彭锋

　　徐晨阳的绘画是非常独特的，有着完全个人的东西。如果画写实的画，现在比谁画得细一点，画得不细一点，我觉得都是程度上的差别。或者在题材上变化，这不会显得很独特。徐晨阳的绘画使用的完全是一种个人的语言，一种独创的技法。这种语言一点一点画，很费劲很慢，不容易才画出一幅画。同时，因为他做了这种肌理之后，使得油画流畅性受到一些损害，同时也失去了一些油画语言的优势。那么徐晨阳还是坚持用这样一种方法。我觉得作为画家，在圈子里面他形成了自己的语言，保持了他的独特性，从这个角度上来说，他的坚持是对的。在中国的艺术家这么多的情况下，只有他一个人在这么画，其他的我没见过，并且他在十年前就已经在这样画了。我觉得作为艺术家来说，首先第一点，让自己的作品要有独特性，要跟别人拉开距离。我觉得这一点徐晨阳做到了。

　　他为什么选择这样的艺术语言，选择这样的表达方式？他想画出“心象”，“心象”和“意象”是有区别的。“意象”好像总是跟写意有关，跟抒情的，自由的，甚至带一点表现主义色彩的，似与不似之间的绘画发生关系。而徐晨阳的画不是这个类型的，他其实很写实的，他只不过是写心里面那个“实”，他不是写外面那个“实”。比如说像吴冠中先生的绘画，以那种写意油画来理解徐晨阳，那就错了，不一样。所以他的绘画，我觉得在 “内”的经营上面，是很有特点的，这个特点刚好跟写意的油画拉开了距离。因为他的艺术语言，不允许他像写生一样画画。所以从这个角度来说，这样的作品看起来好像是跟写实油画差不多，但其实跟一般写实油画有很大的距离，他在当代油画圈里面，是一个很独特的存在。

　　XU' s painting is very unique, completely personal. In realism paintings, I think the difference is just in the details. Variations in theme would not make them so distinctive.  XU's painting is a personal language, with an original technique.  It' s one step at a time, so laborious and so slow, until the painting is complete.  With that texture, his flow was hindered, the advantage of his expression somehow is also lost.  But I think Xu' s insistence on doing so, is how he wanted it to take shape, and what make him unique, from that standpoint he might be correct.  There are so many artists in China, and he is the only one I know doing that since a decade ago.  I believe as an artist, first & foremost, in order to stand out as unique, one must keep distance with the others. And XU had proven he done it.

　　Why he had chosen this kind of artistic language and expression? Maybe he wanted a “mental imagery”, that is different from imagery which is lyrical, freehand and a bit more expressionism, a relation of being and not being. XU' s painting is not this category, his is realism in the heart, not on appearance. For example, it is wrong to use Master WU Guanzhong' s impressionistic style to try to understand XU, they are not the same. XU' s painting is characterized by “the inner one”, this exactly is pulling him away from the impressionists. His artistic expression style disallow him to do realist sketching, it might seems almost like realist, but in fact it is not, and for that he stand out from the contemporary painting circle.

 丁方

　　徐晨阳并不单纯是一个画家，而是类似学者艺术家，能够对自己创作的灵感进行归纳和总结，而非靠画家随机的灵感。并不是随机的不好，偶然灵感爆发也是可以创作出很好的作品的。但是画家能够把那些临时偶见的闪光要素，汇流起来，成为自己的资源，并且对它加以培育，加以细心的呵护，让它慢慢成长。所以我觉得徐晨阳在外人看来比较单纯的主题上，能够持续灌以饱满的注意力和热情，使得他产生了这样的作品。

　　在画家的作品中有很多姿态的描绘。人的姿态是一个古老的命题。现代社会已经使得我们对人正常的姿态搞不太清楚了，只要是在绘画界走动比较多的人，把眼睛闭起来想一想，你看到很多画面中间，人的姿态都是很过分的。徐晨阳对于人的姿态始终保持孜孜不倦的一种追寻，那他追寻什么呢?他实际上追寻一种人的姿态正道，人的姿态的中庸之道，就是不要过分。这样一种追求，足以使无论是理论家，还是画家，都应进行深深的思考。

　　Xu Chenyang is not merely a painter, but an artist with scholastic character; he is able to categorize and summarize his inspirations instead of relying on randomness. I am not saying that randomness is bad, an accidental outbreak of inspiration can lead to excellent works. But a good artist has the ability to collect those temporary inspirations and make them his own resources, nurturing and caring them so that they can grow bigger. So I think that Xu constantly devotes full attention and passion into the themes which seem rather simple, thus how he produces these works.
 
　　There are many depictions of posture in his work. It is a classic theme. In the modern society, are getting more and more unfamiliar with human postures. For those active in the art industry, they will find the depictions of posture in many paintings today outrageous. Xu insists on painting human postures, so what is he looking for?In fact, he is pursuing human posture in the right way, the so-called "middle way", that is to say not to be excessive. Such a pursuit is profound enough for philosophers and painters to ponder.

岛子

　　这种女性形象，其实在我们现实中是很少的，是没有的。那种内敛的或者是一种沉思似的凝视神态，不止是神态，这种舞蹈的姿态，都是很有意味的。我们看地平线，她的腰都是在地平线的上面，身体是上升的，后边这种云也是有光照的。我认为徐晨阳的作品所要表现的正是我们这个社会被遮蔽了的精神性和向上的一种力量，在提示我们去重视那些被忽略了的人的内在的丰富性。

　　Such image of woman are rare or seldom exist in reality. Her contemplative gaze and dance-like gesture are of some significance. Her waist is above the horizon, her body uprising, and the clouds behind her are bathing in the sunshine. I think what Xu wants to express is a spirituality obscured by this society and a power of uprising, reminding us the richness and variety in humanity which are often neglected.

 杭春晓

　　从绘画语言层面来说，画家显然是想消减掉西方油画里一些既定的表现语言。以堆积的方式表现出特殊的画面效果，比如说油彩本身的质感，斑驳的岩画效果等。后面的颜色画上去，会留下前面色彩的痕迹。可能三四层的痕迹，都能在画面颜料纵向的叠加上面体现出来。画家不是简单借用民族艺术的元素，而是有着个人的提炼和转换。这样的艺术家是会给我们今天的艺术界提供别样的经验，或者别样的感受。我想这是这类创作非常有意思的地方。画家通过颜料不断的叠加，线条和色彩的独到经营，非常细腻地在其作品中呈现出了一种丰富性。这种经过个人语境转换而提示的民族性是很有意义和价值的。

　　From the aspect of artistic language, it is obvious that the painter wanted to decrease some established expression of western paintings. He tried to produce unique pictorial effects by accumulation, such as the texture of the paint itself,  the mottled effect of cave painting, etc. When applying one color above another, the color below leaves its trait on the one above. Sometimes it reveals itself the accumulation of three layers of color overlaying each other. The artist did not simply borrow elements from ethnic art, but bring them to refinement and transformation.Artists of his kind will show us some different experiences or sensations,which I think is the most interesting part. Through the accumulation of paints and his particular arrangement of line and color, he has realized a delicate richness in his works. It is significant and valuable that he has infused the national character into his personal context.