新中国画艺术研究院副院长·晏本立先生
Mr. Yan Benli, vice president of the new China Academy of painting and art
悠悠华夏史，上下八千年。我们的祖先从雕石、刻壁到原始陶器上花纹的绘制，以及对日月星云，飞禽走兽的模写，可以追寻中国画的起源。古老的东方民族以自己独特的审美观和思维方式，用自己的大聪明大智慧创造着中华民族璀璨瑰丽的文明。1949年湖南长沙楚王墓出土的帛画《人物御龙图》，证明了中国画在战国时期已达到相当高的水平，并奠定了中国画表现上以线为主适意造形的形式特点。几千年来，中国画不断发展。
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.
南齐谢赫首开先河将当时所知画家27人列为六品，并在《古画品录序》中提出六法论：“气韻生动，骨法用笔、应物象形、随类赋彩、经营位置，传移模写。”一千五百年来一直被作为中国画论的经典名句，支撑着历史画坛，已成为从事创作和批评家的必修课，影响之大直至今天。
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.
南齐谢赫的六法无疑是中国画坛的财富，哺育了历代大师，无数的画家和理论家。每每提起六法，无不引以为骄傲和自豪，但六法的生命力绝不只是过去，她需要延续、需要进步更新，她需要一个能够适应当代中国特色的新的面孔，来昭示未来的中国画家。审视谢赫六法，研究他的历史价值，将其与当今中国画艺术和谐的部分继续保留，不和谐的部分加以理顺，应是我们当代理论家和画家的共同责任。
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.
进一步思考六法，不难发现六法论中着眼于尊照客观实际，表现客观形象的应物象形，随类赋彩，传移模写诸法，与当前注重创造性的时代已产生较多的摩擦渐退于次要地位，另骨法用笔与经营位置二法虽各有解释，或含糊其词，或旁敲侧击，终不能一针见血，给予明示，关于气韵生动一法，只可意会不能言传，难教难学，讲其道理，更是扑朔迷离，远不着象，正如宋代大家郭若虚《图画见闻志》所云：“六法精论万古不移，然骨法用笔以下五法可学，如其气韵必在生知，固不可以巧密得，复不可以岁月致。”又云：“默契神会，不知然而然也。画必周气韵，方号世珍，不尔虽竭巧思，止同众工之事，虽曰画而非画。”
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."
可学者较为简单，初级，已不太适应当代艺术创作与欣赏要求，且不时成为阻碍艺术创作发展的绊脚石，不可学者，无象无形，恍兮惚兮，高深莫测，虽有生而知之者，亦是廖若晨星，止在少数大智大慧者，而不能被多数画家学得，——这正是当今理论界面对当代艺术，理屈词穷的根本所在，也正象理论家陈履生先生在《中国美术与世 界艺术走向》一文中所讲的：“在当代美术理论研究的现实中，面对复杂的艺术现象，表现出了严重的滞后的问题，更为严重的是原有的美术理论，难以解释复杂的当代现象，甚至产生种种难以化解的矛盾，而在最需要批评的时候，批评又失语变形，这使我们的美术理论和批评处于一个非常尴尬的境地。”
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.
历史潮流浩浩荡荡，顺之者昌、逆之者亡，21世纪的今天，勤劳而智慧的中华民族，顺应历史潮流，团结统一，开拓进取，百业俱兴。中国红、中国结、中国印、中国画等一系列发自国人心声的中国名头，标志着中华民族的再度崛起，无不另国人引为自豪，我是中国人，我画中国画，中国画家已理直气壮的打出中国旗帜，再不受什么“穷途末路”、“废纸论”等歪理邪说的干扰。一大批新时代成长起来的优秀中国画家无不挺直了中华民族的脊梁。早已具备了通过中国画艺术的提高来吸引外界艺术家关注的软实力，中国画艺术走向现代和未来充满希望。
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亲眼目睹中国当代艺术的不断出新和中国画艺术理论严重滞后的实际状况而提出的新的艺术理论构想。
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.
