魏紫熙，男，原名显文，1915年1月生于河南遂平，1934年毕业于开封河南艺师。任教于河南中、小学。1938年后，于河南、湖北等地多次举办个人画展。1946年主办《河南民报》之《美育》副刊。1949年后，相继于南京文工团、南京美术工厂、江苏省美术工作室工作。历任江苏国画院画师，兼徐州国画院名誉院长，中国美术家协会理事，江苏省人大代表。
“一手伸向生活，一手伸向传统”，这是他的信条。早年他专攻山水，50年代至70年代以画人物画为主，创造出一批歌颂新中国的人物画、年画、招贴画、连环画。他的人物画，人景并茂，意境深遂，用传统沉稳厚实的线条、现代墨色并重的色块绘画，表现了典雅的造型，题材寓意深长，具有新意和时代气息，丰富了人物画的表现力，突破了旧人物画技法上的局限性，重振了中国人物画。70年代后，他把艺术探索的目标转向山水画创作。其山水早年宗法“四王”，追师清湘、梅清诸家，对南宋刘、李、马、夏四家，也涉猎颇深，有传统功夫，又注重新意。笔下所绘的老松、长瀑、峰峦、房舍、舟楫，多有元明以来诸家的踪迹；笔墨凝重质朴，章法灵活，不露锋芒；画风苍秀齐出，刚柔并济，婀娜中见刚健之气，婉媚外显遒劲之韵。代表作品有中国美术馆的《天堑变通途》、藏江苏省美馆的《飞澜无声》、还有《庐山奇峰》、《长白山飞瀑》、《太行奇峰》等，尤其是为毛泽东主席纪念堂所绘制的巨幅山水画《黄洋界》(藏中国美术馆)及为中南海绘制的巨幛《云起千峰动，泉飞万壑鸣》等，均堪称现代山水画坛的珍品。晚年山水画无论是题材，还是技法都取得了突破性的进展，大面积泼墨和重彩朱砂点的运用，既传统，更现代，画风显得异常新颖。
数十年来一直从事美术教育和绘画创作工作。1957年同傅抱石等人筹建江苏省国画院。他参与组织并参加了著名的两万三千里写生，成为新金陵画派的主要代表人物之一。1991年，魏紫熙成为江苏省第一批享受国务院颁发的特殊贡献艺术家终身津贴的画家之一。
魏紫熙先生长期坚持深入生活的创作道路，数十年刻苦研习中国山水画艺术，初学王石谷，后学宋人，以斧劈为主进行创作。用笔苍劲浑厚、独具特色。为金陵画派著名的山水画家之一。作品入选全国美展，应邀赴加拿大、巴基斯坦等国家举办画展。代表作有为毛主席纪念堂所绘制的巨幅山水画《黄洋界》和为中南海瀛台绘制的巨幛《云起千峰动，泉飞万壑鸣》等。70多年的艺术生涯中，魏紫熙作品国内外举办过多次个人画展，入选历届全国美展和国外大型画展并被美术馆、博物馆收藏。出版有《魏紫熙画集》、《魏紫熙画辑》、《魏紫熙山水画集》、《魏紫熙人物画集》、《魏紫熙山水画谱》等画册。
魏紫熙把一生献给了艺术事业。在他病重期间，他仍不忘画画，仍惦念着心中的许多创造冲动，仍希望给后人留下更多的山水画佳作。魏紫熙的遗体告别仪式在南京石子岗殡仪馆举行。

1934年毕业于河南艺术师范学校。早年曾宗法“四王”，也追师清湘、梅清，新安诸家，喜爱南宋马，夏作风，兼受当时日本画风影响。1934至1947年的十余年间，边教学边创作，曾多次在湖北，河南各地举办个人画展。
1938年曾在河南郾城举办抗战漫画展。
1946年，在开封举行个人画展时，河南民报曾发特刊评介。画家谢瑞阶观展后惊呼：“进步令人咋舌。”当时河南文运会艺术组组长傅恒书则曰：“魏紫熙的山水画可媲美张大千。”
1947年八月受聘河南大学任讲师，九月结识赵望云先生，切磋技艺，深受教益。
1951年-1952年任南京美术工场付主任。同时有大量作品发表，问世。
1957年同傅抱石，亚明等十余人去西北，西南等七省写生，行程两万三千里。后在北京举办观摩画展，被誉为“山河新貌”画展，一时轰动海内外。曾任江苏省国画院办公室主任，付画师。参加江苏省文教群英会，被评为省劳动模范。
1958年与傅抱石、亚明、张文俊等参加江苏省国画院筹备工作。同年创作《风雪无阻》、《温课》，参加第一届社会主义国家造型艺术展。自50年代开始参加了历届全国美展，主要作品有《同劳动同商量》、《田头黑板报》、《南京梅花山》和《巡逻》、《丰收归来》、《煦风》、《万山红遍》、《南水北调》、《长白山飞瀑》等。
1960年秋参与组织并参加了著名的两万三千里写生和现代中国画史上具有划时代意义的"山河新貌"画展，成为新金陵画派主要创始人之一。
1977年九，十月间与亚明等赴湖南写生，参加“芙蓉国里尽朝晖”画展。为毛主席纪念堂绘制巨幅国画“黄洋界”。当选为江苏省人民代表大会代表，连任第五、第六、第七三届。
1978年八，九月带领江苏画家赴东北三省讲学，写生。十二月与亚明，林墉组成中国美术家代表团赴巴基斯坦访问，作画写生。
1979年当选为全国第四届文化会代表，并在会议当中召开的全国美代会中当选为全国美协理事。
1980年被徐州画院聘为名誉院长。四月随江苏省国画院书画家代表团访问日本并写生，作画，展出。当选江苏美协常务理事。1982年加入中国共产党。
1985年当选代表参加全国美代会。
1986年在北京中国美术馆举办个人画展，并被该馆收藏16件展品，文化部为此举行发奖仪式。
1987年当选为全国第五届文代会代表。被评为优秀共产党员。
1988年当选为江苏省劳动模范。同年被评为一级美术师。
