區(qū)域協(xié)同 丹青有約
——“藝道同行——京津冀中國畫邀請展暨美術(shù)協(xié)同發(fā)展學術(shù)研討會”側(cè)記

張芯旖/Zhang Xinyi

區(qū)域協(xié)同 丹青有約
——“藝道同行——京津冀中國畫邀請展暨美術(shù)協(xié)同發(fā)展學術(shù)研討會”側(cè)記

A Coordinated Effort of Different Regions and a Grand Gathering of Artists: Sidelights on “Accompany with Art and Way—Invitational Chinese Painting Exhibition of Beijing, Tianjin and Hebei Province, and Symposium on Collaborative Development of Art in the Three Regions”

張芯旖/Zhang Xinyi

編者按：本次《展覽現(xiàn)場》推出的幾個藝術(shù)展事，從承辦的機構(gòu)、參展的藝術(shù)家各方面都有極大的不同，但它們卻從各自不同的角度揭示出了當下藝術(shù)生態(tài)的豐富性，同時亦揭示了藝術(shù)因為地域性文化的差別所呈現(xiàn)出的各種豐富的魅力。今天的中國當代藝術(shù)正在走向深化發(fā)展，不同地域的藝術(shù)家也都在深化研究自己的藝術(shù)追求的路徑，當代中國的藝術(shù)書寫正在變得多樣而豐富，并為今后的中國藝術(shù)發(fā)展路徑預示著更多種的可能性。

Editor's note:Though the exhibitions the column Exhibition Reviews of this issue focus on are vastly different in their organizers and participating artists, they refect the variety of current situation of contemporary art from different perspectives, as well as the fascination of art due to the differences between regional cultures. At present, with the further development of China’s contemporary art, artists in different regions are furthering their own research in art. The writing of art in China is becoming diverse and rich, indicating more possibilities for the ways of development of Chinese art in the future.

楊曉陽（北京） 絲綢之路 紙本 200×1000cmYang Xiaoyang (Beijing), The Silk Road, painting on paper, 200×1000cm

展覽鏈接：

藝道同行——京津冀中國畫邀請展

主辦單位：中共天津市委宣傳部

承辦單位：天津畫院

支持單位：中國美術(shù)家協(xié)會、中國國家畫院

展覽時間：2015年10月17日—25日

展覽地點：天津美術(shù)館

Exhibition Link:

Accompany with Art and Way—Invitational Chinese Painting Exhibition of Beijing, Tianjin and Hebei Province

Sponsor: Publicity Department of CPC Tianjin Municipal Committee

Organizer: Tianjin Painting Academy

Supporters: Chinese Artists Association and China National Academy of Painting

中國畫的文化身份中承載著豐富的人文內(nèi)涵和情感表達。各地區(qū)的中國畫作品更是展現(xiàn)出各自的藝術(shù)特征與相貌，并形成了特殊的地區(qū)性視覺符號。在“圖像”資源如此豐富的今天，體現(xiàn)出特定的視覺文化傳播效應。京津冀三地，地緣相近，人緣相親，文化相融。此次展覽立足于“京津冀協(xié)同發(fā)展”的國家戰(zhàn)略部署，對京津冀三地頗具代表性的當代中國畫藝術(shù)家們的作品進行了一次較為集中和全面的展示，對中國畫的區(qū)域性聯(lián)盟和發(fā)展進行了深入的研究與探討，對三地美術(shù)事業(yè)的協(xié)同發(fā)展起到了推動作用。

The cultural identity of Chinese painting carries in it rich connotation of humanity and emotional expression. The works of Chinese painting in different regions show their respective artistic features and appearance, and form specific regional visual symbols.They embody specifc propagation effect of visual culture in present day when there are abundant “image” resources. Beijing, Tianjin and Hebei are regions close geographically, keeping a good relationship with one another and sharing a common culture. Based on the national strategic deployment of Beijing-Tianjin-Hebei cooperative development, this exhibition gave a comparatively concentrated and comprehensive display of representative works of the contemporary Chinese painting artists from the three regions, made an in-depth research and discussion on the regional alliance and development of Chinese painting, and in this way promoted the cooperative development of art in the three regions.

