梁文，在人类艺术史上第一个提出:随着人类文明的发展和进步，数码相机，电脑，及3D打印机等高科技产品的普及，人类的文字、图画都不再仅仅是以记录事物为主的工具。因此“以画的像不像，写得规范不规范”就不应该成为书画艺术价值主要衡量标准。而“应该以人类内心世界表达的彻不彻底，感情宣泄的彻不彻底，外加创造力”为主要衡量标准。
梁文同时在中华传统文化的创作与研究方面取得杰出成就，并在专业领域勇于实践，敢于创新，确立了在艺术领域的学术地位，为中华文化大繁荣大发展作出了杰出贡献。
Liang Wen, the first person in the history of human art, put forward that with the development and progress of human civilization, the popularity of high-tech products such as digital cameras, computers, and 3D printers, human words and pictures are no longer just tools for recording things. Therefore, it should not be the main criterion to measure the artistic value of calligraphy and painting. The main criterion is "the thoroughness of human inner world expression, the thoroughness of emotional catharsis and creativity".
At the same time, Liang Wen has made outstanding achievements in the creation and research of Chinese traditional culture. He has courageously practiced and innovated in professional fields, established his academic status in the field of art, and made outstanding contributions to the great prosperity and development of Chinese culture.
新中国国礼艺术大师梁文作品1
梁文:新中国国礼艺术大师、资深文物鉴定专家、收藏家、艺术家、慈善家、推动中华文化发展交流家、人类艺术史上里程碑式人物；杰出爱国功勋人物、海内外杰出爱国人士、中华文化研究院终身名誉院长、中国领导干部网*书画研究院副院长、中国国务院外交部主管世界知识画报.艺术视界等单位的艺术顾问、中国国务院国资委主管拥有30000多家企业会员单位中国企业报道.中企报盟信息科学研究院理事会艺术资本会员、中国文化部乡土艺术协会艺术发展中心会员、香港特别行政区文学艺术联合会会员、香港文联美术家协会会员、世界文化艺术研究中心会员、世界非物质文化遗产保护专业委员会会员、中国领导干部网书画研究院理事。
现为新中国国礼艺术大师、中国传统艺术大师、中美杰出华人书画艺术家、世界杰出华人艺术家、中国及世界非物质文化遗产保护书画家、中国新长城杰出艺术家、人民艺术家、国学大师、中华文化形象大使、国家高级美术教师、国家高级书法教师、国家一级美术师、国家一级书法师、国家一级鉴定师、中国书画领军人物、最具影响力年度人物、行业突出贡献者、最美劳动榜样人物、全国劳动英模人物与先进工作者、改革开放40周年爱国公益人物、改革奠基者、与祖国同行—海内外杰出爱国功勋人物。京舜文化传媒有限公司合约画家、原子空间画廊合约画家、中国诗酒文化协会诗书画院等单位特约画家、美国審美画廊签约画家、美国《文物与艺术》杂志和《中华艺术》报副主编、专栏编辑。美国国际美术家协会会员、美国艺术家联合会理事、中美文物协会理事、为世界艺术大师、著名旅美艺术家、慈善家、资深文物鉴定家、收藏家、社会活动家徐耀先生的嫡传弟子。并得到国际艺术家联合会会长丁绍光先生和美国艺术评论家协会主席谢焯珩先生等国际艺术大师指点，形成独特《梁文绘画》,并且独创《梁文画字》,发表《梁文画论》。
Liang Wen: New China Master of Rites and Art, Senior Expert of Cultural Relics Identification, Collector, Artist, Philanthropist, Exchanger of Promoting Chinese Culture Development, Milestone in the History of Human Art; Outstanding Patriots, Outstanding Patriots at Home and Abroad, Honorary Dean of Academy of Chinese Culture, Vice Dean of Calligraphy and Painting Research Institute of China Leading Cadres Network, Ministry of Foreign Affairs of the State Council of China The art consultant in charge of the world knowledge pictorial, art field of vision and other units, and the director of SASASAC under the State Council of China have more than 30,000 enterprise member units reporting on Chinese enterprises. The Chinese enterprises report to the Council of the Information Science Research Institute of the League, members of the Arts Development Center of the Local Art Association of the Ministry of Culture of China, members of the Literature and Art Federation of the Hong Kong Special Administrative Region and the Art Artists Association of the Hong Kong Literature and Culture Federation Member, member of the World Cultural and Art Research Center, member of the World Non-material Cultural Heritage Protection Professional Committee and director of the Chinese Leading Cadres Network Calligraphy and Painting Research Institute.
