有人说王合多的画让人看不懂、费解，应该说读他的画得颇费一番脑筋。生活在一个错杂的时代，岂能希冀世界有序。在他的作品中，人类的形象已淡化，且变形、丑陋、阴郁、委琐，均以退入背景，让人感到一种彻骨的悲凉。所庆幸的是他笔下植物依然硕大茂盛，生机盎然，动物的活泼可爱，给观者心情带来喜悦，给人类的生存、地球的明天带来了希望。（记者金戈）
Some people say that wang heduo's paintings are confusing and difficult to understand. It should be said that it takes a lot of effort to read his paintings. Living in a mixed era, can expect the world order. In his works, the image of human beings has faded, and distorted, ugly, gloomy, and trivial, all in the background, so that people feel a kind of profound sadness. Fortunately, the plants he wrote are still large and vigorous, the animal's lively and lovely, to the viewer's mood brought joy, the survival of human beings, the future of the earth brought hope. (journalist).
中国画就是水墨画？
文人画等于水墨画，水墨画等于中国画，已经约定俗成了。
Literati painting is equal to ink painting, ink painting is equal to Chinese painting, it has been established by convention.
看汉代留下来的服饰、房屋、棺椁全是黑颜色的，到了唐代尚黑就深入到绘画里面了。唐代诗人王维讲：中国画以“黑”为上。“诗圣”杜甫也认为中国画要“惜色如金”，意思就是要把颜色用的巧妙和恰到好处，不可滥用。中国古人一直遵循这个道理，古代文人也都是“尚黑”的，认为中国画以黑为最美。这个审美一直延伸到元明清，其实现在中国画仍然把墨（黑）定调到最高水准，标准就是水墨画。
The clothes, houses and coffins left over from the han dynasty are all in black color. When the tang dynasty was still black, the painting was deeply embedded in it. Tang dynasty poet wang wei said: Chinese painting "black" as the top. "Poetic sage" du fu also believed that Chinese painting should "cherish color like gold", which means to use color skillfully and properly and not to be abused. Chinese ancients always followed this principle, and ancient literati were "still black", thinking that black is the most beautiful painting in Chinese painting. This aesthetic has been extended to the yuan, Ming and qing dynasties. In fact, Chinese painting still sets the ink (black) to the highest level, and the standard is ink painting.
水墨画是比较纯粹的，这样恰恰符合表达文人的情结。所以我们现在的文人画等于水墨画，水墨画等于中国画，逻辑思维成立了。
The ink painting is relatively pure, just in line with the expression of literati complex. So our current literati painting is equal to ink painting, ink painting is equal to Chinese painting, logical thinking established.
中国画的三要素是“水” 、“墨” 、“彩”，彩也非常重要，三者才是中国画完整的语言体系。
The three elements of Chinese painting are "water", "ink" and "color". Color is also very important. The three elements are the complete language system of Chinese painting.
“尚彩弱黑”。
中国画根本的问题就出在了“尚黑弱彩”上，写意重彩画完善了中国画的色彩不足问题。
The fundamental problem of Chinese painting lies in the "Emphasize black and weaken color",Freehand heavy color painting has improved the problem of insufficient color in Chinese painting.
谈重彩先谈色彩，色彩是古代中国画的主体语言，古代的永乐宫壁画、敦煌壁画都是色彩比较丰富的，都是以色彩表达主题的。其实古人画画都是靠色彩表达的，有青绿山水、大青绿、小青绿、金碧山水等。再如岩画，到现在几千年了，上面的红颜色依旧还是很鲜艳。
Color is the main language of ancient Chinese paintings. The ancient yongle palace frescoes and Dun**** frescoes are rich in color, which express the theme with color. In fact, ancient people painted by color expression, there are green landscape, large green, small green, gold and green landscape. In the case of rock paintings, for thousands of years now, the red color is still very bright.
“重彩艺术”从字面意思来讲的话：一个是“重”，一个是“彩”。狭义讲就是把色彩画的浓重，实际上这个是对重彩艺术的一个误导。
The word "double color art" literally means: one is "heavy" and the other is "color". In a narrow sense, it means to draw with a strong color. In fact, it is a misdirection to the art of heavy color.
