著名書法家，藝術(shù)家。1969年 出生于江蘇徐州，1992年 入住圓明園畫家村。中國美術(shù)家協(xié)會敦煌創(chuàng)作中心主任委員 ，東西方現(xiàn)代藝術(shù)家協(xié)會會長，中國現(xiàn)代書法學(xué)會常務(wù)理事，北京大學(xué)公共藝術(shù)研究所研究員，傳媒大學(xué)鳳凰學(xué)院客座教授，清華大學(xué)朱曜奎教授博士研究生。中國教育電視臺《藝術(shù)中國》欄目藝術(shù)指導(dǎo)，首屆《金色文化》藝術(shù)大賽評委，兒童少年基金會三十周年《心.手傳遞春蕾慈善之夜》藝術(shù)指導(dǎo)。

       現(xiàn)為北大資源藝術(shù)傳媒學(xué)院副院長，中國美術(shù)出版社全日制高中書法教材《名家講堂》主編。

　　2010年 宋莊靠邊 靠邊 靠邊綜合藝術(shù)大展<總策展人>

　　中韓藝術(shù)交流大展<梧州>

　　邁阿密亞洲藝術(shù)博覽會

　　2009年 第一屆林州水墨雙年展（上海）

　　798“混血”個(gè)展

　　入住北京宋莊

　　2008年 上海大東方藝術(shù)區(qū)個(gè)展

　　2007年 上海ART藝術(shù)空間個(gè)展

　　2004年 出版?zhèn)�人畫集

　　2003年 中德文化交流展

　　2001年 德國威勒畫廊個(gè)展

　　2000年 觀景廊畫廊個(gè)展

　　1999年 德國威勒畫廊個(gè)展

　　1998年 當(dāng)選中國現(xiàn)代書法藝術(shù)學(xué)會常務(wù)理事

　　參加中國國際藝術(shù)博覽會

　　1996-1997年 參加首都國際藝術(shù)品博覽會

　　九月畫廊個(gè)展

　　觀景廊畫廊個(gè)展

　　1995年 入住東村藝術(shù)區(qū)

　　侯氏“漢字整容展”在北京頌風(fēng)軒畫廊展出

　　1994年 參加柳州現(xiàn)代書法邀請展

　　社會職務(wù)

　　中國教育電視臺《藝術(shù)中國》欄目藝術(shù)指導(dǎo)

　　首屆《金色文化》藝術(shù)大賽評委

　　兒童少年基金會三十周年《心.手傳遞春蕾慈善之夜》藝術(shù)指導(dǎo)

　　中國美術(shù)家協(xié)會敦煌創(chuàng)作中心主任委員 東西方藝術(shù)家協(xié)會副會長

　　東西方現(xiàn)代藝術(shù)家協(xié)會會長

　　中國現(xiàn)代書法學(xué)會常務(wù)理事

　　北京大學(xué)公共藝術(shù)研究所研究員

　　傳媒大學(xué)鳳凰學(xué)院客座教授

　　邳州市書法家協(xié)會、美術(shù)家協(xié)會顧問

　　清華大學(xué)朱曜奎教授博士研究生

　　藝術(shù)大師少年生活：東方魂

　　東方魂 

　　   ——記青年藝術(shù)家侯光飛 

             姚魯

 　 侯光飛用一種全新的國際化的視覺語言，開創(chuàng)了一片新奇的藝術(shù)天地，是整個(gè)東方文化的象征。這不僅屬于中國，也屬于全世界。他用東方水墨的氣韻融匯西方的色彩表現(xiàn)形式，呈現(xiàn)出唯有中華民族所獨(dú)有的博大精深的文化內(nèi)涵。他的作品里流淌著中華民族傳統(tǒng)的血液，扎根于東方古老文明的沃土，吸收著外來鮮活的空氣，滋潤著自己，使別人無法望其項(xiàng)背。西方的藝術(shù)大師們更無從窺測到他靈魂的深處，劫取他生命的甘泉。因?yàn)椋�他生長在中華的大地上。　 

