刘恚君的绘画作品，不仅能给人们带来视觉上的美感，更能把人们弓|进到深层次的思考，这是我看完刘恚君作品后的最大感觉。

Liu Qijun's paintings can not only bring people visual beauty, but also bring people deep thinking. This is my biggest feeling after reading Liu Qijun's works.

蛇年的腊月，在北京最大画家聚集地宋庄利贞画苑展厅，画家刘恚君和同样也是画家的夫人刘秀娟向笔者介绍了他们的作品及一些创作思路。在三十多年艺术探索中，刘恚君经历了国画的写意，连环画的工笔写实，通俗读物插图的主题提炼和油画哲学思考等一系列艺术实践， 最后形成了自己用物象画面表现抽象哲学内涵的艺术风格。正象美术史学博士、美术批评家及策展人王春辰评价的那样:刘恚君的作品已不被画面形式所束缚，开始向观念层面开拓。

In December of the year of the snake, in the exhibition hall of Lizhen painting garden in Songzhuang, the largest gathering place of painters in Beijing, painter Liu Qijun and his wife Liu Xiujuan introduced their works and some creative ideas to the author. In more than 30 years of artistic exploration, Liu Qijun has experienced a series of artistic practices, such as freehand brushwork of traditional Chinese painting, meticulous realism of comic books, theme extraction of illustrations in popular books and philosophical thinking of oil painting. Finally, he has formed his own artistic style of expressing abstract philosophical connotation with images. Just as Wang Chunchen, a doctor of art history, art critic and curator, commented, Liu Qijun's works are no longer bound by the form of pictures, but begin to develop to the conceptual level.

2007年创作的《现想与现实》就较好地完成了通过作品向读者进行观念的表达:作品画面上用神秘的房屋和神秘的女孩代表现实，一只背后隐藏着毒蛇的苹果象征着理想，女孩子想实现理想的双手被现实的墙体束缚着，不挣开泥潭般的桎梏就够不到苹果(实现不了理想)，够到了苹果又未必是件好事(苹果后边还隐藏着毒蛇)。通过这幅作品，艺术性地表达出了老子“福兮祸所倚"和“螳螂捕蝉黄雀在后的辩证思想。

"Now think and reality" created in 2007 is a good way to express the concept to readers through the work: mysterious house and mysterious girl are used to represent the reality in the picture of the work, an apple with a poisonous snake hidden behind symbolizes the ideal, and the girl's hands to realize the ideal are bound by the wall of reality, and can't reach the apple without breaking free from the shackles of the mire It's not necessarily a good thing to reach the apple. Through this work, it artistically expresses Lao Tzu's Dialectical Thoughts of "fortune comes with misfortune" and "mantis catches cicadas and yellow sparrow comes after".

《理想与现实》作品中束缚女孩儿双手的桎梏可理解为制度的牢笼，也可理解为思想的保守，更可能是观念的陈旧。这幅作品给人的启发是:冲破束缚就能达到目地，实现理想后更要防止乐极生悲。这幅作品在当今物欲横流的现实中，更透出了深刻的警示意义。

The shackles of the girl's hands in ideal and reality can be understood as the cage of the system, the conservatism of the thought, and more likely the outmoded idea. The inspiration of this work is: to break through the shackles can achieve the goal, to achieve the ideal, but also to prevent extreme joy. In today's materialistic reality, this work shows a profound warning significance.

《寻道》是刘恚君特意推介的作品之一,在一所四面纸墙的房子里，道(出路)在哪里?画面里的主人捅开纸墙已找到了出路，刘患君就是想用这幅作品说明任何“道”都是一层纸，捅破了就是豁然通途。

"Seeking the way" is one of the works specially recommended by Liu Huijun. In a house with four paper walls, where is the way out? The master in the picture has found a way out by poking open the paper wall. Liu Youjun just wants to use this work to show that any "way" is a layer of paper, and if it is broken, it is a sudden way out.

