生机盎然的世界 中国国家画院作品国际交流展 A Vibrant World International Touring Exhibition of Paintings from China National Academy of Painting
来源：2025-07-11
自唐代以来，画马名家就层出不穷，或工笔设色，展现马的华丽多姿，或水墨写意，描绘马的奔腾欢跃，近代画马名家们更让马承载了中华民族的不屈意志。此作笔触酣畅轻松，多用速写性的重复笔触，马腿、马尾以平行侧锋手法表现，他或许受到未来主义绘画的启发，很好地呈现了运动中奔马的速度感和力量感。刘勃舒笔下的马，姿态、结构不是模板化的，而是经过大量写生总结提炼出来的，每一笔虽然看似随意，却流露出所表现对象的内在气质。
Since the Tang Dynasty, master painters of horses have emerged in an unbroken lineage. Some employ meticulous brushwork and color application to showcase the splendor of equine forms, while others wield ink-wash freehand techniques to depict galloping vigor. Modern artists have further imbued horses with the unyielding spirit of the Chinese nation. This work features fluid, unrestrained brushwork, and utilizes sketch-like repeated strokes. The parallel side-brush technique in rendering the horses’ legs and tails suggests inspiration from Futurist painting, vividly conveying the kinetic energy and dynamic force of motion. Liu Boshu’s horses avoid formulaic poses or structures, instead reflecting distilled observations from extensive field studies. Each seemingly casual stroke subtly reveals the intrinsic temperament of his subjects.
刘勃舒（1935年-2022年），江西永新人。刘勃舒是原中国画研究院（中国国家画院前身）院长。作为新中国培养的第一代艺术家，他1955年从中央美术学院研究生班毕业，历任中央美术学院副院长、中国画研究院院长、中国美术家协会副主席。他是中国画坛老一辈重要的艺术坚守者与开拓者，在素描、速写、中国画传统笔墨方面都有很深功力。
Liu Boshu (1935 - 2022), a native of Yongxin, Jiangxi Province. Liu Boshu was the former director of the Chinese Painting Research Institute (the predecessor of the China National Academy of Painting). As one of the first generation of artists cultivated by the People's Republic of China, he graduated from the postgraduate class of the Central Academy of Fine Arts in 1955. He successively held the positions of vice president of the Central Academy of Fine Arts, president of the Chinese Painting Research Institute, and vice chairman of the China Artists Association. He is an important artistic adherent and pioneer among the older generation artists, and has profound skills in sketching, quick sketching and traditional Chinese ink painting.
作品从风格上延续了北宋工笔绘画的精细笔触，猫的每根毛发都用极细的毛笔一根一根绘制出来，柔软顺滑，富有层次感，这是只有通过禅修般的专注才能创造出的艺术效果。画面上颜色，又不似北宋工笔画的艳丽华贵，而是延续了元代以来文人画用色的淡雅超逸，猫、卧榻、花盆、凳子的颜色都和灰色的背景融为一体，暗自传递出一种优雅的艺术品位。在造型手法上，画家吸收西方写实主义的优良传统，猫的形态生动，眼神机敏，好像是从现实世界里闯入绘画空间；趴在卧榻上的白猫，具有拟人化的特点，两只前爪自然搭在枕头上，肥胖的脖颈慵懒的注视前方。
This work stylistically perpetuates the refined brushwork of Northern Song Dynasty meticulous painting, with each strand of the cats’ fur painstakingly rendered using ultra-fine brushes, achieving a soft, silky texture and rich dimensionality—an artistic effect attainable only through Zen-like concentration. While the color palette diverges from the opulent brilliance characteristic of Northern Song courtly painting, it embraces the subdued and transcendent tones of literati painting traditions established since the Yuan Dynasty. The hues of cats, daybed, flowerpot, and stool seamlessly harmonize with the greyish backdrop, implicitly communicating an aura of refined artistic sensibility. Stylistically, the artist synthesizes Western realist techniques: the cats’ lifelike posture and alert gaze suggest creatures momentarily intruding from the physical world into pictorial space. The white feline reclining on the daybed exhibits anthropomorphic qualities—its front paws casually resting on a pillow while its plump neck lazily gazes forward, evoking a sense of contemplative repos.
刘万鸣，1968年生，河北静海人。曾任中国国家博物馆副馆长，中国艺术研究院研究生院常务副院长、中国画院常务副院长。 现为中国国家画院院长，中国美术家协会副主席、中国画艺术委员会副主任，中国画学会理事，中央文史研究馆书画院研究员，中国国家博物馆学术委员会委员，中国艺术研究院国画院副院长、博士研究生导师，西安美术学院博士研究生导师，广州美术学院特聘教授，上海大学美术学院客座教授。2012年获中国青年艺术家提名奖，2014年入选国家百千万人才工程授予“有突出贡献中青年专家”称号，享受国务院政府特殊津贴专家。
Liu Wanming, born in Jinghai, Hebei in 1968. He was the Vice President of the National Museum of China, Executive Deputy Director of the Graduate School and Executive Deputy Director of Chinese Painting institute of Chinese National Academy of Arts. He is currently the President of China National Academy of Painting, Vice Chairman of the China Artists Association and Deputy Director of its Chinese Painting Art Committee, Council Member of the Chinese Painting Society, Researcher at Calligraphy and Painting Institute of China Central Institute for Culture and History, Member of the Academic Committee of the National Museum of China, and Deputy Director of the Chinese Painting Institute of Chinese National Academy of Arts. He is also Doctoral Supervisor at the Xi’an Academy of Fine Arts, a Distinguished Professor at the Guangzhou Academy of Fine Arts, and a Visiting Professor at the Shanghai Academy of Fine Arts.
作品借助传统文化典故塑造达摩的形象，画面中的怪石、树木以极简形态呈现，用块面概括形成意象化表达。人物的刻画以书入画，书写性强，衣着墨色层次丰富，以浓墨、淡墨交相点染，形成虚实对比。整体布局上，不同物象的错落分布营造多维视觉感受，体现出一定的节奏感。画家关注现实生活与传统文化的结合，体现对当下生活的真实感受及无限深思，同时象征着中华民族宽广博大的胸怀与坚持不懈的信念。
This work reimagines the iconic figure of Dharma through the lens of traditional cultural symbolism. The composition employs highly simplified forms to render jagged rocks and foliage, and uses geometric planes to evoke an abstracted expression. The figure is executed with calligraphic brushwork, imbuing the portrayal with a fluid, gestural quality. Layered ink tones articulate the subject’s robes, creating a dynamic interplay of dense and diluted ink that contrasts solidity with ethereal voids. The staggered placement of elements across the pictorial plane establishes a rhythmic interplay, fostering a multidimensional visual experience. By synthesizing contemporary life with cultural heritage, the artist reflects both visceral immediacy and contemplative depth, embodying the expansive spirit and steadfast conviction integral to the Chinese ethos.
杨晓阳，1958年出生于陕西西安。1979年考入西安美术学院国画系。1983年毕业，同年考上研究生。1986年毕业并留校任教。曾任西安美术学院国画系副主任、主任。1994年出任西安美术学院副院长。1995年主持全院工作。1997年任西安美术学院院长、教授、博士生导师。2009年至2018年任中国国家画院院长。中国美术家协会第六、七、八、九届副主席。现任中国文化艺术发展促进会主席，中国文联全委，博士后导师，教育部高教名师。
Yang Xiaoyang,born in Xian, Shaanxi in 1958, graduated from the Chinese Painting Department of the Xi’an Academy of Fine Arts. Yang has been President, Professor and Doctoral Supervisor of the Xi’an Academy of Fine Arts, President of the China National Academy of Painting. He was Vice Chairman of the 6th through 9th councils of the China Artists Association. He is currently the Chairman of the China National Society for the Promotion of Arts and Culture, a full member of the Chinese Federation of Literary and Art Circles, post-doctoral supervisor and a distinguished professor recognized by the Ministry of Education.
作品自上而下，气势洪迈，一条长河自天穹流入大地，汇入江河湖海，聚成山川树石，万物金黄一片，秋日的风猛烈吹来，果实仿若一昼夜般全部成熟，滋养自然和人类。作者在感悟自然的过程中，建立起自己的图式结构、水墨语言和山水理念体系，他巧妙结合北方山水画派的雄浑和南方山水画派的精致，并结合传统水墨语言和当代水墨语汇，通过左右对称的构图，营造出宏大且富有层次感的画面，强调了哲理思考与诗意表达。
This vertically oriented composition exudes expansive grandeur, depicting a celestial river cascading from the firmament into earthly realms, and then converging into lakes, seas, and mountain ranges. The landscape is immersed in golden hues of autumn, where fierce winds animate the scene and fruits appear to have ripened overnight, symbolizing nature’s abundance nourishing both humanity and the earth. Through his profound engagement with nature, the artist has cultivated a distinctive visual schema, ink-wash lexicon, and philosophical framework. He masterfully interweaves the monumental vigor of the Northern landscape tradition with the lyricism of the Southern School, while synthesizing classical ink techniques with contemporary expressions. The bilaterally symmetrical composition creates a multi-layered tableau of spatial and conceptual depth, harmonizing metaphysical inquiry with poetic resonance.
卢禹舜，1962年出生，中国国家画院原院长、院务委员，中国传媒大学、中国艺术研究院、澳门科技大学人文艺术学院博士生导师，哈尔滨师范大学副校长、教授，中国美术家协会理事、中国画艺术委员会副主任，中国画学会副会长，第二届“全国中青年德艺双馨文艺工作者”，中共中央宣传部“四个一批”人才，“有突出贡献优秀专家”，全国优秀教师获“人民教师”称号，国务院政府特殊津贴专家。
Lu Yushun, born in 1962, former president of the China National Academy of Painting. Doctoral supervisor at the Communication University of China, the Chinese National Academy of Arts, and the Faculty of Humanities and Arts at Macau University of Science and Technology, vice president and professor at Harbin Normal University. He served also as council member of China Artists Association, deputy director of the Chinese Painting Art Committee, and Vice President of the Chinese Painting Society.
画家立足社会、关注民生，选取源于生活的艺术形象，表现一位农民在田园之中悠然自得的场景。画中的阳光、空气、树石、人物和谐相融，讲述人与自然的关系。画家继承传统笔墨，又随时代推陈出新，在传统没骨基础上独创围墨、融染法，开创色墨交融的水墨新意象。人物的面部表情和结构特征被淡化，将传统笔法隐匿于淡淡的色墨之中，加之蓝、绿、赭石、留白色块的构成，使画面呈现出一种空灵虚淡的诗意空间。作品以《南山图》题名，意在展现陶渊明“悠然见南山”之意境。
画家立足社会、关注民生，选取源于生活的艺术形象，表现一位农民在田园之中悠然自得的场景。画中的阳光、空气、树石、人物和谐相融，讲述人与自然的关系。画家继承传统笔墨，又随时代推陈出新，在传统没骨基础上独创围墨、融染法，开创色墨交融的水墨新意象。人物的面部表情和结构特征被淡化，将传统笔法隐匿于淡淡的色墨之中，加之蓝、绿、赭石、留白色块的构成，使画面呈现出一种空灵虚淡的诗意空间。作品以《南山图》题名，意在展现陶渊明“悠然见南山”之意境。
Grounded in societal consciousness and attentive to social livelihood, the painter selects artistic motifs rooted in quotidian experience to depict a farmer immersed in tranquil repose within an idyllic rural setting. Sunlight, atmospheric resonance, arboreal forms, and human presence meld in harmonious synthesis, articulating an ontological dialogue between humanity and nature. While inheriting traditional ink brush techniques, the artist innovatively revitalizes the medium for contemporary sensibilities. Building upon the classical mogu (boneless) method, he pioneers original approaches such as “surrounding ink” and “fusion wash,” forging a novel visual lexicon characterized by chromatic-ink interplay. Facial expressions and anatomical definition are deliberately muted, as conventional brushwork becomes subsumed into diaphanous veils of tinted washes. The rhythmic blocks of azure, viridian, ochre, and reserved white coalesce into an ethereal, atmospheric poetic dimension. Entitled Southern Hill, the work philosophically channels Tao Yuanming's iconic pastoral vision of “leisurely beholding the southern mountains.”
田黎明，1955年生于北京，教授。1989年考取卢沉教授研究生，1991年获文学硕士学位。现为中国国家画院国画专业委员会研究员，中国艺术研究院中国画艺术委员会主任，中国画学会会长。
Tian Liming, born in Beijing in 1955, became a postgraduate student of Professor Lu Chen in 1989 and received a master’s degree in Chinese literature in 1991. Tian is currently Researcher of Chinese Painting Committee of China National Academy of Painting, Professor & Director of the Chinese Painting Art Committee of the Chinese National Academy of Arts, President of the Chinese Painting Society.
画家以现代水墨的形式，既契合西方现代主义造型方式，又具有中国传统审美特征。作品为观者带来全新的视觉体验，画面中夸张变形的人物姿态和动作传递出一种亲密且复杂的情感关系。人物的手势和神态也进一步强化情感氛围，给人以丰富的联想空间，一方面体现人物选择躺平闭上眼睛的悠闲意味，另一方面略带讽刺意味，表达人类在快节奏生活中的无奈和疯狂。人物手中捧着的类似果实的物品，或代表着欲望、诱惑，或某种精神层面的追求。整体来看，以上元素共同构建了一个充满隐喻和象征的世界，引发观者对于人性、情感以及生命的思考。画面整体用笔简洁流畅、富有动感，以红色为主色调，营造出热烈且富有张力的氛围，赋予画面神秘而梦幻的色彩效果。
The artist employs contemporary ink painting techniques that harmonize Western modernist approaches to form with distinctly Chinese aesthetic sensibilities. This work offers viewers a groundbreaking visual experience, where the figures’ exaggerated, contorted postures and gestures articulate an intimate yet intricate emotional dynamic. Meticulously rendered bodily movements and facial expressions intensify the psychological atmosphere, evoking layered interpretations. On one level, they convey a paradoxical blend of detached tranquility through their closed-eye repose, while simultaneously injecting subtle satire that reflects humanity’s helplessness and existential absurdity in today’s accelerated reality. The fruit-like objects cradled by the figures suggest multiple symbolic readings—representing worldly temptations, material desires, or perhaps spiritual aspirations. Collectively, these elements construct an allegorical realm rich in metaphor, prompting contemplation on human nature, emotional complexities, and ontological purpose. Executed with fluid, dynamic brushwork and dominated by crimson hues, the composition radiates a vibrant and dynamic tension. This chromatic strategy creates a mysterious, dreamlike quality that transforms the pictorial space into a psychologically charged visual theater.