　　談起侯光飛的藝術(shù)生涯頗有神秘色彩。大約八歲那年，他偶然得到了一本清朝書法家傅山的字帖，感到特別稀奇，覺得這東西挺好。在當(dāng)時(shí)的那個(gè)年代，除了毛主席像，最好的就是過年家家粘貼的楊柳青年畫了。于是，八歲的侯光飛象得到了天書一般，開始癡迷地照葫蘆畫瓢練起書法來。不管春夏秋冬，日午晨昏，只要有空，他就隨時(shí)練習(xí)書法。有時(shí)在山腳下的一塊空地上，把凸起的黃土一扒拉，拿起樹枝就往地上寫。有時(shí)在巨大的巖石旁，從書包里掏出剛從學(xué)校里撿來的粉筆，翹起腳就往高出自己數(shù)倍大的青石上畫。他感覺練習(xí)書法比過年吃肉還快樂。這樣，不知過去了多少個(gè)寒暑，他一練就是十幾年。由于他天生具有創(chuàng)造的稟賦，使他一登入書法的殿堂，就想做世界第一流的大師，他也往往自以為是大師，就真的按大師的標(biāo)準(zhǔn)要求自己。在書法創(chuàng)作上，他刻意求新，力爭變化。這種創(chuàng)造性思維，在世俗的生活中，或是在世俗的創(chuàng)作領(lǐng)域內(nèi)，往往不容易被人理解。尤其中國傳統(tǒng)的書法藝術(shù)，只有超越了常規(guī)的法則，進(jìn)入真正創(chuàng)造的思維空間，才能深刻領(lǐng)會線條藝術(shù)的奧妙。而現(xiàn)實(shí)生活中，由于師尊者的局限，往往會埋沒甚至扼殺一個(gè)富有創(chuàng)造力的天才。藝術(shù)家重要的是培養(yǎng)創(chuàng)造性的思維，形式和技巧只要下苦功是完全可以學(xué)會的，唯有深邃的思想和極強(qiáng)的創(chuàng)造精神是最為可貴的。那是在上初中的時(shí)候，一天，侯光飛捧著自己認(rèn)為是創(chuàng)新的書法作品，給老師看，老師也以為侯光飛寫的字怪，卻不知道怪在哪里。 

　　天才的藝術(shù)家，他的創(chuàng)造性思維會貫穿他生命的始終。他追求的事業(yè)就是他的生命，只要生命還在，任何事物都無法阻礙他散發(fā)出生命的光輝. 

　　侯光飛以書法為主線，廣泛涉獵音樂、繪畫等藝術(shù)門類。隨著對傳統(tǒng)書法的實(shí)踐和深入的研究，他越來越覺得，在諸多的藝術(shù)中，書法是最有民族性的藝術(shù)。它集造型、音樂、儒、道、佛等中國傳統(tǒng)文化的精華，是中國的集大成文化。它是中國以至整個(gè)東方世界獨(dú)特精神文化的象征。但是，正是它特定的民族地域性，阻礙了它匯入世界藝術(shù)大潮的可能，使“越是民族的就越是世界的”在實(shí)踐的檢驗(yàn)中成為一紙空談。

　　回顧中國書法、繪畫以及油畫很難在世界范圍內(nèi)產(chǎn)生較大影響，主要原因是缺乏在藝術(shù)本質(zhì)方面的突變。有些作品往往流于程式化和形式化。難怪一位收藏侯光飛作品的外國人說“我感覺到他的作品是創(chuàng)新，沒見過。我不知道你們中國的油畫，為什么還模仿我們西方國家五六十年代的作品？他的這作品我沒見過�！� 

　　這正是問題的關(guān)鍵：我們不必計(jì)較他語言的邏輯性和強(qiáng)烈抨擊他反映的問題是否全面。我們的目的，是在努力尋找彼此能夠順利交流的語言，然后，通過這種語言把我們民族的文化藝術(shù)傳播出去，影響西方，影響世界。

　　侯光飛經(jīng)過多年的探索與實(shí)踐，終于找到了這種語言：運(yùn)用西方的油畫形式，傳播代表東方文化的載體——書法。因?yàn)�，西方人容易讀懂這種語言，所以，能夠深刻地領(lǐng)悟它的內(nèi)涵。也正是基于藝術(shù)的本質(zhì)特征，侯光飛把中國書法抽象的表意性推向了一個(gè)純粹藝術(shù)化抽象的頂峰。它是具象化了的藝術(shù)抽象，這是對中國傳統(tǒng)書法的一次革命，也是對西方油畫藝術(shù)的一次沖擊！他通過油畫的色彩把你帶入一種氛圍，影響你的情緒；他通過書法的線條讓你感受一種神秘的啟示。是文字？是圖案？是封象？是佛？是道？莊周夢蝶？倉頡造字？……于是，在破解的欲望中，這種神秘的啟示，把你引入一個(gè)新奇燦爛的文化世界。 

　　這藝術(shù)屬于中國，屬于東方，也屬于全世界！　　　　　　　　　　　　　　　　 

　         　Oriental Soul-just remember young artists HouGuangFei 

　HouGuangFei is using a kind of internationally brand-new visual language and opening a new art gate.He has been the symbol of the Oriental culture. He belongs not only to China, also belongs to the whole world. He blends together the Western charm and Oriental ink color forms to show the deep unique Chinese cultural connotation. His work is flowing in the Chinese traditional blood, rooting of the ancient civilization fertile soil, absorbing foreign fresh air, moistens themselves, so that others can’t watch with admiration. Western art masters cannot lie a glimpse to his soul or take the water of life he survived because he grew up in the earth of China. 