1989年当选为全国先进工作者。
1991年终身享受国务院颁发给有特殊贡献的艺术家终身津贴。六十多年来的艺术生涯当中，举办过十多次个人画展，有大量的作品，文章发表，获奖，被国内外各大艺术馆，美术馆，博物馆收蒇。

“当代山水画”从时间属性上来看似乎是一个矛盾的修辞。“当代”显然具有一种现时性的特征，而“山水画”则是艺术史上的一种早已成为过去式了的绘画风格。但是，“当代”还具有另一种属性，即文化意义上的类型属性。
魏紫熙的山水画特征如下：
—、确立了知山乐水的圆觉之境：山水画的缘起，是中国画天人合一意境的历史集成，是知山乐水大田园观民居意识的集中体现。可以说，青绿山水的标树确立了中国审美的一个重要基调：闲情逸致式的陶冶(至元时这一认知成为立信的基准)。人们在千秋永立的高山流水面前，品味到的是萧条空寂与静穆平和。圣者说的“道、理、性”均在山水面前顿捂圆觉，以终成情性。这种以山为乐、以水为知，以空为悟、以远为觉的精神确立，这种天人合一的忧乐圆融意识，可望、可行、可游、可居的自然理想，是士者文化的一种精神，是素朴生命哲学的艺术体现。中国哲学在中国山水中找到了更为丰富和具体的内涵。
二、确立了愈小而大的意蕴之理：中国古典最为重要的一个美学命题是愈小而大。我们在古典分析时指出的超以象外，追求言外之意、弦外之音、韵外之致的美学品德，就是对愈小而大这一命题的艺术理解。实际上，这是中国人用特殊的视错觉审视图像的艺术。我们一再说的中国画咫尺千里法则，就是对这一命题的艺术揭示，它除了告知我们哲学以外，还告知我们一个极为独特的透视原理，它让人在一个相对稳定的整体情境中知觉物我合一、象于无形的一种特殊的大象与大音，若说中国画的感动，最大的致因莫过于此。
三、确立了学科表现的语法规则：任何一个画种，要想独立于艺术之林，在语法结构上满足复杂性与丰富性的要求。即本书多次强调的，必须藉助复杂的视错觉结构实现自然物象的简化。青绿山水的历史意义在于：一方面它让绘画从宫室壁画的人事为用、宗教理说中解脱出来，让山水不再成为人事宗法的环境与陪衬，成为主要的精神寄托。另方面他在表现语言上第一次为山水画定立了法度规则，系统地在构图、设色、树法、石法、水法、笔法、论说上进行了建树。应该说系统的有学术的山水画认知从这一时段起才真正进入了广延与深刻。

魏紫熙，是中国现代受人欢迎的山水画家，散文家。他的绘画，文章在几十年沧桑风雨中保持一贯的风格：雍容恬静，其山水画更是脍炙人口。李旭国作品收藏很广，就是结集出版的画册也大多绝迹于市场，给读者带来极大遗憾。在李旭国先生的作品中，山水画恐怕是最为著名的了。往往是寥寥几笔，就勾画出一个意境，比如《人散后，一钩新月天如水》，几个茶杯，一卷帘栊，便是十分心情。魏紫熙的许多山水画，都是以山水风光作为题材的，例如《南京梅花山》、《温课》和《天堑通途》。魏紫熙的山水画，让所谓的成人都觉得惭愧。什么时候，这个世界，能少一些欺诈，少一些执着，多一些自然，多一些淡泊。
魏紫熙的山水画如一片片落英都含蓄着人间的情味。他的山水画，追求的是一种崇高而绚烂的美，其间，不乏哲思和诗意的存在。

Wei Zixi, male, born avanline, was born in Henan in January 1915 1934 in Henan Suiping, graduated from the arts division. Teach in Henan, primary school. After 1938, in Henan, Hubei and other places held personal exhibitions. 1946 sponsored by the "Henan" of the "aesthetic education" newspaper supplement. After 1949, one after another in Nanjing Art Troupe, Nanjing art factory, Jiangsu province fine arts studio. Served as the painter of Jiangsu Painting Institute, honorary Dean of Xuzhou Painting Institute, director of Chinese Artists Association, Jiangsu Provincial People's congress.