劉萬鳴（北京） 碧空無際 紙本設(shè)色 361×192.5cmLiu Wanming (Beijing), The Boundless Sky, ink and color on paper, 361×192.5 cm

白云鄉(xiāng)（河北） 太行山石造像 紙本 136×68cmBai Yunxiang (Hebei), Rocky Taihang, painting on paper, 136×68 cm

劉大為（北京） 北疆鐵騎 紙本 150×400 cmLiu Dawei (Beijing), Cavalry in Northern Xinjiang, painting on paper, 150×400 cm

張道興（北京） 肩挑的惠東 紙本 180×97cmZhang Daoxing (Beijing), Women Carrying Loads on a Pole in Huidong, painting on paper, 180×97 cm

何家英（天津） 孫中山在天津 紙本 210×110cmHe Jiaying (Tianjin), Sun Yat-sen in Tianjin, painting on paper, 210×110 cm

縱觀現(xiàn)代中國畫的變革與演進，既有高劍父、高奇峰、徐悲鴻、林風眠、劉海粟、豐子愷等提倡“中西融合”的先行者，又有陳師曾、黃賓虹、潘天壽、傅抱石、林紓、金城等植根于傳統(tǒng)的守成者。他們的探索使中國畫在近百年的滄桑歲月的嬗變中，得以更好地詮釋與延展，并為其注入了新的文化意識與啟示。在對抗與互補中，找尋中國畫的發(fā)展之路。到了當代，面對如何看待中國畫的“筆墨”、對中國畫的界定與分類等程式與標準的問題，藝術(shù)家們做出了不同的選擇。同時，中國畫的發(fā)展更是與審美理想和地域條件相適應，隨著時代、地區(qū)的語境變化而轉(zhuǎn)型。誠如德國藝術(shù)家格哈德·里希特所言：“每一個詞語，每一條線都是被其身處的環(huán)境與時代所激發(fā)的。聯(lián)系和靈感都與過去與當下相呼應?！保℅erhard Richter: Textes 1962-1993）老中青三代藝術(shù)家們呈現(xiàn)出了中國畫不同的思維和言說方式：老一輩藝術(shù)家們堅守傳統(tǒng)技法和傳統(tǒng)價值觀，作為中堅力量的中年藝術(shù)家延續(xù)與重構(gòu)傳統(tǒng)中國畫內(nèi)涵，而青年藝術(shù)家正在創(chuàng)作中尋求一種社會功能與中國畫自律性之間的張力。

In the course of changes and evolution of modern Chinese painting, numerous representative figures emerged, including both the pioneers who advocated “combining Chinese and Western styles”,such as Gao Jianfu, Gao Qifeng, Xu Beihong, Lin Fengmian, Liu Haisu and Feng Zikai, and the conservatives who stuck to tradition,such as Chen Shizeng, Huang Binhong, Pan Tianshou, Fu Baoshi, Lin Shu and Jin Cheng. With their explorations, the Chinese painting was better interpreted and extended, and also injected with new cultural awareness and enlightenment in its transmutation during nearly one hundred vicissitudinous years. In the process of confrontation and mutual complementation, they sought the way for the development of Chinese painting. In the present era, in the face of such problems as how to look at“brush and ink” and how to defne and classify Chinese painting, artists has made their different choices. At the same time, Chinese painting is developing in line with the aesthetic ideal and geographical conditions,and is transformed with the changes of time and regional contexts. As the German artist Gerhard Richter put it, “Every word, every line is inspired by the environment and time in which it is. Contact and inspiration are echoes of the past and the present.” (Gerhard Richter: Textes 1962-1993)Old, middle-aged and young artists show different ways of thinking and expression of Chinese painting: artists of the older generation stick to traditional techniques and values; the middle-aged artists, as the artistic backbone, continue and reconstruct the connotation of traditional Chinese painting; while the young artists are seeking a tension between the social function and the autonomy of Chinese painting.

王明明（北京） 秋曉鐘鼓聲 紙本 180×97cmWang Mingming (Beijing), An Echo of Bell and Drum in the Dawn of Autumn, painting on paper, 180×97 cm

龍瑞（北京） 巴山夜雨 紙本 246×123cmLong Rui (Beijing), Evening Rain in Bashan, painting on paper, 246×123 cm

王書平（天津） 展望 紙本 177×95cmWang Shuping (Tianjin), Looking into the Distance,painting on paper, 177×95 cm

孫其峰（天津） 孔雀 紙本設(shè)色 136×68cmSun Qifeng (Tianjin), Peacock, ink and color on paper, 136×68 cm

從地區(qū)布局來說，中國畫壇的格局自上世紀二、三十年代開始，就形成了上海、浙江、江蘇等地以任伯年、吳昌碩為首的“海上畫派”，在廣東地區(qū)以“二高一陳”（高劍父、高奇峰、陳樹人）為領(lǐng)袖的“嶺南畫派”以及在北京、天津以中國畫研究會和湖社等團體為中心的京津畫家群的三足鼎立之勢。這些畫派在南北相映生輝。它們的繪畫風格影響了中國畫壇近一個世紀的走向，今天更是顯示出其藝術(shù)魅力。1949年以后，又增加了以西安畫家趙望云、何海霞、石魯為代表的“長安畫派”等。這些中國畫流派或多或少地受其所在地域的歷史沉淀、民情風俗、文化背景、自然條件、經(jīng)濟條件、物質(zhì)構(gòu)成、空間形態(tài)以及人們的價值觀等因素的影響。區(qū)域文化間接地影響著藝術(shù)活動的進程，引導著藝術(shù)生態(tài)的構(gòu)成、趨向。區(qū)域與區(qū)域間的藝術(shù)合作促使公共價值的認同感在藝術(shù)作品中彰顯。

