区域协同 丹青有约——“艺道同行——京津冀中国画邀请展暨美术协同发展学术研讨会”侧记

张芯旖/Zhang Xinyi

区域协同 丹青有约
——“艺道同行——京津冀中国画邀请展暨美术协同发展学术研讨会”侧记

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”

张芯旖/Zhang Xinyi

编者按：本次《展览现场》推出的几个艺术展事，从承办的机构、参展的艺术家各方面都有极大的不同，但它们却从各自不同的角度揭示出了当下艺术生态的丰富性，同时亦揭示了艺术因为地域性文化的差别所呈现出的各种丰富的魅力。今天的中国当代艺术正在走向深化发展，不同地域的艺术家也都在深化研究自己的艺术追求的路径，当代中国的艺术书写正在变得多样而丰富，并为今后的中国艺术发展路径预示着更多种的可能性。

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.

杨晓阳（北京） 丝绸之路 纸本 200×1000cmYang Xiaoyang (Beijing), The Silk Road, painting on paper, 200×1000cm

展览链接：

艺道同行——京津冀中国画邀请展

主办单位：中共天津市委宣传部

承办单位：天津画院

支持单位：中国美术家协会、中国国家画院

展览时间：2015年10月17日—25日

展览地点：天津美术馆

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

中国画的文化身份中承载着丰富的人文内涵和情感表达。各地区的中国画作品更是展现出各自的艺术特征与相貌，并形成了特殊的地区性视觉符号。在“图像”资源如此丰富的今天，体现出特定的视觉文化传播效应。京津冀三地，地缘相近，人缘相亲，文化相融。此次展览立足于“京津冀协同发展”的国家战略部署，对京津冀三地颇具代表性的当代中国画艺术家们的作品进行了一次较为集中和全面的展示，对中国画的区域性联盟和发展进行了深入的研究与探讨，对三地美术事业的协同发展起到了推动作用。

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.

刘万鸣（北京） 碧空无际 纸本设色 361×192.5cmLiu Wanming (Beijing), The Boundless Sky, ink and color on paper, 361×192.5 cm

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

刘大为（北京） 北疆铁骑 纸本 150×400 cmLiu Dawei (Beijing), Cavalry in Northern Xinjiang, painting on paper, 150×400 cm

张道兴（北京） 肩挑的惠东 纸本 180×97cmZhang Daoxing (Beijing), Women Carrying Loads on a Pole in Huidong, painting on paper, 180×97 cm

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

纵观现代中国画的变革与演进，既有高剑父、高奇峰、徐悲鸿、林风眠、刘海粟、丰子恺等提倡“中西融合”的先行者，又有陈师曾、黄宾虹、潘天寿、傅抱石、林纾、金城等植根于传统的守成者。他们的探索使中国画在近百年的沧桑岁月的嬗变中，得以更好地诠释与延展，并为其注入了新的文化意识与启示。在对抗与互补中，找寻中国画的发展之路。到了当代，面对如何看待中国画的“笔墨”、对中国画的界定与分类等程式与标准的问题，艺术家们做出了不同的选择。同时，中国画的发展更是与审美理想和地域条件相适应，随着时代、地区的语境变化而转型。诚如德国艺术家格哈德·里希特所言：“每一个词语，每一条线都是被其身处的环境与时代所激发的。联系和灵感都与过去与当下相呼应。”（Gerhard Richter: Textes 1962-1993）老中青三代艺术家们呈现出了中国画不同的思维和言说方式：老一辈艺术家们坚守传统技法和传统价值观，作为中坚力量的中年艺术家延续与重构传统中国画内涵，而青年艺术家正在创作中寻求一种社会功能与中国画自律性之间的张力。

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） 秋晓钟鼓声 纸本 180×97cmWang Mingming (Beijing), An Echo of Bell and Drum in the Dawn of Autumn, painting on paper, 180×97 cm

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

王书平（天津） 展望 纸本 177×95cmWang Shuping (Tianjin), Looking into the Distance,painting on paper, 177×95 cm

