浙江美術(shù)創(chuàng)作濃墨重彩

王敏杰

浙江大地，山水相依，悠遠(yuǎn)深厚、意蘊(yùn)豐富的歷史文化傳統(tǒng)，滋潤(rùn)和激蕩著這里的千里水土、萬(wàn)年人心。從上山文化粗獷質(zhì)樸的彩陶，到良渚文化溫潤(rùn)精微的美玉;從六朝的煙雨山川，到盛唐的吳越盛景;從馬遠(yuǎn)、夏圭們的清遠(yuǎn)溪山，到黃公望的富春山居;從徐文長(zhǎng)的書齋晚風(fēng)，到潘天壽的雁蕩山花……無(wú)論是浙派繪畫的代代出新，還是中西融合的兼容并蓄，浙江的繪畫總是以特有的堅(jiān)韌和胸襟，博采眾長(zhǎng)，推陳出新，奠定了在中國(guó)美術(shù)史上的歷史地位。

浙江美術(shù)創(chuàng)作，一路走來(lái)，名家輩出，佳作如林，群峰競(jìng)秀，延綿不絕，歷經(jīng)歲月洗禮，成為一股重要的引領(lǐng)力量凝聚著浙江悠長(zhǎng)文脈、歷史記憶和精神傳統(tǒng)，為豐富和發(fā)展中華民族的文化藝術(shù)作出了重大貢獻(xiàn)。

宋代繪畫影響深遠(yuǎn)? ? 新藝術(shù)運(yùn)動(dòng)功不可滅

梳理浙江的繪畫文脈源流，有兩個(gè)方面不容忽視。一是宋代繪畫傳統(tǒng)對(duì)“浙派”的滋養(yǎng)。北宋靖康二年（約公元1127年），金人攻陷汴京，宋徽宗、宋欽宗被俘，同時(shí)被擄走的還有所有的皇家畫院的畫家和其他伎藝百工。當(dāng)年，康王趙構(gòu)在南京應(yīng)天府（今河南商丘）即位。后一路南逃，幾經(jīng)輾轉(zhuǎn)，于紹興二年（1132年）遷都杭州。

在此期間，畫家李唐逃離金營(yíng)的控制，歷盡磨難，南渡投奔高宗。李唐是畫院翹楚，《萬(wàn)壑松風(fēng)圖》是他的代表作之一。宋高宗年少時(shí)就與李唐相熟，敬佩他的畫技高超，畫院恢復(fù)舊制后，遂封其為畫院待詔并賜金帶，李唐的作品一直被奉為畫院經(jīng)典、廣泛臨摹。南宋畫院中以劉松年、馬遠(yuǎn)、夏圭最有影響，成就也最高，和李唐一起被后世稱為“南宋四大家”——其中山水畫的影響最為顯著和廣泛。

在宋之后，雖有所沉寂，但一些杭州山水畫家仍堅(jiān)持繼承南宋畫院作畫風(fēng)格，尤其以馬遠(yuǎn)、夏圭兩個(gè)畫風(fēng)最盛。至明代洪武之治，宋代畫風(fēng)尤其是南宋的院畫重新崛起。浙江杭州（錢塘）人戴進(jìn)在當(dāng)時(shí)最有代表性，影響廣泛，從學(xué)者甚多，后人把這一畫派稱作“浙派”。浙派山水、人物取法南宋畫院體格而上接北宋，在繪畫上形成了較新的風(fēng)格。

浙派的文脈代代賡續(xù)，1953年杭州國(guó)立藝專成立彩墨畫研究培訓(xùn)班，從眾多有為青年學(xué)子中篩選出李震堅(jiān)、周昌谷、方增先、顧生岳、宋忠元等，開始了現(xiàn)代人物畫的創(chuàng)作實(shí)踐，標(biāo)志著新中國(guó)人物畫邁出了具有歷史意義的開拓性一步，被美術(shù)界稱之為“浙派人物畫”。其中，周昌谷因《兩只羊羔》，聲震畫壇，這幅作品是他結(jié)束敦煌之行進(jìn)藏區(qū)深入生活后所作，1955年獲第五屆世界青年聯(lián)歡節(jié)金質(zhì)獎(jiǎng)?wù)隆?/p>