张江舟，1961年出生，当代水墨艺术家。曾任中国国家画院副院长、中国美术家协会理事、《水墨研究》执行主编。现为中国国家画院院委、艺术委员会顾问、国画专业委员会研究员，西安美术学院博士生导师，俄罗斯国家艺术科学院荣誉院士。
Zhang Jiangzhou, born in 1961, contemporary Chinese water-ink painting artist, former vice president of the China National Academy of Painting. He is a doctoral supervisor at the Xi’an Academy of Fine Arts, president’s committee member, council member and researcher at the China National Academy of Painting and an honorary academician of the Russian Academy of Arts.
作品描绘乡村民居、自然山水，传递出闲适、宁静的田园意境。错落的房屋、葱郁的树木、古朴的亭台，组合成远离喧嚣的乡村图景。画面采用平远构图，由近及远层层推进，拓展画面空间深度，疏密有致，营造出悠远宁静的乡村意境。屋舍、树木的刻画，用笔简洁，房屋线条的平直与树木枝干的曲折交错，体现了书写性。墨色层次丰富，通过干湿、浓淡的运用营造质感，湿墨渲染山峦、树木的朦胧氛围，干墨勾勒房屋、亭台的清晰轮廓，浓墨点染树叶、草丛以突出层次，淡墨铺陈远景山峦，让画面墨气淋漓又层次分明，尽显中国山水画笔墨意趣。作品延续中国传统山水的写意风格，在笔墨、构图、意境营造上坚守传统文脉，传承文人画的审美意趣，是对中国山水画传统的一脉相承，为传统山水画的现代转型提供了一条从内部变革的探索路径，使观者领略到传统山水画的独特魅力与文化价值。画家将对自然与生活的感悟融入山水田园，让画面充满人文温情。画面蕴含的宁静意境与文化底蕴相通，是对中国传统田园文化、山水文化的视觉诠释，展现出中国传统文化中崇尚自然、追求内心平和的精神内核。
This work depicts rural architecture and natural landscapes, evoking a tranquil, idyllic pastoral atmosphere. Clustered dwellings, lush trees, and rustic pavilions coalesce into a harmonious composition that embodies sanctuary from urban clamor. Employing a horizontal perspective composition, the artist achieves spatial depth through layered progression from foreground to distant mountains, balancing density and void to craft a serene rural panorama. The rendering of architecture and foliage demonstrates refined calligraphic brushwork: linear precision defines architectural structures while rhythmic strokes articulate twisted tree branches. Masterful ink modulation creates textural richness—wet ink washes conjure mist-veiled mountains and foliage, while dry-brush techniques define crisp architectural contours. Dense ink dapples leaves and grasses with dimensional vitality, contrasted against diluted ink layers for distant peaks, achieving both expressive fluidity and nuanced gradation that honors classical Chinese ink aesthetics. Rooted in literati painting traditions, the work upholds the cultural lineage of Chinese landscape art through its disciplined brush language, compositional rigor, and poetic resonance. While inheriting and advancing the legacy of Chinese landscape art, it proposes an evolutionary path for its contemporary transformation. This innovative continuity invites viewers to rediscover distinctive charm and enduring cultural value of traditional landscape painting through internal reinvention of the artistic heritage. The artist’s profound communion with nature and rural life imbues the scene with humanistic warmth, and its meditative quality visually articulates China’s pastoral philosophy - a spiritual essence valuing natural harmony and inner tranquility. This painting serves as both a continuation of classical landscape idioms and a contemplative bridge connecting traditional cultural values with contemporary artistic discourse.
赵卫，1957年生于北京，一级美术师。曾任中国国家画院副院长。现为中国国家画院院委、国画专业委员会副主任、研究员，中国美术家协会理事。
Zhao Wei, born in Beijing in 1957, Artist of National Level A. Zhao is President’s Committee Member of the China National Academy of Painting, Deputy Director & Researcher of the academy’s Chinese Painting Committee and Council Member of the China Artists Association. Zhao is former Vice President of China National Academy of Painting.
20世纪20年代，随着留学西方的中国美术家归国，西方现代主义美术正式传入，受到野兽主义、立体主义、印象派等画派影响的艺术家开始尝试结合中国传统笔墨语言创造一种全新的绘画风格。到了当代，仍有不少艺术家在融合中西美术的道路上前进。画家用抽象的笔触描绘了俯视大地的天使或诸神，他们静默地凝视大地，赐予人类祝福。画家解构了写实主义的人体和空间结构，赋予其一种带有三维感的平面化视觉效果。
In the 1920s, as Chinese artists who had studied in the West returned to their homeland, Western modernist art was formally introduced to China. Influenced by movements such as Fauvism, Cubism, and Impressionism, these artists began experimenting with integrating traditional Chinese ink brush techniques to forge a new visual language. Continuing this cross-cultural dialogue into the contemporary era, numerous artists persist in synthesizing Eastern and Western artistic traditions. The work exemplifies this synthesis through abstract brushwork depicting celestial beings – angels or deities gazing down upon the earthly realm. These silent observers serenely contemplate the world below while bestowing blessings upon humanity. The artist deconstructs realist conventions of figurative and spatial representation, achieving a flattened visual effect that paradoxically retains a three-dimensional quality.
纪连彬，1960年生于哈尔滨。1978年考入鲁迅美术学院中国画系，1982年毕业。曾任黑龙江省画院副院长、黑龙江省美术家协会副主席。2005年调入中国国家画院，曾任中国国家画院副院长。现任中国国家画院院委、艺术委员会委员、国画专业委员会常务副主任，一级美术师，二级教授，中国美术家协会理事、中国画艺术委员会委员，中国画学会副会长，中国致公画院院长，国务院特殊津贴专家，中共中央宣传部文化名家暨“四个一批”人才。
Ji Lianbin, born in Harbin in 1960, graduated from the Chinese Painting Department of Lu Xun Academy of Fine Arts in 1982. Ji was vice president of the Heilongjiang Painting Academy, vice chairman of the Heilongjiang Artists Association. Former vice president of China National Academy of Painting, he is council member and executive deputy director of the Chinese Painting Committee of the academy. Ji is artist of National Level A and professor, council member of the China Artists Association and a member of its Chinese Painting Art Committee. Ji also holds the position of vice chairman of the Chinese Painting Society and director of the Zhi Gong Party Painting Academy.
作品描绘猫与蝶在紫藤之间嬉戏的场景，留白处理巧妙，给予画面呼吸之感，强化虚实相生的意境。藤蔓和枝叶以灵动线条勾勒，紫藤花的淡紫、叶片的青绿，色彩和谐且有层次，还原自然生机，以清雅色调营造出静谧、温润的氛围，符合传统文人画审美。猫的毛发用笔细腻，体现质感与动态，被轻轻飞舞的蝴蝶吸引。画家借猫与蝶寓意“耄耋”，传递长寿吉祥意涵，契合传统花鸟画托物寄情的审美意象，以花鸟寄寓对生命、福寿的美好期许。作品继承花鸟画传统，融入现代审美，贴近当代视觉，是传统题材在当代语境下的创新表达，传递出对传统福寿文化的传承与再诠释，以持续滋养世人的审美与精神世界。
This work depicts a cat and a butterfly frolicking amidst wisteria vines, with masterful use of negative space that imbues the composition with rhythmic breathing room, amplifying the traditional Chinese aesthetic of mutual reinforcement between solid forms and ethereal voids. The artist renders twisting vines and foliage through fluid, calligraphic brushstrokes, while harmoniously layered washes of soft lavender blossoms and verdant leaves revitalize nature’s vitality. A serene, harmonious atmosphere emerges from the restrained palette, resonating with the refined sensibilities of classical literati painting. The cat’s fur is rendered with exquisite brushwork that captures both textural realism and playful tension as it interacts with a fluttering butterfly. Symbolically aligning with the homophonic wordplay of “cat and butterfly” and “Maodie” (octogenarian and nonagenarian), the composition channels traditional flower-and-bird painting’s allegorical language to convey auspicious wishes for longevity and prosperity. Rooted in the technical lexicon of classical ink painting, this work seamlessly blends timeless symbolism with contemporary visual syntax. The selective abstraction of forms and subtly intensified color gradations exemplify innovative engagement with traditional themes, offering both a preservation and reinterpretation of China’s longevity culture. This dialogue between heritage and modernity continues to nourish contemporary aesthetic sensibilities and deepen appreciation for philosophical ideals.
于文江，1963年生，中国国家画院原副院长，现任中国国家画院院委、艺术委员会副主任、国画专业委员会副主任和研究员。一级美术师（专业技术二级岗位）。兼任中国美术家协会理事、国家重大题材美术创作艺术委员会委员，澳门科技大学人文艺术学院博士生导师。享受国务院政府特殊津贴专家，文化和旅游部优秀专家。
Yu Wenjiang, born in 1963, former vice president of the China National Academy of Painting. He is president’s committee member, council member, deputy director and researcher of its Chinese Painting Committee. Artist of National Level A, Yu is council member of the China Artists Association, member of the association’s Committee for Art Creation of Major National Themes, and a doctoral supervisor at the Faculty of Humanities and Arts, Macao University of Science and Technology.
近代以来，京津画派都以传统绘画风格的捍卫者自居，相比海上画派和岭南画派，京津画派更注重对传统花鸟画和民间绘画的风格借鉴。画家的创作水墨淋漓，不拘一格，笔势走向大开大合，痛快却又带有造型意识，笔墨为造型服务，为叙事服务。有趣的是，画家结合了水墨和设色两种技法，前景芭蕉用水墨法，远景折枝画用设色法，带有一定的色彩对比感，增强了全画的阅读趣味。
Since modern times, the Beijing and Tianjin painting school has positioned itself as a guardian of traditional painting styles. Compared to the Shanghai painting school and Lingnan painting school, the Beijing and Tianjin painting school demonstrates a stronger emphasis on stylistic references from classical flower-and-bird painting traditions and folk art idioms. This work exhibits a masterful interplay of ink-wash fluidity and compositional boldness: unrestricted by convention. The dynamic brushwork alternates between expansive gestures and taut precision, balancing expressive spontaneity with structural intentionality. Here, ink serves dual purposes—articulating form and advancing pictorial narrative. Notably, the artist synthesizes ink-wash techniques with polychromatic applications. The foreground banana leaves are rendered in monochromatic ink tonalities, while distant botanical branches adopt a vibrant chromatic palette. This deliberate juxtaposition creates striking visual dialogues between ink austerity and color exuberance, heightening the layered visual engagement.
贾广健，1964年生于河北永清县，教授，硕士、博士研究生导师。曾任天津画院院长、天津美术学院院长。现为中国国家画院花鸟画所名誉所长、中国画艺术委员会研究员，中国美术家协会副主席、中国画艺术委员会副主任，中国画学会副会长，中国工笔画学会副会长，天津市美术家协会副主席，天津市文史馆馆员。为天津市有突出贡献的专家、天津市教学名师。第四届中国文联全国中青年德艺双馨文艺工作者，中宣部全国“四个一批”文化名家，享受国务院政府特殊津贴专家。
Jia Guangjian, born in Yongqing County, Hebei in 1964, professor and a master’s and doctoral supervisor. He served as president of Tianjin Academy of Painting & president of Tianjing Academy of Fine Arts. Jia is currently honorary director of the Flower-and-Bird Painting Institute & researcher of the Chinese Painting Art Committee at the China National Academy of Painting, vice chairman of the China Artists Association & deputy director of its Chinese Painting Art Committee, vice chairman of the Chinese Painting Society and Chinese Fine Brush Painting Society. He is also vice chairman of the Tianjin Artists Association and member of the Tianjin Literature and History Research Institute.
中国近代画家丰子恺擅长用质朴简约的笔墨风格营造意境悠远、耐人寻味的绘画内容，他的作品被视为中国漫画的起源。画家延续了丰子恺一脉的笔墨风格，不使用过于复杂的笔墨语言，仅仅是简单的塑形和设色——但其造型和色彩叙事又暗示了画家具备极好的绘画基本功，讲述了一个安逸的池塘边的平静日子，荷花从湖底冒出，湖水偶尔映射着几朵白云，远处的房子、树木参差排布，一切如童话般铺展着“无事发生的美好”，静静伫足的美好，沉默面向大地的美好。
The modern Chinese painter Feng Zikai was renowned for creating contemplative, evocative imagery through simple, unadorned brushwork, with his works recognized as the cradle of Chinese cartoon art. The artist inherits this distinct aesthetic lineage from Feng Zikai, deliberately avoiding elaborate techniques. Through essentialized shaping and coloration—where the very restraint reveals profound technical mastery—this work unfolds a tranquil day by a serene pond: Lotus blossoms emerge from still waters occasionally mirrored with drifting clouds, while distant cottages and trees arrange themselves in lyrical rhythm across the composition. This storybook-like visual poetry celebrates the quiet beauty of uneventful moments—silent epiphanies of earthly existence through stillness.
