作品由于使用材料的瑕疵，现在已经很难说是林风眠先生在创作这幅画时的主观意愿的表达。袁野在掌握了中国岩彩的制作方法以后，他就去内地寻找他所追寻的色彩，袁野从河西走廊进入新疆，从两广进入云贵，甚至到印度缅甸伊朗，从地摊、从珠宝店，袁野从色的源头寻找，从色的王国寻找，他不停地寻找，不停地筛选，不停地漂洗，有时袁野几乎忘记了自己是一位画者，还是一位制色者，还是一位行者？
　　袁野的画里大多有一个用以插花的瓶。这瓶以瓷为主，也会有一些陶瓶或玻璃器皿，因为这瓶是整个窗景的主角。袁野总爱把窗景看成是一个用以展示大千世界的舞台。所以，袁野义无反顾地选择了瓷作为这个舞台的主角。袁野认为瓷代表着自己祖国的文化，中华文明一路走来，到了瓷的时代才可以说真正地将中国人的科学和艺术的认知水准推向了卓尔不群的境界。袁野还在这些瓷瓶上画青花画釉里红，袁野在广东这个花花世界里呆的久了，什么样的花儿没见过？于是乎，他的画里画的是随手拈来的花花草草，袁野说他买花，好像厨师买菜，一摞一摞地买，家里一年到头到处是花，四季变幻的光，照进袁野家的那扇窗，拂动窗幔，拂动梦一样的心扉，袁野记忆起老家的窗、校园的窗、单位的窗、朋友的窗、情人的窗，一切那么美好，一切那么似乎拥有抑或流逝。一切的一切，成为袁野笔下的浪漫。
　　爱挑刺的吴冠中看了袁野的画时说：“袁野画的很好，有个性，有意境，有笔墨，这是发展的中国画。”（《袁野画集》）张仃说：“画画新颖、不落俗套，较好地体现了中国传统笔墨意境，同时画画有现代感，体现了现代人的精神和面貌。”（同上）郎绍君认为：“在传统与现代的融合中，‘怎么样避开左倾又避开右倾’这一课题中，袁野解决的比较好，他的画彩墨淋漓有大写意的笔势！他的线以汉朝书法为骨，骨丰为美！他的色以中为本，技法活用，东方情趣盎然，令人赞叹！”（《袁野画展序言》）袁野不久前刚刚完成了中国美术学院油画系第四工作室关于多维绘画研究的学业。由于美术扩招的影响，如何在最短时期内，得到一种专业技能的学习，从而为自己的生存解决最为根本的问题，这几乎是全国高等美术院校莘莘学子理想的主导。像袁野这样，在中国画、油画、水质材料、油质材料以及综合材料之间不停折腾捣鼓的学子是凤毛麟角的。绘画的空间在袁野的眼里是自由而轻松的，但是这种自由和轻松并没有使他忘记自己是谁，自己从哪里来，以及自己将要到哪里去的问题。他的导师井士剑说：“纵观袁野的作品，我们惊喜地发现：一个青年艺术家正以极大的胆识，以东方文化的精神直击艺术的终极，以水墨画的灵魂构筑着油画的语言。他的作品荡漾在当代艺术创作的广阔江湖之中，折射出中国艺术精神的‘大美之物’，展示着艺术的辉煌。他正通往一条大师之路，虽然理想的实现必须以艰辛与勤奋来迎接。但是，作为每一个对生命意义有着执著追求的艺术家，都会最终达到自己艺术与精神的高峰。”（《袁野画集序》）我们暂且不展开这段话里关于水墨画的灵魂如何构筑油画的语言的讨论，我们发现在这段183字的章节里，撰者将极大的胆识、东方文化的精神、艺术的终极、水墨画的灵魂、油画的语言、中国艺术的大物之美、大师之路、执著追求的艺术家、精神的高峰等等有关于一位青年艺术家走向成功的“路线图”的一切至为关键的语汇都归纳其中。我们不难看出作为袁野的导师井士剑先生，在通过对袁野的教学互动，通过对袁野的艺术创作和精神世界的解读，从而给袁野的现状和前景下了界定甚至规划。
　　袁野的窗景画，与李超士、庞薰琴、林风眠等老一辈的窗景画所不同的就是画的题目了。中国的先哲说：“名不正则言不顺。”老一辈的窗景画大多以画中的主题花名或摆设的场景作为题目，诸如《虎皮兰》、《牵牛花》、《静物》、《有瓶花的窗景》等等，而袁野的窗景画里的题目就很耐人寻味，明明白白题瓶花的却有：《高瓶双花影》、《古瓶新花》、《黄花烂漫》等等，以古典诗词入意境的有：《高韵无相倚》、《粉妆已是芳心乱》、《思君》、《待得伊人来》、《问君愁几许，感怀岁月中》、《事事朝暮古今同》、《红粉佳人期》、《闲来消夏樱桃红》等等，袁野的题目大多有比较深邃的思想和意境。老一辈窗景画家在作画的时候，所思考的是纯粹的绘画语言的本体意义，其题目仅仅是起了标号和识别的作用，比如《瓶花》比如《作品几号》比如《无题》，这对于绘画本身来讲，并不存在问题，但是作为一位志向高远的美术家来说，尤其是像袁野这样，有志于在窗景画艺术方面要作出一些造就的艺术家来说，是远远不够的。因此，我们就更有必要透过画面和题目的背后，来窥探袁野借助于窗景绘画背后的心境。