与《寻道》有异曲同工之妙的《自寻烦恼》，是以不可能存在的框架表示这是一一个人们臆想中的精神樊笼,加之貌似束缚人的绳索，归结为烦恼自寻作品内容预示了带给生命痛苦的种种滞碍无不困于一心，不过是心生一念、执着一念而已。“凡所有相，皆是虚妄。若见诸相非相，即见如来。”参禅之人当从这幅作品中受到启发。现实生活中预先幻想出一种结果最后这种心理暗示影响一辈子生活的事例比比皆是，特别是夫妻间的猜疑。

Looking for trouble, which is similar to seeking the way, is expressed in an impossible framework. It is a spiritual cage that people imagine. Together with the rope that seems to bind people, it can be summed up as looking for trouble. The content of the work indicates all kinds of obstacles that bring pain to life. All of them are trapped in one mind, but they are just thinking about it. "All appearances are illusory. If you see that all appearances are not appearances, you will see the Tathagata. " People who participate in Zen should be inspired by this work. In real life, there are many cases of imagining a result in advance. Finally, this kind of psychological hint can affect the whole life, especially the suspicion between husband and wife.

《墙》是一幅最让人感觉意味深长的作品:作者用一面贴着禁令的围墙象征着法律和制度，墙体的缝隙中，一漂亮的美女正侧身而过，墙下的洞中一条狗已钻墙过了前半身。通过巧妙地用女暗示着特殊人物可钻法律空隙和没有人性的畜类破坏法律的现象。从中可看出画家对社会观察的深入和艺术表现手法的高超。

"The wall" is one of the most meaningful works: the author uses the wall with a ban to symbolize the law and system. In the gap of the wall, a beautiful beauty is passing by, and a dog has passed the front half of the wall in the hole under the wall. By skillfully using women to imply that special people can get through the legal gap and that animals without humanity destroy the law. It can be seen that the painter's in-depth observation of society and superb artistic expression.

近年来全球变暖、臭氧层破坏、酸雨、淡水资源危机、能源短缺、森林资源锐减、土地荒漠化、物种加速灭绝、垃圾成灾、有毒化学品污染等众多方面等环保问题已引起了全世界的关注，如何通过艺术作品表现出人类赖以生存的地球资源正在枯竭，危及生灵现象越发严重，唤起人们保护人类生存资源的责任感不时地折磨着刘恚君的心灵。

In recent years, global warming, ozone layer destruction, acid rain, fresh water crisis, energy shortage, sharp reduction of forest resources, land desertification, accelerated extinction of species, garbage disaster, toxic chemical pollution and many other environmental problems have attracted the attention of the world. How to show the depletion of the earth's resources for human survival through art works, and the phenomenon of endangering life is becoming more and more serious It arouses people's sense of responsibility to protect human survival resources and torments Liu Qijun's soul from time to time.

2010受玛雅预言2012年人类大劫难的启发，刘恚君终于创作出了令人震撼的《搁浅的小舟》。这幅高100cm长220cm的作品画面色调凝重深沉，一-只载着唯一-生命的小木船搁浅在各种生物的骸骨之上，周边是沙漠和枯木，没有阳光没有水，整个画面的死亡气息直逼读者，画家用这样夸张的表现手法，令人有一种再不保护生态环境，小船上唯一能繁衍生命的女人也将消失的感觉。

Inspired by Maya's prediction of human catastrophe in 2012 in 2010, Liu Qijun finally created the shocking "stranded boat". The painting is 100cm high and 220cm long. The color of the painting is dignified and deep. A wooden boat carrying the only life is stranded on the bones of various creatures, surrounded by desert and dead wood, no sunshine and no water. The whole painting is full of death breath. With such exaggerated expression, the painter makes people feel that the only woman on the boat can reproduce life without protecting the ecological environment It's going to disappear.

好的艺术作品无不具备两种功能:愉悦情感和启迪心灵。刘恚君的作品就已经具备了这样的功能。

Good works of art all have two functions: pleasure and inspiration. Liu Qijun's works already have such a function.

