宋衛(wèi)東先生，是一個(gè)涉獵廣泛的藝術(shù)家，早年對(duì)具象繪畫做過深入系統(tǒng)的研究和探索，在大學(xué)時(shí)就是班上寫實(shí)繪畫的嬌嬌者。近年來他對(duì)當(dāng)代繪畫做了深入的思考，正在打破油畫與中國畫的疆域，于繪畫的意像表現(xiàn)上進(jìn)行探索和突破，尋找適合自己的表現(xiàn)形式和屬于自己的繪畫語境。
　　目前，他已找到這種方式的可能性。
　　談到繪畫風(fēng)格的探索時(shí)，宋先生認(rèn)為油畫中的色彩原理和造型原理基本來源于西方的經(jīng)驗(yàn)，但中國傳統(tǒng)繪畫里的平面化和用筆用線哲學(xué)，比西方高明很多，也是現(xiàn)代繪畫藝術(shù)的構(gòu)成核心�，F(xiàn)代繪畫中的形式表現(xiàn)主義，雖然為20世紀(jì)初的西方藝術(shù)家所原創(chuàng)，但在10世紀(jì)前發(fā)明的中國水墨畫中就已經(jīng)體現(xiàn)出這一藝術(shù)特點(diǎn)，這也是西方現(xiàn)代繪畫大師不斷吸取中國繪畫元素的原因。西方繪畫一向重視理性，對(duì)繪畫形式的研究成果很多，而中國畫重意境的表現(xiàn)，浪漫主義色彩比較濃厚。而在西方繪畫中，十九世紀(jì)中期之后，現(xiàn)代繪畫成功地借鑒吸收了東方繪畫之長，在他們的代表人物高更、馬蒂斯、凡高、畢加索等作品中都有著明顯的東方繪畫痕跡，繪畫面貌為之一新，也由此開創(chuàng)了西方現(xiàn)代繪畫的新紀(jì)元。
　　
　　在當(dāng)下世界大發(fā)展大變化的時(shí)代，首先要改變的是繪畫觀念，中國繪畫形式要向多元化發(fā)展，中西結(jié)合多元并進(jìn)是當(dāng)前繪畫藝術(shù)發(fā)展的必然趨勢(shì)。
　　觀宋衛(wèi)東近期作品，明顯看出他在努力借鑒吸收東西方繪畫中的經(jīng)驗(yàn)和成果，并盡力做到兼容并蓄。在他的繪畫表現(xiàn)上，努力擺脫傳統(tǒng)繪畫中對(duì)客觀物象光影和形體的依賴和束縛，使繪畫表達(dá)的視覺藝術(shù)上升到純粹的繪畫語言狀態(tài)，更加注重自身內(nèi)在的主觀精神層面的訴求。在他的油畫中吸取了中國繪畫的大寫意方式，追求意境與氣韻。他的《江南風(fēng)景系列》與《花卉植物系列》撲面而來的就是那種濃郁的東方氣息，但較之其他人的不同，具有很強(qiáng)的書寫性是他繪畫的支點(diǎn)，感人在色彩，畫趣在用筆。在中國畫論中，中國畫用筆之法非常豐富，能表達(dá)出諸多情感。在他的油畫作品中表現(xiàn)出了東方繪畫中揮灑自如的筆觸，畫面中頗為霸氣的筆觸彰顯出生動(dòng)的氣韻，柔而不滑、剛而不僵的線條，構(gòu)成既矛盾又沖突的和諧美。許多作品中他運(yùn)用東方的散點(diǎn)透視構(gòu)圖，給畫面帶來異樣的感受和無限的生機(jī)。他的作品不拘小節(jié)，宏觀入手直抒心意，畫面昭示出作者對(duì)當(dāng)代油畫的獨(dú)特認(rèn)知與高雅的精神指向。用畫家本人的話來講那就是“中西兼容各取所長，兼容并蓄不拘一格”。
　　
　　A Review of Song Weidong’s Painting Works
　　Song Weidong is an artist involved in many artistic fields. In the early years, he did systematic research and exploration into concrete painting. When he was a student in college, he was a forerunner among his classmates in terms of concrete painting. In recent years, he has engaged in deep thinking about contemporary painting. By means of breaking down the boundary between oil painting and traditional Chinese painting, he has endeavored to seek a painting style with its own characteristics.
　　Recently, he has found the possibility of establishing his own style.
　　Looking at recent works by Song Weidong, one can obviously find that he has made an effort to drawn the essence of both eastern and western painting. In terms of painterly expression, he tries to get rid of the reliance on images and shapes of objects in traditional painting, and pays more attention to expressing his own spiritual ideas His oil paintings, among others, draws references from the Chinese painting style in order to pursue the spiritual realm and charm. His Southern China Landscape Series and Flower and Plant Series reflect the strong eastern art style. Eastern perspective techniques are applied to many of his works, just as he asserted that the essence of both east and west should be utilized in the art of painting.
　　

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