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人世间所有的事物都是可以入画的。只要画家愿意，一丝风吹草动、一行长空飞雁、一涧高山流水、一沟树木葱浓，凡此种种皆可落托系绾于心，赋其形神意韵于画布之上，艺术之美就感天动地。
在中国西部，四川盆地向青藏高原逐步抬升的群山之中，有一条名叫岷江的古老河流在群山中滔滔奔流，它穿过茫茫岁月，终于雕塑了一片富甲一方的肥沃土地——成都平原。岷江的上游是羌族聚居地，这里有座美丽的校园，这就是雪山草地儿女热情向往的名叫阿坝师范高等专科学校，它在全国高校中虽然显得普通、娇小，但不乏艺术和科学的神圣生命与知识的优美，这里的许多教师和学生，都在创造着美丽。
罗晓飞作为美术系的一名教师，在传播知识教育学子的同时，也与同行艺术家一道，积极思索着艺术与生活的关系、生命与艺术的本质，并将独到的思考付之于油画的创作实践，不断创造着富有个性的艺术作品，它创作的油画“羌山落雪”系列便是其中之一。
罗晓飞以现实主义的态度审视世界和心灵之间的距离，冷静地表达着自我对于岷江羌山的一种关注，对于生命、生活，乃至精神、灵魂的一种艺术探索和叩问。可以说，《羌山落雪》是罗晓飞作为一个艺术家，对于少数民族生存状态与羌族生存哲学的发自内心的一份体验和一种人文关怀。为将这种深层的关怀和冷峻挚爱表达出来，画家将背景选择在自然界四季轮回中的冬季：这是个天地沉寂、万物萧条、心绪迟慢的冷冻时期，许多的动植物都进入到了相对静止的一种生存状态，“北国风光，千里冰封，万里雪飘”，幽深的岷江河谷以及那高高的羌山之上，羌族这个古老民族是否也一样进入到了隐形索居的沉寂状态呢?罗晓飞一次一次、一年一年地翻山越岭去发现，去感受，去求证，终于以生动感人的油画语言，向世界讲述着一个历史真实：《羌山落雪》。
从语意和语境上来说，《羌山落雪》所蕴涵的内容，更多侧重的是自然之境，风光之趣。这里高山巍峨，白雪茫茫，山河悄静，村庄沉默。但事实上作为一个关注现实的艺术家，一个追问灵魂动静的人，罗晓飞的笔墨所在、艺术美所在、思想主旨所在是以层层落雪为背景，展示出冷酷环境下人和族种的一种精神状态和生存哲学，表达出了一个画家对于生长在寂寂黄土上、巍巍群山中的羌族族群、羌族村庄、羌族女性和羌族母性的真诚关怀、深刻崇敬和恒久热爱。
油画《羌山落雪》系列主体风格都是人与自然的完美统一，远近动静的和谐组合，轻重厚薄的自由相称。迷蒙的山色，纯洁的雪色，暗红的土色，坚强的行色，共同演绎着羌山绝妙的天籁之音。《羌山落雪》中的《牛与人》，在阒静安宁的村庄中，牛与人从哪里来，到哪里去，让人一目了然，羌族妇女背负的一背木柴便是解答的钥匙：回家。但是那牛呢？它是妇女背柴的一个伴侣还是妇女出行放牧的一个任务？满山都是雪啊，哪里有吃喝的呢？由此看来牛应该是陪伴，不过仅仅如此也不是，也许因为整个冬季牛羊都被禁锢在家的畜圈当中，让它出行散步、见见天光不免也可以成为妇女出行的理由和目的，捡柴背柴只是一个顺路和顺便。女人和牛已经进入村庄，就要回到家中了，柴火顷刻间就要在家的火塘中熊熊燃烧起来，一家温饱与饮食也将得到温馨起来，这，也许才是画面妙趣的真正所在。
《羌山落雪》中的《母与子》，描写了人的母与子和牛的母与子：高山之上，层层梯田如云缭绕，积雪之中，牛的母与子和人的母与子紧紧偎依在一起，他们和它们是准备进一步深入梯田还是即将回到家中，看来这些并不重要，重要的是牛对人的依恋，人对牛的信赖。在博大神秘的自然面前，村庄安详、母子风雪无阻、人牛坚强镇定，让人感到他们和它们像大雪一样的雪白晶莹，岁月一样的恒久感人，整个画面实际上是画家的人生坦白和心灵流露。
《走巷子》画了一个羌族女孩头顶一层白雪，身着绣满花纹的红色长衫，手里拿着自己挑花刺绣的物件，站在大雪落定的巷子里，与隔墙的村人招呼着，神态从容、随意、自然，而巷子尽头，一个背柴的女人正在坚稳地行走着。此时此景中的两个女人，是两朵朴素而奇异的雪莲花，她们真实地开放在羌山之上，永不凋谢！
画面上展现的是黄泥筑砌而成的寨楼房背连着房背，也展现了古羌人独特的建筑风格。此时此刻一尘不染的冰雪将所有的生命都覆盖起来、封存起来，它让喧闹的村庄变得极其宁静而安详，这就是《村庄和女孩》所展示的意蕴。有人说冬是个稻草人不懂得浪漫，也有人说冬个性怪僻、喜怒无常，时常纵容凛冽的北风肆虐。不！冬是健康美丽的，那站立在房背上的羌族姑娘，那微黑的肌肤、那大红色的羌绣挑花编织成的美丽长衫，在白雪的美景中谁还能抵抗她冰晶玉洁的魅力？也许这就是画家的最爱：美丽而不妖艳、浪漫而不轻狂、深沉而不阴郁的冬之姑娘。
羌族社会中看来平凡而熟悉的一景一人、一物一态，经过画家深情的眼眸和五彩笔，加上画家那流淌着的心血、才情和思想，终于深深地烙进了艺术的世界、审美的天地，它像火焰一样激荡在人的内心，温暖着朴实而高贵的生命。
（本文作者为《羌族文学》执行副主编）
Paintings Illustrate Qiang Ethnic Life
By Yang Guoqing
