林曦明，字正熙，号乌牛，浙江永嘉人，1926年生。现为中国美术家协会会员、上海美术家协会理事、中国剪纸学会名誉会长、上海中国画院创作研究室主任，吴昌硕艺术研究会副会长、林风眠艺术研究协会副会长。擅山水、花鸟、人物、走兽，所作兼取文人画、民间画以及西画的特点，笔墨豪放，意境清新，别具一格，富有浓郁的生活气息和时代精神。
作品多次在国内外展出并在报刊上发表，1987年秋在上海举办“林曦明中国画大展”。亦擅剪纸。出版有《林曦明画选》、《林曦明国画选》、《林曦明剪纸选》、《林曦明作品选集》分为人物、山水、花鸟、书法共四卷。1993-1994年度英国剑桥世界名人传记中心授予他“世界杰出 贡献奖”以及“20世纪成就奖”。其传记入编《世界名人传记》、《国院精英名人录》，第11版《世界名人500位》等。
林曦明的父亲是位民间画匠，受地方民俗影响和家庭熏陶，他四岁开始就喜欢画画。10岁时入乡村私塾就学，攻读诗文，后到正式学校读书，那时他仍不忘临摹当时的香烟牌头的戏剧人像。后因家境贫寒而辍学，14岁随父亲学艺，绘制民间壁画、漆画、泥塑和刻制剪纸。
随父学艺期间，林曦明先生接触了各种民间绘画艺术，其中有庙宇中的大壁画、戏台上的平池装饰画，直至民间嫁娶所用器具的金漆彩绘，这些无不滋养着他童年心灵的艺术萌芽。1942年18岁的林曦明到温州跟随苏昧朔先生学习中国画、书法和诗词，成了他的入室弟子，受益终生。1955年师从王个簃先生研习书画，广泛学习石涛、八大、吴昌硕、齐白石、黄宾虹的作品，同时研究现代绘画。
1987年秋在上海举办“林曦明中国画大展”。出版有《林曦明画选》 、《林曦明国画选》、《林曦明剪纸选》、《农村新窗花集》及诗歌插图多种。现为中国美术家协会会员、上海美术家协会理事、中国剪纸学会名誉会长、上海吴昌硕艺术研究会副会长、上海林风眠艺术研究会副会长。

林曦明的艺术道路并不像传统中国画家那样从临仿明清诸家而上溯宋元，也非系统地接受新式美术教育打下学院派造型的功底。他出生于浙江永嘉县乌牛镇溪口西山村，父亲是闻名乡里的画工，他的童年是随父亲走乡串村，食宿在庙祠农家，协助父亲作壁画、漆画、祖先挂像和戏台装饰画中度过的。他对民间美术的接触不仅甚早，而且非常广泛，民间美术也开启了他的艺术慧根。他最早从事艺术创作的是剪纸，用于春节的龙灯装饰和婚事中的礼花。
林曦明的中国画学启蒙于10余岁时自己临摹的《芥子园画谱》、《醉墨轩》和《钱慧安画谱》。16岁后，他正式师从温州的古典人物画家苏昧朔先生。苏昧朔，字融和，毕业于上海美术专科学校。师从苏昧朔先生，才在真正意义上给林曦明打下了人物画的造型基础。在先生的指引下，他临摹了许多古画和小说中的人物秀像，兼习书法和诗词。1946年，林曦明20岁时，在温州“神州画苑”举办个人画展，展出了表现民间风俗（如街头卖艺、渔、樵、耕、读等）的中国画百余幅。现在能够看到作于这个时期的《关公读春秋》和《执剑钟馗图》，颇能显示他在人物造型和笔墨上的悟性与才华。
1956年林曦明在上海少年儿童出版社从事美术编辑期间，有机会接触了许多海派名家，这对于他画学道路的开阔影响深远。他曾师从王个簃先生，从而在书画诗词方面的研习更深入了一步。通过王个簃先生，他开阔了画学的视野，广泛临习了石涛、八大、吴昌硕、齐白石、黄宾虹诸多门派的艺术，并有幸与林风眠、关良先辈相识，结为终生师友。不可否认，林曦明日后的简笔大写意山水与人物，都曾从缶老的笔墨中得到过许多雄健豪放的流风遗韵，而他能密切接触到的吴湖帆、贺天健又在笔墨上给他以秀雅温润的滋养，这无疑是林曦明在雄健豪放之外又能糅入风雅秀韵的重要条件。
50年代初，林曦明主要精力投入在剪纸上，对于中国画尚处于沉潜的研习状态。50年代末至六十年代是他艺术的转换期。1959年，他不仅有中国画人物作品《炉前》和《青年工人》参加上海解放十周年画展，而且还在上海美术展览馆举办“林曦明山水写生观摩展”。
70年代是林曦明开始形成自己艺术面目的重要时期。1971年，林曦明因周总理指示为上海六大宾馆作布置画的契机而调入上海中国画院工作。这一时期，他为了丰厚自己的笔墨底蕴，而意临了一些齐白石的人物画和永乐宫壁画，这在他的《东方朔偷桃》、《无量寿佛》、 《罗汉图》 、《道观配乐图》和《临永乐宫壁画》中可以直接看出。笔墨的历炼，丰富了他的表现能力，也成就了他在1973年创作的《太湖之歌》、《洞庭桔子红》和《柳荫渔歌》这几幅在当时引起人们普遍关注的作品。也可以说，七十年代那个特殊的政治化岁月，在客观上也扩大了林曦明的山水画视野，那些为反映革命圣地而得到的外出写生的机会再次赋予他的山水画以清新的意境。