何加林，1961年出生，祖籍浙江杭州，教授，博士后、博士、硕士生导师。1988年毕业于浙江美术学院中国画系，先后获学士、硕士、博士学位。曾任中国美术学院中国画系副主任，中国国家画院创作研究部主任、美术馆馆长。现为中国国家画院艺术委员会顾问、国画专业委员会研究员，中国文艺志愿者协会副主席，中国美术家协会理事、中国画艺术委员会委员，中央美术学院、上海大学美术学院、中国艺术研究院、河北美术学院特聘教授。曾获第三届全国中青年德艺双馨文艺工作者称号。
He Jialin, born in Hangzhou, Zhejiang, in 1961, graduated from the Chinese Painting Department of the Zhejiang Academy of Fine Arts in 1988 with bachelor’s, master’s, and doctoral degrees. He has served as deputy director of the Chinese Painting Department at the China Academy of Art, director of the Creation and Research Department and director of the Art Museum at the China National Academy of Painting. Post-doctoral researcher, master’s and doctoral supervisor, and a second-class professor. He is a vice chairman of the China Literary and Art Volunteers, council member of the China Artists Association, member of the Chinese Painting Art Committee of the association, distinguished professor at the Central Academy of Fine Arts, Shanghai Academy of Fine Arts, Chinese National Academy of Arts, and the Hebei Academy of Fine Arts.
画家以四联组画描绘了独属于中国山水的古典美学风貌，其风格属于写意一派，水墨淋漓，皴染并用，有侧锋、有正锋。画家特别长于晕染，即用饱含水分的毛笔在纸面进行水与墨的碰撞实验，晕散的墨汁流出不可预测的形状，画家在此基础上，勾勒起山石云雾，呼应了雄伟自然的变化无穷。西方现代主义绘画讲求“无意识”在绘画创作中的主导地位，即减少艺术家对作品的干预，让绘画呈现一种自然而然，不可预知的神秘状态。中国传统山水画同样讲求天真自然的艺术境界，道法自然，道本无名，一切玄虚之美皆在不可言说、不可预测之中，中国传统美术和西方现代美术早已于二者的内在理路中产生了深深联系。
Through this four-panel composition, the artist manifests the quintessential classical aesthetics unique to Chinese landscape painting. Executed in the expressive abstraction tradition, the work masterfully combines unrestrained ink techniques with calculated brushwork—alternating between slanted and upright brush tips, harmonizing texturing strokes with fluid washes. The artist demonstrates exceptional command of spontaneous ink diffusion: A moisture-laden brush enables controlled collisions between water and pigment across the paper surface, where unpredictable ink bloom patterns become foundational elements. Upon these organic forms, the artist delineates mountain contours and mist formations, echoing nature’s grand metamorphic essence. This artistic methodology resonates intriguingly with Western modernism’s emphasis on the unconscious as a creative driver—a philosophy advocating reduced authorial intervention to preserve art’s intrinsic organic unpredictability. Meanwhile, it aligns with the pursuit of natural spontaneity in classical Chinese landscape painting, embodying the Daoist principle that “The Way follows nature.” Both traditions converge in their reverence for metaphysical beauty rooted in ineffable mystery and indeterminacy, revealing profound conceptual parallels between Chinese artistic heritage and Western modernist explorations.
董雷，1981年生于辽宁沈阳，先后毕业于鲁迅美术学院和中国艺术研究院，美术学博士。现任中国国家画院办公室主任，一级美术师，硕士生导师，中国美术家协会会员 ，中国画学会理事，文化部青联副秘书长。
Dong Lei was born in Shenyang, Liaoning Province in 1981. He graduated from Lu Xun Academy of Fine Arts and the Chinese National Academy of Arts successively, and holds a Doctor of Fine Arts degree. He is currently the director of the Office of the China National Academy of Painting, a first-class artist, a master's supervisor, a member of the China Artists Association, a director of the Chinese Painting Society, and the deputy secretary-general of the Youth Federation of the Ministry of Culture.
画家注重笔墨和古意的表达，以高远、深远的构图展现层叠山峦纵向延伸，以山路和瀑布作为视线引导，营造空间纵深，屋宇、树木点缀其间，形成可游可居的传统山水意境。山石以披麻皴、斧劈皴融合，笔力苍劲，树木勾勒细腻，枝叶用墨层次分明，展现生机。设色上，淡赭染山、青绿点树，画面清新，色调和谐且显霞光温润氛围。画家借山水布局、屋舍点缀，复刻古典审美基础上结合当代视觉，传递乐山乐水之情怀。“霞光万丈”既绘自然之景，也暗含对清朗、开阔心境的追求，引发观者对山水精神的向往。
This work demonstrates a masterful synthesis of classical brushwork idioms and contemporary sensibilities. The composition employs elevated and deeply receding perspectives to orchestrate vertically stratified mountain ranges, their rhythm guided by winding mountain paths and cascading waterfalls that establish spatial depth. Architectural elements and meticulously rendered trees punctuate the landscape, embodying the traditional Chinese aesthetic paradigm of “tangible wanderings and inhabitable spaces.” The artist employs hybrid texture strokes—combining hemp-fiber and axe-cut techniques—to render craggy rock formations with vigorous brushwork, while executing foliage through delicate ink gradations that articulate botanical vitality. Chromatically, the painting achieves lyrical harmony through ochre-toned mountain washes punctuated by azurite and malachite accents in vegetation, coalescing into an atmospheric rendering of crepuscular luminosity. This work transcends mere topographical representation: Through its architectonic landscape structuring and poetic inhabitation motifs, the artist negotiates between classical literati ideals and modern visual syntax. The title Rosy Clouds operates dually as a naturalistic depiction and metaphysical metaphor—celebrating not just the physical splendor of mountains, but implicitly advocating the cultivation of an unobstructed mental landscape.
袁学君，1967年生。2008年毕业于中国艺术研究院，获博士学位。现为中国国家画院创研规划处处长，一级美术师。“楚天学者”，硕士、博士生导师。中国美术家协会中国画艺术委员会学术秘书兼办公室主任，中国画学会副秘书长。
Yuan Xuejun, born in 1967, earned a doctoral degree from the Chinese National Academy of Arts in 2008. Yuan is now the director of Creation & Planning Department at the China National Academy of Painting and Artist of National Level A. Yuan is master’s and doctoral supervisor, academic secretary and office director of the China Artists Association’s Chinese Painting Art Committee and deputy secretary-general of the Chinese Painting Society.
中国传统绘画讲求写意性，“论画以形似，见与儿童邻”，画家要在不似之中求似，要在艺术之中求真我——所谓“心印”。作者似乎构建了一个超越现实的梦幻之城，荒废的城市与重新占据街道的大树，遗迹之中随意散落着建筑残骸，几座神像默默体察万千年轮的变化。人类或者说游客不知在何时再度发现这里，并再次占据这里，街道和废墟里三三两两的游人，如怀古般进行着历史探险。画家的“心印”缓缓展开，不灭的历史、永胜的自然和顽强的人类，画家略带骄傲的向观众阐释，在自然与历史的漩涡中，人才是最强力的纽带。
中国传统绘画讲求写意性，“论画以形似，见与儿童邻”，画家要在不似之中求似，要在艺术之中求真我——所谓“心印”。作者似乎构建了一个超越现实的梦幻之城，荒废的城市与重新占据街道的大树，遗迹之中随意散落着建筑残骸，几座神像默默体察万千年轮的变化。人类或者说游客不知在何时再度发现这里，并再次占据这里，街道和废墟里三三两两的游人，如怀古般进行着历史探险。画家的“心印”缓缓展开，不灭的历史、永胜的自然和顽强的人类，画家略带骄傲的向观众阐释，在自然与历史的漩涡中，人才是最强力的纽带。
Traditional Chinese painting emphasizes expressive abstraction, as encapsulated in Su Shi’s critical assertion, “To judge painting by formal likeness reveals a childish perspective.” This philosophy demands that artists transcend literal representation by seeking resemblance through divergence, achieving artistic truth in the pursuit of authentic self-expression—a concept known as xinyin (mind seal). Here, the artist constructs a dreamscape transcending reality: a desolate cityscape reclaimed by towering trees, architectural debris scattered among ruins, and silent deities bearing witness to millennia of cycles. Whether as curious travelers or rediscoverers of this forsaken realm, humanity reasserts its presence. Scattered figures of modern explorers engage in nostalgic historical inquiry amid the streets and rubble. Through this unfolding xinyin, the artist articulates a quiet pride in humanity’s enduring role as the vital nexus between nature’s eternal resurgence and history’s imperishable echoes. This work asserts that, within the vortex of time and wilderness, it is humankind—resilient and unyielding—that ultimately binds past, present, and the verdant reclamation of worlds lost.
方向，1967年出生于广东省，1988年毕业于广州美术学院中国画系。中国国家画院山水画所所长、艺术委员会委员，中国艺术研究院创作研究员，中国美术家协会理事，中国画学会创会理事。
Fang Xiang, born in Guangdong in 1967, graduated from the Department of Chinese Painting at the Guangzhou Academy of Fine Arts in 1988. He is the director of the Landscape Painting Institute at the China National Academy of Painting, a member of its Art Committee, researcher at the Chinese National Academy of Arts, council member of the China Artists Association, an founding council member of Chinese Painting Society.
画面以草原作为大背景，身着蒙古族服饰的人物，作为蒙古族生活的重要伙伴的马，组合成一副生动的民族生活场景。画家以顿挫连绵的线条勾勒人、马形态，通过线条轻重、虚实变化，精准呈现结构与质感。整件作品墨、色层次丰富，马的棕白花色、人物服饰的蓝色，节奏关系分明，具有强烈的构成意识。最引人注目的是画面通过巧妙留白，构筑出诗意的画面空间，静谧安然。浑朴凝练的人物形象，既具有现代性的视觉形式美感，又渗透着画家对家国民族命运的思考，蕴含着人与自然和谐关系，以艺术形式记录民族文化风貌，在简约的构图中传递深沉的文化精神，使之成为文化传播与交流的视觉载体，助力民族文化传承与弘扬。
Set against the vast backdrop of the prairie, this work interweaves Mongolian figures in traditional attire with their indispensable companions—horses—to compose a vibrant tableau of ethnic life. The artist employs rhythmic, interconnected lines to outline forms, modulating their weight and solid-void contrast to precisely capture structural integrity and textural quality. Layered ink and chromatic gradations create distinct compositional rhythms: The brown-white patterns of the horses harmonize with the azure hues of the garments. Most striking is the strategic use of negative space, crafting a serene, poetic spatial atmosphere. The robust yet refined figures blend modernist visual aesthetics with the artist’s meditations on national destiny and the symbiosis between humanity and nature. By documenting cultural heritage through minimalist yet potent compositions, the work transcends mere representation and evolves into a visual conduit for cultural exchange and the perpetuation of ethnic identity, enriching the transmission of Mongolia’s cultural ethos.
赵奇，1954年生于辽宁锦县，教授。1978年毕业于鲁迅美术学院、同年留校任教，2011年调入中国国家画院。现为中国国家画院研究员，中国美术家协会理事、中国画艺术委员会委员。
Zhao Qi, born in Jin County, Liaoning in 1954, graduated from the Lu Xun Academy of Fine Arts in 1978. Zhao is Professor and Researcher of China National Academy of Painting since 2011, Council Member and Chinese Painting Art Committee Member of China Artists Association.
“溪山行旅”是中国山水画的创作母题，通常是为了表现宏大的世界观和宇宙观，巨大山水之下细如蝼蚁的人物彳亍而行。画家超越了以往画家对这一重要母体的表现，强调以笔墨、色彩抒情，笔墨跃动自如，不拘小节，极具视觉表现力，却又在内在结构中塑造山体树石的基础形态；色彩多选择赭色和青绿色，两相比较，一明一暗、一浅一深，更加强了作品内外层次结构的差异和变化。原本如蝼蚁般的旅人占据了画面近景的大面积空间，人的存在被特别凸显，以自然为主体的传统哲学观让位于人为主体的现代哲学观。
“Traveling among Streams and Mountains” stands as a seminal motif in Chinese landscape painting, traditionally employed to manifest grand worldviews and cosmic philosophies. Beneath towering mountain forms that dominate pictorial space, ant-like figures appear trudging through microcosmic paths. The artist transcends conventional interpretations of this archetypal theme through heightened lyrical expressionism manifested in calligraphic brushwork and chromatic ingenuity. The dynamic, unrestrained brushstrokes achieve abstract expressiveness while capturing foundational geological structures of rock formations and arboreal growth with textural authenticity. A masterful chromatic dichotomy emerges through the strategic juxtaposition of earthy ochre tones against translucent celadon washes. This contrasting interplay between warm and cool pigments enhances spatial dimensionality while creating profound textural and atmospheric variations across pictorial layers. The composition undergoes symbolic subversion through its unprecedented scaling of human figures. Once marginalized travelers now occupy prominent foreground space, their amplified presence signaling a philosophical paradigm shift from traditional nature-centric philosophy to modern anthropocentric worldview.
范扬，1955年生于香港，祖籍江苏南通，教授、博士生导师。1972年入南通市工艺美术研究所。1982年毕业于南京师范学院美术系。曾任南京师范大学美术学院院长，南京书画院院长。现为中国国家画院国画专业委员会副主任、研究员。
Fan Yang, born in Hong Kong in 1955, with ancestral home in Nantong, Jiangsu. He graduated from the Art Department of Nanjing Normal University in 1982. Fan is a Deputy Director and Researcher of the Chinese Painting Committee of China National Academy of Painting, President of Nanjing Painting and Calligraphy Academy, former President, Professor and Doctoral Supervisor of the Fine Arts Academy of Nanjing Normal University.
