王怀庆在90年代初开创了他非同凡响的与中国建筑相关联的系列力作--將精純的中国艺术視觉境界与抽象的构成情愫相结合而与西方視野相接轨。王怀庆的艺术風格始終坚持根深于中华文化，更为重要的是他处于中国現当代历史转型时期而对自身文化的自省。在于我近来的通信中，他如此写道，“我非常看不起‘外国设计’、‘中国制造’的某些失掉了自己精神的作品。”同时指出，“他凭藉一个中国知识份子‘醒过来’后痛苦的敏感，以及思想冲破禁锢時的锋利，连同多年來對艺术一颗不死的心，完成了一批批作品。”是三个因素激励了他：他对传统中国及其与現当代世界关系的感悟；他自身的生命记忆；以及他对繪畫绘画本质秩序的探讨。

　　----迈克 苏立文先生（英国著名艺术史学家，艺评家）

　　Wang Huaiqing in the early ‘nineties created his superb series of paintings of interiors that combined a purely Chinese visual world with a feeling for abstract design that makes them particularly accessible to Western viewers. But Wang Huaiqing insists that the roots of his style are deep in Chinese culture, and above all his awareness of himself as a Chinese at a critical moment in modern Chinese history. “I really look down,” he wrote to me recently, “on those whose work is ‘designed by foreign counties and constructed by Chinese’”. But, he says, “I dare to break the chain of thought that had ruled China for many years, based on the pain and sensitivity of Chinese intellectuals and their awakening, and based on my own undying heart towards art” There things motivate him: his perceptions of traditional China and its relation with the modern world; his own memories of life; and his search for the essential order of painting.

　　---- Michael Sullivan, Oxford, February,2001