朱道平,浙江黄岩人。擅长中国画。1949年生，山水画家，中国美术家协会理事、国家一级美术师。现为南京书画院院长、江苏省美协副主席、南京市美协主席、江苏省美协中国画艺委副主任。 毕业于南京艺术学院美术系。 1994年获国务院政府特殊津贴，江苏省有突出贡献中青年专家称号。

 出版有《朱道平山水小品》、《朱道平山水作品选》、《朱道平水墨精品集》等。作品多次参加全国大型美术作品展览并多次获奖。 1973年作品《夜校学归》首次入选全国美展，此后历年均有作品参加全国及省级重大展览，作品《疑是银河落九天》获全国第二届青年美展铜奖，《秋江暮韵》获全国首届山水画展优秀奖，《井冈浩气图》、《春韵》、《山乡金秋》入选第七届、八届、九届全国美展，获第七届、八届优秀作品奖1986年首次在江苏省美术馆举办个人画展，此后历年均有个展或联展举办；曾多次赴国外讲学及访问、举办画展。曾先后赴日本、新加坡、马来西亚、韩国、美国举办个展览并多次获奖，曾先后赴日本、新加坡、马来西亚、韩国、美国举办个展。

朱道平画作

 朱道平（1945——），毕业于南京艺术学院。现为中国美术家协会理事、南京书画院院长、南京市美术家协会主席、江苏省美术家协会副主席。自1973年作品《夜校学归》入选全国美展以来，历年均有作品入选国内外大型画展， 1987年任南京书画院副院长，1993年任院长。作品《疑是银河落九天》获全国二届青年美展三等奖，《春江急雨》获“新人展”佳作奖，《太湖早春》获中日合办“中国的四季”美展铜奖，《秋江暮韵》获全国首届山水画优秀奖，《水乡金秋》入选第八届全国优秀作品展。1994年获国务院颁发政府特殊津贴。

1949年生于浙江黄岩。现为南京书画院院长、一极美术师、中国美术家协会理事、省美协副主席、南京市美协主席

1973年入展“全国中国画连环画展”

1974年入展“建国25周年全国美展”，就读于南京艺术学院

1977年毕业于南京艺术学院美术系

1980年入展“全国第二届青年美展”获铜奖，赴浙东写生

1983年赴西北写生

1986年江苏美术馆举办个作品展

1987年入选中国美协“新人新作展”，任南京书画院副院长

1988年赴云贵写生，任国家二级美术师

1989年入展“第七届全国美展中国画展”，出版《朱道平山水小品集》

1990年日本东京个展，香港“金陵胜迹”个展，赴东北，新疆写生，出版《朱道平作品选》

1991年入展中日合办“中国的四季”画展，获铜奖。赴新加坡举办“金陵三友”画展

1992年入展“深圳国际水墨画展”画展，赴三峡写生，任国家一级美术师

1993年入展中国美协“首届全国山水画展”获优秀奖；出版《朱道平水墨精品集》，任南京书画院院长

1994年入展“第八届全国美展优秀作品展”；赴马来西亚举办个人画展；入展南京“新文人画邀请展”，获国务院颁发政府特殊津贴

1995年入展上海“全国新文人画邀请展”，获中国艺术研究院美术研究所中国画学术精诚奖，赴内蒙写生

1996年入展北京“情系井冈著名山水画家创作展”、“新文人画杭州展”；香港艺术馆“传统与创新20世纪中国绘画展”（香港、新加坡、伦敦大英博物馆、科隆东亚艺术馆巡展），应邀访美考察美术馆，博物馆

1997年入展文化部“庆香港回归中国艺术大展”、北京“当代山水印象”展、北京“全国新文人画展”，访韩举办“朱道平、金爽基作品联展”、“嘉树新苗”美国香港展，赴婺源写生

