韩志冰是位具备广泛传统文化综合性修养的画家。豪爽的性格下，遮蔽不了他对人生、社会的洞微幽明。对艺术，他有一种永不停息的自我发掘意识，并深深地沉浸于这一复杂的过程之中，他赋予彩墨荷花一种关于生命的寓指，试图连接传统与当代的关系。在他看来，当代消费文化中的许多问题都可以通过禅意的心境去过滤，而对于人性修为的传统文化则可以通过一种新的视觉图式获得再生，他的彩墨荷花作品就是过渡传统与当代的方式。
The code of the word - A brief evaluation on Han Zhibing’s color ink painting with the theme of lotus
Han Zhibing has been widely regarded as a painter with the overall quality for traditional culture. The straightforward personality can not overshadow his deep insight into the life and society. He has a ceaseless desire to explore the art from within and also immerses himself in such a complicated process. He has infused the implication of life into the color ink painting devoted to the lotus so as to combine the traditional world with the contemporary world. In his opinion, many problems existing in the modern consumption culture can be screened away through the Zenist serenity. With regard to the traditional culture aimed at the cultivation of human nature, it can be reborn through a new visual picture. Hence, his color ink painting has been a transition from the traditional to the contemporary.
志冰的创作过程更像是一种生命的日常体验，一种类似禅修的日常功课。白天的志冰忙碌于中国美术家网站的琐碎公务，只有夜深人静的时候他才能沉浸于自己的画室。因此，绘画对于志冰来说，既是他超离日常生活的自我独处，也是他逐渐凝神入定的意志自觉。每一张作品，都是他抒怀自己的精神畅想，更是他寂然独立中的自我表达。
His creation of works is more like the routine experience of the life, which is similar to the Zen meditation. In the daytime, he will engage himself in the trifle routine for the website for Chinese artists. He can bury himself in the studio only in the depth of the night. Therefore, the painting can not only give him the solitary moment away from the daily life but also enable him to meditate deeply. Each piece of his works has been a medium of his spiritual meditation as well as the self expression in isolation.
对于志冰而言，艺术不但是一种若即若离自我觉察，同时，也是可以暂时抛弃自我的解脱，志冰的作品也具有了影响观者的那种特质--让你的心不再受到外部社会的影响侵扰，也没有了任何欲望所带来的压力羁绊，在志冰肆意的挥洒中，在他手中包含墨汁的笔与柔软宣纸摩擦的曼妙微声中，不仅让志冰沉湎其中乐此不疲，也让世界似乎变得寂静、无染而纯真--这在当下显得如此珍贵。
For Zhibing, the art is a looming self-perception and also a temporary self-liberation. His works have the quality to exert influence on the viewers. It can free your heart from the external influence as well as relieve you from the strain of various desires. With the bold stroke, he can create his work as the ink pen scratches on the soft face of the Xuan paper. Zhibing has found infinite pleasure in it, thus turning the external world into a quiet, stainless and pure one. It is even more precious in the contemporary time.
皮埃尔·布尔迪厄在《艺术的规则》说，一切艺术作品都隐含了作者本人在创作过程掩藏在其线条颜色的变化中的特种"密码"，这些"密码"集中作者本人创作生命经验的精华及其特有风格。或许，志冰并没有意识到作品中所固有的"密码"，也不知道他自己在创作中究竟遵循什么密码，但是，他的每张作品创作中都遵循不可见的逻辑，由此产生对其作品进行解构和诠释的根据。
AS noted by Pierre Bourdieu in The Rules of Art, all artistic works have embodied the special code which is hidden behind the change of color during the creation. The code has represented the essence of the experience and unique style of the creator. Maybe Zhibing has neither realized the code in his works nor figured out what code to follow during the process of creation. However, each of his works has observed the invisible logic, based on which his works can be interpreted.