新六法不否认更不反对谢赫六法，而是在谢赫六法的理论基础上进行梳理更新、充电活血，使其更具时代活力，更能被艺术家灵活运用于现代艺术创造的更具中国特色的中国画艺术理论。
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.
中国画新六法为：气象灵动、适意造形、酌情用笔、黄金定位、随心赋彩、继往开来。
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.
新中国画艺术研究院副院长·晏本立先生（左）
Mr. Yan Benli, vice president of the new China Academy of painting and art
新六法分论如下：
一、气象灵动
所谓气象灵动，是对艺术作品的基本要求，也是最高标准，与气韻生动既和又分，既同又别，是气韻生动升华后的形象再现。
1、气象有形、有气、有象，有语言符号，有图式结构，大笔一挥与小笔点厾，用心、用力、用气自然不同，所见笔痕天壤之别，二者皆由心出意造，气在笔力，象在纸上，一目了然。点划间气象成。
2、气象初级者由具象、意象合成，具象：应物象形，重景乏意，多见创作初级阶段，以形体、比例，结构为准，多注重客观对象的具体描绘；意象：画家心意中的形象，既尊重客观实象，又在客观实象的基础上进行加工，使其符合画家创作意图之象。
3、气象高级者：具象、意象（心象）之外另有三象，所见画面形象由具象、意象、漫象、情象、抽象五格融合，属高级灵动之象。
漫象：有意无意之间，有法无法之间，通晓艺理、技法纯熟，通过适意变形，强化特征，自然洒脱，不经意偶得之象。
情象：情真意切，心意两极、或张或驰、或虚或实，既合心意、又合情理，“当其下笔风雨快，笔所未到气已吞的雄放之象”（东坡翁赞吴道子画论）。
抽象：无具象之象，用笔非常笔，用墨非常墨，用色非常色，物我两忘，墨彩交融，匠心独俱，任意挥洒，似是而非，画面所见，玄机四出，快意天然，但见大美，不见一物，另人拍案叫绝之象。
画家若能五象合一，作品自然气象灵动。同时，亦包涵着气韻生动。
气象灵动与气韻生动不同之处为：
气象属实，属虚中实；气韻为虚，为实中虚。生中有灵、灵中有生，灵在生之上，生在灵之中，生化灵，灵成精，而后见象，方为气象。
气韻生动所能展现的艺术家的笔墨现象。只是混沌的朦胧的感性的觉悟过程中的理论，还没有上升为气象明晰的、理智的、灵动的真挚灼见，且“气韵不可学，此生而知之，自有天授”（董其昌画禅室随笔，画决句）。另有“六法之难，气韵为最，意居笔先，妙在画外，如音栖弦，如烟成霭，天风冷冷，水波潺潺，体物周流，无大无小，读万卷书，庶几心会”（清黄钺《二十四画品》句）等诸多关于气韵生动的见解多是留于感觉，而不能成为可视可学的气象灵动。
气象与气韵——形质交合而得韵，是为气韵，气韵脱形质而后化象为气象，气韵若动、若行、若变、若修、有动词意，气象若静、若驻、若状、若果、有名词意，气韵如西方极乐、环球大同，深不可测，高不可攀，捉摸不定。一切处于想象之中；气象如返璞归真，大巧若拙、大象见形、大音闻声。如：脱胎换骨、庐山真面，菩萨化作青春美女、佛爷变为清晰老翁，形之化韵，韵之成象，风神潇洒不滞于物，安祥和谐，物我两忘，能婴儿矣！
气象灵动与气韻生动——气象灵动乃是实形实象，实灵实情的。气韵生动，乃是虚形虚象、虚灵虚情的。气象灵动，超越了气韵生动的看山不是山，看水不是水的糊涂的无法之境，而达到了看山还是山，看水还是水的难得糊涂的真切之境，了然之境。
衣带渐宽终不悔，为伊消得人憔悴——气韵生动
众里寻她千百度，蓦然回首那人确在灯火阑珊处——气象灵动
《南齐谢赫古画品录》中将古代画家分为六品二十七人，是为中国最早的画评，但当时所评画家作品传世寥寥无几，今人已无从认知，谢赫之后，更是大师辈出，画评多多。这气象灵动应是当今中国艺术家通过中国笔墨所传达的中华八千年文明的智慧之灵，是优秀的中华民族集世界人类艺术之大成，融道归一之灵。气象灵动应作为当代艺术品评的一条标准。
《一花一世界》68cm x 136cm 晏本立/画
《爱与恨》68cm x 68cm 晏本立/画
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.
