已经过去的二十世纪，是革命与战争的一百年，是人类高速发展走向极限的一百年，这一百年胜过（真的胜过吗？）以往的几千年，几万年……
为了这一百年的高速发展，人类付出了高昂的代价，两次世界大战和遍及全球的大大小小至今还在进行的各种战争已使上亿人死于战火。为这一百年的辉煌而牺牲了的人们将永志我的心中，我谨以此画献给那些牺牲的中国人、日本人、犹太人、德国人、俄国人、波兰人、美国人、英国人、法国人……
The 20th Century is a century of revolutions and wars, a century when the development speed reaches its maximum. Can this century truly outstrip the past thousands or ten thousands of years?
We have paid a high price for the rapid development: two world wars and all kinds of wars all over the world have killed and are still killing hundreds of millions of people. Those people who sacrificed themselves for this century will be inscribed in my heart forever. I dedicate this series of paintings to all the Chinese, Japanese, Jewish, German, Russian, Polish, American, British, French people, etc, who sacrificed their lives for the promotion of this splendid century.
附：
《二战风云录》完成于1999年5月，5月19日初展于上海大学美术学院艺术沙龙，同时召开了一次作品研讨会，第二天人民日报（华东版）和上海电视台同时报道了展览和作品研讨会。
2000年元旦，《二战风云录》应邀参加了《世纪之门——中国艺术邀请展》，此是成都现代艺术馆的开馆大展，有十几位当代著名评论家策划和执行参展画家的名单及作品。同时由四川美术出版社出版画集。
2003年2月，《二战风云录》应邀参加了由惠蓝策划上海半岛艺术馆承办的《具象的空间——中国新学院主义油画邀请展》，并有文刊于《江苏画刊》。
2005年8月，《二战风云录》应邀参加京沪美协纪念抗战胜利60周年的大型联展。
二战风云录之一《烽烟滚滚泰吾土河》
“烽烟滚滚泰晤士河”，画的左下角是我的自画像，我手拿着调色板和画笔，身穿英军制服坐在工作梯上，和手拿调色板夹着雪茄烟的邱吉尔进行着对话。《战争风云录》就从我这个自画像的笔下向右展开，白色石灰岩海岸使画面成对角线分割，上面是被轰炸的伦敦城，下面是海浪翻滚的海峡。伦敦城里标志性建筑有伦敦桥、伦敦塔、大笨钟）和远处的国会大厦。左侧的城郊处是格林威治天文台及背着防毒面具的儿童和远处的坦克工厂。空中有德方的轰炸机、战斗机和与之对抗的英国战斗机。城头，大楼顶上布满了防空高炮，其中还夹着中世纪的手拿弓弩的武士和英格兰的传奇英雄——阿瑟王。海岸边停着许多从法国敦克尔刻撤退来的英法联军的各种船只。而右下方的盟军登陆舰直冲向右侧的第二幅画“血染诺漫底”。
Picture No.1: War on the Thames River
The first picture shows the war scene on the Thames. At the lower left corner, I am sitting on the ladder with my palette and paint brush in my hand, wearing the uniform of the British army. Churchill, with a palette and a cigar in his hand, is talking to me. “2,190 Days of Flame” begins with this self-portrait and gradually evolves to the right side. The coast made of white limestone separates the painting diagonally. The upper part shows the London after being bombed and the lower part shows the English Channel with its boisterous waves. Symbolic buildings in London like London Bridge, Tower of London, Big Ben and the distant Parliament Building are pictured. On the left side, you can see the Royal Greenwich Observatory, children carrying gas masks and the far-off tank factory in the suburbs of London. In the sky, there are German bombers and fighter planes and British confronting fighter planes. On the top of the buildings are equipped with antiaircraft artillery. Warriors with bows and arrows of the Middle Ages and the British legendary hero— King Arthur are also present. All kinds of boats carrying the Allied forces of British and French armies withdrawing from Dunkirk are berthing at the coast. The landing craft of the Allies at the lower right corner are dashing to the second picture “Normandy Invasion” on its right side.