二是林風(fēng)眠倡導(dǎo)的新藝術(shù)運(yùn)動(dòng)。林風(fēng)眠1919年留學(xué)法國(guó)，先后在第戎美術(shù)學(xué)院、巴黎高等美術(shù)學(xué)校學(xué)畫。1925年回國(guó)，任北平國(guó)立藝術(shù)專門學(xué)校校長(zhǎng)兼教授。1928年，在杭州主持創(chuàng)辦國(guó)立藝術(shù)院，任首任院長(zhǎng)兼教授。他受蔡元培思想影響，倡導(dǎo)新藝術(shù)運(yùn)動(dòng)，長(zhǎng)期從事美術(shù)教育與創(chuàng)作實(shí)踐。林風(fēng)眠早期創(chuàng)作多為油畫，作品蘊(yùn)含著強(qiáng)烈的人道主義精神，后期主要致力于中國(guó)畫創(chuàng)新。他提倡既繼承中國(guó)藝術(shù)傳統(tǒng)，又兼容西方藝術(shù)中的審美意識(shí)與表現(xiàn)手法，重視外師造化，融合中西，獨(dú)創(chuàng)出一種富于時(shí)代氣息和民族特色而又高度個(gè)性化的抒情畫風(fēng)。林風(fēng)眠是中國(guó)現(xiàn)代畫壇的藝術(shù)大師，杰出的藝術(shù)教育家，中國(guó)美術(shù)學(xué)院的創(chuàng)始人。

這兩股源流深深地滋養(yǎng)和影響著浙江美術(shù)的發(fā)展，尤其是中國(guó)美術(shù)學(xué)院已經(jīng)成為浙江乃至中國(guó)美術(shù)人才的搖籃。

精品創(chuàng)作碩果紛呈? ? 藝術(shù)創(chuàng)新影響全國(guó)

在中國(guó)美術(shù)界，浙江美術(shù)一直以走在前列、勇立潮頭而聞名。無(wú)論是在中華文明歷史題材美術(shù)創(chuàng)作工程，還是在國(guó)家重大歷史題材美術(shù)創(chuàng)作工程，抑或是在最美中國(guó)人大型美術(shù)主題創(chuàng)作工程中，浙江的美術(shù)家創(chuàng)作團(tuán)隊(duì)在入選作品的數(shù)量和質(zhì)量上都遙遙領(lǐng)先、獨(dú)占鰲頭，為中國(guó)主題美術(shù)創(chuàng)作培養(yǎng)了一支有創(chuàng)作實(shí)力的“國(guó)家隊(duì)”。

事實(shí)上，在談到浙江美術(shù)界成就時(shí)，人們都會(huì)不約而同地提到浙江省美術(shù)家協(xié)會(huì)在傳承傳統(tǒng)繪畫藝術(shù)和發(fā)展美術(shù)創(chuàng)新中的作用。浙江省美術(shù)家協(xié)會(huì)第一屆代表大會(huì)于1961年7月30日召開，至今已更替九屆，先后有潘天壽、莫樸、肖峰、許江、高世名等美術(shù)家擔(dān)任協(xié)會(huì)主席，共有會(huì)員3055人，國(guó)家級(jí)會(huì)員726人。協(xié)會(huì)成立半個(gè)多世紀(jì)以來(lái)，團(tuán)結(jié)引領(lǐng)廣大美術(shù)家深入生活、扎根人民，關(guān)切社會(huì)現(xiàn)實(shí)生活，深入時(shí)代生活前線，站在美術(shù)創(chuàng)作前沿。

2006年，浙江省決定實(shí)施浙江重大題材美術(shù)創(chuàng)作工程，以浙江7000年歷史為主線，再現(xiàn)浙江有影響的歷史人物、歷史事件，打造一批代表時(shí)代精神的藝術(shù)精品力作，通過(guò)這批精品力作展示浙江人文深厚的歷史底蘊(yùn)。浙江重大題材美術(shù)創(chuàng)作工程得到所有主創(chuàng)人員的全情投入和積極配合。組委會(huì)發(fā)揮浙江美術(shù)創(chuàng)作人才高地的優(yōu)勢(shì)，動(dòng)員和組織有才華、有實(shí)力的藝術(shù)家投入到美術(shù)工程的創(chuàng)作中，以繪畫造型的當(dāng)代語(yǔ)言來(lái)展示波瀾壯闊的浙江歷史進(jìn)程，描繪活在記憶深處的歷史人物，藝術(shù)地再現(xiàn)中華民族及浙江人民獨(dú)特的精神氣質(zhì)，不但為浙江美術(shù)史畫上了色彩濃重的一筆，更為當(dāng)代創(chuàng)作提供了有力的實(shí)踐和寶貴的經(jīng)驗(yàn)。

