题字为杨晓阳。全国政协委员，中国文化艺术发展促进会主席，中国美术家协会副主席。
It is inscribed by Yang Xiaoyang, member of the National Committee of the Chinese People’s Political
Consultative Conference, chairman of the China Association for the Promotion of Cultural and Art
Development, and vice chairman of the China Artists Association.
002
前 言
任军伟
博士
首都师范大学美术学院副教授
003
“锦绣路上——中国当代艺术家作品联展”是由向乐兄发起，李娜、
顾德乐策展，展出了 20 位艺术家的 80 件作品，涉及国画、水彩、书法、
篆刻。这些作品，在笔墨塑造、艺术趣味和风格特征上，都体现出较
为强烈的传统功力。参展的每一位艺术家都清楚，若要在艺术创作上
形成自己独特的风格，最基本的前提就是通过学习传统获取艺术营养，
才能逐渐形成我们经常所说的艺术功力。
这种功力，首先表现在对传统技法和艺术语言的吸收上，艺术家们不
仅能够娴熟地把握笔墨、构图、造型等传统要素，还把诗、书、画、
印有效地结合起来，书法中体现绘画精神，篆刻中彰显书法韵味，充
分体现了诗中有画、画中有诗、印从书出、书从印入的意趣，反映出
参展艺术家们深厚的艺术功底和对传统文化的审美表现力。其次他们
还对传统笔墨予以现代性解读。展览的大部分作品，不仅具备了现代
性的艺术表征，还反映了鲜明的时代特色。可以看出，他们并不回避
现代题材与传统笔墨之间天然形成的某种难以协调的矛盾性，而是通
过长期的艺术实践，使自己的作品拥有了独特的精神意趣。不难发现，
他们或多或少地彰显出李可染先生所说的“以最大的功力打进去，以
最大的勇气打出来。”他们敢于应物象形而创构新的语言形态，并以
此拓宽传统艺术语言的审美内涵。他们能够与时俱进，在传承与创新
中凸显自我面貌，从而实现了自己风格的建构。
这次参展的艺术家，都是志趣相投的朋友，大家彼此了解，互相学习，
交流切磋，游心于道，皆在研习传统的路径上打下了坚实的基础。同时，
他们又各自追求着不同的艺术趣味，师法造化，感合时代，风格的因
子已然酝酿在各位艺术家的作品之中。我坚信，对于作品而言，风格
的确立有一个关键性的因素，就是要真正讨得一种出乎自己天性禀赋
的笔性。这种笔性，既观物，又观我，得乎天然，天人一体。而有了
这种笔性，无论是面对自然，还是面对古人，或者面对不同题材，就
拥有了一种主动权。而有了自己的笔性，作品自然就会生发出艺术趣
味，即使在处理不同题材时也不至于茫然失措。当然，笔性也是需要
在与传统艺术的交流中加以磨炼的，使古人的笔墨精华在磨炼中逐步
吸纳到自己的创作中，再进一步润饰、充实，从而做到文质彬彬。但是，
在磨炼的同时，我们也不能磨掉笔性固有的、天然的品格，这种与生
俱来的天然笔性，我觉得才是各位艺术家风格形成和确立的艺术精神。
004
Ren Junwei
Doctor
Associate Professor at the School of Fine
Arts, Capital Normal University
PREFACE
005
The \"Jinxiu Road - Contemporary Chinese Artist Works Exhibition\" was initiated
by Xiang Le and curated by Li Na and Gu Dele. It showcases 80 works of 20
artists, including traditional Chinese painting, watercolor, calligraphy, and seal
carving. These works demonstrate strong traditional skills in terms of brushwork,
artistic taste, and stylistic features. Every artist participating in the exhibition is
aware that in order to form their own unique style in artistic creation, the most
basic prerequisite is to acquire artistic nutrition through learning tradition, in
order to gradually form what we often refer to as artistic skills.
This skill is first manifested in the absorption of traditional techniques and
artistic language. Artists not only skillfully grasp traditional elements such
as brushwork, composition, and form, but also effectively combine poetry,
calligraphy, painting, and printing. Calligraphy embodies the spirit of painting,
while seal carving highlights the charm of calligraphy, fully reflecting the interest
of painting in poetry, poetry in painting, printing from the book, and printing
from the book, Reflecting the profound artistic skills and aesthetic expression of
the participating artists towards traditional culture. Secondly, they also provide
a modern interpretation of traditional brushwork. Most of the works in the
exhibition not only possess artistic representations of modernity, but also reflect
distinct characteristics of the times. It can be seen that they do not avoid the
inherent contradiction between modern themes and traditional ink, but rather,
through long-term artistic practice, give their works a unique spiritual interest. It
is not difficult to see that they have more or less demonstrated what Mr. Li Keran
said, \"to enter with the greatest skill and to come out with the greatest courage.\"
They dare to create new language forms based on objects and shapes, and thus
broaden the aesthetic connotation of traditional artistic language. They are able to
keep up with the times, highlight their own appearance through inheritance and
innovation, and thus achieve the construction of their own style.
