”李子玉好像在寫一首首抒情詩，春夏秋冬， 從鵝黃、嫩綠到冰寒的灰與藍，所以她的這些彩色抽象畫，有唐人絕句的精巧玲瓏， 她的畫中有詩。李子玉的畫作，沒有跟隨 任何派系，渾然天成，不帶匠氣，是素人畫。她以她的畫，在吐露她的心聲，在訴說她的內心底處，用文字寫不清楚的彩色故事。” ——白先勇《圖為心聲》
"Li Ziyu seems to be writing lyrical poems, through the seasons - from goose yellow and tender green to icy gray and blue. Her colored abstract paintings possess the exquisite delicacy of Tang Dynasty quatrains; there is poetry within her paintings. Li Ziyu's works don't follow any school or movement - they are natural and unpretentious, like paintings by a self-taught artist. Through her paintings, she expresses her inner voice, telling colorful stories from the depths of her heart that words cannot fully capture."-- Mr. Kenneth Pai from the book “Pictures as Voice of the Heart”
（知名作家、評論家、劇作家、子玉友人白先勇）
子玉女史之画甚得天然之致，非徒以摹写者可以轻取。
对于风景的描绘，中国谓之山水，子玉所写得于中西二者之间，实写与造境相融，是技与心的妙合。
丹青乃意气之事，心有怎样的高度，手才能出怎样的高度，子玉兼得之也。
色彩是状写风景画的一大关键，色是纷陈，也是统一，子玉于之独具慧目，融化得中，于情绪之中把握上乘也。她之用色，似乎偏爱蓝色，变化应用，颇得生命之韵。
子玉之画又有音乐之美，或婉如夜曲，或混若交响，是风景画的心象之作。齐翁尝云可惜无声，她却是可叹有声了。
- 謝春彥Xie Chunyan's critique:
"Li's paintings achieve a natural essence that cannot be easily attained through mere imitation.
In depicting landscapes, while Chinese tradition calls it 'shanshui' (mountain and water), Li's work bridges Eastern and Western approaches, perfectly blending realism with creative interpretation - a masterful union of technique and spirit.
Painting is a matter of spirit and intention; one's hand can only reach the heights that one's heart can achieve, and Li has mastered both.
Color is crucial in landscape painting - it must be both diverse and unified. Li has a unique vision in this regard, achieving perfect balance and capturing superior emotional resonance. In her use of color, she seems to favor blue, applying it with variations that capture life's rhythms.
Her paintings also possess musical beauty, sometimes gentle like nocturnes, sometimes complex like symphonies - they are psychological landscapes. While Qi Weng once lamented the lack of sound in painting, here one can almost hear it."
（畫家、美術評論家、專欄作家、獨立文化藝術策展人。上海中國畫院畫師、南京博物院特約研究員 謝春彥先生）
“ 她表現的就是一種個人的情感。為的是調劑日常生活，更為了能幫助有情緒病而無法自拔的相熟或不相熟的朋友，庶幾可以得到一點安慰和共鳴。“ —— 李歐梵《子玉的畫》
Leo Ou-fan Lee's comment:
"She expresses deeply personal emotions. Her work serves not only to balance daily life but also to help friends and strangers struggling with emotional disorders, offering them comfort and resonance."
（美國哈佛大學教授、國際知名文化研究學者、作家、子玉丈夫李歐梵）
”她用這些畫作示范了一個人的童年期可以多麼漫長，一個人，可以用六十年的童子功來和世界抗衡。“ ——毛尖《六十年的童子功：子玉畫畫》
Mao Jian's observation:
"Through these paintings, she demonstrates how childhood can extend indefinitely - how one can use sixty years of foundational practice to engage with the world."
（知名專欄作家、華東師範大學教授、上海電影評論協會副會長、子玉友人毛尖）
”真的是被這些畫作的純淨和明亮擊中了，如黑暗中被無盡的熒光、月色和日出後的絢麗照透並驚呆了樣。即便不懂文學以外的所有藝術與術藝，也還是忍不住為這些畫作感歎和囈語。“
—— 閻連科《天賦華彩遲到來》
Yan Lianke's impression:
"I was truly struck by the purity and brightness of these paintings, as if being illuminated in darkness by endless fluorescence, moonlight, and post-dawn splendor. Even without understanding any art beyond literature, one can't help but marvel and speak in reverence of these works."