重彩艺术里纸本施彩法是“以薄为”上，不一定要把颜色画的很浓重。重彩，从字面上看有三种解释：其一，画的色彩浓重；其二，“重”是多音字，是“重复”的“重”，是反复施色彩（多遍上色），因为宣纸的特性，色彩一次性画厚了宣纸容易破损，也不宜装裱，所以纸本重彩以薄为上；其三，重彩的“重”是一种分量感、力量感，是沉甸甸的重量。而“彩”则是五彩缤纷，是指丰富多彩之意。
In the heavy color art, the paper color is applied on the "thin as", and the color is not required to be very thick. There are three explanations: first, the color of the painting is strong; Second, "heavy" is polyphonic, "repeated" "heavy", is the repeated application of color (repeated coloring), because of the characteristics of Rice paper, color one-time draw thick Rice paper easy to damage, also should not be mounted, so the paper is heavy color on the thin; Thirdly, the "weight" of heavy colors is a sense of scale and strength, and is heavy weight. And "color" is colourful, it is to point to rich and colorful meaning.
既然中国画里黑色占主导地位，是“尚黑弱彩”，那针对强调色彩的重要性则为“尚彩弱黑”。
Since black is the dominant color in Chinese paintings, it is the "Emphasize black and weaken color", so it is the "Emphasize color and weaken black" that emphasizes the importance of color.
“五彩缤纷”里的“五彩”。
重彩艺术把色彩作为了主体语言，并不反对墨的黑色。黑色实际上在西方色彩体系里是个悖论，因为西方色彩体系只有红色、蓝色、黄颜色三原色。
The color art regards the color as the main language, does not oppose the black ink. In fact, black is a paradox in the western color system, because the western color system onlyred,blue,yellow,primary colors.
中国的彩色体系里有黑色，中国色彩体系：红色、蓝色、黄颜色、白色、黑色五色，俗称：五彩缤纷。
China's color system has black, China's color system:red,blue,yellow,white, black five colors, commonly known as: colorful.
艺术如果有了杀伤力。
艺术有杀伤力和破坏力太厉害了。试想把一个作品弄的非常有体积感、有杀伤力，以及沉甸甸的，再加上色彩的丰富性，您说这幅作品好不好？
Art is too destructive and destructive. Imagine a piece of work with a sense of volume, power, and weight, plus the richness of colors.
重彩艺术也有三要素：“重视色彩+当代意识+中国元素”。
There are also three elements in the double-color art: "attaching importance to color + contemporary consciousness + Chinese elements".
传统中国画是弱化色彩，而重彩艺术是重视色彩，还要加上当代意识和中国元素，并且拓宽了材料的使用，不局限于宣纸了，这样的重彩艺术就不是中国画的范畴了。
Traditional Chinese painting is to weaken the color, and the double-color art is to value the color, but also needs to add contemporary awareness and Chinese elements, and the use of materials is expanded, not limited to rice paper, such double-color art is not the category of Chinese painting.
我们的身份是当代人，有这个时代的属性，如果只是重复古人，那就没有意思了。
Our identity is contemporary, have this time attribute, if repeat ancient people only, then have no sense.
未来未知，活在当下，当下的土壤必然结当下这个果，这就是当代意识。
The future unknown, living in the present, the soil of the present must bear the fruit of the present, which is contemporary consciousness.
既是中国画又不限于中国画。
譬如我们强调“中国元素”。生活在东方，文化背景和社会背景都与西方不一样。我们传承的都是中国元素，中国元素是一个大课题，实际上每个艺术家所导入的中国元素都不一样。中国元素是宽泛的概念，具体地说中国元素是中国文化的文脉，这个文化脉络里面有一个是艺术脉络，称之为艺脉。如果我们把这个艺脉抓住了，重彩艺术的三要素就构成了，所以重彩艺术是一个全新的艺术体系，和我们以前认知的中国画就不能同日而语了。
For example, we emphasize "Chinese elements". Living in the east, cultural and social backgrounds are different from those in the west. What we inherit are all Chinese elements, and Chinese elements are a big subject. Actually, the Chinese elements imported by each artist are different. Chinese elements are a broad concept. Specifically, Chinese elements are the context of Chinese culture. There is an artistic context in this cultural context, which is called the artistic context. If we grasp this artistic vein, the three elements of the double-color art will be formed, so the double-color art is a new art system, which cannot be compared with the traditional Chinese painting.
在重彩艺术里色和墨都是主角。我们重彩艺术不反对墨，因为中国色彩体系里面也包括墨（黑），加上当代意识和中国元素，这就和西方绘画不一样了，也和中国传统绘画不一样了。
Color and ink are the main characters in the double-color art. We do not object to ink painting, because the Chinese color system also includes ink (black), plus contemporary awareness and Chinese elements, which is different from western painting and traditional Chinese painting.
重彩艺术是多画种混合体，是新学科，也一个全新的艺术体系，和我们以前认知的中国画不能同日而语。
The double-color art is a combination of multiple paintings, a new discipline and a new art system, which cannot be compared with the traditional Chinese painting.
