1953年 1月27日，生于北京；

1960-1965年 在北京市丰盛学校实验小学学习；

1965-1968年 在北京市第八女子中学学习；

1969-1972年 赴陕西省延安县河庄坪公社石疙瘩村插队；

1972-1975年 作为河庄坪公社推荐的工农兵学员，回到北京进入首都师范大学美术系学习；

1975年 7月,毕业创作《我是公社小社员》，为北京出版社作为“新年画”出版，全国发行；

留校任教，担任美术系基础素描课程；

1982-1983年 在中央美术学院中国画系第一届进修班学习；

1984-1985年 在北京市二十八中日本语学校学习日语；

1984年 作品《秋》参加中国美术馆举办的第六届全国美展，并获优秀奖，为中国美术馆收藏；

作品《孕》参加北京市美术作品展，获一等奖，并为北京市美术家协会收藏；

1986年 考入中央美术学院中国画系硕士研究生班，攻读硕士学位，指导教授：卢沉先生；

1988年 研究生毕业获硕士学位留校任教，作为中国画系讲师，担任“中国画素描”课程；

与丁一林合著并出版教材《当代素描教程》，中央美术学院朱乃正先生为之作序；

作品《高原的灯》参加中国美术馆第四届全国美展优秀作品展；

1989-1990年 在北京第二外国语学院日语系进修日语，通过国家教委公派留学考试；

1990年 日本东京艺术大学加山又造先生第三次来中央美院中国画系讲学，担任加山又造先生助教，并为加山又造先生接收为学生，开始准备日本留学；

1991年 赴大连外国语学院日本语系，进行为时半年的国家公派强化语言集训；

作品《金玛瑙》参加中国历史博物馆中国工笔画学会第二届大展,获铜奖，被日本友人收藏；

1992-1994年 赴日本留学，在日本东京艺术大学日本画科加山又造工作室，做访问学者；

1993年 在日本东京都“悌”画廊举办个人画展；

参加日本东京银座中央美术馆的中国当代画家六人展；

在东京都“永井”画廊举办个画展；

在日本金泽市“石”画廊举办个画展；

1994年 4月，日本东京艺术大学留学结束，回到北京中央美术学院；

1995-1999年 作为副教授，在中央美术学院中国画系工笔画教研室任教，以不同于传统的新思路，进行“工笔写生”和“工笔创作”教学；

1996年 邀请和主持日本多摩美术大学市川保道先生在中央美术学院的讲学活动；

1997-1998年 在中央美术学院的法国巴黎画室进修，进行欧洲十国艺术考察；

1997-2010年 正式提出岩彩命名，文论“以岩彩为契机”在美术观察杂志3月刊发表，“岩彩”概念进入中国美术界。曾在文化部科技开发中心岩彩重彩高研班，黑龙江美术家协会岩彩画高研班，安徽大学艺术学院岩彩画高研班，以及中央美术学院国画系材料工作室、壁画系选修课程、博士生部综合材料高研班，清华大学美术学院绘画系，首都师范大学美术学院国画系，中央民族大学美术学院国画系，以及天津美术学院，四川美术学院，湖北美术学院，厦门大学艺术学院等，近30所艺术机构和美术院校进行过岩彩画教学；

