武建军，生于1970年，房山人。现为中国美术家协会会员、中国工艺美术协会会员、北京市房山区美协副主席、北京书法家协会会员、北京市政协文史委顾问、漓江画派常务理事、中国传媒大学客座教授。先后师从王心昌先生，何镜涵先生，李宝林先生，黄格胜先生。

武建军美术作品

黄格胜对武建军的艺评：画坛奇才

2008年武建军报考了我在国家画院的高研班，在生活学习数年后，由衷地认识了武建军是一个爱画画、会学画、重感情、有抱负难得的一位画坛奇才。

武建军没有太高的正式专业文凭，所以他画画无包袱，少框框；他也无具体长期地师从某位老师，包括跟我一起学习，我也根据对他的观察和思考，希望他根据自己的情况，发挥自己的独立思考，按自己的基础和特点逐步形成自己的风格和面貌，而我的创作思想和方法，特别是一些具体技法，可取于已有用的用之，无用甚至会阻碍发展者而弃之，几年来，武建军的长足进步，说明我们的教学方法是对的。

武建军准确的定位应该是企业家和画家，或者说以经济建设来促进精神追求。据我所知和听说，他搞点房地产、养鱼种果，也办了“国瓷馆”，还准备建美术馆等，他奇就奇在分心有法，分身有术，做人做事深思熟虑，成功率极高。

他几乎每天都能有时间写字，画画，特别还能认真读书，所以看他的画，能看到他的缜密思考和书卷气，当然下大功夫就能体显出功力和厚度。他用笔、用墨、用色的简洁厚拙也是时间不够反而得出痛快的好效果。我与学生在一起的时间除了画画和讲课之外，在一起喝酒、饮茶、聊天的机会也很多，海阔天空、推心置腹，不谈哲学，时现哲理；不讲画理，只聊做人，对大家都有促进。

韩墨对武建军的艺评：“玩”出来的艺术

说实话，我一直都把艺术看成很严肃的事情，从来不敢说“玩”。山水画家武建军就不同，他的确是在“玩”，玩得轻松自在，却也玩得有品味，有情调。那种状态，也时常让人心生羡慕。

给武建军找个准确的定位不容易。他做了不少产业，但你说他是企业家，他却时常混迹在艺术圈。你说他是艺术家，他看起来没把艺术当正事。无论是做企业还是做艺术，他似乎都是在“玩”。这几年他把房山区的清帝“行宫”做成了“国瓷会馆”，画画、烧瓷，经常唱和于前来雅聚画瓷的文人墨客之间，更是玩得不亦乐乎。每每看着他的光脑袋和他朴素的装扮，我就不由想起老北京的“爷”。

每次在他的“国瓷会馆”小聚，我总是要盯着餐厅里悬挂的一幅山水画端详一番。那是建军的随性之作：四尺对开的横幅装不下胸中丘壑，峰峦叠嶂冲开纸边绵延而出。大大小小的方折结构，冲突着，延展着，叠压着，却最终被一排外形齐整的远峰所统摄，归于内敛和沉实。是夕阳西下吗？是时至深秋吗？管他呢！就那么单纯的玫红点厾披染上去，散散落落，似无理，却有趣。这些单纯的元素，想来勾勾画画不过是大半个小时的光景，却袒露无疑地展现出武建军的那个“我”。之所以对着一幅画唠叨这么多，实在是因为我感受到的武建军“玩”艺术的状态，几乎是从这张画开始的。而且最近看到他的一批新作，也是从这个理路生发出来的，纯粹用线条表达，积线成面，错落有致，不温不火，散淡冲和，端的见情见性，好一派洒脱自在的气象。

窥一斑而见全豹，这句话放在武建军的身上并不准确。因为他画画从不循规蹈矩，时常出人意料。你很难通过一张画或几张画给他定义一种风格、一个面貌，乃至一贯的追求。看他的《圣境》、《心中丘壑》等这一类作品，就很难把他和此前谈到的画风联系起来。很难想到，他也能画得如此苍郁氤氲，如此元气淋漓。看得出，他能豪情所至纵情挥洒，也能静下心来娓娓铺叙。所谓侠骨柔情，在他的画中便体会得到。在这些作品中，线条的劲朗退让给了质朴、敦厚，在浓墨淡墨的反复皴染点厾过程中，笔轨墨迹浑然一体，形象体面若隐若现，节奏与韵律起伏跌宕，自然丘壑化为胸中逸气倾泻于笔端。想到黄宾虹吗？想到李可染吗？可能想到了，但是他又避开了。“康庄大道”上从来都是熙熙攘攘，但是他天性喜欢走小道，喜欢走独木桥——他喜欢一个人的风景。他时而玩玩平面化的趣味，时而试试散点透视，时而要干裂秋风，时而要润含春雨，非要走到“四不像”方才罢手。谁都不像了，才是自己。这看起来像是歪理，谁又能说不是个性呢。

