(收藏推荐)走向世界的艺术大家——毛雪峰

毛雪峰，大漠堂主，中国现代重彩山水画的开创者。全世界非物质文化遗产研究院特聘院士。甘肃临洮人，2005 年定居北京。1989 年毕业于新疆艺术学院美术系，1997 年毕业于北京画院中国画专业研究班。2023 年被特聘为“世界非物质文化遗产研究院特聘院士”。先后深造进修于中央美术学院，中国国家画院，清华大学研究班、精英班。西游边陲二十载，足迹遍及天山南北。他特立独行，致力于丝路山水画的探索实践和西域大美的深度开掘和表现，创立西域重彩山水画，是中国西部丝绸之路山水画题材的开拓者和践行者。“毛雪峰作品在传统与现代、抽象与具象、水墨与色彩、中西方艺术融合方面是一次积极的尝试和突破，已将关照面从‘西部风情’的再现，拓展到西部精神的表现，增加了历史的纵深感”。“其境界之壮阔，意蕴之豪迈，丘壑之雄奇，色彩之交响，形成了独特的画境和艺术风格。”(摘自《美术》2003 年第 9 期)。多年来毛雪峰的山水画作品多次参加全国美展，并在 30 多个国家和地区交流展出或获奖，数百幅作品发表于全国及海外各类主流期刊。先后在中国美术馆、敦煌博物馆及日本东京中央美术馆银座、美国纽约国际艺术博览会、美国玛瑞埃塔大学、法国巴黎卢浮宫、迪拜、英国、印度、俄罗斯列宾美术学院、加拿大、澳大利亚、欧洲、东南亚各国及全国各地多次举办个展或联展，进行学术交流和讲座，受到广泛好评。2005 年中国美术报学术提名“西风浩瀚，西北五省国画百家。”2007 年中国书画报颁发“全国书画界 50 位著名画家终身艺术成就奖。”2006 年荣获“世界华人艺术家杰出艺术成就奖。”2008 年在全国政协礼堂获颁“改革开放三十年杰出画家”殊荣。2016 年评为“全国当代 30 家最具学术价值与市场收藏升值潜力的国画家。2010中国文联评为“中国山水画 200 家”“99 中国百杰画家”。2012 年中国文联中国文学艺术基金会颁发“文学艺术杰出成就奖”。2013 年被评为“全国最具创新国画艺术家”和“当代国画家中 15 位书法家”、2023 年联合国教科文组织颁发“世界艺术奖”。作品曾获“联合国国际和平年艺术大奖”“20 世纪国际艺术名家教授成就大奖”“亚洲中国画巡回大展金奖”“2008 年和谐中华迎奥运全国美展金奖”“西安世博会全国美术展览金奖”“当代国际水墨画大展沙龙奖”“美国第 35 届纽约国际艺术博览会国际金奖”及“中美文化交流使者”称号、“中印文化艺术使者”“中俄文化艺术交流大使”。

毛雪峰先生应邀赴国内外多所高校作演讲和学术报告。2008 年他应邀在北京大学百年大讲堂作了主题为《创新是攀登的天梯》演讲 2013 年他应美国马瑞埃塔大学邀请举办个展并向师生们作了题为《阅读美国》和《中国水墨与西方色彩之吻》的演讲。2014 年他应兰州大学邀请于 11 月 10 日作了《重彩山水画的创立与发展》《我的艺术人生》演讲。2016年应印度新德里夏尔达大学邀请作了《丝绸之路万里行》演讲。毛雪峰先生曾多次担任中国创新艺术家提名活动学术主持人。2023年6月应邀为北京林业大学艺术设计学院演讲《艺术是生命》。

历任新疆自治区书画研究院首任院长，新疆丝绸之路书画院常务副院长兼秘书长，全国当代山水画大展组委会副主任。现为中国民进会员、国家一级美术师。北京中国西部画院院长、中国重彩山水画院院长、民进中央开明画院常务理事兼新疆民进开明画院名誉院长、美国中国美术家协会副主席、加拿大世界艺术家联合总会副会长、北京大美书画院院长，北京毛雪峰艺术馆馆长、北京雄峰科技文化研究院院长、中国石齐艺术研究会副会长、中国孔子书画研究院名誉院长。兰州大学、扬州大学、北京林业大学客座教授、硕导，日本国艺术院、中国香港艺术研究院、印度新德里夏尔达大学、定西师院等大学客座或兼职教授，新疆石河子大学新疆大山水画研究院副院长、研究员、江苏省国画院特聘画家，文化部中国少数民族促进会理事，中国创新艺术家提名活动学术主持人，中国山水画研究会名誉会长。