In terms of regional distribution, the situation of triangular balance of power took shape in Chinese art circles as early as the 1920s or 1930s,consisting of “Shanghai School of Painting” led by Ren Bonian and Wu Changshuo in Shanghai, Zhejiang and Jiangsu areas, the “Lingnan School of Painting” led by Gao Jianfu, Gao Qifeng and Chen Shuren,and the Beijing and Tianjin painters with the Chinese Painting Research Association and Hu Sher Painting Society as the center. These schools of painting set each other off wonderfully in the south and the north. Their styles of painting infuenced the trend of Chinese painting for nearly a century, and today they are showing even more artistic charm.After 1949, some new schools of painting emerged, such as“Chang’an School of Painting” represented by the Xi’an artists Zhao Wangyun, He Haixia and Shi Lu. These schools of Chinese painting have been more or less influenced by their regional history, local customs, cultural background, natural and economic conditions, material composition, spatial forms, people’s values, and other factors. Regional culture indirectly infuences the process of artistic activities, and guides the composition and trend of art ecology. The artistic cooperation between different regions promotes the manifestation of the sense of identity of public values in artistic works.

霍春陽（天津） 清涼處 紙本 60×38 cmHuo Chunyang (Tianjin), Cool and Refreshing, painting on paper,60×38 cm

張立辰（北京） 玉樹凝雪 紙本彩墨 375×121cmZhang Lichen (Beijing), Snow on the Tree, color ink on paper, 375×121 cm

陳治、武欣（天津） 零點 絹本 171×186cmChen Zhi, Wu Xin (Tianjin), Zero Hour, painting on silk, 171×186 cm

2015年10 月17日至25日，由中共天津市委宣傳部主辦、天津畫院承辦的“藝道同行——京津冀中國畫邀請展暨美術(shù)協(xié)同發(fā)展學術(shù)研討會”在天津美術(shù)館隆重舉行。此次展覽在文化上響應“京津冀協(xié)同發(fā)展”的國家戰(zhàn)略部署，就整合區(qū)域文化藝術(shù)資源，加強深層次合作交流，打造區(qū)域文化藝術(shù)品牌，推動京津冀三地文化藝術(shù)實現(xiàn)優(yōu)勢互補、良性互動、協(xié)同共進等議題，藝術(shù)家和學者們展開了熱烈而積極的探討。這是近年來京津冀區(qū)域規(guī)模最大的一次中國畫展覽、交流、研討的學術(shù)盛會。

From October 17 to 25, 2015, “Accompany with Art and Way—Invitational Chinese Paintings Exhibition of Beijing, Tianjin and Hebei Province, and Symposium on Collaborative Development of Art in the Three Regions”, sponsored by the Publicity Department, CPC Tianjin Municipal Committee, and organized by Tianjin Painting Academy,was held solemnly at Tianjin Art Museum. In response to the national strategic deployment of the “Beijing-Tianjin-Hebei collaborative development”, artists and scholars had a heated and lively discussion on such topics as the integration of regional cultural and artistic resources,furthering cooperation and exchanges, creating regional culture and art brands, speeding up the realization of the complementary advantages,effective interaction, and cooperative advancement in artistic and cultural circles in Beijing, Tianjin and Hebei Province. This is the largest-scale academic event of exhibition, academic exchanges and discussion of Chinese painting in the regions of Beijing, Tianjin and Hebei Province in recent years.

馮驥才（天津） 春夏秋冬 紙本設(shè)色 45×53cmFeng Jicai (Tianjin), Four Seasons, ink and color on paper, 45×53 cm

天津在文化史中擁有許多標志性的“名片”和標簽：“中國歷史文化名城”“見證中國近現(xiàn)代文明的重要城市”“曲藝之鄉(xiāng)”“戲曲大碼頭”“京津畫派的發(fā)祥地”，如此等等，這些說法至少從某個側(cè)面標識出了天津深厚的歷史文化積淀，從中映射出她中西合璧、古今交融、多元多樣、開放包容的獨特文化魅力。十二屆全國美展中國畫展在天津的成功舉辦，為天津美術(shù)界新近的發(fā)展更增添了信心和動力。由天津畫院策劃舉辦的“中國夢·翰墨緣——中國國家畫院、天津畫院、江蘇省國畫院、山東畫院、甘肅畫院美術(shù)作品展”在天津的精彩亮相，為天津美術(shù)事業(yè)的發(fā)展注入了新的活力。天津市委、市政府高度重視美術(shù)事業(yè)的發(fā)展，作為深入推進京津冀協(xié)同發(fā)展戰(zhàn)略的重要組成部分，要求天津文化藝術(shù)界積極為京津冀三地美術(shù)事業(yè)的發(fā)展進步搭建平臺，貢獻力量，“藝道同行——京津冀中國畫邀請展暨美術(shù)協(xié)同發(fā)展學術(shù)研討會”應運而生。