1975年，林曦明被借调到上海戏剧学院美术系任教，因此他有了更多的带领同学出去写生的教学实践。
80代是林曦明个人艺术风格的成熟期，他的简笔浓墨山水几乎成为人们识读林曦明山水的一个符号。从师承关系来说，这个时期在人物画上，他更倾心于关良，崇尚关良先生在戏曲人物画方面表现出的简练与童稚之趣。在山水画上，他意临了一些黄宾虹的作品，构图上，他试图放大黄宾虹山水画的某些局部；笔墨上，他试图将黄宾虹的破墨与宿墨予以重新整合。黄宾虹和关良是他终生仰慕的先生，他似乎是在敬仰中吸收着他们的艺术养分并渴望化为自己的某种趣味。
林曦明简笔水墨山水的醇熟，在八十年代前后就产生了影响。七十年代末，他的作品在《美术丛刊》专题发表时，就引起读者的广泛关注，他成为当年海派画家中一个面目较新的山水画家。而且，那是一个对传统中国画提出质疑、否定并孕育着中国画大变革的时期，一方面是回归传统，另一方面则是反叛传统，现代水墨概念由此提出，水墨与媒材的自身价值凸显而出。也许，正是处于这个大变革的时代，林曦明简笔浓墨山水所凸显的视觉形式、所具有的替代皴和线的具有现代水墨特征的中国画探索才能被现代性的审美价值所肯定。毫无疑问，林曦明简笔水墨个性的形成不仅是他个人从传统走向现代的标志，而且也是那个时代精神与艺术思想的体现。
90代及90年代之后，林曦明的个人风格愈臻鲜明和完备。在人物画方面受林风眠影响，画了多幅风眠式的仕女画。这些作品墨韵淡雅，线条虽也像风眠师那样流畅洒脱，却也增加了中国画用笔的意味与韵致。他晚年的人物画更加减略概括，充满了浓郁的生活情趣，不论《双休日》对于情侣休闲生活的捕捉，还是《柳荫捕鱼图》对于儿童捉鱼趣味的描绘；也不论《林海雪原》从传统题材的翻新，还是像《杜甫诗意》那样表现古典诗词的意境，用笔则减到不能再减，用线则灵动洒脱，用墨则淡雅清透。他的人物画完全从传统变出，既吸收了关良的稚趣，也融合了林风眠的洒脱，在当代写意人物画上也是别具一格。山水画上还是八十年代风格的延续，一方面简笔浓墨的山水更加简洁，像《野渡》（1990）、《水乡》（1994）、《漓江春色》（1995）和《漓江》（1997）等作品，将山水简化为几个墨块，而且用墨也极其滋润，由此彰显出墨块之间的形式意蕴。另一方面则是有意识地追求一种形式构成，比如，在《初秋》、《柳荫牧牛图》和《柳条轻风》一些作品中，他将柳树枝条的线和叶片的点有机地组合为点与线的关系。显然，由构图的简化而引发的对于山水视觉形式的凸显，已成为林曦明山水画的重要特征，而笔墨又是提升他这种视觉形式审美品格的重要条件，在他这种简化的甚至带有黑白关系的图式中，既有墨润渗化、湿润淋漓的大水大墨，也有苍劲浩荡、浑漭朴实的枯笔渴墨。他的简笔山水如果没有由笔而产生的墨与水的动感、速度和变化，那将会逊色得多。
林曦明出生于浙东，是个地道的江南人，因此画面里充满了水的灵动和水的秀韵；他后来长期工作生活于上海，并受教于林风眠、关良、吴湖帆、王个簃等海上名家，笔墨里承传的是海派绘画的神髓，故有海派画家的韵致与风范。但他的画风又以简笔浓墨出之，在海派诸家中显得大刀阔斧、豪情奔放、气象磅礴，似乎又不尽同于海派的儒雅温婉、工谨秀丽。他归于海派，却又显得若即若离。在某种意义上，他跳出了海派囿于一隅的局限性，他的艺术成就正在于八十年代和整个中国画变革求新的时代精神融为一体，既有李可染积墨山水的浓重滋润，也有石鲁逆锋颤笔的峭拔伶俐，还兼得像吴冠中那种对于视觉形式与结构的敏锐与自觉。他既和他们有些相近，但又不全似，这正是他的艺术个性，也是他的艺术探索所体现20世纪山水画的现代性转换。

林曦明先生秉持自己的艺术风格，他的画笔墨酣畅淋漓，变化多端，用色明丽雅致、流光溢彩，构图虚实相间、简约疏朗，既恪守文人画的传统，又注重吸收西方的和现代的表现技法，充满了民族性与时代感。
在人物画上，林曦明也有自己鲜明的个人风格，不画五官，不画表情，只是人物的侧影与背影，即使画身体也是大笔淋漓地带过，奇怪的是这些人物却在身后为人们留下喜怒哀乐，这就犹如朱自清名篇《背影》所达到的艺术效果完全一样。不用问他们从哪里来，往哪里去，不用看他们希望什么又摒弃什么，画家这种化繁为简的笔墨，已经告诉你那些人物的来历，甚至他们的明天。
