李翔一九六二年十月出生于山东临沂，现任解放军美术创作院常务副院长，全国政协委员，中国美协中国画艺术委员会副主任，中国美术家协会理事、北京美术家协会副主席,中国画学会副会长、中国书法家协会理事、中国油画学会理事，中国艺术研究院美术研究员等职，享受国务院政府特殊津贴。先后就学于解放军艺术学院和中央美院。多年来勤奋努力，创作了大量美术作品，参加过许多全国性重要展览。组织并主持过许多全国、全军性的美术展览和学术研究活动并多次担任全国、全军美展评委。作品曾在第八届、第九届、第十届全国美展中获奖。全国第二届速写大赛获一等奖，作品选入全国中国画百年大展和首届、第二届、第三届北京国际双年展。代表作品有《红色乐章》、《画兵》、《父老乡亲》、《原乡》、《扎西平措上尉和阿爸阿妈》等。许多作品被中国美术馆、国家博物馆、北京市美术家协会等海内外收藏机构收藏。出版作品集多种。

李翔画作

 1987 年-1991 年在解放军艺术学院美术系国画班学习4年。李翔1990 年10 月，速写作品《集市》获全国第二届速写大赛一等奖。

1991 年1 月，加入北京美术家协会。7 月，创作的毕业作品《红色沂蒙》获北京市庆祝建党70周年美展优秀作品奖并被北京市美术家协会收藏。

1992 年5 月，创作沂蒙山题材的国画作品《正月正》并入选纪念“5.23”讲话全国美展。 7 月，调到总政文化部文艺局负责全军美术、书法的组织、创作工作并组织举办建军65 周年全军美展。

1994 年3 月，加入中国美术家协会。6 月，随中国军乐团出访芬兰；创作国画《红色乐章》获第八届全国美展优秀作品奖；组织“迎第八届全国美展全军美术创作班”。

1995 年7 月，被批准为全国青联委员。9 月，组织全军获奖画家赴齐鲁沿海、新疆边防写生。

1997 年8 月，组织举办“纪念建军70 周年全国美展暨第九届全军美术作品展览”；设计建军70 周年邮票一套五枚（合作），全国发行。

1998 年5 月，组织部队画家赴广西、贵州山区写生。 9 月，参加“第五次全国美术家代表大会”，任中国美术家协会理事。1999 年8 月，组织举办“第九届全国美展全军美术创作班”； 创作作品《画兵》获第九届全国美展铜奖。

2000 年6 月，组织部队获奖画家赴欧洲7 国访问。 8 月，组织“全军画家高级造型研究班”；出版《发现、再现、表现》、《百日素描体验》素描集；参加“第四次全国书法家代表大会”，任中国书法家协会理事。

2001 年2 月，作品《红色乐章》入选“百年国画大展”（国家文化部、中国美协主办）。 6 月，组织举办“第三届全军书法作品展览”。9 月，进入中央美院第十二届油画助教研究班学习，重点研究彩墨湿画系列技法。 

2002 年7月，组织举办“第十届全军美术作品展览”；创作作品《民乐》。

2003 年5 月，作品《原乡》参加“首届北京国际双年展”。7 月，组织举办“首届全军书法骨干培训班”；参加“第六次全国美术家代表大会”，连任中国美协理事；应邀参加“迎元宵中华杰出青年代表团”访问台湾；当选“全国青联书画工作委员会”主任；组织举办“万众一心抗非典，浓墨重彩绘英雄”全国名家邀请展。

2004 年7 月，组织“全军第十届全国美展创作班”；创作作品《父老乡亲》获全国十届美展铜奖；任中央电视台举办的首届“杏花村汾酒集团杯”全国电视中国画大赛评委。11 月，参加中国青年代表团，随团中央第一书记出访韩国、日本，其作品分别赠送韩国总理、日本首相。 

2005 年5 月，组织30 多名著名青年美术家赴青海三江源写生并在中国美术馆举办了“同一条河——全国著名中国画家作品展”。

李翔画作

 殷双喜

今天的社会，是一个视觉的社会，影像与图像已经成为社会生活中的一种物质性力量，参与社会历史的进程。特别是那些当代艺术家生产的图像，已经脱离开艺术的膜拜价值，成为与社会过程互动的一种力量。这一点，我们可以举谢海龙的《大眼睛女孩》为例，这幅著名的摄影作品由于反映了乡村女孩在艰难生活中对于学习的渴望，从而推动了中国“希望工程”的迅速发展。从这样的艺术图像在社会传播中所产生的巨大能量中，我们可以看到，今天的艺术不再被看作只是“反映”和“沟通”我们所生活的世界，它也参与创造这个世界。在当代的艺术图像世界中，个体与民族的信念、价值和欲望也日益通过图像被建构、被折射或者被扭曲。

在我看来，军旅画家李翔的一系列主题性中国画，就是这样一种积极参与社会历史进程的艺术，为我们提供了一种对当代社会的独特的观看方式。李翔的作品，着眼于民族的命运和视觉记忆，关注社会弱势群体，反映了当代中国社会发展的大趋势。但是他的作品不是记录式的社会学图像，而是体现了个体与民族的信念和价值。德国著名哲学家黑格尔曾经在《美学》一书中曾提到艺术对于一个民族的重要性，就在于后来的人可以通过艺术了解一个民族的精神发展史。如果某一个民族在自己的历史发展过程中，没有留下丰富而鲜明的人物群像，那么，在后代的视觉历史中，由于这个民族的人物画的图像和影像模糊不清或空白，我们对于它的了解就会失去判断的基础和了解的可能性。