Tianjin has many symbolic “calling cards” and labels in the cultural history: for example, “Famous Historical and Cultural City of China”, the“Major City that Witnessed Chinese Modern Civilization”, “Land of Folk Art”, the “Grand Pier of Operas” and the “Birthplace of Beijing-Tianjin School of Painting,” and so on and so forth. These labels reflect the profound historical and cultural heritage of Tianjin from a certain angle,and show its unique cultural charm characterized by the combination of Chinese and Western artistic styles, blending of the ancient with the modern, diversity, and openness and inclusiveness. The success of the Traditional Chinese Painting Show of the Twelfth National Exhibition of Fine Arts held in Tianjin has added new confdence and impetus to the recent development of Tianjin’s art circles. “The Chinese Dream and the Affnity for Brush and Ink—Exhibition of Art Works from China National Academy of Painting, Tianjin Painting Academy, Jiangsu Traditional Chinese Painting Institute, Shandong Painting Academy and Gansu Painting Academy” planned and hosted by Tianjin Painting Academy has added new vitality to the development of fne arts in Tianjin. CPC Tianjin Municipal Committee and Tianjin Municipal Government, attaching great importance to the development of fine arts, demand that Tianjin culture and art circles should actively set up a platform for and make contributions to the development and progress of fine arts in Beijing,Tianjin, and Hebei Province. As a result, the “Accompany with Art and Way—Invitational Chinese Painting Exhibition of Beijing, Tianjin and Hebei Province, and Symposium on Collaborative Development of Art in the Three Regions” was held.

本次展覽和學術(shù)研討，邀請了孫其峰、秦征、韓羽、馮驥才、劉大為、龍瑞、馮遠、王明明、吳長江、楊曉陽為這次活動的顧問。中國美術(shù)家協(xié)會、中國國家畫院為學術(shù)支持單位，北京畫院、北京市美術(shù)家協(xié)會、天津市美術(shù)家協(xié)會、天津美術(shù)學院、天津美術(shù)館、天津人民美術(shù)出版社、河北畫院、河北省美術(shù)家協(xié)會為協(xié)辦單位，中國藝術(shù)研究院等15家京津冀學術(shù)研究機構(gòu)、畫院、專業(yè)協(xié)會為支持單位，涵蓋了三地美術(shù)界的管理、組織、創(chuàng)作、教育、研究、交流、出版、展覽等各個領(lǐng)域。

展覽共展出了來自北京、天津、河北的劉大為、楊曉陽、張道興、龍瑞、王明明、盧禹舜、張立辰、袁武、劉萬鳴、孫其峰、馮驥才、杜滋齡、霍春陽、何家英、賈廣健、王書平、陳治、武欣、韓羽、白云鄉(xiāng)、祁海峰、張國君等255位在中國繪畫領(lǐng)域具有卓越成就及影響力的老中青三代藝術(shù)家的260余幅精品力作，畫家年齡從33歲到95歲。從作品看，這既是新時期國畫藝術(shù)發(fā)展水平的一次真實展示，也是從辛亥革命、“五四”新文化運動、新中國成立、改革開放新時期乃至步入新世紀的中國畫百年發(fā)展的一個縮影。“藝道同行”京津冀美術(shù)協(xié)同發(fā)展學術(shù)研討會，由中國國家畫院副院長、中國藝術(shù)研究院博士生導師張曉凌主持，70多位來自京津冀三地的畫家、理論家和社會各界的領(lǐng)導、專家、學者參加，聚焦中國畫發(fā)展和京津冀美術(shù)事業(yè)攜手共進大事，暢所欲言，各抒己見。這次學術(shù)交流活動組織者、參與者幾乎囊括了三地美術(shù)界的所有美術(shù)單位和優(yōu)秀人才隊伍。

