艺术简介
吴友善，字云铎，号巍然道中，砚鑫墨耕，斋名松竹草堂，一九六二年生，祖籍安徽歙县，一九九三年定居屯溪至今。现为中国美术家协会安徽分会会员、安徽省书法家协会会员、中国工艺美术学会会员、中央文史研究馆书画院安徽分院黄山创作基地秘书长、安徽省工艺美术学会书画专业委员会副秘书长，现任黄山市美术家协会副主席、黄山市美术家协会中国画艺委会副主任、新安书画家协会副主席，黄山市书画院、淮北市国画院、黄山市中国画研究院特聘画家，中国国画家协会理事、中国书画研究院艺术委员会委员。
一九八七年于屯溪徽州地区文房四宝四雕盆景公司从事艺术创作；一九九八年由郑初民先生推荐，得到中国美术学院美术学博士生导师、著名美术史论家王伯敏老师的指导，打下了良好的传统基本功；二OO四年研修于中国科技大学中国画高研班山水专业，得到著名画家周韶华老师的创作指导及众多大家的点拨。在高研班讲学的有著名美术理论家邵大箴、郎绍君、贾方舟，著名山水画家李宝林、姜宝林、卓鹤君、张志民、程大利、程征、董继宁等。长期在对水墨进行潜心研究和挖掘，对中华民族优秀的传统文化在历史积淀中通过自己对水墨的艺术形式进行继承、探索、研究、开拓、创新作为一个课题来进行探索。作品多次参加省级画展及全国山水画大展并入选获奖，于二OO七年荣获安徽省美术家协会黄宾虹艺术奖，第八届当代百杰画家之一。作品已被中国科技大学美术馆、荷泽市博物馆、荷泽市美术馆中原书画院美术馆、黄山市美术馆等收藏。
2001（齐云山图）获第四届当代中国山水画大展佳作奖（北京中国美术馆）
2003（林苑却坐）获新世纪中国书画四百家（郑州美术馆）
2004（群峰叠嶂多云气）入选首届安徽美术大展（合肥）
2005（清秋韵律）获第七届郑板桥艺术节全国书画大展优秀奖（江苏）
2007（山灵氤氲图）获第五届海峡两岸书画大展山水百家（河南美术馆）
2007（群峰嶂林氤氲晓）入选第二届安徽美术大展（合肥）
2008（春风又绿江南岸）获华胥文化当代中国名家书画展（金奖）（山东）
2008（林壑随云动）获第六届海峡两岸书画大展优秀奖（广东美术馆）
2008（月下山朦是徽州）获和谐中华海峡两岸书画大展优秀奖（北京）
2009（林壑藏云图）（草堂独占岚山中）获第六届当代中国山水画大展三百家（河南）
2009（张曙故里）入选第三届安徽美术大展（合肥）
2011（远山出岫）入选第三届宁夏房车节全国美术书法大展（宁夏）
2014（白岳圣象）入选第五届安徽省美术大展（合肥）
2015（故园如梦）入选安徽省美术家协会梦幻黄山中国画大展
2016（溪山无尽金秋华彩）荣获第八届当代中国山水画大展铜奖（河南省美术馆）
2017（别梦徽州）入围“陆俨少奖”第二届全国中国画展（浙江）
2018（奇峰高万丈）参加纪念老八路张万志誔辰九十周年，全国书画名家邀请展。（河南省博物院）
2019（匠心·徽州散记）荣获第九届当代中国山水画展（铜奖）。（中原美术学院、中原美术馆）
He was born in 1962 in Shexian county, Anhui Province, and has been living in Tunxi District since 1993. He is currently a member of the Anhui Branch of the China Artists Association, a member of the Anhui Calligrapher's Association, a member of the Applied Arts Society of China, the Secretary General of the Huangshan City Branch of the Central Research Institute of Culture and History, and the Deputy Secretary General of the Professional Committee of Calligraphy and painting of the applied arts, he is currently vice-chairman of the Huangshan City Artists Association, vice-chairman of the Chinese Painting Committee of the Huangshan City Artists Association, vice-chairman of the Tân An calligraphy and painting association, and distinguished artist of the Huangshan City Calligraphy and Painting Institute, Huaibei Academy of Chinese painting, Huangshan City Academy of Chinese painting, director of Chinese Painters Association and member of Art Committee of Chinese Painting and Calligraphy Research Institute. In 1987, he worked as an artist in the Four Treasures of the Study of the four carved bonsai plants in Huizhou, Tunxi District. In 1998, he was recommended by Mr, under the guidance of Wang Bomin, a well-known art historian at the professor of the China Academy of Art, he has laid a good foundation for traditional Chinese painting. In 2004, he studied Chinese painting at the China University of