30年代参加左翼文化运动，为"左联"发起人之一，组织"时代美术社"，被推选为左联"美联"主席。举办过个人画展，发表《逃荒者》、《失业者》、《铺路者》等作品。后从事电影导演、戏剧编导工作。历任上海电影制片厂导演、科教电影制片厂副厂长。中央美术学院教授。作品有《巨手》、《海港之晨》、《红灯柿》、《伟人在沉思中》等。出版有《许幸之画集》。论文有《时代美术社宣言》、《新兴美术运动的任务》、《法兰西近代画史》、《罗丹的雕刻》等。

许幸之画作

 小传

学习之路

许幸之先生江苏扬州人，祖籍安徽歙县，出生于1904年4月5日，家在城东板井巷，现在还有他青年时期所寓居过的三进四厢、青砖素瓦的寓所以及他的读书处。幸之先生还曾经作过"大板井"叙事长诗。许幸之学名许达，笔名霓璐、天马、屈文、丹沙，自幼爱好绘画。1917年年方十三，便拜著名美术教育家吕凤子为师，后有进入上海美专和东方艺术研究所就读深研。1924年20岁时，便赴日勤工俭学，先进入日本有名的川端画会专学素描，后又考入东京美术学校，终日学而不辍，孜孜不倦。他在东京与郭沫若、成仿吾、郁达夫等交往甚密，情感深厚。郭沫若为了支持他的学习，解决他的困难，每月给他一定的资助。1923年4月许幸之曾在上海美专和东方研究所作过《母与子》、《落霞》、《天光》等作品，即获得郭沫若、郁达夫、成仿吾等人的好评。成仿吾高声赞扬说:"幸之君的《天光》是最浪漫的作品，然而那一束微弱的天光刚把一只无处投奔的小鸟，只是停留在空际，下界还是沉沦在黑暗里……幸之君的《母与子》、《落霞》及其他都好。"1926年在日本东京创作的油画《晚步》笔力柔和，光彩炫目，深受观众的赞美。

参加斗争

1927年大革命时代，许幸之应郭沫若电召回国，参加变革社会的斗争。许幸之在北伐军总政治部工作。不久，蒋介石发动"四·一二"政变，许幸之被怀疑为共产党员，囹圄三月后经东京美术学校校长致函保释出狱，重返该校，受业于著名油画家藤岛武二。在东京美校他参加中共支部领导的艺术活动，并在进步戏剧摇篮的筑地，参加苏联名作家特里亚珂夫编写的《怒吼吧!中国》的演出。

中华艺术大学

1929年，正当我国左翼文艺运动风起云涌之际，许幸之又应夏衍电召回国，在地下党主办的中华艺术大学，任西洋画科主任、副教授。鲁迅先生曾到中华艺大作美术讲座。1930年2月，许幸之与沈叶沉、王一榴、刘露、汤晓丹等创办了左翼美术团体，建立了"时代美术社"，还先后参加了左联、剧联、美联、文总等。他还直言不讳的挥笔抨击了"为文艺而文艺"的观点及拜金主义创作态度，他明确地指出:"我们的美术运动，绝不是流派的斗争，而是对压迫阶级的一种阶级意识的反攻，所以我们的艺术便不得不是阶级斗争的一种武器。"他还大声疾呼:"新兴的美术运动要和新兴的阶级革命运动合流，才是唯一的出路。"他的一生阶级观念很明确。1934年2月他在湘桂列车中所作的《不平等的列车》中说:"不平等的列车，吐着乌黑的煤烟，吼着嘶哑的汽笛，在原野里匆匆奔跑，在那华贵的头等车厢里，有弹力的天鹅绒沙发上坐着高贵的绅士和淑女，穿着长毛虎腿的皮袍，拄着粗大手杖的官僚，戴着高高的濑皮帽子……在精致的二等车厢里，蒙着羊皮垫的沙发上坐着一批发国难财的奸商和一些走私越货的走私贩，他们穿着不合身的西服，有的则披着宽大的长袍……在灰暗的三等车厢里，旅客们挤得水泄不通，有穿着油腻工服的工人，有裹着破棉袄的农民，有披着制服的公务员，有套着拉练皮袄的大学生，还有一些扶老携幼的妇女们，他们在车厢里到处议论纷纷，心怀不满。"他充分地反映了旧社会的不平等。