孙其峰（天津） 孔雀 纸本设色 136×68cmSun Qifeng (Tianjin), Peacock, ink and color on paper, 136×68 cm

从地区布局来说，中国画坛的格局自上世纪二、三十年代开始，就形成了上海、浙江、江苏等地以任伯年、吴昌硕为首的“海上画派”，在广东地区以“二高一陈”（高剑父、高奇峰、陈树人）为领袖的“岭南画派”以及在北京、天津以中国画研究会和湖社等团体为中心的京津画家群的三足鼎立之势。这些画派在南北相映生辉。它们的绘画风格影响了中国画坛近一个世纪的走向，今天更是显示出其艺术魅力。1949年以后，又增加了以西安画家赵望云、何海霞、石鲁为代表的“长安画派”等。这些中国画流派或多或少地受其所在地域的历史沉淀、民情风俗、文化背景、自然条件、经济条件、物质构成、空间形态以及人们的价值观等因素的影响。区域文化间接地影响着艺术活动的进程，引导着艺术生态的构成、趋向。区域与区域间的艺术合作促使公共价值的认同感在艺术作品中彰显。

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.

霍春阳（天津） 清凉处 纸本 60×38 cmHuo Chunyang (Tianjin), Cool and Refreshing, painting on paper,60×38 cm

张立辰（北京） 玉树凝雪 纸本彩墨 375×121cmZhang Lichen (Beijing), Snow on the Tree, color ink on paper, 375×121 cm

陈治、武欣（天津） 零点 绢本 171×186cmChen Zhi, Wu Xin (Tianjin), Zero Hour, painting on silk, 171×186 cm

2015年10 月17日至25日，由中共天津市委宣传部主办、天津画院承办的“艺道同行——京津冀中国画邀请展暨美术协同发展学术研讨会”在天津美术馆隆重举行。此次展览在文化上响应“京津冀协同发展”的国家战略部署，就整合区域文化艺术资源，加强深层次合作交流，打造区域文化艺术品牌，推动京津冀三地文化艺术实现优势互补、良性互动、协同共进等议题，艺术家和学者们展开了热烈而积极的探讨。这是近年来京津冀区域规模最大的一次中国画展览、交流、研讨的学术盛会。

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.

冯骥才（天津） 春夏秋冬 纸本设色 45×53cmFeng Jicai (Tianjin), Four Seasons, ink and color on paper, 45×53 cm

天津在文化史中拥有许多标志性的“名片”和标签：“中国历史文化名城”“见证中国近现代文明的重要城市”“曲艺之乡”“戏曲大码头”“京津画派的发祥地”，如此等等，这些说法至少从某个侧面标识出了天津深厚的历史文化积淀，从中映射出她中西合璧、古今交融、多元多样、开放包容的独特文化魅力。十二届全国美展中国画展在天津的成功举办，为天津美术界新近的发展更增添了信心和动力。由天津画院策划举办的“中国梦·翰墨缘——中国国家画院、天津画院、江苏省国画院、山东画院、甘肃画院美术作品展”在天津的精彩亮相，为天津美术事业的发展注入了新的活力。天津市委、市政府高度重视美术事业的发展，作为深入推进京津冀协同发展战略的重要组成部分，要求天津文化艺术界积极为京津冀三地美术事业的发展进步搭建平台，贡献力量，“艺道同行——京津冀中国画邀请展暨美术协同发展学术研讨会”应运而生。

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.

