新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生

Mr. Yan Benli, vice president of the new China Academy of painting and art

悠悠華夏史，上下八千年。我們的祖先從雕石、刻壁到原始陶器上花紋的繪制，以及對(duì)日月星云，飛禽走獸的模寫，可以追尋中國(guó)畫的起源。古老的東方民族以自己獨(dú)特的審美觀和思維方式，用自己的大聰明大智慧創(chuàng)造著中華民族璀璨瑰麗的文明。1949年湖南長(zhǎng)沙楚王墓出土的帛畫《人物御龍圖》，證明了中國(guó)畫在戰(zhàn)國(guó)時(shí)期已達(dá)到相當(dāng)高的水平，并奠定了中國(guó)畫表現(xiàn)上以線為主適意造形的形式特點(diǎn)。幾千年來(lái)，中國(guó)畫不斷發(fā)展。

A long history of eight thousand years. Our ancestors from the carved stone, carved wall to original pottery on the drawing, as well as the sun and moon nebula, birds and beasts, can trace the origin of Chinese painting. The ancient oriental nation, with its unique aesthetic and way of thinking, has created the brilliant and splendid civilization of the Chinese nation with its own great wisdom and great wisdom. The silk paintings unearthed from the tomb of the king of Chu in Changsha, Hunan, in 1949, "the figure Royal Dragon", proved that Chinese painting had reached a high level in the Warring States period, and laid the form characteristic of the Chinese painting in the form of "line". For thousands of years, Chinese painting has been developing continuously.

南齊謝赫首開(kāi)先河將當(dāng)時(shí)所知畫家27人列為六品，并在《古畫品錄序》中提出六法論：“氣韻生動(dòng)，骨法用筆、應(yīng)物象形、隨類賦彩、經(jīng)營(yíng)位置，傳移模寫�！币磺�五百年來(lái)一直被作為中國(guó)畫論的經(jīng)典名句，支撐著歷史畫壇，已成為從事創(chuàng)作和批評(píng)家的必修課，影響之大直至今天。

Sheikh, in South Qi, listed the 27 painters of the time as six, and put forward six methods in the record order of ancient paintings: "vivid charm, bone law with pen, object pictograph, class color, management position, transfer model." For one thousand and five hundred years, it has been a classic in Chinese painting theory, which supports the history of painting and has become a required course for creative and critic.

南齊謝赫的六法無(wú)疑是中國(guó)畫壇的財(cái)富，哺育了歷代大師，無(wú)數(shù)的畫家和理論家。每每提起六法，無(wú)不引以為驕傲和自豪，但六法的生命力絕不只是過(guò)去，她需要延續(xù)、需要進(jìn)步更新，她需要一個(gè)能夠適應(yīng)當(dāng)代中國(guó)特色的新的面孔，來(lái)昭示未來(lái)的中國(guó)畫家。審視謝赫六法，研究他的歷史價(jià)值，將其與當(dāng)今中國(guó)畫藝術(shù)和諧的部分繼續(xù)保留，不和諧的部分加以理順，應(yīng)是我們當(dāng)代理論家和畫家的共同責(zé)任。

The six laws of Sheikh in Southern Qi are undoubtedly the wealth of the Chinese painting circles, which have nurtured the masters of the past dynasties, and numerous painters and theorists. The six laws always take pride and pride, but the vitality of the six laws is not just the past. She needs to continue, and needs to be improved. She needs a new face that can adapt to the contemporary Chinese characteristics to show the future Chinese painters. It is the common responsibility of our contemporary theorists and painters to examine Sheikh's six laws, to study his historical value, to keep it in harmony with the art of contemporary Chinese painting, and to straighten out the disharmonious part.

進(jìn)一步思考六法，不難發(fā)現(xiàn)六法論中著眼于尊照客觀實(shí)際，表現(xiàn)客觀形象的應(yīng)物象形，隨類賦彩，傳移模寫諸法，與當(dāng)前注重創(chuàng)造性的時(shí)代已產(chǎn)生較多的摩擦漸退于次要地位，另骨法用筆與經(jīng)營(yíng)位置二法雖各有解釋，或含糊其詞，或旁敲側(cè)擊，終不能一針見(jiàn)血，給予明示，關(guān)于氣韻生動(dòng)一法，只可意會(huì)不能言傳，難教難學(xué)，講其道理，更是撲朔迷離，遠(yuǎn)不著象，正如宋代大家郭若虛《圖畫見(jiàn)聞志》所云：“六法精論萬(wàn)古不移，然骨法用筆以下五法可學(xué)，如其氣韻必在生知，固不可以巧密得，復(fù)不可以歲月致�！庇衷疲骸澳�契神會(huì)，不知然而然也。畫必周氣韻，方號(hào)世珍，不爾雖竭巧思，止同眾工之事，雖曰畫而非畫�！�

To further think about the six laws, it is not difficult to find that the theory of the six law focuses on the objective and objective reality of the six laws, showing the object image of the objective image. With the class color rendering and the transfer molding, many frictions have been retreated to secondary status with the present era of creativity, and the two methods of bone pen and management position are explained, or ambiguous. Words, or side strikes, can not be seen at the end of a needle, to give a clear indication, on the vivid and lively one method, only can not be explained, difficult to teach hard to learn, to speak its truth, more puzzling, far from the image, as the Song Dynasty Guo Ruoxu "picture news" cloud: "six kinds of fine theory never shift, but bone law in the following five methods use pen, but the following five methods of bone law with the pen, but the following five methods of bone law with the pen below Learning, like its charm, must be born in knowledge, solid and unskillful. Again clouds: "the understanding of the understanding, I do not know but also. The painting must be rhyme in the week, but no one in the world. "No matter what we do, it will be a painting rather than a painting."

可學(xué)者較為簡(jiǎn)單，初級(jí)，已不太適應(yīng)當(dāng)代藝術(shù)創(chuàng)作與欣賞要求，且不時(shí)成為阻礙藝術(shù)創(chuàng)作發(fā)展的絆腳石，不可學(xué)者，無(wú)象無(wú)形，恍兮惚兮，高深莫測(cè)，雖有生而知之者，亦是廖若晨星，止在少數(shù)大智大慧者，而不能被多數(shù)畫家學(xué)得，——這正是當(dāng)今理論界面對(duì)當(dāng)代藝術(shù)，理屈詞窮的根本所在，也正象理論家陳履生先生在《中國(guó)美術(shù)與世 界藝術(shù)走向》一文中所講的：“在當(dāng)代美術(shù)理論研究的現(xiàn)實(shí)中，面對(duì)復(fù)雜的藝術(shù)現(xiàn)象，表現(xiàn)出了嚴(yán)重的滯后的問(wèn)題，更為嚴(yán)重的是原有的美術(shù)理論，難以解釋復(fù)雜的當(dāng)代現(xiàn)象，甚至產(chǎn)生種種難以化解的矛盾，而在最需要批評(píng)的時(shí)候，批評(píng)又失語(yǔ)變形，這使我們的美術(shù)理論和批評(píng)處于一個(gè)非常尷尬的境地�！�

But the scholar is more simple and beginner. It has not adapted to the requirements of contemporary art creation and appreciation, and it has become a stumbling block to the development of artistic creation. It is not a scholar, no invisible, unpredictable and unpredictable. Although there is a man of life, it is also a Liao Ruo morning star. This is the root of the contemporary theoretical interface for contemporary art. It is also just as the theorist Chen Sheng Sheng said in the article "the trend of Chinese art and the world art". "In the reality of contemporary art theory research, it shows a serious lagging problem in the face of the complex art image." More serious is the original art theory, it is difficult to explain the complex contemporary phenomenon, and even produce various difficult contradictions, and in the most need of criticism, criticism and aphasia deformation, which makes our art theory and criticism in a very embarrassing situation.

歷史潮流浩浩蕩蕩，順之者昌、逆之者亡，21世紀(jì)的今天，勤勞而智慧的中華民族，順應(yīng)歷史潮流，團(tuán)結(jié)統(tǒng)一，開(kāi)拓進(jìn)取，百業(yè)俱興。中國(guó)紅、中國(guó)結(jié)、中國(guó)印、中國(guó)畫等一系列發(fā)自國(guó)人心聲的中國(guó)名頭，標(biāo)志著中華民族的再度崛起，無(wú)不另國(guó)人引為自豪，我是中國(guó)人，我畫中國(guó)畫，中國(guó)畫家已理直氣壯的打出中國(guó)旗幟，再不受什么“窮途末路”、“廢紙論”等歪理邪說(shuō)的干擾。一大批新時(shí)代成長(zhǎng)起來(lái)的優(yōu)秀中國(guó)畫家無(wú)不挺直了中華民族的脊梁。早已具備了通過(guò)中國(guó)畫藝術(shù)的提高來(lái)吸引外界藝術(shù)家關(guān)注的軟實(shí)力，中國(guó)畫藝術(shù)走向現(xiàn)代和未來(lái)充滿希望。

The tide of history is great, and the people who shun it will die. In the twenty-first Century, the industrious and intelligent Chinese nation conforms to the trend of history, unity and unity, pioneering and enterprising, and flourishing. China's red, Chinese, Chinese, Chinese paintings and other Chinese names, such as Chinese names, symbolized the reemergence of the Chinese nation, and all other people are proud. I am a Chinese, and I draw Chinese paintings. Chinese painters have set up Chinese flags, and are not subject to the "end of the Road" and "waste paper". "The interference of such distortion and heresy. A large number of outstanding Chinese painters growing up in the new era have straightened up the backbone of the Chinese nation. Already has the soft power that attracts the attention of outside artists through the improvement of Chinese painting art, and Chinese painting art is full of hope for the modern and future.

