在张复兴先生的绘画之中，将群山万壑有机的排列而无松散脱气的现象，是其一大特点。换句话说，他的画有一种强烈明快的音乐节奏。众所周知，中国山水画家在观察物象时，采用的是散点透视方法，这种方法不同于西画的焦点透视，在散点透视的过程中，画家一面走，一面看，将不同的时间、不同的地点看到的东西组合在一起，形成心象，化成墨象。这种散点透视的方法有不受时空限制的优势，但无庸讳言，也有罗列烦琐，彼此缺乏呼应，不能一气贯之的弊病，但是张复兴先生却将这个问题很好地解决了。这个解决方法的取得途径，就是得力于对宋画严谨的体悟。许多人对宋人之丘壑往往津津乐道，其实，宋画之精髓还是章法整齐、经营合理、虚实得当。古人将万象以一线妙织，如天女织锦似的浑化之理被他领悟，于是，他将古人的这种不传之秘演绎成自己的方法，那就是:将起伏的群山那些无穷无尽的层次人为的压缩，缩小空间感，将中景、近景、远景用简洁的几笔微妙地过度，将万象不留痕迹地溶化在一起，就避免了画面的散与碎。如果说，他的画是一个有机的整体，那么，这个整体的每一部分是独立的，而这个整体的各个局部又衔接的天衣无缝，这就叫匠心独运。这样做，有两大好处:〈一〉、增加了视觉冲击力和艺术感染力。由于画面中表现的是一个主题，所以，极能吸引人的视觉，这种整齐的画面给人以苍茫博大、气象峥嵘之感。〈二〉、由于是将各种物象有机地结合在一起，所以，画面又显得大而不空，厚实之中又内涵丰富。看他 的画如看沙场秋点兵，在排山倒海的大气势之中，有一个个威武雄壮的士兵，挽手昂首阔步、高歌猛进，不知有多少人马，那威势真个震撼人心。这是大手笔的运作方法，如果将他笔下的物象比作排列有序的战阵，那么，指挥这场战役的他，就是一位运筹帷幄的大将军。他的画，物象的有机结合，靠的是本体的内部联系，这种内在的联系表现为一种律动的韵致。而其中的高低起伏、长短快慢所形成的节奏，正是音乐的节奏。这种节奏，源于自然，得之于心，是在和谐的交响乐中产生的。这是一种无声的音乐。庄子说:"无声之中，独闻和焉。"对于这种无声的音乐之和，庄子进一步解释说:"得之于天，谓之天和，得之于人，谓之人和"。天和与人和的完美结合，就是天人合一。在张复兴先生的画中，这种天人合一的美，处处体现地淋漓尽致。我们不妨做一个实验，将他的任何一幅画，采撷其中一部分独立地看，所得到的同样是一幅完美的画。与原画相比，尽管尺幅大小不同，但美是一样的。这是什么原因呢?这是因为完美的艺术品，它的每一部分都是完美的。在物象之间相互穿插过程中，其理暗合于老子《道德经》之言:"高者抑之，下者举之，不足者补之"。这种辨证的思想统一在画面之中，具体表现在以下几个方面:1，他追求统治画面的凝练纯化语言和一 种只可意会不可言传的神秘力量，竭力将内美充塞画中，为画赋予一种精神的主题，这是立意，是他先追求画外的东西，先定画外之画和画外之意。他作画时，总是意在笔先，也就是说，不是先画画，而是先立意，是把思想从画外向画内推移。 这个过程是表达个人的寄托和心语，是个人请山川代言的含义。它是一种抽象的语言，有时，作者的情感通过山川来表达，山川不能诉诸于语言，必须由读者解读，这就涉及艺术理解问题。由于读者文化底蕴不同、思想境界不同，理解方式和结果也不尽相同。艺术理解的多层次性会使画面显得更加扑朔迷离。而这正是画面内美产生的主要原因。2，他追求绘画语言的丰富。如果说，绘画之中有一种神秘的力量是因为绘画语言内涵深刻的话，那么，绘画语言的丰富则是其外延的宽泛。这种宽泛的语言是靠什么来表现的呢?我们知道，电视、电脑能够全面地传播声音图象，是靠复杂的集成块来完成的。张复兴先生的画之所以有一股神秘的力量，也是靠这么一个复杂的集成块来传输的。显然，他绘画之中，那层层叠叠的物象就是他传输绘画语言的电路集成系统。庄子说，万窍都可以发出声音。张复兴先生的画也是这样，每一个物象都可以代表自己表达情感，他的画中，四季常青的植被中一股爽朗的清气，这是一种情感的表现方法，而被树林掩映的村寨之中有一种古朴之风，又是一种情感的表现方法。再望上看，又一个村寨，又一层植被……又是另外几种情感的表现方法。这种用相同物象表现主题并不是机械地罗列，而是有目的的、有节奏地安排在不同的地方表现。表现的东西越多，内容越丰富，趣味也越浓。张复兴先生的绘画就是通过这种繁纷复杂的物象来体现自己的情思，画中的物象是无限的，他的情思也是无限的。

