中外批评家评胡志颖的艺术
Chinese and Foreign Critics on Hu Zhiying’s Art

        个体的深度性和独立性才能真正地表现自由，因为自由永远不是从外部来的，它是内在的生成，它来自自由的品质本身。所以，从这个意义上讲，自由永远不属于流行大众，而只属于孤独的行者。不加入时尚，始终默默地在如何书写和视觉化这个终极关怀方面双向探索，胡志颖就是其中的一位。

——高名潞（《孤独行者的自由》，海风出版社，2011）

It is an individual’s profoundness and independence of this kind that make it possible to truly express freedom, for freedom never comes from external things but instead it comes from within, and from free quality itself. In this sense, therefore, freedom never belongs to common people who follow the trend but only belongs to lonely passengers. They have the common characteristic of keeping away from fashion and making two way exploration in writing about and visualizing ultimate concern. Hu Zhiying is one of them.

——Gao Minglu (“Freedom of a Lonely Passenger”, Haifeng Publish House, 2011)

        胡志颖命题奇异，思路幽玄，很有一些特立独行的游侠色彩。

——赵一凡（《文学彼岸性研究•序》，中国社会科学出版社，2003）

Hu Zhiying, with his unusual propositions and profound and abstruse trains of thought, is something of an independently minded roving brave.

——Zhao Yifan (Preface to “On the Paramitality in Literature”, China Social Sciences Press, 2003)

胡志颖正是重视于意识的过程，以意识的过程来表述文化的状态。于是，在他的画面，意识一层层地展开，文化的影像层叠显现出来，追问、怀疑、撞击成了文化意识本身。

——王璜生（《江苏画刊》，江苏美术出版社，1997）

Hu Zhiying thinks highly of the process of consciousness and represents the state of culture with it. So in his paintings, consciousness is unfolded layer by layer and cultural images emerged; questioning, suspecting and colliding become the cultural consciousness itself.

——Wang Huangsheng (Jiangsu Art Monthly, Jiangsu Fine Arts Publishing House, 1997)

80年代中期之后的中国美术对欧美现代艺术的吸收与仿效并不是按欧美现代艺术发展轨迹而复述的，而是在“同时性”中效制“历时性”的行动，在这一行动中所展示的样式即是多元同发的……胡志颖的《伪望远镜》分别在多元的探索中为今日中国画坛所瞩目与肯定。

——张晴（《新中国美术文献博物馆》，2001，黑龙江教育出版社）

Chinese art after the mid-1980s does not repeat the course of development of European and American modern art when absorbing and imitating modern art of Europe and America. Instead, it takes an action of imitating “diachronic” things in a “synchronic” way, and diversified modes of art are manifested simultaneously in this action….Hu Zhiying’s Pseudo-Telescope, for its manifold exploration, becomes the focus of public attention and is approved in the painting circles of China today.

——Zhang Qing (Museum of Art Documents in New China, Heilongjiang Education Press, 2001)

阅读胡志颖的作品给人一种东方虚化境界的感受，而他对整个画面的光滑的处理又提醒我们面对一个物质的实存空间。画布、画板以及材料的色彩、形态、质感把我们所体验到的虚化境界悬隔在物质空间之外。

——赵冰（《当代艺术》，湖南美术出版社，1993）

When beholding Hu Zhiying’s work, we are impressed by its etherealness peculiar to Oriental art, while we are reminded by the smooth effect of the whole painting that we are confronted with a substantial space. The canvas, the panel and the colors, forms and textures of materials exclude the etherealness we have sensed from the material space.

——Zhao Bing (Contemporary Art, Hunan Fine Arts Publishing House, 1993)

胡志颖的作品形式新颖、含义多元而蕴涵着永恒、庄严之美，从而构筑了一种“高贵的世界”（马尔库塞语），十分难得。他的艺术就是他自己的性灵独白。
胡志颖的作品的意义不仅仅是对中西方艺术的融合，他对经典艺术的引用不是简单的引用，更重要的是对经典的东西方艺术（包括传统和现代）的重构，即在东方和西方的伟大艺术成就基础上重造艺术，创造出属于他自己的艺术。

——青宇（《胡志颖作品集》，海风出版社，2011）

With their novel style, diversified implications and eternal and imposing beauty, Hu Zhiying’s works, very valuable, constitute a “noble world” (Herbert Marcuse). His art is a monologue of his own soul.
The significance of Hu Zhiying’s art lies not only in his combination of Chinese and Western art. He does not make use of classical art in a simple way. What is more important is the reconstruction of classical Eastern and Western art (including traditional and modern),i.e., he reshapes art on the basis of the great artistic achievements of the East and the West and creates his own art.

                     ——Qing Yu (A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

在胡志颖的作品中，我们似乎感到他个人文化影像的一层层剥离和呈现、一次次拆解和重组，而同时，这种文化影象却又不仅仅是个人的意义，而是一次次地指向更广阔的地域和文化空间，对重大的文化构成提出既具有理性又充满激情的质疑。

                              ——王璜生（《文化权力的无常——解读胡志颖》，江苏美术出版社，1997）

In Hu Zhiying’s works, it seems that we could sense his uncovering and representing, dissembling and re-grouping of his personal cultural images again and again. While at the same time, these cultural images not only have personal significance, but also refer to wider regional and cultural spaces, proposed rational and willful questions of important cultural structures.

