解熙宇 《畫(huà)廊》2006年5、6期 p258 《都市女性浮世繪——黃海燕作品淺析》一文
　　青年男性油畫(huà)家黃海燕這兩年畫(huà)了一批以都市摩登女人為題材的布面油彩作品。他為什么要畫(huà)這些“漂亮”的女人呢？他為什么會(huì)去選擇這個(gè)題材呢？我想所有看到這些作品的觀者，不管是專(zhuān)業(yè)人士還是普通人士都應(yīng)該會(huì)在腦中形成一個(gè)問(wèn)號(hào)。盡管這個(gè)問(wèn)題對(duì)于二十一世紀(jì)的畫(huà)壇已經(jīng)象家居中的煤氣、日用水和電一樣成了不能成為問(wèn)題的問(wèn)題了。如果提到這個(gè)問(wèn)題的話(huà)，中國(guó)當(dāng)下的狀態(tài)已經(jīng)足以可以稱(chēng)的上“中國(guó)特色”了。“五四”時(shí)期本來(lái)險(xiǎn)些與西方同步的全球化審美被戰(zhàn)爭(zhēng)及其帶來(lái)的后果打亂，“文革”后的突然開(kāi)放使中國(guó)出現(xiàn)了某藝評(píng)人所說(shuō)的古典、現(xiàn)代與后現(xiàn)代并置的現(xiàn)象，甚而在某些藝術(shù)的尖端領(lǐng)域出現(xiàn)了令世界都刮目的新新藝術(shù)現(xiàn)象。此時(shí)的中國(guó)當(dāng)代藝術(shù)陣營(yíng)中現(xiàn)代主義就象一班遲到的列車(chē)，而后現(xiàn)代又成為早到的預(yù)訂票者。面對(duì)這樣的情境，中國(guó)出現(xiàn)了極端分化的審美群體。這其中包括占社會(huì)絕大多數(shù)的非美術(shù)類(lèi)社會(huì)普通審美和以高等院校及其派生群體為對(duì)象的所謂受過(guò)西方（這里的審美標(biāo)準(zhǔn)以西方為主，中國(guó)傳統(tǒng)古典美學(xué)在新時(shí)期的急劇變質(zhì)也可包括在內(nèi)）美學(xué)標(biāo)準(zhǔn)訓(xùn)練的專(zhuān)業(yè)群體。這樣非此即彼的硬性劃分，畫(huà)家黃海燕當(dāng)然要被歸檔到專(zhuān)業(yè)隊(duì)伍。但這其中讀者想要了解畫(huà)面就“必須”要知道的是，黃海燕這個(gè)詩(shī)意柔美的名字后面是一個(gè)五大三粗的山東男人，他來(lái)自傳統(tǒng)禮教森嚴(yán)的山東，且是一個(gè)自小在村莊里長(zhǎng)大的孩子。我記得有次當(dāng)我和畫(huà)家在花家地北里附近的一個(gè)小飯館閑聊，黃海燕曾貌似一本正經(jīng)的回答過(guò)我上面提到的問(wèn)題。筆者所能記憶起的他描述的大意是：他出生在一個(gè)內(nèi)陸的村莊里，那個(gè)村子與其它相似的村子一樣住著相似的村子中的人。生于七十年代初期的人都會(huì)有這樣深刻的記憶，電視機(jī)的普及帶來(lái)了不同于以往生活經(jīng)驗(yàn)的圖象。而這種在當(dāng)時(shí)給所有人都帶來(lái)強(qiáng)烈感官刺激的事物中，大頭的都市美女圖象占大多數(shù)。這些都市制造的時(shí)髦美女和農(nóng)村的平時(shí)里司空見(jiàn)慣的農(nóng)村婦女形成了極大的對(duì)比。直到現(xiàn)在這種強(qiáng)烈的視覺(jué)調(diào)換還在影響著畫(huà)家的選擇，他覺(jué)得那些電視中的時(shí)髦女人太美了。這樣的經(jīng)驗(yàn)對(duì)于其他人的影響是怎樣的，至今也沒(méi)有人去做定向研究，事實(shí)是好像也沒(méi)有這個(gè)必要。但那時(shí)的刺激卻深刻的影響黃海燕的審美。以至于若干年后當(dāng)畫(huà)家在山東的一所地方名校畢業(yè)并分配至大學(xué)教書(shū)過(guò)上準(zhǔn)小康生活之后，黃海燕還是義無(wú)反顧的決定要到首都來(lái)進(jìn)行再學(xué)習(xí)和生活。或許這次中國(guó)藝術(shù)研究院的生活是其藝術(shù)上的分水嶺，與中國(guó)繪畫(huà)界的重要人物葛鵬仁先生的相遇、相識(shí)，再到多年的積累受其點(diǎn)撥成為日后海燕定下畫(huà)風(fēng)的重要契機(jī)。之前多年的片面的學(xué)院教育使畫(huà)家“穿”上了灰調(diào)子、重筆觸的外衣，好像只有這樣才不會(huì)被同輩的畫(huà)友譏笑為畫(huà)行活兒。外衣包裹起了海燕本真的自我，當(dāng)葛先生慧眼點(diǎn)迷津之后，黃海燕象是打開(kāi)了什么心結(jié)一樣，完全放下了包袱，開(kāi)始了他自我完善的自主創(chuàng)作期。面對(duì)大量的北漂藝術(shù)青年進(jìn)京現(xiàn)狀，筆者以為重要的不是過(guò)來(lái)學(xué)到了什么技巧，因?yàn)楫惖剡M(jìn)京者大都很難在短期內(nèi)得到什么真?zhèn)鳎故悄切┰诘胤缴嫌泻芎穹e累的人被北京的師友打開(kāi)了心結(jié)才是真正的得勝者，盡管這之后還有很長(zhǎng)的路要走。筆者以為那時(shí)的黃海燕就正是在這樣的道路上。
　　黃海燕在中國(guó)藝術(shù)研究院學(xué)的是美術(shù)理論，其間對(duì)法國(guó)印象主義大師勞特雷克的定性研究為其今后個(gè)人畫(huà)風(fēng)的形成奠定了基礎(chǔ)。此一時(shí)期畫(huà)家的內(nèi)心是矛盾的，一方面是大師所創(chuàng)的從藝者的清規(guī)戒律，另一方面是一顆青年進(jìn)取不肯按譜填詞的自主心，也許是直接指引了黃海燕，畫(huà)家在一個(gè)短暫的試驗(yàn)期過(guò)后，慢慢放棄了苦澀，碰撞中找到他所認(rèn)為的“完美”。因?yàn)樽兓^(guò)快，有一時(shí)期畫(huà)家對(duì)自己的選擇曾經(jīng)疑惑過(guò)，但這種疑惑馬上又被自己的直覺(jué)給予了肯定，畫(huà)面上某些元素的再組合使它的味道更醇厚了。
　　于是乎，黃海燕真的就變成了一個(gè)畫(huà)美女的畫(huà)家了。人們很自然會(huì)問(wèn)，若要畫(huà)她們，就要觀察她們，就要關(guān)愛(ài)她們，關(guān)注她們的甜美與苦楚，歡笑與淚水。在畫(huà)面需要的情況下也要關(guān)注女權(quán)主義的一些問(wèn)題，更要關(guān)注美麗的女子和畫(huà)面長(zhǎng)久的聯(lián)系。二十世紀(jì)下半葉以來(lái)，藝術(shù)品的多解性成為一個(gè)有趣味且更深?yuàn)W的門(mén)類(lèi)，或許是如此吧，海燕在最近期的作品中出現(xiàn)了圖示化的特征。當(dāng)圖象化在時(shí)下的中國(guó)學(xué)界成為顯學(xué)時(shí)，海燕沒(méi)有去回避這種影響。雖然這時(shí)期黃海燕的作品已經(jīng)受到了不少收藏家的青睞，但此時(shí)小有成績(jī)的海燕看重的卻是繪畫(huà)上自己未被探索的“遠(yuǎn)方”。那是一位藝術(shù)家作品取之不竭的源泉。我覺(jué)得海燕還不想過(guò)早把自己定位到某個(gè)模式上，但他對(duì)都市女性這個(gè)題材的研究應(yīng)該是這輩子也不會(huì)放棄了。