二战风云录之二《血染诺曼底》
第二幅和第一幅共同形成一个广阔的海陆攻战图，左岸和右岸之间的海浪中是向法国海岸急驰冲锋的盟军登陆艇和各种炮舰，右侧的悬崖和海滩则是火光闪耀硝烟滚滚的德军阵地。空中有盟军的飞机和大片大片的空降兵。大海中间那象征传统欧洲海战船的三桅帆船上有盟军将领巴顿、蒙哥马利、艾森豪威尔、戴高乐，坐在船头是我在画速写的自画像。还有右船舷边悬挂着的巴登将军那有名的白色矮脚狗——“征服者威廉”。三桅船上方的海中小岛是诺曼底著名的古迹“圣米歇尔教堂”。
Picture No.2: Normandy Invasion
The second picture and the first picture constitute an overall view of sea-ground operation. All kinds of gunboats and landing craft of the Allied forces are sailing towards the French coast over the waves. The German positions are located on the steep cliff and at the seaside on the right side, sparkling and flaming. Planes of the Allies and numerous airborne troops are in the sky. On the sea, leaders of the Allies, George Patton, Mongo Mali, Eisenhower, de Gaulle are on a barque which symbolizes the traditional European man-of-war. And I am drawing a sketch “Self-Portrait” at the bow. On the right of the starboard hangs the famous short-legged white dog of General Patton’s— William, the Conqueror of England. The small island above the barque stands a famous historic relic“Mont- Saint- Michel”.
二战风云录之三《日耳曼的幽灵》
第三幅题为“日耳曼的幽灵”，画面由黑色、墨绿色，及红色字旗组成黑红色基调，用以表现出二战时的日耳曼精神。北欧特有的黑森林山地无数幽灵般的德国古堡环绕着画面中央的犹太人集中营。一列黑色的死亡列车横穿过画面，直向东（右方）开去.。遍布画面的血红色字旗更增加了画面的阴森恐怖感。除集中营的各种暴行，煤气室和焚尸炉外，还有穿着红衣的歌德坐在画面近处城堡下的草地上，边上坐着的士兵是我的自画像，在向观众也在向歌德发出诘问，伟大的德国人民怎么啦？画面中央偏右的清代侠客模样的人也是我的自画像，手拿利刃去刺集中营的创建者希姆莱，左手搀着受苦受难的犹太小姑娘。而左下方公路边的土红色城堡内是纳粹在枪杀反抗希特勒的德国军官。左上角的界河边相对坐着对饮啤酒的法国士兵和希特勒掌权前的德国总统兴登堡元帅。再上面有纳粹游行队伍通过勃兰登堡门。（德国柏林战前有名的凯旋门）
Picture No.3: The Germanic is Spectre
The third picture with the title “The Germanic Spectre”, which is composed of black, blackish green and red (swastika flags) as its fundamental colors, shows the Germanism during World War Ⅱ. In the Black Forest,(peculiar to the north Europe) numerous German castles surround the Jewish concentration camps in the middle of the painting. A black train of Death is running eastward through the painting. The red swastika flags all over the picture make the painting more ghastly and funereal. Besides all kinds of brutality in the concentration camps, the gas room and cinerator, there is also a red-dressed Goethe sitting nearby on the grass below the castle. The soldier sitting beside him is the painter, who is questioning Goethe and the audience: “What’s wrong with the great German people?” The figure who looks like a chivalrous knight of Qing Dynasty is also the painter, holding a sharp dagger to stab at Heinrich Himmler, the founder of concentration camp, while taking a pitiable Jewish girl with his left hand. Inside the earth-red castle beside the road on the lower left corner, German officers who are against Hitler’s wishes are being shot by the Nazis. On the left upper side of the river is a French soldier sitting tête-à-tête with the German ex-President Hindenburg （before Hitler in power）drinking beer together. At the top of the picture, there is a Nazi parade procession going through the Brandenburg Gate.(The famous Triumphal Arch in Berlin before the War)
二战风云录之四《俄罗斯的冬天》
用铁路、飞机、城堡和白雪复盖的大地连接起第四幅“俄罗斯的冬天”：横穿东西的铁路把画面分成上下两部分。下面是滚滚向东的德军坦克群，并在其中一辆最大的鼠式战车中画上“闪电战”的创造者古德里安将军。上面是苏军的抵抗，远处是莫斯科红场的阅兵式。画面中央偏右的土红色城堡内是苏军名将朱可夫和曾大败拿破仑的库图佐夫。右边铁甲列车旁骑在白马上的是败于俄罗斯的拿破仑。而空中云端里的古代亚洲骑士则是成吉思汗和他的蒙古兵幽灵们，（和成吉思汗并肩飞进的是苏军打扮的我的自画像）当初他们是从东往西打进俄罗斯的。画面的左上角表现二战初期波德之间最悲壮的一战——马刀对坦克的战斗。在画面中央围棋眼似的雪地上，躺在绞刑架下的女英雄卓娅是我少年时代的青春偶像。
Picture No.4: The Winter in Russia
The fourth picture with the title “The Winter in Russia” is composed of railway, planes, castles and land covered with snow. The traversing railway( from east to west) separates the painting into two parts—the upper and lower. In the lower part, German tanks are rumbling eastward. The founder of “Blitz Krieg”(lightning war) Heinz Wilhelm Guderian is sitting on the biggest Maus tank. The upper part presents the resistance of the Soviet army, and in the distant, the military review can be seen in Red Square, Moscow. And the people inside the mineral red castle are the famous general Zhukov and Kutuzov who heavily defeats Napoleon. Napoleon( who is routed by Russia) is riding on a white horse beside the armored train. Meanwhile, the ancient Asian knight Genghis Khan and the ghosts of his Mongolian soldiers are in the clouds. (I, wearing Soviet uniform, am riding together with Genghis Khan). The Mongolian troops used to invaded Russia from east to west. In the upper left corner, I present the life-and-death battle between Germany and Poland in early stage of World War Ⅱ— the bloody battle of sabers against tanks. In the middle of the painting appears a ground with a patch of chessboard-like snow, carpet, on which lies the heroine Zoya, my idol in boyhood, under the gallows.
