王懷慶在90年代初開(kāi)創(chuàng)了他非同凡響的與中國(guó)建筑相關(guān)聯(lián)的系列力作--將精純的中國(guó)藝術(shù)視覺(jué)境界與抽象的構(gòu)成情愫相結(jié)合而與西方視野相接軌。王懷慶的藝術(shù)風(fēng)格始終堅(jiān)持根深于中華文化，更為重要的是他處于中國(guó)現(xiàn)當(dāng)代歷史轉(zhuǎn)型時(shí)期而對(duì)自身文化的自省。在于我近來(lái)的通信中，他如此寫(xiě)道，“我非常看不起‘外國(guó)設(shè)計(jì)’、‘中國(guó)制造’的某些失掉了自己精神的作品。”同時(shí)指出，“他憑藉一個(gè)中國(guó)知識(shí)份子‘醒過(guò)來(lái)’后痛苦的敏感，以及思想沖破禁錮時(shí)的鋒利，連同多年來(lái)對(duì)藝術(shù)一顆不死的心，完成了一批批作品。”是三個(gè)因素激勵(lì)了他：他對(duì)傳統(tǒng)中國(guó)及其與現(xiàn)當(dāng)代世界關(guān)系的感悟；他自身的生命記憶；以及他對(duì)繪畫(huà)繪畫(huà)本質(zhì)秩序的探討。

----邁克蘇立文先生（英國(guó)著名藝術(shù)史學(xué)家，藝評(píng)家）

Wang Huaiqing inthe early ‘nineties created his superb series of paintings ofinteriors that combined a purely Chinese visual world with afeeling for abstract design that makes them particularly accessibleto Western viewers. But Wang Huaiqing insists that the roots of hisstyle are deep in Chinese culture, and above all his awareness ofhimself as a Chinese at a critical moment in modern Chinesehistory. “I really look down,” he wrote to me recently, “on thosewhose work is ‘designed by foreign counties and constructed byChinese’”. But, he says, “I dare to break the chain of thought thathad ruled China for many years, based on the pain and sensitivityof Chinese intellectuals and their awakening, and based on my ownundying heart towards art” There things motivate him: hisperceptions of traditional China and its relation with the modernworld; his own memories of life; and his search for the essentialorder of painting.

---- MichaelSullivan, Oxford, February,2001