站在冯劲草的油画作品面前，我们仿佛正在穿越时空隧道，耳边是呼呼的风声，眼前是千层万叠的烟云和不断模糊变幻的视野，我们逆向时间轴的速度要追回人类逝去的起点，那些凝结在记忆里的历史光芒斑驳地映在我们的衣杉上，我们的文化之根正通过冯劲草特殊的油画表达方式，关怀着当代人的精神和生活。在冯劲草的视角，无论人在何方，离自己的母体文化多远，他身上的文化之根都闪烁可见，而作为画家，这样的视角实在是难能可贵。

    对于冯劲草而言，绘画就是他的生活。在家乡不足50平方米的画室里除了他多年来在绘画方面的成果积累以外，已经没有什么让他觉得更加珍贵的东西了。他虽然吃住在这间屋子里，但是从他的凌乱的细节可以看出，这些都已经无足轻重。

    在冯劲草珍藏的作品中，可以清晰地观察他艺术发展的脉络。从具像到表现，到抽象再到具像，他这种反复显示了大多数画家求索的过程，他们在寻找表达自我的方式和内容上经历的坎坷甚至比生活的磨难更刻骨铭心。什么才是自己的表达方式，什么是自己的追求目标，都是十分含糊的。而冯劲草则更像一位中国最古朴的农夫，在画布上耕耘着他心中的理想。

    在北京东郊的北皋艺术东区，冯劲草组建了又一个自己的画室，在这个更接近艺术前沿的地方，他的创作更加洒脱。他把那些构想和设计预先勾画在画布上，然后用一种独特的颜料在上面一层层地涂抹掩盖，这个过程就像农夫在春天的田野播撒下种子的过程，不同的是----他的设计以及对未来效果的构想是十分艰难的。而这样的涂抹过程往往需要几十遍。形式和色彩在冯劲草的笔下变换着飘忽不定的影子，它们被画家组合，然后又分解，再组合，再分解，任凭画家泛滥的思想洪流摆布。最终，这一切都消失在一片混沌之中，这时候我们看到的画面浑然一色。画家的思想就像埋入地下发酵的老酒，等待开启的那一刻才真正是醉人的时候。

如果说农夫的耕耘是辛苦的，那么冯劲草的耕耘则是痛苦的。他的取舍，他的结构的开合，色彩的平衡耗费的是心血，折磨的却是思想；如果说农夫的收获是喜悦的，那么冯劲草的收获是兴奋，甚至于癫狂。他像考古发掘一养，在画布上寻找。这个挖掘的过程正是画家创作过程最惊心动魄的时候，随着工具与画布的每一下接触，跳跃出来的都是意想不到的画面效果，预先埋设下的必然在此时被发掘过程中的偶然模糊了，颜料逐渐剥离的过程中，形式和色彩又一次组合起来。

他有意制造的这种偶然是他兴奋的源泉，而当这股源泉汩汩喷涌的时候，他会跳进自己的理想世界里，享受这种表达的快乐。

冯劲草说：我在画画的同时，让观众所了解的并不是我在怎么做；我画画只是想把他们引领到一种“再创作”的境界。为了实现这样一种境界，冯劲草的开掘过程必须把握分寸和火候，因此总是背负着巨大的压力，毕竟，作为创作的本身，它是艰苦的体现：即要让思想的骏马奋蹄奔驰，又要驾驭自如恰到好处，这恐怕是天下最难的一件事情。

    在万千事物中，冯劲草选择了服饰作为他的创作载体，并不断地强化它的符号功能，作为其画面构成中一个可近可远，可出可入的窗口，可以窥见创作者内心深处的世界。借助服饰，冯劲草找到了可以信赖的叙述角度，而这个角度的获得却带有神秘的色彩。

    冯劲草在一篇文章中这样描绘他画服饰的灵感：求索多年仍未找到自己的道路，几经变化的创作风格，让我疲惫不堪。有一夜在梦中发觉自己光着身子在大街上游荡，那种尴尬和羞愧迫使着我四处躲避和寻找，惊醒时却发现窗外的月光映进画室，洒在挂在画架上的一件衬衫上。这样的景象一下子刺激了我创作的神经，服饰系列油画由此而生。

    当他冷静下来揣摩这个角度的奇妙的时候，他才感觉到这样的神来之笔真正基于他二十年绘画的积累。那些班驳的色彩间闪烁着似曾相识的影子，那些曾被他几经抛弃的东西，今天变成了宝贵的财富。

    在冯劲草的服饰系列作品中，服饰只是一个载体，是贯穿人类文明的始终一个线索。冯劲草借助这条线索，把现代文明和古代文明连接起来，那些代表中国传统文化的图案和人物既有它的形式美，又寄寓了冯劲草的文化理想。