在构图中，虚实得当是张复兴绘画的另一显著特点。这一特点具体表现在如下几个方面:(1)在整个画面中，局部强调留白与大面积的物象措置形成对比，以虚破实，实中又有虚。物象的阳面，线条坚挺稀疏，相对为虚，而物象的阴面，则在勾线的基础上，用墨笔皴擦、点虱、渲染，这样做的目的，既可使物象有空间感，立体感，又可使物象朴厚而具有质感。(2)在局部的虚中，不是虚空无物，而是用模糊的笔触点几下，使之似云，似水，似草，似树。或什么都似，或什么都不似，至于是什么，或不是什么，凭观者自己根据相似的物象去判断，推理和猜测，这种做法，正是老子所言:"恍兮惚兮，其中有象，惚兮恍兮，其中有物。"在恍惚中将具象引向抽象，使画面增加了一种非此非彼，亦此亦彼的朦胧之感，从而引发一种诗意的畅想。(3)以墨色对比显示虚实又是一种创造。通过墨色的明暗对比，将画面的空间延伸、拓阔。墨有外涨的作用，色有收缩的作用。二者相对应，一收一放，画之中的界面自然而然的扩大。(4)动与静的结合，既增强了画面的灵动，打破了宁静，又增加了虚实对比。这种以动破静，以虚状实的手法是欲实反虚的意匠表现，它起到一举三得的作用。首先，它表现一个浑厚的山脉，表现层峦叠嶂的意境，采取的不是现代流行的一些反复积墨的方法，而是以云水从反面去显映的方法。有云的地方山自然突兀峭拔。古人说:"山欲高，尽出之则不高，须烟云锁其腰乃高。"古人之言不欺人，但到了他的笔下，除了显示山的高大之外，又多了一层显示山的雄浑之意，这是他在前人的基础上的一个创造，比较一下前人和他对画中有云雾出没地方的描述方法可以看出，古人画山，多数是将山头用墨皴得浑厚，但在云与山交汇处，则是用稀疏的线条，以显其被云遮雾障的状态。而他的画中山体，多是在云与山交接处，用浓墨染的浑黑。也就是说，古人表现云，在山头着力，张复兴先生表现云，在山脚着力。这种和古人反其道而行之的方法，收到了意想不到的效果。云与山对比十分强烈，虚空的云将朴茂的山势衬托的更加巍峨雄壮，从而使一股浩然之气扑面而来。其次，他特喜欢在画的右下角用云来烘托气氛。他往往将左边的画面拓实，显然，这种被拓实的画面尽管出现在左边不起眼的地方，但仍然会使左边过于迫塞。这时，他巧妙地用一条山溪来破其迫塞。动感和虚感于是就同时出现了，这还不是作者匠心独运的充分体现，那么，作者匠心独运之处体现在哪个地方呢?这是我们要探讨的最后一个重要问题。那就是他画出了水的速度和声音。那一溪空明澄碧的清水从远处飞流直下，给人以爽心悦目的感受，仰望这条蜿蜒的山溪，会把你的胸中积垢洗的干干净净，闭上眼睛，仿佛一股清凉的水气扑面而来，你会情不自禁的去擦拭溅在脸上的水珠。如果你是一个情怀浪漫的人，你会脱口吟出古人的诗句，或许是"飞流直下三千尺，疑是银河落九天"，或许是"万山不许一溪奔"，或许是"在山泉水清，出山泉水浊"等。总之，相信不同的人会有不同的感受，至于什么样的含义是他的初衷，我们就不得而知了。他从结构上以溪水破实，使画面两边和谐相称，又用溪水增加了山的质感，最重要的是以溪水抒发了自己的情怀，这种作法，不正是顾恺之所推崇的"迁想妙得"的结果吗?