Luo Xiaofei, an art teacher with the Aba Teachers College in southwestern China’s Sichuan Province, is also a highly creative oil painter. The college is located in the upper reaches of the Min River where the Qiang ethnic people live among mountains that rise and connect with the Qinghai-Tibet Plateau. No wonder Luo’s paintings are closely associated with the Qiang people. His recent creations entitled Snowfall on the Qiang Mountains reflect his artistic exploration into and concerns with the life and spirit of the minority.
The oil paintings in this series seemingly focus on the natural landscape: snow-capped mountains tower magnificently with the river flowing quietly and villages lying smugly in the valley. However, Luo highlights the Qiang ethnic people’s emotions and life philosophy against the backdrop of hard living conditions.
Are they recluses living away from the world in the deep river valley flanked by towering mountains? Luo’s latest artworks constitute an inspirational endeavor to artistically answer a series of questions about the people.
In a painting entitled A Cow and A Woman, a woman carries a stack of firewood on her back accompanied by a cow. The woman is on her way back home, but why is the cow out in the snowy land? In the winter, the Qiang people keep their domestic animals corralled from the cold. The cow is out probably because the woman wants it to take a stroll or she wants to have a companion. Now the journey is over and the woman is soon to be home to prepare food. The painting shows infinity between the woman and the cow.
Mother and son delineates the trustworthy relations between the old and the young, the people and the animals in the vast mythical nature.
A Village Lane is anther description about human relations in a Qiang village. A girl in a long red dress lounges in a snow-covered village lane, chatting casually with fellows on the other side of a wall. In the distance, a firewood-carrying woman trudges steadily past. The two women in contrast combine to display their wills to live under the circumstances.
The Village and A Girl describes the living attitude of the Qiang People. The tawny mud houses lean tightly against each other in a unique architectural style of the Qing people. Wrapped up in pure snow, the village looks pure and serene. The girl looks a little swarthy in complexion, her bright red dress in the Qiang-style embroidery showing off her healthy charm.
