初见王俊英其人其画，脑子里便映现出唐代杜甫诗作《丽人行》中描绘的场景：“三月三日天气新，长安水边多丽人。态浓意远淑且真，肌理细腻骨肉匀。绣罗衣裳照暮春，蹙金孔雀银麒麟……”，传统的唯美气息与古典的油画语言水乳交融，相映成趣。不言而喻，王俊英的油画创作在东方美学的意境理念与西方唯美主义思潮之间进行了一种审美沟通与彼此观照的关系营建。正因如此，她的绘画同时获得了东西方艺术爱好者的青睐。当然，这一切也得益于其长期的海外生活与内心深挚的故土眷恋之情。

　　上世纪九十年代初毕业于鲁迅美术学院的王俊英有着良好的学院派绘画根底，更为重要的是形成了自己坚定的艺术理念，她并没有选择当时东北画派流行的表现主义特征强烈的乡土画风，而是另辟蹊径地将形成于西方19世纪后期的唯美主义作为了自己创作的参照物，从而义无反顾建构出自己的唯美主义风格。回顾艺术史，我们不难发现唯美主义运动第一次确立了“美”的独立价值，对20世纪的艺术产生难以估量的影响：其对感观愉悦的追求、对比喻与象征手法的应用、对造型与色彩间内在联系的探求建立起一个纯粹的“美的王国”。而这也构成了王俊英孜孜以求的绘画方法论，诚如唯美主义绘画大师布格罗所述：“只存在一种画，就是能把毫无瑕疵的美和完善呈现到人们眼前的画。”

　　仔细观察王俊英的绘画发展脉络，我们可以发现她的艺术创作存在着两次重要的转换：从古典到唯美的转换以及由唯美到观念的转换，这其间“唯美“倾向始终作为绘画的核心存在。她的审美构思中，女性是最具典形意义的艺术符号。值得我们思考的是，此种类型的女性艺术形象为什么能引起一个当代画家如此痴迷的关注并贯穿于其创作的始终？这也许是王俊英的唯美主义情结观照于当代文化现象时的一种认知结果，面对今天中国女性社会存在的精神状态，以及她们所代表的文化意义的失落感，画家只有通过理想化的形象来重塑她心目中的“女性之美”。王俊英早期绘画具有典型的学院绘画的古典风格，厚重的颜色与沉郁的气息充斥画面，题材也多以古典情境与或民族风情中的女性为主，其画中的女性造型大多典雅端庄，面部表情温婉沉静。《皇后》、《小新娘》、《苗家院》、《社戏》、《贵妃醉酒》等均以严谨细腻的唯美人物造型与精心营造的背景体现出“高贵的单纯与静穆的伟大”这一古典主义绘画的圭臬。此一时期，王俊英着意强调画面中民族元素与文化符号的运用，尤以民族服饰为甚，充分体现出画家对于当时“油画民族化”这一时代命题的思考。

　　如果说此一时期唯美倾向仅仅是王俊英的趣味与偏好的话，那么很快唯美作为风格便确立于王俊英的绘画创作当中。个人认为此一转向是王俊英绘画中颇为精彩的一笔。尤其值得称赞的是在这次转向中王俊英将其对中国古典美学意蕴的理解充分地融入到画面当中，将中国画的“经营位置”与“应物象形”等概念与西画造型语言进行结合；中国水墨的留白、即兴与西方绘画的笔触、肌理水乳交融；在绘画的美学思想上把工笔绘画境界美与西方绘画的唯美主义结合起来。从形式的角度讲，王俊英探索的意义在于她在绘画语言中找到一种具有辐射性的载体。通过这样一个语言载体，她的唯美情结与绘画理念可以得到恰如其分的体现，同时性情、审美、趣味等个体因素也可以通过这种语言结构予以表达。此外，在语言修辞方面，画家潜意识地将中国古典诗歌的“比兴”手法运用于画面意境的营造当中，画中具有象征与隐喻意味的植物与禽鸟与主体人物间形成了一种“比附”与“兴起”的关系，每一幅画面情境好似《诗经》中描绘的“关关雎鸠，在河之洲”、“蒹葭苍苍、白露为霜”、“杨柳依依，雨雪霏霏”等文学意象的生成。这其中尤以《幽境》、《依偎》、《心语》为最，画面被艺术家渲染成如薄雾冥冥般的灰色调子，人、景、物被高度的统一在一起难分彼此，传统的道家哲学中“素朴混蒙”的色彩观与“物我两忘”、“物我合一”自然观被演绎的丝丝入扣。王俊英的绘画之所以能在精神层面引起观者的共鸣，除了其对传统文化思想的理解与传达外，其个人的感情与画面的融合是另一个重要的原因。王俊英对于绘画的要求是纯净和唯美的，因为她认为这是最适合她的一种情感语言的交流方式，通过画面，我们不难看到一个敞开心扉的艺术家坦城地诉说着她对人生与美的理解和认识。在此一层面来讲，王俊英的绘画在“东西结合”与“内外交融”的艺术思考与实践中迈出了富有成效的一步。