Technology, get the famous painter Zhou Shaohua Teacher's creation instruction and numerous everybody's enlightenment. There are famous art theorists Shao Dazhen, Lang Shaojun, Jia Fangzhou, famous landscape painters Li Baolin, Jiang Baolin, Zhuo Hejun, Zhang Zhimin, Cheng Dali, Mai Cheng, Dong Jining and so on. Has Long been engaged in the study and excavation of Chinese ink painting, the excellent traditional culture of the Chinese nation in the historical accumulation through their own ink art form of inheritance, exploration, research, development, innovation as a subject to explore. His works have participated in many provincial art exhibitions and national landscape painting exhibitions and were selected as winners. In 2007, he was awarded the Huang Binhong Art Prize of Anhui Artists Association and was one of the 8th contemporary hundred outstanding painters. His works have been collected by the China University of Technology, the Heze City Museum, the Heze City Museum, the Central Plain Academy of Painting and calligraphy and the Huangshan City Museum of Fine Arts. Sentence is too long, please supply a shorter sentence, national Invitation Exhibition of famous calligraphers and painters. (Henan Museum)2019(notes on Ingenious Huizhou) won the bronze award in the 9th contemporary Chinese landscape painting exhibition. Central Plain Academy of Fine Arts, Central Plain Museum of fine arts
作品欣赏：
徽风皖韵水墨黄山
——解读吴友善山水画作品张本平
品赏吴友善的山水画《匠心·徽州散记》是第九届当代中国山水画展获铜奖的作品。这是一幅长180x180方形大作，其题材之丰富、笔墨之细腻、章法之变幻、形象之生动、结构之严谨、气势之磅礴，均给笔者留下深刻的印象。吴友善爱家乡，家乡安徽的山光水色、徽州民居、白墙黛瓦时刻萦绕在他的眼前，使其在耳目身心实际感受中激发着其心灵创作的冲动。他将徽风皖韵爱乡之情凝聚丹青于一体，将其观赏中的体味遐想荟萃于笔色墨纸之上。因此，吴友善应属于侧重描绘徽州本土、家乡黄山的画家，这与其自身经历密不可分。
吴友善，字云铎，号巍然道中，砚鑫墨耕，斋名松竹草堂，1962年9月8日生，安徽歙县人。2004年结业于中国科技大学中国画高研班山水专业，师承周韶华、李宝林、张志民等先生。安徽黄山独特的地域景观和丰厚的人文资源，使吴友善自幼积淀了浓厚的恋乡情结。家乡风景优美的黄山是他少年梦幻的寄托。他登临山巅一览黄山风光，涤荡尘虑，胸襟无限开阔。他以灵动的笔墨，再现自然的魂魄。他吸取“骨法用笔，气韵生动，方能灵动”的古训，画山山有势，势来云翻诵，且云水相生，意境高妙深远。他所画黄山颇具大家气象，笔墨云来雾绕，宛如山中仙境，尽现黄山之奇妙。在追求艺术的道路上，他坚持古法为道，向前人借鉴，取其之长，补己之短，最终达到今创墨韵的效果。他常去黄山里写生，又造化心源，故能清雅风韵，人性画风。经过数十年艰苦卓绝的磨练，他的技法业已炉火纯青;他五色用墨，墨色明暗交替，以虚实纵横的高超笔墨手法，展现黄山的灵动气韵。他下笔点面自然，浓淡层次分明，水墨淋漓如云，作品无不苍劲大气。在艺术思想上，他坚持开拓性、包容性和创造性，恪守“中西合壁，多维洽艺”的原则。他坚持实地采风，以天地造化为师。也坚持学习古今名师，努力弘扬中华山水画的优良传统。在具体创作中，他遵循“艺术心灵的冲动，来自于我眼中世界”的理念，走的是一条写生山水的艺术途径。师造化、师传统的过程中掺以西画技法，调动现代意识，有时还揉用泼墨或局部处理等技法造成肌理效果，使内心感受到的诗情画意在挥笔运墨间得以淋漓尽致的抒发。
近期在中原书画院创作室看了吴友善的山水画作，很有感触。为追求自己的艺术事业，他是如此的执着——多年如一日，矢志探求山水画技。层峦叠嶂、雾岚霞光，他狂热地描绘家乡的大好黄山；一草一木、一沟一壑，他痴情地雕琢家乡的迷人景致。他痴迷它们外在的形和内在的美，思考它们艺术的魅力，发掘它们的人文意义。他用手中的笔墨，创造出一幅幅震撼我们]视觉和心灵的画面，如《白云掩映岭山头》《云山静逸》《云壑暮松色》等，他画得很从容，很精致、很松弛、很洒脱；他以心运笔，墨随心达，落笔有情，并赋其形。达其神，自然而无匠气；他把水墨画得灵动，把干墨，泼墨画得飘逸，把精微处画得坚实。把密集处画得生动。在表现手法上，吴友善融合写意画和水墨画各自的特点，从创作技法上看，吴友善的绘画立意出新、结构谨严、线条流畅、形象朴实，且有骨有肉、清新雅致。纵观其作品，如《幽居日日卧云灌》《群峰暮云》《 积翠千山雨》等，用笔奔放、用墨酣畅、看似不经意，然神定气足，不仅表现在新的形式，而且更倾向于抒情的笔调;他的多角度运笔，使墨色变幻清雅，尤其是对物象的自然渲染和肌理的恰当运用，都处理得生动自然、富于情趣，形成了浑厚而不失空灵的画风。用笔才是他抒胸中逸气的载体,他追求行笔骨力与气势，讲究刚柔相济，通过对墨的浓淡干湿特性的运用，传达出其山水画的特征和旺盛的生命力。