志冰的彩墨画面，往往是对荷塘日常场景简洁而灵敏的记录。他从写生中获得的灵感与已有的经验有效地结合起来，然而这并不意味着画家只是一味地图解美景。在《荷香》系列中，我们可以看到他对这个世界的不动声色的观察方式，一种现实与个人幻想纠缠着的诗意与情趣。值得注意的是，他的画面中的一些荷叶呈现出径直朝着宣纸边缘，且向外展开、随处突破的趋向，其结果便是让画者摆脱了宣纸边极地限制，创作也就变得无拘无束、毫无顾忌。志冰常说："率意和情趣根本就不是能找来的，而是思想在不经意间对艺术情结的一种自然释放"，
In most cases, his works of color ink painting aim to make a simple but sensitive record of the most common scene in the lotus pond. He can also effectively combine the inspiration gained from sketching with the experience. But it does not mean that he only focuses on interpreting the beautiful scene. In the series of Lotus Fragrance, we can catch a glimpse of his unnoticed observation of the world. It also features the poetry and joy that mingle the reality with the personal illusion. What is worth mentioning is that some lotus leaves in his work have extended towards the edge of Xuan paper. Featured by the tendency to extend outwards, it can enable the painter to cut loose from the limitation of the paper. In other words, he can create his works more freely. He often says that the straightforwardness and joy are far from something to be found. Instead, they are the mind’s natural release of artistic emotions when it is least expected.
他凭借理性与直觉创作他的作品，释放出了一种松弛和张力，既是在控制和自由之间的平衡，又是在具象与抽象之间的争斗。在轻松中放任自己的志冰，在作品中的空间感是耐人寻味的，有的时候是拥塞之中的间隙，有时候却是宽阔无垠，就像是人的呼吸吐纳，充满了生命的意涵，一种活力的膨胀与收缩，达到"虚实相生，无画处皆成妙境"。空出来的地方，目的是要化"虚"处的情思，引人神游。因此，他用虚空经营位置，用空虚组织结构，作品不仅呈现出了元气淋漓、缥缥缈缈、聚散无常的感觉，而且能采用即白当黑的方法，用虚空体现宇宙的哲理，令人迁想妙得。
By virtue of rationality and instinct, he can release his boundless talent in his works. It is also the balance between control and liberty as well as the struggle between the concrete and the abstract. In the most relaxing state, he has indulged himself in his works. The spatial feeling in his works is impressive. Sometimes, it can depict the narrow space in the crowdedness. Sometimes, it is most spacious. It is just like the breathing of the human, full of the essence of life. It can also reflect the expansion and shrinkage of the vigor, leading to the complementation between virtuality and reality. The vacant space has been reserved to lead the human emotion in the virtual world. Hence, he has utilized the vacant virtuality to restructure. His works have made a feature of the dimly discernible sense and the transience of life to the fullest. Through the method of combining the virtuality and reality, he can interpret the philosophy of universe in the most inspirational manner.
志冰的作品，强调和突显中国传统文化中对待自然的态度和立场，在此精神支配下，志冰非常自然地把油画图式转换成了中国画的视觉语言，彩墨荷花的线条是书法与线条的抽离，浓淡渐变的线条呈现出时而折断、时而隐去或自我伸张的风格，时而迅疾，时而凝重，时而聚合，时而发散，似乎要使时间有可视性，让人可以感受到生命体和人的情感状态。在志冰看来，每一条线条都是该线条本身的内在历史的体验，它无需做出任何解释，它有其本身存在的关系和意义。他非常崇尚简洁"美学"，追求以少胜多，但画面上呈现的是那种探之茫茫、索之缈缈的虚空感，能放笔直扫，出没于有无之间，志冰将书法线条的抽象性演绎成一种东方式的美学意境--从"得意而忘形"到"忘我悟道"的境界。
In Zhibing’s works, they focus on and outstand China’s traditional culture to attitude and stance of nature. Under control of this spirit, he quite naturally changes oil painting into visual language of Chinese painting. Colorful lotus lines are abstracted from autography and lines, and lines, sometimes thick or thin, sometimes reflect broken lines, hidden lines or exhibit style of self, sometimes swift, dignified, concentrated and divergent, which seems to make time visible and let people feel life and people’s feeling status. From his perspective, each line is loaded with internal historical experience and there is no need to make any explanations. It has relationship and meaning existing in this world. He admires for simple aesthetic very much and seeks few lines to express more meaning, but the whole painting shows endless when exploring, yet hard to find anything. He could use brush to sweep and form between existence and void. He uses autography lines being abstract to film as an eastern aesthetical spirit that from gaining soul yet forgetting form to forgetting self and gaining Buddha.
