为了取材，我游历了祖国的大好河山，从各省的人文、美食和艺术中吸取了大量的灵感。在此期间，四川广汉三星堆的青铜面具，搭配房间窗帘上素雅寂静的蓝调氛围，产生了观感带来的冷漠和柔暖的巨大反差，如同博物馆中骤然点亮的顶光，瞬间给静置的文物注入了生机。这时一幅带着全新个人风格的油画映入眼帘，我快速用笔记录下来，一气呵成。就好像一个在孤独寂寞中前行的旅居人，突然看到了前方的光亮，脑海中凌乱的具象碎片，有了特定的时间组合。

任何一个喜欢历史的人，都不会希望历史是枯燥的。任何一个喜欢艺术的人，都不会希望艺术是轻浮的。其实想要深刻的理解艺术，除了记录日常的生活之外，还需要有深厚的文化底蕴。如果想在绘制青铜器的过程当中，在青绿色的颜料涂层下，半遮半露出原本金属的色调，就必须要先了解青铜器的制作和呈现。“网红”，“愤怒的小鸟”等这样的字眼固然能够抓住观众的眼球，但是赋予思维逻辑强的正文就像正史一样，更加重要，让“文物活起来”在我的创作中赋予了第二次生命。

2024年于我而言是全新的开始，临时工作室落地深圳，游历祖国的多座博物馆、植物园，找到了结合历史和与历史相符合的最佳创作语言。鲜花的盛开是短暂的，文物的记忆却是深远的，两者的结合用绽放的瞬间定格历史的永恒。文物，带着土地的痕迹；而花朵，在同一片土地中活出了新生。

此次展览以“短暂与永恒”为主题，展出我2024年春天到秋天为期创作的40幅油画作品，内容涵盖了不仅有来自四川、山西、贵州、上海、广东，香港等地造型各异的文物，而且还搭配了各省种植的地方特色花卉，另外还有出口西亚、以及欧洲、美洲进口的更具异域特色的文物。国内外各洲虽相隔甚远，文化的各异代表着不同的艺术表现风格，但有着相似的精神信仰和追求，这些从绘画表现语言中都可以让大家深度了解我的作品。

Preface

Oil paintings that lack academic grounding in art theory may be dismissed as "not contemporary," as contemporary art inherently relies on a distinctive "art language."

My creative process is deeply linked with the dual relationship between art and history. Since I was young, I have been a passionate history enthusiast, crafting a series of historical palace novels from the perspectives of multiple female characters. This includes the five-part "Yu Ming Biography" and its spin-off, "The Little Things of Southern Shu." In my pursuit of materials and inspiration, I have traveled extensively across the breathtaking landscapes of my homeland, drawing profound inspiration from the diverse cultures, cuisine, and art of various provinces.

During these travels, I was particularly struck by the bronze masks of Sanxingdui in Guanghan, Sichuan. The stark contrast between the coldness of these ancient relics and the warmth evoked by the serene blue tones of the curtains in my room was striking—like the sudden illumination of an exhibit in a dark museum, injecting life into static cultural relics. At that moment, a new personal style of oil painting emerged before my eyes, which I quickly captured in a single, inspired session. It felt as if a lone traveler, wandering in solitude, suddenly glimpsed a light ahead, where the chaotic, fragmented images in their mind finally coalesced into a coherent vision.

Anyone who loves history would never want it to be dull, and anyone who loves art would never want it to be superficial. To truly understand art, one must not only document daily life but also possess a deep cultural knowledge. For instance, when attempting to subtly reveal the underlying metal hues beneath a green patina in a painting of bronze ware, one must first understand the processes of its creation and presentation. While terms like "Internet celebrity" and "Angry Birds" may capture immediate attention, offering a text with strong intellectual substance is far more valuable, akin to official historical records. In my work, I strive to "bring cultural relics to life," offering them a second existence through my creative lens.

The year 2024 marks a new beginning for me. My temporary studio has settled in Shenzhen, where I have continued to explore museums and botanical gardens across the country, discovering a creative language that harmonizes with history. The fleeting beauty of blooming flowers contrasts with the enduring legacy of cultural relics; together, they embody the ephemeral and the eternal. Cultural relics bear the marks of the land, while flowers represent new life arising from the same soil.

The theme of this exhibition, "Ephemerality and Eternity," showcases 40 oil paintings I created from spring to autumn in 2024. The collection features not only cultural relics of various forms from Sichuan, Shanxi, Guizhou, Shanghai, Guangdong, Hong Kong and other regions, but also the distinctive flowers native to these provinces. It also includes exotic cultural relics exported to West Asia and imported from Europe and America. Although the continents may be far apart and their cultures distinct, the underlying spiritual beliefs and artistic expressions share a commonality that transcends borders. Through my painting language, I hope to provide viewers with a deep understanding of these connections within my work.