周思聪，1955 年考入 中央美术学院附属中学，1958 年考入中央美术学院 中国画系，曾得到 李可染、 蒋兆和、叶浅予、 刘凌仓、 李苦禅、 郭味蕖等诸位名师指点，1963年毕业后分配到 北京中国画院（今 北京画院），为北京画院 一级美术师、中国美术家协会常务理事、中国美术家协会副主席。　
周思聪受过严格的艺术训练，擅长 水墨人物画，兼及花卉，偶作 山水。造型能力强，早期作品带有一定的情节性， 笔墨清新、洒脱，富有表现力。自80年代起，她又致力于自身画风的变革与探索，在作品中引入西方现代艺术表现形式，同时对笔墨加以提炼和强化，使之更为精练，并富有意趣。代表作有《矿工图》组画、《高原风情画》组画、《荷之系列》等。另外，她还善于 油画，多表现人物风情。出版有《 卢沉、周思聪作品集》、《坑夫图——周思聪画集》、《周思聪画人体》、《周思聪 水墨画》、《周思聪画集》等。 代表作品中国画《万寿山一角》1959 年获第七届 世界青年联欢节银质奖章，《人民和总理》获1979年建国30周年全国美展一等奖。1985年创作《正午》获第6届全国美展铜质奖。

代表作《人民和总理》分别参加了庆祝建国三十周年及北京市美展，均获一等奖。《人民和总理》是画家周思聪在1978 年创作，表现了邢台地震后，总理第一时间赶去灾区视察慰问。为创作《人民和总理》，周思聪深入灾区，画了大量速写，掌握了许多第一手资料。这幅作品中的人物众多，总理搀扶着一位白发的老妇人，周边围拢了许多乡亲，男女老少的表情凝重、悲痛，期盼的眼神催人泪下。画面右上方题写着：俺们舍不得总理走，他说：‘重建家园后再来看你们。’如今灾区变成了新村，俺们大伙等啊盼啊，就盼着那一天……具有很强的艺术感染力。左下是防震棚的一角。构图上，这块三角形的空白，即使画面不显得拥挤，又更突出了人物群像的中心—总理的形象。此作获全国美展一等奖。现藏中国美术馆。
《蒋兆和先生肖像》
蒋兆和先生是周思聪最直接的艺术导师。还在上中学的时候，周思聪就看到了蒋先生的代表作《流民图》，并为其中描绘的血泪苍生和画家的人道主义情怀感动不已。在中央美院读三年级时，她被分到了“蒋兆和工作室”学习，这就使她更加直接地接受蒋先生的教诲了。她景仰蒋先生，多次为其画像。在学生时代，有一次，她就背着画夹闯到蒋先生家，说要给他画肖像。蒋先生不但没有责备，反而放下手里的工作，认认真真地为她做了一次模特，并且在绘画过程中不停地指点她。这让她更加敬重蒋先生的人品。她的毕业创作画的就是《蒋兆和先生肖像》。“文革”期间，蒋先生因为自己的代表作《流民图》遭了罪，《流民图》被批判为配合“反共宣传”需要“炮制出来的反共卖国的大毒草”，蒋先生本人被诬为“大汉奸”、“反共画家”。向来沉默寡言的蒋先生百口莫辩，无奈蒙冤。在这种情况下，周思聪不畏重压，挺身而出，于1973年又画了一幅《画家蒋兆和像》。画中的蒋兆和，嘴角紧闭，目光深邃犀利，但又不失慈祥，是一位正直和蔼的师长形象；他背后的《流民图》，映现出他心系苍生的博大襟怀。这是周思聪对师长无言的评说，也是在那个特殊的年代对蒋先生艺术成就的肯定，对蒋先生无疑也是最大的慰藉。1986年，蒋先生病危，周思聪前往探望。蒋先生去世后，周思聪撰写了《没有墓碑，没有悼文 怀念蒋兆和先生》一文，说蒋先生虽然沉默寡言，其实却是“奋力呐喊的人”。
《长白青松》
潘絜兹先生是周思聪的同事，亦师亦友，两人曾同在北京画院及北京美协任职。1972年的一天，在黑龙江虎林插队的潘先生的女儿潘纹宣在扑灭荒火的战斗中牺牲。潘先生因失去爱女而无比悲痛。他的家人写了好多封信，想通过给潘纹宣争取一个烈士称号来安慰伤心的潘先生，但是最终却没有争取到。潘先生的情绪愈发低沉。为了安慰潘先生，周思聪以潘纹宣这个生活原型为主人公，于1973年创作了《长白青松》。“在画中，周思聪让潘纹宣“活”着回归母校。为了更生动逼真地刻绘人物形象，她向潘先生借了潘纹宣的照片，读了潘纹宣写的日记，还到潘纹宣生前所在的学校写生、访问。这幅作品，一问世就感动了亿万观众，其“红、光、亮”格调和知青题材以及表层的颂扬主题是符合当时的政治大背景的，但更多的观众是被画中在动乱年代所抒写的师生情感、人情味儿打动的。许多人都不知道这幅作品最初的真实意图是为了安慰一个痛失爱女的老人。潘先生的女儿没有得到烈士称号，却在周思聪的笔下成为永恒，潘先生也是深感慰藉。
《李可染先生肖像》
周思聪与李可染先生的师生情谊更是密切。1958年，周思聪刚刚考入中央美院就登门拜访了李先生。后来，李先生带领学生们到颐和园写生。课后，他挑选了周思聪绘制的一幅画，亲题“颐和园一角”，并推荐到维也纳参展。这幅作品，在奥地利维也纳举行的第七届世界青年联欢节国际青年美术作品展览会上荣获银质奖，这极大地鼓舞了周思聪的艺术热情。1959年，周思聪节衣缩食攒钱买了一本李先生的画集，捧了去见李先生，李先生在上面题写“天道酬勤”四字激励她。李先生去世以后，1996年，一家出版社要为他出版一本画集，根据编辑的要求，画集采用宣纸印刷，里面的作者像就不能采用摄影作品，要用一张白描人物肖像，这样才能保持整体格调的一致。让谁来画这张肖像呢？李先生的家人先想到了周思聪，但随即考虑到她此时已是重病在身，就决定请她的丈夫、著名画家卢沉来画。李家人拿了几张照片去交代给了卢沉，可是后来周思聪还是知道了此事，说还是由她来画，并打电话请李家人又补充了几张照片。之后没几天，李家人接到电话，说周思聪过世了，当时大家都没心情再问肖像的事儿，而且非常后悔，觉得不该去烦劳一位临终的人。后来，卢沉在整理周思聪的遗物时，意外地发现了这张《李可染先生肖像》。这是周思聪在自己的手已经无法执笔的情况下，用两根手指夹着毛笔画成的。当时虽然有照片，而且她也承受着肉体与精神的双重痛楚，但她丝毫没有在艺术上偷懒，并未依着照片敷衍地画，而是严肃认真地创作，画出了她对恩师的独特感受。在生命的最后时刻，她仍坚持为恩师绘制肖像，并且是纯粹的艺术创作，真是感人至深。而这幅白描肖像，没有着色，也成了她的绝笔。