吴友善作品立足传统，在传统的基础上创新，别开生面，探索与研究，自成一格，其胆气智慧,非庸者可比。“才自内发,学以外成。”他在艺术上的成就，与文凭学历无缘，全靠他绘画的天赋与个人自学的努力。加上徽州文化的滋养、新安画派的熏陶，更使他对绘画有深层的认识。应该说，对传统的继承与创新是艺术发展的基本规律，继承具有历史性，首先表现为对本民族、本地域艺术遗产的吸取与接受,吴友善远承元代、清代“四王”大家的笔墨趣味与艺术格调，近学黄宾虹和张翰飞的笔墨精神与内在品格，虽然得其神韵，但终究是他人之物，不能成为自己的风格。他认为要使自己的作品具有生命力，惟有创新。
细观吴友善近日在郑州中原美术馆现场创作的《采菊东篱下悠悠见南山》写意水墨作品,构图空灵，笔法娴熟，点线沉着，苍劲有力，用墨浓淡相宜，变化无穷;其境界或清新秀逸，或幽雅高古，或空烟渺远，或深沉含蓄。因为2004年,吴友善参加中国科技大学人文学院“周韶华工作室”举办的中国画高尖人才培训班进修学习,得到周韶华、卓鹤君、姜宝林、程大利、张志民、李宝林、鲁慕迅、董继宁等名家亲授，所以作品技艺大进。从早期的圆润秀逸变得古拙灵动，强化了笔墨意识，于平和幽静中深藏壮怀激烈的情感，作品得到师友及画坛的-致好评。
当代中国山水画创作，人们已清醒地认识到中国文化的传统精神之重要。直抒胸臆的山水画创作，其坚守中国传统的笔墨精神尤为首要。在西方后现代文化思潮的影响下，当代中国山水画坛呈现出多元化的创作格局。但很多文化意识清醒的优秀山水画家们，始终以纯净的心灵、静默的体验，立足中华民族文化的土壤，承接中华文脉，深探传统中国画的创作精神，放眼世界优秀文化，广收博取、融合创新，使当代中国画坛产生一批优秀青年画家,他们的作品既有中国画传统神韵的传承，又有现代审美特点的表现与探索。吴友善近年山水画创作进入了一个新的境界，其山水画新作呈现出图式清新、笔墨苍厚、意蕴深远的个人风貌。他的山水画新作所表现的朴茂气格值得关注和研究。一个人的童年生活往往影响人的一生发展。吴友善出生在山水秀美、文化底蕴深厚黄山市的歙县昌溪，家乡的山山水水滋养了他童年的心田，他儿时喜欢看山，更喜欢画山,十二岁便在乡里前辈先贤指导下临摹《芥子园画谱》数十遍。家乡秀美山水润泽了吴友善童年的心灵，童年生活对他后来进入中国山水画创作，为创造朴茂的山水画气格播下了一颗精神的种子，同时也奠定了他深厚的生活基础。勤奋好学是他为人为学另一个突出特点。从他学画历程可以看出，其学画方式主要是自学,不断向周围画家请教，广摄博取他人之长，加之勤奋墨耕，逐步拓展出他独具个人风貌的山水画创作之路。他生活在黄山脚下，画黄山有着天然的便利，他不断深入黄山进行写生，在“师造化”中完善自己的山水画创作语言。天地之“大美”乃自然之美,天然之美即朴素之美,乃是美之极致所在，正所谓“朴素而天下莫能与之争美”。吴友善山水画创作正是秉承道家思想，以质朴的生命情怀，投身到自然的青山绿水中，在黄山大自然中观照天地四时的流变,体悟中国山水文化的内在精神。他为人真诚朴厚、温良、与人为善，其心灵有黄山泥土的淳厚，有黄山植被的朴茂，亦有黄山泉水的清澈,由此可以看出，他山水画创作朴茂气格的建构是由内而外的神韵流淌，源自其内在精神世界的朴茂。
纵观吴友善在中原美术院·中原美术馆现场创作的丈六匹大作《徽风皖韵》，具有浓浓的诗情画意，山坡上徽式民居，白墙黛瓦，个性建筑前后面，有一颗颗苍翠的松柏四面环绕。丰收的秋日,山溪从山乡前小桥下淙淙流淌，流水与溪间碎石相撞，不时发出韵律铿锵的音响。湖中几艘船只在飘动，一群飞鸟展翅高空，与一丛丛红叶树相互映辉。大作在用笔上以勾勒为主，多以灵动抒情笔法勾写民居房屋瓦顶、墙面轮廓，后以淡墨晕染。山石则以侧锋勾皴结合的笔墨为主，造成笔墨的随意性和活泼性，形成运动感和立体感。远山及天空系淡墨渲点而成。天地交接处则以大胆泼毫挥就水墨相融的美妙效果，而后相势点苔耕石。表现出徽州特有的秋色生机，堪称当代徽乡的一首美妙乐曲。其又一幅现场创作的丈六匹大作《黄山烟云》，抒写家乡黄山生活场景。水乡屋舍井然有序，丛丛绿荫覆盖山乡远处的房屋，远处点点帆影争相驰向山乡。这幅画静中寓动，动中寓静,静动相生，虚实相成。近景描写细致，中景笔松意简,显示出作者章法经营的功力和写景状物的巧妙。《 皖山徽水》与前两幅大作笔墨迥别，画家枯笔焦墨尽力挥写皴擦山石轮廓纹理，笔墨道健而运行自由，生动跳踯，无所拘束，若不经意，心随意运，无法而法,在泼辣涂抹中不失严谨工整，在苍雄干涩里蕴含润泽精奥，深得天地恢宏和山河古茂之致，说明画家在苍雄与清秀两种风格上正在求索与探讨。他的山水画不论是徽风皖韵，还是水墨黄山，画风苍劲老辣，浑厚凝重，笔墨、线条自由恣意极富自然之意韵，观之心神开阔。他将传统风骨与现代审美意识相融相合，展现出更具有时代感的山川精神，自然气韵。在他的《黄山烟云》大作中，灵秀之外更有几分苍劲，创作中将自己对家乡的眷恋和热爱全部揉进笔墨里，以“含蓄”与“旷达”两种风格的美，将刚与柔、苍与润在画面中和谐统一。他用满腔的激情、勤奋的思考和不懈的探索绘就皖山、皖水的大气雄宏，时代锦绣。他用画笔表现家乡黄山自然美景的同时，更弘扬着安徽特有的人文风情。其山水画在中西兼具、别开生面的笔墨样式之外，更多的是用扎实的笔墨展现出来的山水魅力,尤其是在其对家乡徽派山水和民居建筑的表现上，给观者留下了深刻的印象。