                              ——Wang Huangsheng (The Transiency of Cultural Power – Reading Hu Zhiying, Jiangsu Fine Arts Publishing House, China, 1997)

胡志颖的作品均为综合材料，材料的具象性正是在它自身与其所负载的艺术含义之间，脱离直接关联的变异中失却其具象性质，而受限于艺术的自律性。媒介材料的具体物质性与其在艺术作品中所呈现的抽象性之间又产生一种悬隔。是靠作为与现实世界等量齐观的艺术现实本身还是靠对现实世界的诠释，恐怕是难以解决的，也许这是不必纠缠的一个形而上问题，切入其语言言说的句词之中进行分辩也许是最终的目的。

——《中国当代美术家图鉴》（京华出版社，1995）

Mixed media is used in Hu Zhiying’s works without exception. The lack of direct link between the materials and the artistic meanings they carry deprives the materials of their figurative nature and subjects them to the autonomy of art. A gap arises between the concrete materiality of the materials and the abstractness they manifest in works of art. It is difficult, I am afraid, to decide whether we should base our understanding on the artistic reality itself on a par with the real world or on the explanation of the real world. Perhaps this is a metaphysical problem unnecessary for us to be involved in. Maybe our final aim is to analyse the context of the artistic language.

——Pictorial Book of Contemporary Chinese Artists (Jinghua Publishing House, 1995)

胡志颖运用中国传统题材，并以难以想象的特殊技巧将耀眼的红色和黄色恰如其分地协调在巨幅画面上。其艺术是通过多元美学观念直率地阐说画中的象征意义。

—— [欧洲] 巴巴拉•罗曼（《胡志颖作品集》，海风出版社，2011）

Hu Zhiying uses traditional subject matters of China and harmonizes dazzling red and yellow appropriately on his huge paintings with an unimaginable special technique. His art lies in the straightforward expounding of the symbolic meanings in his paintings through diversified aesthetic concepts.

——Barbara Rollmann (A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

胡志颖的画面运用金粉、银粉和中国大漆形成闪光的效果，而这种效果在中国艺术中是最容易引起争议的。但这正是他艺术之所在：利用外来文化同时又瓦解它使之渗透到自己的传统之中。

—— [德] 萨比内•阿德勒（《胡志颖作品集》，海风出版社，2011）

The use of gold powder, silver powder and Chinese lacquer in Hu Zhiying’s paintings brings about a shining effect, an effect easiest to arouse controversy in Chinese art. However, this is exactly where his art lies: making use of foreign cultures but at the same time disintegrating them and incorporating them into his own tradition.

—— Sabine Adler (A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

胡志颖的艺术蕴藏着他对中国古典文化的深刻眷恋，他将这种眷恋融合西方当代艺术的奇异方式体现其个人化的实验不为时尚所左右。

—— [德] 克劳迪亚•泰布勒（《胡志颖作品集》，海风出版社，2011）

Hu Zhiying’s deep affection for Chinese classical culture is contained in his art. The unusual ways in which he combines this affection with Western contemporary art indicate that his individualized experiment is not influenced by any fashion.

——Claudia Teibler (A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

胡志颖的艺术把经典的传统西方艺术如塞尚和诸如安塞尔•亚当斯这种西方现代摄影巧妙地交织于经典的中国艺术形式之中。

                            —— [欧洲] 冯•彼得•米夏茨克（《胡志颖作品集》，海风出版社，2011）

Hu Zhiying’s art skillfully interweaves classical and traditional Western art such as Cezanne’s and Western modern photography such as Ansel Adams’s with classical Chinese art form.

——Von Peter Michalzik (A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

胡志颖的绘画方式是解构中西方艺术的不同元素而后综合之。胡志颖用西方的材料表现中国艺术的因素并体现饶有个性的平整的表面效果，从而使其艺术富于复合的现代意义。

—— [德] 英格•林德曼（《胡志颖作品集》，海风出版社，2011）

Hu Zhiying’s mode of painting lies in the disintegrating and subsequent integrating of different elements of Chinese and Western art. Hu Zhiying expresses elements of Chinese art with Western materials and enhances the distinct flat effect of the painting surface so that his art is full of multiple modern meanings.

——Inge Lindemann (A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

胡志颖的画面常常是多种物象的综合，作为物象的背景与背景中的物象往往交替互换。胡志颖的作品真正例示了他所谓的“文化反差”具体而又抽象的感知范围，当人们意欲追溯这种感知范围的历史原型时，当人们意欲追究其母题与主题的联系时，却又很容易陷入画中不可名状的虚化的梦境之中。其作品中呈现的那些具体物质材料把一种古典色调与多元并置的图象所表现的文化反差置于精致的物质性感受当中，从而体验其多种悬隔感。复杂的材料、变幻的图象、光洁如镜的表面与我们身处其中瞬息万变、充满奇光异彩的世界正相暗合，而从浮光之下又透出与此相隔的幽冥神秘的境界。

——《十五位中国当代艺术家工作室》（德国慕尼黑出版，1996）

Hu Zhiying’s works illustrate “cultural contrast” as an abstract and concrete field of knowledge. When the viewer tries to discern the origin of this field and identify the relationship between the themes of art and their prototypes, they are likely to lose themselves in the dreamlike realm of the paintings. In my easel paintings on canvas or board, apart from conventional materials like ink, oil and acrylic colors, I apply gold and silver power, Chinese Varnish. These materials, expressing an archaic mood in a multitude of imagines, add substance to the “cultural contrast”. The various materials, the diversity of images and the glossy surface are easily identifiable with the bright yet unstable reality of the world in which we live, and at the same time, imply a dark, mysterious world lurking beneath the dazzling surface.

