画家陆春涛的水墨创作大致可以分为两类：主要一类作品是以色墨交混的方式画出，而且其画面构图明显吸收了现代影像的特点;另一类作品则是以纯水墨的方式画出。应该说，他处理前一类作品的艺术灵感与他想解决的艺术问题更多是来自林风眠先生，结果也使他在很大程度上超越了传统水墨画的表现框架。在这类作品中，他一方面很好地坚守了传统文人画的笔墨处理方式;另一方面又根据中国文化的“血型特征”恰当地融入了西方现代构成知识、色彩知识与造型知识，因此很适应当代人的审美需求，也很有意义。而在后一类创作中，他同样在创新与传统之间保持了必要的平衡。因为他机智地把现代绘画的技巧与传统的线墨体系进行了很好的嫁接。具体地说，为了营造独特的意境，他用灵动的墨点、激越的线条、夸张的形态突出了具有现代意味的特殊构成关系。透过其作品，我们将可以感受到艺术家“立足传统美，追求新表现”的审美理想。

　　据我所知，艺术家陆春涛学画是从传统入手的，也曾经下过很深的功夫。有意思的是，他在娴熟地掌握了传统程式与技巧以后，并不像一些人那样，通过重复或组装古代大师作品来冒充创作，而是根据个人的独特感受与现代审美追求进行了全新的艺术开拓。他给我们的巨大启示是：在全球化的时代，不同文化的交流越来越频繁，任何人想要避免也不可能。只有正确面对不同文化之间的碰撞与交流，才能使之成为一种历史性的机遇，而不是灾难性的后果。好在传统文化与外来文化之间，尚有大量的空白地带可以让我们去驰骋、去发挥，我们根本没有必要狂妄自大和妄自菲薄。从这样的角度看问题，陆春涛以中国传统美学为基础，并向西方学习借鉴的做法是很有意义的。

　　祝愿陆春涛在艺术创作上有更新的推进!

　　There are two categories for Lu Chuntao’s ink and wash paintings: one is those with mixed ink and colors that have obviously absorbed the merits of the modern photography; the other is the pure ink and wash painting works. The artistic inspirations and solutions for the first category of his paintings mostly might come from Lin Fengmian, enabling him to break the limits of the traditional ink paintings. In works of this category, on one hand he sticks to the traditional method of ink paintings, and on the other hand he adds the knowledge of the Western picture compositions, colors and structures to meet the contemporary aesthetic standards. In his paintings of the second category, he maintains a necessary balance between the innovation and tradition for he wisely integrates the modern painting techniques with the traditional ink painting system. To be specific, his vibrant ink dots, lines and shapes have represented a special modern painting structure to create a unique landscape. We can detect the artists’ aesthetic pursuit for new expressions based on traditional deposits.

　　As far as I know, Lu Chuntao started his painting career from learning the traditional ink paintings. It is interesting that after obtaining the traditional painting skills and formulas, he has explore a brand-new art path based on his own unique experience and modern aesthetic perspectives instead of copying or re-composing the previous masters’ works. We can learn from Lu Chuntao that only by facing the collisions and exchanges between different cultures which we couldn’t escape from so that we can make the current time a historic opportunity for us, not a doomed disaster. It is fortunate that there is plenty of possible room between the traditional and foreign culture in which we can explore and create new things. Therefore, it is unnecessary for us to be complacent or over-humble, and we should take Lu Chuntao as a great example to further improve ourselves by learning the advanced ideas from the West based on our own traditional Chinese artistic aesthetics.

　　Wish a new progress for Lu Chuntao’s art career!