　　袁野一路走来，所选择的是一条独特的道路。我们说的“独特”，不仅仅是指这条路的崎岖抑或险峻，而是说这条路本该就具有前瞻性和通达性，只是由于历史上发生的一些原因，而使这条本来可以成为文化主流的道路，遭受遗弃而荒芜。袁野以其独特的慧眼发现了这条路的存在，并用他独特的智慧创造了这条路的独特价值，甚至使人还不得不承认，有于这条路被历史的遗弃和荒芜而今显得愈加具有存在的价值和意义。袁野的窗景画里还有一些以自己的艺术主张作为题目的，如《人以胆识贵，色以水法通》等等这里不一一举例。
　　最近，我们有幸拜读了将要由河北人民美术出版社结集出版的《中国艺术家　袁野》大型画集中的200余幅窗景绘画。我们被袁野的真情所动，被袁野的不懈的追求所动，被袁野的斑斓的色彩和音乐般的美好所动。其中有一幅画的题目叫《独步江湖》，酣畅淋漓的石青石绿簇拥着石黄构成的三柄荷花，占据了画面主体。水墨淋漓的湿墨荷杆插在一只白瓷青花罐里，五条微曲的淡墨线从左到右微微扭曲轻轻拖过企图用以表示水的存在。水的右面兀立着一只青花绘就的水鸟，它眸注江湖，江湖之中有小鱼独游，天地悠悠，江湖悠悠，瓶自悠悠，花自悠悠，鸟乐也？鱼乐也？是也？非也？吾不得而知之。
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Reading Yuan ye
Wang shaoqiu &Yin shula
　　Talking about “Traditional Chinese painting”, People in theoretical circles have no doubt about its definition, but argue more about the extension. We have not found this term in the dictionary of China literature in 1931 which edit by Sun lianggong, published by Minzhi Book Company. Some data show that this term should appear in 1957 when Premier Zhou mentioned it on the completion ceremony of Beijing Art Academy. After that, it has ended the argument of traditional Chinese painting should be called “color ink painting”. When most people get used to use the term “Traditional Chinese painting”, they accordingly neglect its basic concept. Because from the construction and rhetoric point, this term itself becomes vague. If we ask more, the problems appear. I think at least we could comprehend it as “China painting” or “the painting painted by Chinese people”, if we keep going, we could also include more paintings in this term, such as, Heishan Rock Painting, the Dunhuang Murals, Yang liuqing Spring Festival Pictures, the Emperor Song Huizhong’s Paintings, Badashanren’s Painting, Litiefu’s Painting, Qi baishi’s Painting, Yan wenliang’s Painting. Could we call all these paintings “Traditional Chinese Paintings?”