1998年入展文化部“当代中国山水画、油画风景展”，获中国美协《时代风采》画展佳作奖，入展深圳水墨双年展、澳门水墨三人展

1999年入展“第九届全国美展中国画展”、成都“世纪之门”中国艺术邀请展，赴法国访问并举办南京书画院作品展

2000年入盏“2000年全国中国画展”、芬兰“中国风景绘画展”、深圳“都市水墨”国际双年展、“金陵胜迹”南京三人展、英国“皇家艺术院夏季画展”，赴西藏写生

2001年入展中国美协“百年中国画展”获“建党80周年全国美展”优秀作品奖，参加“湖州新文人画展”、“新院体”上海南京展，英国“皇家艺术院夏季画展”赴美访问、写生。出版画集《金陵胜迹》

2002年入展南京、北京“江苏优秀画家十人展”、深圳“都市水墨”双年展、汉城“当代韩中代表画家展”

2003年入展中国美协“全国第二届山水画展”、北京“彩墨境界”、“东方之韵”等展

2004年作品入展“第十届全国美展”，“中国画展及优秀作品展”，漆画《夏华秋实》获“十届全国美展”金奖。中央电视台科教频道专题采访报道（9月），香港中文大学讲学二周。

朱道平画作

 朱道平在画坛得奖无数，但他自己每次都有些浑不在意。据江苏省文化厅副厅长、著名画家高云透露，最近在武汉举办的全国画院优秀作品联展中，江苏有三位得奖：朱道平、郭子良、李金国。但问起朱道平自己，他竟是一派稀里糊涂，搞不清楚。

看朱道平的画，有美不胜收之感。看他笔下的秋林，清旷疏朗的大地作背景，一簇簇细密的枝柯交错颤动，密密麻麻的叶子飘飞，有不尽的苍翠幽清之意。虽然画面结构常常是密不透风，但整体给人的感觉竟是异常的空明与冷逸。

与他晤谈，才知道他画山水，有三大高师。一位是魏紫熙，著名的新金陵画派代表人物之一。曾听不少藏家说，魏紫熙山水画的成就是被低估了。而魏紫熙当年非常喜欢的一位勤学好练的弟子，就是朱道平。那时朱道平与魏紫熙的儿子正好是同学，近水楼台，免不了常向魏紫熙请教。甚至常常向魏老借了李可染等名家的画，拿到家里临摹学习。而魏老也非常慷慨，从不拒绝。现在回想起来，这样的机会，实在太难得了。没有人再会把这样价值数百万的画拿出来给人临摹。

后来到了南京书画院。与大书法家林散之碰上。林老以书法名于世，其实在朱道平看来，他的绘画成就更高。当时看到朱道平的作品，爱才心切的林老激动不已，他连续给朱道平写了多封信，信中满是夸奖之语。可惜，这些信不经意间都丢失了，“因为都是夸奖的话，就有些不太在意。”朱道平竟有些不好意思。

幸运的是，朱道平后来又遇到一位名师，就是自己的岳父苏天赐——江苏油画的领军人物。虽然画的品种不同，但朱道平却从岳父的画面中学到了色彩的运用方法——那种异常简淡的画面语言、高度概括的笔触，给了他很深的影响。翁婿俩平时的交流并不算多，但以画为话，却似乎有说不尽的话要讲。

朱道平自己，也不免要感激这三位大师的引领。人生能有这样的幸遇，一辈子便拥有了取之不尽的精神财富。但机缘巧合，只是成功的条件之一。朱道平今天在山水画上的成就，更多地应该得源于他内在唯美、浪漫却又质朴的绘画力量吧。

 朱道平的山水画，最强烈的印象便是线与点的交响，纵横交错，繁简穿插，虚实相映，构筑出一幅幅清逸幽遂、静雅柔美的意象境界。它们并不具有视觉冲击的震撼力，却有着沁人心脾的感染力；它们并不具有客观世界的真境实感，却是令人神往的理想家园；它们既蕴含着传统艺术的神韵，却又散发着现代审美意识的灵性。