作品描绘寿桃丰收的祥和景色。画面色墨交融，虚实相生。以浓墨、焦墨勾勒桃树筋骨，墨色浓淡尽显苍古之态，笔势旋转而上，表现树干生长之感。寿桃敷色鲜妍，红、黄、粉层次交织，饱满圆润，尽显生机，辅以蓝叶点缀，添自然意趣。红鸟栖息枝头，为画面增添灵动生机。画家题字“寿桃献瑞，颂升平”，点明“祈福祝寿、歌颂太平”主题，契合传统民俗中寿桃象征福寿双全之意。画家借传统意象传递美好愿景，延续文化传承脉络，展现艺术与时代情感的融合，是传统民俗文化与绘画艺术的深度嫁接。
This work captures the serene abundance of longevity peaches within a harmonious landscape. The composition masterfully blends ink and color, balancing solid forms with ethereal voids. Dense and parched ink outlines the sinewy structure of the peach tree, with nuanced tonal variations conveying its ancient vigor. Swirling brushstrokes evoke a sense of upward growth in the trunk. The peaches radiate vibrancy through gradated layers of red, yellow, and pink, their plump, rounded forms symbolizing life’s fullness. Intermittent cobalt-blue leaves punctuate the scene, enhancing its organic spontaneity. A crimson-feathered bird perched on a branch injects dynamic vitality into the tranquil setting. The inscription “Peaches and Auspicious Greetings” underscores the dual themes of blessing and celebration, resonating with traditional symbolism where peaches signify fortune and longevity. By reinterpreting classical motifs, the artist bridges cultural heritage with contemporary sentiment, creating a profound integration of folkloric tradition and painterly artistry.
邢少臣，1955年生于北京，一级美术师。曾任中国国家画院创作研究部副主任。现为中国国家画院国画专业委员会研究员。
Xing Shaochen, born in Beijing in 1955, Artist of National Level A. Xing previously served as Deputy Director of the Creation & Research Department at the China National Academy of Painting and is currently Researcher at its Chinese Painting Committee.
作品描绘了苗族女子翩翩起舞的欢乐场景，画面以领舞者为中心视角逐渐扩散。领舞者姿态优雅，眼神明亮，其后的舞者均展现出从容自信的姿态，形成呼应纵深处的苗族吊脚楼，尽显苗寨民俗风情。画家在人物造型处理上，运用流畅又富有变化的线条，体现出节奏感。人物服饰以红蓝两色为主，背景以虚淡的色调逐层递减，突出主体人物并形成视觉上的层次感，画面整体和谐统一。
This work captures the jubilant scene of Miao ethnic ladies dancing in unison. The composition radiates outward from the central perspective of the lead dancer, whose elegant posture and lively gaze set the tone. Surrounding dancers mirror their confidence, their poised forms echoing the architectural lines of the Miao-style stilted houses depicted in the receding depths, collectively evoking the cultural essence of a Miao village. The artist employs fluid yet dynamic lines to sculpt the figures, infusing the scene with a rhythmic cadence. The dancers’ costumes, rendered in vibrant red and blue hues, command attention against a background layered in subtle, ethereal tones that gradually fade to establish visual hierarchy. Through this interplay of chromatic contrast and spatial recession, the painting achieves a harmonious unity to celebrate both human vitality and folkloric tradition.
吴迅，1955年6月7日生于内蒙古呼和浩特。1982年毕业于中央美术学院中国画系。现为中国国家画院研究员、一级专职画家，一级美术师，中国美术家协会会员。曾任中国画马艺术研究会常务副会长，国际马文化造型艺术家联盟中国执行主任。
Wu Xun, born in Hohhot, Inner Mongolia in 1955, graduated from the Chinese Painting Department of the Central Academy of Fine Arts in 1982. Wu is Researcher of China National Academy of Painting, Member of the China Artists Association, Artist of National Level A. Wu previously served as Executive Vice-Chairman of the Chinese Horse Painting Research Society and the Chinese Executive Director of the International Art & Culture of Horse Alliance.
画家以点、线、面构成展现荷塘氛围，以重墨表现荷花、荷叶意象，粗细、虚实相间的线条书写荷花根茎，浓淡各异的墨点表现荷塘水晕。画面中仍然有传统笔墨痕迹，用线极具书写性。画面整体虽仅着墨色，但展现出荷花在清风之中的摇曳生姿。大道至简，作品以极简的元素叙写中国文人情怀，在繁华世界中体现中华传统道义的宁静与深远。
The artist employs a composition of points, lines, and planes to evoke the serene atmosphere of a lotus pond. Bold ink defines the imagery of lotuses and leaves, while stems are rendered with dynamic brushstrokes alternating between density and openness. Gradations of ink dots suggest rippling water, and subtle traces of traditional brushwork techniques persist, particularly in the calligraphic quality of the lines. Though monochromatic, the work vibrates with life, capturing the delicate sway of lotus blossoms in a gentle breeze. Embracing the philosophy that “less is more,” the artist distills complex emotions of Chinese literati aesthetics into minimalist forms. The piece transcends simplicity to articulate the tranquility and profundity of traditional Chinese ethics, offering a meditative counterpoint to the chaos of contemporary existence.
申少君，1956年生于广西南宁市。长期从事中国画工具、材料与视觉语言的关系研究，承担并完成全国艺术科学“十五”规划课题：《中国画色彩的独立语言》；曾任第一届、第二届深圳国际水墨画双年展执行委员兼编辑总监，现为中国国家画院专职画家、研究员，当代中国画视觉系统研究所所长、工作室导师，中国国家博物馆特聘研究员、中国国际书画艺术研究会副会长、永乐宫壁画艺术博物馆终身研究员、上海中国画院特聘画师。
Shen Shaojun was born in Nanning, Guangxi in 1956. He has long been engaged in the research on the relationship between tools, materials and visual language in Chinese painting. He has undertaken and completed the National Art Science "Tenth Five-Year Plan" project: "The Independent Language of Color in Chinese Painting". He served as the executive committee member and editorial director of the first and second Shenzhen International Ink Painting Biennale. Currently, he is a full-time painter, researcher, director of the Contemporary Chinese Painting Visual System Research Institute, and studio mentor at the China National Academy of Painting. Specially-appointed Researcher of the National Museum of China, Vice President of the China International Calligraphy and Painting Art Research Association, Lifetime Researcher of the Yongle Palace Mural Art Museum, and Specially-appointed painter of the Shanghai Chinese Painting Academy.
作品呈现“后稷教稼”场景。后稷是农神，教民耕种，右侧的大型人物象征后稷，左侧是农民，两者形成对比和呼应。作品以水墨为主，运用浓淡干湿变化，营造出古朴、厚重的氛围。以大笔触塑造山石、建筑等，借以传达历史厚重感与文化底蕴。人物分布与环境建构层次分明，留白与墨色交织，拓展了画面空间，传递出画家对农耕文明起源、传承的思索，彰显对农耕文化根基的重视。
The work depicts the scene of Hou Ji, God of Agriculture, instructing villagers in farming techniques. The composition juxtaposes and dialogues through contrasting scales: a monumental figure of Hou Ji on the right symbolizes agricultural wisdom, while smaller, dynamic farmers on the left embody collective labor. Executed primarily in ink, the piece employs nuanced variations in density, dryness, and wetness of brushwork to evoke a rustic and solemn atmosphere. Bold, expressive strokes delineate mountain rocks and architectural structures, imbuing the scene with historical gravitas and cultural depth. A clear hierarchy emerges in the arrangement of figures and environmental elements, while the interplay of ink washes and negative space expands the pictorial depth. Through these choices, the work reflects the artist’s contemplation on the origins and continuity of agrarian civilization, emphasizing the enduring significance of its cultural foundations.
张立柱，1956年生于陕西，一级美术师，西安美术学院客座教授。1978年春入西安美院国画系读本科暨研究生，毕业后留校任教，后到陕西国画院，再到中国国家画院。曾任陕西国画院院长，陕西美术家协会副主席。现为中国国家画院国画专业委员会研究员。
Zhang Lizhu, born in Wugong County, Shaanxi, in 1956, Artist of National Level A, is Researcher at the China National Academy of Painting. He is also a Visiting Professor at the Xi’an Academy of Fine Arts, where he enrolled in the undergraduate and postgraduate programs of the Chinese Painting Department in 1978. He was former Director of the Shaanxi Chinese Painting Academy, and former Vice Chairman of the Shaanxi Artists Association.
中国神话故事是中华文明的精神象征，承载着对生命、自然和宇宙的思考。画家以《西游记》中的孙悟空形象作为画面主体形象，以水墨、色彩的结合展现悟空的活泼神态，极具趣味性。悟空所坐的桌子上，摆放着中华吉祥元素仙桃，并精心配置印章作为装饰，充满了中华传统文化意味。作为东方文化的传播与东方名片的输出，画家以“齐天大圣”形象展现跨越文化界限、全球共享的英雄符号，持续生发中华民族的生命力并塑造面向世界的文化认同，致力于促进不同文明间的理解与对话。
Chinese mythology serves as the spiritual embodiment of Chinese civilization, encapsulating profound contemplations on life, nature, and the cosmos. Centering on the iconic figure of Sun Wukong from Journey to the West, the artist employs a masterful fusion of ink and color to capture the protagonist’s dynamic vitality and whimsical charm. The composition is enriched with auspicious Chinese motifs—the celestial peach adorning the table and meticulously arranged seal imprints—imbuing the work with an aura of traditional cultural essence. As a prominent vehicle for disseminating Eastern culture and showcasing its iconic imagery, the artist transforms the “Great Sage Equalling Heaven” archetype into a globally resonant emblem that transcends cultural boundaries. This artistic endeavor perpetuates the enduring vitality of Chinese civilization, and even shapes a culturally confident identity for international audiences, ultimately fostering cross-cultural understanding and dialogue between diverse world civilizations.
马书林，1956年生于辽宁，教授。1982年毕业于鲁迅美术学院，获学士学位并留校任教。曾任中国美术馆常务副馆长，鲁迅美术学院副院长兼附中校长，辽宁省美术家协会副主席，中国美术家协会第六、七、八届理事、中国画艺术委员会副主任等职。现为中国国家画院国画专业委员会研究员，中国传媒大学博士生导师。
Ma Shulin, born in Shenyang, Liaoning in 1956, professor, graduated from the Lu Xun Academy of Fine Arts in 1982 with a bachelor’s degree. Ma is currently Researcher at the Chinese Painting Committee of the China National Academy of Painting and Doctoral Supervisor at the Communication University of China. He served as Executive Vice President of the National Art Museum of China, Vice President of the Lu Xun Academy of Fine Arts & Principal of its Affiliated Middle School, Vice Chairman of the Liaoning Artists Association and member of the 6th to 8th councils of the China Artists Association & Deputy Director of its Chinese Painting Art Committee.
戏曲人物是中国传统绘画的重要内容，画家从传统戏曲人物画中吸收了轻松、放纵的笔墨，点染随心，不拘一格。人物造型扎实生动，显示出画家积年累月的人物写生功底。作品没有对藏戏进行精准刻画，而是以人类学、文化学和民俗学的视角，对其进行图像志式的记录。同时，画家以笔墨趣味化解了研究性绘画的严肃和刻板，赋予其更多的可看性和阅读性。
Operatic figures have long been a vital subject in traditional Chinese painting. Drawing inspiration from this genre, the artist employs expressive, uninhibited brushwork—fluid in application and unconstrained by convention. The figures are rendered with solid yet dynamic forms, showcasing decades of disciplined figure-drawing practice. Rather than offering a literal depiction of Xizang opera, the work adopts an anthropological, cultural, and folkloric lens to create an iconographic documentation of the tradition. Meanwhile, the artist elevates ethnographic representation through painterly nuance, mitigating academic rigidity with compositional playfulness. This synthesis imbues the work with both visual magnetism and narrative depth, transforming cultural observation into poetic visual discourse.
梁占岩，1956年生于河北，一级美术师。师从周思聪、卢沉老师。1990年结业于中央美术学院中国画系。曾任河北省美术家协会副主席、中国国家画院国画院常务副院长。现为中国国家画院国画专业委员会副主任、研究员。
Liang Zhanyan, born in Wuqiao, Hebei in 1956, Artist of National Level A. He had been under the tutelage of Chinese painting masters Zhou Sicong and Lu Chen and completed his studies at the Chinese Painting Department of the Central Academy of Fine Arts in 1990. He served as Vice Chairman of the Hebei Artists Association and Executive Deputy Director of the Chinese Painting institute at the China National Academy of Painting. Currently, Liang is Deputy Director and Researcher of Chinese Painting Committee of China National Academy of Painting.
作品致力于体现中国山水画的诗意意境，高远构图，用笔劲爽，墨色浑厚，描绘云南高黎贡山硬朗的山石形态。同时以亭台楼阁点缀其中，巧妙的留白则表现初晨的云雾缭绕。画面整体气息流畅，又融入构成之感，将传统笔墨进行了现代转化，展现出山水画的当代视觉效果。中国山水画传统以道、以天人合一为主线，这件作品体现了其独特韵味与文化魅力。
This work masterfully embodies the poetic essence of traditional Chinese landscape painting through its elevated composition, vigorous brushwork, and sumptuous ink tonality. It captures the rugged geological character of Yunnan’s Gaoligong mountain range while artfully integrating pavilions and pagodas. The strategic use of negative space evokes mist-shrouded dawn clouds, breathing lyrical dynamism into the pictorial space. Blending classical brush idiom with modernist spatial sensibilities, this work achieves a contemporary reinterpretation of landscape painting traditions. Rooted in Taoist principles of cosmic harmony and unity between humanity and nature, this piece resonates with profound cultural vitality while presenting a fresh visual syntax for landscape painting in the modern era.
舒建新，1957年生，祖籍山东青州，一级美术师。曾任中国国家画院美术馆馆长。现为中国国家画院国画专业委员会研究员，中国画学会理事，中国国际文化交流中心理事。
Shu Jianxin, born in Qingzhou, Shandong in 1957, Artist of National Level A. Shu is Researcher at the Chinese Painting Committee of the China National Academy of Painting, Council Member of Chinese Painting Society and the China International Culture Exchange Center. He served as Director of the China National Academy of Painting’s Art Museum.