新六法的提出正是在大量研究并親眼目睹中國(guó)當(dāng)代藝術(shù)的不斷出新和中國(guó)畫藝術(shù)理論嚴(yán)重滯后的實(shí)際狀況而提出的新的藝術(shù)理論構(gòu)想。

The new six law is put forward by a large number of studies and witnessed the new artistic theory of Chinese contemporary art and the serious lagging of Chinese painting theory.

新六法不否認(rèn)更不反對(duì)謝赫六法，而是在謝赫六法的理論基礎(chǔ)上進(jìn)行梳理更新、充電活血，使其更具時(shí)代活力，更能被藝術(shù)家靈活運(yùn)用于現(xiàn)代藝術(shù)創(chuàng)造的更具中國(guó)特色的中國(guó)畫藝術(shù)理論。

The new six laws do not deny that Sheikh is not opposed to the six law, but on the basis of the theory of Sheikh's six law to renew and recharge the blood to make it more energetic and more able to be used by artists in the modern art theory of Chinese painting with more Chinese characteristics flexibly.

中國(guó)畫新六法為：氣象靈動(dòng)、適意造形、酌情用筆、黃金定位、隨心賦彩、繼往開(kāi)來(lái)。

The new six methods of Chinese painting are: smart weather, comfortable shape, using pen and gold as appropriate, follow the colors and carry forward the future.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生（左）

Mr. Yan Benli, vice president of the new China Academy of painting and art

新六法分論如下：

一、氣象靈動(dòng)

所謂氣象靈動(dòng)，是對(duì)藝術(shù)作品的基本要求，也是最高標(biāo)準(zhǔn)，與氣韻生動(dòng)既和又分，既同又別，是氣韻生動(dòng)升華后的形象再現(xiàn)。

1、氣象有形、有氣、有象，有語(yǔ)言符號(hào)，有圖式結(jié)構(gòu)，大筆一揮與小筆點(diǎn)厾，用心、用力、用氣自然不同，所見(jiàn)筆痕天壤之別，二者皆由心出意造，氣在筆力，象在紙上，一目了然。點(diǎn)劃間氣象成。

2、氣象初級(jí)者由具象、意象合成，具象：應(yīng)物象形，重景乏意，多見(jiàn)創(chuàng)作初級(jí)階段，以形體、比例，結(jié)構(gòu)為準(zhǔn)，多注重客觀對(duì)象的具體描繪；意象：畫家心意中的形象，既尊重客觀實(shí)象，又在客觀實(shí)象的基礎(chǔ)上進(jìn)行加工，使其符合畫家創(chuàng)作意圖之象。

3、氣象高級(jí)者：具象、意象（心象）之外另有三象，所見(jiàn)畫面形象由具象、意象、漫象、情象、抽象五格融合，屬高級(jí)靈動(dòng)之象。

漫象：有意無(wú)意之間，有法無(wú)法之間，通曉藝?yán)�、技法純熟，通過(guò)適意變形，強(qiáng)化特征，自然灑脫，不經(jīng)意偶得之象。

情象：情真意切，心意兩極、或張或馳、或虛或?qū)崳�既合心意、又合情理，“�?dāng)其下筆風(fēng)雨快，筆所未到氣已吞的雄放之象”（東坡翁贊吳道子畫論）。

抽象：無(wú)具象之象，用筆非常筆，用墨非常墨，用色非常色，物我兩忘，墨彩交融，匠心獨(dú)俱，任意揮灑，似是而非，畫面所見(jiàn)，玄機(jī)四出，快意天然，但見(jiàn)大美，不見(jiàn)一物，另人拍案叫絕之象。

畫家若能五象合一，作品自然氣象靈動(dòng)。同時(shí)，亦包涵著氣韻生動(dòng)。

氣象靈動(dòng)與氣韻生動(dòng)不同之處為：

氣象屬實(shí)，屬虛中實(shí)；氣韻為虛，為實(shí)中虛。生中有靈、靈中有生，靈在生之上，生在靈之中，生化靈，靈成精，而后見(jiàn)象，方為氣象。

氣韻生動(dòng)所能展現(xiàn)的藝術(shù)家的筆墨現(xiàn)象。只是混沌的朦朧的感性的覺(jué)悟過(guò)程中的理論，還沒(méi)有上升為氣象明晰的、理智的、靈動(dòng)的真摯灼見(jiàn)，且“氣韻不可學(xué)，此生而知之，自有天授”（董其昌畫禪室隨筆，畫決句）。另有“六法之難，氣韻為最，意居筆先，妙在畫外，如音棲弦，如煙成靄，天風(fēng)冷冷，水波潺潺，體物周流，無(wú)大無(wú)小，讀萬(wàn)卷書，庶幾心會(huì)”（清黃鉞《二十四畫品》句）等諸多關(guān)于氣韻生動(dòng)的見(jiàn)解多是留于感覺(jué)，而不能成為可視可學(xué)的氣象靈動(dòng)。

氣象與氣韻——形質(zhì)交合而得韻，是為氣韻，氣韻脫形質(zhì)而后化象為氣象，氣韻若動(dòng)、若行、若變、若修、有動(dòng)詞意，氣象若靜、若駐、若狀、若果、有名詞意，氣韻如西方極樂(lè)、環(huán)球大同，深不可測(cè)，高不可攀，捉摸不定。一切處于想象之中；氣象如返璞歸真，大巧若拙、大象見(jiàn)形、大音聞聲。如：脫胎換骨、廬山真面，菩薩化作青春美女、佛爺變?yōu)榍逦�老翁，形之化韻，韻之成象，風(fēng)神瀟灑不滯于物，安祥和諧，物我兩忘，能嬰兒矣！

氣象靈動(dòng)與氣韻生動(dòng)——?dú)庀箪`動(dòng)乃是實(shí)形實(shí)象，實(shí)靈實(shí)情的。氣韻生動(dòng)，乃是虛形虛象、虛靈虛情的。氣象靈動(dòng)，超越了氣韻生動(dòng)的看山不是山，看水不是水的糊涂的無(wú)法之境，而達(dá)到了看山還是山，看水還是水的難得糊涂的真切之境，了然之境。

衣帶漸寬終不悔，為伊消得人憔悴——?dú)忭嵣鷦?dòng)

眾里尋她千百度，驀然回首那人確在燈火闌珊處——?dú)庀箪`動(dòng)

《南齊謝赫古畫品錄》中將古代畫家分為六品二十七人，是為中國(guó)最早的畫評(píng)，但當(dāng)時(shí)所評(píng)畫家作品傳世寥寥無(wú)幾，今人已無(wú)從認(rèn)知，謝赫之后，更是大師輩出，畫評(píng)多多。這氣象靈動(dòng)應(yīng)是當(dāng)今中國(guó)藝術(shù)家通過(guò)中國(guó)筆墨所傳達(dá)的中華八千年文明的智慧之靈，是優(yōu)秀的中華民族集世界人類藝術(shù)之大成，融道歸一之靈。氣象靈動(dòng)應(yīng)作為當(dāng)代藝術(shù)品評(píng)的一條標(biāo)準(zhǔn)。

《一花一世界》68cm x 136cm 晏本立/畫

《愛(ài)與恨》68cm x 68cm 晏本立/畫

The new six methods are divided into the following:

one.eteorology

The so-called "Meteorological spirit" is the basic requirement and the highest standard for the works of art. It is both the same as well as the same and different. It is the image reproduction after the vivid sublimation.

1, the weather has the shape, the gas, the elephant, has the language symbol, has the schema structure, the big pen wave and the small pen point, the heart, the force, the gas naturally different, the pen mark is different, the two all are made by the heart, the gas in the pen, like on the paper, at a glance. There is a meteorology between the points.

2, the meteorology beginner is synthesized by the figurative image and image, with a concrete image: the object is pictographic and the scenery is tired, and the initial stage of the creation is much more common. It takes the shape, proportion and structure as the criterion, and pays more attention to the specific deion of the objective object; the image, the image of the painter's heart, respects the objective reality and processes it on the basis of objective reality. It conforms to the artist's creative intention.

3, the meteorological senior: the concrete image, the image (heart image) other three other images, the picture image from the concrete, image, diffuse image, emotional image, abstract five grid fusion, is an image of advanced spirit.

Diffuse image: between intentional or unintentional, there is no law between art and skill. It is familiar to art and skills. Through appropriate deformation, strengthening features, natural and free and casual, unintentional and casual image.

Feelings: true feelings, feelings of two poles, or Zhang or Chi, or virtual or real, not only to the mind, but also reasonable, "when the wind and wind quickly, the pen has not been able to swallow the image of the male" (Dongpo Weng Zan Wu Daozi painting theory).