中共天津市委常委、市委宣傳部部長王賀勝，中國國家畫院院長、中國美術(shù)家協(xié)會副主席楊曉陽和中國國家畫院常務副院長盧禹舜，中國美術(shù)館常務副館長馬書林，中國國家畫院副院長張曉凌，中國畫學會副會長張道興，北京畫院常務副院長袁武，榮寶齋畫院院長唐輝，中央美術(shù)學院造型學院副院長王穎生，中國國家畫院創(chuàng)研部副主任邢少臣，中國藝術(shù)研究院中國畫院常務副院長劉萬鳴，解放軍藝術(shù)學院美術(shù)系副主任劉泉義，清華大學教授陳輝、陳池瑜，中國藝術(shù)研究院博士生導師李魁正，中國人民大學美術(shù)學院繪畫系主任黃華三，北京大學教授孫津，中央民族大學教授曹寶泉，中央美術(shù)學院教育學院常務副院長畢建勛，中央電視臺書畫頻道董事局主席王平，中國國家畫院美術(shù)研究院常務副院長高天民，中國國家畫院藝術(shù)信息中心主任王平，中國國家畫院研究員王永亮、陳明，中國國家畫院美術(shù)研究院學術(shù)秘書鄒惠欽，北京畫院藝術(shù)部主任樂祥海，天津市委宣傳部常務副部長趙鴻友，天津市文化廣播影視局局長黃永剛，天津市文聯(lián)黨組副書記李志，天津美術(shù)學院副院長郭振山，天津市美協(xié)主席王書平，天津畫院院長賈廣健，天津畫院黨組書記張桂元，天津人民美術(shù)出版社社長李毅峰，天津人民美術(shù)出版社總編楊惠東，天津美術(shù)館館長馬馳，天津市美協(xié)副主席琚俊雄、孟慶占，天津人民美術(shù)出版社《中國油畫》主編王琨，天津美術(shù)學院教授霍春陽，南開大學教授尹滄海，天津美術(shù)學院藝術(shù)與人文學院院長邵亮，天津美術(shù)學院中國畫學院副院長周午生，天津美術(shù)學院雕塑系主任陳鋼，天津美術(shù)學院教授王振德、喻建十、顏寶臻、陳福春、何延喆、郭雅希、鄭金巖，天津美術(shù)學院副教授陳治、郭鑒文，原天津畫院副院長王錞、趙國經(jīng)、郭鳳祥，天津畫院副院長范揚、晏平，天津畫院創(chuàng)研部主任陳嶸、展覽部主任王衛(wèi)平、藝術(shù)交流部主任譚乃麟、理論研究室主任楊維民，河北省文化廳副廳長李新平，河北省美協(xié)主席祁海峰，原河北省美協(xié)主席趙貴德，河北師大美術(shù)學院院長蔣世國，河北畫院院長張國君，河北畫院創(chuàng)研部主任王利明，河北省美協(xié)副主席段朝林，廊坊市美協(xié)主席張玉華，河北省美協(xié)秘書長褚大偉，石家莊畫院院長王穩(wěn)苓等來自京津冀三地及全國各地的100多位美術(shù)界人士一道參加展覽和學術(shù)交流活動。大家對此次活動的組織、形式和效果給予充分肯定。

Sun Qifeng, Qin Zheng, Han Yu, Feng Jicai, Liu Dawei, Long Rui,Feng Yuan, Wang Mingming, Wu Changjiang and Yang Xiaoyang were invited to serve as the consultants of the exhibition and the symposium.With Chinese Artists Association and China National Academy of Painting as academic supporters, Beijing Fine Art Academy, Beijing Artists Association, Tianjin Artists Association, Tianjin Academy of Fine Arts, Tianjin Art Museum, Tianjin People’s Fine Arts Publishing House,Hebei Painting Academy and Hebei Artists Association as co-organizers,fifteen academic research institutions, art academies and professional associations in Beijing, Tianjin and Hebei Province, including Chinese National Academy of Arts, as supporters, this event involved all academic fields in Beijing, Tianjin and Hebei Province, including management,organization, artistic creation, education, research, academic exchange,publication and exhibition.

The exhibition featured more than 260 masterpieces created by 225 accomplished and influential Chinese painting artists of three generations, aged from 33 to 95, from the three regions, including Liu Dawei, Yang Xiaoyang, Zhang Daoxing, Long Rui, Wang Mingming, Lu Yushun, Zhang Lichen, Yuan Wu, Liu Wanming, Sun Qifeng, Feng Jicai,Du Ziling, Huo Chunyang, He Jiaying, Jia Guangjian, Wang Shuping,Chen Zhi, Wu Xin, Han Yu, Bai Yunxiang, Qi Haifeng and Zhang Guojun. As far as the artistic works were concerned, this exhibition was not only a true display of the development level of Chinese painting in the new era, but also a miniature of the development of Chinese painting in the past one hundred years, from the Revolution of 1911, the May Fourth New Culture Movement, the founding of new China, the new period of reform and opening up, to the new century. “Accompany with Art and Way” —The symposium on art collaborative development in Beijing, Tianjin and Hebei Province was presided over by Zhang Xiaoling, vice president of Chinese National Academy of Painting and doctoral supervisor at Chinese National Academy of Arts. More than 70 painters, theorists, leaders of various circles of society, experts and scholars from the three regions participated in the symposium. Everyone expressed their views freely at the symposium on the topic of the development of Chinese painting and cooperative advancement of art in Beijing, Tianjin and Hebei Province. The organizers and participants of this activity of academic exchange were from almost all art institutions and contingents of outstanding talent in these regions.