名辑《中国美术年监》、《中国美术家人名词典》、《中国大百科全书·新疆卷》、《临洮县志》、《美国世界名人录》等辞书。《美术》、《江苏画刊》、《中国画》、《美术观察》、《书与画》、《美术家通讯》、《中国书画报》、《美术报》、《人民日报》、《光明日报》新华社、《欧洲时报》、《中国澳门日报》、《中国书画报》、《中国艺术报》、《中国文化报》《国画家》、中央电视台等多家媒体对其艺术成就均有专题报道。其作品被齐白石艺术馆、上海市博物馆、中国香港艺术中心、敦煌博物馆、日本东京美术馆、美国纽约大学、中国台湾海基会、俄罗斯列宾美术学院、印度夏尔达大学、法国卢浮宫、美国马瑞埃大学博物馆等国内外 30 多家博物馆、美术馆收藏。

国家文物出版社出版有《毛雪峰书画集》、《毛雪峰画集》、《毛雪峰书法集》、《毛雪峰重彩山水画集》、《毛雪峰艺术评论集》。

近现代以来，中国传统绘画经历了翻天覆地的变革，无论是艺术理念、创作视角、构图样式，还是笔墨技法、色彩运用、题材拓展等诸多方面都可看到中国画家做出的延伸与拓展。特别是在中国山水画领域，自李可染提出“为祖国河山立传”的口号之后，山水画的创作面貌不再固守明清以来的文人画体系，画家的足迹开始遍布各地，并涉猎和写照更广泛的绘画题材，从此沙漠、戈壁、海滩、草原等原本在中国传统绘画中被认为是不入画的题材也渐渐进入中国画的创作范畴。通过这一突破常规、探寻自然的伟大进程，不仅丰富了中国山水绘画的风格面貌，而且让传统的笔墨、色彩、构图等技法都得到了史无前例的升级与改造。

作为新疆重彩山水画的创立者、中国西部画院院长，毛雪峰深入新疆驻地长达二十余年，从重彩山水到大漠胡杨，无一不体现着他对新疆地域的浓浓喜爱与深厚情感。近两年来，随着其艺术功底的愈发炉火纯青，开始大胆尝试起前无古人的草原山水题材，经过长期的写生实践与理念研究，足迹遍布内蒙古、甘南、河西走廊、青海草原以及印度、俄罗斯、美国、迪拜等国，如今，毛雪峰的创新草原山水绘画已然风格确立且成就显著，也成为中国草原山水画领域中开宗立派的第一人。

