丝路长安（中国画）　杨晓阳　　上世纪七八十年代是出国留学的大潮，数以万计的莘莘学子出国留学。那时的大学生，谁没做过出国留学的美梦？谁又不想去海外，潇洒走一回？然而，在西安美院1979级的学员中，却有这样一人，他不为世俗所动、不被潮流裹挟，本科毕业后继续在母校读研，研究生毕业后留校任教，一干就是30多年。他，就是后来曾经担任西安美院教授、博导、副院长、院长和中国国家画院院长的杨晓阳。　　虽说没出国留学，但这并不意味他拒绝接受外来文化。杨晓阳不但在后来的考察中走过几十个国家，还以法国、美国为重点长期合作交流，同时努力学习了解并实地考察祖国少数民族文化。读研期间的1985年7月至11月，杨晓阳等六位同学用了四个多月骑车沿着古代丝绸之路写生，考察了甘肃、青海和新疆的数十个乡镇，但只有他和另一位队友坚持到底。他边走边画，完成了数千幅写生速写，实为“搜尽奇峰打草稿”，为日后的艺术创作奠定了坚实基础，也与丝绸之路结下了不解之缘。　　如果说出国留学是吸收国外的艺术营养，杨晓阳则把根深深地扎进中华大地，吸收民族文化的营养；同时，他也学习国外的优秀文化艺术。参加工作后，杨晓阳按照世界美术史的脉络，有计划地经常出国考察、出席各类学术和艺术研讨会、参加国外美术展览，邀请外国艺术家来华交流，竭力与国际美术界保持交流。也许正是因其深刻了解中国美术，他更清楚自己所长、所短、所需。他一边教学、一边科研，一边创作；每年都有大量的艺术作品呈现给世人。在我的眼里，杨晓阳及其艺术，可用恢宏大气、古今相通、先实后意、汉雨胡风来概括。　　恢宏大气。第一次见到杨晓阳是在其艺术工作室，他那魁梧的身形，尤其那宽厚的面庞和凸出而坚实的鼻梁，使我即刻联想到中亚人和北方胡人；其声音低沉洪亮，仿佛从胸腔流出。当我后来打开他的画册《杨晓阳绘画艺术》时，我为其大气恢宏、气势磅礴的画作所震撼。《阿房宫赋》《黄巢进长安》和《丝绸之路》等，使我颇有亲临梵蒂冈签字大厅欣赏拉斐尔的《雅典学院》和西斯庭礼拜堂的米开朗基罗壁画时产生的感触。波斯迎亲（中国画）　杨晓阳　　古今相通。若稍加留意就不难发现，杨晓阳的作品宛若一条金线，将历史的文化碎片串联起来并呈现给读者。品读其《远古足音》，我仿佛看到了“盘古开天”“女娲补天”“嫦娥奔月”和“黄帝战蚩尤”的壮观场面；观赏《愚公移山》，我仿佛看到一位老人召集子孙开会、商讨移山的场景。这些远古神话传说又连接着《丝绸之路》《黄巢进长安》《黄河艄公》《沸腾的黄土地》，以及当代的《农民工》等。这里有数千年的文化积淀，使人感受到历史的厚重与沧桑。杨晓阳仿佛用如椽大笔，在神州大地上书写着中华文明史。他同时又将中外文化连在一起，《波斯新娘》使人看到异国风情，《生命之歌》使人看到异域文化，《草原盛会》使人赏析游牧文明的壮美，还有《梵音》《波斯杂技》《圣母之爱》等，无不呈现出异国、异域、异质文化的情调。杨晓阳笔下展现的既是中国古今文化，又是中外文化交流史。　　先实后意。此处的实，是指写实；意，则指写意。杨晓阳赋予传统“大写意”理念以新的、哲学层面的内涵，他在《十论大写意》中从十讲逐层递进，从“器”至“道”，将一个画法发展到美学、哲学概念。据我的理解与思考，“大写意”肯定包含“写意”，但又不等同于“写意”物理层面的延展，而是在哲学层面的终极思考与升华；它与人的意念和主观能动性紧密相连。　　然而，中国的“写意”或杨晓阳倡导的“大写意”是在写实基础上发展、演化而来的，绝非凭空而降，亦非无本之木和无源之水。观看杨晓阳的作品便不难发现，其艺术创作历程是沿着“写实—半写实—半写意—写意—大写意”的道路行进的，若无写实基础，写意和大写意就是水中月和镜中花。　　汉雨胡风。中华民族在历史长河中，融合了南蛮、北狄、东夷、西戎、匈奴、鲜卑、氐、羌、契丹、女真、蒙古、满、藏、回、苗、猺（瑶）等兄弟民族。这一进程中，有些部族全然融进文化主流，有的尚保留其文化特色。汉唐时代亦是中华民族的大融合期。杨晓阳出生于西安一个底蕴丰厚的文化世家，有艺评人推断其有胡人血统。我不想如此揣测，但他在画作中体现了多元文化，包括汉族文化、胡人文化，甚至西洋文化；其中，中华文化元素在杨晓阳画作中体现得淋漓尽致，近两年的创作更显现出民间艺术和原始艺术的借鉴，因为这是其文化之根、生命之源，也是其艺术的始发点和归宿地。无论杨晓阳倡导何种文艺理论，都离不开中华文化这个根脉。

Chang'an on the Silk Road (Chinese painting) Yang Xiaoyang the 1970s and 1980s were the tide of studying abroad, with tens of thousands of students studying abroad. Who among the college students at that time had never dreamed of studying abroad? Who doesn't want to go overseas and take a natural and unrestrained walk? However, among the 1979 students of Xi'an Academy of fine arts, there is such a person. He is not moved by the secular world and is not coerced by the trend. After graduation, he continues to study postgraduate in his alma mater, and after graduation, he stays in school to teach for more than 30 years. He is Yang Xiaoyang, who later served as Professor, doctoral advisor, vice president, President of Xi'an Academy of fine arts and President of China National Academy of painting. Although he didn't study abroad, it doesn't mean he refused to accept foreign culture. Yang Xiaoyang not only visited dozens of countries in his later investigation, but also focused on long-term cooperation and exchanges with France and the United States. At the same time, he made great efforts to learn, understand and investigate the culture of ethnic minorities in the motherland on the spot. From July to November 1985, during his postgraduate study, Yang Xiaoyang and other six students spent more than four months cycling along the ancient Silk Road to sketch and inspect dozens of villages and towns in Gansu, Qinghai and Xinjiang, but only he and another teammate insisted to the end. He painted while walking and completed thousands of sketches, which was actually "searching for strange peaks and making drafts", which laid a solid foundation for future artistic creation and formed an indissoluble bond with the silk road. If studying abroad is to absorb the artistic nutrition of foreign countries, Yang Xiaoyang deeply rooted in China and absorbed the nutrition of national culture; At the same time, he also studies foreign excellent culture and art. After taking part in the work, according to the context of world art history, Yang Xiaoyang regularly went abroad for investigation, attended various academic and art seminars, participated in foreign art exhibitions, invited foreign artists to come to China for exchanges, and tried his best to maintain exchanges with the international art community. Perhaps it is because of his deep understanding of Chinese art that he knows more about his strengths, weaknesses and needs. He is teaching, researching and creating at the same time; A large number of works of art are presented to the world every year. In my eyes, Yang Xiaoyang and his art can be summed up by magnificent atmosphere, ancient and modern communication, reality before