林曦明的花鸟画也是别开生面，另有一功。他画花鸟，从来没有过多的笔墨，虽是寥寥数笔，但是笔笔“见血”，高度概括，不仅笔下花鸟的“形”立马呼之欲出，而且神韵摄人，让人过目不忘，思之越久，其味越浓。
浏览林曦明那些精纯甜美的山水小品，如同读着一首首耐人寻味的田园抒情诗，不是王维的那种文人超脱，也不是陶渊明的那种诗人解脱，而是一种平民小札、山居随笔，一种人与自然的相处。在他的山水世界里，看不到激浪拍天、涛声撼地，也不见群山飞峙、水复山金、乱石崩云，他始终画着“生于斯也、长于斯也”的一片江南，宁静而和谐，明快而清新，单纯而丰满，烂漫又不失朴茂苍劲。
由于他在创作中追求的是一种在不即不离中自由如意地抒发着自家的真情感受，表现的是一种轻盈、流动而又潇洒的线条，运用的是一种清淡而又丰富变化的色彩，从不把忧伤与重负留给观者，因而在他的水墨大写意中，极富人生感与人情味。可以说，是林曦明的这些洋溢着自然气息的山水作品，改变了以明清山水画主流不食人间烟火的出世意蕴，这是他对传统山水画的现代化作出的一个奉献。
究其在艺术领域的成功，主要有两点：一是林曦明先生很好的掌握并继承了传统。他非常欣赏八大山人、齐白石和林风眠等大师的绘画风格，从他们身上领悟到了“大写意”的技法的真髓，几十年磨一剑终形成了自己的独特的艺术风格。二是到生活里去，从生活中提炼艺术。他说：“要深入生活，不停地在生活中找到灵感，并且在创作中做到独立分析，这样才能不断超越自己，创造新的境界。”
林曦明先生是位全才的艺术家，其山水、花鸟、人物、书法、剪纸等样样精通，剪纸自不用说，他是我国著名的剪纸大师。在绘画方面他最擅长的是大写意山水画。观先生的泼墨大写意山水，以大笔头大墨块替代传统山石的细勾密皴，舍弃细节，抓住整体，这正是他山水画风格的一个重要特征，如丝绸般恬静的江面，那壮丽，柔美的大山，磅礴流畅的溪流，林曦明用浓淡相宜的大泼墨疏密聚散，亦真亦虚。这种开拓性笔墨，无疑丰富了山水的艺术表现力。读他的画，令人身临其境，极想融入画中，与山水一体。
他对山水情有独钟。不论是北方气势雄浑的山水，还是南方婉约柔媚的山水，都在他笔下以大写意的方式展现，笔墨豪放而意境清新。特别是江南的山水，表现得尤为酣畅淋漓，一条清溪，一只小舟，一树倒影，一脉远山，寥寥几笔，江南的意境跃然纸上。
勤勉的林曦明对各个画种都有尝试，各个门类题材都有涉猎，既接受了传统文化的熏陶，又深受西方文化的影响，博采众长，最后形成了风格独具的艺术特色。
表现生活是林曦明六十年代中国画的追求和特点。相对于传统型的中国画家，他少了许多传统的程式和包袱，因而创作也多出于自己的乡村生活经验，意境也颇为清新。他的《山歌》、《杨梅时节》和《江南春早》并不是传统意义上的山水画，而是将山水和人物相结合，在表现现实生活的同时，注重意境的提炼和画面形式感的追求。入选全国美展并为中国美术馆收藏的《杨梅时节》，是他六十年代的代表作。在这幅具有主题寓意的作品中，画家一方面中锋用笔，在梅树的枝干、丛叶和采梅果民的形象塑造上显示出笔墨拙朴的金石味，另一方面则在杨梅树丛的整体布局和人物的穿插上展示出平面性均衡节奏的把握，而靛蓝色梅树的渲染及洋红

梅果的点缀，更突破了传统山水画用色的局限性。《杨梅时节》这种装饰化的审美意趣，实际上预示了林曦明此后山水画的某些风格特征。

著名美术评论家薛永年先生评价他：自觉向民间美术探寻的林曦明，虽然在剪纸创作上用力最多，但是诸如青铜艺术、彩陶图像、汉画像石、原始岩画，都成了他参悟艺术真髓有选择地集古今中外之成的摇篮，终于在山水画革新中走向了文人艺术的民间化，西洋风格的中国化，传统山水的现代化。自己也成为了齐白石、林风眠之后一个最善于向民间艺术寻根而卓然有成的名家。著名画家周韶华则说：他在艺术上追求朴实、清新和净化的格调，扬弃对象的实在性而强化对象的意象性结构。点、线、面、色、空、体都是情感的意象符号。他从来不把忧伤和重负留给读者，而让观众能轻松地呼吸并得到怡悦。他擅长于大面积的泼墨泼彩，以团块结构增强力度，但又惜墨、惜彩、惜笔，简约合度，尽得风流。在水墨大写意中呈现出灵秀、明快、散淡、空灵、幽深、奇峭、奔放的神韵。墨块凝重而飘逸，色彩活泼而不浮燥。线条流畅而有弹力，组合有序，整体感强，步入艺术化境，具有大匠风度。
确实，在林曦明这一辈老画家中，他是比较新派、追求现代感的。尤其是他的山水，全然没有古人那种幽居深山、悲悯人生的境界，他追求的是一种现代的感觉、现代的生活题材和现代读者易于接受的方式。以内容看，他的作品大量地从生活中掇取题材，如《杨梅熟了》描绘江南杨梅丰收时节的景色，《乡村秋色》展现江南金色的秋景。