在韩志冰的作品中，可以发现他把握绘画整体性的用心，这种整体性则贯穿着作品与作品、作品与观者的关系。近期在五台山创作的一些作品中，韩志冰一直在"无意"与"有意"之间寻找新的语言。志冰喜欢关注真实与朴素的物象，从情感中去梳理和深化这种意识。"荷之灿烂，不尽在于其花开一刻，花开只为蓬内之子。而当花败落一刻，虽型已枯槁，但为’生’依旧坚持。"这种品质在进行现代转型的都市中，在被商业化的喧嚣社会里，朴素而隐忍的别样美丽，与享乐浮华产生了距离，那些亲切淳朴，已开始在城市生活中稀缺和让人感怀，正是志冰个人生存经验的显现表达。但是，在他赴俄罗斯展览的彩墨荷花作品中，志冰引入西方绘画色彩理论，善于在绚丽的色彩中寻找灰色，在灰色中描绘生机，间或大量运用"墨绿"、"红色"或"灰色"等以彰显视觉表现力，这种由色彩、线条、空间组成的形式语言，调和的色彩通过抒情性地运动，使得原先那种简单化的平涂，转化为诗意的、自由的流动。明确而有力的笔痕，强化了主题，丰富了画面，表现一个接近纯绘画和纯自然美的双重境界，将各种水墨技法娴熟而迷幻般地组合出一幅幅生动的图画，那些恬静与安祥、清彻与凝炼的荷香呼之欲出，经过志冰无数次的内心构筑，不同颜色的流动延展性及其相互交错和相互渗透，表现出自然界的般幻莫测，以醉人的旋律吸引着观赏者的目光。
In his work, we can find he uses his heart and soul to master whole of painting that is in line with relationship between works, work and audience. Recently created in Wutai Mountain, he always seeks new language between spirit and without spirit. He likes to focus on truth and simple object, sorting out and strengthening this consciousness from his feeling. The lotus is colorful, whose purpose is not to shine in blossom but for lotus nut within lotus. When lotus is falling, it is withered, yet still sticks to new life. In modern city experiencing transformation and in society full of business, this kind of characteristic is quite pretty for being plain and endurance that is far away from enjoy and flash. The kindness and truth becomes scarce and touching in modern city life. This is what he wants to express from his own experience. But lotus works exhibited in Russia, he introduces western painting theory that is good at seeking grey from all kinds of colors and finding life from grey by sometimes using plenty of blackish green, red or grey to express vision. This language comprised of colors, lines and space and mixed color through vivid moving change flat painting into poetic and free movement. The certain and strong autography lines focus on central subject, enrich painting content and exhibit double spirit between pure natural beauty and pure painting. He uses all kinds of skilled water and ink lines to express series of vivid pictures. Those quiet and tranquil, clear and dignified lotus flavor seem to jump out of painting being constructed thousands of times in his inner heart. Different color movement and mutual exchange and penetration show natural wonderful change and moving rhythm attracts attention of audience.
文人画的墨荷花通常笔法简洁，清幽之致，文人画士心知其意，他们的观赏中明显夹带自比之心。"’述而不作，信而好古’，可以说是每一个知识人应有文化情怀，我用绘画的方式，用一种全新的理念与语言，更为积极、更为主动地去接近艺术的本体"，志冰彩墨荷花不是对自然风情的猎奇，也不是将民众的普通性低俗化，他对特定环境中存在的人的观注，包含了饱满和舒缓的审美情致叙述，表达的是个人内在精神的呈现。志冰"始终在寻找传统水墨艺术与现代的契合点"。有理由相信，在志冰的艺术与他的存在之间，有一条秘密通道，连接着作为一个艺术家的白日梦，文心与禅意正是他进入梦境的密码。
The lotus painted by ancient painter is always simple and brief, quiet to extreme and scholar deeply understand its meaning. They always compare themselves to lotus when viewing and admiring it. They just narrate content, never to create, which is a dream each intellectual desires to make come true. I use painting method that is completely new idea and language to approach art self positively. His colorful lotus is not for seeking curiosity or to vulgarize common of the people. His attention on people, under special circumstance, is full of aesthetic narration and expresses his inner heart. He always finds balanced point between Chinese traditional painting and modern art. We have reason to believe there is a secret tunnel between his art and himself connecting with daydream as an artist and cultural and Buddha are keys to enter into dream.
作者张伟系著名的美术评论家
Writer Zhang Wei The famous art critic