"One hand to life, one hand to tradition", which is his creed. He specializes in early 50s to 70s to landscape painting, create a number of China sing the praises of the new figure painting, posters, comic books, New Year paintings. His painting, people Jing Mao, lots of artistic conception, traditional painting color with thick lines, calm and modern ink, showing elegant shape, profound themes, innovative and rich flavor of the times, the figure painting performance, break through the limitations of the old painting techniques, to revive the China figure painting. After 70s, he turned the goal of artistic exploration to landscape painting. The landscape in the patriarchal "Four Wangs", after the division of Qing Xiang and Mei Qing of the Southern Song Dynasty, Liu, Li, Ma, Xia Sijia, also covered deep, traditional martial arts, but also focus on new ideas. Under the pen of the painting of old pine, long waterfall, mountains, houses, boats, there are many traces from the yuan and Ming Dynasties; the ink composition is flexible, dignified simplicity and style show a pale hide candles under a bushel; Qi, firmness and flexibility, see vigorous gas graceful, gentle explicit emotion rhyme. Representative works are Chinese Art Museum "," natural moat change thoroughfare reservoir in Jiangsu Province beautiful museum "fly", and "silent Lan", "Changbai Mountain Qifeng Mount Lu", "waterfall" Taihang Mountain, especially for the Mao Zedong Memorial Hall of chairman drew a huge landscape painting "Huangyangjie" (Tibet Chinese Art Museum and as the Zhongnanhai giant) drawing large "clouds thousand peaks, spring wind flying crow", is the modern landscape painting treasures. In the landscape painting subject matter, or the techniques have made a breakthrough, the use of ink and color, a large area of cinnabar points of both traditional and modern style is very novel and more.
Has been engaged in art education and painting creation for decades. 1957 with Fu Baoshi et al to build Jiangsu Province Chinese painting institute. He participated in the organization and participated in the famous twenty thousand 3000 sketch, become one of the main representatives of the new Jinling school. 1991, Wei Zixi became the first batch of Jiangsu enjoy the State Council issued a special contribution to the artist's lifetime allowance painter.