倘若借用传统绘画的品评标准，朱道平的山水应当列入逸品。明代唐志契《绘事微言》中写道：[逸虽近于奇，而实非有意写奇；逸虽不离乎韵，而更有迈于韵。其笔墨之正行欲止，其丘壑之如常少异，令观者泠然别有意会，悠然自动欣赏。]这番话用在朱道平作品的审美品位上大体贴切。当然，他的逸才旧式文人画的逸在精神内涵和艺术语言上都有很大区别，因而应称之为“现代逸品”。

 看朱道平的山水画作品，常常会产生既熟悉又陌生的感觉。熟悉的是那一望可知的、极富个性特色的绘画风格，陌生的是他的绘画面貌变化常常出人意表，令人惊喜；这是道平的画吗？这难道不是道平的画吗！那些变化意味着画家“行万里路”，有了对大自然更深的颖悟，画路拓展得更宽阔了。 　我想用两个字概括朱道平的山水画风，不知确也不确？那就是清与奇。

清与奇是朱道平对当代山水画审美境界的丰富与延展，其实也是画家本真性情的自然表露。

朱道平的作品有一种蕴涵于内的抒情诗意和音乐感。那是贯注于创作的取材、命意、绘画语言、画面构成、意境的形成诸多方面的一种全息的印象。有时表现为平和、舒缓的情感流淌，也有时呈现出激越的情绪迸发，而总体上的审美表现是清明的、优美的、沁人心脾的，有着内在的文人气质，然而并不超凡脱俗，而是与现代的人文环境、时代感情声息相通。

朱道平的山水画常见的有两种面貌，一种是粗笔写意画法，而更多的是点、线交织，结合色墨晕染。他用纤细的、颤动的线表现浮云、流水、树丛，那种外柔而内刚的线是百炼成钢的绕指柔，点线交织构成苍茫、带几分神秘的氛围，画面通透、清爽而不淡薄。

他笔下的山体变幻不定，是有生命的，令人感觉群山在奔腾、跃动，有时又似乎突然立住，睥睨排傲，不可一世。那灵感来源，当与他七上黄山，远赴新疆，临大漠，登井冈山，饱览天下名山大水的丰富经历有关，而其感情深处则是对金陵胜景的久久对晤，相看两不厌的情结所系。

朱道平画的《山道九曲上青天》，表现了对井冈山的独特印象。不少画家画过井冈山，也都感到井冈山的植被太茂盛了，很难画，朱道平笔下的井冈山被郁郁葱葱的树木所笼罩，山势峻厚，苍翠幽深，为他平时的作品中所少见，在山脉上部有一道亮光，那是蜿蜒而下的山路，仔细看去，路上还有行人与汽车。沿路往上看，有一道雾气把远山隔开，云端浮出一轮红日，画面层次井然。欣赏画时，仿佛在听画家娓娓谈讲一路观景的感受。

看他1998年作的《夕照图》，与他作于2005年的《大漠夕晖》相似，后者似乎是在更高的视点上统览眼前的一切，大溪、群山绵延浩渺，全被一片夕晖照映得浑沌莫辨，而在天地相交处，有一群飞鸟掠过。前景上留出一些细碎的空白和亮色，如珠玉般闪光。

《夕照图》和《山道九曲上青天》形成强烈的冷暖色调对比，两画构图繁密，设色又与画家平素的画风迥然有别。朱道平自由地驱遣笔墨，在清华之中有深厚，而深厚之中又透出奕奕清气。

朱道平也向其他画种拓展，他与苏凌合作的漆画《夏华秋实》在第十届全国美术作品展中获得了金奖。《夏华秋实》风格接近于朱道平山水画的密体一路，作品将水墨画自由灵动的点线趣味，融入大漆皱漆工艺，以厚薄不一的漆皱表现荷花叶与梗的丰富肌理，再用蛋壳层层着花，磨出后妙趣天成，生动地呈现出江南夏秋之交三秋桂子、十里荷香的意趣。