He is now a master of ritual art in New China, a master of traditional Chinese art, an outstanding Chinese calligraphy and painting artist in China and the United States, an outstanding Chinese artist in the world, a calligrapher and painter in the protection of intangible cultural heritage in China and the world, an outstanding artist in the New Great Wall of China, a people's artist, a master of Chinese studies, an ambassador of Chinese cultural image, a senior national art teacher, a senior national calligraphy teacher and a first-class national art. Teachers, national first-level calligraphers, national first-level appraisers, leading figures in Chinese painting and calligraphy, the most influential annual figures, outstanding contributors in the industry, the most beautiful labor model figures and advanced workers, patriotic public welfare figures on the 40th anniversary of reform and opening up, founders of reform, and outstanding patriotic meritorious figures at home and abroad. Beijing Shun Cultural Media Co., Ltd. contract painter, Atomic Space Gallery contract painter, Chinese Poetry and Wine Culture Association Poetry, Calligraphy and Painting Academy, American Aesthetic Gallery contract painter, American "Cultural Relics and Art" magazine and "Chinese Art" newspaper deputy editor, columnist editor. Mr. Xu Yao is a member of the American International Artists Association, a member of the American Artists Federation, a member of the Sino-American Cultural Relics Association, a descendant of Mr. Xu Yao, a world art master, a famous artist traveling to the United States, a philanthropist, a veteran cultural relics appraiser, collector and social activist. He was also instructed by Mr. Ding Shaoguang, President of the International Artists Federation, and Mr. Xie Jung, President of the American Association of Art Critics, to form a unique "Liang Wen Painting" and to create "Liang Wen Painting Characters" and publish "Liang Wen Painting Theory".
新中国国礼艺术大师梁文作品2
作品获得中国非物质文化遗产保护，世界非物质文化遗产保护,应邀为人民大会堂等单位创作绘画作品。梁文在中国邮政制作出版“传递正能量共铸中国梦”及“庆祝中华人民共和国成立65周年”主题邮币卡上，喜迎十九次全国代表大会，响应习近平总书记一带一路共建繁荣，中国梦.文化梦名家名作专题系列邮册等多次活动中，同意无偿使用其肖像照片、作品图片及文字内容。绘画作品被多次选为电话充值卡封面全国公开发行。作品被中国文化部和北京市政府选为玉石平安扣封面，被国务院各部委收藏。应邀参加文化部举办的庆祝中华人民共和国成立七十周年，喜迎2019年全国两会活动，无偿提供作品图片做为玉石平安扣封面，献礼全国两会。为庆祝中美建交36周年，应邀参与在中美两国政府的大力支持下，“世界因你而美丽——中美杰出华人活动”，并由美国集邮集团面向全球出版发行“中美建交36周年杰出华人书画艺术家梁文纪念邮票、四联纪念邮票、纪念封、明信片及纪念册,其中NO.001号《纪念册》已被美国集邮集团博物馆永久收藏”。作品被联合国世界非物质文化遗产保护基金会、美国集邮集团与法国、荷兰、英国等国家邮政部门选为邮票封面，联合推出＂一带一路＂中国艺术名家梁文世界邮票全球首发活动，各国同时面向全球发行。
The works are protected by China's intangible cultural heritage and the world's intangible cultural heritage. Liang Wen welcomes the nineteen National Congress on the theme postal card of "delivering positive energy to co create the Chinese dream" and "Celebrating the founding of the People's Republic of China 65th anniversary". In response to general secretary Xi Jinping's efforts to build prosperity together, the Chinese dream. The cultural dream monk's thematic series stamps and other activities have agreed to use their portrait photographs, pictures and photographs without compensation. Text content. Paintings have been selected many times as telephone recharge card cover for national public release. The works were selected by the Ministry of Culture of China and the Beijing Municipal Government as the Jade Safety Button Cover and collected by various ministries and commissions of the State Council. Invited to participate in the celebration of the Seventieth Anniversary of the founding of the People's Republic of China held by the Ministry of Culture, welcomed the activities of the 2019 National Two Sessions, offered free pictures of works as the cover of the Jade Safety Buckle, and presented a gift to the National Two Sessions. In order to celebrate the 36th anniversary of the establishment of diplomatic relations between China and the United States, he was invited to participate in the "Beautiful World for You - Outstanding Chinese Activities in China and the United States" with the strong support of the Chinese and American governments. The United States Philatelic Group publishes and distributes "Commemorative Stamps, Quadruple Commemorative Stamps, Commemorative Seals, Postcards and Memorial Books of the Outstanding Chinese Artist Liang Wen on the 36th Anniversary of the Establishment of diplomatic relations 》 It has been permanently collected by the American Philatelic Group Museum. The work is selected by the United Nations World Intangible Cultural Heritage Protection Foundation, the American philatelic group and the postal service of France, Holland, Britain and other countries as the stamp cover, and jointly launched the "one belt and one way" Chinese art master Liang Wen World Stamp global first event, and all countries are facing the global distribution.