Mr Wei Zixi insisted for a long time deep into life creation, decades of hard study China landscape painting art, novice Wang Shigu, after the song, which was created with the ax. A vigorous and vigorous, unique. As one of the famous landscape painter Jinling school. Selected works of the national art exhibition, was invited to go to Canada, Pakistan and other countries to hold exhibitions. A representative of the Chairman Mao Memorial Hall drew a huge landscape painting "Huangyangjie" and drawing for the Zhongnanhai ying'tai giant curtain "from the thousand peaks, spring wind flying crow" etc.. 70 years of artistic career, Wei Zixi works at home and abroad held several personal exhibitions in national art exhibition and foreign large-scale art exhibitions and art galleries and museums. The publication of "Wei Zixi album", "Wei Zixi", "landscape painting series" on the album, "Wei Zixi Wei Zixi" on the album, "Wei Zixi character" and other pictures of landscape painting.
Wei Zixi dedicated his life to the cause of art. Him while he was ill, he still did not forget to draw, still thinking about the hearts of many creative impulse, still want to leave more of the landscape painting works. Wei Zixi's farewell ceremony held in Nanjing stone post funeral.

1934 graduated from Henan art normal school. In the early years of patriarchal "Four Wangs", chase division Hunan, Mei Qing Qing, Xin'an from the Southern Song Dynasty, like horses, summer style, and was influenced by Japanese style. 1934 to 1947 more than ten years, while teaching edge creation, has repeatedly held in Hubei, Henan solo exhibitions.
The cartoon exhibition was held in 1938 in Henan yancheng.
1946, held a personal exhibition in Kaifeng, Henan people sent a special review. The painter Xie Ruijie exclaimed: "the show is astounding progress." At that time, Henan Arts Festival art team leader Fu Hengshu said: Wei Zixi's landscape painting comparable to the Zhang Daqian."
August 1947 employed by Henan University lecturer in September, met Mr. Zhao Wangyun, learn skills, deeply learned.
1951 -1952 paid director of Nanjing art workshop. At the same time a large number of works published.
In 1957, with Fu Baoshi, Ya Ming and more than ten people to the northwest, southwest from seven provinces, twenty thousand miles of travel. Held to observe the exhibition in Beijing, known as the "new country" exhibition, a sensation at home and abroad. A former director of the office of Jiangsu Province Academy of traditional Chinese painting, painters pay. In Jiangsu Province, cultural heroes, was named the provincial labor model.
1958 and Fu Baoshi, Ya Ming, and so on to participate in the preparation of Jiangsu Province Chinese Painting Institute of work in the work of the Chinese Academy of painting in. The same year the creation of "," read "unimpeded snow", to participate in the first socialist country art exhibition. Since the beginning of 50s to participate in the national art exhibition, the main works are "the same", "work and discuss the blackboard newspaper", "Nanjing farm" and "Meihua Mountain Patrol", "harvest", "return", "warm wind wanshanhongbian", "South North Water Diversion", "Changbai Mountain waterfall" etc..
The autumn of 1960 to participate in the organization and participated in the landmark "are new" exhibition the famous twenty thousand 3000 painting and modern painting history China, become one of the main founders of new Jinling school.
In 1977 nine, October and Ya Ming went to Hunan to participate in the sketch, "every country Zhao Hibiscus" exhibition. The Chairman Mao Memorial Hall drawing huge painting huangyangjie". Elected as the representative of the Jiangsu Provincial People's Congress, re elected fifth, sixth, the first 73.
In 1978 eight, in September to lead the Jiangsu painter in Northeast China to give lectures, painting. In December Ya Ming, Lin Yong China composed of artists delegation to visit Pakistan, painting painting.
1979 was elected to the fourth national cultural representatives, and held in the meeting of the national beauty in generation would be elected as national artists association.
1980 was appointed honorary president of Xuzhou painting academy. April with the Jiangsu provincial Painting Institute delegation visited Japan and sketch, painting, display. The elected executive director of Jiangsu artists association. 1982 joined the Communist Party of china.
1985 elected representatives to participate in the National American congress.