新中国画艺术研究院副院长·晏本立先生创作中
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·心像水墨作品欣赏
Vice president of the new China Academy of painting and art.
新中国画艺术研究院副院长·晏本立·心像水墨作品欣赏
Vice president of the new China Academy of painting and art.
新中国画艺术研究院副院长·晏本立·心像水墨作品欣赏
Vice president of the new China Academy of painting and art.
二、适意造形
适意造形是艺术家经过长期对所表现的客观物象研究、理解，以及反复描绘过程中提炼概括的结果，是艺术家主观能动的描绘自然不断升华后的主观和客观巧妙结合的产物，也是应物象形的成长成熟后的恰当、灵活的艺术处理。
翻一翻中国美术史、上溯7000年前的原始岩画，沿新石器时代老官台、半坡、仰韶、红山，以及马家窑彩陶中最典型的人面鱼纹盆、舞蹈纹盆到夏、商、周的雕塑、玉器、青铜器，乃至秦汉的帛画、衣饰、画像石等。我们所有能见到的艺术品，总趋向呈现出由写实到写意，由具象向抽象演变发展的脉络，无不包涵着艺术家和匠人们的“适意造形”的理想因素。汉唐以后，由于中国封建社会的长期统治，中国艺术的发展一直处在相对保守和大胆创新之间的矛盾对立时代。其间工具材料的变更，宣纸的发明，写意画的出现逐步产生了实用美术和纯欣赏美术的分道扬镳，直至纯中国绘画的人物、山水和花鸟三兄弟分家之前。
数一数当代活跃在中国画坛的领军人物，无一不是根据自己对所描绘的自然物象进行了符合自己创作意图的符号化加工后的再生艺术形象，这一现象贯穿在中国艺术的各个门类，在写意画、漫画、装饰画中表现更为突出。作为纯中国绘画的人物、山水、花鸟也不例外。现代中国画又受到了西方诸流派的影响。山水、花鸟、人物的进步依次排列，一个比一个走得更远，更脱离了自然形象而趋向艺术家的适意造形。近代山水大师黄宾虹笔下的作品，足以说明这一点。他将自然山水现象概括综合加工提炼，取其精华，以纯粹的笔墨形式，点线面的造型元素直接运用于山水画中，重新组合成意中山水，可谓近代典范。更有李可染、陆严少、傅抱石等一批山水大师们的适意造形，把中国山水画推向人文思逸的崇高境界，山水画领域在这批大师们引领下出现了当代前所未有的暂新局面；花鸟、人物亦各有代表，如吴昌硕、齐白石、潘天寿、任伯年、徐悲鸿、蒋兆和等，他们的作品都有特色鲜明的自家气象。然而中国绘画领域的适意造形值得一说的还有近代出现的漫画、装饰画、岩彩画和抽象画，而谢赫《古画品录》中所列举的只是他那个时代的画家作品中展现的现象，应物象形的要求只能代表谢赫对古代画家艺术品评标准的一家之言，他不可能也不会考虑到适意造形的绘画要求。
“论画以形似，见与儿童临”这是宋代文学家苏东坡真对当时应物象形画风提出的批评标准，至今已被当代画家作为口头禅，且倍受关注，或夸张、或意变、或装饰、或浪漫、或意象、或抽象，艺术家们大都有意无意中遵循着适意造形的艺术轨迹。任何一位有理想、有见地的艺术家无不努力的寻找着“属于自己的语言符号”。“太似为媚俗，不似为欺世，妙在似与不似之间”，是齐白石大师对古代绘画理论研究和自己艺术实践中的体悟。当今画家、艺术家无不在如何将客观物象转化为艺术形象方面不同程度的努力探索着。这里再不是一个应物象形的画法能够使画家、艺术家满足的了。应物象形只可以作为初学绘画的基本要求。可以这样讲：不通过应物象形的基本训练就不可能有适意造形的成功创作。换句话说，只有有了应物象形的坚实基础，才有可能合理正确的适意造形，也才能产生高水平的艺术作品。因而适意造形应是当代画家、艺术家进行艺术创作的主流。
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.