二战风云录之五《伏尔加河畔》
色调相同的第五幅“伏尔加河畔”与第四幅共同形成一个广阔无边的俄罗斯战场。伏尔加河畔的斯大林格勒战役是人类陆战史上最大最残酷的一场战役，同时也是希特勒走向失败的转折点。整个画面是个混战的绞肉机，空中飞机仿佛是一群互相撕咬的铁鸟，雪地上纵横的壕沟，废墟中混战在一起的苏德双方的士兵和坦克群，被击毙、冻死的尸体和吃剩下的马匹的骨骼。画面中央是身穿苏军制服背着冲锋枪的自画像，自画像的右侧是借用俄国画家苏里柯夫笔下的西伯利亚士兵用以表达西伯利亚兵团在斯大林格勒战役中的作用。与之相对的左侧是十九世纪的普鲁士士兵。远处的雪地上是德军鲍卢斯兵）团的投降行列。
Picture No.5: On the Riverside of Volga
The fifth picture “On the Riverside of the Volga” and the fourth picture constitute the vast battlefield in Russia. Stalingrad Battle( by the Volga River) is the biggest and cruelest one in human war history on land, and the starting point of Hitler’s debacle as well. The whole scene is like a huge meat mincer. Planes in the sky are like a flock of iron birds biting each other. There are also a crisscross of trenches on the snow, Soviet and German soldiers and tanks being locked in a tangled fight, dead bodies being shot, frozen and the leftovers of horse skeletons. In the middle of the painting, it’s I who am holding a gun in Soviet uniform. To the right side of my self-portrait, I used the figures of Siberian soldiers created by the Russian painter Surikov Vasili Ivanovich, to depict the function of Siberian troops in Volgograd Battle. Some Prussian soldiers of the 19th Century are just on the left opposite. The surrender of Friedrich Paoulus’s German troop on the snow is presented in the long shot.
二战风云录之六《从中东到远东》
第六幅画面逐渐由冷灰色转成土黄色调的北非中东战场，取名“从中东到远东”，画面中央用纵向的山脉分割，左面是败北的沙漠之狐隆美尔站在撤退的飞机坐舱里。下面是打扫战场，研究德军虎式坦克的英军官兵。伊斯兰风格的城堡中有蒙哥马利和邱吉尔。中间上部的高地上是德黑兰会议的三巨头——邱吉尔，罗斯福和斯大林。右侧是坐在阿拉伯飞毯上的自画像。整个画面的右半部是印度次大陆，作为盟军支援东亚战场的基地——印度挡住了日军向西的进攻。作为次大陆的象征有泰姬陵、佛祖塔等典型的印度建筑。空中又出现了当年占领印度的蒙古可汗的骑兵。左面的地中海边是金字塔，塔右侧画有圣城耶路撒冷的大清真寺和犹太人的哭墙，空中画有以色列空降兵，以此点出二战后的以（以色列）阿（巴勒斯坦及阿拉伯各国）争端。
Picture No.6: From the Middle to the Far East
The sixth picture with the title “From the Middle East to the Far East” shows the battlefields in North Africa and the Middle East. The fundamental color is turning gradually from cold grey to mineral yellow. A mountain range in the middle separates the picture vertically. On the left is the defeated Elwin Rommel standing in the cabin of a plane in retreat. In the lower part, the officers and soldiers of the British army are cleaning the battlefield and studying the Panzer V Panther of the German army. Mongo Mali and Churchill are inside the Islamic style castle. The three magnates in Tehran Conference are Churchill, Roosevelt and Stalin who are on the top middle of the highland. On the right, I was flying on an Arab blanket. The whole right part of the picture is Indian subcontinent, the base of East Asia Battlefield which halts the Japanese attack from the west. Tai Mahal, Buddist pagodas are of the typical architecture—the symbol of Subcontinent. The Mongolian cavalry who once occupied India appears in the sky again. On the left, there stands a pyramid on the Mediterranean coast. To the right side of the pyramid stand the Grant Mosque and Kotel in the Holy City Jerusalem. The airborne force in the sky hints the conflicts between Israel and the Arab countries after World War Ⅱ.
