历史都是成功者写就的，然成功的路有千万条，正所谓“条条大路通罗马”，而今齐白石的大名妇孺皆知。然齐白石一介农夫，雕花木匠，他成功的一条重要因素就是把田野里的白菜萝卜搬进大雅的艺术殿堂。他走的是一条大俗大雅、超凡脱俗的艺术之路。顺德画家冯汉昌，他选定的也是大俗拙雅之路。
他的画作拙中有品。视觉艺术贵在有品位，艺术史上有人提出了各种主张，分别有六、九品论者，然而集中一点是讲书画作品从内容到形式都要有品味。冯汉昌的画作题材大都选自农家水乡，写的也是农民日出而作，日息而歇的平常生活，然而他以锋利超凡的目光，发现这平常中的大美，如《渔光曲》那静夜的皎月浸在水面，沾附在渔网上，抑或贴在灰沉沉的夜空，渔舟停泊在港湾。渔网张挂着，鹅儿不知昼夜在静候主人的赏赐，夜如此宁静，他使人联想到古人的《静夜思》，又想起今人的《渔光曲》，这是对现实生活的崇尚和赞美。这是画家从平常的观察中发掘和提炼出来的精神佳作，他给人以憧憬和慰谢。实话实说，那是画家追求高品位的艺术表现。
他的画作拙而由格。这格就是要有自己的面貌、风格。千军万马过独木桥，谁都想别有一番表现，而冯汉昌的选择却是以民间年画的色彩和样式来画山水，且大都兼工带写。这是智慧的选择。不用说齐璜老先生是带着禾田里的泥巴走进艺术殿堂的，就是那喝过墨水的林风眠，他的油画和国画作品也大胆地吸了民间青花瓷的色彩元素。中国民间美术的资源是丰厚的，冯汉昌的过人之处就在于他善于把这种年画的色彩和样式同山水溶合，从而制造出《鱼跃人欢》、《节日》、《水乡金秋》等佳构，给人以不同凡响的新的视觉冲击。
他的画作拙而有韵。书画艺术作品给人以愉悦，在于它的情趣，若直白露，粗俗拙，则无大美而言。冯汉昌深谙此中三味，他的作品讲究的就是表现的情趣。艺术史册里表现春天的画作可以说无以数计，可冯汉昌的《春风》则别有一番韵味，他的选取的是古老水乡村寨的一隅，这里水网纵横，乳白色的墙。浅黑色的屋顶与那房前屋后盛开的梨花浑然一体，二月春风似剪刀，锦绣河山任裁割，泼出一瓢水，撩动一片云，那情趣任画家点播。
锦绣家园，忠诚赤子。冯汉昌不断使用画笔赞美自己的家乡，他的笔墨和手法都是鲜活的，汉昌兄选定的路子是对头的，恒久坚持，必成大器。
It’s successor’s accomplishments that made our history. However, their ways to success vary a lot. Just as the old saying goes, “Every road leads to Rome.” Thus we get the success of the great painter Qi Baishi. He was born a farmer as well as a carpenter. He converted the most common vegetables into great arts. And that’s just a crucial reason for his success. That is to say, ordinaries made his success in arts. The artist Feng Hanchang from Shunde selects this style as well.
Plain as his pictures might be, they show the taste. That’s just what visual arts values in. There were once many kinds of claims about art, such as six or nine-taste’ principle. While, what those focuses is that calligraphies and paintings should have something in depth both in form and content. The subjects in the works of Feng Hanchang are mainly derived from the ordinary homes in the countryside. What he stresses is also the simple life of farmers along with the rising and falling of sun. However, his superior vision and sharp eyes can always discover the unusual of the common things. Like in his “Fishing Lights”, the bright moon shinning upon the water and looks like that it were clinging to the net or somewhat clayed to the dense sky with the fishing boat parking in the port. The night so quiet, the fishing net breaking out to the full in the dark and the cormorants tractably waiting their owner to reward them, that it makes us thinking about the ancient classic poem "Meditation at Silent Night" and the modern "Fishing Light". They all glorify and show respect to our life. This excellent works is extracted from painter’s attentive care and constantly exploration to our daily life, which gives out hope and comfort. Actually, that just shows the artist’s ambition toward high taste in art.
Short as his pictures might be, they posses unique styles, which means their unique appearance as well as style. Suggested everyone crowds into one narrow road, no one prevails at last. While Feng Hanchang blends the colors and style of the folk New-Year pictures into landscape paintings. Besides, most of his works blend the traditional fine brush painting as well as free style paintings. That’s a smart choice. Let alone old Qi Huan stepping into the great world of art with the crop’s mud in his shoes, even Lin Fengmian, the guy once drunk the ink, made a brave attempt to add his oil painting and traditional Chinese painting the elements of traditional Chinese folk blue-and-white porcelains’ colors. The Chinese folk art is quite resourceful. And Feng Hanchang excels just by blending the colors and style of the folk New-Year pictures into landscape paintings. So does he accomplish the excellent works of "People Cheering and Fish Dancing Together", "Festivals", "Golden Fall in the Watery Town" etc., which give us an incredible visual feast.
Short as his pictures might be, they are full of charms. The art of Calligraphies and Paintings can come to us with enjoyment because of it’s full of taste. Plain straightness and coarseness make no aesthetic feeling. Feng does know this, so his works is particular about presenting taste. There were millions of paintings around the theme of spring, while those that of Feng have a unique lingering charm. He chooses a fraction of the ancient watery town, rivers crisscrossing and creamy-colored walls standing there. Blackish roofs blending into the full bloomed pear blossoms surrounding the house, the spring wind seems like a pair of shears, cutting out any beautiful pictures of mountains and rivers. The painter can make any sense of taste as he wishes.
The pure heart in the great land, Feng repeatedly praises his hometown with his brush, in fresh and variable skill and description. The way Hanchang chooses is absolutely right. As long as he perseveres, he will definitely get success.