作品以极具意象性的方式表现山泉和鸣的场景，在传统韵味之上展现构成之美，通过疏密有致又流畅的曲线表现耸立的山脉与湍急的水流，略显动感，整体达成和谐共鸣。物象造型夸张变形，来源于现实，又超越于现实。设色丰富，有别于传统用色习惯，色墨之间达到平衡。画家通过山石表达深刻的文化内涵，观照自然、观照生灵，将中国传统哲学思辨发挥的淋漓尽致。
This work depicts a scene of mountains and springs in harmony through a highly symbolic visual language, blending traditional aesthetics with contemporary compositional rigor. Rhythmic, fluid curves articulate towering ridges and cascading waterways, infusing subtle dynamism into the landscape to achieve a cohesive, resonant equilibrium. Forms are rendered in exaggerated, semi-abstract gestures—rooted in reality yet transcending literal representation. A rich chromatic palette, diverging from classical ink conventions, strikes a balance between luminous color washes and grounding monochrome tones. Through his sculptural treatment of rock formations, the artist conveys profound cultural introspection, engaging in a contemplative dialogue with nature and the vitality of living forms. The piece masterfully channels the philosophical tenets of classical Chinese thought, where natural and metaphysical realms coalesce into poetic unity.
王永亮，1958年生于安徽，一级美术师。1982年毕业于皖西学院美术系，后结业于中央美术学院中国画系。现为中国国家画院国画专业委员会研究员。
Wang Yongliang, born in Taihe, Anhui in 1958, is Researcher at the Chinese Painting Committee of the China National Academy of Painting and Artist of National Level A. Wang graduated from the Fine Arts Department of West Anhui University in 1982 and later completed his studies in the Chinese Painting Department of the Central Academy of Fine Arts.
万籁寂静，天水一色，大地映着蓝天，蓝天衬托绿地，冬天仿佛刚刚走远，绿色还未铺满世界。“山水之间一切如其所是”，作者在题跋中诗意地说道。他描绘了一个可居可游的当代“桃花源”，笔触朴实，色彩淡雅，构造简约，不做炫技之法，如禅宗绘画般细腻、发人深省。山居、农田、树林都用相似的笔触和相似的颜色塑造，最终塑造出一个世界大同的理想山水世界。
All-encompassing serenity envelops the scene. Sky and water merge in a boundless expanse; the earth mirrors azure skies while the skies frame verdant fields. Winter seems to have just receded, with verdant hues yet to blanket the world in full. “Within these mountains and waters, everything simply exists as it is,” remarks the artist poetically in his inscription. Through earthy brushwork, a subtle palette, and simplified compositions devoid of technical ostentation, the artist crafts a habitable and traversable contemporary utopian retreat evocative of the “Peach Blossom Spring” archetype. The work embodies the meditative refinement of Zen Buddhist paintings, quietly provoking introspection. Mountain dwellings, farmlands, and woodlands—rendered with harmonious strokes and chromatic restraint—converge to articulate an idealized landscape that envisions universal harmony.
林容生，1958年生于福建，教授、博士生导师。1982年毕业于福建师范大学美术系，获学士学位。曾任福建省画院院长，福建师范大学美术学院教授、博士生导师。现为中国国家画院国画专业委员会研究员，中国工笔画学会理事。
Lin Rongsheng, born in Fuzhou, Fujian in 1958, graduated in 1982 from the Department of Fine Arts at Fujian Normal University with bachelor’s degree. Lin is researcher at the Chinese Painting Committee of the China National Academy of Painting, council member of Chinese Gongbi Painting Society. Former director of the Fujian Painting Academy, professor and doctoral supervisor at Fujian Normal University.
近代以来，以徐悲鸿和蒋兆和为主体的“徐蒋体系”成为中国现实主义美术的底色，其注重结合中国传统笔墨语言和西方写实主义技术，并赋予绘画以极强的人文关怀和民族精神。这件作品描绘了一位彝族小学老师，她身穿鲜艳的民族服饰，端坐在椅子上，显露出别样的优雅。她的脸庞黝黑，神态安宁，眼神中却透露出一股坚毅和刚强——这或许是致力于乡村教育事业的工作者所普遍带有的眼神。作者以写意放纵的笔触描绘服饰，又以写实克制的技法刻画其脸部，一动一静，极具视觉张力。
Since the modern era, the “Xu-Jiang System”—pioneered by Xu Beihong and Jiang Zhaohe—has formed the cornerstone of China’s realist art tradition. This approach synthesizes traditional Chinese ink brushwork with Western realist techniques, imbuing works with profound humanistic concern and national ethos. This work depicts a Yi ethnic primary school teacher clad in vibrant ethnic attire, seated upright with understated elegance. Her dark-complexioned face exudes serenity, while her eyes reveal resolute determination—a gaze emblematic of rural educators dedicated to grassroots pedagogical endeavors. The artist contrasts unrestrained, expressive brushstrokes in rendering the clothing with restrained realist precision in facial depiction, creating a dynamic interplay between motion and stillness that generates striking visual tension.
李洋，1958年生于北京。1985年毕业于中央美术学院中国画系并留校任教。现为中央美术学院中国画学院副院长、教授，中国国家画院国画专业委员会研究员。
Li Yang, born in Beijing in 1958, graduated from the Central Academy of Fine Arts in 1985 and became a faculty member. He is Vice Director and Professor of the School of Chinese Painting at the Central Academy of Fine Arts and Researcher at the Chinese Painting Committee of the China National Academy of Painting.
四名劳动者如同雕塑岩石矗立在大地之上，冷静、肃穆、朴实，他们仿佛从大地上生长出来，极具视觉张力。笔墨浓厚结实，自然流畅，如雕塑的泥刀，笔笔见痕，笔笔有型。人物不经勾勒，不经雕琢，具有自然之中的蛮荒感，这正是中国劳动者的真实写照。三伏天，而不见太阳，压抑的黑色笼罩一切，降临在每个人的头上，但劳动者眼中的淡然反衬出他们坚强和勤劳的底色。他们无惧黑暗、无惧炎热，在短暂的休息后将会投入到新工作、新征程之中，这是中国的劳动者，也是中华儿女不屈奋斗精神的投影。
Four laborers stand like monumental sculptures rooted in the earth, their forms radiating solemnity, resilience, and an austere dignity. They emerge from the terrain itself, embodying a visceral visual power. The robust, tactile brushwork flows with organic fluidity, each stroke akin to the sculptural marks of a clay-carving tool—defined, purposeful, and texturally vivid. The figures, rendered without delicate outlines or refined polish, exude a primal rawness that mirrors the untamed essence of China’s laboring class. Titled Dog Days, the composition deliberately omits the sun, shrouding the scene in the oppressive weight of an all-encompassing black—an atmospheric metaphor for societal or environmental burdens. Yet the laborers’ composed gaze pierces through this darkness, their quiet resolve amplifying themes of perseverance and diligence. Undeterred by heat or shadow, they pause only briefly, poised to embark on renewed labor and new journeys. This is more than a portrayal of toil; it is a profound homage to China’s working class and a timeless reflection of the unyielding spirit that defines the Chinese people.
陈钰铭，1958年12月9日出生，河南洛阳人，1976年入伍。毕业于天津美术学院绘画系。结业于中国美院中国人物画高研班。一级美术师，曾任解放军总政治部解放军画报社美术编辑、解放军总政治部中国人民革命军事博物馆创作员，第六、七、八届中国美术家协会理事，现任中国美术家协会中国画艺术委员会副主任，中国画学会理事，中国艺术研究院国画院研究员，中国国家画院研究员，上海中国画院院外画家，中央文史馆书画院艺术委员。
Chen Yuming, born in Luoyang, Henan in 1958, enlisted in the army in 1976 and graduated from the Painting Department of the Tianjin Academy of Fine Arts. He studied advanced Chinese figure painting at the China Academy of Art and was art editor at the PLA Pictorial. Artist of National Level A, he holds several positions, including art creator at the Military Museum of the Chinese People’s Revolution, member of the 6th, 7th, and 8th councils of the China Artists Association, vice director of the Chinese Painting Art Committee of the China Artists Association, council member of the Chinese Painting institute, researcher at Chinese Painting institute of the Chinese National Academy of Arts and at China National Academy of Painting, external artist at the Shanghai Chinese Painting Academy, and art committee member of the Central Literature and History Research institute’s Calligraphy and Painting Academy.
泰国古都大遗址辉煌的王朝历史在作者笔下徐徐展开，恢弘的建筑与残破的石砖，现在驻足过去，过去展望未来，这并不仅是绘画的视觉语汇，更是这种语汇背后所要传递的哲学思考。在20世纪中国水墨画的现代化转型中，风景画被山水画所遮蔽，其转型范围、成效并不十分显著，如何以现实主义和写实主义的方法并运用传统水墨语言，创造一种新的风景画语言就成为当代美术家不得不面对的问题。作者以高超的造型能力和环境渲染能力，描绘了泰国古都的历史感和厚重感，近景残破的砖石，以密集规整的小笔侧锋层层铺陈，成功塑造了砖石建筑残破、摇摇欲坠的观看感受。
This work masterfully unveils the glorious dynastic history embedded in the ruins of Phra Nakhon Si Ayutthaya. Through the juxtaposition of monumental architecture and crumbling stone bricks, the painting transcends mere visual language to evoke a philosophical meditation on temporality—where the present contemplates the past, and the past gazes toward the future. Within the broader context of 20th-century modernization in Chinese ink painting, landscape art has largely overshadowed the development of Western-style scenographic depictions. The limited scope and achievements in this transformational process raise critical questions: How might contemporary artists forge a new pictorial language for landscape art by harmonizing realist methodologies with traditional ink idioms? The artist addresses this challenge through exceptional form-shaping prowess and atmospheric rendering. The foreground’s fractured masonry, meticulously constructed with dense, methodical strokes of lateral brushwork, achieves a visceral tension between structural solidity and precarious decay. This technical mastery not only captures Ayutthaya's historical gravitas but also reimagines ink painting’s capacity to articulate contemporary spatial narratives.
刘建，生于1960年。中国国家画院国画专业委员会研究员，中国文化艺术发展促进会国画院副秘书长，中国画学会常务理事，中国人力资源和社会保障部中国人才研究会书画人才专业委员会副会长，安徽师范大学兼职教授，深圳大学艺术设计学院客座教授。
Liu Jian, born in 1960, is researcher at the China National Academy of Painting. He serves as deputy secretary-general of the Chinese Painting institute under the China National Society for the Promotion of Arts and Culture, executive council member of Chinese Painting Society, vice president of the Painting and Calligraphy Talent Committee of the Chinese Talents Society under the Ministry of Human Resources and Social Security, professor at Anhui Normal University, visiting professor at Shenzhen University.
远山一片红艳，仿佛大地之火熊熊燃烧，牧民赶着他的牲畜，从远方徐徐走来，他的步伐稳健，前方是金黄色的山村人家。红与黄共同谱写了中国近代的伟大革命故事，作品转化了革命浪漫主义绘画的叙事方法，将其重新置于田园背景中，画家用红色和黄色的并置，中和了红色的躁动和黄色的沉闷，增加了画面的色彩叙事性，色彩即隐喻与象征。而笔墨则选用湿笔中锋，点染并用，画家不厌其烦地勾勒山石轮廓，营造其肌理质地，留白之处的云烟还让画面有了更加清爽的透气感。造型方面又能够基于传统山水图式，村居、树丛、牲畜等皆呼应了北宋以降可居可游的山水空间，让观众更加亲近、更加容易理解。
Distant mountains blaze with crimson hues like the roaring flames of the earth, while a herdsman advances steadily with his livestock from afar toward golden-hued mountain village dwellings. The chromatic interplay of red and yellow orchestrates an allegory of China’s modern revolutionary epic. This work innovatively transposes the narrative framework of revolutionary romanticism painting into a pastoral setting. Through strategic chromatic juxtaposition, the artist modulates red’s inherent restlessness and yellow’s stolidity, imbuing the composition with heightened chromatic storytelling where color itself becomes metaphor and symbolism. Executed predominantly with a centered-tip wet ink technique blending dotting and washing methods, the artist meticulously outlines mountain contours to build textural verisimilitude. Negative space articulated through mist and clouds injects the pictorial plane with an airy freshness. Rooted in traditional landscape schemata, elements like rustic dwellings, clustered trees, and pastoral animals echo the habitable and traversable spatial concepts established in Chinese landscape painting since the Northern Song Dynasty. This synthesis fosters viewer accessibility while sustaining intellectual depth.
陈平，1960年生于北京。1984年毕业于中央美术学院中国画系。原中央美术学院中国画学院院长，二级教授，硕士生、博士生导师。中国艺术研究院博士生导师。中共中央宣传部“四个一批”人才，享受国务院特殊津贴。中国书法家协会会员。
Chen Ping, born in Beijing in1960, graduated from the Chinese Painting Department of the Central Academy of Fine Arts in 1984. Former director of the Chinese Painting School at the academy, and a master’s and doctoral advisor at the academy. Chen is currently researcher at China National Academy of Painting, artist of National Level A, professor, doctoral supervisor at the Chinese National Academy of Arts, member of China Calligraphers Association and the Chinese Poetry Society.
