中华文明延续着我们国家和民族的精神血脉,既需要薪火相传、 代代守护,也需要与时俱进、推陈出新。我们要加强对优秀传统艺术 的挖掘和阐发,激活其生命力,使中华民族最基本的文化基因与当代 文化相适应、与现代社会相协调,这样我们的传统文化艺术才能跨越 时空,超越国界,深入人心,富有永恒魅力。我国艺坛名家冯海江先生以笔墨绘时代,以作品展辉煌,让中国书画艺术走进千家万户！

Chinese civilization continues the spiritual blood of our country and nation. It not only needs to be passed down from generation to generation, but also needs to keep pace with the times and bring forth the new. We should strengthen the excavation and analysis of excellent traditional art, activate its vitality, and make the most basic cultural gene of the Chinese nation adapt to contemporary culture and coordinate with modern society. In this way, our traditional culture and art can span time and space, transcend national boundaries, penetrate into the hearts of the people and be full of eternal charm. Mr. Feng Haijiang, a famous artist in China's art world, has brought the art of Chinese calligraphy and painting into thousands of families by painting the era with pen and ink and exhibiting brilliance with his works!

【名家简介】

冯海江,现北京兰亭书画院名誉院长、中国国画院院士，国际孔子学院客座教授。当代书画家杰出贡献奖获得者，中国艺术界专业拔尖人才称号获得者，中国名人书画委员会委员，中国国际艺术家协会高级会员，水墨画入选国际水墨大赛，先贤杯全国书画大赛获银奖。2009年举办个人画展。2012年举办个人画展。作品荣载《走进艺术大师》，《中国最具收藏潜力书画作品》,<< 推动中国的领军人物>>,<<国际艺术大师>>,<<世界艺术典范>>,<<引领中国的时代骄子>>,<<百年中国书画史1840--2015>>等。2013年评为“国学文化进万家年度人物”。

《满是鹤翠初相逄》

"Full of cranes and emeralds"

Feng Haijiang is now the honorary president of Beijing Lanting Academy of painting and calligraphy, academician of Chinese Academy of painting and calligraphy, and visiting professor of the International Confucius Institute. The winner of the outstanding contribution award for contemporary calligraphers and painters, the winner of the title of professional top talent in Chinese art circles, a member of the Chinese celebrity calligraphy and Painting Committee and a senior member of the China International Artists Association, ink painting was selected in the international ink painting competition, and the Xianxian Cup National calligraphy and painting competition won the silver award. In 2009, he held a personal painting exhibition. A personal painting exhibition was held in 2012. His works are honored with entering the art master, calligraphy and painting works with the most collection potential in China, leading figures in promoting China, international art masters, world art models, leading China's pride of the times, Centennial History of Chinese calligraphy and painting 1840-2015, etc. In 2013, he was rated as "the person of the year when Sinology and culture entered thousands of schools".

《星步》

"Star step"

冯海江作品以中国人物画居多（也执笔西画）,尤以塑造现代美人著称画坛,被誉为"一宝一绝"。冯海江的现代美人图内函具有一种批判性,对古典美人"小脚女人"内函的批判,对当代美人图那种硬设的"美丽"和迎合男人文化那种所谓的"文人美女图"的批判,还对低俗与高雅的"美女图"进行哲理的批判,显示了作品的强大生命力和携永意义,为妇女(美女)文化真实的现代性作出了不可或缺的贡献,为中国美人图文化走向世界提供了一种可能。由于作品色彩一反传统,画出色彩阳光感,表达了另一种中国画中的色彩宣言,由于中西结合的技法创新,人物形象的客观和写实塑造,使作品具有了一种流派的可能,在学术上有着典范作用和带有史学价值。“将中国传统绘画推进了一步, 输入新的生命血液”.冯海江的作品既可挂于雅堂与寻常人家用以品赏,也可作一种派别祖始的艺术收藏品。冯海江作品多有私人收藏。

《展》

"Exhibition"

Feng Haijiang's works are mostly Chinese figure paintings (also writing western paintings), especially famous for shaping modern beauty in the painting world, known as "one treasure and one must". Feng Haijiang's modern beauty picture inner letter is critical. It criticizes the classical beauty "small footed woman" inner letter, criticizes the hard set "beauty" of contemporary beauty picture and the so-called "literati beauty picture" catering to men's culture, and also criticizes the vulgar and elegant "beauty picture" philosophically, showing the strong vitality and lasting significance of the work for women (beauty) The modernity of cultural authenticity has made an indispensable contribution and provided a possibility for Chinese beauty culture to go to the world. Because the color of the work is against the tradition, draws a sense of color sunshine, and expresses another color declaration in Chinese painting. Due to the technical innovation of the combination of China and the West and the objective and realistic shaping of the character image, the work has the possibility of a school, which plays an exemplary role in academia and has historical value. Feng Haijiang's works can not only be hung in elegant halls and ordinary people for appreciation, but also be used as an art collection of the ancestors of schools. Most of Feng Haijiang's works have private collections.

