高岭

　　徐晨阳的画很有特点，和一般的油画不一样。从直观上来看，有中国画的线条，有类似于中国画的工笔画特征。另外有中国画的散点透视的特征。因为虽然是油画，虽然画面中间也有一些高光的表现，但是整体画面的构图和景物的处理，我认为是更像中国画，就是说他的透视点很多。但是他又不是简单地在借用中国画的元素，是将中国传统绘画的一些因素很自然地融入到了自己的艺术表现之中，同时又有着油画材料丰富的表现力和画面张力。

　　画家在色调的处理上，非常的高雅，也非常的有修养，能够体现出东方人的那种审美的传统，是人的内心深处很向往的基调。在近20年来看到很多的油画，表现现实社会的矛盾，物质化、商业化的这样一种包容和冲突之下这样一种矛盾和纠结。在这个时候色彩也是一种武器，也是一种表达情绪的武器。但是徐晨阳把这些情绪都非常细腻、非常委婉、非常温润地控制在一个恰到好处的点上。所以我觉得他的画面，跟他的个人气质有非常大的关系，跟他的家庭结构有着不解的关系。他自己是一个学者型的画家，他夫人也是个高级知识分子。在当下的艺术界，他这样的艺术涵养和修为是不多见的。

　　XU' s painting has its characteristics not found in the average paintings.  From an intuitive point of view, it has the lines, the meticulousness of Chinese paintings.  Though it is oil painting and with high-light, the overall composition and handling of scenery, I think is more like Chinese painting, that is it come through a lot of perspectives.  He did not simply borrow the Chinese painting elements, he incorporated them into his artistic expression, together with the richness and strength of the material.

　　His handling of tones is very elegant, very cultivated, reflecting the aesthetic traditions of the Orient, a tone yearned by the human heart.  I have seen lots of painting in the past 2 decades, depicting the reality of social conflict, materialism, commercialism, the conflict & tolerance in paradox.  Somehow color is kind of a weapon here.  XU exquisitely and tactfully put all these emotions together just right.  I think his painting has a lot to do with his disposition and his family background.  He is a scholarly artist and his wife also a senior intellectual.  In our current art world, artist with such strength and accomplishment is rare.

刘礼宾

　　徐晨阳作品中的技法是很有意思的，就是一层一层这样累积的。其实我觉得颜料和画布之间这种关系，可能到了一种程度，才能将想要的那种感觉真正表达出来。很多山水画不是画一遍就完了，它是层层铺墨，层层染墨，以达到一种语言的力量。其实拓展开来，不仅是这种技法，作为古典主义，特别是在中国的古典主义，尤其在八大美院里面，都有代表人物。但关于古典油画我们真的研究了多少，包括中国写实油画，其实有很多细节性的问题都在那里需要处理，色彩怎么处理?线怎么处理？我在看徐晨阳的油画时候，看到那些线后就特别感动，特别喜欢。尽管看到的只是一条线，但却包含了非常微妙的转折、变化，包含了很深的功夫。

　　我最近看到很多艺术家，都很让我感动，包括油画的，工笔画的，就是因为他们的工夫很深，他在这种深度里，他就有可能跟伟大的精神创造相遇。赛尚，我们觉得他很现代主义，但他最崇拜的却是古典主义的普桑。所以说中国的油画，有了这些做得很深入的艺术家的存在，一定会出现很不同的东西。

　　Xu Chunxiao's painting technique is very interesting in its accumulation of layers of color. I think the connection of color and canvas doesn't express the feeling you want until it surpass a certain level. In traditional Chinese landscape painting, it requires layers of spreading and dyeing of ink in order to achieve a power of language. In fact, there are painters excel in this technique, or in classicism especially Chinese classicism. But how much do we really know about classicism painting, including the Chinese realist painting? There are problems about details to solve, such as how to deal with the color?And how to deal with line?When I saw Xu's painting, I was particularly fond of it and deeply touched by their lines. To paint a line simple in appearance which contains subtle transitions and transformations needs lots of effort.

　　Recently I have met many artists who work in oil painting and traditional meticulous painting. Their works have touched me greatly: it is their profound devotion to art, and I think it is the path that lead to great spiritual creation. Like Cezanne, who is a modernist to us, but deeply admired Poussin, the classicist painter. In a word, with these devoted painters, Chinese oil paintings will definitely provide us with something very different.