请柬正面

开幕式时间：2007年12月22日下午7：30

展览时间：2007年12月22日至12月30日
展览地点：杭州秀空间艺术会所（杭州延安路36-4号）

主办单位：《美术天地》杂志 《收藏与鉴赏》杂志
协办单位：杭州秀空间艺术会所
艺术总监：谢 海
执行策划：郑秀珍
设计总监：朱 珺
设计助理：陈 朱

王东春个人简历
Resume 

1973年12月出生于江苏滨海
2002年 南京师范大学美术学院油画专业研究生毕业并获得硕士学位
2001-2002年 留学于俄罗斯国立弗拉基米尔师范大学
现任教于南京工业大学建筑与城市规划学院

Wang Donchun: Born in Binghai county, Jiangsu province in December 1973.
2002: Graduating as an MA holder from Oil-Painting Specialty, Fine-Art School, Nanjing Normal University.
2001-2002: Studying at National Vladimir Normal University, Russia.
Now a teacher of School of Architecture and City-Planning, Nanjing University of Industry.

艺术活动：
1996年 江苏省油画肖像展。（南京）
1997年 中国第二届油画静物展。（北京）
1999年 江苏油画展。（南京）
1999年 第二届上海艺术博览会（上海）
2000年 《图像与变异——生于七十年代》油画展。（上海）
2000 年 《墨•墨•墨》现代艺术巡回展。（南京、上海）
2001年 《中国美术报》举办的青年油画家邀请展。（杭州）
2002年 个人作品展。（南京）
2003年 江苏省油画展（南京）
2004年 中国首届壁画大展。（北京）
2004年 建国五十五周年油画展（南京）
2004年 秦昊画廊学术邀请展（北京）
2005年 江、浙、沪艺术家联展（上海）
2005年 画妆——中国戏曲艺术大展（北京）
2005年 江苏艺术沙龙邀请展（南京）
2006年 五月——上海春季艺术沙龙展（上海）
2006年 今日中国美术大展（北京）
2007年 浮世相考¬——艺术群展（上海）
2007年 中国版本——艺术邀请展（北京）
2007年 走向本体——艺术邀请展（南京 上海）
2007年 东春十年——王东春油画作品展（杭州 上海 北京）

Art activities：
1996: Exhibition of Oil-Painted Portraits, Jiangsu Province (Nanjing)
1997: The Second Exhibition of Still Oil-Painting, China （Beijing）
1999: Oil-Painting Exhibition of Jiangsu Province （Nanjing）
1999: The Second Art Exposition in Shanghai（Shanghai）
2000:Oil-Painting Exhibition of “Pictures and Changes——Born in the 1970s”（Shanghai）
2000: Modern Art Mobile Exhibition of “Ink • Ink • Ink”（Nanjing and Shanghai）
2001: Invitation Exhibition of Young Oil-Painters Sponsored by “Chinese Fine-Art Newspaper”（Hangzhou）
2002: Exhibition of Personal Works（Nanjing）
2003: Oil-Painting Exhibition of Jiangsu Province （Nanjing）
2004: The First Large Exhibition of Mural Paintings of China （Beijing）
2004: Oil-Painting Exhibition for Celebrating the 55th Anniversary of the Founding of the People’s Republic of China （Nanjing）
2004: Academic Invitation Exhibition of Qin Hao’s Art Gallery （Beijing）
2005: Joint Exhibition of Artists of Jiangsu Province, Zhejiang Province an Shanghai（Shanghai）
2005: Painted make-up ——Large Exhibition of Chinese Drama Art（Beijing）
2005: Invitation Exhibition of Art Saloon of Jiangsu Province（Nanjing）
2006: May——Spring Exhibition of Art Saloon in Shanghai（Shanghai）
2006: Large Exhibition of Fine-Art in Present-Day China（Beijing）
2006: The General Public——Exhibition of Artworks in Groups（Shanghai）
2007: Chinese Version——Invitation Exhibition of Art（Beijing）
2007:Advancing toward Noumenon——Invitation Exhibition of Art（Nanjing and Shanghai）
2007: Ten years of Wang Dongchun——Exhibition of Oil-Paintings by Wang Dongchun（Hangzhou, Shanghai and Beijing）

并在《艺术界》、《江苏画刊》、《中国当代艺术》、《艺术当代》《中国当代艺术文献》《美术报》等刊物及报纸上发表作品及评介。

In addition, he has published works, comments and introduction on such journals and newspapers as “Art Circle”, “Jiangsu Pictorial”, “Contemporary Art of China”, “Contemporary Art”, “Literature of Contemporary Art of China” and “Fine-Art Newspaper”, etc.

