1910年生于江苏南通的一个教育世家，名其侃、号陶风、晚年自署钝老人。5岁开始随舅父顾桓讬学画，1929年秋考入上海美术专科学校中国画科，由于基础好，直插二年级学习，得黄宾虹、郑午昌等诸师亲授，次年加入蜜蜂画社。同年为追随黄宾虹先生，转入中国文艺学院（后更名中国文艺专科学校），1931年夏 　尤无曲
尤无曲图册
 毕业回南通，埋头修研中国画技艺。1938年得识海上实业家、大收藏家严惠宇先生。1939年经严先生举荐，赴北京拜陈半丁先生为师，主攻山水，兼学花卉、篆刻，滞京三年，得以饱览历代名画真迹，并与时贤名家游，艺事日进。1941年冬在京举办个展，白石老人为其订写了润例，一时驰誉京华。1942年至1952年寓居上海10年，临遍严惠宇先生所藏历代名画真迹。期间亲炙汤定之、秦曼青诸老，与刘伯年、潘君诺切磋绘事，被称为“云起楼三客”。1952年回故里，潜心探索中国画之新局面。经过九十多年一以贯之地对中国山水画学习、研究、探索、创作，全面继承了中国传统山水画艺术，成为当代画家中传统功力最深的画家，中国传统山水画艺术的集大成者。自1979年起，三上黄山，外师造化而中得心源，悟到“水”的重要性，画风一变，独创一派泼墨山水，先泼后画，加强水法运用，画出千变万化的“夺天工造物真魂魄”的新“水墨”山水。在创作理论上，创“笔墨水融”说，为中国2000年后的新千年水墨山水画发展拓展了艺术表现空间，使中国山水画进入了一个新的、名符其实的“水墨时代”。2001年在南京江苏国画院美术馆举办水墨艺术展，并举办了学术研讨会。2000年以后国内诸多新闻媒体和专业美术刊物为其进行报道、介绍并发表大量作品，引起我国美术界的高度关注和肯定。认为是继黄秋园、陈子庄之后中国美术界的又一重大发现。对新世纪中国画的发展和走向造成了不可低估的影响。2005年，应故宫博物院邀请向故宫博物院捐精品山水画《秋山图》，由故宫博物院收藏，从而，成为中国山水画艺术长链中的不可或缺的重要一环，与前贤后彦，共辉千秋。同年,中国国家博物馆收藏其国画精品《双松图》。10月，央视《人物》栏目播放大型纪录片《水墨大师――尤无曲》。11月，荣宝斋出版社出版了《荣宝斋画谱》第一百八十辑《尤无曲绘山水部分》。12月，作品《梦回黄山》入选中国百家金陵画展。
 

笔墨水融――我的艺术观
从五岁习画至今已过九十载，我一直都没有放下过手中的画笔，越画越感到中国画的博大，越画越能体验笔墨水变化的神妙和愉悦。我认为中国画是世界艺术的高峰，中国画还没有达到顶点，他需要并能够继续发展。
艺术的发展总会带着时代的印记和特色，对中国画发展的悲观认识只是这种观点的持有者并不十分清楚中国画发展的血脉，和真正领会体味中国画所能表达的语言有多丰富和玄妙。而社会的动荡、变革，带来的几代人对优秀传统文化知识的断层，认识的肤浅，和急功近利心浮气燥的时代风气的影响，也带来了对传统中国画的否认。因此对中国画发展前途悲观的论点，停止的论点，无所作为的论点都是不正确的。
就世界艺术的总体格局而言，中国画的地位还远没有达到其应有的高度，还需要中国的艺术家长期而不懈的努力。中国画在今后的岁月里，随着国力的强盛，社会文化生态环境的改善，以及世界对中国文化、中国画了解的加强，将为中国画带来一个崭新的发展时期。但不管将来中国画如何发展变化，有二点是不能少的，一是笔墨、二是人文精神。
笔墨是中国画的根本，人文精神是中国画的灵魂。因而讲究笔墨和人文精神是中国画永恒的课题。我是画山水画的，我认为山水画是通过画家的性灵把握自然灵性的一种艺术实践，一个画家想在艺术上达到一个相当的境界，他必须先从塑造自己的性灵开始，这就是中国画家必须先是个学识丰厚的文人的缘故，而传统高境界的中国画家要有隐逸情怀，淡泊内涵，其实质就是与自然之道暗合，因为天工造物自然形成是一个漫长而渐进的过程，无法速成，一个集大成的中国画家，必须有一个漫长的修炼过程，通过对诸家诸法的长期修炼，集众善以为己有，并使造化与心源自然交融契合，从而达到所谓天人合一之境界。
限于篇幅，我对画理讲三点。
1、书为画之本。书法为绘画之根基，书法功力的深浅直接影响着画家的最终成就。
2、笔墨水融。水是生命的本源，造化万物的生成都靠水来滋养，因而水与笔墨达到真正的相融，就能与自然之道妙合，夺天工造物之真魂魄，水是中国画生活之源。
3、繁而透，空而厚，画之真境界。