吴友善不仅是一位有着鲜明个性色彩的画家，而且也是一位开拓进取艺术走上成熟的画家。纵观他的作品，从构图到笔墨都很少看到模仿某家某派的痕迹,而是有着比较明显的个性色彩。他自己说:“艺术心灵的冲动，来自于我眼中的世界”。这句艺术自白，无疑含蓄地宣布了他要用自己的眼光、自己的理解，来创造自己的艺术世界。如果说，他90年代初的作品在横扫竖抹中以富有力度的笔势来表现自己心中的黄山之水;那么，他近些年的创作则更多地在注重笔墨趣味中通过山与水的交融对比来表现中国山水画的文化内涵。尽管他的山水画从90年代至今发生了明显的变化，但这变化之中又保持了自己一以贯之的风格特征。这就是始终注重画面的苍雄朴茂之美，注重山之浑厚凝重与水之清澈灵秀的对比映衬之趣。经过这些年反复探索和不断完善，带有明显“友善水墨”特色徽风皖韵水墨黄山作品，已越来越受到学术圈及社会各界的好评，同时也标志着一位成熟山水画家以遂步得到大家广泛接受和认同。吴友善是一位在山水画上有开拓精神的画家。传统山水画构图或重峦叠嶂、厚实葱茏，或枯树寒水、萧疏冷寂，或在两者之间调适,以求变化拓展。他的黄山山水画，虽然每幅都以山水为主体，但他所画的山却从来不是崇山峻岭或峰峦全貌，而是截取山之一角或聚焦一两段山体，将其十分醒目地布置在画面的突出位置，以近山远水、或近水中山、或山水错叠、或四周环水等变幻多姿的组合图式，山水呼应，错落有致,尽显黄山山水交融的动人风光。在这里，清澈明净的水边或曲折萦回的湖中，突兀耸立起怪石嶙峋的山崖或郁郁葱葱的山脉，加强和彰显了画面的对比力度，使之既有咄咄逼人的雄放气势,又有灵动秀美的清雅之趣。尤为值得一提的是，他对山石树木的描绘和刻画,并不采用传统程式化的皴法、点苔等技法，而是在用中锋勾出山石轮廓后，仍以中锋和侧锋并施勾勒山石的纹理和阴阳向背。那些纵横交错、疏密相间、浓淡相宜、枯润相济的不规则网状线条，似皴非皴、似乱非乱，再辅以淡赭敷色，淋漓尽致地再现了山石的体势和质感。他画树也不拘陈法,多半利用宣纸特性泼墨晕染,而后稍加勾勒整理。这样,山峦树木的泼墨点渍，坚硬山石的顿挫线条，空阔水面的帆船点缀及山石投影等，形成了相互映照的多重对比和变幻多样的笔墨趣味，给人以丰富而强烈的审美感受。《山树藏云图》《黄岳风烟》《峰海奇观》《箬岭古道》等作品，都是他对山水画表现技巧有所开拓的生动体现和艺术上走上成熟的诠释。
总而言之，吴友善的徽州山水颇得中国山水画讲究“骨法用笔”“随类赋彩” “气韵生动” 的要诀。他在深，人钻研和把握中国画用纸和笔墨技法的基础上,注重画面的虚实、动静、俯仰、远近、疏密、轻重、枯润等的协调处理，使凝固的平面形象动中有静、静中寓动，充盈着运动的节奏和生命的韵律。他的绘画风格总体上趋向直率、苍劲、豪放,但又蕴籍着清新、秀丽、婉约的情调。他的写意山水是传统的又是现代的,是传统风骨和现代意识有机结合，洋溢着中国当代山水画在继承传统中开拓创新的时代精神。
An interpretation of Wu you-shan's landscape painting Zhang Benping's appreciation of Wu you-shan's landscape painting "notes on the ingenuity of Huizhou" is the bronze award winner of the 9th Contemporary Chinese Landscape Painting Exhibition in Foshan, Huangshan City. This is a 180x180 square work, the richness of its subject matter, the delicacy of its ink, the change of its composition, the vividness of its image, the preciseness of its structure and the grandeur of its momentum all impress the author deeply. Wu Youshan loved his hometown, where the scenery, water and mountains, the houses of Huizhou and the white walls and black tiles of his hometown always haunt his eyes, making him inspire his spiritual creation in his physical and mental feelings. He Will Anhui Charm love of the red and green in one, its appreciation of the body and reverie gathered on the ink paper. Wu should therefore belong to a painter who focuses on Huizhou's home, Huangshan City, which is closely related to his own experience. Wu Youshan, word Yunduo, no. Towering road, Yan Xin Mo Geng, Zhai name Songzhu cottage, born on September 8,1962, Shexian, Anhui Province. In 2004, he graduated from the Chinese Painting Department of China University of Technology, majoring in landscape, and studied under Zhou Shaohua, Li Baolin and Zhang Zhimin. The unique regional landscape and rich human resources in Huangshan City, Anhui Province, made Wu Youshan have a strong love knot for his hometown since childhood. The beautiful scenery of his hometown, Huangshan City, is a dream of his youth. He climbed to the top of the mountain to see the sights