王懷慶在90年代初開創(chuàng)了他非同凡響的與中國建筑相關(guān)聯(lián)的系列力作--將精純的中國藝術(shù)視覺境界與抽象的構(gòu)成情愫相結(jié)合而與西方視野相接軌。王懷慶的藝術(shù)風格始終堅持根深于中華文化，更為重要的是他處于中國現(xiàn)當代歷史轉(zhuǎn)型時期而對自身文化的自省。在于我近來的通信中，他如此寫道，“我非常看不起‘外國設(shè)計’、‘中國制造’的某些失掉了自己精神的作品。”同時指出，“他憑藉一個中國知識份子‘醒過來’后痛苦的敏感，以及思想沖破禁錮時的鋒利，連同多年來對藝術(shù)一顆不死的心，完成了一批批作品。”是三個因素激勵了他：他對傳統(tǒng)中國及其與現(xiàn)當代世界關(guān)系的感悟；他自身的生命記憶；以及他對繪畫繪畫本質(zhì)秩序的探討。

----邁克蘇立文先生（英國著名藝術(shù)史學家，藝評家）

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