　　王俊英的艺术探索显然没有停留下来，近期她将当代绘画的观念性作为自己创作的又一个实验角度，探索古典形态的美在当下呈现的可能性。在王俊英看来“美”是具有普世性的，如何将美与时代结合起来，使之具有当代的审美意味与意义应是画家深入思考的问题。尤其如何将自己的“唯美情结”与当代审美趣尚融合发酵，促使王俊英进行了再次的艺术转向——即其“唯美主义的观念化”实验。近期王俊英的绘画逐渐摆脱了含蓄安静的画面氛围与淡雅的画面色调，替换为色彩强烈的画面构成关系，画面人物也从抒情的语境中走出，以往画面中景物的“比兴”功能被强烈象征与暗示所替代，如《若水》中的鱼与《如梦》中的红色植物等，不再等同于早先的荷叶、水鸟的抒情作用，而是更加单纯地强调与隐喻作为“个体存在”的女性身份；在《人体》系列中，王俊英更是将女性裸露的性器官与花的意象并置，其中的寓意充分表达了画家对于当代女性在日益物欲化的社会中的存在与处境的思考。此时的王俊英显然已经不再满足于作为艺术品的形式美感而更加关注作为社会主体之人的生存状态，即便画面依然保持了人物唯美的造型与表情，但附着其上的观念已溢于言表。

　　通过两次绘画创作转型，我们不难发现王俊英是一个“思考型”的画家，她对绘画的执着导致她不会停歇的探索，而这不停歇的探索便是她绘画艺术不竭生命力的体现，有着深沉唯美主义情结的画家王俊英下一次艺术创作转型将会带给我们怎样的风格与面貌？不禁令人期待！

武洪滨：博士 批评家

　　Saw Wang Junying and his paintings, mind will show Du Fu of the Tang Dynasty Poems " Twingo " depicted in the scene: " the weather in March 3rd new Changan waters, much beauty. Receptive, aloof, sweet-mannered, sincere, with soft fine skin and well-balanced bone. Their embroidered silk robes in the spring sun are gleaming. With a mass of golden peacocks and silver unicorns. , the traditional aesthetic flavor and classical oil painting language get along swimmingly with each other, gain by contrast. It is self-evident, Wang Junying's paintings in the Oriental aesthetic artistic conception and Western Aestheticism between a kind of aesthetic communication with each other on the relationship building. Because of this, her paintings were obtained while the eastern and Western art enthusiast. Of course, all of this is also due to its long life overseas and inner deep homeland attachment.

　　In the early ninety century graduated from the Luxun Academy of Fine Arts, Wang Junying has a good academic painting foundation, more important is formed his own firm philosophy of art, she did not choose the northeast at that time painting popular expressionist characteristics of strong local style, but other monarch path formed in late nineteenth Century to Western Aestheticism as himself the creation of the reference, to proceed without hesitation to construct their own aesthetic style. Review the art history, we can find the aesthetic movement first established the " beauty" of the independent value, on twentieth Century art have an immeasurable impact on the sense of pleasure: the pursuit of metaphor and symbolism, the application, the shapes and colors of the inherent links between seek to establish a pure " United kingdom ". This also formed Wang Junying diligently strive after painting methodology, as aestheticism painting master Bouguereau said: " there is only one painting, is to bring flawless beauty and perfect present to people before painting. "

　　Careful observation of Wang Junying's painting development, we can find that her artworks have two important conversion: from classical to aesthetic transformation as well as from Aestheticism to idea transformation, during which the " aestheticism " tendency as has always been the core in painting. Her aesthetic conception, the female is the most typical significance of the art symbol. Worthy of our consideration is, this type of female artistic image why can cause a contemporary painter so obsessed with attention and throughout its creation always? This is perhaps Wang Junying's aesthetic view of contemporary culture complex in a cognitive outcome, face today Chinese female social mental state, and they represent the cultural significance of the sense of loss, a painter only through the idealized image to restore her memory " of female beauty ". Wang Junying's early paintings are typical of the classical style of painting, thick color and gloomy atmosphere full of pictures, but more to the classical situation and or ethnic customs in females, the painting of a woman most dignified and elegant shape, facial expressions gentle quiet. " The Queen ", " little bride ", " Miao ", " drama ", in " Drunken Beauty ", are in strict and exquisite aesthetic characters and meticulously create background reflects the " noble simplicity and quiet grandeur " this classical painting standard. In this period, Wang Junying deliberately stressed picture national elements and cultural symbols used, especially in national dress is very, fully reflects the painter for the time of "the nationalization of oil painting " the proposition of this era.

　　Art exploration of Wang Junying apparently didn't stay, she recently contemporary painting concept as their creation and an experimental perspective, exploring the classical form of beauty in the possibility that appears at present. Wang Junying appears in the " beauty" is a universal, how will the beauty and age combined, so that it has a contemporary aesthetic meaning and the meaning should be painters thoroughly ponder. Especially how to be your own " aesthetic complex" and contemporary aesthetic tastes fusion fermentation, prompted Wang Junying out again -- the art to " aesthetic concept of " experiment. Recently Wang Junying's painting gradually get rid of the implicit quiet picture atmosphere and elegant colors, replacement for color picture composition, the figure in the picture from the lyrics in the context of previous screen out, scenery "Bixing " function is a strong symbol and allusion replaced, such as " if " of fish and water " like a dream " in red plants, no longer equivalent to the earlier lotus leaf, Water Bird Lyric effect, but more simply emphasized and metaphor as the "individual " of female identity; in " human " in the series, Wang Junying is the female sexual organs exposed and the juxtaposition of images, which implies the full expression the painter for contemporary women in the increasingly materialized society existence and Pondering over the situation. Now that Wang Junying has apparently no longer satisfied as a work of art in the form of beauty and pay more attention to the people as a social subject existence state, even if the picture still maintained the character aesthetic shape and expression, but attached on its concept already shows between the lines.

　　Through the two painting transformation, we are not difficult to discover that Wang Junying is a " thinking " painter, her painting persistence led to her will not break the exploration, but this does not stop the exploration of her art is inexhaustible vitality, profound aesthetic complex of the painter Wang Junying next art creation the transition will bring us what kind of style and appearance? Could not help but look forward to!

Dr. Wu Hongbin: critic