Mao Xuefeng, the leader of the Desert Hall,was the pioneer of modern Chinese heavy colorlandscape painting. Distinguished academician ofthe World Intangible Cultural Heritage ResearchInstitute. Born in Lintao, Gansu, settled in Beijing in2005. Graduated from the Department of Fine Artsof Xinjiang Academy of Arts in 1989, andgraduated from the Chinese Painting ProfessionalResearch Class of Beijing Academy of Painting in1997. In 2023, he was specially appointed as aspecial academician of the World IntangibleCultural Heritage Research Institute. I havepursued further education at the Central Academyof Fine Arts, the National Academy of Painting ofChina, the Tsinghua University Research Class, andthe Elite Class. Journey to the western border fortwenty years, with footprints covering the northand south of the Tianshan Mountains. He is uniqueand dedicated to the exploration and practice ofSilk Road landscape painting, as well as the deepexploration and expression of the beauty of theWestern Regions. He founded the Western Regionsheavy color landscape painting and is a pioneerand practitioner of the Silk Road landscapepainting theme in western China. Mao Xuefeng'sworks are a positive attempt and breakthrough inthe integration of traditional and modern, abstractand concrete, ink and color, and Chinese andWestern art. They have expanded the focus fromthe reproduction of 'Western style' to theexpression of Western spirit, increasing the depthof history. "The grandeur of its realm, the grandeurof its meaning, the grandeur of its valleys, and thesymphony of its colors have formed a uniquepainting and artistic style." (From "Fine Arts", Issue9, 2003). Over the years, Mao Xuefeng's landscapepaintings have participated in national artexhibitions multiple times and have been exhibitedor won awards in more than 30 countries andregions. Hundreds of his works have beenpublished in various mainstream journals bothdomestically and overseas. He has held multiplesolo or joint exhibitions, academic exchanges, andlectures at the China National Art Museum,Dunhuang Museum, Tokyo Central Art MuseumGinza, New York International Art Expo, MariettaUniversity in the United States, Louvre in Paris,Dubai, the United Kingdom, India, the RobinAcademy of Fine Arts in Russia, Canada, Australia,Europe, Southeast Asian countries, and variousparts of the country, receiving widespread praise.In 2005, China Art Daily was nominated for thetitle of "West Wind is Vast, with 100 ChinesePainters from the Five Northwestern Provinces." In2007, China Painting and Calligraphy Dailypresented the "Lifetime Art Achievement Awardfor 50 Famous Painters in the National Painting andCalligraphy Industry." In 2006, it was awarded the"Outstanding Artist Award for World ChineseArtists." In 2008, it was awarded the "OutstandingPainter in the Thirty Years of Reform and Openingup" award in the National Political ConsultativeConference Hall. In 2016, he was awarded the titleof "Top 30 Contemporary Chinese Painters withthe Most Academic Value and Market CollectionAppreciation Potential in China". In 2010, he wasawarded the title of "200 Chinese LandscapePainters" and "99 Top 100 Chinese Painters" by theChina Federation of Literary and Art Circles. In2012, the China Literature and Art Foundation ofthe Chinese Federation of Literary and Art Circlesawarded the "Outstanding Achievement Award inLiterature and Art". In 2013, he was named the"Most Innovative Chinese Painting Artist in China"and "15 Calligraphers among ContemporaryChinese Painters". In 2023, he was awarded the"World Art Award" by UNESCO. The work has wonthe United Nations International Year of Peace ArtAward, 20th Century International Art Masters andProfessors Achievement Award, Asian ChinesePainting Tour Gold Award, 2008 Harmonious ChinaWelcoming Olympics National Art Exhibition GoldAward, Xi'an World Expo National Art ExhibitionGold Award, Contemporary International InkPainting Exhibition Salon Award, 35th New YorkInternational Art Expo International Gold Award,as well as the titles of "China US Cultural ExchangeAmbassador","China India Cultural and ArtAmbassador", and "China Russia Cultural and ArtExchange Ambassador".

Mr. Mao Xuefeng was invited to give speechesand academic presentations at multipleuniversities both domestically and internationally.In 2008, he was invited to give a speech on thetheme "Innovation is the Ladder to Climb" at theCentennial Lecture Hall of Peking University. In2013, he was invited by Marietta University in theUnited States to hold a solo exhibition and gavespeeches to teachers and students on the topics"Reading America" and "The Kiss of Chinese Inkand Western Colors". In 2014, he was invited byLanzhou University to give speeches on November10th on the establishment and development ofheavy colored landscape painting and my artisticlife. In 2016, at the invitation of the University ofSharda in New Delhi, India, he gave a speech titled"Journey of the Silk Road". Mr. Mao Xuefenghasserved as an academic host for the nomination ofChinese innovative artists multiple times. In June2023, I was invited to give a speech on "Art is Life"to the School of Art and Design at Beijing ForestryUniversity.

He has served as the first president of theXinjiang Autonomous Region Calligraphy andPainting Research Institute, executive vicepresident and secretary-general of the Xinjiang SilkRoad Calligraphy and Painting Institute, and deputydirector of the organizing committee for theNational Contemporary Landscape PaintingExhibition. I am currently a member of the ChineseDemocratic Progressive Party and a nationalfirst-class artist. President of Beijing China WesternPainting Academy, President of China ZhongcaiLandscape Painting Academy, Executive Director ofthe Democratic Progressive Central EnlightenmentPainting Academy and Honorary President ofXinjiang Democratic Progressive EnlightenmentPainting Academy, Vice Chairman of the AmericanChinese Artists Association, Vice President of theCanadian World Artists Federation, President ofBeijing Damei Calligraphy and Painting Academy,Curator of Beijing Mao Xuefeng Art Museum,President of Beijing Xiongfeng Science andTechnology Cultural Research Institute, VicePresident of China Shiqi Art Research Association,and Honorary President of China ConfuciusCalligraphy and Painting Research Institute. Visitingprofessors and master's supervisors at LanzhouUniversity, Yangzhou University, and BeijingForestry University, as well as visiting or part-timeprofessors at the National Academy of Arts ofJapan, Hong Kong Institute of Art of China,Charlotte University of New Delhi, and DingxiNormal University in India. Vice President andResearcher of the Xinjiang Landscape PaintingResearch Institute at Shihezi University in Xinjiang,Special Painter of Jiangsu Provincial Academy ofTraditional Chinese Painting, Director of the ChinaEthnic Minority Promotion Association under theMinistry of Culture, Academic Host of the ChineseInnovation Artist Nomination Event, and HonoraryPresident of the Chinese Landscape PaintingResearch Association.