——China-Aktuelles aus 15 Ateliers (Munich, Germany, 1996)

因为胡志颖对两幅画中的形象都进行了比培根通常所做的更大的意象性解构，结果形成了这样一种构图，甚至尽管保留了培根的整体的构图冲击力和基调，实际上却似乎引用了朱利安•施纳贝尔（Julian Schnabel）的抽象性的某些方面。……胡志颖对多元文化的潮流作出重要的说明，在这股潮流中，将往昔、现今和未来的画家们联系在一起的影响、灵感与创新相交融。

                         —— [美] 麦科马克（《中国画家胡志颖以培根赢得声望》，《画廊与工作室》2008年11/12月号与2009年1月号合刊，纽约）

For Hu Zhiying has subjected the figures in both canvases to considerably more imagistic deconstruction than Bacon usually did, creating a composition that, in fact, appears to reference certain aspects of Julian Schnabel’s abstractions even while retaining the overall compositional thrust and mood of Bacon…Hu Zhiying makes a major statement about the multicultural currents of cross-fertilization of influence, inspiration and innovation that unite painters of the past, present, and future.

                  ——Ed McCormack: Chinese Painter Hu Zhiying Makes His Bones with Bacon (Gallery & Studio, Nov/Dec 2008-Jan 2009, New York)

从胡志颖1989年的早期纸上水墨作品到他最近的向培根表示敬意的作品，他一直不墨守陈规，而是不断尝试将西方与东方影响的精髓融合起来。他从未有过机械的做法，联想有时是微妙的或者是明显的，但总是充满想象力。
在我看来，胡志颖是终极的真正的艺术家，具有强烈的个人特性和强悍的不妥协的个性。他具有强烈的深思熟虑的方向意识，不过他总会使观者感到惊奇不已。
胡志颖的风格和艺术生涯显然没有大部分新潮流中的当代艺术（包括中国与西方）的特征，而与那些最终留下巨大的历史遗产的大师要接近得多。

—— [法] 迪迪埃•赫希（《一位非传统的个人主义艺术家》，《北方美术》，天津美术学院，2009）

From Hu Zhiying’s early inks on paper in 1989 to his recent homage to Bacon, he has always travelled off the beaten path, but in a continuous attempt to combine the essence of western and eastern influences. He never had a mechanistic approach, and the associations can be subtle or obvious, but always imaginative.
To me, Hu Zhiying is the ultimate authentic artist, with a fierce individualism and a powerful no-compromise personality. He has a strong well thought-out sense of direction, although he will always surprise the viewers.
In all that, Hu Zhiying’s style and career are clearly uncharacteristic of that of most of the new wave of contemporary art (both Chinese and Western) and much closer to those who have ended up leaving a huge historical legacy.

——Didier Hirsch (“An Artist as Unconventional Personality: On Hu Zhiying”, Northern Art, journal of Tianjin Academy of Fine Arts, Tianjin, China, 2009)

胡志颖与当下流行的风尚不一样。这位艺术家是就自己所关心的某种问题，长期用一种个人化的方式创作作品。他的作品可能关注的是更深层次的一些文化哲学问题。

                                   ——吴  鸿（《胡志颖•黄少垠作品座谈会纪要》，《世界艺术》，

世界文化和艺术出版社，北京，2009）
Hu Zhiying does not follow the currently prevailing practice. He has produced works for a long time in an individualized way with an eye to certain problems he concerns himself with. He may have paid close attention in his works to some cultural and philosophical problems at a deeper level.

          ——Wu Hong (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”,
                          World Art, World Culture and Arts Publishing House, Beijing, China, 2009)

胡志颖个人按自己的需要，只按他自己某个阶段的内心需要，不管不顾，去做他的作品。从这个意义上，这倒符合艺术家的天性，也符合艺术的需要。

                               ——贾方舟（《胡志颖•黄少垠作品座谈会纪要》，《世界艺术》，
                                                    世界文化和艺术出版社，北京，2009）

Hu Zhiying has produced his works according to his personal need, or rather, according only to his internal need in a certain stage, regardless of other things. In this sense, this accords with the natural instinct of an artist, and also with the requirement of art.

       ——Jia Fangzhou (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”,
                          World Art, World Culture and Arts Publishing House, Beijing, China, 2009)

胡志颖是“无常”，实际上是要追求一种自由，没有常理，追求一种更高的境界“道”。“无常”更多的是一种“道”的境界。比放任的世俗的自由还要高。“无常”是要超越“理”而达到“道”的境界。
胡志颖80年代的作品在美术史的互文关系中是很有意义的，是很有代表性的，很强的。

——邹跃进（《胡志颖•黄少垠作品座谈会纪要》，《世界艺术》，
                                                    世界文化和艺术出版社，北京，2009）

For Hu Zhiying, “transiency” means a pursuit of freedom without any convention, a pursuit of a higher state, the state of Tao. To a great extent, “transiency” is a state of Tao, even higher than unrestrained worldly freedom. “Transiency” means surpassing “reason” and reaching the state of “Tao”.
Hu Zhiying’s works of the 1980s are significant in the intertextual relations of art history. They are representative and powerful.