他有更多的作品展示农家田园生活，如渔猎、晚归、放牧、田趣；以基调看，作品以情动人，充满了生命的力量，并把生的活力融入对江南、对故乡的热爱之中。热爱家乡是热爱祖国的长线表现。林先生从家乡来到大上海，但是他梦回魂牵的还是对故乡的一往深情：雁荡山、楠溪江、乌牛镇……这些成了他时常表现的对象。
除了绘画，他一生的几百首诗作，很大的比重是写故乡行、忆故乡的。他还刻有一方“好江南”的闲章，专门打在他的得意之作上。正是通过表现故乡、江南、祖国各地的山山水水，一草一木，他的作品如《故乡山常绿》、《水乡情》等，始终有一种清新明朗、生机蓬勃的力量，情和景达到了完美的统一。
为了表达这种时代感，他在笔墨、构图和色彩等方面进行了艰苦的艺术探索，以达到这样一种效果：笔墨酣畅淋漓，变化多端，以表现江南的灵秀；用色大胆，该黑当黑，该红当红，雅致而不媚俗；构图虚白相间，追求简约、疏朗、明快的艺术效果。他引进现代的技法是为了服从于现代意识的表达。
但是从另一方面看，他的作品又是民族化的、赋予地方色彩的。如前所说，始终有一种追忆故乡、讴歌江南的浓得化不开的情结，始终以传统中国画的笔墨、构图技法为基础，他绘画的鲜明的地域文化特色，使作品更富民族性。有一年，他的五张作品在伦敦国际评比中获奖，也就不是偶然的了。
追求现代意识的最大危险是失之偏颇，把握不住度，以为想怎么画就怎么画，不要顾及传统。对此林曦明表示，他十分反对。他主张“思想要解放，路子要正”。反映在他的作品中，一是把握住对传统的继承和学习。传统是多元的，林曦明钟情的是八大山人、齐白石、林风眠这些大师开辟的写意风格。几十年来，他反复临习、揣摩，从中汲以养料。
他的绘画追求笔墨情趣、笔墨在宣纸上的韵味、变化、讲究线条的张力，往往寥寥数笔，勾勒出物体的轮廓和鲜明的形象；造型方面简约、夸张甚至抽象，但始终在“不似之似”的尺度上，没有滑到无限的抽象之中；是注重功力。尤其是传统的绘画功力、书法功力和文学功力三者的结合。从他在故乡拜苏昧朔先生学艺起，他始终坚持学画、习书和作诗这三门基本功课，并把三者融会贯通在作品中：画以传情，诗以入画，书画渗透。他的书法厚重而不失灵动，几百首诗作大都晓畅通达，富有生活情趣，与画意和谐统一。
读他的画，与读他的诗以及欣赏他的书法结合起来，会有更深的领悟，也更易理解他为什么提倡“路子要正”。不久前，笔者在上海虹桥迎宾馆看到他绘于八十年代初的大幅山水《太湖之秋》，以细笔一丝不苟地描绘太湖之畔船帆林立，橘林尽染的景色，就知道林先生在追求传统技法上曾花过何等细密的功夫；
他无数次地深入雁荡山区、江南林落以及祖国各地，无数遍地实地观察、写生，直到耳熟能详为止。细看他至今练存的几千幅写生稿，你就不难理解他的作品生活的气息、生命的力量从何而来。这里我想引用他的一首诗作为解读他作品的诠释：“群书翻尽寻法度，踏遍青山觅画材。方圆曲直点线面，梦里江南民族魂。”

Lin Ximing, Zheng Zheng Xi, No. Niu Niu, Zhejiang, Yongjia, born in 1926. Now Chinese Artists Association, Shanghai Artists Association, honorary president of the society of Shanghai, China paper-cut Chinese painting creation research director Wu Changshuo Art Research Association vice president, vice president of Lin Fengmian art research association. Good landscapes, flowers and birds, characters, animals, and the literati painting, folk painting and Western painting, ink bold, fresh mood, have a unique style, rich flavor of life and the spirit of the times.