《紫林觅小诗》

"Little poem in the purple forest"

《欲飞》

"Flying"

《我心飞场》

"My heart flying field"

《惊蛰》

"Waking insects"

《清溪小唱》

"Qingxi singing"

独特的艺术风格

——谈冯海江中国人物画的探索与创新

有“世界第一大画家”之称的张大千先生说：“画家自身便是上帝，有创造万物的特权”，“一个艺术家最需要的，就是自由。”中国画人物画中，历来的传统是工笔和写意。“工”，一名“细笔”，指画法工细的画风，描绘形象精细入微，一丝不苟。“写意”，一名“粗笔”，指画法简率的画风，要求删繁就简，以精炼概括的笔墨来表现出对象的意态神韵。冯海江在中国人物画的探索中，在传统的基础上创新，创造性地将写实主义技术种植在中国画人物画精神上。精神上的写实成了他中国画人物画的发挥手段。所以他的中国画现代美人图不一定有标准的绝伦的面孔，乍看都是街上走过来的那种被泛口的美女。画这样的美女好象他有种使命感，那就是在艺术升华中求实。并不是女人都可以是美丽的，但那种精神上的情态只要是真的实在的，就是可以美人的。如西方文化中対漂亮和美丽理解是不同的，美丽是缷下外在的包裹的实在。只要实在了，怎么样态都是美的。那些虚拟的艺术升华的泛滥化的形式，在海江美人图这里好象都被海江的美人图的“白雪公主” 磁在周围，跳着小矮人的狂欢写意舞蹈，并在海江的艳丽的色彩照映下，舞蹈溶进了高潮，一个可能被艺术史学上典范化的高潮。

Mr. Zhang Daqian, known as the "world's largest painter", said: "the painter himself is God and has the privilege of creating all things." what an artist needs most is freedom. "In Chinese figure painting, the tradition has always been meticulous and freehand brushwork. "Gong", a "fine brush", refers to the meticulous style of painting, and the image is fine and meticulous. "Freehand brushwork", a "thick brush", refers to the simple style of painting. It is required to delete the complicated and simplify, and show the meaning and charm of the object with refined and generalized pen and ink. In the exploration of Chinese figure painting, Feng Haijiang innovated on the basis of tradition and creatively planted realism technology on the spirit of Chinese figure painting. Spiritual realism has become the means of his Chinese figure painting. Therefore, his Chinese painting of modern beauty does not necessarily have a standard peerless face. At first glance, it seems to be the kind of widely spoken beauty coming from the street. Painting such a beautiful woman seems to have a sense of mission, that is to be realistic in the promotion of art. Not all women can be beautiful, but as long as the spiritual modality is real, it can be beautiful. For example, the understanding of beauty and beauty in western culture is different. Beauty is the reality of unloading the external package. As long as it is real, everything is beautiful. The deluge of virtual artistic sublimation seems to be surrounded by the "Snow White" of the beauty picture of Haijiang, dancing the carnival freehand dance of dwarfs, and the dance melts into a climax under the gorgeous colors of Haijiang, a climax that can be exemplified in art history.

中国画的美人图的国家形象，从来都是以遥远的古风情怀向世界讲述，并以此为国粹。海江塑造的现代美人图的国家形象，关联的不再是沉鱼落雁，羞花闭月的风月，陡然从几百年的緾足女人跺跺情态跨进了张扬人性不藏的坦然，并以世界女人文化最先遣的步伐，诉说女人的中国形象。

The national image of beauty in Chinese painting has always been told to the world with the feelings of distant ancient customs, which is the quintessence of Chinese culture. The national image of the modern beauty picture created by Haijiang is no longer related to the wind and moon of sunken fish and wild geese and shy flowers and closed the moon. It has suddenly stepped into the calm of publicizing human nature and telling the Chinese image of women with the most advanced pace of women's culture in the world.

这个形象可以看到现代性中的自我意识，可以看到被传统意识拖缠与现代意识的创立挣脫。

This image can see the self-consciousness in modernity, can see being entangled by traditional consciousness and breaking away from the establishment of modern consciousness.

