款识：甲子秋月写于南京沙砚居亚明
钤印：亚明之印（白文）
声名于20世纪60年代后的江苏山水画派——“新金陵画派”的主将亚明，起初是以人物画名世的。他在人物画上的卓越成就，毫不逊色于他的山水画。
亚明早在动荡的战争环境中成就了熟练的速写功夫。他的速写用线肯定，简略传神，他初期的国画，就得力于此。许多同代人就是沿着这条路走到最后的。对于西法的汲纳，他取慎重分析的态度。另一方面，他向传统学习，学了用，用中学。不是死学，是加以分析地学，拿来有用的，改造无用的。他的名作《货郎图》，就是借鉴宋代院体画形式的新创作。我还见他在一页一尺正方的小绢上工勾重彩，画了一百多人在看戏，名日《水乡乐》，这显然是取法宋人和仇英，而意境则是全新的。他的借鉴也是活的，我曾评过他的《钢铁厂组画》，是借取了山水的程式。当我们看到他的《海滨生涯》(1959年作)时，我们又不能不联想到大写意花鸟画的章法。南宋梁楷的减笔风神，明末张风的草逸情态和清末任颐的巧率笔意，无不和谐地融合在他描绘新人的新作中。
亚明是从人民生活中走出来的。他熟悉战士，也懂得工人和农民，又有敏锐的洞察力和捕捉能力。《老船工》和《渔民》的被特别夸大了的不同一般的手和腿，《矿山新苗》中青年女工脸庞上所呈现的认真、勇毅和稚嫩的表情不协调中有分明显出协调，都是鲜活的，都充分体现着生活的真和美。亚明多次出国访问，东南亚、日本、美国、欧洲，每到一处总有一批写生作品产生，其中也包含着人物画。他用意笔速写，不求逼肖，但求神采相合。他的笔墨渐趋放纵了，率意而适性，风格也愈突出。
期至2001年。他的追求自70年代后期始就逐渐往山水方面转移，到了这一阶段，山水已经成了他创作的主体。人物退居其次并转向了古人，他与他所崇仰的文人学者隔着长长的时空作着交流。玩砚的东坡、拜石的米癫、骑驴的板桥，时时在他笔下出现。《纵然一夜风吹去，只在芦花浅水边》是他最常画的题材，透出了画家超逸的情怀。他的笔致格外率意了，巧思渐渐演化为朴拙，清劲也变化为老辣了。此幅作品就是一例，此时的亚明在创作上已进入了遗形写神的境地。这是人生的回归，也是艺术的回归。
Ya Ming is being known as the key figure of “New Jinling Painting Sect"" –also known as JiangSu Landscape Painting Sect that are after the 1960s. He is known for his portrait drawing initially where his attainments for portrait drawing is as good as of his attainments in landscape drawing.
Ya Ming mastered the arts of literary sketch during the warring period. The literary sketches he draw are simple yet amazing where he never hold back in his writings. He has started drawing traditional painting in his early years. He studied the western drawing methods as like those living in the same period as him while on the other hand, he learnt the useful techniques from the tradition where he applied what he has learnt, modify those and discard the useless techniques, keeping only those that are useful. His artwork <
> is a new creation using the techniques of the Song Dynasty. His artwork <> (made in 1959) portrays his technique of drawing of flowers and birds The use the sketching technique from Southern Song Liang Zhu; the carefree and leisure spirit brushwork technique from Late Ming and the technique of Late Qing has fused together into his contemporary paintings.
Ya Mingis familiar with the warrior and also understanding with the workers andpeasant where he has a good observation skill and the ability to capture the surroundings. <> and << The Fisherman>> uses and emphasize on a different way of drawing the hands and legs. In<>, the young ladies are drawing being serious, brave while being young and tender. This displays the realistic and beauty of life. Ya Ming has also went for many press conferences in the Southeast Asia, Japan, America, Europe. Whenever he completes a painting, he will freely writes a literary sketch as according to his thinking and his style of writing is seen to be outstanding.
Until 2001, he has shifted his focus to the landscape aspects since70s where reached a stage where landscape painting becomes his main field of arts. He started painted on portraits of the philosophers that he has respected such as Dong Bo, Mi Dian, Ban Qiao. <> is normally his inspiration for drawing. His painting style is particularly pleasing and has becoming simple, refreshing and sophisticated. This painting is also one of them where he has reach the stage the painting is as though done by the work of god.