More than 100 people of art circles of the three regions and other regions of China participated in the exhibition and academic exchanges,including Wang Hesheng, member of the Standing Committee and head of the Publicity Department of the CPC Tianjin Municipal Committee,Yang Xiaoyang, president of China National Academy of Painting and vice chairman of China Artists Association, Lu Yushun, executive vice-president of China National Academy of Painting, Ma Shulin,deputy curator of National Art Museum of China, Zhang Xiaoling, vice president of China National Academy of Painting, Zhang Daoxing,vice president of Chinese Painting Institute, Yuan Wu, executive vice president of Beijing Fine Art Academy, Tang Hui, president of Rong Bao Zhai Academy of Painting, Wang Yingsheng, vice dean of School of Fine Art, China Central Academy of Fine Arts, Xing Shaochen, deputy director of Creation and Research Department, China National Academy of Painting, Liu Wanming, deputy president of Chinese Painting Institute, Chinese National Academy of Arts, Liu Quanyi, Deputy director of Fine Art Department, People’s Liberation Army Academy of Art, Chen Hui and Chen Chiyu, professors at Tsinghua University,Li Kuizheng, doctorial supervisor at Chinese National Academy of Arts, Huang Huasan, director of Fine Arts Department, Academy of Fine Arts, Renmin University of China, Sun Jin, professor at Beijing University, Cao Baoquan, professor at Minzu University of China, Bi Jianxun, executive vice dean of School of Education, China Central Academy of Fine Arts, Wang Ping, chairman of the board of directors of CCTV Painting and Calligraphy Channel, Gao Tianmin, executive vice president of Institute of Fine Arts, China National Academy of Painting, Wang Ping, director of Art Information Centre, China National Academy of Painting, Wang Yongliang and Chen Ming, researchers at China National Academy of Painting, Zou Huiqin, academic secretary of Institute of Fine Arts, China National Academy of Painting, Le Xianghai, director of the Art Department, Beijing Fine Art Academy,Zhao Hongyou, executive deputy head of the Publicity Department, CPC Tianjin Municipal Committee, Huang Yonggang, director of Tianjin Municipal Bureau of Culture, Radio, Film and Television, Li Zhi, deputy secretary of the Leading Party Group of Tianjin Federation of Literary and Art Circles, Guo Zhenshan, vice president of Tianjin Academy of Fine Arts, Wang Shuping, chairman of Tianjin Artists Association, Jia Guangjian, president of Tianjin Painting Academy, Zhang Guiyuan,secretary of the Leading Party Group of Tianjin Painting Academy,Li Yifeng, president of Tianjin People’s Fine Arts Publishing House,Yang Huidong, chief editor of Tianjin People’s Fine Arts Publishing House, Ma Chi, curator of Tianjin Art Museum, Ju Junxiong and Meng Qingzhan, vice chairmen of Tianjin Artists Association, Wang Kun, chief editor of Chinese Oil Painting, Tianjin People’s Fine Arts Publishing House, Huo Chunyang, professor at Tianjin Academy of Fine Arts, Yin Canghai, professor at Nankai University, Shao Liang, dean of College of Arts and Humanities, Tianjin Academy of Fine Arts, Zhou Wusheng,vice dean of School of Chinese Painting, Tianjin Academy of Fine Arts,Chen Gang, director of the Sculpture Department, Tianjin Academy of Fine Arts, Wang Zhende, Yu Jianshi, Yan Baozhen, Chen Fuchun, He Yanzhe, Guo Yaxi and Zheng Jinyan, professors at Tianjin Academy of Fine Arts, Chen Zhi and Guo Jianwen, associate professors at Tianjin Academy of Fine Arts, Wang Chun, Zhao Guojing and Guo Fengxiang,former vice presidents of Tianjin Painting Academy, Fan Yang and Yan Ping, vice presidents of Tianjin Painting Academy, Chen Rong, director of Creation and Research Department, Tianjin Painting Academy, Wang Weiping, director of Exhibition Department, Tianjin Painting Academy,Tan Nailin, director of Art Exchange Department, Tianjin Painting Academy, Yang Weimin, director of Theoretical Research Offce, Tianjin Painting Academy, Li Xinping, deputy head, Department of Culture of Hebei Province, Qi Haifeng, chairman of Hebei Artists Association,Zhao Guide, former chairman of Hebei Artists Association, Jiang Shiguo,dean of School of Arts and Design, Hebei Normal University, Zhang Guojun, president of Hebei Painting Academy, Wang Liming, director of the Creation and Research Department, Hebei Painting Academy,Duan Chaolin, vice chairman of Hebei Artists Association, Zhang Yuhua, chairman of Langfang Artists Association, Chu Dawei, secretary general of Hebei Artists Association, and Wang Wenling, president of Shijiazhuang Painting Academy. They all gave full recognition to the organization, form and effect of the event.

