周京新 陕北老人 纸本水墨 137×69cm
周京新要在新文化条件下解决绘画与现实的关系问题，虽然他有过经学院训练的水墨造型能力，但在当代整个艺术观念变革的大潮中，他开始重新思考“绘画何为”这样的“元”问题，他意识到，绘画与现实不是一种简单的依存关系，而是一种对等关系，在这种对话中，绘画对于现实，既有粉饰它的责任，还有呈现它、批判它、提升他的责任，它给予世界的应该是真实的现实。
在周京新那里，水墨语言首先要从被描绘的事物现象脱身，转而形成一个新的自为的笔墨形象体系，也就是说，水墨语言应该处于“在”（与绘画对象的关系）与“不在”（游离出来的独立性）的中间地带，他称自己追求的语言境界是一种新的“写”，这种“写”与以往的“把毛笔当作铅笔”、以造型为目的的是截然不同的，也与以往把程式化的“笔墨效果”当作标准有本质的差别，他所追求的“写”的境界是努力“清理掉笔墨与造型之间那些模棱两可的杂质”，达到“表现性与纯粹性合一的水墨语言品质”，使“写”的形象本身具有“深沉的精神和纯粹的高贵”。
他所画的人物内容与他所用的水墨语言蔚成新格，以他用水墨语言“雕塑”出来的模样出场，宛如冲进水墨画坛的“外星人”，无所顾忌地展现出它感性的张力。
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By Fan Di’an
To resolve the relation between the reality and painting is his focus for the painter Zhou Jingxin, he re-considers the root questions such as what painting is , he roughly come to a summary as this there is an equal relation between the two, and the later can not only decorate reality but also criticize or promote it.
Seems ink-painting language has a transformation for Zhou, which locates between being and non-being, he said he didn’t regard brush-pen as a pencil to shape some object with a certain stroke effect, that’s not his standard to judge what is good art or what is not; he uses the brush-pen just for clearing out those vague foreign objects remained by strokes and shapes to reach a natural pure quality combined performance, a process of deep spirit and it is noble.
Both his ink-painting figures and language in a new way, seeming like an extraterrestrial being coming into ink-painting world, but intensive and touchable.
【编辑：姚丹】