新中国画艺术研究院副院长·晏本立先生创作中
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·人物画作品欣赏
ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·人物画作品欣赏
ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·人物画作品欣赏
ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art
三、酌情用笔
酌情用笔故名思意是画家依据创作需要，为达到理想的画面效果所选择的合理合情的用笔方法，是骨法用笔的拓展和进步，是画家情感所致，既兴发挥时的写意性用笔方法。当单一的骨法用笔不能满足题材需要时，当画家性情喷发脱离了低级趣味时，当艺术家随心所欲、挥洒自如时，用笔自然洒脱灵动，有法无法、有意无意、得意忘形、酣畅淋漓，神品、逸品自生笔下，此时用笔怎一个骨法了得。
初级阶段的画家，画山依此山，画水依此水，受形之所拘、象之所限、用笔小心意异，生怕走了形体，坏了象形，因而严格遵循骨法用的行规，应物象形地描绘着可触可视的客观物象。画鸡像鸡、画狗像狗、画人像人、好家伙，大画家啦！。当然：谢赫六法中的骨法用笔滋养了历代大批的中国画家从未有人对其法产生疑义。
但是：自唐宋以来没骨法`大写意的出现，以至当代中西合璧、古今道一的心象、意象、抽象艺术的参与，已经冲破了骨法用笔的壁叠。在艺术家以意象、抽象的绘画形式，快意天然地舒展自己胸襟时，骨法用笔就显得乏力、无奈。
当代绘画无论是工笔还是写意、无论是山水、花鸟、人物，骨法用笔已渐退二线，真正支撑艺术作品的用笔方法，是相对独立的构成形式美的笔墨结构；肌理、意象、漫象、情象、抽象、均是不择手段的“酌情用笔”的结果。所谓“吴代当风，曹衣出水；中国画十八描” 。再有：“皴、擦、点、厾、擢、揉、按、拖、刷、泼”等一系列用笔方法均超出了骨法用笔界线。石涛的“一笔法”；潘天寿的“笔墨当随时代”；李可染先生的“逆光山水”，都从不同角度证明了“酌情用笔”的重要性。“没有为了更美不能破坏的规律”，这是西方作家歌德的名言，也从另一方面说明：只要为了更美，任何成规、程式皆可打破，重新构建更美的视觉形式。赵无极的抽象艺术，吴冠中的“笔墨等0”观念，刘国松的无笔山水画，以及倍受当代画家推崇的黄宾虹的积墨山水等，无不给人以美的享受，哪里还去计较什么骨法不骨法呢！。
当代画家无不主张：在进行艺术创作时，为达到理想的画面效果，可以不择手段，可以颠倒黑白，可以无中生有，可以……“你年轻，没有什么不可以”，“管它姓资姓社，大胆试、大胆闯。不争论，发展才是硬道理”，一个活原则不能变，只要为了你的作品更美。
关于酌情用笔，明人解缙，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，一旦豁然贯通焉。忘情笔墨间，调和心手间，不知物我之所有间，体会造化而生成之象。”即情笃意切，偶然欲画，于是乎解衣磐礴，展纸调墨，纵意挥洒，点划间笔笔生法，一气呵成，早已把骨法用笔抛出九霄云外。
但此酌情用笔法，必须在艺术家脱离低级趣味、摆脱呆板教条的偏见之后；当通今博古、学贯中西，集艺术大成者用之更为灵验。
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.