　　Let’s check the definition of “Traditional Chinese painting” in Cihai Dictionary (Shanghai Cisu Press, first edit, 1980, 6 prints 1985, Page 1410), in which said it is Chinese nation’s painting with long history and fine tradition. Traditional Chinese painting has its typical system in the world fine arts circles. By the painting objects, it is classified into figure painting, landscape painting, flower and bird painting; freehand brushwork painting, outline painting, colored painting and ink wash painting. Chinese calligraphy and Chinese painting are from a common source. Both of them express the feeling and idea with using lines. It is the reason that Chinese painting, poems, articles, calligraphy and seal cuttings affect one another. The tools material of traditional Chinese painting are typical Chinese made brush, ink ,ink stone, paper and thin silk. After the foundation of new china, under the policy of using old ways, using foreign ways, encouraging all ways, innovating new ways, Traditional Chinese painting came into a new step with the realistic and romantic ways. Cihai dictionary defined traditional Chinese painting prudentially on its traditional definition and materials. Even for the Brush in Bursh pen, it also intended ignore. The dictionary just talked in generalities about the creation thought and manners. What we need more attentions are Cihai dictionary did not give the derivation of “traditional Chinese painting”. So we use the definition in 1957 in this thesis.
　　We used two paragraphs talking about the definition of traditional Chinese paintings, which will help us understand Yuanye’s paintings better. What makes most people wonder is “is this traditional Chinese painting?” In order to get a deep impression, let’s read Yuanye’s painting Album. The subtitle of this book is Yuanye’s color ink paintings works, including 23 pictures. The book introduced Yuanye “bone in Pei county, Jiangsu province in 1967; enter into fine art department of Jiangsu Light School in 1988; postgraduate class of Chinese painting department in China Academy of Art in 1997; study abroad to Europe in 2000; study in the forth work studio of oil paintings department in China Academy of Art.” Now let’s take a look at his resume. A man who was born in the 1960’s in Xuzhou city, in order to realize his pursuits for fine arts. After seven or eight years study home and abroad, chose Chinese painting department of China Academy of Art as his new start for fine arts and after coming back from western, he entered into oil painting department of CCA. Yuanye has almost spent 12 years in Guangdong province. If we did not guess wrong, his experience in Guangdong affected his thought most. The last 10 years of 20th century was a transformation period and milestone of Chinese ideology. Especially Guangdong at that time was called “the window of China Reform and Open policy”. The politics, economy and culture were all shocked by the policy”. The face is Chinese people can know about the world and the whole world know about China from this window. I got some news that Yuanye’s paintings were one of the best sole. At that time, he used different painting materials form this inner Chinese painters to paint vase and flower, square composition with some bright and thick mineral colors foil by the light ink. This experience gave Yuanye opportunities and challenges. The newborn things of Guangdong helped Yuanye with his paintings materials and forms opposite to the traditional Chinese painting.
　　Yuanye’s appearance and figure don’t look like a typical person from central China. We had ever asked him “is painting your final pursuit?” He shook his head and said “if I was born in the Han dynasty, I would have attended the war with Emperor Liubang.” Yuanye did not answer my question directly. He just narrated his own ambitions and left my question aside. This reminds me another question to Mr.Lu Yanshao. I took a book of Chinese Modern calligraphy collection and asked “whose calligraphy is the best in this book?” Mr.Lu said “Gu tinglong”. Actually, in this book there was no Gu tinglong at all. It is not difficult to find he is a painter with lots of experience from his paintings.