综合评价
杰出的女画家
周思聪是我国20世纪美术史上杰出的女画家，一生留下了不少极具影响力的佳作。在她的艺术生涯中，她曾受教于蒋兆和、潘絜兹、叶浅予、李可染等画坛大家。从她进入中央美院学习到进入北京画院工作，这几位大家一直关注指导着她的艺术，成为她毕生的艺术导师。几位大家和她互励共勉，以才相惜。她用自己的画笔以独特的方式感谢慰藉师长，而且其《画家蒋兆和像》、《长白青松》、《李可染先生肖像》等具有感谢慰藉意义的作品背后都有着鲜为人知的感人故事。
名家平价
吴冠中（清华大学美术学院教授、全国政协常委）：“是个真正的艺术家，她的艺术和人品在中国都是一流的。”
朱乃正（中央美术学院副院长、教授、全国政协委员）：在画坛，卢沉、周思聪的“志同道合”、“和谐、默契”，是众所周知的。是新中国时期成长的一代画家中的佼佼者。思聪始终任职于北京画院。周思聪作品满誉中外。周思聪深秀于内，善于把主观情愫和心灵感应化为绘画，是一位人格高尚、追求执著、留下了诸多不朽作品的艺术天才。
王明明（国务院参事室副主任、全国政协常委、中国美协副主席、）：“二位老师的作品，实际上是把自己的精神、自己的智慧、自己对于新中国的热爱留给了我们，这是一份非常丰厚的遗产，
我看到他们的照片想到很多，中国在像周思聪、卢沉这样的艺术家，的确是太少了。因为我72年和他们学画。我今天和大家要讲的是画外的东西，是我们这个时代缺少的东西。一个就是说他们的人品，因为我觉得我们中华民族的美德，艺术家为什么能成为大师。艺术家之所以身后能够得到人民的思念和回顾他们的经典作品，我觉得是一个人在一生中人格的修炼。他的这种魅力我觉得我们当代艺术家忽略了这一点。这点希望朋友们去研究周思聪、卢沉，对他们这些在画外的东西。他们创造了一个高峰，他们夫妇俩不同，可是我觉得我们回顾他们两个人作品的时候，我们一定要研究他们的人。延续在他们血液之中的就是敬老重文，他们对师长的尊重，我跟了他们20年，他们对每一件事，对他们的老师，他们夫妇俩是非常的尊重，如同父母。对于后学，包括我们的聂欧、杨刚，所有的学生不论你什么样的，每个人都是细心的帮助，去提携。这个就是中华民族艺术家传承的最核心的问题，他有继承，有发展，他发现人才再去提携。在当今美术发展中是特别要提倡的。他们对历史，对于传统的尊重，我在访谈和回忆文章里都在写，我到了画院以后，我钻到资料室，很多非常古典的资料里面都签着周思聪的名字，他都借阅过。我只看过几个人借过这样的书，而且同辈的画家几乎没有借过。我78年到画院，钻到这里面就感觉到，周思聪之所以有那么厚的积淀，就是对传统的吸收、学养。包括卢沉，他从另外一个方面吸收，而且他吸收的对于书法，他们俩是共同这样研究的。所以在这些，我觉得大家去研究他。他们俩是非常好的楷模。”
曾有人说，周思聪是自李清照以来中国最伟大的女艺术家。在美术圈外的人听来，这种评价也许过高，但周思聪的确是公认的杰出画家，给人们留下了丰富的艺术遗产和宝贵的精神财富。她有着超人的天赋和悟性，是新时期以来中国画当之无愧的引领者。前段时间，北京画院举办了“我爱平凡的人——周思聪创作及写生作 品展”以纪念这位女画家的早逝。 是周思聪老师诞辰70周年，她是1939出生，1996年去世的，去世已经13年了，时间过得非常快。基于很多周思聪先生的老同学、老朋友们一直在呼吁，北京画院就举办了一个中小型的特色展览。 这个展览与原来办过的周思聪的展览有所不同，从展览的策划，展品的征集上应该有全新的特点。有感于当今的美术创作状况，在这几年的创作过程中，我感觉到我们在主题创作上的缺失，这些缺失就是因为我们忽视了向周思聪这样的前辈艺术家们学习创作经验，他们的经验是很需要总结的。这些经验包括她在主题构思，立意、收集素材、创作的过程等等方面。基于这些原因，我想通过这次画院策划的展览，通过周思聪在“文革”及80年代的一些创作，与她所收集的素材——素描、速写作品进行对照，以这样的方式来呈现一个周思聪的展览，让大家来了解周思聪作为一位人物画家，一位创作出很多经典艺术的中国画家的创作过程，从中来探索她在创作中的一些规律性的东西，希望对当前的美术创作、美术发展提供借鉴。从这次展览作品的来源来讲，囊括了北京画院收藏的周思聪的作品，周思聪家属收藏的作品，还有一位收藏家李志远先生提供的画稿、速写。在这些作品的基础上，我们进行整理、对照、研究、编辑并出版画册，这样就能够比较完整地梳理出周思聪在那个时期的创作状况。