Many works at home and abroad are exhibited and published in the newspaper, Lin Ximing Chinese painting exhibition held in autumn 1987 in Shanghai". Also good at paper cutting. The publication of "Lin Ximing", "Lin Ximing painting paintings", "Lin Ximing selected works of Lin Ximing", "paper-cut selected anthology" divided into figures, landscapes, flowers and birds, a total of four volumes of calligraphy. 1993-1994 Cambridge world celebrity biography Center awarded him the "world outstanding contribution award" and "Twentieth Century achievement award". The biography in "world famous", "elite's biographies of celebrities", the eleventh edition of "world famous 500" etc..
Lin Ximing's father is a folk painter, by local folk influence and edification of family, at the age of four he began to love. At the age of 10 into the rural private school to study poetry, after the formal school, when he still did not forget to copy the cigarette Paitou drama portrait. Due to poor family and school, at the age of 14 with his father from folk fresco painting, drawing, sculpture and carving paper-cut.
With the scholarship period, Mr. Lin Ximing has been exposed to a variety of folk art, including large murals, temples in the stage of hiraike decorative painting, lacquer painting utensils used until all these folk marriage, nourish the soul of his childhood budding art. 1942 18 year old Lin Ximing to Wenzhou to learn with Chinese painting, calligraphy and poetry, became his entrance disciple, benefit from life. In 1955 under the tutelage of Mr. Wang Geyi studying painting, Shi Tao, eight, extensive study of Wu Changshuo, Qi Baishi and Huang Binhong's works, at the same time of modern painting.
Lin Ximing China painting exhibition held in autumn 1987 in Shanghai". The publication of "Lin Ximing", "Lin Ximing painting paintings", "Lin Ximing selected election", "new rural paper-cut window" and many illustrations of poetry. Now he is a member of Chinese Artists Association, director of Shanghai Artists Association, honorary president of China paper-cut society, vice president of Shanghai Wu Changshuo Art Research Association, vice chairman of Shanghai Art Research Association of Lin Fengmian.

The art of Lin Ximing, and unlike the traditional Chinese painter that imitated from the home of the Ming and Qing Dynasties and traced the song, nor to accept new art education to lay the foundation of academic style. He was born in the village of Zhejiang Xishan Xikou Yongjia Wuniu Town, father is famous for its village painter, his childhood with his father to go from village to village, accommodation in the temple farm, assist father murals, painting, decorative painting and stage hanging like ancestors spent. He touches on folk art is not only very early, but also very wide, folk art also opened his artistic talent. He is the earliest engaged in artistic creation for the Spring Festival lantern is a paper-cut, decoration and marriage of fireworks.
Lin Ximing China Painting School of enlightenment in the more than 10 years old when I copy the "Mustard Seed Garden", "show" and "Qian Huian Xuan Huapu". After the age of 16, he formally apprenticed to a Wenzhou classical figure painter Mr. Su Meishuo. Su Mei Shuo, word of harmony, graduated from Shanghai fine arts college. Under the tutelage of Mr. Su Mei Shuo, only to the other basic painting Lin Ximing play in the true sense. In under the guidance of the president, he copied many paintings and the characters in the novel show like, and learning calligraphy and poetry. In 1946, Lin Ximing at the age of 20 in Wenzhou, "China Art Gallery" held personal exhibitions, exhibition show folk customs (such as busking, fishing, firewood, farming and reading) the Chinese draw hundreds of pieces. As can be seen in the period of spring and Autumn "and" read "Guan Gong sword pictures" now, is he displays in figures and text understanding and talent.
Lin Ximing in 1956 in Shanghai children's Publishing House in the art editor, has the opportunity to contact a lot of Shanghai famous for his paintings, the open road far-reaching influence. He has already learned from Mr. Wang Geyi, to study poetry in painting a step further. By Mr. Wang Geyi, he broadened painting science perspective, extensive clinical learning of Shi Tao, Wu Changshuo, Qi Baishi, Huang Binhong eight, many martial arts, and the honor of Guan Liang and Lin Fengmian, our acquaintance, became life-long friends. Admittedly, Jane Lin Ximing, after the pen freehand landscape and figure, had many classics have Congfou vigorous old ink, and he can close contact with Wu Hufan, He Tianjian in the text and give him a fair and moist nourishment, this is undoubtedly an important condition in the vigorous Lin Ximing outside and melted into the elegant charm of.
At the beginning of 50s, Lin Ximing mainly concentrate on the paper-cut, the China painting is in hidden learning state. From the end of 50s to the year of 60s is the transition period of his art. In 1959, he has China painting works "and" Youth "in front of the furnace workers" to participate in the ten anniversary of the liberation of Shanghai exhibition, but also Shanghai Art Museum organized "Ximing forest landscape painting exhibition".
