二点、是因为他无意为之，天津美术学院的于小冬教授曾阐释过变形与形变的问题。他说“变形是有意为之，形变是无意为之。形变问题里的内容充满了感情色彩，只有在创作提升品质的时候才会形成”。海岩先生的作品就是形变的问题，是在无意识状态下形成的心灵迹象。

Second, he didn’t intend to do that. Mr. Yu Xiaodong, the professor of Tianjin Academy of Art has raised the problem of twist and transformation. They are two different concepts, the former is intended and the latter is unintended. The transformation is full of emotion and would happen when the painter’s work is being much improved. The works of Nan Haiyan has the characteristics of transformation which is the result of the unconsciousness.  

三点、通篇作品气韵不减，整体协调、呼应有秩，实则精雕细琢，虚则惜墨如金，粗处大刀阔斧，细处密不透风，没有任何懈怠，是一幅精心创作的作品，符合南先生的人性人格。

Third, there is no weakness in the painting, all the details, no matter small or big, are delicately arranged which constituted a harmony and orderliness. The works not only show the genius but also the characteristic of the painter. 

四点、激情创作是构成画家每幅画最基本的前提。驾驭的能力，创作的渴望，心性的追求，表现的纠结等等是决定艺术家的生命状态和创造态度的，但这种状态实现于画中可能是抽象的更不可能上升为规律，当情感在心里涌动时急于找到的是一种符合内心的表现形式，这种形式是受外界的真实映像，反射到心灵受到的某种同步的碰撞而形成的语言流露，归根结底是心灵与现实的碰撞，它带有随机性和不定性，是符合内心形式不可重复的一种绘画语言。

Forth, the eagerness for the innovation is the prerequisite of painting. There are some elements that decide the painting life and innovation of the painter, for example, the skills, and the eagerness for innovation, the sprite and the entanglement. However, these elements cannot be found easily it always transformed into abstracts form so that it could not be used as a rule. The emotion is so strong that it must find a way to transform into art language. But the way is not simple but the chemistry reaction between the heart and the reality, which is random and cannot be copied.

海岩先生就是在这种情况下来面对画面的，此幅作品线条  神俊有力，展示出了南先生对书法的认识程度。作品中人物形象温和、慈善、宁静、自然，体现了南先生来源于生活高于生活“形而上”的美学理念，展示了南先生对大雅文化的一种心态，心存敬畏。有敬畏心才能去虔诚的创作，有至尊、沐浴、焚香、静坐的美学观念，最重要的是思想纯正，总之所有的文化积淀都能从画面中体现出来。“言为心声、书为心画”这是名理，孔子曰“《诗》三百，一言以蔽之，曰‘思无邪’”这是孔子在《论语》中评价《诗经》的一句话，这也可用来评价南先生的作品，他的绘画作品也是“无邪”，没有任何私心杂念，绘画内容传递给我们的是欢快的、祥和的、友爱的、和谐的、美好的，给人一种积极向上的力量，呼唤团结，呼唤生命，传递出了当下文化的一种正能量。

Mr. Nan Haiyan just painting under this circumstance, therefore, the lines is full of power, which also shows his understanding of Chinese Calligraphy. The figures in this painting are kind, plain, silent and at their ease, which reveal the painter’s love and respect for the nature. Only the respect could drive people to explore the aesthetics, innovation and values. The saying the language and handwriting are the represents of our heart is totally right. The Confucius has said that the theme of Shi, the ancient Chinese books, is innocence. The word could also be used to describe the works of Nan Haiyan. In his painting, it conveys happiness, harmony, beauty, vibrancy and the spirit which could give us positive energy.

明代的陈老莲，当代的石虎、石齐，西方的毕加索、马蒂斯、雷诺阿、波洛克等，都是完成了一种形式美来符合自己的心性语言，我们能说他们不会画写实人物吗？不会把造型画准吗？不是，他们是在传递一种人性人格的心灵迹象，这是发自心底的声音，是精神世界的一种遨游，是超越造型之外的一种神思，所以好艺术是心性的表达，是无意识状态下形成的，是“独立之精神，自由之思想”（陈寅恪语）的放纵，是“道法自然，天人合一”的表白。

Artists like Chen Laolian( Ming dynasty), Shi Hu, Shi Qi, Picasso, Matisse, Renoir and Pollock, express their art though the beauty of form. Could we summary that they could not paint realistic figures? Of course not, they are conveying a spirit, a voice from the bottom of the heart, a spiritual exploration, which is beyond the command of the form. Therefore, the extraordinary art is the expression of unconscious spirit.