画家在不同画种之间“串门”互动，会得到启迪，使两者都从中获益，得到提升，这种情况又不独朱道平为然。

 Profile

Zhu Daoping, a native of Huangyan, Zhejiang Province. Good at Chinese painting. Born in 1949, Landscape Painter, Director of China Artists Association, National First-Class Artist. He is currently the president of Nanjing Academy of Calligraphy and Painting, the vice-chairman of Jiangsu Art Association, the chairman of Nanjing Art Association and the vice-chairman of Jiangsu Art Association's Chinese Painting Arts Committee. Graduated from the Department of Fine Arts, Nanjing Academy of Art. In 1994, it was granted a special allowance by the State Council Government, and Jiangsu Province was awarded the title of young and middle-aged expert with outstanding contribution.

Honor

Published "Zhu Daoping Landscape Essays", "Zhu Daoping Landscape Works Selection", "Zhu Daoping Ink Collection" and so on. His works have participated in many large-scale national art exhibitions and won many awards. In 1973, the work "Night School Learning Return" was selected for the first time in the national art exhibition. Since then, all works have participated in major national and provincial exhibitions over the years. The work "suspected that the Milky Way falls nine days" won the bronze prize of the second national youth art exhibition. The "Autumn River Twilight" won the excellent prize of the first national landscape painting exhibition, "Jinggang Haoqi Tu", "Spring Rhyme" and "Shanxiangjin". Autumn was selected for the 7th, 8th and 9th National Art Exhibitions. It was awarded the 7th and 8th National Awards for Excellent Works. In 1986, it first held a personal art exhibition in Jiangsu Museum of Art. Since then, there has been an exhibition or joint exhibition. It has been lecturing and visiting abroad for many times and held art exhibitions. He has been to Japan, Singapore, Malaysia, Korea and the United States to hold an exhibition and won many awards. He has also been to Japan, Singapore, Malaysia, Korea and the United States to hold a solo exhibition.

Zhu Daoping (1945 -), graduated from Nanjing Academy of Art. Now he is the director of China Artists Association, president of Nanjing Academy of Calligraphy and Painting, chairman of Nanjing Artists Association and vice chairman of Jiangsu Artists Association. Since its entry into the National Art Exhibition in 1973, Night School Return has been selected as the vice-president of Nanjing Academy of Calligraphy and Painting in 1987 and president in 1993. The work "Suspecting the Ninth Days of the Galaxy" won the third prize of the 2nd National Youth Art Exhibition, the Spring River Rain was awarded the "New Man's Exhibition" prize, the Taihu Lake Early Spring was awarded the bronze prize of the "Four Seasons of China" Art Exhibition jointly organized by China and Japan, the Autumn River Twilight Rhyme was awarded the first national excellent landscape painting prize, and the Water Village Golden Autumn was selected as the 8th National Excellent Works Ex 。 In 1994, it was awarded special government allowance by the State Council.

Born in Huangyan, Zhejiang Province, 1949. Now he is the president of Nanjing Academy of Calligraphy and Painting, Yiji Artist, Director of China Artists Association, Vice Chairman of Provincial Art Association and Chairman of Nanjing Art Association.

1973 "National Chinese Painting Comic Show"

In 1974, he entered the National Art Exhibition on the 25th Anniversary of the Founding of the People's Republic and studied at Nanjing Art College.

Graduated from Fine Arts Department of Nanjing Academy of Art in 1977

In 1980, he won the bronze prize in the Second National Youth Art Exhibition and went to Eastern Zhejiang to sketch.

Painting in Northwest China in 1983

1986 Jiangsu Museum of Art held an exhibition of works

In 1987, he was selected as Vice President of Nanjing Academy of Calligraphy and Painting as "New Artists Exhibition" of China Association of Arts.

In 1988, he went to Yungui to sketch and became a second-class national artist.

In 1989, he entered the 7th National Art Exhibition of Chinese Painting and published Zhu Daoping's Collection of Landscape Sketches.