自2014年持續(xù)至今的“百年追夢(mèng)”浙江美術(shù)精品創(chuàng)作工程一到四期碩果累累，作品藝術(shù)化地呈現(xiàn)了浙江發(fā)展過(guò)程中具有歷史和時(shí)代意義的事件和人物，回顧歷史，觀照當(dāng)下。

當(dāng)代生活的重大題材繪畫，將繪畫的語(yǔ)言研究作為敘事倫理學(xué)的問(wèn)題提了出來(lái)。繪畫所關(guān)心的并不僅僅是漫無(wú)涯際的語(yǔ)言拓新的探險(xiǎn)，還有人類的價(jià)值是否可以被反復(fù)錘煉和深化的問(wèn)題。重大題材與大時(shí)代的大風(fēng)云相連，更與歷史的命運(yùn)和人性的光華相連，它需要正面的吟詠，需要與其生活內(nèi)涵高度一致的語(yǔ)言倫理的建構(gòu)。循著這種建構(gòu)，反反復(fù)復(fù)地回返人類理想和人類價(jià)值的歷史高度，來(lái)塑造藝術(shù)所維系的人民思想和倫理觀念。

五年一屆的“浙江省美術(shù)作品展”迄今已舉辦了14屆，三年一屆的“浙江省青年美展”已舉辦了八屆。這些展覽是省級(jí)綜合性大展，是廣大美術(shù)家展示才華的重要舞臺(tái)，旨在進(jìn)一步繁榮浙江美術(shù)創(chuàng)作，推進(jìn)浙江美術(shù)人才的培養(yǎng)，不斷推進(jìn)藝術(shù)創(chuàng)新，積極體現(xiàn)民族精神和時(shí)代精神，鼓勵(lì)美術(shù)家創(chuàng)作出更多具有中國(guó)風(fēng)格、中國(guó)氣派和浙江辨識(shí)度的當(dāng)代美術(shù)精品。同時(shí)，向社會(huì)各界展示新時(shí)代浙江美術(shù)家的精神風(fēng)貌、思想態(tài)度、文化修養(yǎng)。6E2E107E-4C8C-46AA-A6B0-1C02F9A15D28

此外，每年都推出油畫、國(guó)畫、水彩、版畫、設(shè)計(jì)等單項(xiàng)系列展，呈現(xiàn)浙江省美術(shù)家在各個(gè)藝術(shù)領(lǐng)域藝術(shù)創(chuàng)作的最新成就。浙江美術(shù)家從1984年第六屆全國(guó)美展到2014年第十二屆全國(guó)美展中，共有16位美術(shù)家的13件作品獲金獎(jiǎng)。浙江的老藝術(shù)家趙延年、王伯敏、全山石先生先后獲國(guó)家美術(shù)獎(jiǎng)終身成就獎(jiǎng)。老一輩美術(shù)家是浙江的寶貴財(cái)富，這些老藝術(shù)家的生命經(jīng)歷、藝術(shù)歷程和國(guó)家的命運(yùn)緊緊相連。在新中國(guó)成立后中國(guó)美術(shù)初期發(fā)展的不同階段，他們都作出過(guò)杰出貢獻(xiàn)，取得過(guò)巨大成就，他們中的許多人在各個(gè)領(lǐng)域?yàn)橹袊?guó)美術(shù)建立了“國(guó)家標(biāo)準(zhǔn)”，是浙江美術(shù)界的驕傲，也是浙江美術(shù)界的底氣。

對(duì)于改革開放后浙江美術(shù)界的創(chuàng)新發(fā)展，業(yè)界總會(huì)提到1985年在杭州展開的一場(chǎng)創(chuàng)新大討論。當(dāng)時(shí)，以浙江美術(shù)學(xué)院為中心的一批青年藝術(shù)家曠日持久的討論，最終在1985屆畢業(yè)生畢業(yè)展時(shí)爆發(fā)，并演變成為在全國(guó)轟動(dòng)一時(shí)的“浙江美院的一場(chǎng)辯論”。1985年12月初，張培力、耿建翌、宋陵、包劍斐、查立、王強(qiáng)、徐進(jìn)等“浙江青年創(chuàng)作社”的12位成員，在浙江省美術(shù)家協(xié)會(huì)的支持下，在浙江美術(shù)學(xué)院陳列館推出“85新空間畫展”;同年，吳山專、駱獻(xiàn)躍、張海舟、黃堅(jiān)、倪海峰等在舟山集中創(chuàng)作“紅、白、黑”作品，并在杭州舉辦展覽，影響全國(guó)，成為中國(guó)美術(shù)界“85新潮”的主要代表。