Abstract: no concrete image, with a pen, ink, ink color, color very color, I two forget, ink and color blend, ingenuity, arbitrary, plausible, picture see, mysterious machine four out, natural, but see the great beauty, not see one thing, the other people beat the case.

If the painter can combine the five images, the work will be naturally and naturally moving. At the same time, it also contains vivid charm.

The vivid difference between the meteorological spirit and the spirit is:

Meteorology is true. It is a virtual reality. There is spirit in life, in spirit there is life, spirit is above life, born in spirit, biochemistry, spirit, essence, and then see the elephant, the square is the weather.

The artist's ink and ink phenomena can be expressed in vivid and vivid style. But the theory of the hazy perceptual consciousness of chaos has not yet risen to the clear, rational and spiritual insight of the weather, and "the spirit can not be learned, this life is known, and his own nature is taught" (Dong Qichang's paintings of the meditation room, drawing a sentence). In addition, the "six laws are difficult, the spirit is the most, the meaning of the pen first, the wonderful in the painting, such as the sound of the chord, such as smoke, the wind cold, water ripples, body and body flow, no big and small, read ten thousand volumes of books, many heart meeting" (Qing Huang Yue "twenty-four paintings") and many other vivid views on the spirit, and many are left in feeling, and can not be formed It is a visually visible meteorology.

Meteorology and rhyme - form quality intersection and rhyme, is for the rhyme, Qi rhyme and then the appearance of the image as the weather, rhyme if moving, if, if change, if the change, if there is the meaning of speech, if the weather, if stationed, if the shape, if, if the name of the word, such as the western music, universal, unpredictable, unpredictable, unattainable and unpredictable. Everything is in imagination; the weather is like returning to innocence, with great skill, with elephants seeing shapes and loud sounds. Such as: rebirth, Lushan true face, the Bodhisattva as a young woman, the Buddha into a clear old man, the shape of the rhyme, rhyme of the image, the wind and natural and unrestrained things, peace and harmony, I two forget, can be a baby!

The weather is vivid and vivid, vivid, vivid, vivid, and vivid. Vivid and vivid is the false form, the false and the false. To see the mountain is not the mountain, the water is not the muddle of the water, and the sight of the mountains or the mountains, the water or the water.

With the widening of the clothes, I will never regret, and I will be haggard for Iraq.

The crowd searched her for thousands of degrees, and suddenly looked back at the man who was in the dim lights.

"The ancient paintings of Sheikh in South Qi" divided the ancient painter into six products and twenty-seven people, which was the earliest painting evaluation for China. But at that time, few painter works were passed on, and the present man had no understanding. After Sheikh, more masters came out in large numbers. This meteorological spirit should be the spirit of the wisdom of the Chinese eight thousand year civilization, which is conveyed by Chinese artists and ink. It is the spirit of the excellent Chinese nation to gather the world's human art. Meteorology should be regarded as a standard for contemporary art criticism.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生創(chuàng)作中

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·心像水墨作品欣賞

Vice president of the new China Academy of painting and art.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·心像水墨作品欣賞

Vice president of the new China Academy of painting and art.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·心像水墨作品欣賞

Vice president of the new China Academy of painting and art.

二、適意造形

適意造形是藝術(shù)家經(jīng)過(guò)長(zhǎng)期對(duì)所表現(xiàn)的客觀物象研究、理解，以及反復(fù)描繪過(guò)程中提煉概括的結(jié)果，是藝術(shù)家主觀能動(dòng)的描繪自然不斷升華后的主觀和客觀巧妙結(jié)合的產(chǎn)物，也是應(yīng)物象形的成長(zhǎng)成熟后的恰當(dāng)、靈活的藝術(shù)處理。

翻一翻中國(guó)美術(shù)史、上溯7000年前的原始巖畫，沿新石器時(shí)代老官臺(tái)、半坡、仰韶、紅山，以及馬家窯彩陶中最典型的人面魚(yú)紋盆、舞蹈紋盆到夏、商、周的雕塑、玉器、青銅器，乃至秦漢的帛畫、衣飾、畫像石等。我們所有能見(jiàn)到的藝術(shù)品，總趨向呈現(xiàn)出由寫實(shí)到寫意，由具象向抽象演變發(fā)展的脈絡(luò)，無(wú)不包涵著藝術(shù)家和匠人們的“適意造形”的理想因素。漢唐以后，由于中國(guó)封建社會(huì)的長(zhǎng)期統(tǒng)治，中國(guó)藝術(shù)的發(fā)展一直處在相對(duì)保守和大膽創(chuàng)新之間的矛盾對(duì)立時(shí)代。其間工具材料的變更，宣紙的發(fā)明，寫意畫的出現(xiàn)逐步產(chǎn)生了實(shí)用美術(shù)和純欣賞美術(shù)的分道揚(yáng)鑣，直至純中國(guó)繪畫的人物、山水和花鳥(niǎo)三兄弟分家之前。

數(shù)一數(shù)當(dāng)代活躍在中國(guó)畫壇的領(lǐng)軍人物，無(wú)一不是根據(jù)自己對(duì)所描繪的自然物象進(jìn)行了符合自己創(chuàng)作意圖的符號(hào)化加工后的再生藝術(shù)形象，這一現(xiàn)象貫穿在中國(guó)藝術(shù)的各個(gè)門類，在寫意畫、漫畫、裝飾畫中表現(xiàn)更為突出。作為純中國(guó)繪畫的人物、山水、花鳥(niǎo)也不例外�，F(xiàn)代中國(guó)畫又受到了西方諸流派的影響。山水、花鳥(niǎo)、人物的進(jìn)步依次排列，一個(gè)比一個(gè)走得更遠(yuǎn)，更脫離了自然形象而趨向藝術(shù)家的適意造形。近代山水大師黃賓虹筆下的作品，足以說(shuō)明這一點(diǎn)。他將自然山水現(xiàn)象概括綜合加工提煉，取其精華，以純粹的筆墨形式，點(diǎn)線面的造型元素直接運(yùn)用于山水畫中，重新組合成意中山水，可謂近代典范。更有李可染、陸嚴(yán)少、傅抱石等一批山水大師們的適意造形，把中國(guó)山水畫推向人文思逸的崇高境界，山水畫領(lǐng)域在這批大師們引領(lǐng)下出現(xiàn)了當(dāng)代前所未有的暫新局面；花鳥(niǎo)、人物亦各有代表，如吳昌碩、齊白石、潘天壽、任伯年、徐悲鴻、蔣兆和等，他們的作品都有特色鮮明的自家氣象。然而中國(guó)繪畫領(lǐng)域的適意造形值得一說(shuō)的還有近代出現(xiàn)的漫畫、裝飾畫、巖彩畫和抽象畫，而謝赫《古畫品錄》中所列舉的只是他那個(gè)時(shí)代的畫家作品中展現(xiàn)的現(xiàn)象，應(yīng)物象形的要求只能代表謝赫對(duì)古代畫家藝術(shù)品評(píng)標(biāo)準(zhǔn)的一家之言，他不可能也不會(huì)考慮到適意造形的繪畫要求。

“論畫以形似，見(jiàn)與兒童臨”這是宋代文學(xué)家蘇東坡真對(duì)當(dāng)時(shí)應(yīng)物象形畫風(fēng)提出的批評(píng)標(biāo)準(zhǔn)，至今已被當(dāng)代畫家作為口頭禪，且倍受關(guān)注，或夸張、或意變、或裝飾、或浪漫、或意象、或抽象，藝術(shù)家們大都有意無(wú)意中遵循著適意造形的藝術(shù)軌跡。任何一位有理想、有見(jiàn)地的藝術(shù)家無(wú)不努力的尋找著“屬于自己的語(yǔ)言符號(hào)”。“太似為媚俗，不似為欺世，妙在似與不似之間”，是齊白石大師對(duì)古代繪畫理論研究和自己藝術(shù)實(shí)踐中的體悟。當(dāng)今畫家、藝術(shù)家無(wú)不在如何將客觀物象轉(zhuǎn)化為藝術(shù)形象方面不同程度的努力探索著。這里再不是一個(gè)應(yīng)物象形的畫法能夠使畫家、藝術(shù)家滿足的了。應(yīng)物象形只可以作為初學(xué)繪畫的基本要求�？梢赃@樣講：不通過(guò)應(yīng)物象形的基本訓(xùn)練就不可能有適意造形的成功創(chuàng)作。換句話說(shuō)，只有有了應(yīng)物象形的堅(jiān)實(shí)基礎(chǔ)，才有可能合理正確的適意造形，也才能產(chǎn)生高水平的藝術(shù)作品。因而適意造形應(yīng)是當(dāng)代畫家、藝術(shù)家進(jìn)行藝術(shù)創(chuàng)作的主流。

Two. Conformal

It is the result of the artist's long term objective object research, understanding, and repeated depiction, which is the product of the subjective and objective ingenious combination of the artist's subjective and dynamic depiction of nature and the objective and the objective, and the proper and flexible art treatment after the growth and maturity of the pictograph.