通邮：南京工业大学建筑与城市规划学院
Address：School of Architecture and City-Planning, Nanjing University of Industry.

电话：13968013889  邮编：210009
Tel：13968013889  Post code：210009

附录：谢海文章

要如兵俑保护王者一样恪守学术底线
与青年油画家王东春的对话
对话人：谢海vs王东春
对话地点：南京王东春工作室
对话时间：2006。8。28
Academic bottom-line should be as adhered to as the emperor protected by terracotta warriors and horses.
A dialogue with Wang Donchun, a young oil-painter.
A dialogue between two persons: Xie Hai and Wang Donchun
The place for the dialogue: Wang Dongchun workshop, Nanjing.
The time for the dialogue: August 28, 2006
　　我听说王东春的名字是在2001年，那一年我在操办“以未来的名义——当代青年油画家邀请展”，他送展的作品我现在记起来有些模糊，颜色灰灰的，物色也很暧昧。第一次相对集中地看王东春的作品是他的一本俄罗斯写生作品画册，颜色很好看，笔触也很大气，时间是在2004年，2005年初，我在上海策划自然风、江浙沪新锐艺术家邀请展，在展览上，我看到了一批十来件尺幅不大、敦敦的战士系列的作品。不过，这时候王东春的作品似乎已经不仅仅在意画些什么了，而且好像是要说些什么。
I heard the name Wang Dongchun in 2001 in which I was sponsoring “In the Name of Future---Invitation Exhibition of Contemporary Young Oil-Painters”. Works presented by him at that time are now somewhat blurred and gray with considerable ambiguity of the scenery according to my present memory. The first time I saw his works in a quite concentrated way was a picture-album related to his life-painting in Russia, with very nice colors and spectacular strokes. It was in the year 2004. In early 2005, I was planning “Natural Style---Invitation Exhibition of New and promising Artists of Jiangsu Province, Zhejiang Province and Shanghai” in Shanghai. At the exhibition, I saw over ten small-sized works depicting the soldier in series. However, his works at that time, as it seemed, not only paid attention to what he painted, but some ideas that he wanted to express.
　　如果有一天，我要为王东春的作品写一篇评论文章，我一定会写上如上的这段描述，因为这样说是想说明在最近的几年里，王东春面对艺术的一种姿态，但所幸我没有写这样的文章，因为这样写文章的方法是一种最笨的，也是时下那些不负责任的评论家最惯用的套路，它非常保险地介绍了画家的艺术历程，也心无挂碍地阐述了艺术家推陈出新的可能，最后还可以地套上一句“他的画假以时日，定会百尺竿头，更进一步”。
Someday, if I am required to write a commentary on his works, I will surely add the description mentioned above, because such a commentary is intended to point out his attitude toward art in recent years. As luck would have it, however, I have not written such a commentary since this way of writing it is the silliest as well as the most frequently applied method adopted by those irresponsible critics. In a very safe way, it introduces the art development of the painter while freely expounding the possibility of weeding through the old to bring forth the new on the part of the artist, in addition to such a stereotyped sentence as “His paintings, as time goes on, will definitely make further progress”.
　　或许，一个庸俗的写者评论一位庸俗的艺术家可以采取这样的写法，但，写王东春不行。王东春的作品中有很多无法言说的东西存在，他有时候刻意地控制着绘画的随意性，有时候则刻意地放纵着作品的绘画性。王东春是我们常说的“好孩子”类型的那种人，但按正常的牌理出牌评说他的作品，多少都会游离于他作品的表面而不得要领。
Maybe a vulgar critic would make comments on a vulgar artist in this manner. However, it won’t do to comment on Wang Dongchun, since there are many unspeakable things in his works. Sometimes, he is bent on controlling the randomness of the painting, and sometimes on giving free rein to the painting-nature of works. Wang Dongchun is a sort of person marked by “A good child”. However, if his works are commented according to normal rules, such a commentary would be more or less about the superficiality of his works rather than the essence.
　　王东春事实上就是一个充满矛盾的当代青年艺术家的“典型器”，你怎么看他的人和他的作品都对，你怎么看他的人和他的作品都不对。
Wang Dongchun is actually a “Typical example” of contemporary artists full of contradictions. You would feel right no matter how you view him as a person and his works, and you would feel wrong no matter how you view him as a person and his works.
　　所以，整理和王东春的对话文本或者说梳理他的非线形叙述是一件异常头疼的事情。