The artist interprets his understanding of the people superbly. He brings their life into the world of art, and brings the audience in close contact with the Qiang people’s life which is simple, warm, and noble.
(Translated by David)
在中国西部，四川盆地向青藏高原逐步抬升的群山之中，有一条名叫岷江的古老河流在群山中滔滔奔流，它穿过茫茫岁月，终于雕塑了一片富甲一方的肥沃土地——成都平原。岷江的上游是羌族聚居地，这里有座美丽的校园，这就是雪山草地儿女热情向往的名叫阿坝师范高等专科学校，它在全国高校中虽然显得普通、娇小，但不乏艺术和科学的神圣生命与知识的优美，这里的许多教师和学生，都在创造着美丽。
罗晓飞作为美术系的一名教师，在传播知识教育学子的同时，也与同行艺术家一道，积极思索着艺术与生活的关系、生命与艺术的本质，并将独到的思考付之于油画的创作实践，不断创造着富有个性的艺术作品，它创作的油画“羌山落雪”系列便是其中之一。
罗晓飞以现实主义的态度审视世界和心灵之间的距离，冷静地表达着自我对于岷江羌山的一种关注，对于生命、生活，乃至精神、灵魂的一种艺术探索和叩问。可以说，《羌山落雪》是罗晓飞作为一个艺术家，对于少数民族生存状态与羌族生存哲学的发自内心的一份体验和一种人文关怀。为将这种深层的关怀和冷峻挚爱表达出来，画家将背景选择在自然界四季轮回中的冬季：这是个天地沉寂、万物萧条、心绪迟慢的冷冻时期，许多的动植物都进入到了相对静止的一种生存状态，“北国风光，千里冰封，万里雪飘”，幽深的岷江河谷以及那高高的羌山之上，羌族这个古老民族是否也一样进入到了隐形索居的沉寂状态呢?罗晓飞一次一次、一年一年地翻山越岭去发现，去感受，去求证，终于以生动感人的油画语言，向世界讲述着一个历史真实：《羌山落雪》。
从语意和语境上来说，《羌山落雪》所蕴涵的内容，更多侧重的是自然之境，风光之趣。这里高山巍峨，白雪茫茫，山河悄静，村庄沉默。但事实上作为一个关注现实的艺术家，一个追问灵魂动静的人，罗晓飞的笔墨所在、艺术美所在、思想主旨所在是以层层落雪为背景，展示出冷酷环境下人和族种的一种精神状态和生存哲学，表达出了一个画家对于生长在寂寂黄土上、巍巍群山中的羌族族群、羌族村庄、羌族女性和羌族母性的真诚关怀、深刻崇敬和恒久热爱。
油画《羌山落雪》系列主体风格都是人与自然的完美统一，远近动静的和谐组合，轻重厚薄的自由相称。迷蒙的山色，纯洁的雪色，暗红的土色，坚强的行色，共同演绎着羌山绝妙的天籁之音。《羌山落雪》中的《牛与人》，在阒静安宁的村庄中，牛与人从哪里来，到哪里去，让人一目了然，羌族妇女背负的一背木柴便是解答的钥匙：回家。但是那牛呢？它是妇女背柴的一个伴侣还是妇女出行放牧的一个任务？满山都是雪啊，哪里有吃喝的呢？由此看来牛应该是陪伴，不过仅仅如此也不是，也许因为整个冬季牛羊都被禁锢在家的畜圈当中，让它出行散步、见见天光不免也可以成为妇女出行的理由和目的，捡柴背柴只是一个顺路和顺便。女人和牛已经进入村庄，就要回到家中了，柴火顷刻间就要在家的火塘中熊熊燃烧起来，一家温饱与饮食也将得到温馨起来，这，也许才是画面妙趣的真正所在。
《羌山落雪》中的《母与子》，描写了人的母与子和牛的母与子：高山之上，层层梯田如云缭绕，积雪之中，牛的母与子和人的母与子紧紧偎依在一起，他们和它们是准备进一步深入梯田还是即将回到家中，看来这些并不重要，重要的是牛对人的依恋，人对牛的信赖。在博大神秘的自然面前，村庄安详、母子风雪无阻、人牛坚强镇定，让人感到他们和它们像大雪一样的雪白晶莹，岁月一样的恒久感人，整个画面实际上是画家的人生坦白和心灵流露。
《走巷子》画了一个羌族女孩头顶一层白雪，身着绣满花纹的红色长衫，手里拿着自己挑花刺绣的物件，站在大雪落定的巷子里，与隔墙的村人招呼着，神态从容、随意、自然，而巷子尽头，一个背柴的女人正在坚稳地行走着。此时此景中的两个女人，是两朵朴素而奇异的雪莲花，她们真实地开放在羌山之上，永不凋谢！
画面上展现的是黄泥筑砌而成的寨楼房背连着房背，也展现了古羌人独特的建筑风格。此时此刻一尘不染的冰雪将所有的生命都覆盖起来、封存起来，它让喧闹的村庄变得极其宁静而安详，这就是《村庄和女孩》所展示的意蕴。有人说冬是个稻草人不懂得浪漫，也有人说冬个性怪僻、喜怒无常，时常纵容凛冽的北风肆虐。不！冬是健康美丽的，那站立在房背上的羌族姑娘，那微黑的肌肤、那大红色的羌绣挑花编织成的美丽长衫，在白雪的美景中谁还能抵抗她冰晶玉洁的魅力？也许这就是画家的最爱：美丽而不妖艳、浪漫而不轻狂、深沉而不阴郁的冬之姑娘。
羌族社会中看来平凡而熟悉的一景一人、一物一态，经过画家深情的眼眸和五彩笔，加上画家那流淌着的心血、才情和思想，终于深深地烙进了艺术的世界、审美的天地，它像火焰一样激荡在人的内心，温暖着朴实而高贵的生命。
（本文作者为《羌族文学》执行副主编）
Paintings Illustrate Qiang Ethnic Life
By Yang Guoqing
