田黎明
中央美术学院教授、著名画家
中央美术学院中国画学院院长
晚峰是延安大学一名老师，延安精神与陕北高原铸造了他是一个纯厚、直率的人。他对艺术的热爱若同他的为人，于诚信为所能，于心性为自然。
晚峰的人物画有着扎实的造型基础，其许多人物画主题创作透彻着忠厚的秉性，笔墨重情，画风朴素，可以说他的人物画更多的是表述了他对人格的颂扬，对真善美精神之体验，从而体现出他对儒家文化人格理念的崇信和追随。于此的积淀，晚峰渐渐地明晰了自己向往的文化品格，在修身之道中以一贯之地去呼吸传统文化的人文境界。
晚峰是一位当代优秀的山水画家，他的山水画从师于“外师造化，中得心源”的人文空间，北宋山水的博大胸襟，元、明人文的笔墨文化理念都成为晚峰山水的意象基础，如何使地域形态转为笔墨的文化观照方式是一个山水画家的探索课题，它也是一个关于文化修养和文化思考的课题，晚峰十年如一日依靠文化素养的苦学精神，探索着笔墨当随时代的文化内涵。其山水画草稿在否定中求变，变化中体会，何为山水境界，何为墨法从理，何为行笔遒劲，何为笔墨苍翠……晚峰正是在追寻笔墨境界之中渐渐呈现出诗的文化理念，使其山水画语言不停留在对物象的摹拟，而在于对山水语言情怀和感触来体味其中的奥妙，诗境的体验也正是笔墨由外向内、由远及近的品格观照，这使晚峰的山水一下子鲜活起来。笔墨于具象、抽象中传达了他对术与理的心性体验，晚峰又把文化理念的体验与山水人文意识在有机的交融中立足一方山水的形态，建构起山水文化理念中的山水符号语境，可以说对晚峰自己是一大突破。
这一过程使晚峰这个有忧患意识、有诗人情怀的人，在自己山水语言中渗透出一种苍凉而明快的文化秉性，仅此非常难得。其实每个人在向往人生境界过程中最需要的是持守专一的学术品格，把它作为自己的信念，不知疲倦地向着这个方向。晚峰已步入了自己山水语境的开端，愿晚峰在走进人生境界、山水境界的空间中茁壮成长。

Reading Zhou Wanfeng's Paintings
By Tian Liming
Wanfeng is a teacher at Yan’an University. The Yan’an Spirit and the life on the plateau of northern Shensi have made an honest and straight person of him. His passions for art are just like his conducts. It’s a success of sincerity, and the nature of his heart.
Wanfeng’s paintings show his strong painting foundations: the motifs of some paintings show the honest and kind character, the paintings lay stress on feeling, and the simple style of his paintings is austerity. We can say that his picture mostly expresses the praise for personality and experience of the good, the beautiful, and the true. So it could reflect his worship and pursuit of the personality of the Confucian culture. For all this accumulation, Wanfeng has gradually become aware of  the cultural character to which he has been striving for. In the way of cultivating morality, he achieves the consistent humanist state, drawing upon the traditional Chinese culture.
Wanfeng is an excellent landscape painter of contemporary China.His landscape paintings owe a lot to the humanism in the soul hidden in the paintings. The great ancient landscape painters and calligraphers all offer Wanfeng good foundations for his images in his landscape paintings. How to translate geographical terrains to strokes of brushes as representations of the culture is a big topic for landscape painters and is also a topic concerning the cultural accomplishments and cultural reflections. Wanfeng clings to the diligence which finds its way into the cultural accumulations that he has been trying to feed himself for the past years, exploring the cultural denotations of the time. He changes his painting drafts one after another for the better and for the representation of his mind. He has been trying every means to transplant his poetic ideas into the paintings, thus making them more of a concern for the humanism found in the landscapes and making the nature more lively. His brushes lend more vigor to the mental experience of the real landscapes so that they bear the spirit of the painter. This is typical of Wanfeng’s paintings.
The process of transferring his mind to the landscape paintings has made him a caring man and a poet. It is valuable that his paintings are full of both desolate and bright elements of the Chinese culture. Everyone should try hard to keep exercizing the ethics for art in his life as his faith. Wanfeng has started on his journey of art, and will be stronger in his life and the landscape he has made for himself.