張國君（河北） 家住太行 紙本 68×68cmZhang Guojun (Hebei), Residence in Taihang,painting on paper, 68×68 cm

祁海峰（河北） 漫道高原飛雪夢 紙本 178×178cmQi Haifeng (Hebei), Snowy Plateau, painting on paper,178×178 cm

同發(fā)展、繁榮共進的務實之舉，表達了藝術(shù)家們對人民、對生活、對時代的真摯情感和美好祝愿，也是三地藝術(shù)家踐行使命和擔當，推進民族藝術(shù)繼承發(fā)展，以優(yōu)秀文化、高雅藝術(shù)惠民利民，精心為人民群眾準備的一道藝術(shù)盛宴。中國國家畫院院長、中國美術(shù)家協(xié)會副主席楊曉陽說：“天津美術(shù)界近年來組織的活動多、水平高、影響大，繼去年成功舉辦全國第十二屆美展中國畫展和‘中國夢·翰墨緣——中國國家畫院、天津畫院、江蘇省國畫院、山東畫院、甘肅畫院美術(shù)作品展’，今年又舉辦京津冀中國畫大型展覽交流活動，意義很大。京津冀協(xié)同發(fā)展文化藝術(shù)是重要內(nèi)容，天津美術(shù)界率先思考和行動起來，體現(xiàn)了很強的責任意識和擔當精神，希望這樣的學術(shù)交流成為常態(tài)，形成機制，促進三地美術(shù)事業(yè)的繁榮發(fā)展。”

大家希望這樣的學術(shù)交流“成為常態(tài)，形成機制”。這是一次官方力主的展覽，但京津冀的藝術(shù)需要攜手共進，絕不僅僅是因為某次國家官方行為的力主推動，而在于京津冀自身所固有的歷史文化依托。自古以來京津冀三地地緣相接，人緣相親，文化一脈，是中國歷史底蘊深厚、文化特色鮮明且最具活力的重要區(qū)域之一。而現(xiàn)當代的規(guī)劃布局造成了中央與地方的分野，同時又是當代國家地區(qū)進一步發(fā)展的愿景，促使人們重新思考去尊重文化與文脈，重新探討本地區(qū)的文化整合，同時也是中央、地方與區(qū)域之間的整體資源的整合。國家大力實施京津冀協(xié)同發(fā)展戰(zhàn)略，美術(shù)事業(yè)的共同提高、發(fā)展進步是應有之義。文化藝術(shù)是根基和靈魂，借重首都文化中心、文化資源優(yōu)勢，進一步研究探尋京津冀美術(shù)事業(yè)發(fā)展的新趨勢、新途徑、新視角，推動三地美術(shù)界的聯(lián)合、交流與提高勢在必行，意義重大。這次交流活動的承辦方領(lǐng)導——中國國家畫院青年畫院副院長、天津畫院院長、天津市美協(xié)副主席賈廣健指出：“這次活動以中國畫藝術(shù)為先導，通過以點帶面的形式促進京津冀文化藝術(shù)多層次交流，既是對京津冀文化藝術(shù)現(xiàn)狀和發(fā)展模式的一種試探性前行，也是中國學術(shù)界對于京津冀地區(qū)文化產(chǎn)業(yè)統(tǒng)籌發(fā)展的一次深入思考，寄望能留下一些關(guān)于京津冀三地中國繪畫本體性格的思考，以此加快推動京津冀文化藝術(shù)融合發(fā)展。通過整合區(qū)域文化資源，提升區(qū)域文化品牌的影響力和輻射力，實現(xiàn)三地文化藝術(shù)的聯(lián)動式合作、協(xié)同化發(fā)展?！?/p>

學無止境，藝無止境。今天的文化時局，正為我們今天的藝術(shù)發(fā)展構(gòu)建起一個更為廣闊的、更多機遇的平臺。我們衷心希望三地藝術(shù)家們能把這次交流活動作為新的起點，樹立高度的文化自覺、文化自信，關(guān)注社會生活，把握時代脈動，做社會風尚的先覺者、先行者、先倡者，深入生活，扎根人民，繼承創(chuàng)新，提高水平，多出人才，創(chuàng)作出更多更好這次展覽交流活動影響深遠。組織者、參與者都表示了這樣的初衷和評價：此次展覽是推進京津冀地區(qū)美術(shù)事業(yè)協(xié)的思想性、藝術(shù)性、觀賞性統(tǒng)一的精品力作，為推動美術(shù)事業(yè)的發(fā)展和繁榮做出新的更大的貢獻。