二战风云录之七《燃烧的东亚大地》
第七幅进入中国战场，其中包含局部的东南亚战场，如左下角的缅甸游击队和河边被日军俘虏的英军（这是一张历史照片中的镜头）。本幅标题为“燃烧的东亚大地”。一条横向的大河把画面分割成南北两部分，北方的黄土高原和南方的红土山地，以及左侧象征战时中国政府所在地的四川峨眉山，山上有举着望远镜观察延安的蒋介石，正在观看延安宝塔山下荷锄而立的毛泽东。整个南方是国民党军队抵抗日军的正面战场，激烈而残酷，其间我画了三个前来助战的中国古代战神——刑天。中间的老式飞机上是我的自画像，随后是陈纳德将军带领的援华空军——“飞虎队”。右上角是平型关战役的战斗场面。包括靠前指挥的他的战友们。
Picture No.7: The flaming land of East Asia
The seventh picture with the title The flaming land of East Asia gives us a bird’s-eye view of battlefields in China, as well as in part of Southeast Asia, like the Burma guerrillas and the British troop captured by the Japanese (which is from a historical photo). A easterly river separates the picture into two parts: the northern loess plateau and the southern red soil land. And on the left is the E’mei Mountain(in Sichuan Province) where is situated the then Chinese government (a symbol of wartime in the World War Ⅱ)On the Mountain, Chiang Kai-shek is holding a telescope observing Yan’an while MaoZedong, who is standing at the foot of a pagoda with a hoe on the shoulder. The whole northern part shows the fierce and cruel fight of KMT army’s against chief battle field against the Japanese. I pictured 3 Chinese Mars－Xing Tian, who come to assist in the operation. On an old-fashioned plane in the middle is the painter himself, followed by the relief air force Special Duty Unit (SDU) – Flying-Tiger Squad,led by General Chennault. The spectacle of Ping Xingguan Battle presents on the upper right corner, including the Commander in Chief Lin Biao and his comrades-in-arms.
二战风云录之八《恸哭的华夏》
同为中国战场的第八幅是南京大屠杀的再现，取名为“恸哭的华夏大地”。画面偏右一个愤怒而膨胀成巨人的自画像。这是反过来借用一张侵华日军所拍摄的历史照片（日本指挥刀尖上就挑着那张历史照片）。中间的城池象征着南京城，城中是日军在南京的各种暴行，城墙北门外躺着的受难女子的尸体也是根据一张历史照片画成的，在尸体的腹部上方点出中山陵的造型。在城市的外围有游击队的反抗，左上方是破坏日军交通线的中国游击队，左下角是地道战的场面，右上角有铁道游击队，并夸张的画上了芦沟桥和深色天空中的一勾月亮。画面最下部的中间是一个对日军进行复仇的中国农村的阉割专家。右下角是武林高手在砍杀日本兵，整个画面处在落日时分的血色黄昏中。
Picture No.8: The Wailing China
The eighth picture with the title The Wailing China reproduces the massacre in Nanjing. On the right part of the picture, there’s a self-portrait which distends into a giant for great indignation. I used a historical photo taken by the Japanese. (It’s exactly the one stabbed at the point of the commander’s sword.) The city in the middle is Nanjing, where the Japanese army committed all kinds of outrages. A woman’s dead body lying outside the northern city gate, was also painted from a historical photo.There appears something like Dr. Sun Yat-sen’s Mausoleum contour bulging on the belly of the dead body. Guerrillas are resisting against the Japanese army on the outshirkof the city. On the upper left are Chinese guerrillas trying to cut off the transportation of the Japanese army. The spectacle of tunnel battle presents on the left corner below, while some railway guerrillas are on the upper right corner, together with an exaggerated Lu Gou Bridge and a new moon in the dark sky. In the middle of the lowest part is a castration expert from rural area, who is taking his revenge on the Japanese army. On the lower right corner, some wu lin skilled swordsmen are killing Japanese. The whole scene is merged into a bloody evening.
