灵动的笔触与独特的色彩，诠释着自然生命的本真气息——走进王海燕心中的生命之地

海燕这些年特别关注中国传统艺术，特别注重对其母体艺术、本原艺术――民间艺术的的理解与思考。我一直认为中国民间文化的特质在于“吉祥”，中国的民间艺术也成为一种追求喜瑞祥和的艺术，它利用象征、寓意、谐音等手法串连出无限的意义，渗透在生活的方方面面，每一个细节，默默地发挥着自己的影响，因而这个民族才历经艰辛依然坚韧不屈，乐观向上。

In recent years, she had a particular eye for the Chinese traditional arts, especially appreciating and understanding the folk arts, the paternal forms of Chinese arts. I always believe that folk arts are rooted in the essence of “auspiciousness”. Folk art is also an art to pursuit good luck and happiness, using techniques such as allegory, symbolization, and homophony to create infinite meanings. This can be seen in every detail and every aspect of our lives, playing a part to exert influence on us all. It contributes to optimistic quality and resistance of the Chinese people through hardships.

所以每一个民间艺术形象既是具象的，又是抽象的，更是意象的。它超越了个体，也超越了形象与形式本身，传达出浓缩的中国文化语汇，构成典型符号。中国民间艺术的这种特点看来深深地吸引了海燕，从汉画像石、敦煌壁画、瓷器纹样、民间剪纸、刺绣、年画中她多有涉猎。

So every folk art image is both concrete and abstract, and even imagery. It is more than an individual image, but something beyond form and image itself, a symbolic existence as a condensed expression in the Chinese art and cultural languages. This particularly attracts Haiyan. Her footsteps p from Han portraits, Dunhuang frescoes, porcelain patters, folk paper-cutting, embroidery, to New Year paintings.

（文/潘鲁生，中国文学艺术界联合会副主席，山东工艺美术学院原院长）

Pan Lusheng, Deputy Chairman of China Federation of Literary and Art Circles, President of Shangdong University of Art and Design

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