新中国国礼艺术大师梁文作品3
为庆祝中泰建交41周年，推动中华文化之发展，应泰国皇室、东盟加六国贸易促进委员会等组织及泰国艺术界同仁等盛情邀请，参加人类文化杰出贡献奖颁奖盛典，被特授予“人类文化发展杰出贡献奖”作品作为国礼被泰国皇室收藏，由泰国亲王亲笔签名并颁发泰国皇室收藏证书。应邀参加中华人民共和国同吉尔吉斯共和国一带一路丝路文化之旅活动，作品做为国礼并以外交渠道正式赠予吉尔吉斯共和国总理府，并被吉尔吉斯共和总理亲笔鉴名并频发收藏证书，以表彰为推动中吉两国文化交流,实现两国合作共赢做出杰出贡献。参与中国“国礼神州行”系列报道活动，中国国务院新闻办公室、国家互联网信息办公室、国家文化部指导，梁文—新中国国礼艺术大师被评为“美丽中国书画代表人物"，被中国日报网等160多家权威党政媒体联合进行千城联播报道，优秀人民书画家等系列专题报道活动，被邀请参与中国住建部中国民族建筑研究会，中科协，中国高科技产业化研究会，中国企业联合会，中国文化促进会，中国文联等部门文化推动活动。应邀参加人民艺术家献礼全国（中国）两会，被邀请参加香港回归20周年，中德建交45周年等系列活动。华人频道《中华收藏》收藏家及收藏相关的报道活动.主编《国际艺术大师》等栏目，入编《文化中国行--走近大家》主题文献并担任终身艺术专家委员，为推动中华文化事业之发展,应邀在《人民日报出版社》主管《人民美术》杂志等媒体上发表《梁文画论》，入编《中国杰出人物志》《走近艺术大师》,《国宝级艺术大师》,中国中央党校主编《世纪辉煌》等大型的文献。应邀与丁绍光，谢焯衡，刘大为，朱永宽，韩美林，欧阳中石，徐耀先生等共同入编，为推动中华艺术之发展做出贡献《近现代十大家》.应邀与吴冠中，丁绍光，贾浩义，潘公凯，贾又福，谢焯洐，韩美林，尚涛，徐耀先生等共同入编《当代艺术大家》.同时是推动中华文化发展的领军人物,中国最受欢迎的人民书画家，中国最受企业关注的书画名家,向企业重点推荐书画名家，新闻媒体重点推荐的书画名家,“盛世中国”书画界最具贡献人物。
In order to celebrate the 41st anniversary of the establishment of diplomatic relations between China and Thailand and promote the development of Chinese culture, the Royal Family of Thailand, the ASEAN-Plus Six Trade Promotion Committee and colleagues in Thai art circles invited them to participate in the awarding ceremony of the Outstanding Contribution Award for Human Culture, and were awarded the "Outstanding Contribution Award for Human Cultural Development" as a national gift, which was collected by the Thai Royal Family and signed by the Prince of Thailand and awarded Thailand. National Royal Collection Certificate. He was invited to take part in the Silk Road Cultural Tour in People's Republic of China along with the Kyrgyz Republic. The work was officially presented to the government of the Kyrgyz Republic with diplomatic channels, and was honored by the Prime Minister of Kyrgyz Republic and collaged with certificates. This commendation is an outstanding contribution to promoting cultural exchanges between China and Kyrgyzstan and achieving win-win cooperation between the two countries. Participated in the series of reporting activities of "Guoli Shenzhou Travel" in China, under the guidance of the Information Office of the State Council, the State Internet Information Office and the State Ministry of Culture, Liang Wen-the Master of Chinese Rite Art was named "the representative figure of beautiful Chinese painting and calligraphy", and was jointly carried out by more than 160 authoritative party and government media, such as China Daily Network, in the series of special reports on Qiancheng and outstanding people's calligraphers and painters. The event was invited to participate in the cultural promotion activities of the Chinese National Architecture Research Association of the Ministry of Housing and Construction, the Chinese Association of Science and Technology, the Chinese High-tech Industrialization Research Association, the Chinese Enterprise Federation, the Chinese Cultural Promotion Association, the Chinese Federation of China and other departments. He was invited to attend the National (China) Two Sessions of People's Artists, the 20th Anniversary of Hong Kong's Return and the 45th Anniversary of the Establishment of Sino-German Diplomacy. In order to promote the development of Chinese culture, he was invited to publish Liang Wen Painting Theory on the People's Daily Publishing House in charge of People's Fine Arts magazine and other media. The Annals of Outstanding Persons in China, Approaching Masters of Art, Masters of State Treasure Art, and Century Glory, edited by the Party School of the Central Committee of China. Invited to join with Ding Shaoguang, Xie Zhuoheng, Liu Dawei, Zhu Yongkuan, Han Meilin, Ouyang Zhongshi, Xu Yao and others to contribute to the development of Chinese art, Ten Modern and Contemporary Scholars. Invited to co-edit "Contemporary Art Masters" with Wu Guanzhong, Ding Shaoguang, Jia Haoyi, Pan Gongkai, Jia Youfu, Xie Zhengshu, Han Meilin, Shangtao and Xu Yao. Leading figures in the development of Chinese culture, the most popular people's calligraphers and painters in China, and the most concerned calligraphers and painters by Chinese enterprises, recommend famous calligraphers and painters to enterprises, famous calligraphers and painters recommended by news media, and the most contributing figures in the "prosperous China" calligraphy and painting circle.
