觀賞黃海燕的油畫作品，第一感受就是色彩如此明麗，甚至有些許的柔媚，極像出自女性藝術(shù)家之手，實際上他是一個地道的山東漢子。他出生于山東聊城莘縣，2000年畢業(yè)于山東曲阜師范大學(xué)，曾在中國藝術(shù)研究院研究生班學(xué)習(xí)，雖然他的外表和性格都充滿北方的陽剛之氣，但其繪畫作品表現(xiàn)的卻是柔柔的女性風情。
　　海燕的藝術(shù)創(chuàng)作主要是油畫，但他卻非常喜歡中國的傳統(tǒng)繪畫和日本的浮世繪，并從中汲取它們的精華。在社會發(fā)展如此迅速的今天，女性題材成為各方面的熱門話題。他正是抓住了都市中具有代表性的女性特征，創(chuàng)作了系列作品《狀態(tài)》。從他的作品中，能領(lǐng)略到現(xiàn)代都市女性的風采，感悟的她們的情緒與生活狀態(tài)——時尚的、孤傲的、落寞的、含蓄的、典雅的、青春的……她們都一一出現(xiàn)在海燕的畫面中。
　　看海燕的作品，會有以下幾點感受：其一是色彩。也許是從日本浮世繪中得到靈感，他極其重視色彩的搭配，色彩也是中國畫中極為重要的范疇，南陳姚最在其繪畫理論著作《續(xù)畫品》中云：“賦彩鮮麗，觀者悅情。”意思是說，繪畫色彩能引起欣賞者的情感的愉悅，海燕做到了這點。他的繪畫色彩明亮，同時又帶有水彩畫的透明感，因此能給人以清新與明快，絲毫不帶有城市生活的緊張與繁重；其二是注重形式的洗練，這一特點可能得益于他對傳統(tǒng)中國畫的喜愛。中國畫講究概括性，海燕的畫恰恰具備這點，如同中國寫意畫，他不刻意去強調(diào)某一個細節(jié)，用筆自然、放松，部分繪畫中，甚至帶有“潑墨”的意境，能感覺到中國水墨畫的“水墨淋漓”之狀，如《狀態(tài)》之六、之十二即是；其三，從開始走上繪畫道路算起也有十幾年的光陰，如果就技法而言，海燕也不再算是新手，但他卻極力想拋開所謂的技法，力爭將表達形式簡單再簡單，他試圖以平涂的藝術(shù)手法達到對人物心靈的透視；其四，在構(gòu)圖上，他也力求簡單化，他省略一切背景與周圍的物象，畫面中只有所要表現(xiàn)的主體人物，也正是這種簡單，能讓觀者一目了然地體悟到海燕所要展示給人們的——處于社會轉(zhuǎn)型期的中國都市女性的情緒與心態(tài)。

紀學(xué)艷 中央美術(shù)學(xué)院 藝術(shù)理論博士

　　Female Mien
　　－Appreciation of Huang Haiyan’s works

　　When you appreciate Huang Haiyan’s works, the first feeling is that the colours are so bright or even soft which seems to be out of a lady’s hands but actually he is a native Shandong hefty man. He was born in Shenxian, a county of Liaocheng in Shandong province. In 2000, he graduated from Art Dep. of Qufu Normal University and he once studied art as a post-graduate in China Art Institute. Although his appearance and character are very masculine, his works are full of lovely female mien.
　　Haiyan is majored in oil painting but at the same time he is very fond of Chinese traditional painting and Japanese Yamato-e and constantly absorbs essence from them. Nowadays with the development of society the female is becoming a subject of matter of artistic creation. He grasps the distinctive characteristic of urban women and created the serial works State. It is easy to detect in his works the features of today’s urban women and the state of their thinking and living eternally displayed in the paintings , either fashionable , or proud, or lonely or reserved or graceful or youthful……
　　Looking at his works ,you’ll have such feelings: Firstly, the colours. Maybe he has been enlightened by the Japanese Yamato-e, focuses too much on the arrangement of the colours. In Chinese painting, colour is an important factor. Nan Chenyao once in his artistic theory works Xuhuapin said , “The colours of painting could stir up the observers’ enjoyment”. Haiyan has done it very well. His colour is bright and transparent which makes the people feel fresh and bright without any tense. Secondly, brief forms, which maybe derived from his interests of Chinese painting. He pays attention to the general formation of a painting but never painstakingly emphasizes on a special detail. He tries to simplify his expression with a natural and relaxing touch and even a touch of splashed ink in some of his paintings. Thirdly, it takes more than ten years from the beginning till his painting life if only according to his skills, he can’t be called as a green-hand but he tries his best to separate from the so-called skills and to express in a much simpler way. Lastly, he tries to simplify his expression by omitting the objects around in the background and only depicting the figures in order to reveal the soul of the figures and to allow the viewers to directly understand what he wants to illustrate－the mood and mentality of Chinese urban woman in this transforming society.

Ji Xueyan，Doctor of China Central Art Institute