The artists participating in this exhibition are all like-minded friends, who
understand each other, learn from each other, exchange and learn from each
other, and have all been immersed in the path of studying tradition, laying a
solid foundation. At the same time, they are each pursuing different artistic
interests, learning from nature, adapting to the times, and the factor of style has
already been brewing in the works of various artists. I firmly believe that for a
work, the establishment of style is a crucial factor, which is to truly strive for a
brushwork that is beyond one's natural endowment. This kind of brushwork not
only looks at things but also at me, resulting in a natural unity between heaven
and humanity. With this brushwork, whether facing nature, ancient people, or
different themes, one has a sense of initiative. With their own brushwork, works
naturally generate artistic interest, and even when dealing with different themes,
they are not at a loss. Of course, the brushwork also needs to be tempered in the
exchange with traditional art, so that the essence of ancient Chinese brush and ink
can be gradually absorbed into their own creation in the process of tempering, and
then further polished and enriched, so as to achieve gentleness. However, while
honing, we cannot erase the inherent and natural qualities of brushwork. This
innate brushwork, in my opinion, is the artistic spirit that forms and establishes
the style of all artists.
参展艺术家
Artist Introduction
(In alphabetical order of surname pinyin)
（以姓氏拼音为序）
008
012
016
020
024
028
032
036
040
044
048
052
056
060
064
068
072
076
080
084
成 军
曹轶群
邓凯华
傅吉鸿
方政和
方向乐
贡 成
郭 睿
金心明
康守永
李恩成
陆晨辉
刘 芳
王爱君
吴 鹏
阴澍雨
杨 频
周亚晟
周咏平
张继华
Cheng Jun
Cao Yiqun
Deng Kaihua
Fu Jihong
Fang Zhenghe
Fang Xiangle
Gong Cheng
Guo Rui
Jin Xinming
Kang Shouyong
Li Encheng
Lu Chenhui
Liu Fang
Wang Aijun
Wu Peng
Yin Shuyu
Yang Pin
Zhou Yasheng
Zhou Yongping
Zhang Jihua
008
009
荷塘月色系列之一 One of the Lotus Pond Moonlight Series 34cm×70cm
成
军Cheng Jun
010
荷塘月色系列之二、三、四 Lotus Pond Moonlight Series II, III, IV 34cm×70cm×3
011
成
军Cheng Jun
012
013
曹轶群Cao Yiqun
小楷《喜雨亭记》 Xiaokai's \"Record of Xiyu Pavilion\" 15.5cm×62cm
014
小楷《画禅室随笔之禅说》 Xiaokai's \"Essays on Zen in the Painting Studio: Zen Theory\" 69cm×33cm
小楷《心无所住》 Xiaokai's \"Heart Has No Place to Stay\" 69cm×33cm
行书《苏东坡-点绛唇》 The running script \"Su Dongpo - Dotting Crimson Lips\" 69cm×45.5cm
015
曹轶群Cao Yiqun
016
017
邓凯华Deng Kaihua
相马图 Xiangma Diagram 26cm×26cm
018
019
邓凯华Deng Kaihua
相马图 Xiangma Diagram 26cm×26cm
相马图 Xiangma Diagram 26cm×26cm
温度 Temperature 26cm×26cm
020
021
傅吉鸿Fu Jihong
人间咫尺数烟云 Counting smoke and clouds within reach of the human world 65cm×45cm
022
023
傅吉鸿Fu Jihong
碧障尽晴空 The blue barrier fills the clear sky 65cm×45cm
菡萏金芙蓉 Han Dan Jin Fu Rong 65cm×45cm
大成遗迹之一 One of the Dacheng Ruins 65cm×45cm
024
025
方政和Fang Zhenghe
霞外 Xiawai 35cm×33cm
026
梵净 Brahman 35cm×33cm
027
方政和Fang Zhenghe
落尽东风 Falling East Wind 25cm×35cm
岩茶著花 Rock tea blooming 25cm×35cm
028
029
方向乐Fang Xiangle
秋高访友 Visiting friends in autumn 65cm×40cm
030
031
方向乐Fang Xiangle
仓颉造字 The inventor of Chinese characters 65cm×40cm
神农味草 The discoverer of herbs 65cm×40cm
与石忘机 Dialogue with Stone 65cm×40cm
032
033
贡
成Gong Cheng
篆书陋室铭 Seal Script Inscription in a Humble Room 68cm×48cm
034
篆书盐角儿 · 亳社观梅 Seal Script Yanjiaoer · Boshe Guanmei 68cm×46cm
035
贡
成Gong Cheng
对联 Antithetical couplet 68cm×13cm×2 对联 Antithetical couplet 68cm×13cm×2
036
037
郭
睿Guo Rui
新罗诗意 Silla Poetry 32cm×32cm
038
039
郭
睿Guo Rui
登盘瓜鼓 Deng Pan Gua Gu 32cm×32cm
秋思无垠 Autumn thoughts are boundless 32cm×32cm
三春即景 Three Spring Scenes 32cm×32cm
040
041
金心明Jin Xinming
西湖梦寻之一 One of the Dream Seekers of West Lake 69cm×34cm
042
西湖梦寻之二、三、四 West Lake Dream Search II, III, IV 69cm×34cm
043
金心明Jin Xinming
044
045
康守永Kang Shouyong
行书菜根谭句摘 Running Script Vegetable Root Tan Jujie 46cm×37cm
046
047
康守永Kang Shouyong
隶书执古开今 The official script holds onto the past and opens up the present 46cm×37cm
隶书紫阁苍山联 Li Shu Zi Ge Cang Shan Lian 69cm×46cm
篆书岁月 Seal Script Years 46cm×37cm
048