二战风云录之九《沸腾的太平洋》
南京城往东不远即是无垠的太平洋，画面由此进入第九幅“沸腾的太平洋”，画面表现了最后战胜日军，取得反法西斯胜利的太平洋战争的场面。二战时的海战在很大程度上已转变成空战了，天空充满双方的各种作战飞机，海面布满各种军舰、空中闪耀着高射炮弹爆炸时的火花。近处硫磺岛上有拒绝投降而剖腹自杀的日本武士道军人。远处攻上鹿儿岛的美军士兵看到的是不降而跳海自杀的日本妇女。而与此相应的，则是左上角的中国东北雪原上有跳入大江自杀的中国抗联女英雄——“八女投江”的情景。远处海平线上显出富土山的形状和原子弹爆炸的火球。作为幽灵有两组人物出现在画面上，一组是紧贴画面左侧边缘正在观战的大清国的洋务大臣李鸿章和他的北洋舰队。另一组是富土山左侧的一艘在云端里的古代战船，船上是当年征战日本的元帝国的士兵，桅杆上高悬着成吉思汗画像。这是历史上曾和日本有过战争接触的两组幽灵人物，右下角的轰炸机枪手是我的自画像。
Picture No.9: The boiling Pacific Ocean
East to Nanjing is the boundless Pacific, now the eighth painting is entering into the ninth one, “The Boiling Pacific Ocean”, which presents the eventual defeat of the Japanese troops, and the scene of winning the victory over the fascists in the Pacific Theatre. In the Second World war ,sea operation in a rather great degree was dethroned by the air force.Omnipresent are all types of combat planes of both sides in the air, and warships buffeting the waves on the ocean. The sky is lightened by the shell-explosions from antiaircraft guns. In the short shot, some Japanese bushido soldiers who refuses to capitulate are committing hara-kiri on the Iwo Jima Island. In the long shot, those GIs who set foot on the Kagoshima Island notice some Japanese women refusing to surrender committing suicide by drowning themselves. As an echo, the scene of the eight drowning women appears on the upper left corner: the Chinese anti-Japanese heroines from Northeast China snow-land who committed suicide by drowning themselves. The shape of Fuji Mountain and the fireball caused by the explosion of the atom bomb are painted on the far-off sea horizon. Besides, two groups of ghosts appear in the picture as well: On the left edge, the minister during the period of Westernization Movement, Li Hongzhang is watching the whole battle scene, together with his Northern Sea Fleet. To the left side of the Fuji Mountain sails an ancient warship in the clouds. The soldiers of the Yuan Empire who were once recruited to fight against Japan in history are on board. Highly on the masthead is hanging the portrait of Genghis Khan, These two groups of ghosts are historical figures who used to fight with Japan. The gunner of the bomber on the lower right corner is the painter himself.
二战风云录之十《晴朗的东京湾》
第十幅“晴朗的东京湾海面”是长卷的结尾，蓝色大海趋于平静，飞机、白云形成的画面结构也是平整而宁静，右侧军舰上正在进行日本投降的签字仪式。空中的礼花是一种夸张浪漫的艺术处理，并能和第九幅的高炮火花相呼应，一架红色的飞机是为画面的色彩结构需要而画上，这是第一次世界大战中德国空中骑士里希特霍芬的著名战机——“红色魔鬼”，坐在机尾画速写的空降兵是我的又一个自画像。在签字的日本军官的右侧是一组黑色的幽灵，唐吉•珂德（Don Quixote）式的希特勒、桑丘（唐吉•珂德仆人）式的墨索里尼和他们的坐骑，一匹瘦马和一头小毛驴，法西斯的阴魂不散。而左下角的核潜艇冒出海面，暗示冷战即将开始。战争的阴影始终笼罩着全人类，危机四伏。
Picture No.10: The sunny Tokyo Bay
The tenth picture with the title The sunny Tokyo Bay is the end of this series. The blue ocean tends to be quiet. The picture, which is composed of planes and clouds, also tends to be quiet. On the right is the signature ceremony of Japan’s unconditional surrender on a battleship the Missouri on the right. The fireworks display is an artistic exaggeration, as an echo to the explosion in the ninth picture as well. The red plane added is for the need of color construction. It’s the famous fighter “red devil” of the German “knight in air” Richthofen during World War I. Another self-portrait – a paratrooper who is sitting at the hind part of the fighter, sketching. A group of black ghosts are sitting on the right side of theJapanese officer who is signing. They are Don-Quixote-shaped Hitler,Sancho-shaped(Sancho-servantof Don-Quixote )Mussolini and their that d0nkey, and a skinny horse, the fascist wraiths are still lingering, on the lower left corner, a nuclear submarine is surfacing, which hints that the Cold war is threatening the mankind. Human beings are still under the shadow of war and the hidden crisis exist everywhere.
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