與浙江民營(yíng)經(jīng)濟(jì)創(chuàng)新發(fā)展一樣，浙江民間美術(shù)的發(fā)展在全國(guó)也獨(dú)樹一幟。浙江擁有很多農(nóng)民畫創(chuàng)作群體，是中國(guó)農(nóng)民畫創(chuàng)作重鎮(zhèn)，在國(guó)內(nèi)外具有廣泛影響。長(zhǎng)期以來(lái)，浙江省美術(shù)家協(xié)會(huì)非常重視農(nóng)民畫創(chuàng)作，舉辦“農(nóng)民畫時(shí)代 ·? 時(shí)代畫農(nóng)民——全國(guó)農(nóng)民繪畫展”“來(lái)自畫鄉(xiāng)的報(bào)告——全國(guó)農(nóng)民繪畫文獻(xiàn)展”“二十四節(jié)氣”柯城全國(guó)農(nóng)民畫作品展、“2020全國(guó)農(nóng)民畫作品展覽”“2020首屆中國(guó)（洞頭）漁民畫大展”等一系列農(nóng)民畫展覽;連續(xù)四年舉辦麗水畬族民間繪畫主題性創(chuàng)作培訓(xùn)班，舉辦“和美 · 景寧——畬族民間繪畫展”，為景寧縣培養(yǎng)了一支景寧縣畬族民間繪畫創(chuàng)作隊(duì)伍;組織專家赴衢州余東村、舟山東極鎮(zhèn)、溫州洞頭區(qū)、杭州蕭山區(qū)等地進(jìn)行農(nóng)民畫創(chuàng)作輔導(dǎo)，提升全省農(nóng)民畫創(chuàng)作水平;赴阿克蘇開展農(nóng)民畫培訓(xùn)、指導(dǎo)，舉辦浙阿農(nóng)民畫創(chuàng)作成果展，編輯《阿克蘇地區(qū)農(nóng)民畫文獻(xiàn)集》。

國(guó)際交流影響世界? ? 人才輩出筑就高地

浙江美術(shù)發(fā)展史，也是一部中西融合、互學(xué)互鑒發(fā)展史，就在中國(guó)美院創(chuàng)辦之初，就有一大批像林風(fēng)眠一樣留學(xué)海外的美術(shù)大師擔(dān)任教師。新中國(guó)成立以來(lái)，浙江美術(shù)界積極以各種形式開展國(guó)際學(xué)術(shù)交流活動(dòng)。早在1960年，根據(jù)中羅兩國(guó)簽署的文化交流協(xié)定，埃烏琴 · 博巴受羅馬尼亞文化部的派遣，到浙江美術(shù)學(xué)院主持油畫訓(xùn)練班的教學(xué)，為期兩年。這是繼20世紀(jì)50年代在中央美術(shù)學(xué)院舉辦“馬克西莫夫油畫訓(xùn)練班”之后，又一個(gè)“請(qǐng)進(jìn)來(lái)”的油畫教學(xué)實(shí)踐班。博巴的藝術(shù)觀念通過(guò)訓(xùn)練班學(xué)員的教學(xué)實(shí)施，對(duì)浙江油畫的探索與拓展產(chǎn)生了積極的作用。1985年，旅法藝術(shù)家趙無(wú)極在浙江美術(shù)學(xué)院舉辦了為期一個(gè)月的油畫訓(xùn)練班，這是改革開放之后最早也是極其重要的“外教”油畫訓(xùn)練班。1992年，法籍華裔著名畫家和藝術(shù)理論家司徒立將具象表現(xiàn)繪畫介紹到中國(guó)并且得到了大力的推廣。中國(guó)美術(shù)學(xué)院油畫系的藝術(shù)家們，以自身大量的創(chuàng)作實(shí)踐為基礎(chǔ)，從哲學(xué)沉思和視覺(jué)追問(wèn)兩個(gè)方面對(duì)“具象表現(xiàn)繪畫”進(jìn)行了大量的研究和探索，揭示了具象表現(xiàn)繪畫藝術(shù)的基本內(nèi)涵。這不僅對(duì)具象表現(xiàn)繪畫有深刻的指導(dǎo)意義，也為中國(guó)當(dāng)代油畫藝術(shù)的教學(xué)提供了寶貴的教學(xué)理論支點(diǎn)。這個(gè)教學(xué)實(shí)踐至今長(zhǎng)達(dá)30年，培養(yǎng)了大批繪畫實(shí)踐與理論研究的博士生。2014年，司徒立獲中國(guó)政府“友誼獎(jiǎng)”。