Famous dictionaries include "Chinese ArtYearbook","Dictionary of Chinese Artists' Names","Encyclopedia of China - Xinjiang Volume","LintaoCounty Chronicle","American World CelebritiesList", etc. Many media outlets, including "FineArts","Jiangsu Painting Magazine","ChinesePainting","Art Observation","Calligraphy andPainting","Artists Communication","ChineseCalligraphy and Painting Newspaper","Fine ArtsNewspaper","People's Daily","Guangming Daily",Xinhua News Agency,"European Times","MacaoDaily","Chinese Calligraphy and PaintingNewspaper","China Art Newspaper","ChineseCulture Newspaper","Chinese Painters", and CCTV,have reported on his artistic achievements. Hisworks have been collected by more than 30museums and art galleries at home and abroad,including Qi Baishi Art Museum, Shanghai Museum,Hong Kong Art Center of China, DunhuangMuseum, Tokyo Art Museum of Japan, New YorkUniversity of the United States, Taiwan, ChinaFoundation of China, Repin Academy of Fine Artsof Russia, Sherda University of India, LouvreMuseum of France, and Marier University Museumof the United States.

The National Cultural Heritage PublishingHouse has published "Mao Xuefeng Calligraphyand Painting Collection","Mao Xuefeng PaintingCollection","Mao Xuefeng Calligraphy Collection","Mao Xuefeng Colorful Landscape PaintingCollection", and "Mao Xuefeng Art ReviewCollection".

Since modern times, traditional Chinesepainting has undergone earth shaking changes. Whether it is artistic concepts, creativeperspectives, composition styles, brush and inktechniques, color application, theme expansion,and many other aspects, Chinese painters havemade extensions and expansions. Especially in thefield of Chinese landscape painting, since Li Keranproposed the slogan "Inheriting the Motherland'sRivers and Mountains", the creative landscape oflandscape painting has no longer adhered to theliterati painting system since the Ming and Qingdynasties. Painters have started to spread theirfootprints throughout various regions and haveexplored and depicted a wider range of paintingthemes. From then on, themes such as deserts,Gobi, beaches, grasslands, which were originallyconsidered non painting in traditional Chinesepainting, have gradually entered the realm ofChinese painting. Through this great process ofbreaking through conventions and exploringnature, not only has the style and appearance ofChinese landscape painting been enriched, buttraditional techniques such as brushwork, color,and composition have also been unprecedentedlyupgraded and transformed.

As the founder of Xinjiang's heavily coloredlandscape painting and the director of the WesternChina Painting Academy, Mao Xuefeng has beendeeply rooted in Xinjiang for over 20 years. Fromheavily colored landscapes to desert poplar trees,he embodies his strong love and deep emotionsfor the Xinjiang region. In the past two years, as hisartistic skills have become increasinglysophisticated, he has boldly attemptedunprecedented grassland landscape themes. Afterlong-term sketching practice and conceptualresearch, his footprints have spread throughoutInner Mongolia, Gannan, the Hexi Corridor,Qinghai grasslands, as well as India, Russia, theUnited States, Dubai and other countries. Now,Mao Xuefeng's innovative grassland landscapepainting style has been established and achievedremarkable success, and he has become the firstperson in the field of Chinese grassland landscapepainting to establish a school.