 艺术成就

作品入选第八、第九、第十、第十一届全国美展，先后十多次在全国性美术作品展中获奖。曾获八届美展大奖、九届美展优秀作品奖、世界华人书画艺术画展金奖，两次获广西自治区政府文艺创作最高奖——铜鼓奖，被评为广西有突出贡献专家。2005年，国家科技奖励办公室授予“优秀人民艺术家”荣誉。此外，还是1990-2000年“中国画百年大展”入选画家，是“锦绣中华万里行”、“彩墨境界”等有影响的学术活动的参展画家之一，并在2004年获黄宾虹学术奖。作品曾搭载神六、神七遨游太空。曾为党和国家重要机构、重要场所绘制大型山水画，曾为中南海春藕斋、勤政殿、国务院三会议室、中共中央北戴河会议大楼、京西宾馆、中宣部、中组部、万寿路国务院老干部活动中心、京丰宾馆等创作大幅山水画。为外交部驻外使领馆创作布置画，为中国驻美大使馆绘制大型山水创作，为国家图书馆绘制大幅山水画。出版有《张复兴写意山水画艺术》，《当代中国画名家解析历代大师作品·张复兴篇》等，主要作品如《一溪寒水出秋水》、《侗乡秋高》等。

张复兴山水画作品

 ———山水大家张复兴的田园视野

文/孙克

张复兴是当代卓有声望的山水画家，早在上个世纪90年代初，已绽露其不凡的头角。记得1994年在深圳市博物馆由中国美协中国画艺委会和深圳动产拍卖行联合举办的当代中国画十位名家展，张复兴被提名参加，他的山水画以独特的桂北山川形貌的南派风格，为界内专家所首肯，更得到藏家和爱好者的欢迎。从此，他和他的山水画声名遂广为人知。张复兴是北方人，多年在广西生活、工作，其后到桂林画院，长期担任桂林画院院长。文化部文艺研究院成立中国画创作院，他被聘请担任专职画家。我初次认识张复兴记得是1993年在桂林开全国美术理论时，参观桂林画院见到他和他的作品，算起来也有二十年时光了，在我的印象里，张复兴很有才，作画很有灵性，为人忠厚而低调，不张扬不膨胀，是那种埋头努力“沉潜型”的画家，复兴看似寡言少语却很有幽默感，在画家群里，也属于出类拔萃的好手。

做一个画家是要有才华的，更要有天才，方能出类拔萃。这是我学画从艺近六十年的体会。当然，天才不是唯一的、却是不可或缺的因素。没有些“才气”当然学不成画，做不成画家，但是要突破习见的风范，超越前人、师辈典范的样式，凸现出自家独有面目，或者说站在大师们的肩膀，跨出哪怕一小步，这不仅需要努力和勤奋，更要有天才。张复兴能够在90年代初开始走出一条自己的道路，形成自家的样式风格，与其说有勇气毋宁说他有天才。山水画和花鸟画受惠于改革开放，摆脱了极左的束缚，艺术风格样式开始呈现多样化的态势，这是令人高兴的。近几年来在展会上山水画的数量迅速增多，不足的是跟风模仿的人多，独具面目的少，这几乎是令人感到无奈的，毕竟艺术创造和精品的出现有其独特的规律，投入和产出比不同物质生产现象。上世纪80～90年代，受西方现代思潮影响，一味追求“创新”，于是各种制作方法大行其道。新世纪以来，民族文化复兴思潮涌起，山水画界向传统回归，以黄宾虹研究兴起为契机，“笔墨”开始受到重视，短时间内又出现一窝蜂“复古”趋同现象。这或许正是许多年轻画家走向成熟的必然过程，无可讳言的就是全社会当下弥漫的急功近利和浮躁心态在艺术界的映像。