对敌进行前哨战

当抗日战争处于最艰苦的阶段，许幸之在"孤岛"上海话剧战线上对敌进行前哨战，嗣后又转移苏北解放区参加筹建鲁迅艺术学院华中分院工作，并在该院美术系和戏剧系任教，曾绘制了大副壁画《高尔基》像，设计了新四军臂章。还将盐城大戏院设计改建为"鲁迅艺术学院"，成为当时新四军军部的活动中心，受到陈毅同志的高度赞扬。他还设计修建了盐城城外的新四军后方医院(后遭日寇扫荡炸毁)。他在鲁艺分院任教时，为鲁艺的教师进行专题讲座，还筹备成立了苏北文联诗协等组织。皖南事变后，为了反对国民党的反共高潮，许幸之作《打起你的鼓吧，同志!》此诗在盐城新四军誓师大会上进行了朗诵。他为反对法西斯战争所作的长诗《春雷》，于苏北文联成立大会上进行了朗诵，受到与会的作家和文艺工作者的热烈欢迎，到会者深受鼓舞。由于抗日形式紧张，连续五次反扫荡斗争，文工团改编，鲁艺分院解散，经刘少奇同志指示，许幸之返沪赴港工作。后又历任中山大学、上海剧专、南京剧专、苏州社教学院教授。全国解放后，曾任苏州市第一届人大代表，苏州市文联主席。1950年许幸之导演的《海上风暴》受到毛主席的赞扬。1954年任中央美术学院研究室主任、教授，致力于美术教育和创作。

作品

许幸之一生还创作了很多富有艺术价值的名作，有画、诗、剧，而且能编能导，可谓是现代艺术史上的名家全才。1930―1934年，他不遗余力，神思妙想创作出《工人之家》、《逃荒者》、《铺路者》，这些反映现实的油画，展出于上海八仙桥，在绘画界引起强烈的反响。1959年，他于中央美术学院精心创作了《巨臂》、《无高不可攀》、《静静的河湾》、《海港之晨》、《银色协奏曲》、《水晶世界进行曲》、《红灯柿》等。特别有深远意义的是他在1978年创作的油画《伟人在沉思中》，这是许幸之先生为追念周总理所作的。上绘总理肖像，肃然庄重，静目沉思，栩栩如生。他还写了抒情长诗。诗中说:"您那潇洒自若的翩翩风度，您那艰苦朴素的生活作风，使接近过您的同志和朋友感到亲切温暖，而使那些野心勃勃的阴谋家感到胆怯心惊。"诗中还说:"您是一个高尚的人，您是一个纯粹的人，您是一个有道德的人，您是一个脱离低级趣味的人，您是一个有益于人民的人。"此外，许幸之还出版了《达·芬奇》、《柯罗的风景画》等佳作。他在画作上不仅注意画理，而且很重视实践，经常深入实际，体验生活。解放后曾到富春江、大连和家乡扬州等地，观光采访，不断扩大视野，以丰富绘画题材。

不忘故里

许幸之从不忘乡情，建国后曾三返故里扬州。1958年夏还曾到扬州城西邗江县的蒋王镇(当年的红旗公社)参观访问，体察民情，以开拓创作的源泉。随后，创作了《扬州的古运河风光》、《开辟大运河》、《春临白塔》、《红旗小学》等作品。1974年秋还回乡探亲和写生，他的杰作《新四军军部》和扬州名胜《史公祠》、《平山堂》、《观音山》等，画意浓郁，气韵生动。既有西画的特色，又富有传统国画的笔意，深受观众的赞美。1985年，许先生虽已耄耋之年，仍老当益壮，还回乡展出近百幅作品于扬州群艺馆，深受观众的青睐。中有静物油画一幅，上绘古铜壶两件，四周饰以苹果、葡萄、香蕉、果实累累，色彩艳丽，丰姿多彩，显示出祖国建设的丰硕成果，充满新意。还有《天高云淡》、《海恋》等佳作，给人以深思遐想，联想翩翩，乐以忘返。静物油画一幅，已载入《广陵区志》。