新中国画艺术研究院副院长·晏本立先生创作中
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·心像水墨作品欣赏
Vice president of the new China Academy of painting and art.
新中国画艺术研究院副院长·晏本立·心像水墨作品欣赏
Vice president of the new China Academy of painting and art.
新中国画艺术研究院副院长·晏本立·心像水墨作品欣赏
Vice president of the new China Academy of painting and art.
四、黄金定位
黄金定位是新六法中最为关键的一法，可以直接取代谢赫六法中的经营位置。黄金定位是根据黄金分割率的美学原则提出的最直白最恰当的经营位置的方式方法，亦可称为黄金构成。
黄金分割是古希腊数学家在进行线段分割时发现的，具有美学价值的规律；短线与长线之比正好等于长线和整条线之比即1：1.618，这是古希腊数学家比达格拉丝的发现。后来被古希腊美学家柏拉图将它称为黄金分割。又被德国的美术家译亲称为黄金分割率，按照这一比率设计的任何图象都能给人以美的视觉快感，后来黄金分割率就成为美术家普遍运用的美学规律。这一美学规律，并不是西方人的发明专利，它是客观世界亘古永存的一条美的真理。我们为什么不能拿来和我们的国画创作接轨呢？
中国历代画家在如何“经营位置”方面曾作出大量努力，也总结了很多宝贵经验，如：中国山水画中的散点透视，或依据道家太极图的构成原理、阴阳学说等，对画面进行合理的布局，同时也都将自己的成功经验记录成书传授后学。但经营位置，至今仍是“道可道，非常道；名可名，非常名。”多是笼统的讲到了要很好的经营位置、经营位置非常重要，更细一点也只是提出：“三角形”、“对角线”、“s形”、或说要计白当黑，黑大白小，黑小白大，大小不可等分，等等。也不知先贤们为何不讲黄金分割率？难道真的怕天机泄露玉帝降罪故意回避这一美学原则？。一直很少有人强调黄金分割在中国画经营位置中的作用，而黄金分割率恰恰在现代设计学、现代构成学中被作为美的核心理论广泛应用于实践。我们中国画家早就应该把她用于我们的中国画构图了！
如果我们的中国画构图也用黄金分割率进行物象定位和笔墨定位，把画面的主要部分放置在黄金分割线的交点处，把其次要部分围绕主题渐次布局，以行成众星捧月、`主次分明、清爽神畅的艺术效果。视觉美感自然产生无疑。
我们把构成画面的抽象元素：黑白、虚实、浓淡、干湿、粗细、疏密、大小、多少、点线面黑白灰等，这诸多的矛盾都以黄金分割的比率安排在画面上，如：黑白面积的大小比例按照1：1.618分布，画面上所有出现的对立关系都依据黄金分割比率定位安置。（这里并不是要求画家呆板的按照黄金率数字安置，只是要求画家能够在构图时考虑到黄金比例之大概即可）。这样就会自然得到画面的和谐统一。李可染先生曾说过：“你能把诸多的矛盾在你画面上统一起来就是一幅好画”，这好画正是把这诸多的矛盾按照黄金分割的比率布局产生的，除此将无法讲得清如何布局才能产生美。好一个经营位置一千多年来引导画家们“鬼打墙”式的忽悠了上百代人，除少数画家参透玄机走出它的魔圈成了大师外，多数画家穷尽一生精力，也只能停留在匠人、艺人的层面，尽管历代画家们也不断为“经营位置”充实内容，积累了一些较为成熟、成功的经验，但始终没能跳出混沌学的掌心，到现在还没有哪一位大师能够一针见血的把如何“经营位置”讲清楚。
科技发展到今天，我们的生活已进入数字化信息时代，我们再也耐不住性子糊里糊涂地重复研究那如何“经营位置”了。中国画要想长足发展，画家们就应该敢于冲破一切陈规旧俗，转动科学头脑，广泛吸收一切姊妹艺术之长，重视黄金分割律的研究，采取黄金定位法，取代空洞、虚无的经营位置是当代画家、艺术家走进艺术殿堂的一条捷径。否则凭您怎样地解释、构图构成、摆阵布势，也很难讲清楚视觉美的根本规律。
运用黄金定位法，在经营位置的时候，我们不能单纯停留在线段的分割上，还应注重研究面积的体块的分割关系，如浓墨淡墨的比率，冷色暖色的比率，实象虚象的比率、等等一切对立的笔墨现象，统统按照黄金分割的比率统一起来，所见画面即使没有任何形象，纯以笔墨、色块的面目出现，同样也能给人美得享受，这就是抽象美的根本所在。无论东方、西方，古代、现代，具象、抽象，离开了黄金定位法，偏离了黄金比率，都难以达到真正的视觉美。