In 1986 held a personal exhibition in Beijing China Art Museum, and the museum's collection of 16 exhibits, the Ministry of culture held the ceremony.
1987 was elected to the fifth national literary representative. Excellent Communist Party member.
1988 was elected Jiangsu labor model. The same year was named the first class artist.
1989 was elected national advanced workers.
1991 lifetime enjoyment of the State Council awarded special contributions to the artist's lifetime allowance. More than and 60 years of artistic career, held more than and 10 solo exhibitions, there are a large number of works, published, award-winning, is the major domestic and foreign art museum, art museum, the museum close chan.

"Contemporary landscape painting" from the time attribute seems to be a contradictory rhetoric. "Contemporary" obviously has a characteristic of the present, and "landscape painting" is a kind of art history has long been the past style of painting. However, "contemporary" also has another attribute, that is, cultural significance of the type of attributes.
Wei Zixi's landscape painting features are as follows:
And established the mountains and rivers in the circle of knowledge realm: the origin of landscape painting, nature is Chinese combined with artistic conception of history is the embodiment of knowledge integration, mountains and rivers in large rural residential concept of consciousness. It can be said that the green landscape tree Standard establishes an important tone Chinese: cultivate aesthetic style in a leisurely and carefree mood (when Zhi Yuan became the cognitive Lixin benchmark). People in front of the ever lasting high mountain and flowing water, the taste is static and flat and empty mu depression. One said "road," in front of the landscape to cover Yuanjue meal, final disposition. This mountain is music, with water as empty as the establishment of knowledge, to enlightenment, beyond the sense of spirit, the unity of nature and the harmony of sorrow and joy, awareness, and feasible, is expected to visit and to live the ideal of nature, is a kind of spirit, culture, embodies the simple life philosophy of art. Chinese philosophy has found more abundant and concrete connotation in Chinese landscape.
Two, established the smaller and big implication of the rationale: Chinese classical most important aesthetic proposition is smaller and larger. We point out that in the classical analysis of the aesthetic and moral pursuit of out of the ordinary, implication, charm, overtones, is on the small and large the proposition of art understanding. In fact, this is the Chinese people with special visual illusion image. We have repeatedly said China paintings in inches, in miles of this proposition is the rule of art reveals it in addition to inform our philosophy, also told us a very unique perspective principle, it makes people in a relatively stable overall situation in the perception of things one, as in a special and large elephant the sound of invisible, if China painting moved, because the biggest too this caused.
Three, established the grammar rules of discipline performance: any kind of painting, to be independent of the forest of art, in grammar structure to meet the complexity and richness requirements. That book has repeatedly stressed, must be with the help of simplified complex structure to achieve the illusion of natural objects. In the green landscape historical significance: on the one hand, it makes the mural painting from the palace, said the religious personnel for free, let the landscape environment and personnel will no longer be a foil of patriarchal, become the main spirit. On the other hand he in the language for the first time in landscape painting set the testimonies of rules, system composition, color, tree, stone, water, brushwork, discourse on the achievements. It should be said that the system of academic landscape painting cognition from this period only really entered the extensive and profound.

Wei Zixi, is Chinese modern popular landscape painter, essayist. In his paintings, to maintain a consistent style in the decades of the vicissitudes of wind and rain: quiet grace, the landscape painting is popular. Li Xuguo is a very wide collection of works, published the album mostly disappeared in the market, giving readers a great regret. In Mr. Li Xuguo's works, landscape painting is perhaps the most famous. Often a few pens, it lays out an artistic conception, such as "people scattered, a hook crescent day like water", a few cups, a roll of the curtain, it is the mood. Many of Wei Zixi's landscape paintings are landscapes as the theme, such as "Nanjing mountain", "plum" and his "natural moat thoroughfare". Wei Zixi's landscape painting, so that the so-called adults feel ashamed. What time, this world can be a little less fraud, less rigid, more natural, more indifferent.
Wei Zixi's landscape painting as a piece of the human face are implicitly luoying. His landscape painting, is the pursuit of a noble and gorgeous beauty, in the meantime, some philosophical and poetic existence.