of Huangshan City. He reproduces the spirit of nature with his vivid brush and ink. He drew on the ancient motto of "bone method with pen, vivid charm, can be flexible" , painting mountains and mountains are powerful, potential to read clouds, and clouds and water are born, artistic conception is profound. His painting of Huangshan City is very much like everyone else's. It is like a fairyland in the mountains, showing the wonders of Huangshan City. In the pursuit of art, he insisted on the ancient method as the road, to learn from the past, take its advantages, fill their own shortcomings, and finally achieve the effect of creating ink rhyme. He often went to Huangshan City to paint from life, but also the heart, so that elegant charm, human nature painting style. After decades of painstaking training, he has perfected the art of painting. He uses ink in different colours, alternating light and dark, to convey the essence of Huangshan City. His pen point face natural, thick and thin layers of clear, ink dripping like clouds, the works are all strong atmosphere. In artistic thought, he insisted on the pioneering, inclusive and creative, abide by the "Chinese and Western Wall, multi-dimensional Qianyi" principle. He persisted in collecting folk songs on the spot, taking nature as his teacher. Also adhere to the ancient and modern masters, and strive to carry forward the fine tradition of Chinese landscape painting. In the concrete creation, he follows the idea of "the impulse of artistic soul comes from the world in my eyes" , and takes an artistic way of sketching landscape. In the process of teaching nature and tradition, Western painting techniques are mixed to arouse modern consciousness, and sometimes techniques such as splashing ink or local treatment are used to create textural effects, so that the heart of the feelings of poetry and painting in the movement of ink strokes to be incisively and vividly expressed. Recently, I saw Wu Youshan's landscape paintings in the studio of the Central Plain Academy of Painting and calligraphy. In pursuit of his artistic career, he was as persistent as a dog in pursuit of landscape painting. Piled high with mountains and misty haze, he rhapsodized about the beauty of his native Huangshan City; every Bush, every gully, he lovingly carved the enchanting scenery of his hometown. He was obsessed with their external form and internal beauty, thinking of their artistic charm, to explore their humanistic significance. Using his brush and ink, He created a series of visual and spiritual images that shocked us all, such as "clouds cover the hilltop" , "Cloud Hill quietness" and "Cloud Hill at dusk" He writes with heart, ink with heart, write with feeling, and give its shape. Daqishen, natural and UNARTISAN; he painted ink clever, dry ink, splash-ink painting elegant, subtle painting firm. Make the density vivid. In the technique of expression, Wu friendly merges the characteristics of freehand brushwork and ink painting respectively. From the technique of creation, Wu friendly's paintings are creative, strict in structure, smooth in line, simple in image, fresh and elegant in flesh and bone. Looking at his works, such as "sleeping in the clouds" , "the gathering peaks and the evening clouds" and "the Green Mountains and the rain" , he not only expresses himself in a new form, but also tends to express his feelings His multi-angle brushwork, so that the ink changes elegant, especially the natural rendering of the object and the appropriate use of texture, are handled vividly natural, rich in taste, the formation of a rich and yet ethereal style. He pursued the strength and momentum of the brush, and stressed the combination of hardness and softness. Through the use of the ink characteristics of dry and wet, to convey the characteristics of its landscape painting and vigorous vitality. Based on tradition, Wu Youshan's works are innovative and unconventional, exploring and studying. His courage and wisdom are comparable to those of ordinary people. "talent comes from within, learning comes from outside. " His achievement in art, with a diploma is out of the question, all because of his talent in painting and his self-study efforts. This, together with the nurturing of Huizhou Culture and the edification of the Tân An school of painting, gave him a deeper understanding of painting. It should be said that the inheritance and innovation of the tradition is the Basic Law of the development of art. Inheritance is of a historical nature, first of all manifested in the absorption and acceptance of the artistic heritage of the nation and the region, wu Youyuan inherited the artistic style and taste of the "four kings" of the yuan dynasty and the Qing Dynasty. He studied closely the spirit and inner character of Huang Binhong and Zhang Hanfei. He believed that innovation was the only way to bring his work to life. A close-up of Wu Youshan's freehand brushwork "picking chrysanthemums under the eastern fence" , created recently at the Central Plain Museum of art in Zhengzhou, is a masterful and dynamic piece of freehand brushwork Its realm or Qingxinxiuyi, or elegant ancient, or empty smoke remote, or deep and reserved. Because in 2004, Wu Youshan attended a training course for top Chinese painting