1997年 岩彩作品《绿叶》参加第一届全国中国画大展，获中国画艺术委员会大奖；

1998年 岩彩作品《绿叶》参加中国美术馆中国工笔画学会第四届大展，获金奖；

1999年 10月19日—24日，在中央美术学院美术馆举办胡明哲岩彩作品展，学术主持：中央美院学术研究部主任范迪安先生，香港艺峰出版社出版《胡明哲画集》；

2000-2002年 再次赴日留学，在日本多摩美术大学市川保道工作室，做访问学者；

2000年 应邀在四川美术学院美术馆举办胡明哲岩彩作品展；

2001年 应邀在福建省画院美术馆举办胡明哲岩彩作品展；

应邀在湖北美术学院美术馆举办胡明哲岩彩作品展；

著作《岩彩画艺术》为黑龙江美术出版社出版；

在日本东京都小野画廊和WEEKEND画廊举办个人画展；

岩彩作品《读No.1》参加中国美术馆“二十世纪百年中国画展”；

参与组织首届“中国岩彩画作品展”，专程回国参加展览筹备及开幕；

2002年 人民美术出版社出版《良师画室—胡明哲岩彩人物画技法》和《良师画室—胡明哲岩彩静物画技法》；

美术杂志第7期发表文章《岩彩作为画种的提法不妥》—接受美术杂志社的邀请，写了论文《谈岩彩命名》，于《美术》杂志第11期发表；

2003年 岩彩作品《无题》参加北京国际艺苑美术馆第二届中国岩彩画展；

应黑龙江美术家协会之邀，赴哈尔滨举办岩彩绘画高研班；

创作与教学中明确了抽象形式和异质共构等学术研究课题；

教学中开设“形态繁衍”和“色彩表述”课程，出版了相关教材；

开始尝试纤维材质的创作。玻璃屏风作品《自然痕迹》，参加中国美术馆首届北京国际美术双年展；

岩彩作品《寻梦》参加第二届全国中国画展，获铜奖。引发中国画界为时4个月，关于中国画评判标准的大辩论；

岩彩作品《读No.2》、《听》、《蓝色空间No.1》参加中国美术馆开放的时代艺术邀请展，《蓝色空间No.1》为中国美术馆收藏；

2004年 岩彩作品《听》参加中国美术馆第十届全国美展；

应安徽大学艺术学院之邀赴安徽，举办岩彩绘画高研班；

2005年 岩彩作品《白日梦》参加中国美术馆第二届北京国际美术双年展；

参与中央美术学院实验艺术系的筹建工作，带领硕士研究生赴中国美术学院考察；

接受日本多摩美术大学邀请，陪同中央美院潘公凯院长参加多摩美术大学的70周年庆典，参加两校正式建交仪式，带领硕士研究生进行日本当代艺术考察；

2006年 参加南京南视觉美术馆1976-2006中国水墨文献展；

参加台湾关渡美术馆“胶彩·重彩·岩彩”艺术邀请展；

晋升为中央美术学院教授，调入造型学院实验艺术系任教，招收硕士研究生；

主持“材质语言表述”学术课题，实施“材质转换”课程；

接受中华民族文化促进会主席高占祥先生的委托，创建“岩彩艺术研究中心”，出任研究中心主任；

参与组织了“大漠寻源—中日岩彩画家采风团”，创建了学术刊物《东方岩彩》杂志，担任学术主持；

4月，召开了来自全国各地的岩彩画家44人以及中华民族文化促进会领导、中国美术家协会领导、著名美术理论家出席的成立大会；

2007年 4月，辞去“岩彩艺术研究中心主任职务”；

8月，完成第一幅大型作品《都市幻影—生长》；

参展在成都现代艺术馆举办的第三届成都双年展；

11月，接受日本东京艺术大学邀请，陪同中央美院潘公凯院长参加东京艺术大学120周年庆典，带领硕士研究生进行日本当代艺术考察；

接受日本东京艺术大学邀请，率领中央美院实验艺术系5名本科生，赴东京艺大进行当代艺术交流，参加“事情发生的场所”国际艺术邀请展；

2008年 3月，参与策划组织“晤对材质”中国岩彩绘画邀请展；

岩彩作品四幅参加锦都艺术中心举办的“自由自在”绘画语境中的材质表达展览；

岩彩作品《空》参加北京中华世纪坛艺术馆“记录历史”中国美术大事记邀请展；

接受荣宝斋出版社邀请，作为主编，编辑出版《东方岩彩绘画11人集》；

接受北京出版社邀请，作为主编，编辑出版《东方岩彩创作工房22人集》；

接受中国美术大事记编委会邀请，作为专栏主持，编辑2008年、2009年、2010年《中国岩彩绘画》专栏；

2009年 岩彩作品《空No.1》参加哈尔滨国际会展中心第十一届全国美展；

岩彩作品《空》参加杭州西湖美术馆“重返现代”中国抽象绘画邀请展；

酝酿中国美术馆“微尘”展览，开始制作大型作品《都市幻影—彼岸》；

接受中国油画杂志邀请，作为专栏主持，编辑全年六期《视觉语言基础研究》；

第二次邀请和主持日本多摩美术大学市川保道先生在中央美术学院的讲学活动；

10月，接受日本东京艺术大学邀请，率领中央美院师生赴东京艺术大学进行当代艺术交流，参加“景”国际艺术邀请展；

2010-2011年 两次进驻北京翰高兄弟科技开发有限公司的工厂，制作完成80平方米大型装置作品《都市幻影》；

2010年 岩彩作品《都市幻影—生长》参加中国美术馆第四届北京国际美术双年展；

7月，接受日本多摩美术大学国际讲评会邀请，赴多摩美术大学进行“中国岩彩绘画”专题讲座；讲评日本硕士研究生的日本画等作品；

9月，接受广州美术学院美术馆邀请，《空》系列作品参加“东方色彩，中国意象”中国岩彩画之学术理想的展览，研讨会上做了《澄怀观道—中国岩彩画历程反思》的发言；

2011年 5月7日-17日，中国美术馆“微尘”胡明哲作品展开幕。学术主持：中国美术馆馆长范迪安先生；

作品《白日梦》《永远》《漂移No.1》为中国美术馆收藏； [1] 