新世紀(jì)以來(lái)浙江省美術(shù)家協(xié)會(huì)努力拓展國(guó)際美術(shù)學(xué)術(shù)交流，從2011年開始相繼舉辦了以“意之大者”“長(zhǎng)卷視界”“輯頁(yè)輟英”“正大氣象”“和風(fēng)屏山”和“雅集興答”為主題的杭州 · 中國(guó)畫雙年展。杭州纖維藝術(shù)三年展至今已舉辦三屆。這些國(guó)際性展覽的規(guī)模、規(guī)格和學(xué)術(shù)性引起了業(yè)界和社會(huì)的廣泛好評(píng)，提升了浙江美術(shù)事業(yè)在全國(guó)的地位和影響力。

杭州 · 中國(guó)畫雙年展學(xué)術(shù)宗旨：回眸世紀(jì)發(fā)展之路，標(biāo)新國(guó)畫學(xué)術(shù)話語(yǔ)，重建當(dāng)代文化聯(lián)系，再造東方藝術(shù)高峰。在全球化、信息化、城市化的時(shí)代背景之下，中國(guó)社會(huì)經(jīng)濟(jì)結(jié)構(gòu)正發(fā)生著迅猛的變化，中國(guó)畫也不斷面臨新的機(jī)遇和挑戰(zhàn)。中國(guó)畫雙年展的確立，在中華民族現(xiàn)代性的大視野中，承續(xù)中國(guó)畫百年發(fā)展之路;在全球化與本土化的大趨勢(shì)中，考量中國(guó)畫生存與發(fā)展的當(dāng)代生態(tài);將歷史尋繹和當(dāng)代省思緊密鏈接，梳理、廓清中國(guó)畫傳承與拓展的歷史性線索，發(fā)現(xiàn)和解決當(dāng)代中國(guó)畫發(fā)展的實(shí)質(zhì)性問(wèn)題。同時(shí)，打造當(dāng)代中國(guó)畫拓新的創(chuàng)作平臺(tái)、研究的話語(yǔ)平臺(tái)、精英的推出平臺(tái)、高端的傳播平臺(tái)。

浙江有許多優(yōu)秀的美術(shù)家?guī)资晟钌畹卦谧约旱耐恋?，筆耕不輟，擁有大視野、大胸懷，以自己獨(dú)特的藝術(shù)作品走向世界，讓世界嘆服。中國(guó)文聯(lián)副主席、中國(guó)美術(shù)家協(xié)會(huì)副主席、中國(guó)油畫家學(xué)會(huì)主席、浙江省文聯(lián)主席、中國(guó)美院前院長(zhǎng)許江就是其中的杰出代表。2003年，許江在亞歐交界的小亞細(xì)亞高原與“葵”不期而遇。此后，他陸續(xù)遭遇了生命中數(shù)個(gè)愀然于心的葵園現(xiàn)場(chǎng)，并從這些發(fā)生現(xiàn)場(chǎng)中反復(fù)自我開啟，在油畫、水彩、雕塑、影像等不同媒介之間琢磨、砥礪，鍛造出自己的藝術(shù)語(yǔ)言，提煉出葵的精神內(nèi)核。

許江畫葵，迄今已是第十九個(gè)年頭。十九年來(lái)他不斷地訪葵、畫葵、種葵、談葵、憶葵、詠葵、格葵，持續(xù)地為這向陽(yáng)之花賦予新的意蘊(yùn)。自2006年迄今，許江帶著他的葵，先后在中國(guó)美術(shù)館、上海美術(shù)館、國(guó)家博物館、中華藝術(shù)宮、美國(guó)肯尼迪藝術(shù)中心、德國(guó)德累斯頓國(guó)家博物館、德國(guó)路德維希博物館、俄羅斯國(guó)家博物館等國(guó)內(nèi)外重要機(jī)構(gòu)展出，從叩問(wèn)大地浮沉、歷史蒼茫的“遠(yuǎn)望”系列，到呈現(xiàn)新中國(guó)一代人精神圖像的“東方葵”系列，再到黃鐘大呂般氣度恢宏的“葵頌”系列，受到海內(nèi)外藝術(shù)界同仁的廣泛關(guān)注。