画美诗又美

幸之先生画美诗又美，他所写的叙事和抒情的长诗很多。1927―1928年他在日本东京写了抒情长诗《牧歌》。30―40年代还著有叙事长诗《卖血的人》和《大板井》。抒情长诗有《扬子江》、《万里长城》、《打起你的战鼓吧，同志!》、《春雷》、《飓风》、《不平等的列车》等，还出版了《永生永世之歌》。穆木天读许幸之诗作时说:"《卖血的人》和《大板井》确是1934年的两篇极成功的典型诗作……是农村破产的真实的反映，是殖民地的中国里所发生的沉痛的悲剧。"还说:"能够把现实的认识和浪漫主义情绪真正融合一起的《大板井》的作者可以说是首屈一指的了。"许幸之在观看影剧《杜十娘》有感诗中还深切动人地说:"燕京名妓世无双，声震青楼杜十娘。迷恋佳人落金榜，倾心公子卸红妆。怨郎轻薄贪财富，弃妇情痴欲断肠。百宝箱沉无限恨，魂消玉碎怒投江"。他在观看《火烧圆明园》和《垂帘听政》的影片后作诗说:"联军侵略太猖狂，血溅燕京古战场。圆明园中遭浩劫，紫禁城上见火光。垂帘本为篡王位，听政终成卖国皇。巨片重温悲痛史，军民抗敌志如刚"。

导演

导演也是许幸之的特长。1935年，他在上海曾导演过轰动一时的《风云儿女》，《铁蹄下的歌女》由许幸之作词，聂耳作曲，中华人民共和国国歌《义勇军进行曲》就是《风云儿女》的主题歌。抗日战争爆发后，他和吴印咸摄制了大型抗战记录片《中国万岁》，广泛地宣传了爱国主义，影响很大。随后又改编了《阿Q正传》、《天长地久》等多幕剧。1940年他还出版了《不要把活的交给他》、《小英雄》等剧作。抗日战争时期，他还导演了《雷雨》、《日出》、《原野》、《爱与死的搏斗》、《一年间》等话剧。全国解放后，他导演了电影《海上风暴》。歌颂民族气节和中国人民的反侵略斗争。

赞扬

幸之先生在87年的生涯中，为新生的革命文化引吭高歌，破浪前进，取得了丰功伟绩。诚如赵朴初先生怀念许幸之时说:"幸之同志是值得大众永远怀念的艺术家，他曾为中国人民的解放事业作出了宝贵的贡献。他虽然离开了我们，但他的功绩和他遗留下来的诗情画意将永远鼓励后代人前进。"又如蔡若虹先生怀念许幸之同志的《西江月》诗中所说:"六十年前左翼，五星旗下专家;一身三朵向阳花，能演能诗能画。妙手玲珑多面，丹心灼烁无暇;雄歌一曲献中华，留得千秋佳话!"1991年去世。

 重要参展:

1934年 许幸之、吴印咸绘画摄影作品联展

1959年 第二届全国美术作品展 北京 中国美术馆

1985年 许幸之画展 北京 中国美术馆

1986年 许幸之画展 香港 美术社展厅

1990年 中国油画风景画大展 北京 中国革命博物馆

1991年 中国美术馆建馆三十周年藏品展 北京 中国美术馆

1992年 二十世纪中国美展 北京 中国美术馆

1998年 当代中国山水画.油画风景画展 北京 中国美术馆

作品收藏:

中国美术馆、广州美术馆、香港东方艺术基金会、台湾卡门国际艺术中心。

出版画册:

《许幸之画集》

发表论文:

《时代美术社宣言》、《新兴美术运动的任务》、《中国美术运动的展望》、《法兰西近代画史》(译作)、《达.芬奇》、《印象主义就是印象主义》、《罗丹的雕刻》、《柯罗的风景画》、《后印象主义大师们的创新》等。

编导电影、话剧:

《风云儿女》，《海上风暴》

 In the 1930s, he participated in the Left-wing Cultural Movement and was one of the founders of the Left-wing League. He organized the Time Art Society and was elected Chairman of the Left-wing League. He has held personal art exhibitions and published works such as The Runaway, The Unemployed and The Paver. Later, he worked as a film director and dramatic director. He has been director of Shanghai Film Studio and vice director of Science and Education Film Studio. Professor, Central Academy of Fine Arts. His works include The Great Hand, The Morning of the Harbour, The Persimmon on the Red Lamp, The Great Man in Meditation, etc. Published in the "Lucky Paintings Collection". Papers include the Declaration of the Art Society of the Times, the Mission of the Emerging Art Movement, the History of Modern French Painting, and Rodin's Sculpture.