1990 Tokyo Solo Exhibition, Hong Kong "Jinling Scenic Site" Solo Exhibition, went to Northeast, Xinjiang sketch, published "Selected Works of Zhu Daoping"

In 1991, he jointly organized the "Four Seasons of China" Painting Exhibition between China and Japan and won a bronze prize. Going to Singapore to hold the "Three Friends of Jinling" Painting Exhibition

In 1992, he entered the Shenzhen International Ink and Wash Painting Exhibition and went to the Three Gorges to sketch. He was a national first-class artist.

In 1993, he entered the First National Landscape Painting Exhibition of China Association of Fine Arts and won an excellent award. He published Zhu Daoping's Collection of Excellent Ink and Wash Works and was appointed President of Nanjing Academy of Calligraphy and Painting.

In 1994, he participated in the "Eighth National Art Exhibition Excellent Works Exhibition"; he went to Malaysia to hold a personal painting exhibition; he participated in the "New Literature Painting Invitation Exhibition" in Nanjing, and was awarded a special government allowance by the State Council.

In 1995, he entered the "National Invitation Exhibition of New Literature Paintings" in Shanghai and won the Academic Sincerity Award of Chinese Paintings by the Institute of Fine Arts of the Chinese Academy of Arts. He went to Inner Mongolia to sketch.

In 1996, he participated in Beijing's "Painting Exhibition of Famous Landscape Painters in Jinggang of Love" and "Hangzhou Exhibition of New Literati Painting". Hong Kong Art Museum's "Traditional and Innovative 20th Century Chinese Painting Exhibition" (Hong Kong, Singapore, London British Museum, Cologne East Asian Art Museum Tour Exhibition), and was invited to visit the United States to visit art galleries, museums.

In 1997, he was exhibited at the "Return of Hong Kong to China Art Exhibition" of the Ministry of Culture, the "Contemporary Mountain Watermarking Image" exhibition of Beijing and the "National New Literature Painting Exhibition" of Beijing. He visited Korea to hold the "Joint Exhibition of Zhu Daoping's and Jin Shuangji's Works" and the "New Miao of Jiashu" exhibition in Hong Kong, USA, and went to Wu

In 1998, he entered the "Contemporary Chinese Landscape Painting and Oil Painting Landscape Exhibition" of the Ministry of Culture, and won the award of "Time Style" Painting Exhibition of the Chinese Association of Fine Arts. He also entered the Shenzhen Ink Biennale and Macao Ink and Wash Trio Exhibition.

In 1999, he exhibited the Ninth National Art Exhibition of Chinese Painting and the Invitation Exhibition of Chinese Art at the Gate of the Century in Chengdu, visited France and held the exhibition of works of Nanjing Academy of Calligraphy and Painting.

In 2000, he joined the National Chinese Painting Exhibition 2000, Finland's Chinese Landscape Painting Exhibition, Shenzhen's International Biennial of Urban Ink and Wash Painting, Nanjing Trio Exhibition of Jinling Scenic Site and Summer Painting Exhibition of the Royal Academy of Art, and went to Tibet for sketching.

In 2001, he participated in the "Hundred Years Chinese Painting Exhibition" of the Chinese Association of Fine Arts and won the "National Art Exhibition on the 80th Anniversary of the Founding of the Party" Award for outstanding works. He participated in the "Huzhou New Literature Painting Exhibition", "New Academy Style" Shanghai Nanjing Exhibition and the "Royal Academy of Art Summer Painting Exhibition" in the United States Publishing the Painting Collection Jinling Scenic Site

In 2002, it was exhibited in Nanjing and Beijing "Ten Excellent Painters in Jiangsu", "Urban Ink and Wash" Biennale in Shenzhen and "Contemporary Korean-Chinese Painters Exhibition" in Seoul.

In 2003, it was exhibited in the 2nd National Landscape Painting Exhibition of China Association of Fine Arts, Beijing's "Colorful Ink Realm" and "Oriental Rhyme" exhibitions.