吴长江（中国美术家协会常务副主席）：“将两位的作品重新呈现给今天的世人，毫无疑问是给我们一次重新感受前辈艺术光彩的绝好机会。我相信在这样全面的展示中，所有观众都可以通过一幅幅作品去体会和理解两位先生兼容并蓄，融传统境界时代精神于一体的创新精神，而这或许是两位先生逝世多年以后我们重新将他们的作品汇聚一堂重新展示的价值所在。”
冯远（中国美术家协会副主席）：我们应该好好研究周思聪先生的思想和艺术道德，研究她的艺术观。她是中国画的代表。
谭平（中央美术学院副院长 ）：“他们（周思聪、卢沉）是中国画在新的历史时期的开拓者，其创作实践、艺术教育取得了举世瞩目的成就……他们的艺术思想是中央美院学术追求与学术理想的重要组成部分，他们是新中国画发展进程的重要塑造者。”
邵大箴（中央美院教授）：“给了所有观者一次重新感悟艺术、人生的机会，是一次精神体验获得升华的机会。”
郭怡孮（中央美院教授） ：“ 他们是那一时期中国画继承与发展最为突出的代表人，同时也是中国画前进之自觉的倡导者，其做人、作画都堪称后世之表率。”

周思聪去了，正当她的盛年，疾病最终夺走了她无穷的创造力。然而，她那宁静淡泊的品格，冰雪聪明的天资，继往开来的才智，以及她对静谧大自然和平凡人们的热爱，却永远凝结在她的作品中，留驻在众多同行和无数观者的心灵深处，默默地焕发着永恒的光采。 毫不夸张地说，周思聪不仅是新中国女性 画家中 德艺双馨的出色代表，而且更是本世纪后期中生代里最优秀的画家之一。她的创作，突出地体现了二十余年来中生代画家的沉思与勇进，集中反映了新时期 中国画发展的一个重要方面。周思聪资质颖异，英才早发，五六十年代即是中央美院附中和中国画系的高材生。在名师指导下，主攻写实，兼攻写意。在九年的刻苦努力下，炼就了扎实全面的基本功，打下了坚实的造型基础，敏悟了传统 笔墨的表现力，始以 山水画获 世界青年联欢节奖，继而遵从师教专攻人物。至七十年代，她便以表现时代心声又具有高强 水墨写实能力的《人民和总理》、《清洁工人的怀念》（与其夫 卢沉合作），名满艺林，卓成大家。
青年时已负盛名
周思聪是新中国成立后成长起来的杰出女 画家。她天资颖悟，从小喜爱美术。她上小学，就以得天独厚的艺术禀赋引起美术教师张怡贞的重视。1955年她进入 中央美术学院附中，接受严格的素描基础训练，又得到老校长 丁井文的特殊关怀。1958年她以优异的成绩升入中央美术学院 中国画系，有幸亲得 李可染、叶浅予、 蒋兆和、 刘凌沧、 李苦禅、 郭味蕖、 李斛等名师的指授。连续八年的专业训练，使她打下了坚实的造型和 笔墨基础，成为一名品学兼优的高材生。周思聪是很重师生情谊的，她终生感念师恩，这也是很难得的品格。 1963年，她从美院毕业，分配到 北京中国画院做专业画家。这使她获得更多的学习传统和创作实践的机会，在艺术上更快地成长起来。1964年，“首都中国画展”上展出了她的《朵朵红花送模范》、《女清洁工》、《纺织女工》三幅作品，显示了这位女青年画家的出众才华，也说明了她的创作方向和道路。
周思聪走上学画道路的青少年时代，新中国充满了一片光明和希望。歌颂新中国，歌颂革命领袖和劳动人民，一直成为她美术创作的主题。她坚定走党所指引的道路，从美院创作课开始，不断深入生活，到工厂去、到农村去、到部队去接受锻炼，参加劳动，和工农兵交朋友，为他们画像，表现他们的斗争生活。多年的生活实践和艺术实践，使她的思想更开阔，道路更宽广，艺术也更成熟了。　
1966年，文革开始，她和其他人一样被迫停止了创作。1969年她与画家 卢沉结婚。她俩是生活上的伴侣，事业上的合作者，有一子一女，日子过得紧迫，但是默契、和谐。在家庭中，她是贤淑的妻子、慈爱的妈妈、孝顺的媳妇，繁重的家务劳动耗费了她过多的时间和精力，业务荒疏和生活重负使她陷于两难之境，她的心情一直不能平静。70年代她才重新捡起了 画笔，她的创作热情，如地下岩浆进发，画出了许多思想性、艺术性都较高的作品，受到群众的赞扬和欢迎。1973年她创作了《山区新路》，通过一个可爱的山村小姑娘给修路的工人叔叔送水的细节，反映了山区建设的面貌。同一年她又画《长白青松》，歌颂了志在边疆的青年一代，描绘两个军垦战士手捧 长白山的幼松，回母校向 老师汇报和表决心。画中主人公原型是在 北大荒一次扑灭荒火中牺牲的我的女儿潘纹宣。这幅画 笔笔饱和着作者的激情。
盛名之下亦不飘然
周思聪20几岁就已负盛名，一向谦虚的周思聪在盛名之下，非但没有飘飘然，反而向自己提出了更艰巨的任务。她要在平凡的人物中开掘更深沉的精神内蕴，在写实手法中参以不拘于写实的因素，在已为人们喜闻乐见的风格中真正洗发出特立独行的艺术个性，为此也大胆地向国外艺术寻找他山之石，有所借鉴，有所吸收。八十年代初，她创作的《矿工图》，体现了这种努力。该图已由关注时代的心音转为对普通劳工昔日苦难与忧乐的潜入，由情节性的突显转为 绘画性的强化，由符合“三一律“的客观时空转化为突出情感的心理时空，由写实的造型转化为不无夸张的造型。她开始向着超越既有的成绩和师辈的经验而变法图新迈出了关键的一步。《矿工图》无疑是周思聪殚精竭虑的力作，追求着深沉的思想内涵和震撼人心的艺术力度。然而，就其性情而言，周思聪毕竟是文静含蓄而温和的，为了画出更符合本真的艺术风采，她进一步从 矿区走上凉山，从理解饱经沧桑的老矿工、铭记民族的苦难，走向与边疆彝族妇女的内心沟通、体验现代文明未曾沾溉的生活方式与情感状态。