张复兴的水墨山水以独具的面目享誉画坛20余年，成功之道非仅个人天才擦出的灵感火花，更确切的说成功的取得是一项综合工程。广西是山水之美富甲天下的地方，光是桂林漓江一处就吸引了无数如醉如痴的画家们。不过“美景”与“杰作”之间，并没有绝对的关联，就是说天下好景虽多，却未必都能勾画成“杰作”。正如“桂林山水甲天下，阳朔山水甲桂林”口号不虚，身在漓江之上就体会到无论是“水光潋滟”还是“山色空漾”都有令人惊心动魄之美。但是，除去许多表述性的作品之外，只有徐悲鸿先生的《漓江烟雨》等几件作品令人难忘。董其昌有一段名言：“以境之奇怪论，则画不如山水。以笔墨之精妙论，则山水决不如画”以我们今天的理解，好的山水画是画家贴近自然，氤氲山川，积聚天地灵气之后的再创造，所以石涛讲“搜尽奇峰打草稿”。长期生活在广西的张复兴，似乎并没有把目光定格在公认的“美景”上，尽管他担任桂林画院院长多年，问题在于并非桂林那些溶洞、那些如“碧玉簪…青罗带”般的山山水水不能吸引画家的目光，而是那些景观的“奇怪”，即引起感官愉悦的、具有独特视觉性状的景观，很大部分是照相机所能胜任有余，而并非中国画家与相机电脑争一席地之所长。张复兴在广西多年，见多了广西的奇山异水，但从他笔下流出的画面，却没有什么夺人眼球的“奇怪”之景。这或许正是他聪明过人之处：一方面他深谙中国山水画理论精髓，明白景观丘壑的描绘，是属于“技”与“术”层面，而“意境”与“笔墨”这些文化属性，则上升为“道”的精神层面。所以我看他的山水画动人之处，其一是寻求朴实平谈之美，在看似寻常的处处家山中，在南国青烟靇翠的茂林修竹里，达到素朴自然却醇厚丰满意蕴盎然的境界。其二是张复兴特有的笔墨图像构成，开创了山水画具有个性化的新貌。上世纪80-90年代山水画迅速恢复发展时期，影响于南北画坛的是以李可染、陆俨少二位泰斗，此外则是各种“特技”试验以及大量的追随模仿者，在西化“创新”和“折中”的样式试验中茫然的探索着。而张复兴这位远在广西的画家，却以自己特有的才华将多年的勤奋和生活积累，演绎出令人眼球为之一亮的既平谈朴实又华美的笔墨图像。他的许多作品常常冠以“家山”二字，道出了他的精神追求：平凡中的田园美感，温馨中的情感归属。张复兴没有追随当时流行的各种“制作”技法，也没有简单追摹大师前辈们的样式来换得界内的认可。张复兴成功之处在于驾驭前人留传风格图像的种种成法套路，用于探索自家腕下笔端出现形成的图景意象。以至于观者既感到他的图象中有前人的种种因素在，却又难以确切认定其出于何家何派。这正是中国画现代发展过程中人们不断寻求的目标。许多年来现代美术教育教会人们素描速写掌握造型能力，许多人并不惮于写生画出逼真的视觉图景，但是中国画要达到的是心中酝酿创造的意境图像，其本质是游离于自然真景和记忆想象之间的模糊图景，因此更具有个人惯性特点。张复兴用笔墨编织的节奏感、韵律感极强的图像，既是从传统笔墨程式继承而来更是以现代人的审美观中演化而出的结果，从而为业内同道和广大受众所接受。