         ——Zou Yuejin (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”,
                          World Art, World Culture and Arts Publishing House, Beijing, China, 2009)

胡志颖的作品，有很多空间的叠合，有中国的空间感，也有西画的元素，画面趣味很复杂、难以言表，在画面营造多重意思。

 ——高  岭（《胡志颖•黄少垠作品座谈会纪要》，《世界艺术》，
             世界文化和艺术出版社，北京，2009）

There are overlaps of space in Hu Zhiying’s works. There is sense of space peculiar to Chinese art and also elements of Western painting. His paintings have indescribable and complex taste, and multiple meanings are created in them.

          ——Gao Ling (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”,
                          World Art, World Culture and Arts Publishing House, Beijing, China, 2009)

西方的超现实主义传统，把人的创造力放在一种没有约束的境域，强调一种绝对的创造力，而不是一种相对的创造力，我在胡志颖的作品中看到了这样一种东西。加上他画面空间上的错置，它既非透视的也非故意反透视法的，实际上是没有一个固定视点的，他不是为了刻画什么、再现什么、或者主观意义上表达什么，绘画对他而言实际上是一种探寻的过程，在这种过程，才利用了一些符号。我特别感兴趣是他运用材料的讲究，从材料上来看，他喜欢用大漆、硍硃，这让我想起中国汉代的漆艺，具有一种历史的深度，漆的多层效果给人一种肃穆、凝固的感觉。

——鲍  栋（《胡志颖•黄少垠作品座谈会纪要》，《世界艺术》，
世界文化和艺术出版社，北京，2009）

In Western surrealist tradition, the human creativity is free from any restraint, and absolute rather than relative creativity is emphasized. Such is the thing that I have sensed in Hu Zhiying’s works. With dislocation of things in the space, his paintings are something that neither conforms to perspective nor goes against it intentionally. In fact, there is not a fixed point of view. He does not portray or represent anything, or express anything in subjective sense. For him, painting is in fact a process of exploration, and signs are made use of in this process. I am particularly interested in his exquisite use of materials. In terms of materials, he likes to use lacquer and vermilion which remind me of the lacquer art of the Han dynasty in China. They have a historical depth. The effect of multi-layered lacquer strikes one as solemn and solidified.

          ——Bao Dong (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”,
                          World Art, World Culture and Arts Publishing House, Beijing, China, 2009)

胡志颖是一位以文化哲学思考及体验为创作动力的艺术家。他既不关注社会现实的表层变化，也不关心个体心理及经验的表达，在二十多年的创作中，他唯一强调的是对终极命题的探寻，以及对某种可能的超然精神的无限接近。在这样的驱动力下，他的创作在各个阶段调节了水墨、大漆、油彩等各种媒介特性，也调动了不同文化中的诸多符号、形象与象征，通过对不同文化系统中的表征片段的错置与再造，暗示着文化的无常属性与幻象本质，并在这表征的裂缝中闪现着对存在的诗性直观。
“在幻象锁链的彼岸”是法兰克福学派哲学家艾里克•弗洛姆的著作，在这本书中，他把弗洛伊德的无意识学说与马克思的意识形态学说联系起来，重新反思了人类自由的可能性。在这里，我们借用这本书的标题来概括胡志颖的绘画语言与艺术境界：通过一系列的视觉符号、形象及象征的可见的“链条”来抵达某种不可见的实体，一种无法被文化所定义，无法由经验所感知，亦不可被语言所触及的存在本真。

                                  ——鲍  栋（《在幻象锁链的彼岸——胡志颖绘画作品1989-2009》，
                            中国环球文化出版社，香港，2010）

Hu Zhiying is an artist with cultural philosophical meditation and experiences as his motivation for creation. He does not concern the changes on the surface of social reality, and also not the expression of individual psychology and experience. During his 20 years creation, the only thing he emphasized is the exploration of ultimate theme and the infinite approach to some possible transcendent spirit. Under such a driving force, he adjusted the characteristics of various mediums like ink and wash, lacquer, oil and others in his different phases of creation, and he also adopted many symbols, images and indications from various cultures, to imply the transient nature and illusory essence of culture through dislocation and re-creation of representation fragments in different culture systems, his poetic intuition is also reflected out in the crack of these representations.
“Beyond the Chains of Illusion” is a work of Erich Fromm, a philosopher of Frankfurt School. In this book, the author connected the theory of Unconsciousness by Freud and the ideological theory of Marx, re-reflected the possibility of human freedom. Here, we conclude Hu Zhiying’s painting language and art realm with the title of this book: to reach some invisible substance through the visible “chains” of a series of visual symbols, images and indications, which is the authenticity of existence that cannot be defined by culture, perceived by experience or touched by language.

