在读林资奇作品的时候,我猜想着他作画的情形:是一以贯之的轻松,还是偶尔激情涌动?或是精心预构,然后纵情挥写,在某个环节又为某个念头、某种效果改变了方向?他对工具是否挑剔?对颜料是否苛求?是否使用模特儿?模特儿们对以自己为蓝本的虚幻形色作何反应?这些听起来微不足道甚至近于花边的信息,留待关心的人们去细究(我并不认为这些信息是可以忽略的),我更关心的是他如何将本来属于中国水墨大写意的境界和语言,如此自然地挪移到油画中。在“油画民族化”流行的年月,已经形成了典型的样式:勾线,民间色彩,或 While reading Lin Qiqi’s works, I suppose he painted the situation: is it a consistent ease, or occasionally passion surging? Or carefully preconceived, and then indulge in writing, in a certain link and for some idea, a Does the effect change direction? Is he critical of the tool? Is the paint very demanding? Is the model used? Does the model react to the self-deprecating phantasies? These sounds trivial or nearly lacey, (I do not think the information is negligible), I am more concerned with how he naturally shifts the painting to the realm and language that originally belonged to Chinese ink and wash. In the popular era of “oil painting ” has formed a typical style: hook line, folk color, or