The history of Chinese art and the original rock paintings of 7000 years ago, along the new stone age old official platform, Banpo, Yangshao, Hongshan, and Ma Jia Yao pottery, the most typical fish pots, dance pots to summer, Shang and Zhou sculpture, jade, bronze, and even the Qin and Han silk painting, clothes, portrait stone and so on. All the works of art we can see tend to show the context from realism to freehand, from concrete to abstract evolution, with all the ideal factors for artists and craftsmen. Since the Han and Tang Dynasties, due to the long rule of feudal society in China, the development of Chinese art has been in an era of contradiction between conservative and bold innovation. In the meantime, the change of tool materials, the invention of Xuan paper, and the appearance of freehand brushwork have gradually produced the separation of the practical art and the pure appreciation of the fine arts until the three brothers, the characters, the mountains and rivers and the flowers and birds in the pure Chinese painting.

Many of the leading figures who are active in the Chinese painting world, all of which are based on the symbolic processing of the natural objects described by themselves after the symbolic processing of their own creative intention. This phenomenon runs through the various categories of Chinese art, and is more prominent in freehand paintings, comics and decorative paintings. As a pure Chinese painting, figures, landscapes, flowers and birds are no exception. Modern Chinese painting has also been influenced by Western schools. The progress of landscapes, flowers and birds and characters is arranged in sequence, one goes farther than one, and more deviate from the natural image and tends to the artist's comfortable shape. The works of Huang Binhong, a modern landscape master, are enough to illustrate this point. He generalizes the natural landscape phenomenon and extracts the essence of the phenomenon, taking the essence, using the pure ink and ink form, the modeling elements of the point and line surface directly in the landscape painting, and recombining it into the artistic landscape, which is a modern model. Li Keran, Lu Yan little, Fu Baoshi and a number of mountains and water masters of the appropriate form, the Chinese landscape painting to the lofty realm of humanistic thought, landscape painting field under the guidance of these masters appeared in the contemporary unprecedented new situation; flowers and birds, characters are also representative, such as Wu Changshuo, Qi Baishi, Pan Tianshou, Ren. In their works, such as Boer, Xu Beihong and Jiang Zhaohe, they all have their own distinctive characteristics. However, it is worth mentioning in the field of Chinese painting that there are modern comics, decorative paintings, rock color paintings and abstract paintings, and Sheikh's book of ancient paintings only enumerated the phenomena in his paintings of that time. The requirement of the pictograph of the object can only represent Sheikh's standard for the artistic evaluation of the ancient painters. He can not and will not take into account the requirement of comfortable painting.

"On the form of painting, to see with children" is the critical standard for the pictograph style of the Song Dynasty writer Su Dongpo, which has been taken as the mantra of the contemporary painter, and has attracted much attention, or exaggeration, or change, or decoration, or romance, or image, or abstract, and most of the artists are consciously or unintentionally. The artistic track of a suitable form. Any artist with ideals and insight will strive to find his own language symbol. "It seems too much to be vulgar, not to deceive the world, but between good and bad." it is Qi Baishi's understanding of ancient painting theory and his own artistic practice. Nowadays, artists and artists are trying to explore different ways to transform objective images into artistic images. This is no longer a pictographic representation, which can satisfy artists and artists. The object pictograph can only serve as a basic requirement for painting in the beginner. It can be said that without the basic training of object and pictograph, it is impossible to have a successful creation of comfortable shape. In other words, only with the solid foundation of the object pictograph can it be possible to create a high level of art works with reasonable and correct form. Therefore, comfortable shape should be the mainstream of contemporary artists and artists.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生創(chuàng)作中

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·人物畫作品欣賞

ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·人物畫作品欣賞

ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·人物畫作品欣賞

ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art

三、酌情用筆

酌情用筆故名思意是畫家依據(jù)創(chuàng)作需要，為達(dá)到理想的畫面效果所選擇的合理合情的用筆方法，是骨法用筆的拓展和進(jìn)步，是畫家情感所致，既興發(fā)揮時(shí)的寫意性用筆方法。當(dāng)單一的骨法用筆不能滿足題材需要時(shí)，當(dāng)畫家性情噴發(fā)脫離了低級(jí)趣味時(shí)，當(dāng)藝術(shù)家隨心所欲、揮灑自如時(shí)，用筆自然灑脫靈動(dòng)，有法無(wú)法、有意無(wú)意、得意忘形、酣暢淋漓，神品、逸品自生筆下，此時(shí)用筆怎一個(gè)骨法了得。

初級(jí)階段的畫家，畫山依此山，畫水依此水，受形之所拘、象之所限、用筆小心意異，生怕走了形體，壞了象形，因而嚴(yán)格遵循骨法用的行規(guī)，應(yīng)物象形地描繪著可觸可視的客觀物象。畫雞像雞、畫狗像狗、畫人像人、好家伙，大畫家啦！。當(dāng)然：謝赫六法中的骨法用筆滋養(yǎng)了歷代大批的中國(guó)畫家從未有人對(duì)其法產(chǎn)生疑義。

但是：自唐宋以來(lái)沒(méi)骨法`大寫意的出現(xiàn)，以至當(dāng)代中西合璧、古今道一的心象、意象、抽象藝術(shù)的參與，已經(jīng)沖破了骨法用筆的壁疊。在藝術(shù)家以意象、抽象的繪畫形式，快意天然地舒展自己胸襟時(shí)，骨法用筆就顯得乏力、無(wú)奈。

當(dāng)代繪畫無(wú)論是工筆還是寫意、無(wú)論是山水、花鳥(niǎo)、人物，骨法用筆已漸退二線，真正支撐藝術(shù)作品的用筆方法，是相對(duì)獨(dú)立的構(gòu)成形式美的筆墨結(jié)構(gòu)；肌理、意象、漫象、情象、抽象、均是不擇手段的“酌情用筆”的結(jié)果。所謂“吳代當(dāng)風(fēng)，曹衣出水；中國(guó)畫十八描” 。再有：“皴、擦、點(diǎn)、厾、擢、揉、按、拖、刷、潑”等一系列用筆方法均超出了骨法用筆界線。石濤的“一筆法”；潘天壽的“筆墨當(dāng)隨時(shí)代”；李可染先生的“逆光山水”，都從不同角度證明了“酌情用筆”的重要性�！皼](méi)有為了更美不能破壞的規(guī)律”，這是西方作家歌德的名言，也從另一方面說(shuō)明：只要為了更美，任何成規(guī)、程式皆可打破，重新構(gòu)建更美的視覺(jué)形式。趙無(wú)極的抽象藝術(shù)，吳冠中的“筆墨等0”觀念，劉國(guó)松的無(wú)筆山水畫，以及倍受當(dāng)代畫家推崇的黃賓虹的積墨山水等，無(wú)不給人以美的享受，哪里還去計(jì)較什么骨法不骨法呢！。

當(dāng)代畫家無(wú)不主張：在進(jìn)行藝術(shù)創(chuàng)作時(shí)，為達(dá)到理想的畫面效果，可以不擇手段，可以顛倒黑白，可以無(wú)中生有，可以……“你年輕，沒(méi)有什么不可以”，“管它姓資姓社，大膽試、大膽闖。不爭(zhēng)論，發(fā)展才是硬道理”，一個(gè)活原則不能變，只要為了你的作品更美。

關(guān)于酌情用筆，明人解縉，有段名言：“愈近而愈未近，愈至而愈未至，切磋之、琢磨之、冶之已精，益求其精，一旦豁然貫通焉。忘情筆墨間，調(diào)和心手間，不知物我之所有間，體會(huì)造化而生成之象�！奔辞楹V意切，偶然欲畫，于是乎解衣磐礴，展紙調(diào)墨，縱意揮灑，點(diǎn)劃間筆筆生法，一氣呵成，早已把骨法用筆拋出九霄云外。

但此酌情用筆法，必須在藝術(shù)家脫離低級(jí)趣味、擺脫呆板教條的偏見(jiàn)之后；當(dāng)通今博古、學(xué)貫中西，集藝術(shù)大成者用之更為靈驗(yàn)。

Three. Use a pen as appropriate.

Thinking with the name of the pen is a reasonable and reasonable style of writing for the artist to achieve the desired effect of the picture. It is the expansion and progress of the pen of bone law, the emotion of the painter, and the style of writing. When a single bone law pen can not meet the needs of the subject matter, when the painter's temperament erupts away from the low taste, when the artist is free and free and free and free, the artist is unable, unintentionally, unwittingly, unwittingly and thoroughly.

The painter of the primary stage, drawing mountains on this mountain, drawing water on the water, being restrained by the shape, being limited by the image, and careful with the pen, is afraid to walk the form and bad pictograph, so that the rules of the bone law are strictly followed, and the object image can be depicted in a pictographic manner. The chicken is like a chicken, a dog like a dog, a portrait of a human being, a good fellow, a great painter! Of course: Sheikh's six methods used to nourish the large number of Chinese painters in the past dynasties.

However, since the Tang and Song Dynasties, there has not been the appearance of "great freehand", as well as the participation of the contemporary Chinese and Western Chinese, the image of the ancient and modern Tao, the image and the abstract art, which have broken the stack of the bone law. When artists use images and abstract paintings to express themselves naturally and happily, their bones and bones are useless and helpless.