唐代诗人王勃《林塘怀友》写道：“芳屏画春草，仙杼织朝霞。何如山水路，对面即飞花。”画家以颇有明代吴门山水风格的色彩和笔墨，描绘了几名在山间饮酒、读诗、写作的名士，他们悠游自在，往来欢笑，是中国古代知识分子心中憧憬的典范。画家的笔调轻松，多写意而少刻画，设色清新雅致，不做浓艳敷色。不过，画家通过画名提醒读者，虽然画中之景美好，但也要走出画外，面向自然，体会现实世界的美好。
The Tang poet Wang Bo’s verse titled Thinking of Friends by the Lotus Pond resonates in this work: “Sweet screens are painted with spring grass, / Celestial looms weave rosy dawn. How can they compare to mountain paths / Where every turn brings blossoms newly born?” Drawing inspiration from the Ming's Wu School landscape aesthetics in both palette and brushwork, the artist depicts a group of scholars engaged in scholarly pursuits—sipping wine, reciting poetry, and composing verses—amidst winding mountain paths. Their leisurely and carefree interactions, brimming with joy and laughter, embody the idealized lifestyle revered by ancient Chinese literati. The artist’s loose and expressive brushwork prioritizes impressionistic spontaneity over meticulous detail, while his fresh and refined palette eschews heavy or ornate application. Yet, through the painting’s title and imagery, the artist subtly reminds viewers of ultimately transcending the captivating idyllic realm of art to engage with and appreciate the raw beauty of the natural world.
顾平，1960年出生于江苏镇江，中国国家画院研究员，民盟中央美术院副院长，中国美术家协会会员，现工作生活于北京。工书法，善画人物及山水，评论界称其为“逍遥山水”。创作理念上溯魏晋人文，旁及中外，亲近自然，追求与自然相契，以期达到精神上的至乐至美的境界。中国画作品《竹林七贤》入选第八届全国美展、2021年中国画作品《兰亭修禊》被中国美术馆收藏 ，曾在中国美术馆等地博物馆、美术馆举办个人书画展。《中国画院史》执行副主编，出版著作《绘事文存》《中国古代宫廷画院考略》等多部。
Gu Ping was born in 1960 in Zhenjiang, Jiangsu Province. He is a researcher at the China National Academy of Painting, vice president of the Central Academy of Fine Arts of the China Democratic League, and a member of the China Artists Association. He currently works and lives in Beijing. He is skilled in calligraphy and excels in painting figures and landscapes. The critics call him "Free and Easy Landscape Painting". The creative concept traces back to the humanistic elements of the Wei and Jin Dynasties, and extends to both Chinese and foreign cultures. It is close to nature and pursues harmony with it, with the aim of achieving the ultimate spiritual joy and beauty. The Chinese painting works were selected for the 8th National Art Exhibition, the 2021 Chinese Painting Works, and were collected by the National Art Museum of China. He has held solo calligraphy and painting exhibitions in museums and art galleries such as the National Art Museum of China. Executive deputy editor-in-chief of "History of Chinese Painting Academy", having published several books.
画家将其家乡的民间文化传统社戏与现实题材结合，在表现唱戏、踩高跷等民间习俗的同时，表达现代观念，极具地域特色。进而将涵盖素描造型的水墨语言与构成感相结合，放大线条、色彩的表现力，既体现传统水墨的书写性，又增强画面的视觉表达。画家致力于吸收皮影、脸谱等民间元素推动中国画的现代性转型，打造中国本土的现代艺术，中国画的文化属性由之生发，这是中华民族传统文化与世界所进行的交流对话。
The artist masterfully interweaves China’s grassroots cultural traditions with modernist visual discourse. Rooted in the folk rituals of his native northwestern China, this work captures the vibrant energy of village opera performances and stilt-walking customs, subtly encoding contemporary conceptual undertones through its distinct regional lexicon. The artist synthesizes ink-wash language grounded in sketch-based figuration with structural composition principles, amplifying the expressive potency of linear rhythms and chromatic interplay. This dual approach preserves the calligraphic vitality inherent to classical ink traditions while intensifying the work’s contemporary visual impact. The artist actively incorporates vernacular elements from shadow puppetry, facial mask designs, and folkloric symbolism, propelling Chinese ink painting’s modernist transformation. Through such cultural archaeology, the piece constructs an authentically Chinese paradigm of modern art—one where the medium’s intrinsic cultural DNA organically catalyzes intercultural dialogue between traditional Chinese cosmology and global contemporary practice.
王辅民，1961年生于甘肃庆阳，1982年毕业于西北师大美术系、获学士学位，现为中国国家画院人物画所名誉所长、国画专业委员会研究员，一级美术师。曾任兰州画院院长，兰州市文联副主席。
Wang Fumin, born in 1961 in Qingyang, Gansu, graduated in 1982 from the Fine Arts Department of Northwest Normal University with bachelor’s degree. Artist of National Level A, he is the honorary director of the Figure Painting Department at the China National Academy of Painting and. Former president of the Lanzhou Academy of Painting and vice chairman of the Lanzhou Federation of Literary and Art Circles.
春日万物复苏，生机盎然。画家以水墨晕染勾勒山石草木形态，浓淡笔触间辅以石绿提点春意，尽显盎然生机。画面左侧人物以线造型，神态怡然，衣裳与草木巧妙联结，令自然万物臻于“天人合一”之境。画家借春日图景寄怀人之情，诗意隐于笔墨。《春芳》在东方诗意与现代水墨的交融中，以含蓄哲思引人入胜。
In this work, spring’s revitalization is depicted through a landscape teeming with vitality. The artist employs subtle ink gradations to define the forms of mountains, rocks, and foliage, while delicate accents of mineral green pigment evoke the season’s awakening. On the left, a figure rendered in precise linear delineation exudes a serene demeanor. Her dress flows seamlessly into the surrounding vegetation, symbolizing the harmonious unity of humanity and nature. Through this vernal tableau, the artist infuses the scene with contemplative emotion, embedding poetic resonance within his brushwork. Fragrance of the Spring captivates with its fusion of Eastern lyricism and modern ink aesthetics, inviting viewers into a realm of understated philosophical depth.
卢志强，1962年10月生于福州，祖籍河北涿州。中国国家画院人物所原副所长、艺术家、教授，中国美术学院博士，福建省政府文化名家、闽江学者，福建师范大学讲座教授。
Lu Zhiqiang, born in Fuzhou in 1962, has ancestral roots in Zhuozhou, Hebei. Former deputy director of the Figure Painting Institute at the China National Academy of Painting. Graduated from the China Academy of Art with doctoral degree, Lu is professor and recognized as a prominent cultural figure by the Fujian provincial government, a “Minjiang Scholar,” and a visiting professor at Fujian Normal University.
一尊宏伟的兵马俑战士，望向画面外的无尽空间。历史以灰尘扑扑的厚重感压倒了纸张与笔墨组合出的“墨戏”的闲逸自如，亘古，跨越万千历史，无言，面对汹涌人潮。他们曾经是王朝的守护者，如今化身为文化的守护者。画家准确把握兵马俑的气质和神态，将之凝聚为中华历史的符号，其笔墨多有实验感，以竖条状笔触慢慢塑造出折叠、像素般的画面形象，它是模糊的，正如记忆。
A monumental terracotta warrior gazes into the infinite expanse beyond the pictorial frame. History asserts its presence through dust-laden textures that overwhelm the literati ink play’s customary fluidity and ease. Spanning epochs, these silent sentinels confront surging crowds of the modern era— once guardians of imperial dynasties, now custodians of cultural memory. The artist deftly captures the archetypal essence of figures in the Qin Dynasty, rendering them as condensed symbols of Chinese historicity through experimental brushwork. Vertical striated strokes gradually coalesce into folded, pixel-like formations, their intentional ambiguity mirroring the ephemeral fragments of collective remembrance.
方土，1963年出生。中国国家画院国画专业委员会研究员、美术馆原馆长，中国美术家协会理事、中国画艺术委员会委员，广东省美术家协会名誉主席、中国画艺术委员会主任，广东省中国画学会执行会长。
Fang Tu, born in 1963, researcher at Chinese Painting Art Committee and former director of the Art Museum of the China National Academy of Painting. He is a council member of China Artists Association & member of its Chinese Painting Art Committee, and honorary chair of Guangdong Artists Association & director of its Chinese Painting Committee and the executive chairman of the Guangdong Chinese Painting Society.
此作展现花果初熟之时，劳动者的辛勤忙碌场景。人物以线造型，造型以适当的夸张变形体现趣味性，衣裳以色彩着墨，人物神态略具漫画感，体现劳动人民的稚拙与淳朴。画面背景以果树、石榴的丰收象征团结和谐的喜庆氛围，整体色彩以淡蓝绿色为主，体现纯洁、梦幻的创作意图。画面整体来看，人物头部的实与背景的虚形成鲜明的对比，色墨融合贴切。作品描绘劳动者及广大人民的智慧与幸福生活，世界各民族团结一致的交流联动、同频共振。
This work captures the diligent labor of fruit harvesters during the ripening season. The figures are rendered through linear composition, with stylized exaggeration lending playful charm to their forms. Their garments are articulated in bold color blocks, and their expressions carry subtle caricature, evoking the rustic simplicity of working-class vitality. The backdrop—fruit-laden trees and bursting pomegranates—symbolizes communal harmony and the jubilation of abundance. Dominated by a soft blue-green palette, the piece conveys purity and a dreamlike vision. Stark contrasts emerge between the solidity of the figures’ heads and the ethereal, ink-washed background, achieving a seamless integration of color and ink. Ultimately, the painting celebrates the ingenuity and joyous existence of laborers, while metaphorically reflecting the collaborative synergy and shared aspirations among global communities.
尚可，1963年生。1991年于南京艺术学院硕士研究生毕业，并留校任教。2003年攻读博士学位，2006年博士研究生毕业并获得博士学位。2016年调入中国国家画院。历任中国国家画院交流合作部主任、研究员、博士后导师。南京艺术学院教授、博士生导师。澳门城市大学博士生导师。中国工笔画学会人物画艺术委员会副主任。
Shang Ke, born in 1963, graduated with a master’s degree from Nanjing University of the Arts in 1991. He pursued a doctoral degree in 2003, graduating in 2006. In 2016, he entered China National Academy of Painting, where he served as the director of the Exchange and Cooperation Department, researcher, and a post-doctoral supervisor. He is also professor and doctoral supervisor at Nanjing University of the Arts and City University of Macao. Shang is a deputy director of the Figure Painting Committee of Chinese Gongbi Painting Society.
画面正中央两只正对观者的鹳以长颈、蓬松羽毛的造型，线条舒展，水墨晕染形成墨色层次，成为画面视觉焦点。以此展开，并列的鹤、悬挂的玩偶、各种生活家具在这一空间中尽显怀旧之感。画家以水墨淡彩为基础，弱化物像的写实性，强调形态的律动以及背景晕染营造朦胧氛围，构建新水墨语境。作品将记忆以超现实的混合生态叙述，打破空间边界，把自然生物融入日常场景，以此视角反观人类构建的繁杂世界，暗喻自然与现代生活的交织，引发人与自然关系的思考，是水墨语言的跨界表达，以自然与人文的互动展现现代水墨物我交融的追求。
Centered composition features two storks confronting viewers through elongated necks and voluminous plumage rendered in fluid brushwork. The artist employs layered ink washes to establish a tonal hierarchy, positioning these two birds as the visual anchor. Radiating from this focal point, orderly arrays of cranes, suspended figurines, and domestic furnishings coalesce into a nostalgic tableau. Grounded in translucent ink-wash techniques with subtle coloration, the work deliberately obscures pictorial realism to emphasize rhythmic forms and atmospheric background gradients that cultivate a veiled ambiance—signature elements of neo-ink painting aesthetics. Through surreal hybridization of ecological narratives, the composition dissolves spatial boundaries to integrate natural organisms within quotidian settings. This convergence invites contemplation on anthropocentric constructs, subtly allegorizing the entanglement of wilderness and modernity. As a transdisciplinary expression of ink painting language, the work articulates contemporary aspirations for symbiotic integration between artistic mediums, nature, and human consciousness—poetically manifesting the dialectical interplay between organic forms and cultural interventions.
姚大伍，1963年生于北京，一级美术师。现任中国国家画院国画专业委员会研究员，中国美术家协会会员，中国画学会常务理事，北京美术家协会中国画艺术委员会委员。
Yao Dawu, born in Beijing in 1963, Artist of National Level A. Yao is currently researcher at Chinese Painting Art Committee of the China National Academy of Painting, member of China Artists Association, executive council member of the Chinese Painting Society and member of the Beijing Artists Association’s Chinese Painting Art Committee.
20世纪40年代，美国抽象表现主义艺术家波洛克开创了一种以行动轨迹为绘画内容的行动派绘画，其后来深刻影响了中国艺术家吴冠中，他结合行动派绘画的无规则线条和中国传统文化符号及审美意识，创造出一种极具当代美感和中国美学特点的绘画风格。作者在此基础上融入更加丰富的色彩叙事，池塘的天蓝色、荷花的粉色与白色、荷叶的淡墨色，一曲夏日的池塘协奏曲从画面中缓缓传出，清爽透亮，自由的线条指挥出这欢快的节奏。作者虽然用笔轻松大胆，但不恣肆放纵，时时关注画面的内在结构和情绪逻辑。
In the 1940s, American abstract expressionist artist Jackson Pollock pioneered Action Painting, a radical approach that transformed the physical act of painting into the artwork’s very subject. This innovation profoundly influenced Chinese artist Wu Guanzhong, who later synthesized Action Painting’s spontaneous gestures with traditional Chinese cultural symbols and aesthetic sensibilities, forging a uniquely contemporary style infused with Chinese artistic philosophy. Building upon this legacy, the artist introduces a richer chromatic narrative to his composition. Cerulean pond waters, blossoms rendered in gradients of pink and white, and lotus leaves brushed in pale ink washes coalesce into a visual “summer pond concerto”—lucid, translucent, and alive with rhythm. The unrestrained lines orchestrate a jubilant cadence. The artist’s bold yet controlled brushwork reveals meticulous attention to the painting’s internal structure and emotional logic.