來(lái)自民間和政府間的美術(shù)國(guó)際交流也十分活躍，2018年9月4日，“古堰畫鄉(xiāng)——浙江特色小鎮(zhèn)海外推廣展”在法國(guó)巴黎中國(guó)文化中心開幕，通過(guò)油畫、攝影、表演等形式展現(xiàn)麗水古堰畫鄉(xiāng)的自然風(fēng)光和人文底蘊(yùn)。展覽以畫為媒，以景傳情，展出了60余幅繪畫與攝影作品，再現(xiàn)古堰畫鄉(xiāng)秀麗山水與淳樸民俗，讓山區(qū)的小鎮(zhèn)走向世界。6E2E107E-4C8C-46AA-A6B0-1C02F9A15D28

浙江十分注重美術(shù)人才培養(yǎng)，美術(shù)界代有人才出。尤其是近十年來(lái)，浙江美術(shù)界老、中、青薪火相傳，推出了“名家孵化”計(jì)劃和青年美術(shù)人才培養(yǎng)“新峰計(jì)劃”，其中“名家孵化”計(jì)劃2019年啟動(dòng)，每三年一個(gè)周期，“新峰計(jì)劃”2013年啟動(dòng)，已有十屆，選拔培養(yǎng)了一批優(yōu)秀中青年美術(shù)創(chuàng)作人才，引領(lǐng)青年美術(shù)家的創(chuàng)作導(dǎo)向。協(xié)會(huì)不斷組織“名家孵化”和“新峰計(jì)劃”美術(shù)家參加美術(shù)采風(fēng)、惠民、訪學(xué)等活動(dòng)，舉辦“新峰計(jì)劃——青年美術(shù)家作品展覽”，出版、拍攝“群峰之路——名家孵化美術(shù)家作品集”及紀(jì)錄片，并開展多項(xiàng)宣傳推廣活動(dòng)，助推中青年美術(shù)家，致力于打造浙江美術(shù)人才高地。

浙江進(jìn)入新時(shí)代，浙江美術(shù)界將一如既往地持續(xù)打造文藝精品高地，帶領(lǐng)廣大美術(shù)家和美術(shù)工作者與時(shí)代同行、與人民同心，不負(fù)時(shí)代，努力創(chuàng)作出思想有深度、情感有溫度、語(yǔ)言有強(qiáng)度的精品力作。

（作者系浙江省美術(shù)家協(xié)會(huì)副主席兼秘書長(zhǎng)）

Zhejiangs Fine Arts Throughout History

By? Wang Minjie

The land of Zhejiang， with its splendid mountains and rivers， profound historical and cultural traditions， has nourished and stirred the hearts of its people for thousands of years. From the rough and simple painted pottery of Shangshan Culture to the warm and delicate jade of Liangzhu Culture; from the misty and rainy landscape of the Six Dynasties to the prosperous scenery of Wuyue Kingdom; from the mountains and creeks under the brushes of painters like Ma Yuan and Xia Gui to Huang Gongwangs Dwelling in the Fuchun Mountains; from the night wind in Xu Wenchangs study to Pan Tianshous Yandang Mountain flowers … generations of Zhejiang-style paintings and the integration of Chinese and Western art have brought Zhejiangs paintings a unique tenacity and vision， both eclectic and innovative. Famous artists and masterpieces are in droves.

Two aspects in the origins of painting culture in Zhejiang cannot be ignored. The first is the nourishment of the “Zhejiang School” by the painting tradition of the Song dynasty （960-1279）. In 1127， forces from the Jin dynasty （1115-1234） captured emperors Huizong （1082-1135） and Qinzong （1100-1161）， including their Imperial Academy artists and other artisans. Zhao Gou （1104-1187） then ascended the throne in Yingtian （present-day Shangqiu， Henan） and became Emperor Gaozong. Later， he moved the capital to Linan （present-day Hangzhou） in 1132.

Then a leading painter Li Tang （ca. 1050-1130） escaped from the control of the Jin. Wind in the Pines Among a Myriad Valleys is among one of his most well-known works. Emperor Gaozong knew Li well and admired his superb painting skills. He named him an official at the restored painting academy and regarded his works as a classic to be widely copied. Among the “Four Great Masters of the Southern Song Dynasty”， Liu Songnian （1174-1224）， Ma Yuan （1160-1225） and Xia Gui （1195-1224） were also most influential， especially for their landscape paintings.