                    ——Bao Dong (Beyond the Chains of Illusion – Hu Zhiying’s Painting 1989 - 2009,
                                  China Global Culture Publishing House, Hong Kong, 2010)

就胡志颖把形式主义问题追溯到康德哲学的思路而言，无疑是深刻的，他抓住了形式主义的要害。并且，这也避免了那种把“水墨”放到文化身份问题中去讨论的文化保守主义思路，提供了一个开放地面对“水墨”问题的普遍性视角。

——鲍  栋（《胡志颖的崇高美学》，《在幻象锁链的彼岸——胡志颖绘画作品1989-2009》，中国环球文化出版社，2010）

Concerning Hu Zhiying’s idea of tracing issues of formalism back to philosophy of Kant, we should say that he is profound and he had taken up the vital point of formalism. Moreover, it also avoided the cultural conservative ideas that discuss “water and ink” in the question of cultural identity, he provided a universal perspective to face “water and ink” problem openly.

——Bao Dong (“The Sublime Aesthetics of Hu Zhiying”, Beyond the Chains of Illusion – Hu Zhiying’s Painting 1989 - 2009, China Global Culture Publishing House, 2010)

胡志颖这些山水，很奇异，很怪诞，很斑斓，而且很神秘，气象很大。跟东方的语境和我们传统的文脉有关系，而且，在里面又强化了它的形而上。

——杨  卫（《胡志颖•黄少垠作品座谈会纪要》，《世界艺术》，
世界文化和艺术出版社，北京，2009）

These landscapes under Hu Zhiying’s brush are very unusual, weird, gorgeous, mysterious and magnificent. They have something to do with the Eastern context and our tradition, and metaphysical elements are enhanced in them.

              ——Yang Wei (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”, World Art, World Culture and Arts Publishing House, Beijing, China, 2009)

胡志颖的艺术与中国当下风格化、样式化的艺术不同。他对东西方艺术的领悟都非常深，因此他自如驾驭东西绘画技巧表达特有的纵横古今的思维和情绪，让我们感受到特殊的心理欲求与体验，其绘画呈现的视觉感受新异而刺激，富于张力，先打眼，后撞心，动人心旌。
看胡志颖的绘画，你可以感觉到他的思路、他的理念、他所表现的风格非常独特、非常自我。他的心理世界可能不是一般人所能进入和理解的。这使得他的艺术很另类、很特殊。他是一个特别变化型的人，你很难把握他，他不是那种恒定不变的艺术家。他的思维是很艺术的，气质也是很艺术的。
胡志颖是一位特立独行并富于思想的当代艺术家。

——梅墨生（《我所认识的胡志颖》，《胡志颖作品集》，海风出版社，2011）

Hu Zhiying’s art is different from the stylized and patternized art in present China. His profound comprehension of both Eastern and Western art enables Hu Zhiying to operate with Eastern and Western techniques of painting with ease in expressing specific ideas and feelings relating to ancient and modern times. In his works we can sense a special psychological desire and experience. His paintings are novel, stimulating and full of tension. They first catch the eye and then touch the heart of the viewer.
Beholding Hu Zhiying’s paintings, you may feel that his train of thought, his ideas and his style are all very distinctive and individualized. His psychological world may be not accessible or comprehensible by ordinary people. This makes his art alternative and special. He is a man in such constant change that you cannot comprehend him easily. He is not an artist adhering to a constant type. He is artistic both in thinking and in temperament.
Hu Zhiying is an independently minded and thoughtful contemporary artist.

——Mei Mosheng (“Hu Zhiying As I Know Him”, A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

胡志颖汇集了中国传统艺术与西方的折衷主义风格，以表现他所称的“文化反差”。他将中国的传统象征手段和风景与西方艺术不同风格的元素相结合，创造出不仅仅是艺术的事物——相当于现实世界的事物。胡志颖使用了中国大漆、银粉、金粉与传统材料水墨、油彩和丙烯，因此能够创造一种深入心灵的独特风格。
在他的《内典录之一》中，胡志颖用绢上丙烯、墨和木炭，创建了一个不祥、恐怖和美的深邃世界。《内典录之一》令人联想起他的带有攀援的“藤蔓”和风景风格的《天文之一》和《天文之三》，看上去像我们日常所见事物的神秘的底侧。在这幅画中，胡志颖向我们表明了他的文化反差——光明的世界与既可与生活并立同样也可与艺术并立的神秘的彼岸世界。

—— [美] 亚当•唐纳德（“论胡志颖”，《纽约艺术杂志》，纽约艺术杂志社，2010）

Illustrating what he calls the “cultural contrast,” Hu Zhiying brings together traditional Chinese art with the eclectic styles of the West. He combines traditional Chinese symbolism and landscape with the elements of the various styles of Western art all coming together to create something more than art—something equal to the real world. Using Chinese varnish, silver, and gold powder with traditional ink, oils and acrylics, Zhiying is able to create a unique style that pierces into the soul.
In his Buddhist Scriptures I Zhiying, using acrylic, ink and charcoal on silk, creates a depth that is ominous, forbidding, and beautiful. Reminiscent of his Astronomy I and III with the climbing “vines” and landscape style, Buddhist Scriptures Ⅰ looks like the mysterious underside of what we see everyday. In this painting Zhiying shows us his cultural contrast—the bright world with the mysterious other side that can stand along side life and art equally.