　　About HouGuangFei art career , it is quite a mystery. Almost eight years old, he accidentally got a calligrapher named pseudograph literatures who was famous in Qing Dynasty ,which was particularly rare, and he thought it was good thing. At the time of that age, except for chairman MAO the like, the best painting in China is New Year YangLiuQing calender which was pasted on the house wall. And so, at the age of 8,HouGuangFei was like to get gobbledygook,he began to obsesse with copying them and to practice on calligraphy. Chun xiaqiu winter afternoon, No matter what kind of season ,as long as he was free, he would practice calligraphy. Sometimes at the foot of the mountain on a vacant lot, he picked up the branches on the ground to write. Sometimes in huge rock ,after he took out just from school bag to pick up the chalk to write. And he always wrote on the bluestone which was several times higher than himself. He felt happier to practice calligraphy than having meat in New Year. Nobody knew how many years pasted, he had been practicing in more than ten years.Because of his natural created genius, he wanted to do the world first-class master at the beginning, he also often thinks himself a real master according to master standard to require himself. In calligraphy creation, he deliberately seek new things and strive to change. This kind of creative thinking in secular life, or in the creation of the secular field, is not always easy to be understood. Especially the traditional Chinese calligraphy art, beyond the conventional law only, enters the true thinking space, can create a deep understanding of line secrets of the art. And in the real life, because of the limitations of the instructors, often can bury even kill a creative genius. The most mportant training of the artist is to be creative thinking .The forms and techniques can be learned completely as long as spend much time, but the profound thoughts and strong creative spirits are the most precious thing. That’s a school day in junior high school,HouGuangFei held what he thought was innovation, to see his calligraphy teacher, the teacher also thought HouGuangFei written was very strange, but he didnot know what to be blamed. 

　　The talented artist, his creative mind will be through all his life.The pursuit of his career is his life, as long as the life exits, nothing could not block he exhaled the glory of the life. 

　　Calligraphy is the main line of HouGuangFei’s life, at the same time ,he widely browses music, painting and other art categories. Along with the traditional practice of calligraphy and further research, he became more and more feel, in many art, calligraphy is the most nationality art. It sets the modelling, music, Confucianism, Taoism and Buddhism, and the essence of Chinese traditional culture is the culture of China,It is that the entire eastern world unique cultural symbol. But, it’s a specific nation regional and blocked it into the world of art tide possibility to make "the more national, the more the world" in the test of practice become a paper talk.

　　Reviewing the Chinese calligraphy, painting and oil painting can be difficult to have great influence in the world scope , the main reason is the lack of artistic nature of mutations. Some works are often stylized and formal deteriorates. No wonder a foreigners collection HouGuangFei works said "I feel his work is innovation, haven’t seen. I don’t know your Chinese oil painting, why has been copied our western countries of the 50s to 60 s? His works of I have never seen." 

　　The point of it is that we don’t need to care what the logic in his painting language and attack the problem whether he reflect overall. Our purpose is to try to find the language through which we can communicate to each other smoothly, then, through the language we can spread out our national culture art in order to affect the West even the world. 

　　Through the exploration and practice of many years,HouGuangFei finally found this kind of language: USES the western oil painting form is on behalf of the carrier of culture spread east-calligraphy. For westerners it is easy to read this kind of language, so, Western people can profoundly understanding the connotation of it.It is that based on the essence of art, the abstract ideographic characteristics of HouGuangFei’s Chinese calligraphy are pushed to the peak of a purely abstract art changes .This is the traditional Chinese calligraphy revolution , but also a shock!!!!!to western oil painting arts. He takes you into a kind of atmosphere by painting colour, affects your mood; He let you experience a mysterious enlightenment through the calligraphy line. Is the text? Is the pattern? Is the elephant? Is Buddha? Is the way? ZhuangZhouMengDie? Is Changjie creating characters? ...... And so, in cracking desires, the mysterious enlightenment bring yon to be into a new culture of the world. 

      This art belongs to China, belongs to the East, also belongs to the whole world! 

 （本文選自作家出版社出版大型報(bào)告文學(xué)叢書《歷史的使命》報(bào)告文學(xué)集《東方魂》。作者姚魯是著名作家，詩人，書法家。）