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.
新中国画艺术研究院副院长·晏本立先生（左）
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·山水画作品欣赏
Vice president of new China Painting Art Research Institute, Yan Ben Li, appreciation of landscape paintings
新中国画艺术研究院副院长·晏本立·山水画作品欣赏
Vice president of new China Painting Art Research Institute, Yan Ben Li, appreciation of landscape paintings
新中国画艺术研究院副院长·晏本立·山水画作品欣赏
Vice president of new China Painting Art Research Institute, Yan Ben Li, appreciation of landscape paintings
五、随心赋彩
随心赋彩，不同于随类赋彩，随心赋彩是艺术家根据所画作品主体内容的需要、根据画面图式构成要求和艺术家情感表达的创意性参与所展现于作品的设计色彩样式。自然界的颜色千变万化，人类的认识寥寥无几，看红即红，看绿即绿，实在幼稚可笑，世事如棋、一切都在变数中，有心栽花花不开，无意插柳柳成荫，事于愿为，歪打正着之事常有，弄巧成拙、因祸得福之事常见。艺术家可以实事求是凭实际画实际，亦可以凭印象画印象，也可以凭理想画理想，当今社会人为主宰，艺术家虽不象政治家那样可以叱咤风云，颠倒乾坤，但为了审美需要在一张纸上涂青摸绿，加上点艺术家特有的情感色彩，总不会被杀头吧？！人类艺术在科技时代的今天已赢得了愈来愈自由的发展空间，我们虽不象西方某艺术家那样极端个人主义的搞一些神经病艺术。中国画家在他的水墨画作品中用点颜色也不可能被指责为大逆不道吧！即使您用错了，本该用绿，错把红色当绿色了，也不一定就失去了中国画的特点。当然也可能有些少见多怪者，说您不合祖宗礼制，把国画弄得国将不国了，我想也没必要害怕，中国画自有中国特点，她不能总把自己束缚在文人画的小圈子里，她要前进，她要发展，她的外沿也可以不断放大，只要具备中国文化观念，用中国特制的工具材料画的画都是中国画。外国人如果学了中国文化，用中国画材料作画，也应视为中国画。中国画要生存要发展，就要与时俱进，随心赋彩是艺术家用色成熟的表现，它是在随类赋彩方面的灵活运用，亦是出于更美的要求，在画面上增加一些艺术家独具匠心的理想和谐的情感色彩。我们没必要大惊小怪，也不要认为不讲理，如果只讲死理，那就没有了辨证法，就会受理的约束，画个圈让您站里面别出来，你就不要出来了吗？人常说不依规距不能成方圆，深层想一下，如果依了规矩，只能成方圆。随心赋彩也不是胡编乱造没有了准绳，随心之心是艺术家根据画面的需求，以大美术、以大色调、以大视觉的美学原则。依据色彩学的对比与协调、呼应与衔接等重要色彩关系原理，进行黄金色块的设置、选择能够使人赏心悦目的关联色彩，这是审美视觉需要，是高层次的随类赋彩，而不是毫无根据地糊涂乱抹。
关于随心赋彩，中国古代画家多有应用，可以说自中国画产生至今，没有一个画家不理解随心赋彩的，中国水墨画一开始就用墨去画，这墨本身就是中国艺术家的随心独造；唐代李思训、李诏道父子的青绿山水，与后来中国文人画的写意水墨都是画家随心赋彩的极端表现。
当代画家在掌握了现代科学知识，并且享受着人类进步的高科技成果的时候，早将自然人类万物融汇贯通，已经没有什么不能理解的了，山东画家上官超英先生在有段关于随心赋彩的文字中谈到：“随心赋彩是在随类赋彩基础上的一种心理色彩升华过程，是根据画面所需进行超时空，超物象的一种运用和表现方法，一种依照您心中感觉色彩的自由组合方式，是一种经验性色彩运用到理念色彩再到感情色彩的赋色过程。”这正是艺术家以表现客观物象神态和主观理想画面为依据的匠心独运的赋彩结果。
关于随心赋彩，自古至今历代画家、艺术家已多有应用，并多有论著，这里不再赘述。