既然是”玩”，就没有框框，就更放得开。既然是玩，就要玩得“贴心”，玩得见情见性。建军作画是由着心性来的，不同的心境有不同的样态。建军也曾一度钟情于“圆”。是圆润的线条，虬曲的形态。还是山水画，行笔较快，大大小小的不规则的块面铺陈于画面，线条婉转顿挫，笔端枯润并济，既有“粗枝大叶”的铺排，也有漫不经心的“大珠小珠落玉盘”。我猜想那种过程他是很享受的，能让人联想到琴师抚琴，十指翻舞，起起落落，有疾风骤雨，也有日暖风和。他不要晦涩，也不要“强说愁”，阳光就是阳光，磊落就是磊落。愁肠百转的南宋遗风他没有，孤高傲世的遗老情怀他没有，他要的是见山是山，见水是水，要的是自自然然，自然而然。

中国画讲究下苦功夫，李可染先生讲“废纸三千”。建军有没有废纸三千我不知道，但是看他线条的丰富多端，水墨的张弛有度，乃至气机的流转、恰如其分的节制，便知道如果没有下过一番苦功夫，是绝不可能随随便便“玩”出来的。笔墨寄情，笔墨言志。只有对笔墨具备一定的驾驭能力，对点画痕迹了然于胸，才可能寄情言志，这一点建军做到了。

建军也读书，也修佛，但是不挂在嘴上，不露在表面，这从他的画中找得到。他的画长于畅情的书写，却懂得节奏的把控和适度的节制；他能止于疏朗简约，也能步步为营内向深入；他开笔往往粗头乱服，却能终归安静文雅。所谓“文质而后彬彬”，能够在随心所欲的状态“玩”出这种味道，仔细体会体会，还是他的内在修养使然。

千年笔墨，法度森严。时下中国画坛“回归传统”之类声音振聋发聩二十年之久，极端民族主义情绪弥漫，不少场合都回荡着先生们的耳提面命和谆谆教导。多少年轻后学埋头苦修经年，废纸等身，却茫茫然找不到一笔是自己。在这种背景下建军能“玩”出来自我，确实不易。因为没有这种负累，所以才玩得开心，玩得有趣，玩出了山水画的新感觉。说破天，艺术终究还是要表达自我的，王维、苏式他们拿起笔来画画的初衷，也不过是要试着用画写写诗，靠笔墨抒发抒发人生况味。当代之人应写当代情怀，依我看建军“玩”的就是这个。

李宝林对武建军的艺评：性情中人画性情中画

艺术是一种生活方式，人生历练是必不可少的积淀。尤其对于画中国画来说，画到深处便是人格、修养和境界。武建军在他的同辈人当中，其历练之丰富的确算是少有的了。

他做过很多事情，早年也从事过很多商业活动。但他骨子里一直喜欢书法与绘画，所以，后来他把商业与绘画很好地结合起来，把艺术与生活更紧密地融为了一体。比如他搞了一个国瓷会馆，经常邀请名家往来画瓷，最近他又在筹建美术馆及文化会馆群落，精心精心营造新的艺术空间，为美术界服务的同时，他也把自己的人生方向调整到了艺术的轨道，逐渐回归到了绘画。在他过去十分繁忙的时候，心中一直有一片净土，那就是画画。画画是他生活中很重要的内容，无论是从商还是做其他事情，也都没有忘记画画。他跟画家们关系很密切，也有很多朋友，他的艺术之路也便是在这样的状态下逐渐走出来的。后来他正式拜了黄格胜和我为师，从而使自己的绘画逐渐从业余转向了专业，从爱好逐渐转向了严谨的学习与研究。

他是个性情中人，身上充满义气与豪气，所以他的画跟他的人一样，也是画性情中画，放笔直取，不计工拙，正所谓画如其人。他对画，并不是采取功利的态度，完全出于自己的感情、爱好和兴趣。他在绘画上悟性很好，也研究过不少著名画家的经典作品，所以他眼界较高，画起画来看似信笔拈来，逸笔草草，但是却充满了意趣，充满了生机活力。虽然是率性而为，但不失格调，出手不凡。最近，他经常拿些新作给我看，画得越来越有感觉，笔墨线条厚实，潇洒自如，更加有了法度，画面的结构、节奏更加严谨。他的画不追风，不追求表面效果，主要是抒发自己的感情和感受。作为一位画家，能表达真性情是一种能力，也是一种境界，建军是性情中人画性情中画，这是最难能可贵的！

武建军美术作品

Huang Gesheng's art comments on Wu Jianjun: a genius in the field of painting

In 2008, Wu Jianjun enrolled in the senior research class of the National Academy of painting. After several years of living and studying, I sincerely realized that Wu Jianjun is a rare talent in the field of painting who loves painting, can learn painting, attaches great importance to emotion and has ambition.