她的初衷未必止于创作风情小品，但通过彝女的平凡生涯来吟味生活，表现平凡安静中的内美，恰恰符合了周思聪的个性。稍后，突然降临的长期病痛，夺去了她身临其境地体察生活的条件，指腕的强直，更使她无法胜任宏篇巨制。但难以想象的病魔摧折，不仅没有使坚强的周思聪搁笔，反而磨练了她的意志，升华了她的精神，使本来安静内在的她更加宁静淡泊，更加摒弃俗累，在返朴归真中，透彻了 人生真谛，了悟了艺术奥秘。自此，她的 人物画由外物的感知化为内心的披露，由描绘化为抒写，由精严生动化为简练、虚静、率真和稚气，由激动情绪的表现化为静默无言之美的吟唱，虽然不免也流露出一些苦涩与荒寂，但一样饶于真情远思而耐人寻味。八十年代后期的彝女小品，正是如此。从中可以看出，这时她人物画的风格 意蕴已经彻底走出了师辈的门墙，在 水墨写实风格之外形成了唯她独有的风采，显示了优秀的中生代 画家不因袭前人也不因西风猎猎而迷失自我的识见与定力。
病痛之中仍不颓废
她更晚些的创作，《儿戏图册》完成于1990年，《高原风情图册》完成于1993年。这时，她的病痛有增无已，但 绘画却进入彝女小品时期更清明真率的境界。《高原风情图册》的取材，已不限于彝女，其它高原少数民族的女子也出没其中，而且颇有一些童心未泯的少女和少妇。她们仍在从事着日出而作日入而未息的平凡又平凡原始又原始的劳作，有收获，有负薪，有上集市，有绕线，有浣纱，有 敬茶，时而也有家居和少男少女的幽会。像前数 年画彝女一样，周思聪没有描写画中人的亢奋与激动、歌舞与狂欢，而是在最习见的生活常态中，表现那朴素、自然、真诚的无言之美。不同于以往所画彝女之处，是更加宁静、清明、虚灵与深挚了。苦涩味几乎不见了，能见到的恬静自得，荒寂感也几乎没有了，有的是与大自然合而为一的身心的充实。是的，她在画中女子身上，寄托了自我，但这个自我已有点悟入天人之际了。
就画法而论，显然已成功地借助速写的灵动、写意画的 笔墨、儿童画的雅真，改造了刻意求实的写实作风，形成了疏简、虚淡、空明、雅丽而依然充实的艺术语言。人物略有变形，变而愈美，神秀而体壮。环境 以少胜多，点到为止。用笔简无可简，自成描法，若断还连，外柔内刚，虚中见实，秀而厚，劲而苍。用墨更加惜墨如金，于中见湿，似有若无中形成某种斑驳陆离的肌理感。布色则以灰白色块与鲜明补色比衬，仍保持着八十年代彝女小品的和谐，却已由灰调子变为合雅明丽。观赏这一内容与形式高度统一的册页可见，周思聪把炼狱般的病痛留给了自己，却同时把静美与光明留给了人间。
《儿戏图册》无论画蹒跚学步，相互喂食，结伴上学、给羊喂食，采摘野果，点燃爆竹，还是拾贝、剥莲，都惟妙惟肖地刻画了儿童天真无邪的动人情态，充满感情地歌颂了他们的成长，表现了他们在认识 世界中获得的乐趣。人物画法大体与《高原风情图册》相近，但更少艺术加工的痕迹，真是信手拈来，皆成妙谛。主于环境的点染，则发挥了 写意花鸟画的精诣，即此亦可见她才能的全面。这时，已逾知命之年的周思聪，却在心态上返回了童年，不是童年的幼稚，而是那纯真未经俗世污染的赤子之心。惟其如此，她才能创造出上述精妙的作品。也许，严重的疾病，并未影响她对商品大潮下人心异化的忧患，也许她的忧患意识使她寄望于天真纯朴儿童的未来。郑燮题 李鱓《秋稻晚菘图》曾曰：“几点濡濡墨水，一幅大大文章“。对周思聪的童戏图，亦可作如是观。
《儿戏图册》中斗蟋蟀，不禁令人想起 李可染的类似作品，对周思聪晚期人物画的艺术渊源有所顿悟。实际上，从《高原风情图册》到《儿戏图册》，都表明周思聪从得益于 蒋兆和兼采赤松、丸木和西方现代技巧的《矿工图》画法中走出来，在很大程度上是借经了可染人物的。不过，叶浅予以速写入画的生动性， 刘凌沧用笔设色的雅丽，李苦禅和 郭味蕖 花鸟画的笔墨，都已在周思聪的胸中和腕下厚积而薄发同时化入我法而自出机杼了。正因为周思聪既善于继承又勇于创造，她才在描绘平凡生活中诗意的领域中，开拓了中国人物画的审美领域，丰富了人物画的艺术语言，为后学者积累了沉静而非浮躁深入而非浅层地师古而变、学洋而化的宝贵经验

Zhou Sicong, the affiliated high school admitted to China Central Academy of Fine Arts in 1955, Department of Chinese painting had been admitted to the China Central Academy of Fine Arts in 1958, Li Keran, Jiang Zhaohe, Ye Qianyu, Liu Lingcang, Li Kuchan, Guo Weiqu, wang teacher guide, after graduating in 1963, assigned to the Beijing Chinese Academy (now Beijing Academy), as the vice president of Beijing painting academy, first class artist, executive director of Chinese Chinese artists Artists Association association.