In 2004, his works were exhibited at the 10th National Art Exhibition, the Chinese Painting Exhibition and the Exhibition of Excellent Works, and the lacquer painting Xia Hua Qiu Shi won the gold medal of the 10th National Art Exhibition. CCTV Science and Education Channel Special Interview Report (September), two weeks of lecture at the Chinese University of Hong Kong.

I don't care. According to Gao Yun, deputy director of Jiangsu Provincial Department of Culture and a famous painter, in the recent joint exhibition of excellent works of the National Academy of Painting held in Wuhan, Jiangsu has three winners: Zhu Daoping, Guo Ziliang and Li Jinguo. But when asked about Zhu Daoping himself, he was confused and confused.

Looking at Zhu Daoping's paintings, we can feel that they are very beautiful. Look at the autumn forest in his works, the clear and sparse earth background, a cluster of fine branches staggering and trembling, dense leaves fluttering, there are endless green and delicate meaning. Although the structure of the picture is often airtight, the overall feeling is unusually clear and cold.

Talking with him, he learned that he painted mountains and rivers, and that there were three great teachers. One is Wei Zixi, one of the famous representatives of the New Jinling Painting School. Many Tibetans have heard that the achievements of Wei Zixi's landscape paintings have been underestimated. And Zhu Daoping was one of Wei Zixi's favorite disciples who studied hard and practiced well. At that time, Zhu Daoping and Wei Zixi's son happened to be classmates. Near the water terrace, they often asked Wei Zixi for advice. Even often borrowed the paintings of Li Keran and other famous artists from Wei Lao, and got them to copy at home for study. And Wei Lao was very generous and never refused. In retrospect, such an opportunity is really rare. No one will ever copy a painting worth millions of dollars.

Later, he went to Nanjing Academy of Calligraphy and Painting. Meeting Lin San, a great calligrapher. In fact, according to Zhu Daoping, his painting achievement is higher. Seeing Zhu Daoping's works at that time, Lin Lao, who was full of love and talent, was very excited. He wrote many letters to Zhu Daoping in succession, which were full of praise. Unfortunately, these letters were inadvertently lost, "because they are all praises, some do not care about it." Zhu Daoping was a little embarrassed.

Fortunately, Zhu Daoping later met another famous teacher, his father-in-law Su Tianzhi, the leader of Jiangsu oil painting. Although there are different kinds of paintings, Zhu Daoping learns from his father-in-law's pictures the use of color - the unusually simple picture language and highly generalized brush strokes, which have a profound impact on him. Usually, the communication between the husband and son-in-law is not much, but in the words of painting, there seems to be endless words to say.

Zhu Daoping herself is also grateful for the guidance of these three masters. Life can have such a good fortune, a lifetime will have inexhaustible spiritual wealth. But chance coincidence is only one of the conditions for success. Zhu Daoping's achievements in landscape painting today are more due to his inner aesthetic, romantic and simple painting power.

Zhu Daoping's landscape paintings, the strongest impression is the symphony of lines and points, criss-crossing, simple and interlaced, virtual and real contrast, to build a clear and quiet, elegant and soft image realm. They do not have the power of visual impact, but have the power of refreshing appeal; they do not have the reality of the objective world, but they are fascinating ideal homes; they contain the charm of traditional art, but also radiate the spirituality of modern aesthetic consciousness.

If we borrow the evaluation criteria of traditional paintings, Zhu Daoping's landscape should be included in leisure products. In Ming Dynasty Tang Zhiqi's Painting Stories, Weiyan wrote: [Yiyi is close to strange, but not intentional; Yiyi is not separated from rhyme, but more striding than rhyme. Its pen and ink are just going to stop, and its hills are as rare as ever, which makes the viewer lingran unconscious, leisurely and automatic appreciation. ] These words are generally appropriate in the aesthetic taste of Zhu Daoping's works. Of course, the leisure of his old literati paintings is very different in spiritual connotation and artistic language, so it should be called "modern leisure".

