1958年在广西艺术学院学习，1968年毕业于长沙铁道学院建筑系，1981年在中国艺术研究院研究生部美术史论专业学习，为蔡若虹研究生班毕业，获硕士学位.。

陈先生是中央电视台《东方之子》栏目介绍的首位文化学者。"新文人画"倡导发起人及组织领导者

2004年中国艺术研究院为其创办陈绶祥艺术教育工作室。

 国家“七五”至“八五”重点科研项目十四卷本《中国美术史》编委及其中《魏晋南朝卷分卷》主编。

国家九五重点科研项目《中华艺术通史》副总主编。

主编十四卷本《中国美术史》之《隋唐卷》。及全国干部培训教材《中国艺术卷》。

主编《中华艺术丛书》《中国当代美术系列》，《中国民间美术全集，明居卷，陈设卷》。 “九五”国家重大科研项目《中华艺术通史》副总主编及《清代卷》主编，

主编二十册《新文人画集》、十卷本《二十世纪中国画流派及风格》。

陈绶祥作品

 从20年代至40年代的近30年间，中国画的基本走向是文人画传统的失落与西方写实主义的引进，是中国画理所当然的成了被批判改造的革命对象和西方写实主义绘画成了理论与实际上的新楷模，成了基本教学与评审的绘画准绳，在这方面的代表人物是徐悲鸿。与康有为和陈独秀相比，徐悲鸿是一个身体力行的画家，他又从事教育领导工作，参与教育方针的制定，因此，他在美术上的实际影响要大得多。

悲鸿在尚未赴欧洲之前便已确定了他改革中国画的基本主张，1920年他在北大画法研究会任导师时发表《中国画改良论》一文，可视为他在这方面的一贯主张。他曾与康有为有过交往，并“执弟子礼居门下”，故在对待中国画的基本看法，甚至在行文语气上与康有为是一样的。“中国画学之颓败，今日已极矣”是《中国画改良论》开关的语句与立论的基本原因，《中国画改良论》在主张“美术革命”的基础上，提出了许多具体见解。平心而论，徐悲鸿的具体主张是永远不会错的，因为他的主张是：“古法之佳者守之，垂绝者继之，不佳者改之，未足者增之，西方画之可采入者融之。”这种主张当然挑不出毛病来。问题在于一个被判断为“颓败已极”的“中国画”又从何而来“佳者之法”呢，于是，他提出了他那实际上从艺术上来看，无论是眼界还是文化品位都较为低劣的绘画标准与主张。

其一是绘画的目的只有“惟妙惟肖”的状物，其二是中国画只有七百年前两宋之画才是高峰与黄金时代，其三是文人画是种末技，是中国画退化的原因，导致了中国画之衰微。正是因为这种认识上的原因，徐悲鸿的整个改良主张集中在强调工具材料的重要性上，他对中国画的材料表现性能表示怀疑，主张改良画法，主张“利用现世已发明之术”来做“写实性描绘”。这决定了他还是利用西方古典绘画原理与法则来改造中国画或代替中国画创新探索的途径，这本是他的艺术趣味与偏好所决定的,后来他的一切努力都没有摆脱这一基本主张。另一方面，他所主张的守住与继承的“古法之佳者”和“绝者”，恰恰是在中国画学中被当成初级阶段的绘画形式所采用的恒理常法，是一种审美品位上低层次的禁锢艺术思想的“法障”。这些虽未被一般民众了解，但却被懂得中国绘画与熟悉中国文化的人所认识，也能使在传统文化氛围下所生活的工匠技师所认同。例如老百姓使用的明清民间陶瓷器绘制时，大量使用的即是现代所谓“写意笔法”，而官器上才是所谓的“古法之佳”之“匠作”。恰恰是在社会巨大变革的历史时期，社会生活产生了巨变，得以使徐悲鸿的主张成为这个时期的主流。既然中国画无“法”可守可继，那么，“不佳者”“未足者”而需的“可采入者”自然只剩下了以洋画材料作“规模真景物”的西洋古典绘画法式了。