Zhou Sicong received strict training in art, good at painting, and even flowers, landscape. Other early work ability, with a plot of ink, fresh, clear, expressive. Since 80s, she is committed to reform and explore its style, the introduction of modern western art forms in the works, at the same time to refine and strengthen the text, make it more concise and full of charm. The representative of "Kuanggongtu" series, "graffiti" series, "plateau Lotus Series" etc.. In addition, she is also good at oil painting, multi show character style. The publication of "Lu Shen, Zhou Sicong works", "pit husband map - Zhou Sicong album", "Zhou Sicong", "Zhou Sicong painting the human body painting", "Zhou Sicong" on the album. The representative works of painting "Chinese corner" Longevity Hill in 1959 won the seventh session of the world youth festival silver medal, "people" and the prime minister was awarded in 1979 the 30 anniversary of the founding of the national art prize. In 1985 the creation of "high noon" won the Sixth National Art Exhibition bronze award.

Representative of the "people's premier" and participated in the celebration of the thirty anniversary of the founding of Beijing city art exhibition, won first prize. "The people and the premier" is the painter Zhou Sicong created in 1978, the performance of the Xingtai earthquake, the Prime Minister first time to visit the disaster area condolences. For the creation of "people" and the prime minister, Zhou Sicong to go to the disaster area, drew a large number of sketches, got a lot of first-hand information. This works in many characters, the prime minister with the help of a white haired old woman, surrounded by many folks around, everyone look dignified, grief, expecting eyes copy from rolia. Top right corner of the screen inscribed: we won't go premier, he said: "to rebuild their homes after you." Now the disaster into a new village, we wait and hope ah ah, look forward to that day...... Has a strong artistic appeal. The lower left is the corner of the earthquake shelter. The composition, the blank of the triangle, even if the screen does not appear crowded, and more prominent figures of the center of the image of the prime minister. This work won the first prize of national art exhibition. China Art museum.
Portrait of Mr. Jiang Zhaohe
Mr. Jiang Zhaohe is the most direct art teacher of Zhou Sicong. When he was in high school, Zhou Sicong saw on behalf of Mr. Jiang as "homeless people", and for the humanitarian feelings portrayed people and artists moved by tears. Read the third grade at the Central Academy of fine arts, she was assigned to the "Jiang Zhaohe studio", which makes her accept Mr. Jiang more direct instruction. She admired Mr. Jiang, many times for their portraits. As a student, once, she was carrying huaga came to Chiang, said to give his portrait. Mr. Jiang not only did not blame, but put down his work, seriously for her to do a model, and in the painting process kept pointing her. This makes her more respect for Chiang's character. Her graduation creation is the portrait of Mr. Jiang Zhaohe. During the "Cultural Revolution", Mr. Jiang because of his masterpiece "homeless people" was a crime, "homeless people" is critical to complement the "anti Communist propaganda" need "by the anti Communist traitors of the poisonous weeds", Mr. Jiang himself has been accused of "traitors", "anti Communist painter". Mr. Jiang has always be scanty of words beyond dispute, but wronged. In this case, Zhou Sicong defying weight, come forward, in 1973 and drew a picture of the painter, like Jiang Zhaohe. The painting of Jiang Zhaohe, closed mouth, eyes sharp, yet gentle, is an honest kind teachers image; he is behind the "homeless people", he is the heart of the common people reflect the breadth of mind. This is a comment on Zhou Sicong without words for teachers, but also in that particular era of Mr. Jiang artistic achievements of Mr. Jiang, is undoubtedly the greatest consolation. In 1986, Mr. Jiang was dying, Zhou Sicong went to visit. Mr. Jiang died, Zhou Sicong wrote, "no tombstone, no condolence in memory of Mr. Jiang Zhaohe" one article, Mr. Jiang said although in fact it is "to be scanty of words, people cry".