上世纪80年代以来，中国画经历了快速发展繁荣时期，尤其是山水画的成绩可称突飞猛进，从事山水画创作的青年很多，难免出现跟风模仿急于求成的现象，但更突出的问题是作品的精神内涵欠缺、意境韵味谈薄，笔墨功底不足反映了画家文化修养素质有待提高。张复兴的山水画20年来异军突起，以鲜明的素朴、绵密、宁静的风格，产生很广泛的积极的影响，成为当代山水画重要一家。我对他的艺术给以更高的期待。

 Zhang Fuxing, born in 1946, is from Tianjin and his ancestral home is Shanxi. The department is the executive director of the Chinese Painting Society of the Ministry of Culture, the vice-president of the Chinese Landscape Painting Creation Institute of the Chinese Culture Exchange Center of the Ministry of Culture, the researcher of the Calligraphy and Painting Academy of the Central Library of Culture and History, the painter of the Chinese Friends Painting Academy, the specially appointed Professor of the School of Calligraphy and Painting Arts of Beijing Humanities University, the consultant of the Guangxi Art Association, the honor Research librarian, member of China Artists Association, first-class artist.

Characteristic of Calligraphy and Painting

In Mr. Zhang Fuxing's paintings, the organic arrangement of mountains and valleys without loose degassing is one of his major characteristics. In other words, his paintings have a strong and lively musical rhythm. As we all know, Chinese landscape painters use scatter point perspective method when observing objects. This method is different from the focus perspective of Western painting. In the process of scatter point perspective, the painter, while walking and looking, combines the things he sees at different times and places to form a mental image and turn them into ink images. This scatter point perspective method has the advantage of not being limited by time and space, but it is undeniable that it has the disadvantage of listing trivial, lacking mutual echo and not consistent. But Mr. Zhang Fuxing has solved this problem well. The way to achieve this solution is to gain a rigorous understanding of Song paintings. Many people are fond of talking about the hills of the Song people. In fact, the essence of Song paintings is that they have neat rules, reasonable management and proper falsehood. The ancients comprehended the mystery of the ancients by knitting everything in a delicate way, such as the weaving brocade of heavenly women. So he deduced the mystery of the ancients into his own way: to artificially compress the endless layers of rolling mountains, to reduce the sense of space, and to pass through the mid-range, near-range and long-range with a few succinct and subtle strokes. Degree, melting all phenomena together without leaving traces, avoids the scattering and fragmentation of the picture. If his painting is an organic whole, then every part of the whole is independent, and the parts of the whole are seamless, which is called ingenuity.