本次展览和学术研讨，邀请了孙其峰、秦征、韩羽、冯骥才、刘大为、龙瑞、冯远、王明明、吴长江、杨晓阳为这次活动的顾问。中国美术家协会、中国国家画院为学术支持单位，北京画院、北京市美术家协会、天津市美术家协会、天津美术学院、天津美术馆、天津人民美术出版社、河北画院、河北省美术家协会为协办单位，中国艺术研究院等15家京津冀学术研究机构、画院、专业协会为支持单位，涵盖了三地美术界的管理、组织、创作、教育、研究、交流、出版、展览等各个领域。

展览共展出了来自北京、天津、河北的刘大为、杨晓阳、张道兴、龙瑞、王明明、卢禹舜、张立辰、袁武、刘万鸣、孙其峰、冯骥才、杜滋龄、霍春阳、何家英、贾广健、王书平、陈治、武欣、韩羽、白云乡、祁海峰、张国君等255位在中国绘画领域具有卓越成就及影响力的老中青三代艺术家的260余幅精品力作，画家年龄从33岁到95岁。从作品看，这既是新时期国画艺术发展水平的一次真实展示，也是从辛亥革命、“五四”新文化运动、新中国成立、改革开放新时期乃至步入新世纪的中国画百年发展的一个缩影。“艺道同行”京津冀美术协同发展学术研讨会，由中国国家画院副院长、中国艺术研究院博士生导师张晓凌主持，70多位来自京津冀三地的画家、理论家和社会各界的领导、专家、学者参加，聚焦中国画发展和京津冀美术事业携手共进大事，畅所欲言，各抒己见。这次学术交流活动组织者、参与者几乎囊括了三地美术界的所有美术单位和优秀人才队伍。

中共天津市委常委、市委宣传部部长王贺胜，中国国家画院院长、中国美术家协会副主席杨晓阳和中国国家画院常务副院长卢禹舜，中国美术馆常务副馆长马书林，中国国家画院副院长张晓凌，中国画学会副会长张道兴，北京画院常务副院长袁武，荣宝斋画院院长唐辉，中央美术学院造型学院副院长王颖生，中国国家画院创研部副主任邢少臣，中国艺术研究院中国画院常务副院长刘万鸣，解放军艺术学院美术系副主任刘泉义，清华大学教授陈辉、陈池瑜，中国艺术研究院博士生导师李魁正，中国人民大学美术学院绘画系主任黄华三，北京大学教授孙津，中央民族大学教授曹宝泉，中央美术学院教育学院常务副院长毕建勋，中央电视台书画频道董事局主席王平，中国国家画院美术研究院常务副院长高天民，中国国家画院艺术信息中心主任王平，中国国家画院研究员王永亮、陈明，中国国家画院美术研究院学术秘书邹惠钦，北京画院艺术部主任乐祥海，天津市委宣传部常务副部长赵鸿友，天津市文化广播影视局局长黄永刚，天津市文联党组副书记李志，天津美术学院副院长郭振山，天津市美协主席王书平，天津画院院长贾广健，天津画院党组书记张桂元，天津人民美术出版社社长李毅峰，天津人民美术出版社总编杨惠东，天津美术馆馆长马驰，天津市美协副主席琚俊雄、孟庆占，天津人民美术出版社《中国油画》主编王琨，天津美术学院教授霍春阳，南开大学教授尹沧海，天津美术学院艺术与人文学院院长邵亮，天津美术学院中国画学院副院长周午生，天津美术学院雕塑系主任陈钢，天津美术学院教授王振德、喻建十、颜宝臻、陈福春、何延喆、郭雅希、郑金岩，天津美术学院副教授陈治、郭鉴文，原天津画院副院长王錞、赵国经、郭凤祥，天津画院副院长范扬、晏平，天津画院创研部主任陈嵘、展览部主任王卫平、艺术交流部主任谭乃麟、理论研究室主任杨维民，河北省文化厅副厅长李新平，河北省美协主席祁海峰，原河北省美协主席赵贵德，河北师大美术学院院长蒋世国，河北画院院长张国君，河北画院创研部主任王利明，河北省美协副主席段朝林，廊坊市美协主席张玉华，河北省美协秘书长褚大伟，石家庄画院院长王稳苓等来自京津冀三地及全国各地的100多位美术界人士一道参加展览和学术交流活动。大家对此次活动的组织、形式和效果给予充分肯定。

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.