"White pine"
Pan Xiezi Mr. Zhou Sicong is a colleague, mentor, two people in Beijing have art and the Beijing Artists Association office. One day in 1972 in Heilongjiang, Hulin in the pan's daughter Pan Wenxuan died in battle to extinguish the fire. Mr. Pan lost daughter and very sad. His family wrote a lot of letters, trying to fight for the title of a martyr to the pan to comfort the sad Mr. Pan, but ultimately did not win. Mr. Pan's mood is increasingly low. In order to comfort Mr. Pan, Zhou Sicong in the pan Wenxuan life prototype for the hero, in 1973 the creation of a "white pine". In the painting, Zhou Sicong let pan "live" return to his alma mater. In order to more vivid image characters, she borrowed Wenxuan photos to Mr. Pan Pan, pan Wenxuan read the diary, but also to the pan Wenxuan school life sketch, visit. This work has touched millions of viewers, the "red light" style and the theme of educated youth and the surface of the glorification of the theme is compatible with the political background at the time, but more of the audience is in turmoil in the painting to express affection between teachers and students, human touch. Many people are not aware of this work the first real intention is to comfort a man lost her daughter. Mr. Pan's daughter did not get the title of martyrs, but in Zhou Sicong's pen becomes eternal, Mr. Pan is deeply comforted.

Comprehensive evaluation
An outstanding female artist.
Zhou Sicong is the twentieth Century art history of China's outstanding female artist, his life has left many influential works. In her career, she was taught by Jiang Zhaohe, Ye Qianyu, Li Keran, pan Xiezi painting you. Since she entered the Central Academy of fine arts learning into the Beijing art academy, this a few people have been concerned about the guidance of her art, became her lifelong art tutor. A few people and she encourage each other to cherish. She used her brush for comfort teachers in a unique way, and its "like", "painter Jiang Zhaohe," Mr. Li Keran "Changbai pine portrait" has the meaning of the works behind comfort thanks to a little-known touching story.
Par value
Wu Guanzhong (Professor of Academy of Fine Arts, standing committee of the CPPCC National Committee of Tsinghua University): "is a real artist, her art and character in China are first-class."
Zhu Naizheng (vice president, Professor of China Central Academy of Fine Arts, member of the CPPCC National Committee): in the painting, Lu Chen, Zhou Sicong's "like-minded" and "harmony and understanding" is, as everyone knows. Is the leader of the new generation of painters in china. Crestron always worked in Beijing art academy. Zhou Sicong works full reputation Chinese and foreign. Zhou Sicong show deep inside, at the subjective feelings and telepathy into painting, is a noble personality, the pursuit of perseverance, left a lot of monumental works of artistic genius.
Wang Mingming (deputy director of the State Department counselor, member of the CPPCC Standing Committee, vice chairman, Chinese Meixie): "two teachers work, is actually their spirit, their wisdom, their love for the new Chinese to us, this is a very rich heritage,
I see a lot of photos of them, China in artists like Zhou Sicong, Lu Chen, is really too little. Because I am 72 years and their painting. I want to speak with you today is a thing of our time is the lack of things. One is to say their character, because I think our Chinese nation's virtue, why artists can become masters. The reason why the artist can get the people's missing and review their classic works, I think is a person in the life of personality cultivation. His charm I think our contemporary artists ignore this point. Hope that friends to study Zhou Sicong, Lu Shen, on them in all things. They created a peak, they are different, but I think we look back at their two works, we must study their people. Continue with their blood is for the variant words, their respect for teachers, I followed them for 20 years, they on everything, to their teacher, the couple is very well respected, as parents. For students, including our Nie ou, Yang Gang, all the students no matter what, everyone is careful to help, to help. This is the core of the Chinese national artists heritage, he has inherited and development, he found the talent to go up. In today's art development is particularly advocated. They respect for history, for the traditional, I in interviews and articles are written in the memory, I came to the Academy, I drilled into the room, a lot of very classical information which are signed with the name of Zhou Sicong, he borrowed. I've only read several people who have borrowed such books, and their peers have hardly borrowed them. I to the Academy for 78 years, the drill to feel, Zhou Sicong is so thick that the absorption, accumulation, knowledge of traditional. Including Lu Shen, he absorbed from another side, and he absorbed for calligraphy, they are the same research. So in these, I think everyone to study him. They're both great models."

It has been said that Zhou Sicong is the greatest Chinese female artist since the age of Li Qingzhao. People outside the art circle, this evaluation may be too high, but Zhou Sicong is indeed recognized as an outstanding painter, leaving people with a wealth of artistic heritage and valuable spiritual wealth. She has superhuman talent and savvy, since the new era of Chinese painting deserved leader. Some time ago, Beijing art academy held a "I love the ordinary people - Zhou Sicong writing and painting exhibition" to commemorate the painter's early death. Is the 70 anniversary of the birth of teacher Zhou Sicong, she was born in, died in 1996, has been dead for 13 years, the time passed very quickly. Many of Mr Zhou Sicong's old classmates, old friends have been calling for based on the Beijing art academy held a small exhibition features. This exhibition is different from the previous exhibition of Zhou Sicong, from the planning of the exhibition, the collection of exhibits should have new features. On the current situation of art creation, in the creation process of the past few years, I feel that we are lack of the creation of the theme, the absence of these is because we neglected the study to Zhou Sicong such senior artists creative experience, their experience is very necessary to sum up the. These experiences include her in the theme idea, conception, collect material, the process of creation and so on. Based on these reasons, I think through this painting exhibitions, by Zhou Sicong in the creation of some of the Great Cultural Revolution "and in 80s, and she collected materials, drawings, sketches of control, to present a Zhou Sicong in such a way that the exhibition, let everyone know Zhou Sicong as a figure painter, a the creation of the creative process many classic art Chinese painter, to explore some of the regularities in the creation of her in hope to provide reference for the current art creation and art development. From the source of this exhibition is to include the Beijing Academy of painting works of Zhou Sicong, the Zhou Sicong family collection of works, and a collector Mr. Li Zhiyuan provided drawings, sketches. On the basis of these works, we collate, control, research, edit and publish the album, so that we can more fully sort out Zhou Sicong's creation in that period.