——Adam Donald: On Hu Zhiying (NY Arts magazine, Vol 15 Winter, 2010)

正是因为胡志颖的这种不懈探索精神，驱使他一次次地超越自我，将自己的绘画艺术不断引向历史的纵深，到后来与更大的文化背景联系在了一起。这可以理解为胡志颖对现实世界的超越，已经不再是简单地关心现实问题，而是遨游于浩瀚汪洋的历史大海，将自我的现实纳入到了文化传统的悠悠长河之中。

——杨卫（《一个人的海市蜃楼——关于胡志颖和他的艺术》，《在幻象锁链的彼岸——胡志颖绘画作品1989-2009》，中国环球文化出版社，2010）

It is his continuous curiosity that drives him to surpass himself again and again, to lead his own painting into the depth of history to connect with a larger cultural background subsequently. It can be read that when he tried to surpass the real world, Hu didn’t simply care for practical problems any more, but swam in the boundless sea, and brought his own personal reality into the long cultural tradition.

——Yang Wei (“The Mirage for a Single Person– About Hu Zhiying and His Art”, Beyond the Chains of Illusion – Hu Zhiying’s Painting 1989 - 2009, China Global Culture Publishing House, Hong Kong, 2010)

中国传统艺术的童子功和刻骨铭心的文化眷恋，时代际遇和艺术探索为之打开的西方艺术视界，让志颖或许不像许多为风潮所动的前卫艺术家那样，深切地感受到一种影响其内心世界和艺术观的文化张力。构成这种张力的两个文化感受源，对他来说都是那般的博大雄厚。他无法在自己的内心处调解所感受到的彼此的差异性冲突，似乎也难以把自己的灵魂单纯地寄托于任何一方。
我更愿意将志颖的艺术追求和价值实现置于这样一个时代场域和这样一种人文诉求来解读，以至于将其画上那些难以按常规来解读来连贯的形式元素，理解为突破单一文明价值观和单一文化认知图式的新世界的拼图。
志颖的画上，“文化多样性”呈现为解构的缤纷的“文化影像”，它折射着艺术主体不以某种文化认同为归宿的“自我的解构”。集合于画面的一切，仅仅是“文化影像”的形式重组而非“文化认同”的意义建构。因此，他的绘画艺术让我们持续地感受到一种张力凸显的紧张感，也让我们持续地直面着一种画家所倾心的“文化反差”。 要知道，表现“解构的自我”，结果只会是“涵义复杂而不确定”；而对于“自我的解构”的表现，任何的心理反应或阅读理解都是确当的终极解读。

——吕品田（《志颖和他的画》，《在幻象锁链的彼岸——胡志颖
绘画作品1989-2009》，中国环球文化出版社，2010）

His solid basis of traditional Chinese art, together with the views of western art opened up by the opportunities of the time and his own art exploration, makes him unlike the avant-garde artists susceptible to the trends, who feel deeply a cultural tensility over their inner lives and art views. To him, both cultural sources of such tensility are extensive and profound equally. He can’t mediate the differential conflict between them deep in his heart, and it seems hard for him to find refuge of soul simply in either side.
I would rather read Zhiying’s pursuit of art and realization of value in such field of the times and such humanistic appeal, so that I can understand the separate formal elements in his paintings that can’t be read and linked up as usual as a collage of the new world breaking though a single civilized view of value and a single cultural cognitive schemata.
In the painting of Zhiying, “cultural diversity” appears as deconstructive profuse “cultural image”, and reflects a “self-deconstruction” of the subject of art without taking a certain cultural identity as a destination. Everything integrated in the painting is just the formal reconstruction of “cultural image” rather than the meaning construction of “cultural identity”. Therefore, his paintings make us continuously feel a tension of obvious tensility, and continuously face the “cultural contrast” of which he is enamored. You should know that, the expression of “deconstructed self” will end up with nothing but “the meaning being complicated and uncertain”; as for the expression of “self-deconstruction”, any psychological reaction or reading comprehension is proper ultimate interpretation.

              ——Lv Pintian (“Zhiying and His Paintings”, Beyond the Chains of Illusion – Hu Zhiying’s Painting 1989 - 2009, China Global Culture Publishing House, 2010)

中国的胡志颖也展示了一件题为《内典录之一》的强烈而富有气势的作品。其中的绢本水墨媒材和线条的流动性的古代语汇，以及亚洲传统的风景，形成错综复杂的场景，将其置于营造一种彻底的当代性。高度富有想象力的艺术感觉，创造出混茫原始的自然奇观，充满着令人震撼的意象。

——莫里斯•塔普林格（《画廊和工作室》，画廊与工作室，纽约，2010）

China’s Hu Zhiying also makes a strong showing with a work entitled “Buddhist Scriptures #1,” in which the ancient medium of ink on silk and the linear fluidity and intricacy of traditional Asian landscape scrolls are put to the service of a thoroughly contemporary, highly imaginative artistic sensibility to create starling primordial nature fantasies filled with electrifying imagery.

——Maurice Taplinger (Gallery & Studio, Vol. 12 No.3, 2010, New York)

我极为欣赏胡志颖的《内典录》。它们呈现了艺术家的智慧并且展示了他自己个性化的视觉想象力和语言表现力。他的表达极其富有力量并傲然独立。

     ——威廉•希（《胡志颖作品集》，海风出版社，2011）

I enjoy Hu Zhiying’s Buddhist Scriptures the most. They showcase his facility and also show off his own personal vision and voice. His voice is very powerful and can stand alone.