张国君（河北） 家住太行 纸本 68×68cmZhang Guojun (Hebei), Residence in Taihang,painting on paper, 68×68 cm

祁海峰（河北） 漫道高原飞雪梦 纸本 178×178cmQi Haifeng (Hebei), Snowy Plateau, painting on paper,178×178 cm

同发展、繁荣共进的务实之举，表达了艺术家们对人民、对生活、对时代的真挚情感和美好祝愿，也是三地艺术家践行使命和担当，推进民族艺术继承发展，以优秀文化、高雅艺术惠民利民，精心为人民群众准备的一道艺术盛宴。中国国家画院院长、中国美术家协会副主席杨晓阳说：“天津美术界近年来组织的活动多、水平高、影响大，继去年成功举办全国第十二届美展中国画展和‘中国梦·翰墨缘——中国国家画院、天津画院、江苏省国画院、山东画院、甘肃画院美术作品展’，今年又举办京津冀中国画大型展览交流活动，意义很大。京津冀协同发展文化艺术是重要内容，天津美术界率先思考和行动起来，体现了很强的责任意识和担当精神，希望这样的学术交流成为常态，形成机制，促进三地美术事业的繁荣发展。”

大家希望这样的学术交流“成为常态，形成机制”。这是一次官方力主的展览，但京津冀的艺术需要携手共进，绝不仅仅是因为某次国家官方行为的力主推动，而在于京津冀自身所固有的历史文化依托。自古以来京津冀三地地缘相接，人缘相亲，文化一脉，是中国历史底蕴深厚、文化特色鲜明且最具活力的重要区域之一。而现当代的规划布局造成了中央与地方的分野，同时又是当代国家地区进一步发展的愿景，促使人们重新思考去尊重文化与文脉，重新探讨本地区的文化整合，同时也是中央、地方与区域之间的整体资源的整合。国家大力实施京津冀协同发展战略，美术事业的共同提高、发展进步是应有之义。文化艺术是根基和灵魂，借重首都文化中心、文化资源优势，进一步研究探寻京津冀美术事业发展的新趋势、新途径、新视角，推动三地美术界的联合、交流与提高势在必行，意义重大。这次交流活动的承办方领导——中国国家画院青年画院副院长、天津画院院长、天津市美协副主席贾广健指出：“这次活动以中国画艺术为先导，通过以点带面的形式促进京津冀文化艺术多层次交流，既是对京津冀文化艺术现状和发展模式的一种试探性前行，也是中国学术界对于京津冀地区文化产业统筹发展的一次深入思考，寄望能留下一些关于京津冀三地中国绘画本体性格的思考，以此加快推动京津冀文化艺术融合发展。通过整合区域文化资源，提升区域文化品牌的影响力和辐射力，实现三地文化艺术的联动式合作、协同化发展。”

学无止境，艺无止境。今天的文化时局，正为我们今天的艺术发展构建起一个更为广阔的、更多机遇的平台。我们衷心希望三地艺术家们能把这次交流活动作为新的起点，树立高度的文化自觉、文化自信，关注社会生活，把握时代脉动，做社会风尚的先觉者、先行者、先倡者，深入生活，扎根人民，继承创新，提高水平，多出人才，创作出更多更好这次展览交流活动影响深远。组织者、参与者都表示了这样的初衷和评价：此次展览是推进京津冀地区美术事业协的思想性、艺术性、观赏性统一的精品力作，为推动美术事业的发展和繁荣做出新的更大的贡献。

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.

韩羽（河北） 青面虎戏曲人物 纸本 30×29.5cmHan Yu (Hebei), Figures in Opera, painting on paper, 30×29.5 cm

［1］潘公凯. 中国现代美术之路［M］. 北京：北京大学出版社，2012.

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

［3］天津人民美术出版社. 京津画派［M］. 天津：天津人民美术出版社，2003.

张芯旖：天津美术学院艺术与人文学院在读硕士研究生

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