Whether it is brushwork or freehand painting, whether it is landscapes, flowers and birds, characters, bone law has gradually returned to the second line, the real support of the art works of the pen method is a relatively independent form of the form of the beauty of the pen and ink structure; texture, image, image, emotion, abstract, are not the choice of means of "discretionary use of the pen" result. The so-called "Wu Dai Feng, Cao Yi water; eighteen Chinese painting." There are also a series of strokes, such as chapping, rubbing, pointing, pressing, pushing, rubbing, pressing, dragging, brushing and splashing. Shi Tao's "pen and ink"; Pan Tianshou's "ink and ink when the times"; Mr. Li Keran's "backlight landscape", all from different angles to prove the importance of "using the discretion of the pen". "There is no law for more beauty that can not be destroyed", which is a famous western writer Gerd. On the other hand, as long as it is more beautiful, any rules and programs can be broken and a more beautiful visual form is rebuilt. Zhao Wuji's abstract art, Wu Guanzhong's "0" concept of "pen and ink", Liu Guosong's brushless landscape painting, and the painting of Huang Binhong, which is highly praised by contemporary painters, all give people the enjoyment of beauty, where there is no bone of bone law.

Contemporary artists have no doubt that in the process of artistic creation, in order to achieve the desired effect of the picture, can be unscrupulous, can reverse black and white, can be unsuccessful, can... "You are young, there is nothing you can't do". No dispute, development is the absolute principle ", a living principle can not change, as long as your work is more beautiful.

With regard to the use of the pen, there are some famous words: "the closer and the more not, the more and more, the more and more of it." Forget the pen and ink, and reconcile the heart, do not know all things between me, and realize the image created by nature. That is, love to cut, by chance to draw, so the rock of the majestic, paper, ink spread, longitudinal meaning of the spray, Bibi between the point row, one breath, has long been thrown out of bone law.

However, it is necessary for the artist to break away from the low taste and get rid of the prejudices of the rigid dogma.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生創(chuàng)作中

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·心像水墨作品欣賞

Vice president of the new China Academy of painting and art.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·心像水墨作品欣賞

Vice president of the new China Academy of painting and art.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·心像水墨作品欣賞

Vice president of the new China Academy of painting and art.

四、黃金定位

黃金定位是新六法中最為關(guān)鍵的一法，可以直接取代謝赫六法中的經(jīng)營(yíng)位置。黃金定位是根據(jù)黃金分割率的美學(xué)原則提出的最直白最恰當(dāng)?shù)慕?jīng)營(yíng)位置的方式方法，亦可稱為黃金構(gòu)成。

黃金分割是古希臘數(shù)學(xué)家在進(jìn)行線段分割時(shí)發(fā)現(xiàn)的，具有美學(xué)價(jià)值的規(guī)律；短線與長(zhǎng)線之比正好等于長(zhǎng)線和整條線之比即1：1.618，這是古希臘數(shù)學(xué)家比達(dá)格拉絲的發(fā)現(xiàn)。后來(lái)被古希臘美學(xué)家柏拉圖將它稱為黃金分割。又被德國(guó)的美術(shù)家譯親稱為黃金分割率，按照這一比率設(shè)計(jì)的任何圖象都能給人以美的視覺(jué)快感，后來(lái)黃金分割率就成為美術(shù)家普遍運(yùn)用的美學(xué)規(guī)律。這一美學(xué)規(guī)律，并不是西方人的發(fā)明專利，它是客觀世界亙古永存的一條美的真理。我們?yōu)槭裁床荒苣脕?lái)和我們的國(guó)畫創(chuàng)作接軌呢？

中國(guó)歷代畫家在如何“經(jīng)營(yíng)位置”方面曾作出大量努力，也總結(jié)了很多寶貴經(jīng)驗(yàn)，如：中國(guó)山水畫中的散點(diǎn)透視，或依據(jù)道家太極圖的構(gòu)成原理、陰陽(yáng)學(xué)說(shuō)等，對(duì)畫面進(jìn)行合理的布局，同時(shí)也都將自己的成功經(jīng)驗(yàn)記錄成書傳授后學(xué)。但經(jīng)營(yíng)位置，至今仍是“道可道，非常道；名可名，非常名。”多是籠統(tǒng)的講到了要很好的經(jīng)營(yíng)位置、經(jīng)營(yíng)位置非常重要，更細(xì)一點(diǎn)也只是提出：“三角形”、“對(duì)角線”、“s形”、或說(shuō)要計(jì)白當(dāng)黑，黑大白小，黑小白大，大小不可等分，等等。也不知先賢們?yōu)楹尾恢v黃金分割率？難道真的怕天機(jī)泄露玉帝降罪故意回避這一美學(xué)原則？。一直很少有人強(qiáng)調(diào)黃金分割在中國(guó)畫經(jīng)營(yíng)位置中的作用，而黃金分割率恰恰在現(xiàn)代設(shè)計(jì)學(xué)、現(xiàn)代構(gòu)成學(xué)中被作為美的核心理論廣泛應(yīng)用于實(shí)踐。我們中國(guó)畫家早就應(yīng)該把她用于我們的中國(guó)畫構(gòu)圖了！

如果我們的中國(guó)畫構(gòu)圖也用黃金分割率進(jìn)行物象定位和筆墨定位，把畫面的主要部分放置在黃金分割線的交點(diǎn)處，把其次要部分圍繞主題漸次布局，以行成眾星捧月、`主次分明、清爽神暢的藝術(shù)效果。視覺(jué)美感自然產(chǎn)生無(wú)疑。

我們把構(gòu)成畫面的抽象元素：黑白、虛實(shí)、濃淡、干濕、粗細(xì)、疏密、大小、多少、點(diǎn)線面黑白灰等，這諸多的矛盾都以黃金分割的比率安排在畫面上，如：黑白面積的大小比例按照1：1.618分布，畫面上所有出現(xiàn)的對(duì)立關(guān)系都依據(jù)黃金分割比率定位安置。（這里并不是要求畫家呆板的按照黃金率數(shù)字安置，只是要求畫家能夠在構(gòu)圖時(shí)考慮到黃金比例之大概即可）。這樣就會(huì)自然得到畫面的和諧統(tǒng)一。李可染先生曾說(shuō)過(guò)：“你能把諸多的矛盾在你畫面上統(tǒng)一起來(lái)就是一幅好畫”，這好畫正是把這諸多的矛盾按照黃金分割的比率布局產(chǎn)生的，除此將無(wú)法講得清如何布局才能產(chǎn)生美。好一個(gè)經(jīng)營(yíng)位置一千多年來(lái)引導(dǎo)畫家們“鬼打墻”式的忽悠了上百代人，除少數(shù)畫家參透玄機(jī)走出它的魔圈成了大師外，多數(shù)畫家窮盡一生精力，也只能停留在匠人、藝人的層面，盡管歷代畫家們也不斷為“經(jīng)營(yíng)位置”充實(shí)內(nèi)容，積累了一些較為成熟、成功的經(jīng)驗(yàn)，但始終沒(méi)能跳出混沌學(xué)的掌心，到現(xiàn)在還沒(méi)有哪一位大師能夠一針見(jiàn)血的把如何“經(jīng)營(yíng)位置”講清楚。

科技發(fā)展到今天，我們的生活已進(jìn)入數(shù)字化信息時(shí)代，我們?cè)僖材筒蛔⌒宰雍�里糊涂地重�?fù)研究那如何“經(jīng)營(yíng)位置”了。中國(guó)畫要想長(zhǎng)足發(fā)展，畫家們就應(yīng)該敢于沖破一切陳規(guī)舊俗，轉(zhuǎn)動(dòng)科學(xué)頭腦，廣泛吸收一切姊妹藝術(shù)之長(zhǎng)，重視黃金分割律的研究，采取黃金定位法，取代空洞、虛無(wú)的經(jīng)營(yíng)位置是當(dāng)代畫家、藝術(shù)家走進(jìn)藝術(shù)殿堂的一條捷徑。否則憑您怎樣地解釋、構(gòu)圖構(gòu)成、擺陣布勢(shì)，也很難講清楚視覺(jué)美的根本規(guī)律。

運(yùn)用黃金定位法，在經(jīng)營(yíng)位置的時(shí)候，我們不能單純停留在線段的分割上，還應(yīng)注重研究面積的體塊的分割關(guān)系，如濃墨淡墨的比率，冷色暖色的比率，實(shí)象虛象的比率、等等一切對(duì)立的筆墨現(xiàn)象，統(tǒng)統(tǒng)按照黃金分割的比率統(tǒng)一起來(lái)，所見(jiàn)畫面即使沒(méi)有任何形象，純以筆墨、色塊的面目出現(xiàn)，同樣也能給人美得享受，這就是抽象美的根本所在。無(wú)論東方、西方，古代、現(xiàn)代，具象、抽象，離開(kāi)了黃金定位法，偏離了黃金比率，都難以達(dá)到真正的視覺(jué)美。

Four, gold positioning

Gold positioning is the most critical method in the six new laws, which can directly replace the business position of Sheikh's six laws. Gold positioning is the most direct and appropriate way of business location based on the aesthetic principle of golden section rate. It can also be called gold composition.