talents held by the "Zhou Shaohua Studio" of the College of humanities of the University of Science and technology of China, zhou Shaohua, Zhuo Hejun, Jiang Baolin, Cheng Dali, Zhang Zhimin, Li Baolin, Lu Mu Xun, Dong Jining and other famous hands-on, so the works of great technical progress. His works have been praised by his teachers and friends as well as in the painting circle. His works are full of strong emotions. Contemporary Chinese landscape painting creation, people have clearly realized the importance of the traditional spirit of Chinese culture. The spirit of sticking to the Chinese tradition is of the utmost importance in the creation of landscape painting. Under the influence of the Western post-modern cultural trend of thought, the contemporary Chinese landscape painting world presents a diversified pattern of creation. However, many outstanding landscape painters with a clear cultural consciousness have always, with a pure mind and a silent experience, based on the soil of the Chinese nation's culture, inherited the Chinese context, explored the creative spirit of traditional Chinese painting, and set their eyes on the world's outstanding culture, the broad collection, the fusion innovation, causes the contemporary Chinese painting field to produce a batch of outstanding young painters, their work not only has the Chinese painting tradition charm inheritance, but also has the modern esthetic characteristic performance and the exploration. In recent years, Wu Youshan's landscape painting has entered a new realm, his new landscape painting presents a fresh Schema, thick ink, profound personal style. The style of Park Mao in his new landscape paintings is worth paying attention to and studying. One's childhood life often affects one's whole life development. Wu Youshan was born in Changxi, Shexian County, with beautiful mountains and rivers and a rich culture. The mountains and rivers of his hometown nourished his childhood. As a child, he loved mountain-watching and painting, at the age of 12, he copied the Jieziyuan Huazhuan dozens of times under the guidance of his predecessors in the countryside. The beautiful scenery in his hometown enriches Wu Youshan's childhood mind. His childhood life sowed a spiritual seed for the creation of Pu Mao's style of landscape painting, and at the same time laid a deep foundation for his life. Diligent and eager to learn is another outstanding characteristic of his artificial learning. From his learning of painting, we can see that his learning of painting is mainly through self-study, constantly seeking advice from painters around him and learning from others,。