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.
新中国画艺术研究院副院长·晏本立先生（左）
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·花鸟作品欣赏
Vice president of the new China Academy of painting and art.
新中国画艺术研究院副院长·晏本立·花鸟作品欣赏
Vice president of the new China Academy of painting and art.
新中国画艺术研究院副院长·晏本立·花鸟作品欣赏
Vice president of the new China Academy of painting and art.
六、继往开来
以继往开来作为中国画新六法之第六法。本是传移摸写的继承、拓展、升华、质变，继往开来人所共知，看似通俗、实则意义重大。人类任何事业，求前进，求发展都离不开继往开来，中国画在大千世界人类意识形态领域的艺术门类中，不过属于一棵大树的一枝一叶，传移模写也只是这一枝一叶的一个小面。它只能代表艺术的继承，并不包括创新，如果我们今天的艺术只是陈陈相因的停留在对古法的继承方面，没有历代艺术家的不断开拓创新，那么真的就要穷途末路了。新六法应用继往开来代替谢赫六法的传移模写意义宽泛，较为妥帖。单一个继往完全可以代表中国画传移模写的全部内容，那么开来即是着重强调作为当代艺术家应把中国画如何展现她的未来为己任，在艺术领域，这开来包括三种意识：正象周韶华先生所讲，“一是扩展大自然意识，二是强化大写意境界，三是开掘大语言形态。”也就是说：“当代画家不必局限于前人既有的表现题材和表现模式，而要把眼光投向大自然空间去发现新的美，去触发新的情思，去创造新的意境，师法造化艺出心源。当代画家应强调大写意境界，将艺术追求转向整体精神和整体气势的大美。集百花于一章，集万紫千红代一春，集人间万象表一意境，以秦汉美学，诗人的浪漫情怀。原始陶器的纹饰神秘感和运动感，青铜器纹饰的崇高美与扩大美，汉代石刻的大洗练、大气势”。乃至民间剪纸、木刻的质朴、鲜活等。另外还应重视西方现代诸流派的奇思妙想，将其融入中国画中，方可开来。
一个好的中华民族的中国画家，不应是单一的人物画家、或山水、花鸟画家，也不应是学会了一些水墨游戏，同时又会西洋画而妄称大家，更不能以我是某某级别会员或某某行业领导而自高自大、自满自足，鬼知道晃子是怎样挂起来的！看完古今画，通读美术史，只不过知一河流，了解文艺史，研通文艺事，也不过略知江湖，了然万物兴衰规律，适时契入大道者，才能真正谈开来，艺事虽小，亦可明道。纸上得来终觉浅，精通艺术要躬行，换句话说，不仅应该懂得各种视觉艺术，还应懂得包括听觉、感觉等一切姊妹艺术。除此，还应学贯中西、德达先贤下一些艺外功，如哲学、文学、儒学、德学、道学、佛学、政治学、经济学、自然科学等，并将其融汇贯通，缘合大道，同时还应做到主次分明、术有专攻，用心一处，必定大成。
继往开来，意义重大，我们必须对古文化、古文物、古书画去观照、发掘、研究、理解、汲取、继承，来不得半点历史虚无主义和狂妄自大，没有古人、没有先祖、没有传统，我们只能永远停留在蒙昧时代，我们只有识古、通古、融古、研古、传古、化古，才能有真正意义的继往开来。一位画家理论修养的高低决定了自己作品内涵的深浅。当代艺术家们若能真正领略并努力做到“象上帝那样创造、象帝王那样指挥、再加上象奴隶那样劳动”。不断在自己的创作实践中全方位，多层次的吸收各种营养，不断更新创作观念、不断丰富作画技巧，不断增添艺术阅历、知识修养和道德修养，彻底摆脱狭隘的门户观念和清规戒律，彻底破除封建迷信和砸烂精神加锁，才能正确展示自我个性，创作出具有新的时代精神，新的形质、新的情趣、新的意境的艺术珍品
历史的车轮滚滚向前，人类的事业不断发展，科学进步不可抗拒，提出新六法、研究新六法、运用新六法，中国画家再无顾虑、中国画前途光明。
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.
新中国画艺术研究院副院长·晏本立先生（左二）
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·人物画作品欣赏
ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·人物画作品欣赏
ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立·人物画作品欣赏
ppreciation of Yan Ben Li's portrait painting, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长晏本立简介
Brief introduction of Yan Li Li, vice president of the new China Academy of painting and art
晏本立：字立本，号上德真人，江苏丰县人，现为新中国画研究院副院长、中国画艺委会副主任、中国国画家协会副秘书长、东方红中国画研究会执行主席、全国晏子文化研究会会长、徐州市美术家协会顾问。
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.
长期从事美术创作，擅长写意人物、兼工山水花鸟，国内外报刊、杂志发表作品数百幅。2005年参加中国美协首届创作高研班，国画作品多次入选中国美术家协会主办的全国大型美展，多次获奖；2006年首先提出“中国画新六法”，并有长篇论文在《美术导刊》《当代美术》等多家媒体发表，引起强烈反响。作品入编《20世纪国际美术精品荟萃》、百年经典《中国美术全集》、《世界美术集》等二十余部大型画册，作品流传东南亚、欧、美等几十个国家和地区，被各地美术馆、博物馆、文化馆及知名企业家收藏。其作品画风独特、品位高雅，深受国内外书画收藏家关注。2012年被评为21世纪最具收藏价值与升值潜力的中国百名山水画家之一。2013年1月由天津人民美术出版社出版中国当代名家画集——大红袍画册。2014年被香港艺术家与企业家杂志社聘为荣誉社长，与多国驻华大使交流并签订文化艺术交流协议。2015年10月在广州成功举办《立本心象——原创作品展》，广东电视台、深圳电视台进行专题报道。
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.
新中国画艺术研究院副院长·晏本立先生
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生（左三）
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生（左四）
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生（右一）
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生与藏家合影
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生与藏家合影
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生与藏家合影
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生与藏家合影
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生与藏家合影
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生与藏家合影
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生与藏家合影
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生与藏家合影
Mr. Yan Benli, vice president of the new China Academy of painting and art
新中国画艺术研究院副院长·晏本立先生与藏家合影
Mr. Yan Benli, vice president of the new China Academy of painting and art
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