Biography

Way of learning

Mr. Xu Xingzhi, a native of Yangzhou, Jiangsu Province, was born in Shexian County, Anhui Province, on April 5, 1904. He lives in Panjing Lane in the east of the city. Now he also lives in the three-in-four compartments, green brick tiles and his study place in his youth. Fortunately, Mr. Dabanjing has also written a long narrative poem. Xu Da's academic name is Xu Da. His pen name is Nelu, Tianma, Quwen and Dansha. He has been fond of painting since childhood. In 1917, when he was 13 years old, he became a teacher of Lu Fengzi, a famous art educator. Later, he entered Shanghai Academy of Fine Arts and Oriental Institute of Art for further study. In 1924, when he was 20 years old, he went to Japan to work and study, first to study sketch at the famous Kawabata Painting Association in Japan, and then to enter the Tokyo School of Fine Arts. In Tokyo, he had close contacts with Guo Moruo, Cheng Fangwu and Yu Dafu, and had deep feelings. In order to support his study and solve his difficulties, Guo Moruo gave him a certain monthly subsidy. In April 1923, Xu Xingzhi wrote "Mother and Son", "Luoxia", "Tianguang" and other works in Shanghai Institute of Fine Arts and Oriental Studies, which were highly praised by Guo Moruo, Yu Dafu and Cheng Fangwu. Cheng imitated my high praise and said, "The Heavenlight of Lucky King is the most romantic work. However, the faint sky just left a little bird flying nowhere, just staying in the space, the lower boundary is still sunk in the darkness... Lucky Jun's "Mother and Son", "Luoxia" and others are good. "The oil painting Late Step, created in Tokyo, Japan, in 1926, is soft, dazzling and highly praised by the audience.

Join in the struggle

In 1927, during the Great Revolution, Xu was fortunate to call back Guo Moruo to participate in the struggle for social change. Fortunately, he worked in the General Political Department of the Northern Expeditionary Army. Soon after, Chiang Kai-shek launched the "April 12th" coup. Fortunately, he was suspected of being a member of the Communist Party. After three months in prison, he was released on bail by a letter from the principal of the Tokyo Academy of Fine Arts and returned to the school, where he was employed by the famous oil painter Fujima Wu II. At the Tokyo American School, he participated in the art activities led by the Communist Party branch, and in the construction of the cradle of progressive drama, he participated in the performance of "Roar! China" written by the famous Soviet writer Triakov.

China University of Art

In 1929, when the left-wing literary and artistic movement was surging, Xia Yan was fortunate enough to recall him to serve as the director and associate professor of Western Painting at the University of Chinese Art sponsored by the Underground Party. Mr. Lu Xun once gave a lecture on Chinese Art Works. In February 1930, Xu Xingzhi and Shen Yechen, Wang Yiwei, Liu Lu, Tang Xiaodan founded the Left-wing Art Group, established the "Time Art Society", and participated in the Left League, the Drama Federation, the American Federation, the General Wen and so on. He also bluntly attacked the view of "literature and art for literature and art" and the attitude of money worship. He clearly pointed out that "our art movement is not a struggle of schools, but a counterattack against the class consciousness of oppressing class, so our art has to be a weapon of class struggle. "He also shouted:" The only way out is for the new art movement to merge with the new class revolutionary movement. "His life class concept is very clear. In February 1934, he wrote in The Inequality Train on the Xianggui Train: "The unequal train, spitting black soot, roaring hoarse whistle, rushing in the field, in the luxurious first-class carriage, sitting on the elastic velvet sofa noble gentlemen and ladies, wearing a fur robe with long tiger legs, carrying. A bureaucrat with a big stick, a tall setse hat... In the delicate second-class carriage, on the sofa covered with sheepskin cushions sat a group of treacherous merchants and smugglers who smuggled goods from other countries. They wore inappropriate suits and some wore broad robes. In the grey third-class carriage, passengers were crowded, there were workers in greasy overalls, peasants wrapped in broken cotton jackets, civil servants in uniforms, college students in pulling leather jackets, and women who helped the elderly and young. They talked and complained everywhere in the carriage. "He fully reflects the inequality of the old society.