——William Sheehy (A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

水墨因其媒材性质而注定非常人所能驾驭。水至明，墨至暗，水墨无形而各居阴阳之极，调合二者必可造出万千之势象。然水墨无常，乃天地间至灵之物，运此二者若驾风驭雨，非天分过人者不能为之。胡志颖运此至灵之物于一人之管，一发而挥就《天风海雨》，以至柔之物为至刚之象。
胡志颖是当代艺术家中卓然不群的一个，他和他的作品只属于艺术，但不属于任何一个艺术群体。

                         ——张文海（《找回历史的高度》,《胡志颖作品集》，海风出版社，2011）

The character of the mediums used in the art of ink and wash prevents ordinary people from mastering this art. Water is extremely clear and ink extremely dark. They are shapeless and are extremes of clear and dark things. When blended, they will necessarily produce countless effects. But water and ink are capricious and extremely flexible. To manipulate them is as difficult as to command the wind and rain and only people with extraordinary talent can do it. It is a good fortune of the times that Hu Zhiying, using these extremely flexible things, produced Nature’s Mystery. In this painting, he created most powerful images using most soft materials.
Hu Zhiying is an outstanding contemporary artist. He and his works belong to art only, but not to any art group.

                   ——Zhang Wenhai (“Resuming the Proper Height of History“, A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

胡志颖作品所蕴含的背景知识对于有历史眼光的观察者来说充满魅力。

—— [美] 罗宾•佩卡姆（《艺术界》，安徽省文联，合肥，2010）

The contextual interest in Hu Zhiying’s works is fascinating for the historically-minded observer.

                                     ——Robin Peckham (LEAP, Anhui Provincial Federation of Literary and Art Circles, Hefei, China, 2010)

胡志颖运用西方创作方法融入中国水墨画元素结合想象意象，抽象叙事同时不乏具象描绘，感性渲染的同时不乏理性的叙述，画面大气磅礴，极具视觉冲击力。

——韩凤石（《感性近于本真》）

Hu Zhiying uses Western mode of artistic creation with elements of Chinese ink and wash painting and imaginations incorporated in it. In his paintings, there are realistic depictions as well as abstract narratives, and rational accounts as well as sensory portrayals. His paintings are impressive for their powerful sweep and have strong visual impact.

——Han Fengshi (“Perceptiveness Bordering on True Colors”)

胡志颖的《内典录》有东方与自己的精神分析在里面，既是突破水墨的窠臼，也是当代中的一种冒险。

                                 ——王春辰（《胡志颖作品集》，海风出版社，2011）

Hu Zhiying’s Buddhist Scriptures, with Oriental elements and Hu’s own psychoanalysis in it, has broken with old patterns of ink and wash and is at the same time an adventure in the contemporary era.

——Wang Chunchen (A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

在九十年代，胡志颖在中国画坛上，以古典山水符号与西方视觉图像交织，形成特有的风格，呈现了一种与自然世界异乎寻常的关系，是东西方艺术的奇特地沟通，天然成趣，与众不同。近年来，其作品则游弋于美与丑、生与死、此岸世界与彼岸世界之间，有时令人有种惊悚感。我被他作品强烈的视觉冲击力与震撼力所打动。

——李正天（《胡志颖作品集》，海风出版社，2011）

In the painting circles of China in the 1990s, Hu Zhiying developed a distinctive style characterized by the interweaving of Chinese classic signs of mountains and waters with Western visual images. Presenting an extraordinary relationship with the natural world, this style, full of natural charm, embodied an unusual combination of Eastern art and Western art. In recent years, his works have wandered between beauty and ugliness, between life and death, and between this world and Faramita, sometimes making the beholder alarmed and frightened. I am touched by the strong visual impact and artistic charm of his works.

——Li Zhengtian (A Collection of Works by Hu Zhiying, Haifeng Publish House, 2011)

    胡志颖1980年代作品形成了他传统东方艺术的理解和阐释，通过娴熟流畅、包含传统画法的水墨画，探索表达对自然和孤独的崇敬。但作为一个有思想的艺术家，胡志颖开始探索西方文化，西方的图式隐含在他的作品中。胡志颖考察了咄咄逼人的西方文化的因素：生产和消费变成人类作为消费者自身价值被取代的过程。一位富于思想的艺术家论现代文化的无常和真正价值的缺失。

        ——保罗•布里奇沃特

Form Hu Zhiying’s work of the ‘80’s where he illustrates an understanding of traditional Eastern arts, where reverence of nature and solitude are explored through a masterful fluidity of traditional brush and ink painting. But as a thinking artist, Hu begins to explore the ephemera of Western Culture. Western motifs insinuate themselves into his work. Hu investigates the overbearing elements of Western Culture, where production and consumption become process of themselves replacing the value of the human consumer. A thinking artist, commenting on the impermanence of modern culture and the lack of true value.

                                           ——Paul Bridgewater

    鉴于胡志颖已经完成的多样性、深刻性的系列艺术作品，这是令人振奋的。我对胡志颖的表达方式“人类灵魂深处的奥秘语言”的强烈感触是：胡志颖通过力量强大的绘画笔触表达情感，所以他的作品的特点，深深地打动并引领观众寻求自我意识的觉悟。他技术的发展、细节和考究都充分证明其艺术的杰出性和精湛性。显然，胡志颖是随自己之心而为艺术，而拒绝加入某一个学派。

         ——密德欧

It was exhilarating to view the diversity and in depth series of artwork that Hu Zhiying has accomplished. It is not often one has the opportunity to observe such a comprehensive overview of a “living” artist’s work and achievements; especially in a world where artists are expected to concentrate and focus on only one theme or aspect of their work.Hu is obviously following the beat of his own drumming and refuses to be attached to one school of thought.