李晓柱，1964年生，一级美术师。现为中国国家画院人物画所所长、中国画艺术委员会委员、研究员，中国艺术研究院文学美术创作院研究员。
Li Xiaozhu, born in 1964, is the director of the Figure Painting Institute at the China National Academy of Painting. He is art committee member, researcher at Chinese Painting Committee and Artist of National Level A at the academy. He is also a researcher at the Literature and Art Creation institute of the Chinese National Academy of Arts.
为了迎接春天，两只仙鹤在花田起舞，它们展翅昂扬，尽情宣泄自己旺盛的生命力，花田里的花儿也努力开放，向世界展现自己的美好。画家对色彩的使用极为克制，仅仅让蓝色和青色为仙鹤的背景，其余地方仍以古典的黑白色为主，成功渲染出传统和现代美学并存的视觉效果。
In celebration of spring, two cranes perform an elaborate dance amidst blossoming fields. With wings majestically unfurled and necks arched in dynamic motion, they project their vibrant vitality through fluid choreography. Surrounding flowers strive upward in full bloom, their petals radiating chromatic splendor against monochromatic elegance. The artist demonstrates masterful chromatic restraint, employing only layered washes of indigo and cyan to construct an atmospheric backdrop for the cranes. This contemporary color strategy harmonizes with the preserved integrity of classical ink-wash traditions in the central avian subjects, cultivating a sophisticated visual language that bridges historical aesthetics with modern sensibilities.
郭子良，1964年生，籍贯广东顺德，1992年毕业于广州美术学院中国画系。现为中国国家画院国画专业委员会研究员、花鸟画所专业画家，中国美术家协会会员。
Guo Ziliang, born in 1964, has ancestral roots in Shunde, Guangdong. Guo graduated from the Chinese Painting Department of the Guangzhou Academy of Fine Arts in 1992. Guo is researcher at Chinese Painting Art Committee and professional artist at the Flower-and-Bird Painting Institute of the China National Academy of Painting, member of the China Artists Association,
作品以“九塬高秋”为题，展现高原秋季独特风貌，整体色彩丰富，画面厚重，是对高原秋色中丰富植被、山石色彩的艺术提炼。画面采用高远构图，营造出深远、宏大的山水格局，同时融入现代构成意识，使得画面既有传统韵味又具新意。用笔体现顿挫、虚实变化，展现山石的厚重与质感，并采用红、蓝、黄等丰富鲜艳的色彩，使得山峦呈现出绚丽斑斓的视觉效果，彰显现代审美下的色彩张力，画面富有装饰性与现代感。同时，以色彩的浓淡、云雾的留白处理，拉开空间层次，引导观者视线游走于山水之间。画家在传统山水基础上融合现代色彩表现，既保留中国山水画的精神内核，又形成独特的个人风貌，展现出当代山水画在传承与创新中的一种路径。
Titled Cool Autumn on the Plateau, this work captures the distinctive autumnal landscape of the plateau through a richly chromatic and texturally dense composition. The artist distills the vibrant hues of the plateau’s autumn vegetation and rocky terrain into an evocative visual symphony. Employing the classical elevated composition, the painting establishes a grand, deep-reaching mountainscape, while infusing modern structural sensibilities to strike a balance between traditional lyricism and contemporary innovation. The brushwork showcases rhythmic pauses and dynamic transitions between solid and void forms, articulating the rugged mass and textural complexity of the rocks. Bold, saturated tones of red, blue, and yellow imbue the mountains with a vivid, kaleidoscopic intensity, amplifying chromatic tension through a modern aesthetic lens and lending the work a striking decorative and contemporary quality. Gradations of color intensity and strategic blank spaces—suggesting mist and drifting clouds—create layered spatial depth, guiding the viewers’ gaze to wander through the mountainous expanse. Building upon the spiritual essence of traditional Chinese landscape painting, the artist merges avant-garde color experimentation to forge a distinct personal style. This piece exemplifies a compelling pathway for contemporary landscape art, harmonizing reverence for heritage with bold creative evolution.
张桐瑀，1965年生于吉林。1990年毕业于东北师范大学美术系国画专业，2003年获中国艺术研究院硕士学位，2007年获中国艺术研究院博士学位（师从龙瑞先生）。曾任中国艺术研究院《美术观察》栏目主持人。现为中国国家画院国画专业委员会副秘书长、山水画所专业艺术家，中国画学会副会长，中国美术家协会会员，中国民主促进会会员。
Zhang Tongyu, born in Jilin in 1965, graduated from Northeast Normal University’s Department of Fine Arts with a bachelor’s degree on Chinese painting in 1990. He earned a master’s degree from the Chinese National Academy of Arts in 2003 and a doctorate in 2007 under Long Rui. He managed a section of the academy’s periodical, Art Observation. He is currently deputy secretary-general at the Chinese Painting Committee of the China National Academy of Painting & professional artist at its Landscape Painting Institute, He is also vice chairman of Chinese Painting Society and member of China Artists Association and China Association for Promoting Democracy.
画家描绘了四位有着深切情谊的孩童，整体风格自然、轻松。人物造型运用笔墨加素描的方法完成，左侧姐妹以浓墨、右侧兄弟以淡墨刻画，黑白分布，浓淡虚实对比强烈，体现画家极强的笔墨叙事能力。画面背景虚化，更加体现人物的视觉张力，人物形象、神情刻画生动、深入，突出孩童的天真烂漫，充满生气勃勃的感染力。画家将画面人物正对观者，使得观者与画中人物之间形成直接互动，在联想手足的亲密无间之余，也能够忆起童年的快乐。画家以手足情深表现当代生活态度，寓意各国人民之间的伟大友谊，观照世界人类命运共同体的构建。
This painting portrays four children bound by profound camaraderie, grounded in a natural, unforced style. The artist employs a synthesis of ink brushwork and sketching techniques to shape the figures: the sisters on the left are rendered in dense ink, while the brothers on the right emerge through lighter ink washes. The dynamic interplay between tonal intensity and spatial depth, accentuated by the strategic distribution of black and white, showcases the artist’s masterful command of narrative through ink. A soft-focus background amplifies the visual impact of figures, whose expressive features are rendered with vivid detail, capturing the unguarded innocence and spirited vitality of childhood. By positioning the subjects frontally toward viewers, the composition establishes an immediate emotional dialogue, inviting reflections on the intimacy of sibling bonds and evoking nostalgia for youthful joy. Through this celebration of fraternal affection, the work transcends personal narrative to embody a contemporary ethos, symbolizing the profound camaraderie among peoples across nations. It subtly aligns with the vision of a global community with a shared future for mankind.
申卉芪，满族，1970年生。1993年毕业于中央民族学院美术系中国画专业获文学学士学位；2005年毕业于中央民族大学美术学院，获少数民族艺术专业博士学位。中国国家画院人物画所专业艺术家，中国美术家协会会员，中国书法家协会会员，中国女画家协会副秘书长。中国民主促进会会员。
Shen Huiqi, of Manchu ethnicity, was born in 1970. She graduated with a bachelor’s degree on Chinese painting from the Department of Fine Arts at the Minzu University of China in 1993. In 2005, she earned her doctoral degree in ethnic minority art from the university’s Academy of Fine Arts. She is professional artist at the Figure Painting Institute of the China National Academy of Painting, member of China Artists Association, member of China Calligraphers Association and deputy secretary-general of the China Female Artists Association. Member of China Association for Promoting Democracy.
在一个阴郁的午后，一组玻璃器皿被放置在窗台，里面或有或无的安插着几束花——一束花甚至躺在了地上，懒散、随性，一股慵懒和困倦从画面传来。一点光亮自窗外射入，打破了这沉寂的环境，玻璃器皿上的花纹被光亮放大、扩散，映射到纱制的窗帘上，朴素的窗帘变得不再朴素，阴暗之中，生机悄然而现。画家以精细的工笔设色功力，不仅完美呈现静物画的玻璃质感，还将静物置于环境之中，赋予它以一种别样的情绪，而光线的折射和画面整体阴郁氛围的反差对比，更展现了画家强大的视觉叙事能力。
On a gloomy afternoon, a cluster of glass vessels rests on a windowsill, sparsely arranged with a few floral sprigs—one bouquet lies carelessly on the floor, exuding languor and casual abandon. A faint light filters through the window, piercing the stillness. Its glow magnifies and diffuses the vessels’ etched patterns onto a gauzy curtain. This ordinary drapery transforms into a canvas of subtle vitality, where life quietly emerges from the shadows. Through meticulous gongbi brushwork and color mastery, the artist not only captures the translucence of glass with precision but contextualizes the still life within its environment, imbuing it with an introspective mood. The interplay of refracted light against the painting’s monochromatic tonalities creates a striking contrast, underscoring the artist’s profound command of visual storytelling.
雷苗，1970年生于湖南省长沙市，1993年毕业于南京师范大学美术系，获学士学位。2001年毕业于南京艺术学院美术学院，获硕士学位。2001年至2009年工作于南京书画院。现为中国国家画院专业艺术家，一级美术师，中国美术家协会会员。
Lei Miao, born in Changsha, Hunan Province, in 1970, obtained her bachelor’s degree from the Fine Arts Department of Nanjing Normal University in 1993 and her master’s degree from the Nanjing University of the Arts in 2001. She worked at Nanjing Painting and Calligraphy Academy from 2001 to 2009. She is currently professional artist of the China National Academy of Painting, Artist of National Level A and member of the China Artists Association.
画家关注当代自然生态，描绘了丰富的亚热带植物景观，展现芭蕉、棕榈等植物“叶大、色艳、繁茂”的生态特征。芭蕉叶的阔大形态、三角梅的簇生繁花，是亚热带自然景观的典型视觉符号，画家以大面积的群青铺染叶片，呼应岭南气候湿润、植被因光影折射所呈现的蓝调视觉体验，粉色三角梅、明黄叶脉为点缀，以亮色激活画面。另一特点是使用较为粗重、顿挫的写实线条强化植物原生野性，以色代墨构建画面主调，以叶片蓝色的深浅过渡、粉色花朵的渐变色保留水墨晕染，达到笔墨平衡。画面中黑色小鸟的内在之眼是画家独特的表达，借助小鸟的视角展现其对自然万物的审视和观照，构建人与自然的对话，充满诗意，体现画家对生命、自然的敬畏和歌颂。作者独具匠心的层叠空间叙事，暗合现代都市人对丛林秘境的心理想象，将亚热带自然景观转化为都市桃源符号，承载着现代人对自然本真的精神诉求。
The artist explores contemporary natural ecology through a lush subtropical botanical landscape, capturing the ecological essence of plants like banana palms and bougainvillea through their “large leaves, vibrant hues, and lush growth.” The expansive banana leaves and clustered bougainvillea blooms serve as quintessential visual motifs of subtropical flora. Broad ultramarine washes dominate the foliage, evoking the bluish tonal quality of Lingnan’s humid climate where vegetation shimmers under refracted light. Accents of pink bougainvillea blossoms and golden-yellow leaf veins inject chromatic vitality. A distinctive technique lies in the bold, deliberately broken realistic lines that amplify the primal wildness of plants. By using color washes in place of traditional ink to establish tonal harmonies, the artist achieves a balance between meticulous detail and expressive fluidity, with ultramarine gradations in leaves and gradient hues in pink blossoms preserving ink-painting sensibilities. The titular “inner eye” manifests as a black bird—an allegorical lens through which the artist observes and contemplates nature’s vitality. This symbolic perspective bridges human-nature dialogue, infusing the work with poetic reverence for life and ecological interconnectedness. Through layered spatial composition, the artist ingeniously mirrors urban dwellers’ psychological yearning for untamed wilderness, transforming subtropical flora into an emblematic “urban utopia.” The painting transcends mere landscape to embody modern people’s spiritual yearning for the pristine essence of nature.
徐冬青，1972年生于安徽。中国国家画院专业艺术家。毕业于中国艺术研究院研究生院。曾入选“中国国家艺术基金资助项目‘艺术专业与管理人才国际流项目’”，赴阿根廷交流驻访并参加当地拉马坦萨大学艺术双年展。
Xu Dongqing, born in 1972 in Anhui, is a professional artist at the China National Academy of Painting and a graduate of the Graduate School of the Chinese National Academy of Arts. Xu has been selected for the Art Professional and Management Talent International Exchange Project sponsored by the China National Arts Fund by which she stayed in Argentina and participated in the art biennale at the National University of La Matanza.
画家以独具匠心的风格描绘方山的雄姿，画面最为突出的便是其艳丽的色彩和个性化的山水造型，主色调为胭脂，同时又带有较强的书写性，通过高远的构图形式凸显山峦气势。画面展现了画家对于笔墨的深度探索，同时在传统山水的基础上反映时代全新的精神面貌，展现祖国的山川新貌，以山水雄浑的意境表达自我情感，是对家乡的赞美也是中国画与国际交流的良好纽带。
The artist captures the grandeur of Fangshan Mountain through a distinctive stylistic approach, most notably characterized by vibrant chromatic intensity and individualized landscape forms. Dominated by a carmine-infused palette interwoven with strong calligraphic sensibilities, the composition employs a vertically elongated format to amplify the mountain’s tectonic majesty. This work demonstrates the artist’s profound exploration of brush-and-ink techniques and simultaneously reflects contemporary visual paradigms rooted in traditional mountain and water conventions. It manifests renewed interpretations of China’s natural topography through heroic geological forms, channeling emotive resonance via monumental landscape imagery. Beyond being a homage to ancestral terrain, the painting emerges as a vital conduit for cross-cultural dialogue within global ink art traditions.