Therefore, it is an unusual headache to sort out the text of the dialogue with him or straighten out his un-linear account.
　　王东春具备了“70后”艺术家那种特有的风度，他不为世俗所左右，特立独行；他偶尔也语出惊人，但平时一定诙谐幽默；他似乎每天都在工作室里忙于画画，但他一年创作的作品的量并不算多，王东春还具备着“70后”艺术家群体中所没有的东西，比如他精神不颓废，做事不夸张，也不张口就半中半洋的说话，等等。
Wang Dongchun possesses the mien unique to the artists born after the 1970s. Free from social conventions with independent practice, he occasionally makes surprising comments, but definitely with a sense of humor in daily life. He seems busy with painting everyday in his workshop, but the number of his works is not so big each year. He is also blessed with things that artists born after the 1970s don’t have, e.g. high spirits, reserved ways of doing things and absence of speeches mixed with Chinese and English, etc.
　　那天，他坐在我的对面，突然说出“要如兵俑保护王者一样恪守学术底线”这样高深的话来，结结实实地吓了我一把。
That day, while sitting opposite to me, he spoke out such profound comments as “Academic bottom-line should be as adhered to as the emperor protected by terracotta warriors and horses”, which truly amazed me.
谢海：你是一个有思想且情绪浓烈的艺术家，在这一点上，你的人和艺术几乎是一体的。
Xie Hai: You are an artist with ideas and strong sentiments. On this point, you are, as a person, almost the same as art in an entity.
王东春：作为我这样70后的人具备自身的艺术思考和价值判断标准，也是很常态的事啊。而情绪浓烈 性情不羁则更多的是与生俱来的，当然作品肯定和我自身的很多东西是分不开的.
Wang Dongchun: This is very normal for a person like me born after the 1970s with art meditation and standards for judging the value, whereas strong sentiments and unrestrained temperament are more obviously born with life. Of course, works are surely associated with many things of my own.
谢海：通过我的观察，近几年来你的绘画状态和创作作品和你的阶段性学习背景似乎不很匹配，比如你在南京艺术学院，南京师范大学，俄罗斯国立弗拉基米尔师范大学学习期间，你的作品特别是创作的作品几乎和学院化教学没有上下文的联系。你认为是这样吗？
Xie Hai: My observation shows that your state of painting and works created in recent years seem inconsistent with your stage-oriented background of study. For example, during your study at Nanjing Art Institute, Nanjing Normal University and National Vladimir Normal University in Russia, your works, particularly works of creation, had no contextual relationship with academic teaching. Do you think so?
王东春：也许是的，我觉得自己一直不是很安分的。从表面上看，当时一些以现在的眼光看来还是稚嫩的创作是和正常教学关系不大，但在我看来，实际上那些画面的背后还是学习过程有藕断丝连的关系的。学生时代的我思想不可能像现在这么复杂，习作就是习作，按部就班的，但自己总希望能搞出些不一样的东西。我个人认为艺术重要的是差异性，先求异再求好，这也许是艺术发展的某种动力，大学时代也许认识还没有这样深刻，但总有各种各样的甚至有些荒诞的念头，现在外面所能看到的我当时的作品大多是创作，与时间一对应，肯定有出入。
Wang Dongchun: That is possible. I feel myself always in a state of unruliness. Superficially speaking, some works of creation at that time, which are viewed as being naïve nowadays, were not much related to normal teaching. However, in my opinion, those pictures were actually connected somewhat with the process of study. My way of thinking as a student was not as complicated as it is now, since practice was practice in an orderly manner. However, I always desire to create something different. According to my personal view, the importance of art is featured by difference. Making a difference first before seeking for good quality may be a certain motive power of art development. My cognition as a college student was perhaps not as incisive as it is now, but I always had various and even weird ideas. Most of my on-display works completed at that time were based on creation, works which are definitely inconsistent with time.
谢海：可不可以这样说，你那时希望的不一样或差异性就是那种所谓的“反叛”精神。
Xie Hai: Can I say the difference that you desired for at that time is the so-called sprit of “Rebellion”?
王东春：现在似乎可以这么评价，但我当时也许并没有想这么多，我只觉得大家都用一样的方式画东西毫无意义，于是，我也就由着自己的性情去折腾。把自己关在租来的工作室里进行各种思考和尝试，包括材料的 技法的 图式的。。。。，。偶尔有朋友和老师去看画，心里都有些发虚 ，总担心遭到众人的批判.