70s is an important period for Lin Ximing to form his artistic features. On 1971, Lin Ximing due to the instruction of Premier Zhou Shanghai six Hotel furnished painting and painting work in the Shanghai Chinese opportunity. During this period, he in order to enrich their own ink heritage, and on some of Qi Baishi's paintings and murals in Yongle Palace, which in his "Shuo", "steal peach amitayus", and "Taoist" arhat pursues "map" and "music" in the Yongle Palace murals can be directly read out. The ink of Lilian, enrich his performance ability, but also the achievements of his creation in 1973 of the "Taihu song", "orange red" and "the willow fisherman's song" this series had attracted widespread attention of the works. It can be said that in 70s the special political time, objectively also expanded the landscape paintings of Lin Ximing view, those reflect the sacred place of the revolution and get the chance to go out sketching again his landscape painting with fresh artistic conception.
In 1975, Lin Ximing was seconded to the Department of fine arts of Shanghai Theater Academy to teach, so he has more students go out sketching teaching practice.
The 80 generation is the mature period of Lin Ximing's personal style in art, his pen Jane almost the edges of landscape becomes a symbol of the reading of Lin Ximing's landscape. From the teacher, this time in the paintings, he is more attracted to Guan Liang, Mr. Guan Liang in advocating opera figure painting of the concise and childish. In landscape painting, he faces some of Huang Binhong's works, the composition, he tried to magnify some local Huang Binhong landscape painting; ink, ink and ink he tried to get Huang Binhong to re integration. Huang Binhong and Guan Liang is his lifelong admiration of the gentleman, he seems to be in admiration to absorb their artistic nutrients and eager to become some of their own fun.
Lin Ximing pen pen ink landscape mellow, in 80s before and after the impact. At the end of 70s, his works published in the "art series" feature, has aroused widespread attention from readers, he became a landscape painter face new year painter in shanghai. Also, it is one of the traditional painting China questioned, and gave birth to a big change in negative picture China period, one is to return to the traditional, the other is to rebel against the tradition, the concept of modern ink painting, ink and media shows its value. Perhaps, it is in this era of great change, instead of square and visual form, line with Lin Ximing simple strokes and highlights the edges of landscape with modern ink painting to explore the characteristics of China can be affirmed by the aesthetic value of modernity. There is no doubt that the formation of Lin Ximing Jane pen ink painting is not only a symbol of his personal character from tradition to modernity, but also the spirit of the times and art of thinking embodied.After 90 and 90s, Lin's personal style became more vivid and complete. Under the influence of Lin Fengmian in figure painting, painting paintings style paintings fengmian. These works are elegant ink lines, like sleep division as smooth and easy, but also increase the Chinese painting pen meaning and charm. His painting is more reduced slightly generalize, full of rich life, regardless of "weekend" capture for the couple's leisure life, or "drawing" for children Liuyin fishing fish taste; or "Linhaixueyuan" from the renovation of the traditional themes, or the performance of Classical Poetry Artistic Conception like "Du Fu poetry" so, the pen is then reduced to cannot be reduced, with the line is flexible and easy, with elegant white ink. His painting completely from the traditional variable, not only absorbed the Guan Liang Zhiqu, but also the integration of Lin Fengmian and the contemporary freehand figure painting also have a unique style. The continuation of landscape painting and the style of the 80s, a simple strokes and the edges of the landscape more simple, like "wild" (1990), "water village" (1994), "Lijiang spring" (1995) and "Lijiang" (1997) and other works, the landscape will simplify several ink block, and ink is also extremely moisture, this shows the ink block between the form of implication. On the other hand is the conscious pursuit of a form, for example, in the "autumn", "herding" and "willow willow breeze" in some works, he will be the willow branches and leaves the relationship line point combination for point and line. Obviously, the composition of the simplified the visual form for landscape highlights, has become an important feature of Lin Ximing's landscape painting, pen and ink is an important condition to enhance his visual form of aesthetic character, he in this simplified even with black and white relation schema, both ink ink and water infiltration moist moist the pen is dripping, vigorous, mighty muddy plain mang thirsty ink. His pen and ink landscape without ink and water produced by the movement, speed and change, it will be much inferior.
Lin Ximing was born in Zhejiang, is a native of southern people, so the picture is full of water movement and water Xiu Yun; he later long working life in Shanghai, and was taught by Lin Fengmian, Guan Liang, Wu Hufan, Wang Geyi and other famous Chinese ink in the sea, is the essence of the Shanghai painting, the charm and style the painter. But his style with simple strokes of the edges, all appear in Shanghai, lofty sentiments and weather make snap majestic, seems to be different from the Shanghai, with beautiful gentle elegance. He went to Shanghai, but is neither friendly nor aloof. In a sense, he jumped out of the limitations of the Shanghai confined to a corner, his artistic achievement is in 80s and the Chinese painting of reform and innovation spirit of the times together, both Li Keran ink landscape also has strong moisture, Shi Lu against the front pen Qiaoba fibrillation clever, also like Wu Guanzhong's vision for both form and structure keen and conscious. He is similar to some of them, but not all, this is his artistic personality, but also his artistic exploration embodies the twentieth Century landscape painting modernity conversion.