王跃奎，1972年生于四川泸州，文学博士，教授，博士生导师，一级美术师，中国美术家协会会员。现为中国国家画院山水画所副所长、研究员、青年艺术中心主任，中国艺术研究院、首都师范大学硕士研究生导师。曾任中国艺术研究院研究生院美术学系副主任，中国国家画院教学部副主任。
Wang Yuekui, born in 1972 in Luzhou, Sichuan, doctor on literature. Wang is a professor, doctoral supervisor, Artist of National Level A, and member of China Artists Association. He is deputy director and a researcher at the Landscape Painting institute of the China National Academy of Painting and the director of its Youth Art Center. He has previously held positions such as deputy director of the Fine Arts Department of the Graduate School at the Chinese National Academy of Arts and deputy director of the Teaching Department at the China National Academy of Painting. Wang is also a master’s supervisor at the Chinese National Academy of Arts and Capital Normal University.
画家用一种带有批判性的思路，描绘了消费主义对女性的物化和娱乐性审视。女孩们像果盘一样被放置在桌子上，她们的身体是不完整的，只有上半身被放在桌子上，四周飞满蝴蝶，身上布满妖艳的花纹。画面右边，同为女性却处于消费者地位的女孩身着旗袍，肤色正常，她隐于幕后，静静审视着这一切。画家以高超的造型能力和色彩能力，形象塑造出女孩谄媚、无知的面容，和富有装饰主义、原始主义的花纹色彩，展现了画家较好的艺术视野和视觉想象力。
With a critical perspective, the artist critiques consumerism’s objectification of women and its entertainment-oriented scrutiny. Fragmented female figures are arranged like fruit platters on a table, their torsos severed and adorned with seductive floral patterns, surrounded by swarms of butterflies. To the right, a woman in a traditional qipao—her natural skin tone and withdrawn posture contrasting sharply—occupies the role of a consumer, silently observing the scene from the shadows. Demonstrating masterful command of figurative painting and chromatic expression, the artist captures the coy, vacuous expressions of the women while juxtaposing decorative and primitivist motifs. This work reflects a sophisticated artistic vision and imaginative visual critique of societal power dynamics. To the right, a woman in a traditional cheongsam—her natural skin tone and withdrawn posture contrasting sharply—occupies the role of a consumer, silently observing the scene from the shadows. Demonstrating masterful command of figurative painting and chromatic expression, the artist captures the coy, vacuous expressions of the lady while juxtaposing decorative and primitivist motifs. This work reflects a sophisticated artistic vision and imaginative visual critique of societal power dynamics.
党震，1973年生于山东济南。1996年毕业于中央美术学院中国画系本科，2008年毕业于中央美术学院中国画学院，获硕士学位。现为中国国家画院国画专业委员会研究员、人物画所专业艺术家，首都师范大学副教授、硕士研究生导师，河南大学美术学院特聘教授，兰州交大美术学院特聘教授。
Dang Zhen, born in Jinan, Shandong, in 1973, graduated with a bachelor’s degree from the Chinese Painting Department of the Central Academy of Fine Arts in 1996 and obtained a master’s degree from the academy’s Chinese Painting School in 2008. He is researcher at the Chinese Painting Committee & professional artist at Figure Painting Institute of China National Academy of Painting, associate professor and master’s supervisor at Capital Normal University and distinguished professor at the Fine Arts College of Henan University and Lanzhou Jiaotong University’s School of Art and Design.
作品表现一位手持书卷、姿态优雅的女性，周围蝴蝶漫步，似在阅读的同时又在沉思。画家以寻香为主题，一语双关，展现女性与蝴蝶之美，女性背后似有一双翅膀追寻蝴蝶之香，蝴蝶又被女性之香吸引，纷纷朝向女性身体飞舞。作品主要特色在于以矿物色、箔作为材料，将中国画工笔重彩的传统发挥至极。画家将女性与蝴蝶聚集于同一画面，展现中国画独特韵味。
This work portrays an elegant woman holding a scroll, her posture graceful, surrounded by fluttering butterflies. While immersed in reading, she appears contemplative. The title In Search of the Fragrance carries a dual meaning: celebrating the beauty of both the feminine figure and the butterflies. Behind the woman, a pair of wings seems to emerge, symbolizing her pursuit of the butterflies’ ethereal allure; the butterflies themselves are drawn to her subtle charm, clustering around her form. A hallmark of this piece lies in its masterful use of mineral pigments and metal foil, pushing the traditional Chinese gongbi technique of intricate brushwork and heavy coloration to its fullest potential. By integrating the woman and butterflies into a harmonious composition, the work captures the distinctive charm and poetic sensibility inherent in classical Chinese painting.
孙震生，字雨辰，1976年生于河北唐山。一级美术师。中国国家画院花鸟画所专业艺术家，中国美术家协会会员，中国工笔画学会副秘书长、重彩画艺术委员会主任，中国艺术研究院工笔画院特聘研究员，硕士研究生导师。
Sun Zhensheng, born in 1976 in Tangshan, Hebei. Professional artist at China National Academy of Painting and Artist of National Level A. He is member of China Artists Association, deputy secretary-general of Chinese Gongbi Painting Society, director of the association’s Heavy Color Painting Art Committee, specially appointed researcher at the Chinese National Academy of Arts’ School of Gongbi Painting, judge for the National Chinese Painting Exhibition held by the China Artists Association, and master’s supervisor.
画家以静谧的花果作为表现对象，石榴错落的摆放于盘子之上，没有以分明的勾线而是以墨色的浓淡变化体现石榴的体积，追求轻松自在的审美意境，蓝色花瓣的点缀更添幽静之感。万物静观皆自得，石榴是吉祥如意的象征，寄寓了当代幸福生活与国家繁荣昌盛的美好祝愿。
The artist contemplates the quiet poetry of natural forms through a still-life arrangement of pomegranates. The asymmetrical composition, freed from rigid outlines, achieves volumetric dimensionality through subtle gradations of ink tones, evoking an effortless aesthetic sensibility. Cobalt-blue petals scattered across the pictorial space imbue the scene with a meditative tranquility. Embedded within this visual meditation lies cultural symbolism: The pomegranate, an auspicious emblem of fertility and abundance in Chinese tradition, becomes a contemporary vessel for embodying collective aspirations—celebrating both personal fulfillment in modern life and the nation’s flourishing prosperity.
王瑛，生于1978年，河北深州人。中国国家画院研究员、中国美术家协会会员、北京工笔重彩画会理事。
Wang Ying, born in Shenzhou, Hebei, in 1978, researcher at China National Academy of Painting, member of China Artists Association, and council member of Beijing Gongbi & Heavy Color Painting institute.
当代山水逐渐向视觉化倾斜，画家以平远视角构图、蓝粉色的主调、大面积的色彩晕染完成当代视觉的转化，展现南方山水的秀丽形态。画面整体形式感、构成感极强，以山体外轮廓分割林木，山石、树木、屋宇作为符号为画面形式服务，中景的一叶扁舟表现画面气息的流动，展现清新绚丽之感。画家以当代视野描绘祖国的绿水青山，以水墨与当代视觉的结合绘制当代山水，形成人与自然的和谐统一。
Contemporary Chinese landscape painting is increasingly gravitating toward visual-oriented expression. The artist employs a composition with a level, expansive perspective, dominated by a blue-pink color palette and large-scale gradient washes, ending with a contemporary visual transformation that captures the picturesque beauty of southern Chinese landscapes. The work demonstrates a potent formal structure and compositional rigor: The mountains’ silhouettes segment the forest, while elements such as rocks, trees, and architecture are stylized as motifs that serve the painting’s formal coherence. A solitary boat in the middle ground introduces rhythmic vitality to the scene, evoking a sense of refreshing vibrancy. Through a contemporary lens, the artist reinterprets China’s iconic green mountains and lucid waters, merging traditional ink techniques with modern visual sensibilities to craft landscapes that embody a harmonious unity between humanity and nature.
任赛，1982年生。现为中国国家画院国画专业委员会研究员，山水画所专业艺术家。澳门城市大学、山东师范大学、广州大学硕士研究生导师。中国美术家协会会员，中国女画家协会理事，中国工笔画学会会员。
Ren Sai, born in 1982, is researcher at Chinese Painting Committee of the China National Academy of Painting and landscape painter at the academy’s Landscape Painting Department. She is master’s supervisor at the City University of Macao, Shandong Normal University, and Guangzhou University. She is member of China Artists Association, council member of China Female Artists Association, and a member of Chinese Gongbi Painting Society.
九层楼是敦煌莫高窟的标志性建筑，其始建于公元695年，它依山而建，俯临石窟，视野开阔，与岩体巧妙地融为一体。画家将九层楼从山体背景中独立出来，展现了它在敦煌莫高窟发展历史上的象征意义；近景的行人和骆驼，再度阐释了石窟与丝绸之路相辅相成的文化关系，也更像是这条伟大贸易通道的历史切片。而中景的树林和水塘以纪实的手法，描绘了当代中国在环境保护、植树造林等领域的杰出贡献。作品的整体基调是红色的，因为照耀中华大地万千余年的太阳永不落幕。
The Nine-Story Building, an iconic structure of the Mogao Caves in Dunhuang, was first constructed in 695. Built into the mountainside, it overlooks the caves with an expansive view, seamlessly integrated into the natural rock formations. In this work, the artist extracts the building from its mountainous context, emphasizing its symbolic significance in the historical evolution of the Mogao Caves. Travelers and camels in the foreground further articulate the inseparable cultural synergy between the caves and the Silk Road, resembling a historical vignette of this legendary trade corridor. The midground, featuring woodlands and ponds rendered with documentary precision, reflects China’s contemporary achievements in environmental conservation and afforestation. Bathed in a dominant red palette, the composition evokes the eternal sun that has illuminated the land of China for millennia—a testament to enduring cultural and ecological vitality.
常欣，生于1982年，现为中国国家画院山水画家、美术馆副馆长，一级美术师，美术学博士，博士后，中国女画家协会理事，中国美术家协会会员，2016年荣获“文化部青年拔尖人才”称号，2020年度国家艺术基金青年创作人才，国家社会科学基金重点项目《中国画院史》撰稿人。
Chang Xin, born in 1982, is landscape painter at China National Academy of Painting and deputy director of its Art Museum. She is Artist of National Level A at the academy and holds a doctoral degree on fine arts. She is also a post-doctoral researcher, council member of the China Female Artists Association, and member of the China Artists Association.
除了银河能够散发照耀万亿星球的光芒，一盏小小的路灯也可以引导万千生灵的归乡之途。绿地之上，黑夜降临，自然之光落下，人造之光升起，画家以颇为浪漫主义的情怀和善于捕捉平凡之美的慧眼，描绘了如同银河般闪耀的山路和山村，万籁俱寂，路灯不屈地闪耀着它微弱的光辉，一盏又一盏，最终汇聚为撼动天地的光明山峰。作品的笔墨酣畅淋漓，视野庞大，色彩对比有一定的叙事性与抒情性。
Beyond the galaxy’s majestic radiance that illuminates trillions of celestial bodies, even a humble street lamp can illuminate the homeward path for countless living souls. In this painting, as night descends upon the green expanse, natural light fades while artificial illumination ascends. With a romantic sensibility and a discerning eye for capturing beauty in the mundane, the artist portrays mountain paths and villages shimmering with galactic grandeur. Amidst the all-encompassing stillness, street lamps tenaciously emit their modest glow—one after another—ultimately coalescing into a luminous mountain that resonates with cosmic magnitude. The work showcases bold and fluid brushwork paired with a grandiose perspective, while its chromatic contrasts carry distinct narrative depth and lyrical resonance.
付振宝，1984年生于黑龙江鹤岗，美术学博士、艺术学博士后、中国美术家协会会员、黑龙江省美术家协会中国画艺术委员会委员、二级美术师、现为中国国家画院国画专业委员会研究员、山水画所专业艺术家。
Fu Zhenbao, born in 1984 in Hegang, Heilongjiang, holds a doctoral degree on fine arts. Fu is post-doctoral researcher on fine arts, member of China Artists Association and Chinese Painting Committee of Heilongjiang Artists Association, artist of national Level B. He is researcher at Chinese Painting Committee of China National Academy of Painting & professional artist at its Landscape Painting Institute.
中国传统绘画对光影的表现并不擅长，仅有少量作品描绘了光照大地的雄伟景象。近现代以来，受到西方美术的影响，一些美术家尝试以水墨语言表现光影质感。画家以颇为写意的笔触，描绘了一种雨过天晴、水汽未散的朦胧意境，一切若隐若现，若即若离。山村、树林、岩石，作为中国传统美术的基础符号，再次成为画家笔下的情感释放媒介，且不是传统式的符号化的再现，而是基于写实主义造型的再创造与再发展。这足以说明，中国传统绘画和传统美学具备宏阔的包容能力和灵动的自我调适能力。
Traditional Chinese painting has not historically prioritized the depiction of light and shadow, with only a limited number of works exploring monumental scenes of illuminated landscapes. Since the modern era, influenced by Western art, some artists have experimented with ink-wash techniques to capture the textural interplay of light and shadow. In this work, the artist employs expressive, freehand brushstrokes to evoke a misty ambience following rainfall, where lingering humidity blurs boundaries, rendering forms dimly perceptible and elusively transient. Rural cottages, woodlands, and rock formations—classic motifs in Chinese pictorial tradition—are reimagined here not as formulaic symbols but as vehicles for emotional resonance, grounded in a realism-based formal reconstruction and conceptual evolution. This approach underscores the expansive absorptive capacity of traditional Chinese painting and aesthetics, as well as their dynamic self-reinvention through cross-cultural dialogue.
陈散吟，1986年出生于北京。本科与硕士毕业于中国美术学院中国画系，博士毕业于中国艺术研究院美术学系。现为中国国家画院国画专业委员会委员、山水画所专业艺术家，中国美术家协会会员。
Chen Sanyin, born in Beijing in 1986, graduated with bachelor’s and master’s degrees from the Chinese Painting Department of the Chinese Academy of Art and completed his doctoral studies at the Art Department of the Chinese National Academy of Arts. He is researcher at Chinese Painting Committee of China National Academy of Painting & professional artist at its Landscape Painting Institute and member of the China Artists Association.
编辑 | 齐丽梅