（知名作家、中國人民大學文學院教授、子玉友人閻連科）
“子玉多才多藝，能寫作，能繪畫，能唱歌，會著裝，會做飯，林語堂說的‘藝術的人生’ 在她的身上得到了最大的體現。有一次聚會，我聽她唱粵劇《帝女花》，那纏綿婉轉的歌聲，似乎匯成涓涓細水，一點點流進我的心裡，把我的思緒從喧囂的都市帶到廣闊的天地間，讓我在瞬間的吟唱中去領悟永恆的愛情與國破家亡、生死離別的蒼涼。她的歌聲，教會我活在當下，尤其是有美感和藝術感的當下。”
”子玉的畫，我最近才有機會看到，一下子就被那絢爛而純淨的色彩吸引住了。本以為得過憂鬱症的子玉，會用沈重的墨彩表現那曾經緊緊抓住她十年的孤獨、病痛、黑暗以及瀕臨死亡時的絕望。可是出乎我的意料，她的畫絢麗明亮，像是精靈般自然隨性的舞蹈，有時在陽光下，有時在朦朧的霧氣里，有時在詩意的細雨中，隨意而不做作，把高山、流水、天空、樹影勾勒出別樣的情致，既有緲緲空山的神秘，又有單純的青草的氣息，還有花影斑斕的跳動，而這些色彩又似乎伴著她的淺淺吟唱，於是萬物都有了獨特的韻律和節奏，帶著感情凝視著我們。”
“她多彩輕盈的墨跡有一種流動感，引入中國古代文人山水畫的韻味，喚起自己的情感，讓自己的心境與山水相互輝映，相互對照。就像她的寫作，是治癒心靈的方式，她的墨跡，也同樣是心影的漫遊——不僅是自我與世界的對話，更是自我對內宇宙的探尋和叩問。在她印象派式的山水畫里，花的芬芳、流水的香甜、空谷幽蘭的深遠、光影的若隱若現、白雲浮動的悠悠，全憑借著她的一縷思緒，變得有生機，有意境，如同莊周夢蝴蝶一樣，物我兩忘，在天地中自由地遊蕩。”
—— 本文節選自《心靈的風景：畫筆帶我走出抑鬱 》
From "Mental Landscapes: How Painting Led Me Out of Depression":
"Li is multi-talented - she writes, paints, sings, has a sense of fashion, and cooks. She embodies what Lin Yutang called 'the artistic life.' Once at a gathering, I heard her sing Cantonese opera 'Princess Changping' - her melodious voice flowed like a gentle stream into my heart, transporting my thoughts from the bustling city to vast open spaces, allowing me to comprehend eternal love and the desolation of national defeat and separation through momentary song. Her voice teaches us to live in the present, especially in moments of beauty and artistry.
I only recently had the chance to see Li's paintings, and was immediately captivated by their brilliant yet pure colors. I had expected someone who had suffered from depression to use heavy ink to express the decade-long loneliness, pain, darkness, and near-death despair. But surprisingly, her paintings are bright and radiant, like natural dances of spirits - sometimes in sunlight, sometimes in misty fog, sometimes in poetic rain. They're spontaneous and unpretentious, depicting mountains, streams, sky, and tree shadows with unique emotion, combining mysterious mountain remoteness with simple grass freshness and dancing flower shadows. These colors seem to accompany her gentle singing, giving all things their own rhythm and cadence, gazing at us with emotion.
Her colorful, light ink strokes have a flowing quality that incorporates the essence of traditional Chinese literati landscape painting, evoking personal emotions and allowing her state of mind to reflect and contrast with the landscape. Like her writing, it's a way of healing the soul. Her ink works are wanderings of the heart's shadow - not just a dialogue between self and world, but an exploration and questioning of the inner universe. In her impressionist-style landscapes, the fragrance of flowers, the sweetness of flowing water, the depth of secluded orchids, the play of light and shadow, the drifting white clouds - all come alive through her thoughts, creating atmosphere and artistic conception, like Zhuangzi's butterfly dream, transcending self and object, freely roaming between heaven and earth."