In doing so, there are two major benefits: First, it increases the visual impact and artistic appeal. Because the picture shows a theme, so it is very attractive to the visual, this neat picture gives people a vast, meteorological sense of excellence. Second, because it combines all kinds of objects and images organically, the picture is large but not empty, and rich in connotation. Looking at his paintings is like looking at the autumn soldiers in the sandy fields. In the overwhelming momentum, there are a number of powerful soldiers, walking hand in hand, singing and marching forward, I do not know how many people, the power is really impressive. This is a big-handed method of operation. If his images are compared to orderly battlefields, then he who commands the battle is a great general who plans the battle. The organic combination of his paintings and images relies on the internal connection of the noumenon, which shows a rhythmic charm. And the rhythm formed by the fluctuation of height and length is the rhythm of music. This rhythm, derived from nature and derived from the heart, is produced in a harmonious symphony. It's a kind of silent music. Chuang Tzu said, "In silence, one hears and one hears. Zhuangzi further explained that the sum of such silent music is derived from the heaven, from the heaven, from the people, from the people and from the people. The perfect combination of heaven and man is the unity of heaven and man. In Mr. Zhang Fuxing's paintings, the beauty of the unity of man and nature is vividly reflected everywhere. We might as well do an experiment to pick up any of his paintings and look at some of them independently. The result is also a perfect painting. Compared with the original painting, although the size is different, the beauty is the same. What's the reason? It's because of perfect works of art. Every part of it is perfect. In the process of interpenetration between objects and images, its rationale is implicit in Lao Tzu's Tao Te Jing's saying: "The higher or the lower, the less, the less". This dialectical thought is unified in the picture, which is embodied in the following aspects: 1. He pursues the concise and purified language of the dominant picture and a mysterious power that can only be imagined but can not be expressed. He endeavors to fill the painting with internal beauty and endow it with a spiritual theme. This is his intention, that is, he first pursues the things outside the picture, and first decides. Outside painting and meaning. When he paints, he always intends to draw first. That is to say, he does not draw first, but first intends to move his thoughts from outside to inside. This process is the expression of personal sustenance and heartfelt language, is the meaning of personal endorsement of mountains and rivers. It is an abstract language. Sometimes, the author's emotions are expressed through mountains and rivers. The mountains and rivers can not resort to language, but must be interpreted by readers. This involves the problem of artistic understanding. Because readers have different cultural connotations and different ideological realms, they have different ways of understanding and results. The multi-level nature of artistic understanding will make the picture more complicated and confusing. This is the main reason for the beauty in the picture. 2. He pursues the richness of painting language. If there is a mysterious power in painting because of the profound connotation of painting language, then the richness of painting language is its broad extension. What is the performance of this broad language? We know that TV and computer can transmit sound and image in an all-round way, which is accomplished by complex integrated blocks. The mysterious power of Mr. Zhang Fuxing's paintings is also transmitted by such a complex integrated block. Obviously, in his paintings, the overlapping images are his integrated circuit system which transmits the painting language. Zhuangzi said that all knowledges can make a sound. The same is true of Mr. Zhang Fuxing's paintings. Every object can express his emotion. In his paintings, there is a bright and fresh air in the evergreen vegetation all the year round. This is a way of expressing emotion. There is a simple wind in the villages covered by the trees, and it is also a way of expressing emotion. Looking up again, another village, another layer of vegetation... There are several other ways of expressing emotions. This kind of representation of themes with the same images is not a mechanical listing, but a purposeful and rhythmic arrangement in different places. The more things they express, the richer they are and the more interesting they are. Mr. Zhang Fuxing's paintings reflect his feelings through such complicated images. The images in his paintings are infinite, and his feelings are infinite.