After the Song dynasty， landscape painters in Hangzhou still painted in the style of the painters of the Southern Song Painting Academy， especially Ma Yuan and Xia Gui. In the early Ming dynasty （1368-1644）， the Song style of painting， especially its academy painting， revived. Dai Jin （1388-1462）， a native of Hangzhou， was the most representative at that time， with a wide range of followers， hence the “Zhejiang School”. Zhejiang School continued from generation to generation. In 1953， the Hangzhou National Art College established a training course in color and ink painting， and many promising young students， including Zhou Changgu （1929-1986）， emerged from it and began the creative practice of modern figure painting， marking a historic pioneering step in Chinas figure painting in the new era， which is called “Zhejiang School Figure Painting”. For example， Zhou Changgus Two Lambs shocked the painting world. This work was created after he finished his trip to Dunhuang and went deep into the Tibetan area. In 1955， he won a Gold Medal at the Fifth World Youth Festival.6E2E107E-4C8C-46AA-A6B0-1C02F9A15D28

Then there was the New Art Movement advocated by Lin Fengmian （1900-1991）， who studied in France in 1919 and learned painting at the Dijon Academy of Fine Arts and the Ecole des Beaux-Arts in Paris. In 1925， he returned to China and served as the principal and professor of Peiping National Art College. In 1928， he established the National Academy of Arts in Hangzhou， and served as its first dean and professor. Influenced by Cai Yuanpeis thought of “Aesthetic Education as Substitute for Religion”， he advocated the New Art Movement and engaged in art education and painting for a long time. Lins early works were mostly oil paintings. His later period was mainly devoted to the innovation of Chinese painting. He called for not only inheriting the Chinese art tradition， but also being compatible with the aesthetic consciousness and expressive techniques in Western art， attaching importance to learning from nature， integrating Chinese and Western art， and creating a highly personalized lyrical painting style full of the flavor of the times and ethnic characteristics. Lin was a master of modern Chinese painting， an outstanding art educator， and the founder of China Academy of Art.

These two sources nourish and influence the development of Zhejiang art， and China Academy of Art， especially， has become the cradle of artists in Zhejiang and even in China.

In the Chinese art world， Zhejiang has always been known for standing in the forefront of the tide. No matter in the art creation projects on the theme of Chinese civilization and history， or the national major historical theme， or the most beautiful China large-scale art theme， the artist teams in Zhejiang are far ahead in the number and quality of selected works， and they have produced a “national team” for the national theme art creation.

When it comes to the achievements of Zhejiang arts， people will invariably mention the role of Zhejiang Artists Association in inheriting the traditional art and in innovating art. Since the first congress of Zhejiang Artists Association was held on July 30， 1961， artists such as Pan Tianshou （1897-1971） and Mo Pu （1915-1996） have served as the chairman of the association， with 3，055 members currently， including 726 nation-level members. The association has been practicing the people-centered view of history， arts， the world， and morality， leading the artists to go deep into life， take root among the people， care about the real life of the society， dive deep into the front line and the grassroots level of the times， and stand at the forefront of artistic creation.6E2E107E-4C8C-46AA-A6B0-1C02F9A15D28

In 2006， the Zhejiang Provincial Government decided to implement a major theme art project. Taking the 7，000-year history of Zhejiang as the main line， it reproduced the influential historical figures and historical events with a batch of masterpieces representing the spirit of the times， a historical picture scroll of Zhejiang. The project team of talented and powerful artists went all out， and used the contemporary language of painting to recreate the magnificent historical process of Zhejiang， historical figures， the unique spiritual temperament of the Chinese nation and the people of Zhejiang. From 2014 to the present， the four phases of the Zhejiang Fine Arts Project of “Centennial Dreams” have been fruitful. The works artistically present events and figures of historical and epochal significance in the development of Zhejiang.

Paintings with major themes of contemporary life raised the study of painting as an issue of narrative ethics. What we care about is not only the endless exploration of art development， but also the question of whether human values ??can be deepened repeatedly. The quinquennial Zhejiang Provincial Art Exhibition has been held 14 times so far， and the triennial Zhejiang Provincial Youth Art Exhibition has been held eight times. These exhibitions promote the cultivation of art talents， continuously promote artistic innovation， encourage artists to create more contemporary art in Chinese style and show the spiritual outlook， ideological attitude and cultural accomplishment of Zhejiang artists in the new era to all sectors of society. In addition， a series of exhibitions on oil painting， traditional Chinese painting， watercolor， printmaking and design are launched every year， presenting the latest achievements of artists in various fields. From the Sixth National Art Exhibition in 1984 to the 12th National Art Exhibition in 2014， Zhejiang won gold medals for 13 works by 16 artists. Zhejiang artists Zhao Yannian， Wang Bomin and Quan Shanshi successively won the Lifetime Achievement Award of China Fine Arts Awards. These artists are closely linked with the destiny of the country. Many of them established “national standards” for Chinas art development.