新中国国礼艺术大师梁文作品4
梁文同时是中华文化基金会主席，中美文物协会会长，徐耀先生嫡传瓷器鉴定学生。被多家机构聘为文物鉴定专家，发表 《民国瓷器特点与真假与鉴定》 《清代瓷器的特点及鉴定》《 明代瓷器特点与鉴定方法》 《元代青花瓷特点与真假鉴定》《宋代瓷器的特点及鉴定》《汝窑瓷价值与鉴定》《奇石鉴赏与收藏价值》《艺术品市场与股票市场两种不同的投资理念》等多篇学术文章。在普及文物收藏知识，推动世界收藏事业发展的过程中，逐渐对绘画艺术有所感悟，总结出人类的绘画的艺术是人类内心心灵的释放，是人类内心对不同事物美好追求的外在体现。只有充分释放，艺术才能走向更高的境界。画取其骨便为字，字添其肉便为画。外加一个心和创造力,才能创作出精品之作。
Liang Wen is also the chairman of the Chinese Culture Foundation, the president of the Sino-American Cultural Relics Association, and Mr. Xu Yao is the student who passed on the appraisal of porcelain. Appointed as an expert in cultural relics appraisal by many institutions, he published "The Characteristics and Authentication of Porcelain in the Republic of China", "The Characteristics and Appraisal of Porcelain in the Qing Dynasty", "The Characteristics and Appraisal Methods of Porcelain in the Ming Dynasty", "The Characteristics and Appraisal of Blue and White Porcelain the Yuan Dynasty", "The Characteristics and Appraisal of Porcelain the Song Dynasty", "The Value and Appraisal of Ru Kiln Porcelain the Song Dynasty", " Different Investment Ideas and other academic articles. In the process of popularizing the knowledge of cultural relics collection and promoting the development of the world collection cause, we have gradually realized the art of painting, and concluded that the art of human painting is the release of human heart and soul, and the external embodiment of human heart's pursuit of different things. Only by fully releasing can art go to a higher level. Drawing its bones is a word, adding its flesh is a picture. Only by adding a heart and creativity can we create excellent works
新中国国礼艺术大师梁文作品5
收藏心得：中国两字翻译成英文是China，瓷器两字翻译成英文也是China，让世界了解中国瓷器，也就更好的从这方面了解中国。
收藏要拥有童心
拥有童心，可更好的观察古玩
拥有童心，可不耻下问
拥有童心，不会被现有的学术观点束绑，更好的发现新的学术观点
拥有童心，可童言无忌，真就是真，假就是假
拥有童心，可不被世俗所累，童心无猜，可公平客观评价器物
拥有童心，鉴定错了，会勇于承认，不必为了面子
总之，童心让你回归自然，道法自然就是这个道理，无论绘画艺术，金融投资，文物鉴定收藏，还是其它方面都是这个道理。无非是 "对与错"
Collection Experience: Chinese is translated into English, and Chinese is translated into English. Let the world know about Chinese porcelain, and better understand China in this respect.
Collection Should Have Childlike Innocence
With childlike innocence, you can better observe antiques
If you have a childlike innocence, don't be ashamed to ask
With childlike innocence, we will not be bound by existing academic viewpoints and better discover new academic viewpoints.
Have a childlike innocence, but childlike talk without scruples, true is true, false is false.
With childlike innocence, we can not be burdened by the secular world, childlike innocence has no guess, and can fairly and objectively evaluate objects.
Having a childlike innocence, misjudged, will be courageous to admit, do not have to face
In a word, childlike innocence makes you return to nature, which is the truth of Taoism and law, whether in painting art, financial investment, Cultural Relics Identification and collection, or other aspects. It's nothing more than "right and wrong"
对祖国祝福语：中国文化是中国人的，也是世界全人类的。
Congratulations to the motherland: Chinese culture is Chinese, but also the world as a whole.
新中国国礼艺术大师梁文作品6
《梁文画论》
画取其骨便为字，字添其肉便为画。外加一个心和创造力,才能创作出精品之作。
随着人类文明的发展和进步，数码相机，电脑，及3D打印机等高科技产品的普及，人类的文字、图画都不再仅仅是以记录事物为主的工具。因此“以画的像不像，写得规范不规范”就不应该成为书画艺术价值主要衡量标准。而“应该以人类内心世界表达的彻不彻底，感情宣泄的彻不彻底。”为主要衡量标准”。才能更好的使书画成书画作品之中，书画艺术也就会因其作者感情思想，才具有了其各自艺术价值。因此书画同源，源自人心感情思为人类宣泄感情，表达愿望、追求、信仰、对美好事物的看法等内心世界的工具。只有这样才能更好的向人类展示书画的艺术价值。而书画艺术价值更应该是因其作者“心”的投入，才能具有了更高一层次的艺术价值，他们不再是死的作品，而成为其作者活的人生写照，成为有“心”之物。字如其人，画如其人，人的品性皆会融入其想的创造力。所以，艺术家应该充分发挥创造力，更要让自己的内心美好充分释放。
On Liang Wen and Painting
Drawing its bones is a word, adding its flesh is a picture. Only by adding a heart and creativity can we create excellent works.