新疆重彩山水画的创立者

——《毛雪峰新疆重彩山水画集》序

文/周韶华

中国山水画的发展，几经历史变迁，品类虽同，各有变化。唐有金碧山水，宋有水墨和青绿山水，元有黄公望的浅绛山水，明有仇英的小青绿山水，明清多为水墨山水，现代则出现淡彩渲染山水，但仍以水墨为主。当今画坛出现毛雪峰的重彩新疆山水，这绝非一件小事，应当刮目相看。伴随着时代的发展，人们的审美视觉也发生了转型，在这个生活节奏愈来愈紧张的异化世界里，如何去遥领大自然神秘的回音，表达出诗意、生命、憧憬和情思，这是时代的课题，评论家应当注意到不同时代的这种艺术语言转换的意义。这是我看了毛雪峰近作的第一感觉。

一个严肃的艺术家，应十分重视对现实的感受力、理解力和表现力的提高。对艺术方式的选择，实际上是对生活方式的选择，也是对艺术“场”的选择。生活现场亦即艺术现场。如果想使灵感爆发，获得广阔的自由空间，那就要到对象世界中去感受，去占有自己的艺术世界。这很自然地就要求艺术家通过自己的形式系统去把握自己的这个世界。

新疆地处欧亚大陆的心脏地带，地理气候与中原不同，历经沧桑数变，海水在这里四进四出，形成了以沙漠、戈壁、绿洲和天山、昆仑山脉四大板块构成的神奇独特的地形地貌。用温文尔雅的传统手法和内地画家画山水的办法是画不好新疆山水的，这是大自然逼着画家要重新审视他的现实课题。由于新疆的地势高，在夏天的晚上九、十点钟太阳才会缓缓落在地平线以下，地面才开始慢慢变暗，但高山仍然受到阳光的照射，色彩红彤彤的，这在内地是永远看不到的壮丽景观。还有，新疆有许多地方是雅丹地貌，色彩光怪陆离。大自然本身所具有的色彩就特别富丽多变，这些独特景观在内地生活的画家是无法看到的。过去说“一方水土养一方人”，至于艺术应该说“一方水土养一方画家”。深入生活并非目的，检验作者的最终尺度是看你的“戏”是从哪个“场”排练出来的，或者说你是否能建构起属于自己的艺术“场”。这个“场”就是自己观照的艺术领地，是属于自己特有的艺术世界。毛雪峰出生在大西北，在新疆生活了二十多年，如果毛雪峰不生活在新疆，不爱上新疆，不对新疆山水有独特的感受，也很难设想他能画出重彩新疆山水画，这既是大自然的恩赐，也是画家慧眼识珠。他的“戏”都是从这里排练出来的，自然有别于江南优美雅致的情调，真可谓独树一帜!要实现民族艺术的现代化，要创造我们时代的绘画，就必须严肃地解决这个艺术“场”的问题，唯有如此才能寻觅到艺术的生命之源。某种艺术语言的创新，取决于你身处在什么“现场”，生活在什么环境。在小桥流水旁边就创育不出喜马拉雅山式雄伟的语言。把握一种语言就是把握一种完整的生活方式和艺术方式。艺术语言的界限就是作者所占有的那个世界的界限，否则就很难谈创作的自由和风格语言的自立。艺术语言实质上是主体情感的显形，它植根于自己的历史结构和特定的文化环境。

《不朽的千年胡杨》

一个画家成功的重要条件是看他对生活的积累和其自身所积淀的文化底蕴，但仅有积累而没有对生活的独特性敏感，没有找到对这种敏感的独特语言表现，那也不行。只有具备了对这些自然形色特殊性的敏感，又能找到解决问题的方案，这实际上是审美判断，是在文化底蕴支配下的艺术实践。一个当代画家要想事业有成，还必须明确自己的主攻方向，扣住课题，解决课题，有一条合乎逻辑的推进轨迹，在艺术手段的运用上要保持一贯性，绝不游离于本当解决的艺术本体之外。一旦审美指向定位了，就不屈从于时尚的压力，也不分心去干扰别人，尽可能地不与别人争论那些本体之外的事情，不在本体以外用工夫，对自己的审美指向要“咬定青山不放松”。我认为毛雪峰在艺术上能形成自己风格的原因就在这里。这里我还要强调指出的是，有些人画的山水是“画本所有，活本所无”。相反，毛雪峰的山水画却是“活本所有，画本所无”，这种含蕴辩证的一有一无便有了本质的区别。前者无生机，因循于模仿;后者有生命活力，因起于感受和发现，原创性和开拓力正是毛雪峰新疆重彩山水画的核心价值所在。画家对于自然美元素的感受经过“迁想妙得”，经过转化、积淀、过滤，并不断地提炼升华，最终把自然的生命状态凝聚升华为表情达意的状态，使物我之间完全通达融会，把自然生命与主体生命合成为艺术生命，这才是一种最高境界。