The golden section was found by the ancient Greek mathematicians in line segment division, which has the law of aesthetic value; the ratio of the short line to the long line is just equal to the ratio of the long line to the whole line, that is, 1:1.618. This is the discovery of the ancient Greek mathematician than Da Gras. Later, it was called the golden section by Platon, an ancient Greek Aesthetic scientist. It is also known as the golden rate of gold by German artists. Any image designed according to this ratio can give people a beautiful visual sense of vision. Later, the rate of gold segmentation has become the aesthetic rule that the artists generally use. This aesthetic rule is not a Western invention patent. It is a beautiful truth that the objective world has enduring forever. Why can't we get in touch with our traditional Chinese painting?

Chinese painters have made great efforts in how to "manage position", and have summed up a lot of valuable experience, such as the perspective of scattered points in Chinese landscape painting, or the rational layout of the picture according to the principle of Taoist Tai Chi map, the theory of yin and Yang and so on, and also record his own successful experience as a book. After learning. But the location of operation is still "Dao Dao Dao" and "very Dao". Generally speaking, it is very important to manage the position and position of business very well, and the finer point is that "triangle", "diagonal", "s", or "white", "black", "black white", "black white", "small size", and so on. I do not know why the sages do not speak the golden rate? Is it really afraid of heaven's revelation that the Jade Emperor's crime is deliberately evading this aesthetic principle? Few people have emphasized the role of gold segmentation in the management position of Chinese painting, and the golden rate is widely used in practice as the core theory of beauty in modern design and modern composition. Our Chinese painters should have used her in the composition of our Chinese paintings long ago.

If the composition of Chinese painting is also used for the location of the object image and the position of the pen and ink, the main part of the picture is placed at the intersection point of the golden section, and the next part is arranged around the theme gradually, in order to achieve the artistic effect of the stars and the stars. There is no doubt that the aesthetic sense of the vision is natural.

We take the abstract elements of the picture: black and white, virtual, thick, dry and wet, thick, dense, size, number, point and line, black and white, and so on. These contradictions are arranged on the picture with the ratio of golden section, such as the proportion of black and white area according to the distribution of 1:1.618, all the antagonism on the picture Location is located according to the ratio of gold division. (this is not to require artists to be flexible in placement according to the golden rate, but only requires the artist to take into account the golden ratio in composition.) This will naturally get the harmonious unity of the picture. Mr. Li Keran once said, "it is a good picture that you can unify a lot of contradictions in your picture". This good painting is produced by the proportion of these contradictions according to the ratio of gold. In addition, it will not be able to explain how the layout can produce beauty. For more than one thousand years, a good business position has led the painters "ghosts and walls" style to go to hundreds of generations. In addition to a few painters who have gone out of its magic circle as masters, most painters have exhausted their life and can only stay on the level of craftsmen and artists, although the artists of the past dynasties are constantly enriching their "position". He has accumulated some more mature and successful experience, but has never been able to jump out of the palm of chaos, and there is no one who can see how to "manage position".

With the development of science and technology today, our life has entered the era of digital information, and we can no longer be able to resist the ambiguity of how to "manage position". In order to make great progress in Chinese painting, painters should dare to break through all the old and conventional customs, turn scientific minds, absorb the length of all sister arts, pay attention to the study of the golden rule, and take the golden location method instead of the empty and nihilistic business position as a shortcut to the art palace. Otherwise, it is difficult to tell clearly the fundamental law of visual beauty, depending on how you interpret, composition and array.

Using the golden location method, when we operate the position, we can not simply stay on the segment of the line, but we should pay more attention to the segmentation of the block of the area, such as the ratio of ink and ink, the ratio of cold and warm color, the ratio of the imaginary image, and all the opposites of the pen and ink, all in accordance with the ratio of gold. Even if there is no image of the picture, the appearance of the pen and ink and the color of the color can also be enjoyed by the people, which is the root of the abstract beauty. East and West, ancient and modern, concrete and abstract, leaving the golden positioning law, deviating from the golden ratio, it is difficult to achieve real visual beauty.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生（左）

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·山水畫作品欣賞

Vice president of new China Painting Art Research Institute, Yan Ben Li, appreciation of landscape paintings

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·山水畫作品欣賞

Vice president of new China Painting Art Research Institute, Yan Ben Li, appreciation of landscape paintings

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·山水畫作品欣賞

Vice president of new China Painting Art Research Institute, Yan Ben Li, appreciation of landscape paintings

五、隨心賦彩

隨心賦彩，不同于隨類賦彩，隨心賦彩是藝術(shù)家根據(jù)所畫作品主體內(nèi)容的需要、根據(jù)畫面圖式構(gòu)成要求和藝術(shù)家情感表達(dá)的創(chuàng)意性參與所展現(xiàn)于作品的設(shè)計(jì)色彩樣式。自然界的顏色千變?nèi)f化，人類的認(rèn)識(shí)寥寥無(wú)幾，看紅即紅，看綠即綠，實(shí)在幼稚可笑，世事如棋、一切都在變數(shù)中，有心栽花花不開(kāi)，無(wú)意插柳柳成蔭，事于愿為，歪打正著之事常有，弄巧成拙、因禍得福之事常見(jiàn)。藝術(shù)家可以實(shí)事求是憑實(shí)際畫實(shí)際，亦可以憑印象畫印象，也可以憑理想畫理想，當(dāng)今社會(huì)人為主宰，藝術(shù)家雖不象政治家那樣可以叱咤風(fēng)云，顛倒乾坤，但為了審美需要在一張紙上涂青摸綠，加上點(diǎn)藝術(shù)家特有的情感色彩，總不會(huì)被殺頭吧？！人類藝術(shù)在科技時(shí)代的今天已贏得了愈來(lái)愈自由的發(fā)展空間，我們雖不象西方某藝術(shù)家那樣極端個(gè)人主義的搞一些神經(jīng)病藝術(shù)。中國(guó)畫家在他的水墨畫作品中用點(diǎn)顏色也不可能被指責(zé)為大逆不道吧！即使您用錯(cuò)了，本該用綠，錯(cuò)把紅色當(dāng)綠色了，也不一定就失去了中國(guó)畫的特點(diǎn)。當(dāng)然也可能有些少見(jiàn)多怪者，說(shuō)您不合祖宗禮制，把國(guó)畫弄得國(guó)將不國(guó)了，我想也沒(méi)必要害怕，中國(guó)畫自有中國(guó)特點(diǎn)，她不能總把自己束縛在文人畫的小圈子里，她要前進(jìn)，她要發(fā)展，她的外沿也可以不斷放大，只要具備中國(guó)文化觀念，用中國(guó)特制的工具材料畫的畫都是中國(guó)畫。外國(guó)人如果學(xué)了中國(guó)文化，用中國(guó)畫材料作畫，也應(yīng)視為中國(guó)畫。中國(guó)畫要生存要發(fā)展，就要與時(shí)俱進(jìn)，隨心賦彩是藝術(shù)家用色成熟的表現(xiàn)，它是在隨類賦彩方面的靈活運(yùn)用，亦是出于更美的要求，在畫面上增加一些藝術(shù)家獨(dú)具匠心的理想和諧的情感色彩。我們沒(méi)必要大驚小怪，也不要認(rèn)為不講理，如果只講死理，那就沒(méi)有了辨證法，就會(huì)受理的約束，畫個(gè)圈讓您站里面別出來(lái)，你就不要出來(lái)了嗎？人常說(shuō)不依規(guī)距不能成方圓，深層想一下，如果依了規(guī)矩，只能成方圓。隨心賦彩也不是胡編亂造沒(méi)有了準(zhǔn)繩，隨心之心是藝術(shù)家根據(jù)畫面的需求，以大美術(shù)、以大色調(diào)、以大視覺(jué)的美學(xué)原則。依據(jù)色彩學(xué)的對(duì)比與協(xié)調(diào)、呼應(yīng)與銜接等重要色彩關(guān)系原理，進(jìn)行黃金色塊的設(shè)置、選擇能夠使人賞心悅目的關(guān)聯(lián)色彩，這是審美視覺(jué)需要，是高層次的隨類賦彩，而不是毫無(wú)根據(jù)地糊涂亂抹。

關(guān)于隨心賦彩，中國(guó)古代畫家多有應(yīng)用，可以說(shuō)自中國(guó)畫產(chǎn)生至今，沒(méi)有一個(gè)畫家不理解隨心賦彩的，中國(guó)水墨畫一開(kāi)始就用墨去畫，這墨本身就是中國(guó)藝術(shù)家的隨心獨(dú)造；唐代李思訓(xùn)、李詔道父子的青綠山水，與后來(lái)中國(guó)文人畫的寫意水墨都是畫家隨心賦彩的極端表現(xiàn)。

當(dāng)代畫家在掌握了現(xiàn)代科學(xué)知識(shí)，并且享受著人類進(jìn)步的高科技成果的時(shí)候，早將自然人類萬(wàn)物融匯貫通，已經(jīng)沒(méi)有什么不能理解的了，山東畫家上官超英先生在有段關(guān)于隨心賦彩的文字中談到：“隨心賦彩是在隨類賦彩基礎(chǔ)上的一種心理色彩升華過(guò)程，是根據(jù)畫面所需進(jìn)行超時(shí)空，超物象的一種運(yùn)用和表現(xiàn)方法，一種依照您心中感覺(jué)色彩的自由組合方式，是一種經(jīng)驗(yàn)性色彩運(yùn)用到理念色彩再到感情色彩的賦色過(guò)程�！边@正是藝術(shù)家以表現(xiàn)客觀物象神態(tài)和主觀理想畫面為依據(jù)的匠心獨(dú)運(yùn)的賦彩結(jié)果。

