《走进亮宝节》

纸本水彩 150cm×180cm 2013

许海刚的绘画方式，看似源自于西方自希腊以来并在印象派艺术中得以升华的写生传统，但在具体的艺术处理过程中，他也受到中国古代绘画独特的写生传统的影响，即对“唯写生物”之写生的理解。所以许海刚高超的绘画技艺和丰富的艺术修养，使他不仅能“写生物”，而且在“写生物”的过程中，根据不同的“生物”写出其生意、生气和生命。生意是指画出对象生意盎然的状态，生气是指在描绘像山川河流建筑这样静穆的物体时，也体现出勃勃生气，而对于画面中所出现的人物，则聚焦其独特灵动的生命状态。

而要做到这一切，首先源于对对象细微的体察，感悟。熟悉许海刚的人都知道，他是一位沉静而敏锐的艺术家，看他写生是一种享受，他常常在行走的过程中就停了下来，开始架设画具，并不刻意寻找一个独特的视点或舒适的位置，仿佛一切都可入画，这种取景的方式，使进入他画面的景色、人物具有一种日常的状态，给人一种温情的感受。无论画幅大小，他都淡然处之，使得整个绘画过程不慌不忙，胸有成竹。这既源于他娴熟的艺术技艺，也基于他对对象的细致入微的观察。他多采用局部画法，有时甚至都不用铅笔勾线打形，直接从某一个局部开始画，用很小的笔触，一笔一笔往下接，毫不犹豫，看似细碎，甚至刚开始都看不出他画的是什么物象，但很快，随着笔触所至，颜色的叠加，不仅有了体块，对象的形体也出来了，此时，离一张作品的完成已经不远了。所以，他的画面不是画出来，而是生长出来。他就这样，每到一个地方，就从他的笔下生长出很多作品来。因为是长出来的绘画，所以他的绘画总有一种活跃的生命状态，从而使得他的作品回归到中国绘画原始写生所追求的艺术境界。

Xu Haigang's way of painting seems to be derived from the Western sketching tradition since Greece and sublimated in Impressionist art, but in the specific process of artistic treatment, he is also influenced by the unique sketching tradition of ancient Chinese painting, that is, the understanding of sketching of "only writing creatures". Therefore, Xu Haigang's superb painting skills and rich artistic accomplishment enable him not only to "write biology", but also to write his business, vitality and life according to different "biology" in the process of "writing biology". Business refers to the painting of the object's vibrant state, vitality refers to the depiction of quiet objects such as mountains, rivers and buildings, but also reflects vitality, and for the figures in the picture, focus on their unique and dynamic life state.

And to do all this, first from the object of subtle observation, perception. People who are familiar with Xu Haigang know that he is a quiet and sensitive artist, watching him sketch is a kind of enjoyment, he often stops in the process of walking, and starts to set up painting tools, and does not deliberately look for a unique viewpoint or comfortable position, as if everything can be painted. This way of framing makes the scenery and figures entering his picture have a daily state. Gives a kind of warm feeling. No matter the size of the painting, he is calm, so that the whole painting process is not busy and confident. This stems both from his skillful artistry and from his meticulous observation of his subjects. He mostly used local painting methods, and sometimes he didn't even use a pencil to draw, directly starting from a certain part of the painting, with very small strokes, stroke by stroke down, without hesitation, seemingly fragmented, even at the beginning of what he was painting, but soon, with the brush strokes, the superposition of colors, not only has the body, the object's shape also emerged, at this time, I'm not far from the completion of a picture. Therefore, his picture is not painted, but grown. In this way, every place he went, a lot of works grew out of his pen. Because it is an outgrown painting, his paintings always have an active life state, which makes his works return to the artistic realm pursued by the primitive sketching of Chinese painting.