　　Xie Xiyu，editor of Gallery famous critic (seen in Gallery 2006 5-6 edition page 258 Urban Female Yamato-e－Analyzing of Huang Haiyan’s works)

　　Metropolitan Female Yamato-e
　　－Analyzing of Huang Haiyan’s works

　　Young oil painter Huang Haiyan created many paintings taking the urban modern ladies as the subject in those two years. Why did he picture these beautiful women? Why did he choose the female as the theme? I think all of the viewers including both the professional persons and the common ones have a doubt in their minds. Although this question has become as common as gas, electricity and running water at home in the 21st century. When we refer to this question we may call it “Chinese Characteristics”. At the May 4th times, the global aesthetic conception was upset by wars. Opening after cultural revolution made China appear as one artist called: classics, modernism and post-modernism co-existing together. But now in the contemporary artistic camp, modernism is like a late train and the post-modernism becomes an early booker. Confronted with such situation, the Chinese aesthetic groups divided extremely. The most majority is with common aesthetic conception and the minority is the professional group educated by western aesthetic standard. Of course, Huang Haiyan is classified into the latter. However, if you want to know the pictures, you must learn something of the artist that is Huang Haiyan is a hefty man of Shandong Province and also he comes from a small village. I remembered once in a small restaurant Huang answered my questions above and the brief meaning is: He was born and grown up in a small village. At the seventies, the television brought a rather different life for the villagers, which stimulated all of them. And the fashionable ladies in the city brought a distinctive contrast against the county women. Until nowadays this images is carved deeply in the artist’s minds and is influencing his aesthetic conception. Therefore, even Huang got a comfortable living condition after he graduated from a famous university in Shandong province he still decided to accept further education in Beijing. This choice made by him endows him an opportunity to meet Mr. Ge Pengren and lays a foundation for his latter achievements. Under Mr. Ge’s earnest teachings, he started to create his own works in his own way.
　　Huang was majored in artist theory in China Art Institute. His study on the works of French imagist lays a foundation for his own creating style. At this period he had to follow the rules of grand master and also he wanted to pursue his own creativity. After a tedious period he found his so-called “perfectness” after struggling and clashing.
　　Gradually Huang Haiyan becomes an artist mainly depicting beautiful ladies. People may ask if he is to do so, he should also observe them and care about ladies, care about their joys and their sorrows. Furthermore he has to pay attention to the problem of feminism and the relationship between ladies and the paintings. From the second half of 20th century, multi-explanation of arts becomes an interesting and profound subject .So in Huang Haiyan’s recent works he displays the picture characteristics. Although Huang Haiyan’s works has attracted many collectors’ interests, he is not satisfied with his achievements. He will continue to explore the far field and will never give up the study of this metropolitan female theme.