Wang Dongchun: It can be evaluated in this way as it seems now. However, perhaps I did not think too much of it, only believing that it would be meaningless if everyone painted with the same style. Therefore, I let loose my way of doing things according to my own temperament. I shut myself up in a rented workshop, mediating and trying in different manners, including those related to materials, techniques and pictures…… Occasionally, my friends and my teacher went to see my paintings. I felt somewhat diffident, always worrying about being criticized.
谢海：你的很多担心是多余的，好的东西总归会有人喜欢的，就像你早几年的灰色系列那批作品，这样的作品你现在还画吗？
Xie Hai: Much of your worry is unnecessary. Nice things are always to the liking of people, just like a batch of your works in gray series completed several years ago. Do you still create such works now?
王东春：灰色系列作品因为我后来去俄罗斯学习而中断了，我在俄罗斯期间画了几十幅即兴写生作品，或许有一天，我觉得灰色系列的作品还是有意思的，可能还会再画上几张，但这种问题是个假问题，可能艺术注定就是和很多不确定性相联系的，艺术如果顺延某种可以既定的线索或方向发展，也许就不能称之为艺术。我认为艺术是和很多随机性 偶然性相联系的，当然，就一幅作品的创作而言，更需要艺术家自身的综合的艺术素养下的画面控制能力和判断能力，能够认识到创作过程何时收手。这一点我想是至关重要的。
Wang Dongchun: Creation of works in gray series was stopped since I went to study in Russia later where I completed dozens of impromptu life-paintings. Maybe someday, I will feel works in gray series are meaningful as well and possibly paint a few. However, this is a hypothetic issue. Art is possibly destined to be associated with many uncertainties. Perhaps art cannot be termed as “Art” if it develops along a certain established clue or direction. I believe art is concerned with much randomness and contingency. Of course, as for the creation of one piece of work, the capability of picture-control and judgment of the artist with comprehensive art quality is needed all the more and that his/her capability of realizing the process of creation should be ended. I think this is crucial.
谢海：一直没傻乎乎地问过你有什么人生理想，有什么艺术抱负之类的话，所以一直没弄懂你真正地想用图像传达什么，只是觉得你的画面挺好看的，比如像冷灰色调 刀刮与线刻这样的艺术表现形式自身所具有的美感。
Xie Hai: As I have never, in a silly way, asked you about your ideal in life and your art ambition, I have never understood what you really want to express through pictures. I only feel that your paintings look quite nice, for example, the beauty embedded in such forms of art expression as cold gray hue, knife-scraping and line-engraving
王东春：我的最大的理想无非是想把画画好，把自己的人生感悟和所思所想通过作品表达出来。当然，更希望自己的作品能够有自身的文化切入点和关注点。曾经在一次研讨会上，有一位理论家说我的画是“增加中国当代艺术史写作的丰富性及视觉性总结”。我知道我没有那么伟大，理论家只不过是拿我的画说事，和我的画并无关系，我只是觉得自己带着某种文化的关怀去创作，可能作品会更有价值，这一点更为重要。
同时，画画对于我来说，就像是吃饭睡觉一样，很多时候已经成为一种生活需要，似乎生活和创作已经很难明确的分开，生活中更多的享受是自己创作时的那一漫长过程。也许，从中能够体会更多自身情绪悲喜与艺术思考的转换，以及完成作品那一刻会有一种别人难以体会的如释负重的轻松与愉悦感.
Wang Dongchun: My biggest ideal is none other than making a success of painting as well as expressing my feeling about life and ideas. Of course, I further hope that my works can possess their own points of cultural focus and attention. Once at a seminar, a theoretician said that my paintings “Enriching the writing of art history in contemporary China and reinforcing visual summary”. I know I am not as great as what I have been described. He just made comments on my paintings after all, having nothing to do with my paintings. I only feel I endeavor to paint with a certain cultural care and works can be more valuable in that way. This is more important.
Meanwhile, for me, painting is the same as eating and sleep. Very often, it has become a necessity in life. It seems life can be hardly separated from creation in an explicit way. More enjoyment in life lies in a long process of my creation. Perhaps I can feel more changes from sadness and joy to art meditation of myself in this process as well as relaxation and pleasure inconceivable on the part of other people at the moment when I have just completed a piece of work.