 Hu Mingzhe, female, born in Beijing in January 1953, is a professor in the Department of Experimental Art, Central Academy of Fine Arts, supervisor of master's degree students, deputy director of the Comprehensive Material Painting Art Committee of the Chinese Artists Association, and guest researcher in Kayama Painting Room, Tokyo University of Art, Japan. Some of the works are collected by the Chinese Art Museum, the Exhibition Gallery of the Central Academy of Fine Arts and foreign friends.

Works: "Contemporary Sketch Course" (co-authored with Ding Yilin), "Hu Mingzhe's Painting Collection" Hong Kong Yifeng Publishing House, "Rock Painting Art" Heilongjiang Fine Arts Publishing House, "Good Teacher's Studio" - Hu Mingzhe's Rock Colour Still Life Technology People's Art Publishing House, "Good Teacher's Studio" - Hu Mingzhe's Rock Colour Figure Technology People's Art Publishing House, "Form Pro Folk Art Publishing House.

Publishing: Rock Painting Art, Heilongjiang Fine Arts Publishing House, Liangshi Painting Room, People's Fine Arts Publishing House, Contemporary Famous Modern Heavy Color Painting Collection, Hu Mingzhe, Beijing Arts and Crafts Publishing House, Painting Circle, 2004.4, Art Circle, 2001.7.8, and Dust, 2011, Guangxi Fine Arts Publishing House.

 Born in Beijing on January 27, 1953;

From 1960 to 1965, he studied in the Experimental Primary School of Fengsheng School in Beijing.

From 1965 to 1968, she studied in Beijing No. 8 Women's Middle School.

From 1969 to 1972, he went to Shikeli Village, Hezhuangping Commune, Yan'an County, Shaanxi Province to join the queue.

From 1972 to 1975, he returned to Beijing to study in the Department of Fine Arts of Capital Normal University as a student recommended by Hezhuangping Commune.

In July 1975, he graduated and created "I am a small commune member", which was published by Beijing Publishing House as "New Year's Picture" and distributed nationwide.

He remained in school as a teacher and served as a basic sketch course in the Department of Fine Arts.

From 1982 to 1983, he studied in the first refresher course of the Department of Chinese Painting, Central Academy of Fine Arts.

From 1984 to 1985, he studied Japanese at the No. 28 Middle School of Beijing.

In 1984, his work Autumn participated in the 6th National Art Exhibition held by the Chinese Museum of Art, and won an excellent prize for the collection of the Chinese Museum of Art.

The work "Pregnancy" participated in Beijing Fine Arts Exhibition and won the first prize, and was collected by Beijing Artists Association.

In 1986, he was admitted to the Master's Graduate Class of the Department of Chinese Painting, Central Academy of Fine Arts, where he studied for a Master's degree. His supervising professor was Mr. Lu Shen.

In 1988, he graduated with a master's degree and remained in school as a lecturer in the Department of Chinese Painting and served as a "Chinese Painting Sketch" course.

He co-authored and published the textbook Contemporary Sketch Course with Ding Yilin. Zhu Naizheng, Central Academy of Fine Arts, prefaced it.

The work "Lantern on the Plateau" participated in the 4th National Art Exhibition of the Chinese Museum of Art.

From 1989 to 1990, he studied Japanese in the Japanese Department of Beijing Second Foreign Languages Institute and passed the State Education Commission's official overseas study examination.

In 1990, Mr. Kayama Yasunari of Tokyo University of Art came to the Department of Chinese Painting of the Central Academy of Fine Arts for the third time to lecture as Mr. Kayama Yasunari's assistant professor. He accepted Mr. Kayama Yasunari as a student and began to prepare for studying in Japan.

In 1991, he went to the Japanese Language Department of Dalian Foreign Languages Institute to conduct a six-month intensive national language training.

The work "Golden agate" participated in the second exhibition of the Chinese Meticulous Painting Society of the Chinese Museum of History, won a bronze prize and was collected by Japanese friends.

