刘曦林的花鸟画,我以为是自娱的产物,是平衡纵深的思想获得心灵休整的一种内在精神需要。按照他自己的说法,是爬格之余的散心之作。或有人问其职业,则曰:“周一至周五糟蹋稿纸,周六、周日糟蹋宣纸。”他就是这样一位以书画为生命所需的“乐之者”。20世纪80年代中后期,美术界潮起潮落,风雨几多。在国家级一些美术刊物上,刘曦林的名字印在那些卓然而立的标题下,颇令人瞩目。他的文笔犀利而中肯,试图于杂象之中明晰真相,梳理史迹资料和艺术规律。在对传统的研究,对美术运动的观察中,他自始至终对传统文化保有一份尊重和秉持的心态,但并不僵化地做传统的代言人。他认为艺术史是一部变化史,以继承为基础,以创造为主导,构成了继承与变革的对立统一关系。他以研究的态度、做学问的方法和理性的头脑著文立言,而不是固执己见做权威状,喧哗庙堂之声。在反思 Liu Xilin’s paintings of flowers and birds, I think it is a product of self-entertainment, is an inherent spiritual need to balance the depth of mind to get rest. According to his own statement, it is more than a decent piece of geocentric work. When someone asks for his job, he says: “Monday through Friday, there are drafts of manuscript paper and Saturday, Sunday suicide paper.” “He is such a” musician "who takes painting and calligraphy as his life. In the mid and late 1980s, the ebb and flow of the fine art world was stormy and stormy. In some art galleries at the national level, Liu Xilin’s name is printed under the prominence of the title, quite impressive. His writing is sharp and fair, trying to clarify the truth among the miscellaneous objects, combing the historical data and the law of art. In the traditional study and the observation of the art movement, he kept the traditional culture with respect and upholding mentality from beginning to end, but does not rigidly act as the traditional spokesman. He considered art history as a history of change, taking inheritance as the foundation and creation as the leading factor, forming the unity of opposites and oppositions between succession and change. Instead of adamantly acting as an authority, the sound of the temple, he used the attitude of research, the method of learning and the rational mind to write a text. In reflection