中国是一个有着几千年文化积淀的文明古国。作为国粹之一的中国画，是一个重要的文化载体，是我们得之于前人的一笔宝贵的精神财富。但是，艺术的生命在于创新，既要尊重传统，继承传统，还要能走出传统、开拓创新。艺术家要以全新的视角把艺术置于当今时代的生活和文化情景中，借助古往今来的一切资源和手段，用独特的、富于个性的艺术语言，在这一片广阔自由的天地中施展自己的才华，要站在时代前沿，发时代之先声。上世纪八十年代初，我曾数次沿黄河流域上溯寻源，往复行程三万公里。那次大河寻源，实际上是一次精神之旅，是去探寻“以道藏艺，以艺藏道”的奥秘。我还去探险过千里冰川的长江源头，登上喜马拉雅山海拔六千米高处，上过喀喇昆仑、帕米尔高原、巴颜喀拉山和天山，横跨准噶尔和塔里木两大沙漠，纵横数万里，感悟宇宙大生命。上下五千年，从大千世界中求道，领会那含元抱真的元气，以使现代山水画具有一种吞吐古今的气度和文化意蕴，并努力以超迈的新形态与消极遁世的遗风诀别，这是我西探边陲的重大收获，代价很大，收获是建构起了自己的艺术场。

十多年前我又去新疆，曾见过毛雪峰的画，那时他的画豪情激荡，多为急就章，可能是初到新疆时的冲动，画的东西直来直去，虽鲜活而稍感粗糙。经过多年来不断地探研，他逐渐创作出了具有强烈时代特色又不失地域文化底蕴特征的新疆重彩山水，并架构起了属于自己的艺术体系。明显感觉他现在火候已到，对艺术本体的认知也更加深入，画得严谨而精到，特别是对色彩的运用也更加到位了，这是难能可贵的探索和创造。唐代晚期王维提出“画道之中，水墨为上”的理念，把中国山水画金碧辉煌的色彩给否定了，使水墨画在一定时期发展到了一定的高度，但水墨画不借鉴色彩、不重视造型、不重视现实生活、不重视和广大群众的联系。

针对这个问题，毛雪峰在笔墨语言上进行了大胆突破，坚持对色彩的切入，以色代墨，浓墨重彩，使作品色彩形成了强烈对比，并注重视觉效应和感情变化，把新疆山水富丽奇诡的色彩和中国画的水墨很好地融合起来，创造出了一种适合表现新疆独特地貌和地域文化的色彩语言，在审美上达到和谐统一。毛雪峰还注意汲取西方绘画的表现技法，将中国画的点、线等基本造型手段与西方的块面相结合，以块面的组合构成空间立体感，充分表现了新疆那独特的沙质、风蚀、雨蚀、水蚀性地貌特点和苍茫神奇，壮美雄浑的神韵。有些近作如《天界》、《秋染阿尔泰》、《寂原》、《高山吐乐》、《天地共逍遥》、《一心为祭》、《昆仑紫气》、《洒落的山音》和《天泻》等，画面洗练，单纯统一，色彩典雅富贵，构图饱满，有一种极强的内在张力。手法上也更加成熟，完美呈现出隐含在沉寂荒凉的大自然深处的精神意象。从自然风情的再现，拓展到了艺术精神的表现，这使我对他的进步与提高感到惊奇。

如果他还能唤起当初那种豪情，不是纯理性的，再多一些感性的，手脚再放松些，还会好上加好。但不管怎么说，他的这部画集是他的超越之作，体现了朝气蓬勃的艺术青春，充满着生活的激情和对新疆真诚的热爱，抒发了他内心的强烈感受，是理性思考和感情触发的化合物，展示出了可贵的、独具个性的艺术创造力，这使我感到相当满意。艺术追求不是一次性终结，每一次递进，都是一个分号而不是句号。毛雪峰是一位富于创造精神的画家，我想他还有新的不可回避的难题在等待他拿出解题方案，诸如怎样走向现代，如何图式换型，怎样转换艺术语言，其中有些是要穷其毕生精力才能达到的极致。不过他正在努力拓宽视野和思维空间，不仅是从民族文化传统中，而且也在从人类文化传统中寻找解题方案。我想这就有可能大器晚成，未知雪峰以为然否?

周韶华丨湖北省文联名誉主席、著名画家、理论家