南方的绘画一直在表述这样的主题：美好在此，不幸在别处。幸福、成长以及快乐是他的所有图像经验的核心，这个领域几乎也是中国传统绘画的重点。但南方的绘画则强调一种美好的自我本质，给与一种在此美好的图像，而这也潜在呈现另一个意义，即不幸在别处。

　　中国传统的文人绘画者，他们从不在画面上展现痛苦，文人创造了自成一体的形式世界，从语言到图像，具有一种形式的美好，与此同时，却也掩饰不住感伤情绪的流露，文人表现的是一种优雅的挣扎之后，画面所达到的一种客体的美好形式。南方直接继承了这种图像的价值观，确立了图像对于自我的一种精神滋养作用。南方的绘画强调自然和自我即绘画的图像在于一种美好的此在。但这实际上不是那种真正的美好此在，而是在强调不幸在别处。这个价值观的核心就是70后一代的艺术不仅在于成长纪事，还进一步将自我导向一个美好在此的领域，使绘画不仅产生自我满足，而且可以看到一种理想此在的经验。

　　朱其

　　The theme Nanfang wants to express in his painting is： beauty is here， unfortunate， elsewhere. The cores of all his painting experience are well-being， growth and joy， which are also the focus of traditional Chinese painting. However， Nanfnag stresses on the essence of beauty and presents the picture of beauty is here whose potential meaning is unfortunate elsewhere. The traditional Chinese painters never show their pain in their painting. The literati have formed their own self-contained form world. The paintings have a kind of formal beauty from the language to the image， but at the same time， it will represent a kind of sentimental mood. After the literati had struggled elegantly， the picture reached the form of a beautiful object. Nanfang inherits this kind of value on images directly and establishes the images spiritual nourishment to himself. Nanfang's painting emphases on the nature and self， that is， the image of painting lies in the existence of beauty. That is not the real meaning but to emphases on unfortunate elsewhere. The core of the set value is the art of 70's not only about the growth chronicle but leads oneself to the area where beauty here. It can not only produce the self-satisfaction effects of painting， but also the experience about the realization of one's dream.

　　Zhu Qi