meaning, Han rain and Hu Feng. Magnificent atmosphere. The first time I saw Yang Xiaoyang was in his art studio. His burly figure, especially his broad face and protruding and solid nose, immediately reminded me of Central Asian and Northern Hu people; Its voice is deep and loud, as if flowing out of the chest. When I later opened his album Yang Xiaoyang's painting art, I was shocked by his magnificent and magnificent paintings. "A Fang Gong Fu", "Huang Chao enters Chang'an" and "Silk Road" made me feel when I went to the Vatican signature hall to enjoy Raphael's "Athens academy" and Michelangelo murals in the sitting chapel. Persian wedding (Chinese painting) Yang Xiaoyang is connected between ancient and modern times. With a little attention, it is not difficult to find that Yang Xiaoyang's works are like a golden thread, connecting the historical and cultural fragments and presenting them to readers. Reading his ancient foot sound, I seem to see the spectacular scenes of "Pangu opening the sky", "Nuwa mending the sky", "Chang'e running to the moon" and "Yellow Emperor fighting Chiyou"; Watching Yugong moving mountains, I seem to see an old man summoning his children and grandchildren to a meeting to discuss moving mountains. These ancient myths and legends are connected with the Silk Road, the Yellow nest into Chang'an, the boatman of the Yellow River, the boiling loess land, and contemporary migrant workers. Thousands of years of history and culture make people feel the profound vicissitudes here. Yang Xiaoyang seems to be writing the history of Chinese civilization on the land of China. At the same time, he also connects Chinese and foreign cultures. The Persian bride makes people see exotic customs, the song of life makes people see exotic culture, the prairie Festival makes people appreciate the grandeur of nomadic civilization, and Sanskrit, Persian acrobatics, the love of the Virgin Mary, all show the mood of exotic, exotic and heterogeneous culture. Yang Xiaoyang's works show both ancient and modern Chinese culture and the history of cultural exchanges between China and foreign countries. First reality, then meaning. The term "reality" here refers to realism; Freehand brushwork refers to freehand brushwork. Yang Xiaoyang endows the traditional concept of "freehand brushwork" with a new and philosophical connotation. In his ten essays on freehand brushwork, he developed a painting method from ten lectures to aesthetic and philosophical concepts from "instrument" to "Tao". According to my understanding and thinking, "freehand brushwork" must include "freehand brushwork", but it is not equal to the extension of the physical level of "freehand brushwork", but the ultimate thinking and sublimation at the philosophical level; It is closely connected with people's ideas and subjective initiative. However, China's "freehand brushwork" or the "freehand brushwork" advocated by Yang Xiaoyang developed and evolved on the basis of realism. It is by no means a drop out of thin air, nor a tree without roots and water without a source. Looking at Yang Xiaoyang's works, it is not difficult to find that his artistic creation process follows the road of "realism - semi realism - semi freehand - freehand - freehand brushwork". If there is no realistic foundation, freehand brushwork and freehand brushwork are the moon in the water and flowers in the mirror. Han Yu Hu Feng. In the long course of history, the Chinese nation has integrated Nanman, Beidi, Dongyi, Xirong, Xiongnu, Xianbei, Di, Qiang, Qidan, Nuzhen, Mongolia, man, Tibet, Hui, Miao, Yao and other brotherly nationalities. In this process, some tribes have completely integrated into the cultural mainstream, while others still retain their cultural characteristics. The Han and Tang Dynasties were also a period of great integration of the Chinese nation. Yang Xiaoyang was born in a rich cultural family in Xi'an. Some art critics infer that he has Hu descent. I don't want to speculate like this, but his paintings embody multiculturalism, including Han culture, Hu Culture and even western culture; Among them, Chinese cultural elements are reflected incisively and vividly in Yang Xiaoyang's paintings. The creation in the past two years shows the reference of folk art and primitive art, because this is the root of its culture, the source of life, and the starting point and destination of its art. No matter what literary theory Yang Xiaoyang advocates, it is inseparable from the root of Chinese culture.