Mr. Lin Ximing maintained their own artistic style, his pen and ink color fully and delightfully, be the most changeful, bright and elegant, Ambilight, real and virtual, simple lichtung composition, both in people, tradition of painting, but also pay attention to absorb western and modern techniques, full of people and times.
In painting, Lin Ximing also has its own distinctive personal style, not painting features, not only with the figure painting expression, silhouette characters, even if the body is too large dripping zone painting is strange, these figures are for the people left behind the passions, it is like Zhu Zi kiyona article "background" of Art exactly the same effect. Do not ask where they come from, where to go, do not see what they want and what to abandon, the painter of this simplified brush, has told you the origin of those characters, and even their tomorrow.
Lin Ximing's painting is a work of open up a fresh outlook. He painted flowers and birds, never too much ink, although a few pens, but Bibi "blood", highly summarized, not only under the pen and the "form" immediately ready, and verve intake, make people think more long, gifted with an extraordinary retentive memory, the more concentrated flavor.
Browse Lin Ximing those pure sweet landscape, like reading a song of intriguing pastoral lyric poetry, the literati is not Wang Wei's unique, also that poet is not Tao Yuanming's release, but a civilian, Xiaozha mountain essays, a man and nature. The landscape in his world, can not see the day, our surf beat waves, also do not see the mountains, flying along the water complex mountain gold, stone clouds collapse, he always painted a piece of Jiangnan born and bred, is also ", quiet and harmonious, bright and fresh, pure and rich, brilliant yet Vigorous and luxuriant.
Because of his pursuit in the creation is a kind of freedom to express best be neither too familiar nor too distant their true feelings, performance is a kind of light, flowing and handsome lines, is the use of a light and rich color change, never put the burden of sorrow and left to the viewer, so in his ink freehand. A sense of life and humanity. It can be said that these are filled with the natural flavor of the landscape works of Lin Ximing, changed the meaning of landscape painting was the mainstream otherworldly, this is a sacrifice he made on the modernization of the traditional landscape painting.
Its success in the field of art, there are two main points: first, Mr. Lin Ximing well mastered and inherited the tradition. He appreciates the Badashanren and Qi Baishi and Lin Fengmian and other masters of painting style, understanding from them to the "freehand" technique the essence, decades of sword eventually formed its own unique artistic style. Two is to go to life, refining art from life. He said: to go deep in life, constantly find inspiration in life, and in the creation of independent analysis, so as to continue to transcend themselves, create a new realm."
Mr. Lin Ximing is a versatile artist, its landscapes, flowers and birds, characters, calligraphy, paper cutting, paper cutting skills, since Needless to say, he is a famous Chinese paper-cut master. In painting he is best at large freehand landscape painting. Jizhou ink impressionistic landscapes, with pen ink block instead of traditional stone fine dense hook chapped, abandon the details, to seize the whole, this is an important feature of his landscape painting style, such as silk like a quiet river, the magnificent, beautiful mountains, majestic flowing streams, with appropriate strength the large ink density and Lin Ximing, also really also imaginary. This pioneering ink, undoubtedly enrich the artistic expression of landscape. Read his paintings, immersive, very want to integrate into the painting, and landscape integration.
He has a special liking for mountains and rivers. Whether the north or the South magnificent landscape, gentle graceful landscape, all under his pen to show large freehand ink, bold and fresh mood. Especially the Jiangnan landscape, especially a stream, fully and delightfully, a boat, a tree of reflection, a mountain, a few pens, Jiangnan mood yueranzhishang.
Lin Ximing is diligent attempt on various kinds of painting, the various categories of subject matter are covered, not only received the traditional culture, influenced by the western culture, and finally formed a unique style of learn widely from others'strong points, artistic features.
Performance life is Lin Ximing's pursuit and characteristics of Chinese painting in 60s. Compared with the traditional Chinese painter, he has lost many traditional programs and burdens, so the creation is also out of their own rural life experience, artistic conception is quite fresh. His "folk songs", "season" and "early spring." is not the traditional sense of the landscape, but the scenery and the character of combining, in the performance of real life at the same time, pay attention to the artistic conception and the pursuit of refined picture form sense. In the national art exhibition and collection for China Gallery "Yangmei season" made in 60s, is his representative. In this picture with the theme of the works, the artist hand center pen, in its branches, foliage and harvest plum Guomin shaping the image shows the ink stone simple taste, on the other hand, in the overall layout and the trees with red bayberry characters show the plane balance and rhythm. The indigo blue plum rendering and Magenta
Mei's embellishment, but also break through the limitations of traditional landscape painting color. "This season" aesthetic charm bayberry of decoration, in fact indicate that some features of the landscape painting style after Lin Ximing.