關(guān)于隨心賦彩，自古至今歷代畫家、藝術(shù)家已多有應(yīng)用，并多有論著，這里不再贅述。

Five.Take the color with the heart

Taking color with the heart is different from giving color with the class. It is an artist's design color style displayed in the design of the works according to the needs of the subject content of the works, the requirement of the composition of the picture schema and the creative participation of the artist's emotional expression. The color of the natural world is changing. There are few human beings. See red or red, green or green. It is really childish and ridiculous. The world is like chess and everything in the variable. It is not open to flowers and flowers. Artists can be realistic by actual paintings, impressions can also be impressions by impression, and ideal paintings can be made by ideal. Today, the society is dominated. Artists, though not like politicians, can be powerful and powerful. But for the sake of aesthetic needs, they can be painted green on a piece of paper, plus some artist's unique emotional color. Will never be killed?! Human art has won more and more free space today in the age of science and technology. We are not as individualistic as an artist in the west to make some neurotic art. Chinese artists can not be accused of treason in their ink paintings. Even if you use the wrong way, you should use green to make the red green, and you may not lose the characteristics of Chinese painting. Of course, there may be some strange people who say that you do not conform to the ancestor's etiquette system and make the national painting a country. I don't think it is necessary to fear that Chinese painting has its own Chinese characteristics. She can't always tie herself in the small circle of literati painting. She wants to advance, she will develop, and her outer edge can be constantly enlarged, as long as China is in possession. Cultural concepts and paintings with special tools and materials in China are all Chinese paintings. If foreigners learn Chinese culture and paint with Chinese painting materials, they should also be regarded as Chinese paintings. To survive the development of Chinese painting, it is necessary to keep pace with the times, make color with color maturing performance of the artist, it is in the flexible use of class color, also out of the more beautiful requirements, in the picture to add some of the artist's unique and harmonious emotional color. We don't have to make a fuss, and don't think it's unreasonable. If we only talk about the reason, there is no differentiation, and the constraints will be accepted. Do you not come out by drawing a circle to keep you out of the station? People often say that they can't follow Cheng Fangyuan's rules, and think deeply that if they follow the rules, they can only be Cheng Fangyuan. The heart of the heart is an artist based on the needs of the picture, with the aesthetic principles of great art, a big tone, and a big vision. According to the principle of color correlation and coordination, harmony and connection and other important color relations, the setting and selection of gold color blocks can make people enjoy a pleasant correlation color, which is the need of aesthetic vision, is a high level with class color, rather than unbaseless and confused.

The Chinese ancient painters have many applications. It can be said that since the Chinese painting came into being, no painter does not understand the color of the color. Chinese ink and wash paintings have been painted with ink at the beginning. This ink itself is the unique creation of Chinese artists; the green landscape of Li Sixun and Li Zhaodao in the Tang Dynasty, and the Chinese language later. The freehand brushwork of ink and wash is the extreme expression of the painter's heart color.

When contemporary painters have mastered modern scientific knowledge and enjoy the high-tech achievements of human progress, there is nothing to understand about the fusion of natural human beings. The Shandong painter Shangguan, Mr. The process of sublimation of psychological color is an application and expression method of Super Space and time according to the need of the picture. A kind of free combination according to the feeling of your heart is the process of applying the experiential color to the idea color and the emotional color. This is the result of the ingenuity of the artist based on the objective image and the subjective ideal picture.

Since the ancient times, the artists and artists have been applied widely, and there are many works.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生（左）

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·花鳥(niǎo)作品欣賞

Vice president of the new China Academy of painting and art.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·花鳥(niǎo)作品欣賞

Vice president of the new China Academy of painting and art.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·花鳥(niǎo)作品欣賞

Vice president of the new China Academy of painting and art.

六、繼往開(kāi)來(lái)

以繼往開(kāi)來(lái)作為中國(guó)畫新六法之第六法。本是傳移摸寫的繼承、拓展、升華、質(zhì)變，繼往開(kāi)來(lái)人所共知，看似通俗、實(shí)則意義重大。人類任何事業(yè)，求前進(jìn)，求發(fā)展都離不開(kāi)繼往開(kāi)來(lái)，中國(guó)畫在大千世界人類意識(shí)形態(tài)領(lǐng)域的藝術(shù)門類中，不過(guò)屬于一棵大樹(shù)的一枝一葉，傳移模寫也只是這一枝一葉的一個(gè)小面。它只能代表藝術(shù)的繼承，并不包括創(chuàng)新，如果我們今天的藝術(shù)只是陳陳相因的停留在對(duì)古法的繼承方面，沒(méi)有歷代藝術(shù)家的不斷開(kāi)拓創(chuàng)新，那么真的就要窮途末路了。新六法應(yīng)用繼往開(kāi)來(lái)代替謝赫六法的傳移模寫意義寬泛，較為妥帖。單一個(gè)繼往完全可以代表中國(guó)畫傳移模寫的全部?jī)?nèi)容，那么開(kāi)來(lái)即是著重強(qiáng)調(diào)作為當(dāng)代藝術(shù)家應(yīng)把中國(guó)畫如何展現(xiàn)她的未來(lái)為己任，在藝術(shù)領(lǐng)域，這開(kāi)來(lái)包括三種意識(shí)：正象周韶華先生所講，“一是擴(kuò)展大自然意識(shí)，二是強(qiáng)化大寫意境界，三是開(kāi)掘大語(yǔ)言形態(tài)。”也就是說(shuō)：“當(dāng)代畫家不必局限于前人既有的表現(xiàn)題材和表現(xiàn)模式，而要把眼光投向大自然空間去發(fā)現(xiàn)新的美，去觸發(fā)新的情思，去創(chuàng)造新的意境，師法造化藝出心源。當(dāng)代畫家應(yīng)強(qiáng)調(diào)大寫意境界，將藝術(shù)追求轉(zhuǎn)向整體精神和整體氣勢(shì)的大美。集百花于一章，集萬(wàn)紫千紅代一春，集人間萬(wàn)象表一意境，以秦漢美學(xué)，詩(shī)人的浪漫情懷。原始陶器的紋飾神秘感和運(yùn)動(dòng)感，青銅器紋飾的崇高美與擴(kuò)大美，漢代石刻的大洗練、大氣勢(shì)”。乃至民間剪紙、木刻的質(zhì)樸、鮮活等。另外還應(yīng)重視西方現(xiàn)代諸流派的奇思妙想，將其融入中國(guó)畫中，方可開(kāi)來(lái)。

一個(gè)好的中華民族的中國(guó)畫家，不應(yīng)是單一的人物畫家、或山水、花鳥(niǎo)畫家，也不應(yīng)是學(xué)會(huì)了一些水墨游戲，同時(shí)又會(huì)西洋畫而妄稱大家，更不能以我是某某級(jí)別會(huì)員或某某行業(yè)領(lǐng)導(dǎo)而自高自大、自滿自足，鬼知道晃子是怎樣掛起來(lái)的！看完古今畫，通讀美術(shù)史，只不過(guò)知一河流，了解文藝史，研通文藝事，也不過(guò)略知江湖，了然萬(wàn)物興衰規(guī)律，適時(shí)契入大道者，才能真正談開(kāi)來(lái)，藝事雖小，亦可明道。紙上得來(lái)終覺(jué)淺，精通藝術(shù)要躬行，換句話說(shuō)，不僅應(yīng)該懂得各種視覺(jué)藝術(shù)，還應(yīng)懂得包括聽(tīng)覺(jué)、感覺(jué)等一切姊妹藝術(shù)。除此，還應(yīng)學(xué)貫中西、德達(dá)先賢下一些藝外功，如哲學(xué)、文學(xué)、儒學(xué)、德學(xué)、道學(xué)、佛學(xué)、政治學(xué)、經(jīng)濟(jì)學(xué)、自然科學(xué)等，并將其融匯貫通，緣合大道，同時(shí)還應(yīng)做到主次分明、術(shù)有專攻，用心一處，必定大成。

繼往開(kāi)來(lái)，意義重大，我們必須對(duì)古文化、古文物、古書畫去觀照、發(fā)掘、研究、理解、汲取、繼承，來(lái)不得半點(diǎn)歷史虛無(wú)主義和狂妄自大，沒(méi)有古人、沒(méi)有先祖、沒(méi)有傳統(tǒng)，我們只能永遠(yuǎn)停留在蒙昧?xí)r代，我們只有識(shí)古、通古、融古、研古、傳古、化古，才能有真正意義的繼往開(kāi)來(lái)。一位畫家理論修養(yǎng)的高低決定了自己作品內(nèi)涵的深淺。當(dāng)代藝術(shù)家們?nèi)裟苷嬲�領(lǐng)略并努力做到“象上帝那樣創(chuàng)造、象帝王那樣指揮、再加上象奴隸那樣勞動(dòng)”。不斷在自己的創(chuàng)作實(shí)踐中全方位，多層次的吸收各種營(yíng)養(yǎng)，不斷更新創(chuàng)作觀念、不斷豐富作畫技巧，不斷增添藝術(shù)閱歷、知識(shí)修養(yǎng)和道德修養(yǎng)，徹底擺脫狹隘的門戶觀念和清規(guī)戒律，徹底破除封建迷信和砸爛精神加鎖，才能正確展示自我個(gè)性，創(chuàng)作出具有新的時(shí)代精神，新的形質(zhì)、新的情趣、新的意境的藝術(shù)珍品