With the development and progress of human civilization, the popularity of high-tech products such as digital cameras, computers and 3D printers, human words and pictures are no longer just tools for recording things. Therefore, it should not be the main criterion to measure the artistic value of calligraphy and painting. But "should express thoroughly with the human heart world, the emotion catharsis thoroughly not thoroughly." It is the main criterion of measurement. Only in this way can calligraphy and painting be better turned into calligraphy and painting works, and the art of calligraphy and painting has its own artistic value because of the author's emotional thoughts. Therefore, painting and calligraphy are of the same origin. They originate from people's feelings and thoughts. They are tools for human beings to vent their feelings, express their wishes, pursuits, beliefs and views on beautiful things. Only in this way can we better show the artistic value of painting and calligraphy to human beings. The artistic value of painting and calligraphy should be due to the author's "heart" input, so that they can have a higher level of artistic value. They are no longer dead works, but their life portraits, become "heart" things. Words are like people, paintings are like people, and people's character will be integrated into their creative ideas. Therefore, artists should give full play to their creativity, and let their inner beauty fully release.
新中国国礼艺术大师梁文作品7
心与绘画关系
“画虎难画骨，知人知面不知心”，形象的说明心是绘画中关键因素。凡绘画中的人类内心世界表达的彻不彻底，感情宣泄的彻不彻底等，对一切愿望、追求、信仰、意志、思想、等精神活动，以及对美好事物的看法等感情、都与心有关。故心在书画创作中的作用很重要。书画中要表现对象，不但要画出事物的形体状貌，更重要的是体现“心”，充分表现所画人物的内心世界，思想感情，道德品质和动物等其它事物的内在思想。心指审美主体的心灵境界，它首先表现在心物关系中，中国传统画论认为主体是由人心感物动情，在物我交融中进入审美境界的。其次，审美之心必先要进入无功利的审美境界，只有这样才能欣赏到真正的美。外加审美之心可以直接交流，“以心传心”、“心心相印”。和审美之心充分地体现在艺术创作和欣赏的整个过程中，“外师造化，中得心源”，即以心为创作之源。先了然于心，再“用心”去构思取舍。书画中关于心是人的精神作用，是绘画创作中不可缺少的因素，形是心的物质基础，心是形的思想统领。画家之心，要由用心、精心、苦心，逐渐达到不用心的境界。绘画创作时在心中构思作品，其中章法位置布局全在心中酝酿成熟，待将纸打开后直接作画，这时笔墨技巧全凭得之自然造化的妙手来实现，随着主观情思的变化，把客观存在的物象、景象，孕育成艺术形象。把心中印象深刻的自然景物，通过艺术构思逐渐成熟为审美意象，再物化为艺术艺术作品。绘画时，须先心平气和，才能更好的把感情，思想品性等方面的内心世界充分表现出来。不仅要凭借艺术技巧来完成他的创作，更重要的是要求画家以高尚的人品来影响他所要表现的题材，使绘画具有一定的思想性和艺术感染力。作画养心，养心以后再作画，两者是相互为用的。所谓静并不是停止不动，而是平心静气，也就是所谓沉下心去，必须沉下心去，头脑才清楚，头脑清楚，观察才能深入，观察深入，才能以心指挥手作画。若粗心浮气，“走马观花”，表面现象已难看得清楚，至于细微奥妙之处，更无从领会，而想得心应手，那就难了。同时要读万卷书行万里路，提高学识修养等画外功夫，使绘画技能内心世界等内在文化素养的提高，这样绘画创作时在心中构思作品，其中章法位置布局会在心中很快酝酿成熟，待将纸打开后直接作画，这时笔墨技巧就会有如神助发挥出事物内心的东西。画家作画通过眼睛观察选取自然景色默记于心；然后再把心中构思成熟的画图通过手描绘出来。这样绘画艺术才具有使观赏者排除杂念，心净志纯的陶养心灵的功能。画家具有正确的思想内容，美好的品德，为人坦荡等好品质时在进行创作，并独创一家，有特别的风格，才能称得起上品的画，才能使人的胸襟宽广，使心灵平静，树立为人类造福理想，起到修身养性的作用。真正的大画家没有不具备这些条件的。心就是人物的精神作用，是一切精神生活、文化生活所不可少的因素。绘画是精神劳动，所以心的作用很为重要。但心是抽象的作用，抽象的作用必须以事实为根据，不能凭空发生，所以在绘画上，心的作用虽然重要，但离开形也就起不了作用。形是心的物质基础，心是形的思想统帅。初学重写形，专家重写心。形不离心，心不离形。形离心则无灵魂，心离形则无实质。尤其人物画，它本身也是有心的，画人物不能只画形体状貌，最重要的是在传神，是在写心。画人物画不但要写形，更重要的是在传神写心，能传神写心，才能充分表现所写人物的内心世界，思想感情，道德品质，才是有血有肉，有神有形的人，才能教育人，感动人。作品具有其内在生命，这是人物画的最高境界，最高标准。但是要想写对象的心，除了深入生活，多方研究，以及联想美妙事物，都必须用心。因此画家心胸的宽广，见识阅历，道德品质，对世界的感受等复杂的内心世界，才是对艺术水平起着决定性作用内在因素。
The Relation between Heart and Painting
"Painting tigers is difficult to draw bones, knowing people knows their faces but not their hearts." The illustrative mind of images is the key factor in painting. The thorough expression of human inner world in painting and the thorough release of emotions are all related to the heart of all spiritual activities such as wishes, pursuits, beliefs, wills, thoughts and views on good things. Intentionality plays an important role in the creation of calligraphy and painting. To express objects in painting and calligraphy, we should not only draw the shape of things, but also, more importantly, reflect the "heart", fully express the inner world of the characters, thoughts and feelings, moral qualities and the inner thoughts of animals and other things. Heart refers to the spiritual realm of the aesthetic subject, which is first manifested in the relationship between mind and matter. Traditional Chinese painting theory holds that the subject is moved by the human mind and things, and enters the aesthetic realm in the blending of things and me. Secondly, the aesthetic mind must first enter the aesthetic realm of non-utility, only in this way can we appreciate the real beauty. Additionally, the heart of aesthetics can communicate directly with each other, "heart to heart" and "heart to heart". The heart of aesthetics is fully embodied in the whole process of artistic creation and appreciation. The source of creation is the heart. First understand the heart, then "intentionally" to conceive trade-offs. In painting