在这个时期中，几乎没有一位画家对这个问题保持过沉默，但除了少数具有真知灼见的国画家与理论家之外，大多数人为时事所趋，不得不接受“改造中国画”的观点和立场，认为只有“改造”才是“发展中国画”的唯一途径。须知在当时条件下，“革命”“改造”是等同于“造反”“打倒”的，什么需要“革其命”和“改其造”呢？当然是“二流子”“地主”之类的坏蛋，这种“改造”即“发展”的实质，实际上还是那种“破坏即创造”的所谓“革命时期”的通病。在本世纪20—40年代中，从西方归来的中国留学生们，也带来了从印象主义到超现实主义等诸多西方现代艺术样式，也产生过小规模小范围的所谓“现代艺术运动”也有不少国画家提出过保持国画精神坚持发扬国粹的发展道路，但是，这些主张与实践与近代激进的青年知识分子要求艺术负担唤醒民众、拯救中国等主导思想相悖而被排斥或批判，也被社会动乱所造成的因素所干扰，加之政府的规定和干预，例如在美术教育上从“民国”开始的以“西学”为主的统一规定等等，因此，实际上最终导致了带功利色彩的、浅近媚俗的“写实主义”在近代绘画中的主流地位，以及文人画受冷落批判的状态。

 获“五个一”工程奖、社科基金奖、院部科研特别奖等多种奖项。中央电视台《东方之子》节目称他为“在自然科学、人文科学和艺术领域都提出了独到见解的文化学者”。

陈绶祥先生是国内外享誉的文化学者，著名的美术理论家、文物鉴定家和美术教育家。中央电视台《美术星空》节目“画家陈绶祥”专题人物。是当代新文人画的倡导者、画家、教育家和新文艺工作者人画展览活动的积极参与者。主持举办“新文人画”年展十次暨学术研讨会，出版展览画册多种。创办并举办三届《国画名家班》任教主任及主要教师，有广泛影响。曾创办“中国画名家研修班”，亲任班主任和指导教师，为中国画当代教育及发展作出过重要探索，国内不少知名画家皆出自其门下。

 Chen Gouxiang, alias Xiaosan, is from Guilin, Guangxi. The word "Dayin" is called "Lao Duan", and there is no Zen Hall in the name of Zhai. Famous cultural scholars, art historians, cultural relics appraisers, calligraphers and painters, members of the Chinese Artists Association, doctoral tutors of the Chinese Academy of Art, part-time professors of Liaocheng University, enjoy special allowances from the State Council. He was the vice director of the Institute of Fine Arts of the Chinese Academy of Art, the doctoral supervisor of the Chinese Academy of Art, and the director and researcher of Chen Shouxiang's studio of art education.

Brief Introduction to Characters

In 1958, he studied in Guangxi Academy of Art, graduated from the Architecture Department of Changsha Railway College in 1968, and in 1981, he studied in the art history theory major of the Graduate Department of China Academy of Art. He graduated from Cai Ruohong Graduate School with a master's degree.

Mr. Chen is the first cultural scholar introduced by the column "Son of the East" of CCTV. Initiators and Organizational Leaders of New Literary Painting

In 2004, the Chinese Academy of Art founded Chen Shouxiang's Art Education Studio.

Publications

The Editorial Board of 14 volumes of History of Chinese Fine Arts and the Editor-in-Chief of the Volumes of Wei, Jin and Southern Dynasties in the National Key Scientific Research Projects from the Seventh Five-Year Plan to the Eighth Five-Year Plan.

Deputy Editor-in-Chief of General History of Chinese Art, a national key scientific research project in the Ninth Five-Year Plan.

Editor-in-chief of Sui and Tang volumes of the 14-volume History of Chinese Fine Arts. And the national cadre training textbook "Chinese Art Volume".

Editor-in-chief of Chinese Art Series, Contemporary Chinese Art Series, Complete Works of Chinese Folk Art, Mingju Volume, Display Volume. The Deputy Editor-in-Chief of General History of Chinese Art and the Editor-in-Chief of Volume of Qing Dynasty, a major national scientific research project during the Ninth Five-Year Plan period,

Editor-in-chief of 20 volumes of New Literature Paintings and 10 volumes of 20th Century Chinese Painting Schools and Styles.

On Art

During the past 30 years from the 1920s to the 1940s, the basic trend of Chinese painting was the loss of literati painting tradition and the introduction of Western realism. Chinese painting naturally became a revolutionary object criticized and transformed. Western realism painting became a new model in theory and practice, and a painting criterion for basic teaching and evaluation. Xu Beihong is the representative in this respect. Compared with Kang Youwei and Chen Duxiu, Xu Beihong is a practicing painter. He is also engaged in educational leadership and participates in the formulation of educational policies. Therefore, his actual influence on art is much greater.