王合多的“企图心”。
从形而下的技术层面里要有两种以上绘画手段的混合体，为了艺术目的“不择手段”：就是不惜使用各种各样的方法，这样才能搞重彩艺术。艺术是不择手段的，重要的不是手段，而是艺术效果。
There must be a mixture of two or more painting methods from the technical level of the physical world, "all means" for artistic purposes: it is necessary to use all kinds of methods, so as to make a great art. Art is by all means. What matters is not the means, but the effect.
其实重彩艺术就是一个多画种的混合体：“模糊画种的边界，混淆画种概念，不受某一画种的束缚”。
In fact, the double-color art is a mixture of multiple painting types: "the boundary of fuzzy painting types, confusing the concept of painting types, is not bound by a certain type of painting".
生宣上达到油画和工笔的效果。
布本写实油画和熟宣纸工笔画，这和在生宣上画重彩写实是完全不同的两个概念。在生宣纸上画的这个重彩写实是熟宣纸上工笔达不到的，油画要达到生宣纸上的肌理效果更难。
Cloth - based realistic oil painting and calligraphy on rice paper are two different concepts. The heavy color realistic painting on the raw rice paper is beyond the reach of the meticulous brush painting on the cooked rice paper, and it is more difficult for the oil painting to achieve the texture effect on the raw rice paper.
生宣纸是自然形成肌理，油画要一笔去画，费时且留人为痕迹。用的是国画的颜料和宣纸，它是哑光的（和油画的区别明显）；生宣纸是可以正反两面画的，从反面画后浸染到正面的这种效果是熟宣和油画完全表现不出的效果。
Sheng xuan paper is a natural texture, oil painting to be painted, time-consuming and left traces. It uses Chinese paint and rice paper, which is matte (obviously different from oil painting). Raw rice paper can be painted on both sides, from the reverse to the front of the painting is the effect of maturity and oil painting.
生宣重彩是让人们对中国画材料负载的全新再认识，同时也挑战画家对传统材料驾驭能力，是非常有意义的!
Shengxuan color is a new recognition of the load of Chinese painting materials, while also challenging the artist's ability to control traditional materials, it is very meaningful!
重彩也可以很“薄”。
传统的工笔画最大的一个缺点就是画面太平，没有肌理、没有冲击力和杀伤力。而纸本重彩是以薄为上，重复上颜色，这和传统的工笔画有相似之处，工笔画讲究的是“三矾九染”，但是我的重彩艺术也可以画到无限量次数，不是遍数多就好，只要达到你需要的效果可以了。
The biggest drawback of traditional gongbi painting is that the picture is peaceful without texture, impact force and lethality. And paper this heavy color is with thin go up, repeat go up color, this and traditional meticulous brush painting have similar place, meticulous of meticulous brush painting is "3 alum 9 dye", but my heavy colour art also can draw to unlimited number of times, not be many times good, want to achieve the effect that you need only to be ok.
传统就是一种文化精神，而当代艺术家一定要思考。
传统是一个中性词，有好有坏，我们现在一提到传统好像就是一个褒义词，现在我们随便画的东西将来都是传统，所以历史上所有东西的都是传统，但是我们一概把传统定义为褒义词的时候，这就错了。
Tradition is a neutral word, good or bad. Now when we talk about tradition, it seems to be a commendatory term. Now what we draw casually will be a tradition in the future.
艺术的脉络就像是一个链条一环一环的扣在一起，承上启下，如果只能承上而不能启下的话，实际上是没有意义的。不能承上启下就上不了艺术脉络上的这条主线。承上启下的大师会影响几代人。比如林风眠，他是重彩的先驱 ；再比如吴冠中，他把西方的东西融入到中国画中。
The thread of art is like a chain, which is held together in a chain. It is actually meaningless if it can only be inherited without being connected. The main line of the artistic thread cannot be connected from the previous to the next. A master who connects the past with the present can influence generations. Lin fengmian, for example, is the pioneer of the grand prize; Another example is wu guanzhong, who integrated western things into Chinese paintings.
艺术家不能在辅道上跑，要上主道上跑。
The artist cannot run on the auxiliary road, he must run on the main road.
文中观点均出自王合多访谈
王合多
1953年生。
1972年起受教于周韶华先生。
曾任武汉·长江艺术家美术馆馆长。
湖北师范学院美术学院客座教授。
中国美术家协会旅游联谊中心理事。
【与周韶华夫妇合影】
【1993年与美术评论家鲁虹先生合影】
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