燕娅娅耐心地画了些人物，专注地观察描述这些人，看他们的姿态，揣摩他们的表情，在他们的山里，在他们的家里，在射入高窗的那一束耀眼的阳光下。对于这些肖像里画的人物，其实我是并不了解的，所以完全没有能力分辩作品之于生活本身究竟有多少新的揭示，也无法从这个意义来判断作者天赋的洞察力。
　　但是，作为一个绘画的同行，我从画面上，从观察和描述语言的角度，却是从燕娅娅的作品中不断地受到感染，并且引起我多年关注。绘画语言有两种类型，一种是追求笔笔传情，像写字书法一样，每一笔都可以独立欣赏品味，都有作者的情怀渗透其间，洋溢其间；另外一种则大为不同，一笔一划都在塑造，在塑造着对象的形象，对每一笔每一划的追求，如同一座宏大建筑的砖石，要积累出对象的整体，每一笔的价值是隐藏在造型整体之后的。
　　燕娅娅的画，大多属于后面一种。她有自己的鲜明个性，有她执着坚毅的精神世界，但这一切都不是直接流露在运笔挥毫的表面上，而是埋藏在叙事之中，彷佛她只在讲述别人的故事。而事实上，燕娅娅的笔下，总能把她人物的多方面矛盾的对立在她塑造的人物形象上统一起来，这正是同类写实艺术中少有的成就。比如困顿与某种高贵，比如窘迫与某种端庄，在她的人物身上统一成生动的个体，充溢着精神震慑的个体。这些形象不再是些美丽的面膜，不再是空洞的民族标本，而是超越了具体的民族形象，是人的，纯正端庄的人的形象，他们的自尊不仅闪烁在凝神的目光里，也深深雕刻在重重迭迭的皱纹里。
　　我最喜欢燕娅娅那几幅正面的肖像，他们逼真，但并不想讨好“照片写实”之类的时兴的手法，它们朴朴素素开门见山，让每个观者过目难忘。与印象派的技法不同，固有色的油画技法体系在中国的传播发展比较坎坷。而燕娅娅在油画语言的追求趣味里，恰恰有明显的固有色技法的意味包含在内，这也是吸引我注意的原因之一，因为难得。
　　在欧洲，“固有色”不仅仅意味着另样的技法，也是有别于条件色的另样的观察目光，另样的美的信仰，另样的人生的态度。我想，也许燕娅娅为自己的生活选择的特殊的道路，正应当滋养了她的独到的艺术风采。
戴士和教授
中央美术学院油画系主任
中央美术学院造型学院院长
　　The Portraits of Yan Yaya
　　Professor Dai Shihe (Head of the Department of Oil Painting and Director of the Department of Imagery at the Central Art Academy)
　　Yan Yaya draws her figures patiently.  She has paid meticulous attention to observe and portray these people; studied their postures and expressions, in their mountains, at their home, and under the blinding glare of sunlight.  I do not know or understand any of the figures in her paintings, or do I have the ability to analyse the daily inspirations on Yan’s works.  Thus, I am not in a position to comment on her talents and perceptions.
　　However, being an artist myself, I have been paying particular attention to Yan’s works for years, how she ‘observes’ and ‘depict’ a subject.  I was greatly influenced and touched by her works.  There exist two types of painting languages.  The first type is a direct expression through brushes.  This is similar to calligraphy, and each stroke can be independently appreciated.  The calligrapher’s sentiments are fully expressed in it.  The second type is completely different from the first.  Each brush and stroke is a ‘creation’ or a ‘moulding’, that is, to ‘create’ or to ‘mould’ an entity’s image.  A stroke is akin to a piece of brick of a magnificent architecture.  The substance as a whole is an accumulation, it accumulates the value of each stroke, all hidden and embedded in the substance.
　　Many of Yan’s works belong to the second type.  She has a strong character and vivid personality that makes her inner world unrelenting.  However, this is not directly expressed or revealed in her brush strokes, but is embedded in her descriptive painting language.  It seems that she is a mere narrator.  In fact, in Yan’s painting, she is capable of assimilating the paradoxical and contradictory elements 　found in the figures and expressed them in her paintings.  For example, within wretchedness, there is an air of nobleness; and within poverty, there is a kind of gracefulness.  This is a rare accomplishment in similar types of realistic art.  Such assimilation is perfectly displayed in Yan’s figures, and transformed into vivid images that touch people.  These images are not merely superficial beauty, or empty representation of national identity.  They are more than national images, but are about people––people that are simple and noble.  Their dignity are not only depicted in their glittering eyes, but has been deeply carved in their wrinkles.
　　I particularly like the few portraits depicted by Yan that are confronting the viewers.  They are so genuine, instead of playing with the stylish “Photo-realism” or other novel techniques.  Her paintings are simple and direct, leaving viewers with impressive and unforgettable memories.  Unlike the techniques of Impressionism, the ‘pure colour technique’ found in oil paintings is rather undeveloped and face many difficulties in China.  Yan, in the pursuit of interest through her oil painting language, is using this ‘pure colour technique’.  This is one of the reasons her works have attracted my attention––the rarity found in her work.
　　In Europe, the use of ‘pure colour technique’ not only meant an alternative technique, but represents a different way of observing; aesthetic experience; and philosophy of life.  Yan has chosen a very special way of living, which constituted her distinct and unique artistic style.