　　It is him who walked out of his hometown with for and great ambitions, studied at south and southeast China. He knows painting is easy, but it is not easy to get great success. Just because of this point, he wanted to go abroad studying. In 20th century, China fine arts was quite change. China Academy of Art where Yuanye studied in was called National College of Art. In 1928, Mr.Lin fengmian and Mr.Cai yuanpei created this college with the thought of "aesthetic education takes over religious". This school introduces western art, tidy Chinese art, coordinates Chinese and western art and creates modern art. After that, China was face with a turbulence and reformation society. Even Mr.Lin himself could not stay the course. He leisurely stayed at Shanghai. But he still persisted on his course with unique courage and insight. Yuanye was with a partiality to Mr.Lin's vase and flower works which he painted at that time. For this, he even went to Mr.Lin's hometown Ge gong ridge where Yuanye can read the loneliness. He viewed from a wooden window of an old house with pond, float grass, locust tree and slope. He viewed the master's back and spirit for China's art. And then Yuanye featured his field of vision which is a light shoot into the window and pet the vase and flower. He thinks the whole world glory and solitude are all in this light. While the light shone in the dead water in the vase, the time and space all freeze and therefore live eternally.
　　Windows, grasping Yuanye's thinking, become his whole life attention. From then on, Yuanye found what he has been looking for is just a common window. He through the window and went on his golden childhood, his restless youth, his happy and unhappy life. He now becomes mature, but he still fascinates this common window. On this point, when we scan Yuanye's world, we have to get into his window's world. We can read it is the window and the vase flower made up of his whole spirit world.
Yuanye's vase flower series benefit from his western and eastern art background. He studied Chinese painting in Art College and chose Chinese painting chromatics and mineral color as his study direction. Nowadays, he studies at the oil department forth studio of China Academy of Art without any hesitation. He must grasp the western and eastern art with these two backgrounds. We also can find his vase flower series is the synthesis of his various art life. He chooses the vase flower series, which compares the Qinggong in traditional Chinese painting and still life in oil painting.
　　Yuanye's vase flower series are different from the Qinggong in traditional Chinese painting in which there were no so many pictures took windows as the background. In the western painting history, only a 15th century Italian artist Dominic who painted old man and his grandson in 1480, just up the right corner there was an open window, visitors can not only feel the light from the window, but view the scenes out of the window. Thereafter, this way of painting became one of the most characters of European painting.
　　In the late 19th century, Traditional European Windows Painting produced violent changes. Vincent Van Gosh, the master of post-Impressionism in the Holland, was one of the important person who made the change happened. He painted Chamber at Arles in 1889 which also can explain this change. This painting way had lasted to the 20th century. And France painter Henri Matisse’s (1869-1954) painting Harmony in Red was also this kind of painting. It clearly infers the 20th cenrury Chinese Window Painting was affected by western paintings. According to all these above, we can find Chinese Window Painting have relationship with Modern France painting’s styles. Therefore, we can infer Yuanye’a painting could be called Chinese painting subject, window painting category or just Chinese window painting. To make it easy, in this thesis we all abbreviate window painting. France painter Chevassus-Agnes first saw Yuanye’s window painting and he described as “his paintings suddenly attract me. I feel the difficulty and fault of art at once. I tend to prefer his painting. We call “still life” in western. While Yuanye expresses “still” lively with his intelligence. His works full of change that I am shocked by his beauty of color, musical rhythm, professional skill and perfect structure. I can hear the beautiful sound in his works. He shows the most beautiful facet of the world, the emperor of poem. We can feel the deep thought and deep wisdom. It is a wonder in art creation. He controls his creation spirit with the blessings of Jesus Chrise.” As for the Window Painting, Yanye found its history in the China fine art history was short. With some history reasons, the avant-grade painters, such as, Li chaoshi, Pang xunqin and Lin fengmian were not well accepted by the society. The social bias and culture limits stopped these artists to creation practice. In another word, if we tidy up China’a painting, it is easy to find that Window Painting can go much further. Yuanye’s window painting adopts Mr.Lin fengmian’s square structure. And he develops the creation manner and materials. Using water ink and leaving blank reveal this development. He thinks Lin fengmian wanted to change XHinese painting directly which maybe is the reason he did not finish his course. He also thinks that Lin fengmian’s window painting only used different materials from western painting, which did not matech with what Lin said “coordinate western and eastern are, create modern art”. About colors, Yuanye use the original primary assistant. The three original colors of Chinese painting are different from the western ones. Only this special original primary can belong to China. Yuanye’s thought and practice get close to the ideal state he’s creating for himself. 