谢海：这种状态很重要。不少画家一旦介入市场自己就找不着北。你怎么看你们这代人的市场问题。
Xie Hai: This state is very important. Quite many painters, once getting involved in the market, would get lost. What do you think of the “Market” of painters in your generation?
王东春：我很难去揣磨别人的心态，或是去刻意强调我自身的淡泊，不过人人都缺钱这似乎是真理，但是我想上帝是公平的，他关了一扇门肯定会留下一扇窗的，艺术和金钱似乎要有一个取舍，艺术家不应该放弃自己的人文态度以及所应坚持的艺术精神，也许这样他的艺术生命会更长些。
Wang Dongchun: I have found it very difficult to figure out the mentality of other people or purposefully emphasize my own indifference to fame and fortune. However, the lack of money for all seems true. However, I believe God is fair. With a door shut, he would surely leave a window open. A choice seems to be made between art and money. An artist should not give up his/her humane attitude and the art spirit for adherence. Maybe only in this way can his/her art life be extended longer.
谢海：那你有没有想过，如果经济条件改善了，就可以更好的创作作品。
Xie Hai: Have you ever thought about the fact that works can be better created if economic conditions have been improved?
王东春：那是纯粹逗自己玩。人性的贪婪是永无止境的，有了一间画室，就会想有一间带天窗的画室，然后就想要有壁炉便于写生和创作，画架一定要是液压的，坐凳一定是要具备旋转和升降功能的，没完没了。说到底就物质需求方面来说画画是一个很简单的事，真的左边站一个擦笔的，右边站一个挤颜料的，艺术也未必能搞好吧。
Wang Dongchun: That’s purely self-kidding. Human greediness is endless. With a painting studio available, one would have it with a dormer-window. Then, one would have a fireplace convenient for life-painting and creation. Besides, the easel should be of hydraulic pressure and the stool should be a revolving one with lift-control functions. Desires can be endless. In the final analysis, painting is a very simple thing with regard to material needs. Art may not necessarily be made a success if there is really an assistant rubbing the brush while standing on the left of the painter and another assistant squeezing pigments while standing on the right.
谢海：你这就极端化了。换一个话题，谈谈你绘画的历程吧。
Xie Hai: You are going to extremes. Let’s change the topic and talk about the development of your painting.
王东春：从小时候说起吧！
Wang Dongchun: Let me start from my childhood.
谢海：可以。我们对话千万不要纠缠于学术，我们只要知道你绘画以外的事情。
Xie Hai: OK. Please never entangle our dialogue with academic affairs. We only want to know things about you except painting.
王东春：先说我为什么画画吧。我的小时候是在苏北长大的，就是因为一次在小学生绘画比赛中我获了一个什么奖，改变我的人生。说来有些惭愧，当时获奖对于我并没有什么概念，最后打败我的是奖品——一支钢笔和一本精美的笔记本。显然，那时候的奖品比证书重要。
Wang Dongchun: Let me first talk about why I wanted to paint. I spent my childhood in northern Jiangsu province and my life was changed simply because I won a sort of award at a painting-contest for pupils at the elementary school. I feel somewhat ashamed when talking about it since I did not pay much attention to the award. What finally conquered me was the prize, i.e. a fountain-pen and an exquisite note-book. At that time, the prize was obviously more important than the award.
谢海：被套回来了吧，还是经济问题。
Xie Hai: Now you have touched upon the essence at last. This is an economic issue.
王东春：那时候哪知道什么是经济啊！那时只是觉得有些骄傲与喜悦，而奖品只不过是在同学面前炫耀的资本而已.
Wang Dongchun: I had not idea at all about economy at that time. I only felt some pride and joy, while the prize was just something that I could show off in the presence of my classmates.
谢海：开玩笑的，能够谈谈你所喜欢的艺术家和艺术风格吗？
Xie Hai: I am kidding. Could you say something about your favorite artists and art styles?
王东春：上大学的时候，比较喜欢索汀，弗拉芒克，鲁奥，弗鲁贝尔他们几个人的作品，一有空就去位于南京湖南路的外文书店里翻画册，还节衣缩食攒钱买了多本他们的进口画册，95 96年那会儿索汀全集一套画册要卖八九百的，那时侯把画册堆在床头天天翻，现在家里还留有几套他们的画册，读研究生期间我去了俄罗斯才真正接触到他们的原作，才有了更为全面的认识和了解，同时也修正或纠正了自己原先的很多艺术观点和理念，特别是弗鲁贝尔的作品给我的印象很深，他的很多作品尺寸很大，色调灰暗，但很悲壮。