Sentinel battles against the enemy

When the War of Resistance Against Japan was at its most difficult stage, Xu fortunately fought an outpost against the enemy on the "isolated island" Shanghai drama front, and later transferred the Northern Jiangsu Liberated Areas to participate in the preparation of the Central China Academy of Lu Xun Art College, where he taught in the Department of Fine Arts and Drama. He drew a pair of murals "Gorky" and designed the armband of the New Fourth Army. 。 The design of Yancheng Grand Theater was also transformed into "Lu Xun Art College", which became the activity center of the New Fourth Army Military Department at that time and was highly praised by Comrade Chen Yi. He also designed and built the rear hospital of the New Fourth Army outside Yancheng (which was swept up and bombed by Japanese invaders). When he was teaching in Lu Yi Branch, he gave special lectures for Lu Yi's teachers, and prepared to set up such organizations as Poetry Association of Northern Jiangsu Literary Union. After the Southern Anhui Incident, in order to oppose the anti-Communist climax of the Kuomintang, the poem "Put up your drum, comrade!" was recited at the New Fourth Army Swearing Division Conference in Yancheng. His long poem Spring Thunder, which was written against the fascist war, was recited at the founding meeting of the Northern Jiangsu Literary Union. It was warmly welcomed by the writers and artists who attended the meeting, and the participants were greatly encouraged. Due to the tense form of anti-Japanese war, five consecutive anti-mop-up struggles, the reorganization of the literary and artistic groups, the dissolution of the Lu Yi Branch, and on the instructions of Comrade Liu Shaoqi, he was fortunate to return to Shanghai and work in Hong Kong. Later, he served as professor of Sun Yat-sen University, Shanghai Opera College, Nanjing Opera College and Suzhou Society Teaching College. After the liberation of the whole country, he served as the first deputy of the National People's Congress of Suzhou and chairman of the Suzhou Literary Federation. In 1950, Chairman Mao praised the director's Storm at Sea. In 1954, he was the director and professor of the research section of the Central Academy of Fine Arts. He devoted himself to the education and creation of fine arts.

works

Thankfully, in his lifetime, he also created many famous works with artistic value, such as paintings, poems, dramas, and the ability to compile and direct them. He is a famous expert in the history of modern art. From 1930 to 1934, he spared no effort to create "The Worker's House", "The Runaway", "The Paver". These realistic oil paintings were displayed in Shanghai Baxianqiao and aroused strong repercussions in the painting circle. In 1959, he elaborately wrote "Giant Arm", "No Height Can't be Climbed", "Silent Bay", "Harbour Morning", "Silver Concerto", "Crystal World March", "Tomato" and so on in the Central Academy of Fine Arts. Especially far-reaching is the oil painting "The Great Man in Meditation" created in 1978 by Mr. Xu Xingzhi in memory of Premier Zhou. The portrait of the Prime Minister is painted with solemnity, meditation and vividness. He also wrote long Lyric poems. The poem says, "Your graceful and graceful demeanor, your hard and simple life style make comrades and friends who have approached you feel cordial and warm, and make those ambitious conspirators feel timid. "The poem also says:" You are a noble person, you are a pure person, you are a moral person, you are a person out of low taste, you are a person beneficial to the people. "In addition, we are fortunate to have published such masterpieces as Leonardo Da Vinci and Colo's Landscape Paintings. In his paintings, he not only pays attention to painting theory, but also attaches great importance to practice. He often goes deep into reality and experiences life. After liberation, he visited Fuchun River, Dalian and Yangzhou, his hometown, and expanded his horizons to enrich painting subjects.

Don't forget your hometown

Fortunately, he never forgot his homeland. He returned to Yangzhou three times after the founding of the People's Republic of China. In the summer of 1958, he also visited Jiangwang Town (then Red Flag Commune) in Hanjiang County, west of Yangzhou City, to observe the people's conditions and explore the source of creation. Subsequently, he created works such as "Yangzhou's Ancient Canal Scenery", "Opening up the Grand Canal", "Spring Linbaita", "Red Flag Primary School" and so on. In the autumn of 1974, he returned to his hometown to visit relatives and sketch. His masterpieces, The New Fourth Army Military Department, and Yangzhou scenic spots, such as Shigong Temple, Pingshan Tang and Guanyin Mountain, are full of rich painting and vivid. It has both the characteristics of Western painting and the brushwork of traditional Chinese painting, which is highly praised by the audience. In 1985, although Mr. Xu was still a young man, he returned home to exhibit nearly 100 works in the Yangzhou Qunyi Museum, which was well received by the audience. There is a still life oil painting with two bronze pots painted on it, surrounded by apples, grapes, bananas and fruits, which are colorful and colorful, showing the fruitful achievements of the construction of the motherland and full of new ideas. There are also such masterpieces as "Heaven is high and cloudy" and "Hai Lian", which give people a deep thought, imagination and joy to forget to return. A still life oil painting has been included in Guangling District Chronicle.