Wu Changjiang (executive vice chairman of the Chinese Artists Association): the two pieces of re presented to today's world, no doubt is to give us a chance to re feel the art of the glorious opportunity predecessors. I believe in such a comprehensive display, all the audience can through a piece of work to experience and understand the two gentlemen into the traditional realm of spirit of the times, fully inclusive and equitable, in one of the spirit of innovation, and this is perhaps two years after the death of Mr. we re their works together to display the value of."
Feng Yuan (vice chairman of Chinese Artists Association): we should study Mr. Zhou Sicong's thought and artistic morality, study her artistic view. She is a representative of Chinese painting.
Tan Ping (vice president of China Central Academy of Fine Arts): "they (Zhou Sicong, Lu Shen) is a pioneer of Chinese painting in the new historical period, its creative practice, art education has made remarkable achievements...... Their artistic thought is an important part of the Central Academy of fine arts academic pursuit and academic ideal. They are important to shape the development of a new China painting."
Shao Dazhen (the Central Academy of fine arts professor): "to all viewers a new perception of art and life is an opportunity, an opportunity to experience the spirit of sublimation."
Guo Yicong (the Central Academy of fine arts professor): "they are the representative of the most prominent period of inheritance and development of Chinese painting, but also advance China painting consciously advocates, the life and painting are called the future model."

Zhou Sicong went to her, the disease eventually took her infinite creativity. However, her peaceful character, extremely intelligent talent, the talent, and her love of quiet nature and the ordinary people, but always condensed in her works, many colleagues and countless viewers residing in the heart, silently with eternal light. It is no exaggeration to say that Zhou Sicong is not only a new Chinese DeYiShuangXin outstanding representative of women artists, but also later this century the most outstanding painters of the mesozoic. Her creation, highlighted twenty years of meditation and brave Mesozoic painter, reflects an important aspect of the development of China painting in the new era. Zhou Sicong qualified talents early, Yingyi, 50s and 60s is the Central Academy of fine arts high school student and Chinese painting department. Under the guidance of teachers, the main realism, and attack freehand. In the nine years of hard work, refining the basic skills comprehensively, and lay a solid foundation for the other, the understanding of traditional ink performance, when the landscape painting won the World Youth Festival Award, and then follow the division in figure. To 70s, she will show the times and with high voice ability and ink realistic "people's premier", "cleaner" (with her husband, Miss Lu Shen cooperation), a Yilin, Zhuo into you.
Young people have a reputation
Zhou Sicong is an outstanding female painter who grew up after the founding of new china. She was very bright, young love art. Her elementary school, with unique artistic endowment caused art teacher Zhang Yizhen attention. In 1955 she entered the Middle School of China Central Academy of Fine Arts and received basic training in sketching strictly, and special care old headmaster Ding Jingwen. In 1958 she Chinese painting honors admitted to China Central Academy of Fine Arts, had the honor of Li Keran, Ye Qianyu, pro Jiang, Liu Lingcang, Li Kuchan, and Guo Weiqu, Li Hu and other masters of the period. Eight consecutive years of professional training, so she laid a solid foundation for modeling and ink, become a top student excellent in character and learning. Zhou Sicong is a very heavy friendship, her lifelong Thanksgiving, which is very rare character. In 1963, she graduated from the Academy of fine arts, assigned to the Beijing Academy of China professional painter. This enables her to gain more opportunities to learn tradition and create practice and grow up faster in art. In 1964, the "capital China Exhibition" on the display of her "model", "send blooming flowers", "female cleaner textile workers" three works, reveals that the young female painter's outstanding talent, also shows her creative direction and way.
Zhou Sicong went to school to draw the road of the youth era, new China is full of light and hope. Praising new China, praising revolutionary leaders and working people has always been the theme of her art creation. She firmly party guided by the road, starting from the Academy of fine arts creation course, deepening of life, to participate in the work, go to the factory to go to the countryside, to the troops, and to accept the exercise, gongnongbing friends, for they show their portraits, the struggle of life. Years of life practice and artistic practice, make her mind more open, wider road, art is more mature.
In 1966, when the Cultural Revolution began, she was forced to stop writing like everyone else. In 1969 she married painter Lou shen. They are the life partner, business partners, has a son and a daughter, life was urgent, but the tacit understanding, harmony. In the family, she is a good wife and loving mother, filial daughter-in-law, heavy housework she spent too much time and energy, business and life burden her out in dilemma, her mood has been unable to calm. In 70s she just picked up the brush, her creative enthusiasm, such as underground magma, painting a lot of ideological, artistic works are high, praised and welcomed by the masses. In 1973 she created the "new mountain road", through a lovely mountain village girl to the road workers uncle sent water details, reflecting the face of mountain construction. The same year she was painting "pine" praises the Changbai, aimed at the frontier of the young generation, depicting two army soldiers holding Changbai Mountain Yousong, back to his alma mater to report to the teacher and resolve. The protagonist is a prototype in the Great Northern Wilderness put out fire killed my daughter Pan Wenxuan. The painting Bibi saturated with the author's passion.