Wang Dongchun: As a college student, I was fairly fond of works by Sotin, Vlaminck, Rouault and Vrubel. Whenever I was free, I would go to take a look at picture-albums at the foreign language bookstore at Hunan Road in Nanjing and even bought a number of imported picture-albums with money saved through practicing economy. In 1995 and 1996, the picture-album of a complete collection of Sotin’s works was worth 800 to 900 Yuan (RMB). At that time, I read those picture-albums piled beside my pillow everyday. So far, I still have a few sets of their picture-albums at home. It was not until I studied as a graduate student in Russia that I truly got in touch with their original works, which offered my a more complete cognition and understanding while having rectified or corrected many of my former art views and concepts. Works by Vrubel, in particular, impressed me very deeply. Many of his works are very large and gray hued, but very tragic and heart-stirring.
谢海：作为19世纪末俄罗斯巡回画派的叛逆者的弗鲁贝尔，他的画笼罩着末日感极强的悲剧氛围，特别是那个折磨了他一生的“天魔”形象，更是有一种超自然的神秘色彩。好像你最近的《战士系列》也有着这样的意味。
Xie Hai: As a rebel of Mobile Painting School in Russia at the end of the 19th century, Vrubel’s paintings are shrouded in a tragic atmosphere marked by an extremely strong sense of the end of the world. That image of “A heavenly ghost”, which particularly tormented him all his life, is featured by a mysterious color of super-nature. It seems your recent works entitled “The soldier in series” bear the same implication.
王东春：也许是的，弗鲁贝尔的很多作品给我的触动很深，似乎画中有一种难以名状的东西，孤独而又强悍，作品的色调和人物好象能够投射出艺术家内心某种压抑 晦涩的情感以及暗含其中的不屈的抗争精神。
Wang Dongchun: That’s probably true. Many works by Vrubel impress me deeply. It seems there is a sort of indescribable thing in his paintings, i.e. loneliness and fierceness. The hue and human figures in his works seem to be able to project a certain depression and obscure sentiment in his heart as well as an indomitable spirit of resistance.
谢海：所以我说你的《战士系列》作品也用“意味”这个词。
Xie Hai: That’s why I have said that your works entitled “The soldier in series” also uses the word “Implication”.
王东春：我的一个朋友曾在他的文章中评论过这一系列作品：“王东春在油画《战士系列》中引进了一级秦汉强势文化符号（兵马俑），这些符号看上去是在经历了世代风雨之后，偶尔落入他的画面，被随意的涂上了似有似无的几笔，有要说的没有说出来的和说不清楚的东西包含其中，而给你的只是一个引子。先人那兵戈呼风的壮阔场面尤在昨日，它曾激励无数后人前仆后继浴备奋斗，但这些符号所代表的民族气性到了近代已潦落殆尽。国民性衰微和腐败，人心的脆弱，深深地刺激着艺术家的心灵，重新唤起复强民族的意识显得刻不容缓。”
Wang Dongchun: In his article, a friend of mine once made comments on your works entitled “The soldier in series”: “Wang Dongchun incorporated into his oil-painting “The soldier in series” grade-one symbols (Terracotta warriors and horses) of influential Qin and Han culture. These symbols, through century-old wind and rain, seem to have occasionally fallen onto his paintings which have been smeared in a few vague strokes at random, including things to be expressed but in vain and those failing to be expressed clearly, only leaving behind an introduction. Spectacular and fierce battle-scenes of our predecessors seemingly took place yesterday, inspiring countless people in following generations to strive forward successively. However, national temperament represented by these symbols declined in contemporary times along with deterioration and corruption of national nature as well as fragility of public feelings, deeply needling souls of artists. Re-arousing the awareness of revitalizing the nation has become a matter of immediate urgency.”
王东春把这种有意味的历史痕迹移植到画面上，一是有意加强油画的民族感，二也帮助我们恢复丢失已久的某种记忆。这也是王东春从俄罗斯学习归来、反思本土文化之后，在中国油画实践上所作的一种有益的尝试。
Wang Dongchun has transplanted such meaningful historic traces onto the painting, serving to purposefully reinforce the national sense of oil-painting on the one hand and helping us to restore a certain memory long lost on the other. This was a beneficial attempt by Wang Dongchun in the practice of Chinese oil-painting after coming back from Russia as a graduate student and reflecting on Chinese culture.