中国画美人图行列，都以滿足男人受用的心态着力宣染美貌和骄揉，是乎女人的美就是视力揉搓的快意，并以此框定美人图的惊鸿价值。海江的美人塑造，有的确有男人一样辉宏的雄性，在山顶上可以《会心一笑我为峰》。

The ranks of beauty pictures in Chinese painting all strive to publicize and dye beauty and pride in order to meet the needs of men. It is because the beauty of women is the pleasure of rubbing vision, and this frames the amazing value of beauty pictures. Some of Haijiang's beauties are men like Huihong. On the top of the mountain, you can "know your heart and smile, I'm the peak".

海江的这种气派的中国画美人图，让中国画美人图有了更多的想象力和发展空间，招唤着中国精灵向世界试着迈步。

Haijiang's magnificent picture of beauty in Chinese painting gives the picture of beauty in Chinese painting more imagination and development space, and calls on Chinese elves to try to take a step to the world.

我们的中国画人物画，从古到今基本上是屏蔽色彩的功用，限制色彩发挥向西画那样的多向度。所以开放改革至今中国画人物画色彩激烈的探索后仍始终步覆蹒跚，象林凤眠先生以突击队的精神牵领色彩在中国画人物画领域里打天下，致力于中西融合，可如今仍不能“茁壮成长”。 所以我们感叹中国画人物画没色彩时，又不免有几幅艳丽作品没有让我们忘记“林凤眠式” 还存在。这种不死不活的状况在我看来是没有真汲取西式画的营养，我们的中国画有了些色彩，甚至象黄永玉先生的色彩都没有一个灵魂的东西，那就是色彩的阳光感缺失。冯海江的中国画现代美人图，在这一方面给了我们榜样性的典范，一种可以真正意义上的中国画色彩宣言。

From ancient times to the present, our Chinese figure painting basically shields the function of color and limits the multi-dimensional development of color as western painting. Therefore, after the intense exploration of the color of Chinese painting figure painting since the opening-up and reform, it has always been faltering. For example, Mr. Lin Fengmian leads the color in the field of Chinese painting figure painting with the spirit of commando and is committed to the integration of China and the west, but he still can not "thrive". So when we lament that there is no color in Chinese painting and figure painting, we can't help but forget that "Lin Fengmian style" still exists. In my opinion, this situation of immortality does not really absorb the nutrition of Western painting. Our Chinese painting has some colors. Even Mr. Huang Yongyu's colors do not have a soul, that is, the lack of sunshine sense of color. Feng Haijiang's picture of modern beauty in Chinese painting gives us an exemplary model in this regard, a true color declaration of Chinese painting.

同时，海江现代美人图的创新，穿越着或正在穿越西方的现代性，他的现代美人图超越东西方二元文化对立。在西式和中式的技法上另辟蹊径，走前人没有走过的路，在中国画上画着西画，中西结合没有刻板，也没有故意，一切都那么天然趣成出神入化，我们从那一张张不用线的脸上看到了造型的准确和高难度技法。海江以不同以往的绘画方法塑造着中国画人物画民族性格的新品质，世界着并民族着，构建了一个新的民族式样。这个式样具有中国画美术史价值的式样。

At the same time, the innovation of Haijiang's modern beauty map crosses or is crossing the modernity of the West. His modern beauty map transcends the binary cultural opposition between the East and the West. We found a new way in the western and Chinese techniques, and took a road that our predecessors had not taken. We painted western paintings on Chinese paintings. The combination of China and the West was neither rigid nor intentional. Everything was so natural and fascinating. We saw the accurate and difficult techniques of modeling from the faces without lines. Haijiang has shaped the new quality of the national character of Chinese painting figure painting with different painting methods. The world has merged and constructed a new national style. This style has the value of Chinese painting art history.

例如他创作的《长禽流云去无声  会心一笑我为峰》这幅作品，画中的她支起柔软的脸庞，用柔软去想象世界崇高中的去无声中的我为峰。她笑着告诉我们，用不着屈原式的硬度，一切皆象长禽流云去无声一样怱怱走过，那正是我们。在人类中她们是另一式高度，她没有雄居天下那种山高我为峰，有着离我不道的天然之峰。

For example, in his work "long birds and flowing clouds go silent and smile, I am the peak", in the painting, she holds up her soft face and imagines that I am the peak in the sublime of the world with softness. She smiled and told us that without Qu Yuan's hardness, everything passed silently like a long bird cloud. That's us. In human beings, they are another kind of height. She doesn't have the high mountain in the world. I am the peak. She has a natural peak that is inseparable from me.

这正是女人的生命价值。一个没有被物化的美人，静静地向着我们形而上的微笑，现代美人不需要蒙拉丽莎，坐着笑着都不是固化凝神的规序，她嘴角没有神秘，轻轻地放口或许在明丽的空气中会大笑而歌，啊风啊，你轻轻地吹，云啊你慢慢地走。如此的神逸，又如此的清淡，一如儒一如道。

This is the value of a woman's life. A beauty who has not been materialized quietly smiles at us metaphysically. Modern beauty doesn't need the Mona Lisa. Sitting and smiling is not a fixed and concentrated order. There is no mystery in the corners of her mouth. She may laugh and sing in the bright air. Ah, wind, you blow gently, clouds, you walk slowly. It is so elegant and so light, just like Confucianism and Taoism.