In the composition, the appropriateness of emptiness and reality is another remarkable feature of Zhang Fuxing's painting. This characteristic is embodied in the following aspects: (1) In the whole picture, the local emphasis on blank space is contrasted with the large area of image processing, so as to break the reality, but in reality there is a void. The positive side of the image is firm and sparse, but the negative side of the image is relatively empty. On the basis of the outline, the image is rubbed with ink, dotted with lice and rendered. The purpose of doing so is not only to make the image have a sense of space, three-dimensional sense, but also to make the image simple and textural. (2) In the local void, it is not void, but a few touches with a blurred pen to make it look like clouds, water, grass and trees. It is Lao Tzu's saying that everything is like, or nothing is like, as for what or not, the observer himself judges, infers and guesses on the basis of similar phenomena, which is precisely what Lao Tzu said: "There are images, trances and things in them. "In trance, the image is led to abstraction, which adds a sense of obscurity of either or neither to the picture, thus triggering a kind of poetic imagination. (3) It is also a kind of creation to show the reality by ink contrast. Through the contrast of light and shade in ink, the space of the picture is extended and broadened. Ink has the function of swelling, while color has the function of shrinking. Corresponding to the two, the interface in the painting naturally expands as soon as it receives and releases. (4) The combination of motion and silence not only enhances the flexibility of the picture, breaks the tranquility, but also increases the contrast between reality and fiction. This method of breaking the stillness with movement and making the virtual and the real is the artisan's expression of desiring the real and opposing the virtual. It plays a three-in-one role. First of all, it represents a thick mountain range, showing the mood of mountains and mountains. It does not adopt the modern popular method of repeated ink accumulation, but the method of showing clouds and water from the opposite side. Where there are clouds, the mountains are abrupt and steep. The ancients said, "The mountain wants to be high, but it does not come out high. It is high to lock its waist with smoke and clouds." "The ancients'words are not deceptive, but in his works, besides showing the mountain's height, there is another layer of magnificent meaning to show the mountain. This is a creation on the basis of his predecessors. Comparing the descriptions of clouds and mists in his paintings with those of his predecessors, it can be seen that the ancients painted mountains mostly with ink chaff. It's thick, but at the intersection of clouds and mountains, it uses sparse lines to show that it is covered by clouds and fog. In his paintings, Zhongshan Style is mostly at the junction of clouds and mountains, dyed dark with thick ink. That is to say, the ancients expressed clouds, exerted themselves at the top of the mountain, Mr. Zhang Fuxing expressed clouds, exerted themselves at the foot of the mountain. This method, which was contrary to the way of the ancients, has achieved unexpected results. The contrast between cloud and mountain is very strong. The empty cloud sets off the simple and majestic mountain situation more magnificent, so that a great gas comes on the face. Secondly, he likes to use clouds to set off the atmosphere in the lower right corner of the painting. He tends to stretch the picture on the left. Obviously, although the stretched picture appears in a small place on the left, it will still make the left too crowded. At this time, he cleverly used a mountain stream to break through its jam. Motion and imagination appear at the same time, which is not the full embodiment of the author's ingenuity, then, where does the author's ingenuity embody? This is the last important question we want to discuss. That's how he draws the speed and sound of water. The clear and clear water flowing down from the distance gives people a refreshing and pleasant feeling. Looking up at this winding mountain stream, it will wash the dirt in your chest clean, close your eyes, like a cool water coming on your face, and you can't help wiping the droplets splashing on your face. If you are a romantic person, you will blurt out the poetry of the ancients. Maybe it is "flying down three thousand feet, suspected that the Milky Way falls nine days", maybe it is "not allowed to run a stream in a thousand mountains", or it is "clear in mountains and springs, muddy out of mountains and springs" and so on. In short, we believe that different people will have different feelings, as to what kind of meaning is his original intention, we do not know. Structurally, he uses streams to break down the reality, to make the two sides of the picture harmonious and proportionate, and to increase the texture of the mountains with streams. The most important thing is to express his feelings with streams. Isn't this the result of Gu Kai's "imagination wonderful"?

Artistic Achievements

His works were selected in the eighth, ninth, tenth and eleventh national art exhibitions, and won awards in more than ten national art exhibitions. He was awarded the Eighth Art Exhibition Award, the Ninth Art Exhibition Excellent Works Award and the Gold Award of the World Chinese Painting and Calligraphy Exhibition. He was awarded the Bronze Drum Award, the highest prize for literary and artistic creation of the Guangxi Autonomous Region Government, twice, and was awarded the outstanding contribution expert of Guangxi. In 2005, the National Science and Technology Award Office awarded the honor of "Excellent People's Artists". In addition, he was selected as a painter in the "Centennial Exhibition of Chinese Painting" from 1990 to 2000. He was one of the influential artists in the academic activities such as "Brilliant China, Wanlixing", "Colorful Ink Realm", and won the Huang Binhong Academic Award in 2004. The work once carried Shen VI and Shen VII in space. He has painted large-scale landscape paintings for important institutions and places of the Party and the state. He has created large-scale landscape paintings for Chunhuazhai, Diligence Hall, Conference Room 3 of the State Council, Beidaihe Conference Building of the Central Committee of the Communist Party of China, Jingxi Hotel, Zhongxuan Department, Zhongtuan Department, Old Cadre Activity Center of the State Council on Wanshou Road, Jingfeng Hotel, etc. To create layout paintings for foreign embassies and consulates of the Ministry of Foreign Affairs, large-scale landscape paintings for Chinese embassies in the United States, and large-scale landscape paintings for the National Library. His works include Zhang Fuxing's Freehand Landscape Painting Art, Zhang Fuxing's Ancient Masters'Works by Contemporary Chinese Painters, etc. His main works include "A stream of cold water comes out of autumn water" and "Autumn High in Dong Township".