　　Yuanye studied China mineral painting in the earliest training class. This is his choice after he analyzed the materials Mr. Lin fengmian used. He thinks the artists of Mr.Lin’s generation all had disadvantages in colors. Especially Mr.Lin, because of the blemish materials, it is hard to day it was Mr.lin’s wish. Yuanye once grasped the way to make Chinese mineral color; he went to inland to find the colors he wants. He went all the way to find the right color. Sometime he almost forgot himself is a painter, a color executor or a traveler?
　　Most of Yuanye’s paintings have a vase for flowers. Most are of porcelain. Some are made of clay or glass. The vase is the main actor of the whole window view. Yuanye likes to take the window as the stage of whole world. That’s the reason he chooses porcelain as the main actor. He thinks the porcelain stands for his owm country’s culture. We can say Chinese civilization comes to the climas in the porcelain times. Yuanye paints blue-and-whilte and enamel red on the porcelain vase. He has been in Guangdong City so long time that he must see lots of flowers.  
　　Thereupon, the flower and grass in Yuanye's paintings seem to take omnivorously. He said he always buy flowers. In his house, flowers are everywhere. The changeable light goes through his window. Yuanye can recall his hometown's window, campus window, company's window, friend's window and lover's window. Everything is nice. Everything seems lost or leaves forever. Everything becomes romance.
　　Mr.Wu guanzhong who is pernickety after visiting Yuanye's painting said "Yuanye paints well. His painting is special and perfect. He is also good at using ink and pen. This is the developing Chinese painting. Mr.Zhangting said "the painting of Yuanye is original. He use traditional Chinese ink well, and also with modern sense. We can see the modern people's appearance and spirit from his painting. Mr.Lang shaojun said "Yuanye use traditional and modern ways harmonized. The vigor and line of his painting are all highly praised.
　　Yuanye just graduated from the forth studio of oil painting department in China Academy of Art. He studied multidimensional painting. How to get a special skill in the shortest time and live on? This is the dominant purpose of these Art College students. Among them, Yuanye is the one who can paint Chinese painting and oil painting, who can use water material and oil material. Yuanye think painting should be free and easy. But this freedom and easiness do not lead him to forget himself. His supervisor Mr.Jin shijian shows clearly Yuanye's current state and future. He praised yuanye as brave and intelligent, spirit of eastern culture, pursuit of art, the soul of watercolor painting, oil painting language, Chinese art beauty, the future master and insistence to pursuit art. All these words or this line described Yuanye's direction.
　　Yuanye's window painting is different from the old generations on a paintings title. China philosophers said "if you do not have good reasons, you'll not make nonsense to others."  The old generation usually used the flower name or the scene to name the paintings, such as, tiger skin orchid, morning glory, still life or window scenery with a vase flower. While Yuanye's painting titles are afford for thought. His paintings titles are profound and different from the old generations. When he paints, his thinking goes through the pictures and title, not only think of pure painting language, but the mood in painting.
　　Yuanye chooses a special way to paint. What we said specialty not only means that this way is hard to go, but means that he can look far and be understood. Yuanye foud this way with his special eyes and he use his special wisdom to create the value of this way. And we have to admit, just because we forgot this way that it appears much more values and meanings. Yuanye sometimes use his art opinion to name his paintings.
　　Recently, we've luckily read Chinese artist-Yuanye which will be published by Hebei people's art press. There are 200 windows paintings of Yuanye. We are moved by his real feeling, his persistence and his colorful and musical beauty. There is a painting named walk alone in the world. The main body of the picture is three leaves water lily with great green and yellow and cyan. A water ink stalk is in the while porcelain blue-and white vase. Five winding light ink line shows the water existence. Right of the water there is a water bird, it stares the lake. There is small fish swimming in the lake. There is a leisurely sky, leisurely lake, leisurely vase, and leisurely flower. Is the bird happy or not? Is the fish happy or not? We could never know.
                                    (Translator: faye.yan)