Beautiful Painting and Poetry

Mr. Lucky paints beautiful poems. He writes many long narrative and Lyric poems. From 1927 to 1928, he wrote the lyric poem Pastoral Song in Tokyo, Japan. In the 1930s and 1940s, there were also long narrative poems "The Blood Seller" and "Dabanjing". The lyric poems include Yangtze River, the Great Wall, Play Your Drum, Comrade!, Spring Thunder, Hurricane, Unequal Train, etc. They also published The Song of Eternal Life and Eternal Life. When Mu Mutian read Xu Xingzhi's poems, he said, "The Blood Seller and Dabanjing are indeed two very successful classical poems in 1934... It is a true reflection of rural bankruptcy and a painful tragedy in colonial China. "He also said that the author of Dabanjing, who can really integrate the reality and romanticism, is the first to say. "Fortunately, in watching the film drama Du Shiniang, there is a touching poem that says:" Yanjing's famous prostitutes are unparalleled in the world, and the sound shocks Du Shiniang in the Qinglou. Falling in love with a beautiful woman is the best way to get rid of his red makeup. Complaint Lang is frivolous and greedy for wealth, abandon woman's love and desire to break her heart. The treasure chest sinks into infinite hatred, the soul disappears and the jade crumbles and hurls into the river. After watching the films "Burning the Old Summer Palace in Fire" and "Hearing the Politics with Curtains", he wrote poems and said, "The coalition invasion is too rampant, and blood splashes on the ancient battlefield of Yanjing. The Yuanmingyuan was ravaged and the Forbidden City was ablaze. The curtain was meant to usurp the throne, and to listen to the government was finally a traitor. The blockbuster revisits the sad history, and the army and the people fight against the enemy with a strong will.

director

Directors are also fortunate. In 1935, he directed the sensational song "Children of the Wind and Clouds" in Shanghai. The song girl under the iron hoof was composed by Xu Xingzhi and Nie Er. The National Anthem of the People's Republic of China, "March of the Volunteers" is the theme song of "Children of the Wind and Clouds". After the outbreak of the Anti-Japanese War, he and Wu Yinxian produced a large-scale documentary "Long Live China", which widely promoted patriotism and had a great influence. Subsequently adapted "Ah Q Zheng Zhuan" and "everlasting" and other acts of drama. In 1940, he also published plays such as Don't Give Life to Him and Little Hero. During the Anti-Japanese War, he also directed plays such as Thunderstorm, Sunrise, Wilderness, Fighting between Love and Death, and One Year. After the liberation of the whole country, he directed the movie Storm at Sea. Praise national integrity and the anti-aggression struggle of the Chinese people.

Praise

Thankfully, in his 87-year career, he has made great achievements in singing aloud for the new revolutionary culture and breaking through the waves. As Mr. Zhao Puchu said in his memory of Xu Xing, "Comrade Xing Zhi is an artist worthy of permanent remembrance by the public. He has made valuable contributions to the cause of the liberation of the Chinese people. Although he left us, his achievements and his legacy of poetry and painting will always encourage future generations to move forward. "As Mr. Cai Ruohong said in his poem"The Moon of the West River"in memory of Comrade Xu Xingzhi:"Sixty years ago, the left wing, experts under the five-star flag; a body of three sunflowers, can perform poetry and painting. The exquisite hands are exquisite and varied, but the hearts are full of brilliance. A song dedicated to China, leaving a good story for thousands of years! "He died in 1991.

Important Exhibitors:

1934 Xu Xingzhi and Wu Yinxian Painting and Photography Exhibition

The Second National Art Exhibition of 1959 Beijing China Art Museum

1985 Lucky Painting Exhibition Beijing China Art Museum

1986 Lucky Painting Exhibition Hong Kong Art Society Exhibition Hall

1990 China Oil Painting Landscape Exhibition Beijing Museum of Chinese Revolution

Collection Exhibition of the Thirtieth Anniversary of the Establishment of the Chinese Museum of Art in 1991 Beijing China Museum of Art

1992 20th Century China Art Exhibition Beijing China Art Museum

1998 Contemporary Chinese Landscape Painting. Oil Painting Landscape Painting Exhibition Beijing China Art Museum

Collection of works:

China Art Museum, Guangzhou Art Museum, Hong Kong Oriental Art Foundation and Taiwan Carmen International Art Center.

Publishing picture albums:

Lucky Paintings

Published papers:

The Declaration of the Art Society of the Times, the Task of the Emerging Art Movement, the Prospect of the Chinese Art Movement, the History of Modern French Painting (translated works), Da Vinci, Impressionism is Impressionism, Rodin's Sculpture, Colo's Landscape Paintings and the Innovation of the Masters of Post-Impressionism, etc.

Editing and conducting films and plays:

Children of the Wind and Clouds, Storms at Sea