and calligraphy, the mind is the spiritual function of human beings, an indispensable factor in painting creation, the form is the material basis of the heart, and the mind is the ideological command of the form. The heart of a painter should be carefully, carefully and painstakingly, gradually reaching the state of being unintentional. When creating a painting, one conceives a work in his mind, in which the layout of the composition and position is all mature in his mind. When he opens the paper, he draws directly. At this time, the skill of brush and ink is realized by natural ingenuity. With the change of subjective feelings, the objective existence of objects and scenes is bred into an artistic image. The natural scenery which is deeply impressed in the heart is gradually matured into aesthetic image through artistic conception, and then materialized into artistic works. When painting, we must first be calm, in order to better show the inner world of emotions, ideological qualities and so on. Not only should he rely on artistic skills to complete his creation, but more importantly, the painter is required to influence the subject matter with noble personality, so that painting has a certain ideological and artistic appeal. Painting nourishes one's mind and painting after nourishing one's mind. They are mutually useful. The so-called quiet is not to stop, but to calm down, that is to say, to sink down, we must sink down, clear mind, clear mind, in-depth observation, in-depth observation, in order to command hand painting. If we are careless, we can hardly see the superficial phenomena clearly. As for the subtleties, we can't understand them, but it's difficult to think with ease. At the same time, we should read ten thousand volumes of books, travel ten thousand miles, improve knowledge and accomplishment, so as to improve painting skills, inner world and other internal cultural literacy, so that when we create paintings, we can conceive the works in our mind, in which the layout of composition and position will be brewed and matured in our hearts very quickly, and when we open the paper, we can draw directly. At this time, the brush and ink skills will be like God's help to exert the inner things. The painter chooses natural scenery by eye observation and keeps it in mind. Then he paints mature pictures in his mind by hand. Only in this way can the art of painting have the function of nurturing the soul by eliminating misconceptions and purifying the mind. Painting furniture has the right ideological content, good moral character, open and other good qualities when creating, and create a unique, unique style, in order to qualify for the top-quality painting, to make people broad-minded, calm the mind, establish the ideal for the benefit of mankind, play a role of self-cultivation. Real great painters do not lack these conditions. The heart is the spiritual function of the characters, and it is an indispensable factor in all spiritual and cultural life. Painting is spiritual work, so the role of the heart is very important. But the heart is the function of abstraction. The function of abstraction must be based on facts and cannot occur in empty space. Therefore, in painting, although the function of the heart is important, it cannot function without form. Shape is the material basis of the heart, and heart is the thought commander of the shape. Beginning to learn to rewrite, experts rewrite heart. The shape is not centrifugal, the heart is not separated. The centrifugal centrifuge has no soul, while the centrifugal centrifugal centrifugal centrifugal centrifugal centrifugal centrifugal centrifugal centrifugal centrifugal centrifugal centrifugal centrif Especially figure painting, it is also intentional, painting figures can not only draw shape and appearance, the most important thing is in vivid, is in the heart. Figure painting is not only about shape, but also about spirit and heart. Only when people can express their inner world, thoughts, feelings and moral qualities, can they be flesh and blood, God and body, and can they educate and move people. The work has its inner life, which is the highest realm and the highest standard of figure painting. But in order to write the object's heart, in addition to in-depth life, multi-faceted research, as well as associating beautiful things, we must be careful. Therefore, the artist's broad mind, experience, moral quality, feelings of the world and other complex inner world are the internal factors that play a decisive role in the artistic level.