Luo Xiaofei, an art teacher with the Aba Teachers College in southwestern China’s Sichuan Province, is also a highly creative oil painter. The college is located in the upper reaches of the Min River where the Qiang ethnic people live among mountains that rise and connect with the Qinghai-Tibet Plateau. No wonder Luo’s paintings are closely associated with the Qiang people. His recent creations entitled Snowfall on the Qiang Mountains reflect his artistic exploration into and concerns with the life and spirit of the minority.
The oil paintings in this series seemingly focus on the natural landscape: snow-capped mountains tower magnificently with the river flowing quietly and villages lying smugly in the valley. However, Luo highlights the Qiang ethnic people’s emotions and life philosophy against the backdrop of hard living conditions.
Are they recluses living away from the world in the deep river valley flanked by towering mountains? Luo’s latest artworks constitute an inspirational endeavor to artistically answer a series of questions about the people.
In a painting entitled A Cow and A Woman, a woman carries a stack of firewood on her back accompanied by a cow. The woman is on her way back home, but why is the cow out in the snowy land? In the winter, the Qiang people keep their domestic animals corralled from the cold. The cow is out probably because the woman wants it to take a stroll or she wants to have a companion. Now the journey is over and the woman is soon to be home to prepare food. The painting shows infinity between the woman and the cow.
Mother and son delineates the trustworthy relations between the old and the young, the people and the animals in the vast mythical nature.
A Village Lane is anther description about human relations in a Qiang village. A girl in a long red dress lounges in a snow-covered village lane, chatting casually with fellows on the other side of a wall. In the distance, a firewood-carrying woman trudges steadily past. The two women in contrast combine to display their wills to live under the circumstances.
The Village and A Girl describes the living attitude of the Qiang People. The tawny mud houses lean tightly against each other in a unique architectural style of the Qing people. Wrapped up in pure snow, the village looks pure and serene. The girl looks a little swarthy in complexion, her bright red dress in the Qiang-style embroidery showing off her healthy charm.
The artist interprets his understanding of the people superbly. He brings their life into the world of art, and brings the audience in close contact with the Qiang people’s life which is simple, warm, and noble.
(Translated by David)