From 1992 to 1994, he went to Japan to study and worked as a visiting scholar in the Japanese Painting Department of Tokyo University of Art.

In 1993, a solo exhibition was held at the "Tie" Gallery in Tokyo, Japan.

Six Chinese Contemporary Artists Exhibition at Ginza Central Gallery, Tokyo, Japan;

An exhibition was held at Yongjing Gallery in Tokyo.

An exhibition was held at the Shi Gallery in Kanazawa, Japan.

In April 1994, Tokyo University of Art completed its study abroad and returned to Beijing Central Academy of Fine Arts.

From 1995 to 1999, as an associate professor, he taught in the Teaching and Research Department of Fine Brush Painting, Department of Chinese Painting, Central Academy of Fine Arts. With new ideas different from traditional ones, he conducted the teaching of "Fine Brush Sketching" and "Fine Brush Creation".

In 1996, he invited and presided over Mr. Kawabato's lecture at the Central Academy of Fine Arts, Domo University of Fine Arts, Japan.

From 1997 to 1998, he studied in the Paris studio of the Central Academy of Fine Arts and made an investigation of ten European countries.

From 1997 to 2010, the name of rock color was officially put forward. Literary theory "taking rock color as an opportunity" was published in the March issue of Art Observation Magazine. The concept of "rock color" entered the Chinese art circle. In the past, he worked in the high school of rock color in the Science and Technology Development Center of the Ministry of Culture, the high school of rock color painting of Heilongjiang Artists Association, the high school of rock color painting of the Art College of Anhui University, the material studio of the Department of Chinese Painting of the Central Academy of Fine Arts, the elective course of fresco painting department, the comprehensive material high school of the Department of Doctoral Students, the painting department of the Academy of Fine Arts of Tsinghua University, the Department of Chinese Painting of the Acade The Department of Traditional Chinese Painting, Tianjin Academy of Fine Arts, Sichuan Academy of Fine Arts, Hubei Academy of Fine Arts, Xiamen University Academy of Fine Arts and so on. Nearly 30 art institutions and art colleges have conducted rock color painting teaching.

In 1997, the rock color work "Green Leaf" participated in the first National Chinese Painting Exhibition and won the award of the Chinese Painting Art Committee.

In 1998, the rock color work "Green Leaf" participated in the 4th Exhibition of China Fine Arts Museum, and won the gold medal.

From October 19 to 24, 1999, an exhibition of Hu Mingzhe's rock paintings was held in the Art Museum of the Central Academy of Fine Arts. It was presided over academically by Mr. Fan Dean, Director of Academic Research Department of the Central Academy of Fine Arts, and the Hong Kong Yifeng Publishing House published Hu Mingzhe's Collection of Painti

From 2000 to 2002, he studied in Japan again and worked as a visiting scholar in the Studio of Kawabato, Domo University of Fine Arts, Japan.

In 2000, he was invited to hold an exhibition of Hu Mingzhe's rock paintings at the Art Museum of Sichuan Academy of Fine Arts.

In 2001, he was invited to hold an exhibition of Hu Mingzhe's rock paintings at the Art Museum of Fujian Academy of Painting.

He was invited to hold an exhibition of Hu Mingzhe's rock paintings at the Art Museum of Hubei Academy of Fine Arts.

The book Rock Painting Art was published by Heilongjiang Fine Arts Publishing House.

Individual exhibitions were held at Oeno Gallery and WEEKEND Gallery in Tokyo, Japan.

"Reading No.1", a rock color work, participated in the exhibition of Chinese Painting in the 20th Century of the Chinese Art Museum.

Participated in the organization of the first "Chinese Rock Painting Exhibition" and returned home to participate in the preparation and opening of the exhibition.

In 2002, the People's Fine Arts Publishing House published "Liangshi Studio - Hu Mingzhe's Rock Color Figure Painting Techniques" and "Liangshi Studio - Hu Mingzhe's Rock Color Still Life Painting Techniques".

The seventh issue of the art magazine published an article "The inappropriate formulation of rock color as a kind of painting" - accepting the invitation of the art magazine, wrote a paper "On the naming of rock color", published in the 11th issue of the art magazine;

In 2003, the rock color work Untitled participated in the 2nd China Rock Painting Exhibition of Beijing International Art Gallery.

At the invitation of Heilongjiang Artists Association, he went to Harbin to hold a high-level research course on rock painting.

Creation and teaching clarify academic research topics such as abstract form and heterogeneous co-construction.

Opening up Teaching“