歷史的車輪滾滾向前，人類的事業(yè)不斷發(fā)展，科學(xué)進(jìn)步不可抗拒，提出新六法、研究新六法、運(yùn)用新六法，中國(guó)畫家再無(wú)顧慮、中國(guó)畫前途光明。

Six.Carry forward the cause pioneered by one's predecessors and forge ahead into the future

Taking the past and opening up as the sixth method of the six new laws of Chinese painting. This is the inheritance, expansion, sublimation and qualitative change of moving and touching. It is known to all that the past and the future are seemingly popular, but it is of great significance. Any cause, progress and development can not be separated from the future. Chinese painting in the world of human ideology in the world of art category, but belongs to a tree of one branch, the transfer of writing is only one of the leaves of a small side. It can only represent the inheritance of art, and it does not include innovation. If our art today is only the inheritance of the ancient law, there is no continuous innovation and innovation of the artists of the past dynasties. The application of the new six methods to replace Sheikh's six methods is very broad and appropriate. A single step can fully represent the whole content of Chinese painting, so it is emphasized that as the contemporary artist should take the future of Chinese painting as its own task, in the field of art, it includes three kinds of consciousness: as Mr. Zhou Shaohua said, "one is expanding the consciousness of nature, and two is strengthening." The three is to dig big language form. That is to say, "contemporary painters need not be confined to the existing themes and modes of expression, but to focus on the nature space to find new beauty, to trigger new feelings, to create new artistic conception, and to create a new artistic conception. Contemporary painters should emphasize the realm of great freehand brushwork and turn the pursuit of art to the general spirit and the overall momentum. The collection of hundred flowers in a chapter is a collection of thousands of flowers and a spring. It sets the whole world into an artistic conception, with the aesthetics of Qin and Han Dynasties and the romantic feelings of poets. The ornamentation of primitive pottery, the sense of mystery and sense of movement, the sublime beauty of bronze ornamentation and the enlargement of beauty, the great practice and momentum of stone carving in Han Dynasty. And even folk paper-cut, woodcut simplicity, fresh and so on. In addition, we should attach importance to the western modern schools' ideas, and integrate them into Chinese paintings.

A good Chinese painter of a good Chinese nation should not be a single figure painter, or landscape, flower and bird painter, nor should he learn some ink and wash games, and at the same time try to call everyone in Western painting, but not to be arrogant and self satisfied with the leadership of a certain level member or certain industry. Hang it up! After reading the ancient and modern paintings and reading the history of fine arts, we know only a river, the history of literature and art, the study of literature and art, but a little knowledge of the laws of the rise and fall of all things. On paper, we have to feel shallow and be proficient in art. In other words, we should not only understand all kinds of visual art, but also understand all the art of sister, including hearing and feeling. In addition to this, we should also learn from the Chinese and Western and Deda's ancestors, such as philosophy, literature, Confucianism, morality, Taoism, Buddhism, politics, economics, natural science and so on.

It is of great significance that we must observe, explore, study, understand, learn, and inherit ancient culture, ancient and ancient Chinese paintings. We must not do no historical nihilism and arrogance. There is no ancient, no ancestors, no traditions. We can only stay in the obscurantious age. We only know the ancient and the past. The ancient, ancient, ancient, ancient and ancient ways can have the real meaning of carrying forward the future. The depth of a painter's theory determines the depth of his works. Contemporary artists can really appreciate and strive to "create like God, command like emperors, and work like slaves." In his creative practice, we constantly absorb various kinds of nutrition, renew creative ideas, enrich the skills of painting, constantly add artistic experience, knowledge and moral cultivation, completely rid of narrow portal ideas and rules and regulations, completely break down the seal of superstition and smash spirit and lock, Indeed, we can display our individuality and create artistic treasures with new spirit of the times, new shapes, new interests and new artistic conception.

The wheel of history is rolling forward, the cause of human development is constantly developing, the scientific progress is irresistible, the new six law, the study of the new six law and the use of the new six methods are put forward. The Chinese painters have no concern, and the future of Chinese painting is bright.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生（左二）

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·人物畫作品欣賞

ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·人物畫作品欣賞

ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立·人物畫作品欣賞

ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)晏本立簡(jiǎn)介

Brief introduction of Yan Li Li, vice president of the new China Academy of painting and art

晏本立：字立本，號(hào)上德真人，江蘇豐縣人，現(xiàn)為新中國(guó)畫研究院副院長(zhǎng)、中國(guó)畫藝委會(huì)副主任、中國(guó)國(guó)畫家協(xié)會(huì)副秘書長(zhǎng)、東方紅中國(guó)畫研究會(huì)執(zhí)行主席、全國(guó)晏子文化研究會(huì)會(huì)長(zhǎng)、徐州市美術(shù)家協(xié)會(huì)顧問(wèn)。

Yan Benli, the character erect book, the number on the German person, Jiangsu Fengxian County people, is now the vice president of the new China Painting Research Institute, the deputy director of the Chinese Painting Committee, the Deputy Secretary General of the Chinese Association of painters, the executive chairman of the Oriental red Chinese Painting Research Association, the president of the national Yan Zi Cultural Research Association and the advisor of the Xuzhou American Artists Association.

長(zhǎng)期從事美術(shù)創(chuàng)作，擅長(zhǎng)寫意人物、兼工山水花鳥(niǎo)，國(guó)內(nèi)外報(bào)刊、雜志發(fā)表作品數(shù)百幅。2005年參加中國(guó)美協(xié)首屆創(chuàng)作高研班，國(guó)畫作品多次入選中國(guó)美術(shù)家協(xié)會(huì)主辦的全國(guó)大型美展，多次獲獎(jiǎng)；2006年首先提出“中國(guó)畫新六法”，并有長(zhǎng)篇論文在《美術(shù)導(dǎo)刊》《當(dāng)代美術(shù)》等多家媒體發(fā)表，引起強(qiáng)烈反響。作品入編《20世紀(jì)國(guó)際美術(shù)精品薈萃》、百年經(jīng)典《中國(guó)美術(shù)全集》、《世界美術(shù)集》等二十余部大型畫冊(cè)，作品流傳東南亞、歐、美等幾十個(gè)國(guó)家和地區(qū)，被各地美術(shù)館、博物館、文化館及知名企業(yè)家收藏。其作品畫風(fēng)獨(dú)特、品位高雅，深受國(guó)內(nèi)外書畫收藏家關(guān)注。2012年被評(píng)為21世紀(jì)最具收藏價(jià)值與升值潛力的中國(guó)百名山水畫家之一。2013年1月由天津人民美術(shù)出版社出版中國(guó)當(dāng)代名家畫集——大紅袍畫冊(cè)。2014年被香港藝術(shù)家與企業(yè)家雜志社聘為榮譽(yù)社長(zhǎng)，與多國(guó)駐華大使交流并簽訂文化藝術(shù)交流協(xié)議。2015年10月在廣州成功舉辦《立本心象——原創(chuàng)作品展》，廣東電視臺(tái)、深圳電視臺(tái)進(jìn)行專題報(bào)道。

He has been engaged in fine arts creation for a long time. He is good at freehand brushwork and landscaping. In 2005, he participated in the first high research class of the Chinese Art Association, and the Chinese painting works were selected for many times in the national art exhibition sponsored by the Chinese Artists Association, and many awards were awarded. In 2006, the "new six law of Chinese painting" was first proposed, and a long paper was published in the "art guide", "contemporary art" and other media, causing a strong response. The works are made up of "Twentieth Century international fine arts collection", a hundred years classic "Chinese Fine Arts complete", "world art collection" and more than 20 large album, works spread in Southeast Asia, Europe, the United States and other dozens of countries and regions, art galleries, museums, cultural museums and well-known entrepreneurs collection. His works have unique style and elegant taste, and are deeply concerned by calligraphy and painting collectors at home and abroad. In 2012, it was rated as one of China's 100 landscape artists with the most valuable collection and appreciation potential in twenty-first Century. In January 2013, the Tianjin people's Fine Arts Publishing House published a collection of contemporary Chinese famous artists, Dahongpao. In 2014, he was appointed honorary president by the Hongkong artist and entrepreneur magazine, and he signed a cultural art exchange agreement with the multinational ambassador to China. In October 2015, the "original heart image - Original Works Exhibition" was successfully held in Guangzhou, and special reports were made by Guangdong TV station and Shenzhen TV station.

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生（左三）

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生（左四）

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生（右一）

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生與藏家合影

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生與藏家合影

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生與藏家合影

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生與藏家合影

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生與藏家合影

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生與藏家合影

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生與藏家合影

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生與藏家合影

Mr. Yan Benli, vice president of the new China Academy of painting and art

新中國(guó)畫藝術(shù)研究院副院長(zhǎng)·晏本立先生與藏家合影

Mr. Yan Benli, vice president of the new China Academy of painting and art