A family of teachers in Jiangsu was born in 1910 in Nantong, the name, number, age McCain Taofeng autograph blunt man. The 5 year old began to draw with uncle Gu Huantuo, the autumn of 1929 was admitted to the Shanghai School of fine arts Chinese painting department, because the good foundation, in the second grade, Huang Binhong, Zheng Wuchang and Zhu Shi Qinshou, the following year joined the bees ". In the same year to follow Mr. Huang Binhong, transferred to the Chinese Academy of Arts (renamed the Chinese Academy of literature and Art), in 1931 Xia no song
Especially no song album
Graduation back to Nantong, immersed in research and repair of Chinese painting skills. The 1938 general maritime businessman, large collector Mr. Yan Huiyu. In 1939 by Mr. Yan recommend, Mr. Chen Banding went to Beijing to worship as a teacher, and the main landscape, flowers, carving, Beijing three years of stagnation, to enjoy authentic paintings, and the famous French tour, day. The winter of 1941 exhibition held in Beijing, the old Bai Shi wrote a famous book remunerations, JINGWAH. From 1942 to 1952 in Shanghai for 10 years, the times Mr. Yan Huiyu hid paintings authentic. During the meeting, Qin Manqing of the old Dingzhi soup, with Liu Bonian and Pan Jun Connaught learn painting, known as "from the three floor off". 1952 back to hometown, painstaking exploration of new situation of China painting. After more than and 90 years of landscape painting Chinese One principle runs through it all. learning, research, exploration, creation, China has inherited the traditional painting art, contemporary artists become traditional skill most China master painter, the traditional painting art a. Since 1979, three in Mount Huangshan, and in the heart of nature outside, to realize the importance of "water", a style, a unique ink landscape, sprinkle after painting, strengthen the water use, draw the myriads of changes "seizes the heavenly creatures really soul" new "ink painting" landscape. In the creation of theory, a "ink water thaw", expand the art performance space for the new millennium landscape painting development China after 2000, the Chinese landscape painting entered a new era of ink,. "". 2001 held in Nanjing, Jiangsu Chinese painting museum art exhibition, held an academic seminar. After 2000, many domestic news media and professional art publications reported, introduced and published a large number of works, causing great concern and affirmation in China's art circles. It is considered as another important discovery of Chinese art circles after Huang Qiuyuan and Chen Zizhuang. The development and trend of Chinese painting in the new century can not be underestimated. In 2005, the Imperial Palace museum should be invited to the Imperial Palace Museum donated boutique landscape painting "Akiyama map", the the Imperial Palace Museum, which become the China landscape painting art in the long chain an important part, and the former after CO Hui Yan, chiaki. In the same year, China National Museum collection of its fine Chinese painting "double pine map". October, CCTV "characters" column play large documentary "ink master -- especially no song". In November, rongbaozhai publishing "rongbaozhai" 180th series "Huapu painting landscapes" part especially non starter. In December, the work "dream Mount Huangshan" selected China 100 Jinling exhibition.

Pen ink melt my art view
From the five year old painting has over ninety years, I have not put down in the hand brush, draw more and more feel Chinese paintings draw more and more broad, can experience the ink change and wonderful pleasure. I think Chinese painting is the peak of the world art, Chinese painting has not reached the peak, he needs and can continue to develop.
The development of art always with the imprint of the times and the characteristics of China painting development the pessimistic understanding just this kind of view holders are not very clear Chinese painting development blood, have rich and mysterious and truly understand the taste China painting can express language. While the social turmoil and change, the generations of excellent traditional cultural knowledge of the fault, understanding of the superficial, quick effect and impatience the ethos of the times, also brought to the traditional painting Chinese denied. Therefore, the future development of Chinese painting pessimism, stop the argument, inaction argument is not correct.
As far as the overall pattern of world art is concerned, the status of Chinese painting is far from reaching its due level, and the long-term and unremitting efforts of Chinese artists are needed. Chinese painting in the coming years, with the strength of the strong, social culture and the improvement of the ecological environment, and the world of culture, understand the painting China China strengthened, will bring about a new development period for Chinese painting. But no matter how the future development of Chinese painting changes, there are two points can not be less, one pen and ink, the humanities is the spirit of the two.
Chinese ink painting is the fundamental, humanistic spirit is the soul of Chinese painting. So pay attention to pen and ink and humanistic spirit is the eternal subject of Chinese painting. I was painting the landscape painting, I think painting is an art practice through the painter's spiritual grasp of natural spirituality, reached a considerable level in art to a painter, he must first create their own soul, this is the China artist must first is a knowledge rich literati's sake but the traditional, high level Chinese painter must have emotion, indifferent connotation, its essence is to coincide with the natural way, because the natural formation of heavenly creatures is a long and gradual process, not a crash, a master of the China painter, there must be a long process of practice, through long-term practice of from the law, that has set the public good, and make good fortune with the blending of natural cardiac fit, so as to achieve the harmony between man and nature realm.
Limited space, I told the painting three points.
1, the book for the painting of the. As the foundation of calligraphy painting, calligraphy skill depth directly influences the ultimate success of the painter.
2, ink and water. Water is the origin of life, nature of all things in Chengdu rely on water to nourish, and water and ink to achieve real harmony, can and Tao Miao, excelling his true soul, water is the source of life China painting.
3, numerous and transparent, empty and thick, painting the true realm.