Before going to Europe, Beihong had confirmed his basic proposition of reforming Chinese painting. When he was a tutor of the Painting Research Institute of Peking University in 1920, Beihong published the article "On the Improvement of Chinese Painting", which can be regarded as his consistent proposition in this respect. He had contacts with Kang Youwei and "lived under the disciples'courtesy", so his basic views on Chinese painting were the same as Kang Youwei's even in the style of writing. "The decadence of Chinese painting studies is extremely great today" is the basic reason for the statement and argument of "On the Improvement of Chinese Painting". On the basis of advocating "the Art Revolution", the "On the Improvement of Chinese Painting" puts forward many concrete opinions. To be fair, Xu Beihong's specific proposition will never be wrong, because his proposition is: "The best of the ancient law should be followed, the last one should be followed, the bad one should be replaced, the less one should be added, and the western painting can be integrated." Of course, there is nothing wrong with this idea. The question is where a "Chinese painting" which has been judged to be "decadent" comes from "the law of the best", so he put forward his painting standards and propositions which are actually inferior in terms of art, both in vision and cultural taste.

One is that the purpose of painting is only "vivid" shape. The other is that only the paintings of the Song Dynasty and the Song Dynasty seven hundred years ago were the peak and golden age of Chinese painting. The third is that literati painting is the last skill, which is the cause of the degradation of Chinese painting, leading to the decline of Chinese painting. It is precisely because of this understanding that Xu Beihong's whole reform proposition focuses on emphasizing the importance of tool materials. He doubts the material performance of Chinese painting, advocates improving painting methods, and advocates "using the invented techniques of the world" to make "realistic depiction". This decided that he still used the principles and principles of Western classical painting to transform Chinese painting or replace the way of innovative exploration of Chinese painting, which was determined by his artistic interest and preference. Later, all his efforts did not get rid of this basic idea. On the other hand, he advocated "the best of the ancient laws" and "the absolute ones" which were held and inherited precisely in the constant law adopted by the painting form which was regarded as the primary stage in Chinese painting, and it was a "legal barrier" of artistic thought which was confined to the lower level of aesthetic taste. Although not understood by the general public, they are recognized by people who know Chinese painting and Chinese culture, and can also be recognized by craftsmen and technicians living in the traditional cultural atmosphere. For example, when the common people used the Ming and Qing Dynasties folk pottery drawing, a large number of people used the so-called "freehand brushwork" in modern times, and the so-called "excellent ancient method" of "craftsmanship" on official utensils. It is precisely in the historical period of great social changes that great changes have taken place in social life, making Xu Beihong's proposition the mainstream of this period. Since there is no "law" to follow in Chinese painting, then the only "admissible person" needed by the "bad person" and "insufficient person" naturally remains the Western classical painting method which uses foreign painting materials as "real scenery of scale".

During this period, almost no painter ever kept silent on this issue, but except for a few Chinese painters and theorists with insightful insights, most of them had to accept the viewpoint and position of "transforming Chinese painting", believing that only "transforming" was the only way to "developing Chinese painting". 。 It should be noted that under the current conditions, "revolution" and "transformation" were equivalent to "rebellion" and "overthrow". What needs to be "transformed" and "transformed"? Of course, the bad guys like "second-rate" and "landlord", the essence of which is "transformation" or "development", are still the so-called "revolutionary period" of "destruction is creation". In the 1920s and 1940s, Chinese students returning from the West also brought many western modern art styles, from Impressionism to surrealism. They also produced a small-scale and small-scale so-called "modern art movement" and many Chinese painters proposed to maintain the spirit of Chinese painting and adhere to the development of the Chinese quintessence. However, these propositions and practices are contrary to the dominant ideas of radical young intellectuals in modern times, such as awakening the people with the burden of art and saving China. They are rejected or criticized. They are also disturbed by the factors caused by social unrest, together with the government's regulations and interventions, such as Western learning in art education, which began in the Republic of China. ” As a result, in fact, it eventually led to the mainstream status of utilitarian, superficial and vulgar "realism" in modern paintings, and the status of literati paintings being ignored and criticized.

Influencing honor

He has won many awards, such as the "Five One" Project Award, the Social Science Foundation Award, and the Special Research Award of the Ministry of Academy. CCTV's "Son of the East" program calls him "a cultural scholar who has put forward unique ideas in the fields of natural science, humanities and art".

Mr. Chen Shouxiang is a well-known cultural scholar at home and abroad, a famous art theorist, cultural relic appraiser and art educator. The special character of CCTV's "Art Star" program "Painter Chen Shouxiang". He is an advocate, painter, educator and active participant in the exhibition of contemporary new literati paintings. He hosted ten annual exhibitions and academic seminars of New Literature Paintings and published various exhibition albums. Establishing and holding three Classes of Chinese Painting Masters as teaching director and main teacher has a wide influence. He has set up a seminar for famous Chinese painters and served as a head teacher and instructor. He has made important explorations for the contemporary education and development of Chinese painting. Many well-known domestic painters come from his family.