Wu Jianjun doesn't have a high formal professional diploma, so he has no burden and few rules to draw. He doesn't learn from a certain teacher for a long time, including studying with me. I also hope that he can play his own independent thinking according to his own situation, and gradually form his own style and appearance according to his own foundation and characteristics. My creative thinking and Methods, especially some specific techniques, can be used for useful purposes, useless or even hinder the development of those who abandon them. In recent years, the great progress of Wu Jianjun shows that our teaching methods are right.

The exact orientation of Wu Jianjun should be entrepreneurs and painters, or to promote spiritual pursuit with economic construction. As far as I know and hear, he did some real estate, fish and fruit farming, also ran the "national porcelain Museum", and was going to build an art gallery. He was very curious about his distraction and skill, his thoughtfulness in life and work, and his success rate was very high.

Almost every day, he has time to write and draw, especially to read carefully. So if you look at his paintings, you can see his meticulous thinking and bookmaking. Of course, if you work hard, you can show your strength and thickness. He uses pen, ink and color simply and clumsily, which is not enough time but has a good effect. In addition to drawing and lecturing, there are also many opportunities for me and my students to drink, drink tea and chat together. They are open-minded, close to each other, don't talk about philosophy, and show philosophy; don't talk about painting theory, just talk about life, which will promote everyone.

Han Mo's comments on Wu Jianjun's Art: the art of "playing"

To be honest, I always take art as a very serious thing, and never dare to say "play". Wujianjun, a landscape painter, is different. He is really "playing". He plays with ease, but also with taste and sentiment. That kind of state, also often let people envy.

It's not easy to find an accurate position for Wu Jianjun. He has done many industries, but you say he is an entrepreneur, but he often wanders in the art circle. You said he was an artist. He didn't seem to take art seriously. Whether it's business or art, he seems to be playing. In recent years, he has made the "imperial palace" of Qing Dynasty in Fangshan District into the "national porcelain guild hall". He draws and burns porcelain, often sings and plays with the literati and poets who come to Yaju to draw porcelain. Every time I look at his bare head and his plain clothes, I can't help thinking of the "Ye" of old Beijing.

Every time I get together in his "China guild hall", I always stare at a landscape painting hanging in the restaurant. It's a follow-up work of the Army: the banners, which are four feet apart, can't hold the gullies in the chest, and the peaks and peaks rush out of the paper. Large and small square fold structure, conflict, extension, superposition, but ultimately by a row of neat shape of the far peak dominated, attributed to introverted and solid. Is it the sunset? Is it to late autumn? Mind him! It's just that pure rose red dots are dyed and scattered. It seems unreasonable, but it's interesting. These simple elements, if you want to sketch, are only half an hour's scenery, but they undoubtedly show the "I" of Wu Jianjun. The reason why I nag so much about a painting is that I feel the state of Wu Jianjun's "playing" art, almost from this painting. And recently, I saw a batch of his new works, which were also produced from this theory. They were expressed purely by lines. They were scattered in an orderly way. They were not warm or hot. They were light and blunt. They saw emotions and nature at the end. They had a free and easy atmosphere.

It's not accurate for Wu Jianjun to look at a spot and see the whole leopard. Because he never follows the rules in painting, which is often unexpected. It's hard for you to define a style, a face, or even a consistent pursuit for him through one or several paintings. It's hard to connect him with the painting style mentioned before when we look at his works such as holy land and inner gullies. It's hard to think that he can paint so gloomy and full of vitality. It can be seen that he can not only indulge in his passion, but also lay down his mind to narrate it. The so-called chivalrous tenderness can be found in his paintings. In these works, the strength and strength of the lines give simple and thick. In the process of the repeated texturing and dyeing of thick and light ink, the ink on the pen track is integrated, the image is dignified and hidden, the rhythm and rhythm fluctuate and fluctuate, and the natural gullies turn into the free air in the heart and pour into the pen end. Think of Huang Binhong? Think of Li Keran? He may have thought of it, but he avoided it again. "Kangzhuang Avenue" is always bustling, but he naturally likes to walk on the path, like to walk on the single wooden bridge - he likes a person's scenery. Sometimes he plays with the plane interest, sometimes he tries to have a little perspective, sometimes he wants to dry up the autumn wind, sometimes he wants to moisten the spring rain, and he doesn't stop until he reaches the "four don't look like". No one is like him. It seems to be unreasonable. Who can say it's not personality?

Since it is "play", there is no frame, it is more open. Since it is to play, we should play "intimate", play to see the feelings of sex. The construction of military painting is based on the nature of mind. Different moods have different forms. Jianjun once loved "Yuan". It's a round line, a twisted shape. It's still landscape painting, with fast strokes and large size.