新中国国礼艺术大师梁文作品8
创造力与绘画
在人类的历史上，创造发明始终改变人类历史进程，影响着人类社会发展，同时也影响绘画的发展，因为绘画始终是随着社会发展而发展的，整个社会发展推动和决定着绘画发展的总趋势，这是绘画发展的客观规律。当前在科学技术席卷世界，数码相机等高科技产品出现，照片虽然真实全面记录事物，但照片都是千篇一律的，没有生命力的，只表现了形与真，但不具有艺术家的思想，艺术家思想只能寄居于文学、绘画等艺术身上，因为科学以抽象的理智模式超然地对待自然，而艺术则以“感性的方式设身处地”地与世界打交道，艺术思想是无视一切光线和外在形式，绘画者所作之画即为绘画者思想之所成，其只可感知，不可解读。因此没有必要规范化，或者神秘化绘画，绘画可以说是一种手工艺，既有迹可寻又极具个性，只有具有独特创造力，才能更好的体现绘画艺术水平。所以，对待绘画是要因人而异的，自不能把一个规范套到所有人身上。绘画同数码相机等高科技产品相比，绘画在表达事物的形和真上，绘画已经完全落后了，绘画应发挥创造力，用另一种方式，艺术的体现事物的形与真。画家能在千锤百炼中创造性的找到一种自己用来夸张现实的手段，或者是线条的表现，或者是颜色等等，才应该是现代绘画艺术的主题。绘画艺术应最讲求个人体验，创造性的表达事物的情感，内心世界，美好的向往，对美好事物的看法等内心世界追求，才能更好的体现绘画的艺术。所以充分发挥画家用自己的绘画的语言，创造性的来表达自己的绘画艺术，才是艺术高标准的体现。客观事物纷繁复杂丰富多样，人的个性、情感也是丰富多样的，艺术作为对客观世界反映的特殊形式,带有强烈的主观感情色彩，艺术表现也必然是丰富多彩的。因此，绘画应该用个性化的表现客观事物，使美术表现烙上鲜明的个性特征，这种表现是与众不同的、新颖的、具有创造意义的。所以创造力应该是现代绘画艺术的主题。
Creativity and Painting
In the history of mankind, creation and invention have always changed the course of human history, affected the development of human society, but also affected the development of painting, because painting has always been developing with the development of society, the development of society as a whole promotes and determines the general trend of the development of painting, which is the objective law of the development of painting. At present, science and technology are sweeping the world, and high-tech products such as digital cameras are emerging. Although photographs are true and comprehensive records of things, they are uniform and lifeless. They only show the form and truth, but they do not have artists'ideas. Artists' thoughts can only reside in literature, painting and other arts, because science treats nature detachedly in an abstract rational mode. Art, on the other hand, deals with the world in an "emotional way". Art ideology ignores all light and external forms. The painter's paintings are the result of the painter's thoughts, which can only be perceived and can not be interpreted. Therefore, there is no need to standardize, or mysterious painting, painting can be said to be a kind of handicraft, both traceable and highly personalized, only with unique creativity, can better reflect the level of painting art. Therefore, painting should be treated differently from person to person, and one norm should not be applied to everyone. Compared with high-tech products such as digital cameras, painting has fallen behind in expressing the shape and truth of things. Painting should give full play to creativity and use another way to express the shape and truth of things artistically. Painters can creatively find a way to exaggerate the reality, or the performance of lines, or color, etc. in a thousand tempers, which should be the theme of modern painting art. Painting art should focus on personal experience, creative expression of things'emotions, inner world, beautiful yearning, the view of beautiful things and other inner world pursuit, in order to better reflect the art of painting. Therefore, to give full play to the painter's own painting language, creative expression of their painting art, is the embodiment of high standards of art. Objectives are complex, rich and diverse, and people's personality and emotions are also rich and diverse. Art, as a special form of reflection of the objective world, has a strong subjective emotional color, and artistic expression is bound to be rich and colorful. Therefore, painting should use individualized expression of objective things, so that the performance of art branded with distinct personality characteristics, which is unique, novel and creative. So creativity should be the theme of modern painting art.