文字本身也许掺杂了很多对我褒奖和鼓励，但同时似乎也贴合我的思想深处的某一个自身无法言及的创作动机.
Written comments themselves may be blended with many compliments and encouragement for me, but seemingly suited to a certain motive of creation beyond my words in the depth of my heart at the same time.
谢海:你近几年作品的画面好像一下平面了起来，而且用了很多刀刮的技法。
Xie Hai: Your paintings in recent years seem to be plane all of a sudden, along with many knife-scraping techniques.
王东春：是的。我现在几乎全部用画刀来完成作品，画刀的锋利可能是画笔所无法企及的，同时也想通过画刀来抹平很多不必要的细节，摆脱原先多年的用笔惯性。因为我希望“战士”系列作品能够以缄默传达出某种隔绝尘世的雄壮或悲怆的意象，以及某种被切割后的历史阴影和被时间磨蚀后的痕迹。这种意象很难用画笔来贴切的表现.
Wang Dongchun: Yes. I am now painting almost exclusively by using the painting-knife whose sharpness probably makes it difficult for the painting-brush to match. Meanwhile, I also want to use the painting-knife to rule out many unnecessary details and shake off my habit of painting-brush application for many years. Therefore, I hope “The soldier in series” can tacitly express a certain magnificent or sorrowful imagery featured by being isolated from the human world as well as a certain historic shadow cut off and a vestige worn out by time. It is not easy to aptly express such imagery through the painting-brush.
谢海：刀刮方法的运用既是对油画的习惯性绘制传统的一种修正和反叛，同时也是你扬弃熟练、习惯、习气、程式和方法的一种策略，能否问一下，你对当下你所创作的兵俑系列满意吗？。
Xie Hai: Application of knife-scraping is either a correction of and rebellion against habitual painting tradition of oil-painting, or one of your strategies of giving up proficiency, habits, formulas and methods. May I ask if you are satisfied with a series of terracotta warriors which you are painting?
王东春：这样的问题其实很难回答，艺术家和作品之间的关系永远是一个变化的平衡，或者说是阶段性的相对的满意，因为人似乎需要在不断的自我否定中保持自我的前进，因而，艺术理想和艺术表现之间似乎总是有着或近或远的距离，想和做之间也永远是一个交替上升的过程，这也许是推动艺术家成长与前进的直接动因。
Wang Dongchun: In fact, it is very difficult to answer such a question. The relationship between the artist and works is always a changeable balance, or I may say that I am relatively satisfied by stage because people seem to need to make progress in continuous denial of themselves. Therefore, there always seems to be a near of far distance between the art ideal and art expression. There is also always a process of alternative rise between desire and actual practice. This may be a direct factor for promoting the development and progress of the artist.
谢海：在战士系列之后你还有其他什么样的创作方向吗？
Xie Hai: In the wake of “The soldier in series”, do you have any other direction for creation?
王东春：战士系列作品也许会成为我今后一段时间继续努力探索的一个重要方向，尽管我也会去不断尝试一些新的母题，从某个角度来说，这系列作品是在尝试对我少年时代的诸多模糊的记忆片段的某种形式上的修补，承载着我儿时故事及成长经历中的某种晦涩情结及自我梳理我后的某种视觉沉淀，其中也会突显出我对本土文化所做的探究与理解，线刻与刀刮既是对秦砖汉瓦的那一恢弘壮阔的历史时代的纪念，也是多年来自我在材料和技法等方面对本土元素的尝试和转换，更是我的艺术理想和艺术精神的最为直接的外化与诠释。
Wang Dongchun: “The soldier in series” may become an important direction of mine for continuous exploration in a period to come, though I will also constantly try some new themes. From a certain angle, “The soldier in series” is an attempt of correcting and supplementing in a certain form many ambiguous fragmental memories of my childhood, while bearing a certain obscure affection of stories about my childhood and my experiences of growth as well as a certain visual precipitation after self-examination, including prominence given to my exploration into and understanding of Chinese culture. Line-engraving and knife-scraping are either the memory of a spectacular historic age with the Qin bricks and Han tiles, or my attempt and change targeted at Chinese elements in the fields of materials and techniques for many years. What’s more, they are the most direct externalization and exposition of my art ideal and art spirit.