The famous art critic Mr. Xue Yongnian: evaluation of his consciousness to explore the folk art of Lin Ximing, although in the paper-cut works hard but most, such as bronze art, pottery, stone image, original paintings, as he perceived the artistic essence selectively set in the cradle of ancient and modern, and finally in the landscape painting innovation to the literati art, western style Chinese, modernization of traditional landscape. He has also become Qi Baishi, Lin Fengmian after one of the most adept at folk art roots and accomplished artists. Famous painter Zhou Shaohua said: he pursues the simple, pure and clean style in art, discarding the object's reality and strengthening the image structure of the object. Point, line, surface, color, space, body are emotional image symbols. He never put the sadness and burden to the reader, and let the audience can breathe easily and get happiness. He is good at a large area of the ink splash of color, with mass structure strength, but also cherish, cherish, cherish the color ink pen, simple degree, the best romantic. Showing the scenery, bright, light, ethereal, deep and steep, and the charm in the ink freehand. The ink is dignified and elegant, lively colors and not float dry. The line is smooth and elastic, orderly combination, the overall sense, into the art of sublimation, with great artisan style.
Indeed, Lin Ximing in this generation old painter, he is relatively new, the pursuit of modern sense. Especially his landscape, no mountains, and the kind of compassion in his pursuit of the realm of life, is easy to accept a modern feel, modern life theme and modern readers way. The content of his works, a lot of life from the collection of themes, such as "red bayberry ripe" waxberry harvest season depicts the Jiangnan scenery, "village" Jiangnan golden autumn autumn show.
He has more works show the pastoral life of farming, such as grazing, hunting and fishing, Wangui, Tian Qu; to tone, works by emotion, full of life force, and the vitality of the Yangtze River, into the hometown of love. Love hometown is the long-term performance of the motherland. Mr. Lin came to Shanghai from his hometown, but he's holding or dream for the hometown being: Yandang Mountain, Nanxi River, Wu Niu zhen...... These become the objects he often displays.
In addition to painting, his life hundreds of poems, a large proportion is to write the hometown line, recalling the hometown. He also engraved with a "Jiangnan" special seal, playing in his favourite work. It is the hometown, Jiangnan, around the motherland mountains and rivers, every tree and bush, his works such as "Hometown", "evergreen mountain water" nostalgia, there is always a fresh bright, vibrant strength, feeling and sight to perfect unity.
In order to express the sense of the times, he was the art of hard exploration in ink, composition and color and so on, in order to achieve such an effect: "to be the most changeful, fully and delightfully, the scenery of Jiangnan; the bold color, the black and black, the red hot, elegant and not vulgar; the composition of virtual white. The pursuit of simplicity, lucidity and lively artistic effect. He introduced modern techniques in order to obey the expression of modern consciousness.
But on the other hand, his works are nationalized and endowed with local color. As mentioned earlier, there is always a hometown of remembrance, Acura Jiangnan concentrated too complex, has always been the traditional Chinese painting, composition techniques based on his painting distinctive geographical and cultural characteristics, make the work more rich nationality. One year, his five works in London international awards in the award-winning, it is not accidental.
The greatest danger of the pursuit of modern consciousness is biased, can not grasp the degree, think how to draw on how to paint, do not take into account the traditional. Lin Ximing said that he was very opposed. He advocated that "thought must liberate, the way must". Reflected in his works, one is to grasp the tradition of inheritance and learning. The tradition is diverse, Lin Ximing love is Badashanren and Qi Baishi and Lin Fengmian these masters open style. For decades, he repeated clinical practice, try to figure out, to draw nourishment from.
His taste, the pursuit of ink painting ink on rice paper, flavor change, pay attention to the lines of tension, often a few pens, draw the outline of the outline of the object and vivid images; modeling simple, exaggerated or even abstract, but always in "unlikeness like" scale, no slip to the infinite abstract; focus on skill. Especially the combination of traditional painting skill, calligraphy skill and literary skill of the three. From his hometown in Baisu Mei Shuo Mr. apprenticeship, he always adhere to the three basic lessons, learning painting books and poetry, and put the three together in the works: painting with poetry in painting, calligraphy and painting by osmosis. His handwriting is thick and flexible, hundreds of poems and most accessible, rich life, harmony and beauty.

Reading his paintings, combined with reading his poems and appreciating his calligraphy, will have a deeper understanding and a better understanding of why he advocates "". Not long ago, I saw him in a landscape painted "80s Taihu at the beginning of autumn" at the Hongqiao State Guest Hotel, with fine pen to describe the Taihu River sails strict in demands of orange trees everywhere, with the scenery, you know Mr. Lin in the pursuit of traditional techniques has spent how fine Kung fu;
How many times he Yandang mountains, forest and deep south around the motherland, the countless times of observation, sketching, until now for having heard it many times. He has thousands of sketches issued at the practice, it is not difficult to understand his works of life, the power of life come from. Here I would like to quote a poem as his interpretation of the interpretation of the works: "as for books over the testimonies, find painting materials around castle peak. A wrong point, Jiangnan dream national spirit."