artist’s sincere feelings for and good wishes to the people, life, and the times, and is also an art feast elaborately prepared for the masses by the artists of these regions in their effort to fulfll their mission and duty, to carry forward and develop national art and to benefit the people with excellent culture and refined art. Yang Xiaoyang, president of China National Academy of Painting and vice chairman of Chinese Artists Association said, “The Tianjin art circles have organized numerous highlevel and infuential activities in recent years. It is of great signifcance that following the success of the Traditional Chinese Painting Show of the Twelfth National Exhibition of Fine Arts and ‘The Chinese Dream and the Affnity for Bush and Ink—Exhibition of Art Works from China National Academy of Painting, Tianjin Painting Academy, Jiangsu Traditional Chinese Painting Institute, Shandong Painting Academy and Gansu Painting Academy’ held in Tianjin last year, another large-scale activity of Beijing-Tianjin-Hebei art exhibition and exchanges was held here again this year. Art and culture are very important in the cooperative development of these regions. Those in Tianjin art circles show their strong sense of responsibility and commitment in their taking the lead in thinking and action. I hope that such academic exchanges will become a normal behavior and institution, and further promote the prosperity and development of fne arts in Beijing, Tianjin and Hebei Province.”

Everyone hopes that such academic exchanges will “become a normal behavior and institution”. This is an exhibition vigorously advocated by the government. However, the need of joint effort of the three regions in promoting the development of art arises from their inherent historical and cultural foundation, rather than from official assistance. Beijing, Tianjin and Hebei Province, close geographically,keeping a good relationship with one another and sharing a common culture since ancient times, are among the important and most vigorous regions with profound historical background and distinctive cultural features in China. Contemporary administrative planning and arrangement has caused a dividing line between the central and local governments. At the same time, a vision for further national as well as regional development inspires people to rethink how to respect culture and cultural tradition, and make new explorations of the way to integrate local culture and to integrate the central, local and regional resources.Now the government is vigorously implementing the strategy of Beijing-Tianjin-Hebei integrated development, and the common improvement and development of fine arts is a necessity. Culture and art are the foundation and soul. It is imperative and signifcant to take advantage of the superiority of cultural resources of the capital as a cultural center,to further study the new trends, new ways and new perspectives of the development of the fine arts in these regions, and to promote the association, communication and improvement of the art circles in these regions.As the leader of the organizing unit of this event, Jia Guangjian,vice president of Youth’s Painting Institution of China National Academy of Painting, president of Tianjin Painting Academy and vice chairman of Tianjin Artists Association, pointed out: “With Chinese painting as the first step, this event aims to promote multi-level culture and art exchanges among Beijing, Tianjin and Hebei Province by taking a case as an example for the rest of the lot to follow. As a review of the status quo of culture and art in these regions and a tentative exploration of its future mode of development, it will surely be helpful in in-depth thinking about coordinative development of cultural industry in these regions. It is hoped that this event will enhance our understanding of the respective features of Chinese painting in these regions and facilitate the integration and development of culture and art in these regions. By integrating regional cultural resources and widening the influence and radiated range of the regional cultural brands, I believe, we will surely realize interlocking cooperation and coordinated development of culture and art in the three regions.”

Knowledge knows no bounds, nor does art. The present cultural situation provides a broader platform and more opportunities for the development of our art today. We sincerely hope that the artists in these regions, taking this cultural exchange activity as a new starting point,will be able to establish a high degree of cultural awareness and cultural self-confidence, concern for social life, grasp the pulse of the times and be an illuminati, pioneer and initiator of prevailing social practice.We also hope that they will go into the thick of life, take root among the people, carry forward tradition and blaze new trails, and raise their This exhibition and exchange activities have far-reaching implications. The following is the original intention and evaluation expressed by organizers and participants: the exhibition is a practical move that will promote the collaborative development and common prosperity and progress of fne arts in the three regions. It expresses the own artistic levels, so that more talents will come to the fore, and more and better masterpieces excellent ideologically, artistically and visually will be created. In this way, they will surely make new and greater contributions to the promotion of the development and prosperity of art.

韓羽（河北） 青面虎戲曲人物 紙本 30×29.5cmHan Yu (Hebei), Figures in Opera, painting on paper, 30×29.5 cm

［1］潘公凱. 中國現(xiàn)代美術(shù)之路［M］. 北京：北京大學出版社，2012.

［2］Gerhard Richter. Textes 1962-1993［M］. Dijon: Les presses du reel, 2012.

［3］天津人民美術(shù)出版社. 京津畫派［M］. 天津：天津人民美術(shù)出版社，2003.

張芯旖：天津美術(shù)學院藝術(shù)與人文學院在讀碩士研究生

References:

[1] Pan Gongkai. The Road of Chinese Modern Fine Arts [M]. Beijing:Peking University Press, 2012.

[2] Gerhard Richter. Textes 1962-1993 [M]. Dijon: Les presses du reel, 2012.

[3] Tianjin People’s Fine Arts Publishing House. Beijing-Tianjin Painting School [M]. Tianjin People’s Fine Arts Publishing House, 2003.

Zhang Xinyi: master’s degree candidate at School of Arts and Humanities,Tianjin Academy of Fine Arts