《亚威农少女》
例如：《亚威农少女》
是现代艺术的创始人，西方现代派绘画的主要代表。他于1907年创作的《亚威农少女》是第一张被认为有立体主义倾向的作品，是一幅具有里程碑意义的著名杰作。它不仅标志着毕加索个人艺术历程中的重大转折，而且也是西方现代艺术史上的一次革命性突破，引发了立体主义运动的诞生。这幅画在以后的十几年中竟使法国的立体主义绘画得到空前的发展，甚至还波及到芭蕾舞、舞台设计、文学、音乐等其他领域。《亚威农少女》开创了法国立体主义的新局面。该画原先的构思，是以性病的讽喻为题，取名《罪恶的报酬》，这在最初的草图上一目了然；草图上有一男子手捧骷髅，让人联想到一句西班牙古老的道德箴言：“凡事皆是虚空”。然而在此画正式的创作过程中，这些轶事的或寓意的细节，都被画家一一去除了。其最终的震撼力，并不是来自任何文学性的描述，而是来自它那绘画性语言的感人力量。这幅画，可谓第一件立体主义的作品。画面左边的三个裸女形象，显然是古典型人体的生硬变形；而右边两个裸女那粗野、异常的面容及体态，则充满了原始艺术的野性特质。野兽派画家发现了非洲及大洋洲雕刻的原始魅力，并将它们介绍给毕加索。然而用原始艺术来摧毁古典审美的，是毕加索，而不是野兽派画家。在这幅画上，不仅是比例，就连人体有机的完整性和延续性，都遭到了否定。因而这幅画(正如一位评论家所述)，“恰似一地打碎了的玻璃”。
For example: The Avenon Girl
He is the founder of modern art and the main representative of Western modernist painting. The Avenon Girl, which he wrote in 1907, is the first work considered to be Cubist and a landmark masterpiece. It not only marked a major turning point in Picasso's personal art history, but also a revolutionary breakthrough in the history of modern western art, which led to the birth of Cubism. In the next ten years, this painting has made an unprecedented development of Cubism painting in France, and even spread to ballet, stage design, literature, music and other fields. The Girl of Avenon initiated a new phase of French cubism. The original idea of the painting is to use the allegory of venereal disease as the title, named "Remuneration of Evil", which is clear in the original sketch. A man holding a skeleton in his hand reminds us of an old Spanish moral motto: "Everything is empty". However, in the formal creation of this painting, the details of these anecdotes or implicatures have been removed by the painter one by one. Its ultimate shock comes not from any literary description, but from the touching power of its painting language. This painting is the first work of cubism. The three naked women on the left of the picture are obviously the rigid deformation of the classical human body, while the two naked women on the right are full of the wild characteristics of primitive art. Beast painters discovered the original charm of African and Oceanian sculptures and introduced them to Picasso. But it is Picasso, not the Beast, who destroys classical aesthetics with primitive art. In this painting, not only the proportion, but also the organic integrity and continuity of the human body are negated. So the painting (as one critic put it) "just like broken glass".
在这里，毕加索破坏了许多东西，可是，在这破坏的过程中他又获得了什么呢?当我们从第一眼见到此画的震惊中恢复过来，便开始发现，那种破坏却是相当地井井有条：所有的东西，无论是形象还是背景，都被分解为带角的几何块面。我们注意到，这些碎块并不是扁平的，它们由于被衬上阴影而具有了某种三度空间的感觉。我们并不总能确定它们是凹进去还是凸出来；它们看起来有的象实体的块面，有的则象是透明体的碎片。这些非同寻常的块面，使画面具有了某种完整性与连续性。从这幅画上，可看出一种在二维平面上表现三维空间的新手法，我们看见，画面中央的两个形象脸部呈正面，但其鼻子却画成了侧面；左边形象侧面的头部，眼睛却是正面的。不同角度的视象被结合在同一个形象上。这种所谓“同时性视象”的语言，被更加明显地用在了画面右边那个蹲着的形象上。这个呈四分之三背面的形象，由于受到分解与拼接的处理，而脱离了脊柱的中轴。它的腿和臂均被拉长，暗示着向深处的延伸；而那头部也被拧了过来，直楞楞地对着观者。毕加索似乎是围着形象绕了180度之后，才将诸角度的视象综合为这一形象的。这种画法，彻底打破了自意大利文艺复兴之始的五百年来透视法则对画家的限制。这幅画充分体现了画取其骨便为字，字添其肉便为画。外加一个心和创造力,才能创作出精品之作。
Picasso destroyed a lot of things here, but what did he gain from the destruction? When we recovered from the shock of seeing the painting at first sight, we began to find that the destruction was quite orderly: everything, whether image or background, was decomposed into angled geometric blocks. We have noticed that these fragments are not flat, they have a sense of three-dimensional space because they are shaded. We don't always know whether they are concave or protruding; they look like solid blocks or transparent fragments. These unusual blocks give the picture some completeness and continuity. From this picture, we can see a new way of expressing three-dimensional space on two-dimensional plane. We can see that the two images in the center of the picture are face-to-face, but their noses are side-to-side; the head on the left side of the image is face-to-face. Different visual angles are combined on the same image. This so-called "simultaneous visual" language is more clearly used in the image squatting on the right side of the picture. This image, which is three-quarters of the back, is separated from the central axis of the spine by decomposition and stitching. Its legs and arms were stretched out, suggesting an extension to the depths, and the head was twisted, pointing straight at the viewer. Picasso seems to have rounded the image 180 degrees before synthesizing the images from all angles. This kind of painting completely broke the restriction of perspective on painters since the beginning of the Italian Renaissance. This painting fully reflects that drawing bones is a word and adding flesh to words is a picture. Only by adding a heart and creativity can we create excellent works.
新中国国礼艺术大师梁文作品9