遥想有多少豪士登临山顶挺风而立，她不，她优雅的坐下，用自我意识和守望，用空灵的眼波说，我为峰是可以坐下坐下，也许这是另一种女性哲学。

I wonder how many heroes stand on the top of the mountain. She doesn't. She sits down gracefully, with self-awareness and watchfulness, and with ethereal eyes, I think the peak can sit down. Maybe this is another female philosophy.

海江在营造这些因素时，把笔墨语言都使用得不一般。一片云，一座山，都不使用传统皴、擦，为了使山厚重雄浑，有人取名说是“及时皴” 新技皴法。西式体量又中式创皴。最突出的是使用色彩来塑造山顶那种明丽如正阳而又凉爽的空气，红与兰的对比充分达到了这样的效果。如果色彩减弱就达不到这个空气的饱和度。题材的现代性表达，决定了皴法新创立和色彩的明艳。也突显了海江的独特自具风格，画风和气派均别有一番天地。

When Haijiang created these factors, he used pen and ink language very differently. A cloud and a mountain do not use traditional chapping and wiping. In order to make the mountain thick and vigorous, some people call it the new technique of "timely chapping". Western style volume is also Chinese style. The most prominent thing is to use color to shape the bright and cool air on the top of the mountain. The contrast between red and blue fully achieves this effect. If the color weakens, the saturation of the air cannot be reached. The modern expression of the theme determines the new creation of texturing and the brilliance of color. It also highlights the unique style of Haijiang, and its painting style and style are different.

冯海江现受聘于北京京华兰亭书画院任名誉院长，任中国国画院院士，国际孔子学院客座教授，当代书画杰出贡献奖获得者，中国艺术界拨尖人才称号获得者，全国名人书画会委员，中国国际艺朮家协会高级会员。作品荣载《走进艺术大师》《中国最具收藏潜力书画作品》<<推动中国的领军人物>><<百年中国书画史1840__2015.>><<国际艺术大师>>。一九九二年作品《大自然的恩赐》入选加拿大多伦多枫叶奖国际水墨画大赛，先贤杯全国书画大赛获银奖。作品多有私人收藏。二00九年春节，与山水、花鸟画家杨瑞华举办母子画展，获得群众和业內人士高度评价，对冯海江的中国现代美人图，称“其艺术价值之高，称中国人物画的一绝和一宝”。 海江是前行者，后面涌动着路人。

Feng Haijiang is now employed as honorary president of Beijing Lanting Academy of calligraphy and painting, academician of Chinese Academy of traditional painting, visiting professor of International Confucius Institute, winner of outstanding contribution award of contemporary calligraphy and painting, winner of the title of top talent in Chinese art circles, member of national celebrity calligraphy and Painting Association and senior member of China International Artists Association. His works are honored in "walking into the art master", "China's most Collectible calligraphy and painting works", "leading figures in promoting China > > < centennial history of Chinese calligraphy and painting 1840__ 2015. > > < International Art Masters > >. In 1992, his work "the gift of nature" was selected into the Toronto Maple Leaf Award International ink painting competition, and the Xianxian cup national calligraphy and painting competition won the silver award. Most of the works have private collections. In the Spring Festival of 2009, he held a mother and child painting exhibition with landscape, flower and bird painter Yang Ruihua, which was highly praised by the masses and people in the industry. Feng Haijiang's picture of modern Chinese beauty was called "its high artistic value and a masterpiece and treasure of Chinese figure painting". Haijiang is a forward walker, with passers-by surging behind.

2011年春节中国中央电视台书画频道，电视展播冯海江《回忋小姑》作品。2012年举办《嘉陵江水之诗》个人画展。2013年评为” 中国文化进万家年度人物” .          刘道平  （ 注：刘道平先生系文博研究馆员。《中国风景名胜博览大型书画丛书》（1—5卷）主编。）

In the Spring Festival of 2011, the painting and calligraphy channel of CCTV exhibited Feng Haijiang's work "aunt Hui Shang" on TV. In 2012, he held a solo painting exhibition of poetry of Jialing River. In 2013, he was rated as "the person of the year when Chinese culture entered thousands of countries". Liu Daoping (Note: Mr. Liu Daoping is a member of the research library of culture and Museum. He is the editor in chief of the large-scale calligraphy and painting series of China scenic spot Expo (volumes 1-5))