Fame is not floating in the air

Zhou Sicong 20 years old has been famous, has been modest under the reputation of Zhou Sicong, not only did not smug, but to put forward a more arduous task. She is in the ordinary people to dig deeper connotation of the spirit of realism in reference to informal realistic factors, has been loved by the people in the style of real hair out of personal independence of conduct artistic personality, therefore also boldly to the foreign art for reference, absorbs outside the box. At the beginning of 80s, she created the "Kuanggongtu", reflects the effort. The map has been attention by the era to sneak into the heart of ordinary workers past suffering and sorrow and joy, by highlighting the plot to strengthen the painting, the transformation from the "three space in accordance with the" objective to highlight the emotional psychological space, transformed by realistic modeling is not without exaggeration of the other. She began to move beyond the existing achievements and the experience of teachers and political reform has taken a new key step. "Kuanggongtu" is the pursuit of a masterpiece of Zhou Sicong thought leave no stone unturned, deep connotation and thrilling artistic efforts. However, the temperament, Zhou Sicong is quiet and subtle and gentle, in order to draw more in line with the original art style, she went on further from the mining area of Liangshan, from understanding the vicissitudes of the old miners, remember the suffering of the nation state and inner feelings to ditch and frontier of Yi women, through the experience of modern civilization has not been strong the way of life.
Her mind may not stop at the creation style of comedy, but by the ordinary woman to Yi career because of life, inner beauty to express the ordinary quiet, precisely in line with Zhou Sicong's personality. Later, long illness suddenly fell, deprived her of her personally on the scene to observe the conditions of life, the rigidity of finger and wrist, so that she could not do more great work. But it is difficult to imagine the disease down, not only did not make strong Zhou Sicong sign off, but honed her will, sublimated her spirit, was quiet inside her more peaceful, more vulgar to abandon tired, in the true meaning of life recover the original simplicity, a thorough understanding of the mysteries of art. Since then, her painting from the external perception of inner disclosure, as described by nature, by strict vivid concise, quiet, sincere and childish, by emotional performance as the silent beauty of singing, although it also reveals some bitter and desolate, but as Rao in truth and far thinking and thought-provoking. In late 80s the Yi female comedy, it is so. It can be seen that this style of painting has been completely meaning she walked out of the door wall teachers, in addition to ink realistic style formation only her unique style, showing excellent Mesozoic painter conventionalism predecessors also not because of winds fluttering and lost self insight and guidance.
The pain is still not decadent
She later created a "Atlas" completed in 1990, "plateau style atlas" completed in 1993. At this time, her illness was on the increase, but the painting is entering the period of Qingming Yi female essay sincere realm. "Atlas" of the plateau based style, is not confined to the Yi women, other minority women are found in the heart, but quite a few girls and young women. They are still engaged in harvest day into the sunrise without the extraordinary and ordinary original and original work, negative salary, a bazaar, a winding, a tea with Huansha, sometimes also can have a Home Furnishing and boys and girls. Like a few girls like Zhou Sicong Yi New Year paintings, no description of these people are excited and excited, dance and revelry, but the most common in normal life, performance of the silent plain, natural and sincere beauty. The painting is different from the previous Yi girls, is more quiet, clear, empty and deep. The bitter taste almost disappeared, can see the quiet contentment, desolate sense of almost nothing, some is full with nature and be made one. Yes, she was the woman in the painting on the body, the sustenance of the self, but the self has a bit of a glimpse into the combination of heaven with man.
On the descriptive terms, apparently has been successful in using the sketch of the smart, freehand painting ink, children painting Yazhen, transformation of the deliberately realistic realism style, forming a virtual light and air, and Jane Ming, Alice and still full of artistic language. Characters slightly deformed, change the more beautiful, God show and strong body. The environment that less is more. No pen Jane Jane, a depiction of the law, even if broken, but see, an hand in a velvet glove, show thick, stiff and pale. Ink more completely, in the wet, like a variegated formed without in texture. The gray cloth color and bright color than block lining, still keep the 80s Yi girls sketch harmony, but by the gray tone is bright and elegant. Watch the content and form of unity album visible, Zhou Sicong put the hellish pain for himself, but also to the quiet beauty and light to the earth.

A "Atlas" painting regardless of the toddler, feed each other, go to school, to feed sheep, wild fruits, lit firecrackers, or pickers, peel lotus, all vividly depicts the innocence of children moving modality, emotional singing their growth performance in their understanding of the world in the fun. Figure painting and similar "plateau style atlas", but less artistic processing traces is really handy, all wonderfulness. The main environmental dyed, played the freehand brushwork of flowers and birds that are visible to the fine, she can fully. At this time, over the age of fifty Zhou Sicong, but in the mind back to childhood, childhood is not naive, but the innocent without earthly pollution utter innocence. As such, she can create the exquisite works. Perhaps, serious illness, did not affect her feelings of alienation under the commodity tide, perhaps her sense of hardship makes her hope in the future of innocent children. Zheng Xieti Li Shan "autumn rice late Song" once said: "some moisten moisten ink, a big article". Children play on Zhou Sicong, can be applied to.
A "Atlas" in cricket, reminiscent of similar works of Li Keran, epiphany of late Zhou Sicong painting art origin. In fact, from the "Atlas" to a "plateau style atlas", that Zhou Sicong came from Jiang Zhaohe Akamatsu, thanks to both MARUKI and modern western painting skills "Kuanggongtu", to a great extent by the dyeable characters. However, ye Qianyu vivid sketch painting by Liu Lingcang, pen color Alice, Li Kuchan and Guo to flowers and birds paintings, has been in Zhou Sicong's chest and wrist thick and thin hair product at the same time, I and the innovation method. Because Zhou Sicong is good at inheritance and creativity, she was portrayed in poetry in the ordinary life in the field of development, the aesthetic field Chinese figure painting, figure painting has enriched the artistic language, for later scholars accumulated quiet impetuous rather than deep and shallow non division of ancient and valuable experience, learn and change the