他称自己是一位“写实”画家,但在他的画面中却见不到生活的细节。他画面中的细节都是飘忽在他特有的气息中的痕迹。若即若离,似是而非,弥漫在闪烁不定的光晕中。他只营造氛围,他只凭记忆梦游般地工作,出出进进,喃喃自语。他懂得生活中的一切与他记忆中的一切是格格不入的。他在创作时尽量排除现实的干扰,或者说在躲避现实,以便脱离这凡俗世界而进入自己的气场。你说他在画画,倒不如说是一种梦呓。如果说俞晓夫钟情于历史题材,毋宁说他是以此为契机表述了他个人对经典艺术的景仰。正如批评家邓平祥先生所说:“历史在他的作品中已不再是编年史和经文……”他的绘画既不像传统绘画那样再现客观世界,也不像抽象绘画那样纯粹从内心的观念出发去解释自然。而是以一种 He called himself a “realistic” painter, but in his picture he did not see the details of life. The details of his picture are all the signs of wandering in his peculiar aura. Ruoyouruowu, paradoxical, filled with flickering halo. He only created an atmosphere, he only by memory sleepy work, out into, muttering. He understands that everything in his life is incompatible with everything in his memory. As far as possible, he dismissed the reality of interference in the creation, or in the avoidance of reality, in order to get out of this secular world and enter their aura. You say that he is drawing more than a dream. If you love Xiaofu love the theme of history, rather he said he took this as an opportunity to express his personal respect for the classic art. As critic Deng Pingxiang said: “History is no longer a chronicle and scripture in his works.” His paintings are neither purely objective and traditional as abstract paintings The idea of ​​the heart to explain nature. But in a kind