冯劲草把他对中国传统文化的理解符号化的过程融进了他的忧虑和关怀。看似具像的画面语言已经失去了它们的本来意义，抽象成一种呼喊，足以震颤心灵。

Preface

------------ Commentary of  Feng Jincao

  Standing in front of  these oil paintings of Feng Jincao，as if we were flying through the time tunnel. Whirring wind slipped by, clouds changed their shapes quickly, and continual changing views blurred and danced before our eyes. We trace the jumping-of point of human being in a diverse direction of time's growth. Those brilliant rays of history frozen in memory reflect on our dress, and the root of our culture shows loving care for modern people's sprit and life by Feng’s painting. In his angle of visual, wherever he is or how far he go away from his mother culture, the root of culture gleaming on him are available. As a painter, it's pretty precious to think like that.

   For Fengjincao, painting is life. In his studio which is less than fifty square metres..There is nothing but his accumulated achievements in painting make him feel valuable. Though he lives and eats in this room, but from the disorderly details there, we know that these are insignificant.

   From his collections, we can clearly see the lines of his art development .From specific to expression, to abstract and then to specific again. This kind of repetition shows many painters' process of exploring. The difficulties in finding their self-expression form and content ever harder than they struggle in life.   What is their means of expression, what is the pursuit of their own goals, those answers are very vague. Feng look like an ancient China farmer, working on the canvas in his mind ideals.

In the BeiGao art district in east suburb of Beijing, Feng Jincao build his newart studio. In this art frontier place, his creation becomes more ease . Feng Jincao said: when painting, you don’t know the appearance of the picture but the framework of thought, the blur one. You can paint the probable picture but not the details. And just become of this, every process of painting is a challenge to him that is to which point it is good, from where to begin, to which depth to deplore and what to be shown to the audience.  Smetimes there is a long time consideration in the process of performs. The exploration is just the very excited moment of the creative process. The unimaginable planting results burst out as the tools and canvas touches each other. The prepared inevitability is blurred by the accident in the explore process.

 If we say farmer’s cultivation is hard, then Feng’s creation is painful. His selection, the fold and open of his structures and the balance of color, all of which expand his effort and harass his thought. If farmer’s gains are delightful, then Feng’s gain is excited even mad. Like the archaeology research, he explores on canvas. The dish cleaners, the spatula and whatever is at his hand can be his proficient tools. As the paint peeling off, the forms and colors combined again.

 And this intentional accident is the spring of his excitement. When it springs out ,he will jump into his ideal world and enjoy the happiness of expression .

Feng Jincao said: When i was painting, I’m thinking that I should leave some space to the audience, and let them to think how they will do it but not my way. What I want is to enlighten them to use their own thought to paint through my painting .I just lead them to what they are imagining. Maybe we can consider it as a kind of recreation. To achieve this kind of realm, Feng tries his best to master his skills and sense when he’s painting. Thus he always feels much pressure, after all, to create is to express toughly. Just like an excellent equestrian who wants his horse to run freely and fast while needs him to handle it well too. This can be one of the most difficult things in the world.

Feng chose dress as his art carrier among so many materials,  and consolidates its symbolized function step by step, which serves as a window for appreciating his works from both farther and closer, outside and inside. It helps us step into the i how he found it, there is a miracle-colored story.

Feng described his inspiration of dress in one article as follows: Having pursued these many years, there still hasn’t been a style that belongs to me. And such variable patterns made me exhausted. Then, a dream came to me one night in which I was wandering in streets nakedly. That embarrassment and shame forced me to hide and look for here and there until I was forced to wake up. Strangely, I saw the water-like moonlight pouring into my studio, shining on one shirt hanged on a painting shelf. This scene stimulated my creating nerves . Thereafter the series of dress painting were given birth to.

when he calmed down to think over this special angle, he felt this talented creating inspiration was just based on his painting accumulation over the past twenty years. It seems that some familiar shadows are shining among those mottled colors.  And what he has abandoned becomes today’s treasure.

In Feng’s series of dress painting, dress is only a carrier, which serves as a clue going through human being’s civilization. Using this clue, Feng combines the modern civilization and ancient civilization. Those designs and figures presenting Chinese traditional culture have their own beautiful forms, and are also implied with the cultural ideal of Feng himself.

 Feng blended the understanding of traditional Chinese culture symbol of the process of assimilation into his concern and care. Therefore, the expression of his concrete paintings lose their original meaning, instead, a more abstract appeal touches people’s hearts profoundly.