Looking at Zhu Daoping's landscape paintings often produces a sense of familiarity and strangeness. Familiar with the predictable, highly personalized painting style, strange is that his painting often surprising changes in appearance; is this a Daoping painting? Isn't it Daoping's painting? Those changes mean that the painter "travels thousands of miles", with a deeper insight into nature, the road of painting is wider. I want to sum up Zhu Daoping's landscape painting style in two words. I don't know whether it is true or not. That is Qing and Qi.

Qing and Qi are the enrichment and extension of Zhu Daoping's aesthetic realm of contemporary landscape painting. In fact, they are also the natural expression of the painter's true nature.

Zhu Daoping's works have a sense of lyric poetry and music. It is a holographic impression focusing on the material, intention, painting language, picture composition, artistic conception formation and many other aspects. Sometimes it is expressed as a peaceful and soothing flow of emotions, sometimes it is shown as a surging burst of emotions, while the overall aesthetic performance is clear, beautiful, refreshing, with an inherent literati temperament, but not extraordinary, but closely linked with the modern humanistic environment and the emotional voice of the times.

Zhu Daoping's landscape painting has two common features, one is rough brush freehand brushwork, and the other is dot-line interweaving, combined with color and ink halo dyeing. He uses delicate and trembling lines to show clouds, running water and bushes. The soft and rigid lines are made of steel. The dots and lines interweave to form a vast and mysterious atmosphere. The pictures are transparent, refreshing and not light.

The mountains in his works are changeable and life-like. It makes people feel that the mountains are rushing and jumping. Sometimes they seem to stand suddenly and look arrogant and arrogant all the time. The source of inspiration is related to his rich experience of climbing Mount Huangshan seven times, traveling to Xinjiang, facing the desert, climbing Jinggangshan, and enjoying the world's famous mountains and rivers, while his deep feelings are related to the long-term meeting and endless seeing each other of Jinling's scenic spots.

Zhu Daoping's "Nine Songs of Mountain Road Up to Qingtian" expresses his unique impression of Jinggangshan Mountain. Many painters have painted Jinggangshan, but they also feel that the vegetation of Jinggangshan is too lush to draw. Zhu Daoping's Jinggangshan is covered by lush trees. The mountains are steep and verdant. It is rare in his usual works. There is a bright light in the upper part of the mountain. It is a winding mountain road. Look carefully at the road. There are also pedestrians and cars. Looking up along the road, there is a mist separating the distant mountains. A red sun rises above the clouds and the pictures are well arranged. When you appreciate the painting, you seem to be listening to the artist talking about the feeling of sightseeing along the way.

Look at his "Sunset Picture" in 1998, similar to his "Desert Sunset" in 2005, the latter seems to be a higher point of view to see everything in front of us, the river, mountains are vast, are all confused by a sunset, and at the intersection of heaven and earth, there is a group of birds passing by. In the foreground, there are some fine blanks and bright colors, like pearls and jade.

There is a strong contrast of warm and cold tones between the two paintings. The composition of the two paintings is dense and the color setting is quite different from the painter's plain style. Zhu Daoping freely dispatched ink and brush, which was deep in Tsinghua, and deep in which there was a clear air.

Zhu Daoping also expanded to other kinds of paintings. His lacquer painting Xia Hua Qiu Shi, which he cooperated with Su Ling, won the gold medal in the 10th National Art Exhibition. The style of Xia Hua Qiu Shi is close to that of Zhu Daoping's landscape paintings. The works incorporate freely and vividly the point and line interest of ink paintings into the process of large lacquer wrinkles. The rich texture of lotus leaves and pedicels is expressed by varying thickness of lacquer wrinkles, and then flowers are laid on the eggshells layer by layer. After grinding, the works are interesting and vivid, showing the third turn of summer and autumn in the south of the Yangtze River. Autumn Guizi and Shili lotus fragrance are interesting.

The artist's "door-to-door" interaction between different kinds of paintings will be enlightened, so that both of them can benefit and be promoted, which is not the only reason for Zhu Daoping.