         ——Meadow

    胡志颖、任思鸿、奚建军三个人各自创作的一组作品也很有意思。他们分别对西方现当代艺术史作出自己的反应，从凡•高、毕加索到杜桑、安迪•沃霍、基弗尔等，以自己的方式重新阐释艺术家或其作品。艺术家对艺术史的解读与反省，表达了当代人对历史的文化态度。这些作品放在一起，会给人以不一样的启发，中国艺术家与西方现当代艺术，有一种难以诉说的复杂感情，让西方的观众也好，中国的观众也好，自会有不同的体会。

——王林（《世界艺术》，世界艺术杂志社，2013）

批评家、策展人、收藏家、经纪人简介：
A Brief Introduction to Critics, Curators, Collectors, Dealers:

高名潞：批评家，策展人，“意派”理论创立者。哈佛大学博士，美国匹兹堡大学艺术和建筑史系研究教授
Gao Minglu: critic, curator, founder of the “Yi Pai” theory. Harvard Ph.D., and currently is a research professor at the Department of History of Art & Architecture at University of Pittsburgh in the USA
赵一凡：哈佛大学博士，中国社会科学院外国文学研究所研究员，博士生导师
Zhao Yifan: Ph.D. of Harvard University, president, researcher and supervisor of doctoral candidates at the Institute of Foreign Literature of the Chinese Academy of Social Sciences
王璜生：批评家，策展人，中央美术学院美术馆馆长
Wang Huangsheng: critic, curator, director of the Art Museum of China Central Academy of Fine Arts
张晴：批评家，策展人，上海美术馆副馆长
Zhang Qing: critic, curator, vice-director of Shanghai Museum of Art
赵冰：武汉大学教授，博士生导师
Zhao Bing: professor and supervisor of doctoral candidates at Wuhan University
青宇：自由艺术家
Qing Yu: independent artist
吴鸿：批评家，策展人，“艺术国际”总编
Wu Hong: critic, curator, chief editor of Artintern.net
贾方舟：批评家，策展人，上苑艺术馆常务委员
Jia Fangzhou: critic, curator, permanent member of Art Committee of Shangyuan Art Museum
邹跃进：中央美术学院教授，美术史系主任，博士生导师
Zou Yuejin: professor, director of the Art History Department, supervisor of doctoral candidates at the Central Academy of Fine Arts
高岭：批评家，策展人，《批评家》编辑部主任
Gao Ling: critic, curator, director of the Editorial Department of Art Critic
鲍栋：独立批评家，策展人
Bao Dong: independent critic, curator
杨卫：批评家，策展人，宋庄艺术促进会艺术总监
Yang Wei: critic, curator, art director of Songzhuang Art Promotion Association
梅墨生：中国国家画院批评家，书画家
Mei Mosheng: critic, painter and calligrapher at China National Academy of Painting
吕品田：中国艺术研究院研究员，博士生导师
Lv Pingtian: researcher, supervisor of doctoral candidates at Chinese National Academy of Arts
王春辰：批评家，策展人，中央美术学院美术馆研究员
Wang Chunchen: critic, curator, researcher at Art Museum of China Central Academy of Fine Arts
李正天：艺术家，哲学家，广州美术学院油画系教授
Li Zhengtian: artist, philosopher, professor of oil Department at the Guangzhou Academy of Fine Arts
韩凤石：批评家
Han Fengshi: critic
张文海：批评家
Zhang Wenhai: critic
王林：批评家，策展人，四川美术学院教授
Wang Lin: critic, curator, professor at Sichuan Academy of Fine Arts

巴巴拉•罗曼：欧洲批评家
Barbara Rollman: critic in Europe
麦科马克：美国纽约《画廊与工作室》批评家
Ed McCormack: critic at Gallery & Studio in New York
萨比内•阿德勒：德国记者、作家
Sabine Adler: journalist, writer in Germany
迪迪埃•赫希：法国收藏家，大型跨国公司安捷伦科技副总裁
Didier Hirsch: French collector, vice president, Corporate Controllership and Tax, at Agilent Technologies
克劳迪亚•泰布勒：德国批评家
Claudia Teibler: critic in Germany
威廉•J. 希伊：纽约艺术经纪人
William J. Sheehy: art dealer in New York
冯•彼得•米夏茨克：欧洲自由批评家、记者
Von Peter Michalzik: independent critic, journalist in Europe
亚当•唐纳德：美国《纽约艺术杂志》批评家
Adam Donald: critic at NY Arts magazine in New York
英格•林德曼：德国艺术经纪人
Inge Lindemann: art dealer in Germany
莫里斯•塔普林格：美国纽约《画廊与工作室》批评家
Maurice Taplinger: critic at Gallery & Studio in New York
罗宾•佩卡姆：美国独立批评家，策展人
Robin Peckham: independent critic, curator in the USA
保罗•布里奇沃特：美国纽约艺术经纪人，画廊老总，独立策展人
Paul Bridgewater: art dealer, gallery owner & independent curator in New York
密德欧：美国纽约艺术家，策展人，“伟大美国妇女雕塑公园”创始人、总裁
Meadow: artist, curator, founder & director of the “Great American Women’s Sculpture Park