刘恚君1956年生于河北滦县。毕业于河北工艺美校(现河北大学工艺美术学院)。后于徐悲鸿画室进修。《长长的红 土路》参加1991油画年展;《一 个并非不很不-般的织布机》1994年参加首届中国静物油画展;《喜 酒》参加1994新铸联杯中国画油画展，并在1996年参加太平洋国际拍卖公司的油画雕塑精品拍卖并拍出;多幅作品分别赴美国、 加拿大、澳大利亚、泰国、马来西亚、日本及香港、台湾等地展出并被收藏家收藏;出版有《刘恚君油画作品集》。

Liu Qijun was born in Luan county, Hebei Province in 1956. Graduated from Hebei Arts and crafts school (now Hebei University School of Arts and crafts). Later, he studied in Xu Beihong's studio. "Long red clay road" took part in 1991 oil painting annual exhibition; "a loom that is not very unusual" took part in the first China still life oil painting exhibition in 1994; "wedding wine" took part in 1994 xinzhulian cup Chinese oil painting exhibition, and took part in the auction of oil painting and sculpture essence of Pacific International Auction Company in 1996; His works have been exhibited in the United States, Canada, Australia, Thailand, Malaysia, Japan, Hong Kong and Taiwan, and have been collected by collectors.

专门跟踪并收藏刘恚君作品的油画收藏家刘水感慨道:当今中国艺术家思想空前活跃，艺术流派纷呈，油画创作也受到世界关注，与此同时，大江东去泥沙俱下多少投机取巧的劣作、伪作在所谓学术包装下欺世盗名，假拍、天价、商业神话-个接一个。

Liu Shui, an oil painting collector who specializes in tracking and collecting Liu Qijun's works, laments that today's Chinese artists are unprecedentedly active in thinking, with various artistic schools, and oil painting creation has also attracted worldwide attention. At the same time, many opportunistic inferior works and fake works have been cheated under the so-called academic packaging, with fake photos, sky high prices, and Business Myths one after another.

但历史是试金石，泡沫终将破灭，那些真正守得住孤独、埋头创作的艺术家才是我们民族艺术中兴的希望所在，这是大师的必由之路，刘恚君就是其中的代表。

Touchstone is the only way which must be passed by. The artists who are truly able to live alone and buried in creation are the only way to our national art. This is the only way for the great masters. Liu Huijun is the representative.

刘恚君在谈到他的艺术感悟时说，我喜欢艺术和现实保有一定的距离感， 比如人们喜欢旅游无非是想看一些与日常生活有所区别的景物，太司空见惯的事物会令人麻木甚至厌倦，不过太脱离现实天马行空如科幻又不太容易与人产生共鸣，所以我表现的也未脱离现实，只是换了个角度，换了角度就使人产生陌生感，陌生的东西就会令人觉得神秘，神秘的东西就会吸引人多看上一-眼半眼的，这样我就算是没白费心思画它了。

When talking about his artistic perception, Liu Qijun said that I like the sense of distance between art and reality, For example, people like to travel just because they want to see something different from their daily life. Things that are too common will make people numb or even tired. However, they are too far away from reality, such as science fiction, and it is not easy to resonate with people. Therefore, what I show is not far away from reality. I just change my angle, which will make people feel strange and strange things will make people feel strange Get mysterious, mysterious things will attract people to see more - half an eye, so I don't waste my time painting it.

能理解刘恚君这么多年甘守寂寞埋头创作的还有他的画家妻子刘秀娟，如果说刘恚君的作品凝重深刻引人思考的话，刘秀娟的作品就温馨恬静充满生活情趣。他们夫妻在创作.上的相互补充共同提高的故事也将成为研究刘恚君艺术成就的内容之一。

Liu Xiujuan, the painter's wife, can understand Liu's loneliness for so many years. If Liu's works are dignified and deeply thought-provoking, Liu's works are warm, quiet and full of life interest. The story of their husband and wife's complementary and common improvement in creation will also become one of the contents of the study of Liu Qijun's artistic achievements.

郝连成采写于2014年1月北京通州

Hao Liancheng wrote in Tongzhou, Beijing in January 2014