When people speak of Zhejiangs innovation in arts， a great debate in Hangzhou that took place in 1985 is always mentioned. The protracted debate among a group of young artists mostly from Zhejiang Academy of Fine Arts （now China Academy of Art）happened during their graduation exhibition， and evolved into a national debate. The “debate at Zhejiang Academy of Fine Arts” involved 12 members of “Zhejiang Youth Creation Club”. In early December 1985， Zhang Peili， Geng Jianyi， Song Ling， among others， with the support of Zhejiang Artists Association， launched “85 New Space Painting Exhibition” at the exhibition hall of Zhejiang Academy of Fine Arts. In the same year， Wu Shanzhuan， Luo Xianyue， Zhang Haizhou and others concentrated on creating works in Zhoushan that would be made up of 75 percent red， 25 percent white and 5 percent black， which were then exhibited in Hangzhou. These works influenced the whole country and became the main representative of the “85 New Wave” in the Chinese art circle.6E2E107E-4C8C-46AA-A6B0-1C02F9A15D28

Like the innovative development of Zhejiangs private economy， the development of Zhejiang folk art is unique in China. Zhejiang boasts many painting groups for farmers， as an important center for Chinas farmer painting with extensive international influence. The Zhejiang Artists Association has sponsored exhibitions such as “Farmers in the Age of Farmer Paintings — National Farmer Painting Exhibition”， “Reports from Painting Villages — National Farmer Painting Documentary Exhibition”， “2020 National Farmer Painting Exhibition”， “2020 First China （Dongtou） Fishermens Painting Exhibition”. Thematic creation training classes on the ethnic She folk painting have been hosted for four consecutive years. “Peaceful Jingning — She Nationality Folk Painting Exhibition” cultivated a team of ethnic She folk artists in Jingning county， Lishui city. Teams of experts have been organized to places like Yudong village in Quzhou city， Dongji township in Zhoushan city and Dongtou district in Wenzhou city to help train the provinces farmer painters.

As early as in 1960， according to a bilateral cultural exchange agreement， Professor Eugen Popa （1919-1996） was dispatched by Romanian Ministry of Culture to teach oil painting training courses at Zhejiang Academy of Fine Arts for two years. This was another “imported” oil painting teaching practice class after “Maksimov oil painting training class” was held at the Central Academy of Fine Art in the 1950s. Popas artistic concept was implemented through the teaching， with a positive effect on the exploration of Zhejiang oil painting. In 1985， Zao Wou-Ki （or Zhao Wuji， 1920-2013）， an artist living in France， held a one-month oil painting training class at Zhejiang Academy of Fine Arts. This was the earliest and most important oil painting training class from a “foreign teacher” after 1978. In 1992， Szeto Lap， a famous French-Chinese painter and art theorist， introduced figurative expressionism to China and it has been vigorously promoted. The artists， mainly from the Oil Painting Department of China Academy of Art， conducted research and exploration on figurative expressionism from aspects of philosophical contemplation and visual inquiry based on their own extensive practice. In 2014， he won the “Friendship Award” from the Chinese government.

In the 21st century， the Zhejiang Artists Association has expanded its national and international academic exchanges. For example， Hangzhou Biennale of Traditional Chinese Painting since 2011 and Hangzhou Fiber Art Triennial have enhanced the status and influence of the provincial art cause in China. The academic purpose of Chinese Painting Biennale of Hangzhou is “Looking back at the development of the past century， innovating the academic discourse of traditional Chinese painting， rebuilding the connection of contemporary culture and recreating the peak of oriental art. There are many outstanding artists in Zhejiang who have been rooted in their own field for decades. Xu Jiang， vice chairman of China Federation of Literary and Art Circles， vice chairman of China Artists Association， and former president of China Academy of Art， is one of the outstanding representatives. Since 2003， he has encountered several sunflower garden scenes， pondering and tempering between different media such as oil painting， watercolor， sculpture， video， etc.， forging his own artistic language to extract the spiritual core of Sunflowers. The international exchanges of fine arts between the peoples and governments are very active. On September 4， 2018， “Guyan Painting Village — Overseas Promotion Exhibition of a Zhejiang Characteristic Town” opened at the China Cultural Center in Paris.

Zhejiang attaches great importance to the cultivation of artists， especially in the past decade. The “New Artist Program” and the “Famous Artist Incubation” program were launched in 2013 and 2019 respectively， which aim to foster young and upcoming artists. The Zhejiang Artists Association continues to organize artists in activities such as site visiting and art exhibitions， publishing collection of works and filming documentaries to build Zhejiang into an ideal place for artists.6E2E107E-4C8C-46AA-A6B0-1C02F9A15D28