在这一点上来看李翔的人物画创作，就可以看出其艺术价值就在于，李翔以其对于人物画的本质性理解，将艺术家的真诚感受放在第一位，直面生活，真实地书写现实中国的普通人，为我们留下了当代中国人的可信形象。李翔在作品中弱化了新中国主题性绘画传统中的故事与情节因素，着眼于突出人物形象的刻画。在这一过程中，李翔没有停留在一般意义上的客观再现，而是重视自己的主观体验，他将自己对人物心理活动的感应能力，转换为艺术图像的创造，以极具视觉穿透力的表现手段，表现日常生活在人物面部和身体上留下的痕迹。他没有简单地“美化”笔下的人物，而是追求客观对象的真实与艺术家感受性的真实的内在一致性，在反映现实人物的形象的同时，也反映他们所处的具体历史环境，从而揭示出他笔下的人物(主要是军人与农民)在当今时代的精神状态。

 Li Xiang, born in October 1962 in Linyi, Shandong Province, is currently the executive vice president of the Academy of Fine Arts Creation of the People's Liberation Army, the member of the National Political Consultative Conference, the vice-director of the Chinese Painting Art Committee of the Chinese Association of Fine Arts, the director of the Chinese Artists Association, the vice-chairman of the Beijing Artists Association, the vice-chairman of the Chinese Painting Society, the director of the Chinese Calligrapher Association, and the Chinese Oil Director of the Society and art researcher of the Chinese Academy of Art enjoy special allowances from the Government of the State Council. He studied at the PLA Academy of Art and the Central Academy of Fine Arts. Over the years, he has worked hard to create a large number of works of art and participated in many important national exhibitions. He has organized and presided over many national and military art exhibitions and academic research activities, and has served as the judges of national and military art exhibitions for many times. His works have won prizes in the 8th, 9th and 10th National Art Exhibition. The 2nd National Sketch Competition won the first prize. The works were selected into the 100th National Chinese Painting Exhibition and the 1st, 2nd and 3rd Beijing International Biennale. His representative works include "Red Movement", "Painting Soldier", "Fathers and Villagers", "Hometown", "Captain Zhaxi Pingtuo and his parents". Many works have been collected by China Art Museum, National Museum and Beijing Artists Association. Published a variety of works.

From 1987 to 1991, he studied in the Chinese Painting Class of Fine Arts Department of PLA Academy of Art for four years. In October 1990, Li Xiang won the first prize in the 2nd National Sketch Competition for his sketch work Fair.

In January 1991, he joined the Beijing Artists Association. In July, the graduation work Red Yimeng was awarded the Excellent Works Award of Beijing Art Exhibition celebrating the 70th anniversary of the founding of the Party and was collected by Beijing Artists Association.

In May 1992, the Chinese painting "Zheng Yue Zheng", which created Yimengshan theme, was included in the National Art Exhibition in commemoration of "May 23" speech. In July, it was transferred to the Literature and Art Bureau of the Ministry of General Administration and Culture to organize and organize the art exhibition for the 65th anniversary of the founding of the army.

In March 1994, he joined the Chinese Artists Association. In June, he visited Finland with the Chinese Military Orchestra, won the Excellent Works Award of the Eighth National Art Exhibition for the creation of the Chinese painting Red Movement, and organized the Army Art Creation Class for the Eighth National Art Exhibition.

In July 1995, he was approved as a member of the National Youth Federation. In September, award-winning artists from the whole army were organized to go to the Qilu coast and Xinjiang frontier defense to sketch.

In August 1997, the National Art Exhibition and the Ninth Army Art Exhibition were organized to commemorate the 70th anniversary of the founding of the army. A set of five stamps (cooperation) for the 70th anniversary of the founding of the army was designed and issued nationwide.

In May 1998, army painters were organized to go to the mountains of Guangxi and Guizhou to sketch. In September, he participated in the Fifth National Congress of Artists and served as the director of China Artists Association. In August 1999, the Ninth National Art Exhibition Army-wide Art Creation Class was organized and the work Painting Soldier won the bronze prize of the Ninth National Art Exhibition.

In June 2000, award-winning artists from the army were organized to visit seven European countries. In August, he organized the "Advanced Modeling Research Course for Army Painters"; published the sketch collection "Discovery, Reproduction, Performance" and "100-day Sketch Experience"; participated in the "Fourth National Calligrapher Congress" and served as the director of the Chinese Calligrapher Association.

In February 2001, the work "Red Movement" was selected as the "Centennial Chinese Painting Exhibition" (sponsored by the Ministry of Culture and the Chinese Art Association). In June, the Third Army Calligraphy Exhibition was organized. In September, he entered the 12th Oil Painting Assistant Research Class of the Central Academy of Fine Arts, focusing on the techniques of wet color ink painting series.

In July 2002, the 10th Army Art Exhibition was organized and the creation of Folk Music was held.

In May 2003, the work "Original Township" participated in the "First Beijing International Biennale". In July, he organized the "First Army Calligraphy Backbone Training Course"; participated in the "Sixth National Congress of Artists" and was re-elected as a member of the Chinese Association of Artists; was invited to attend the "Chinese Outstanding Youth Delegation Welcoming the Lantern Festival" to visit Taiwan; was elected as the director of the "National Youth Federation Calligraphy and Painting Working Committee"; organized the "All-in-One-One Anti-SARS" campaign. Invitation Exhibition of National Famous Artists.

In July 2004, he organized the 10th National Art Exhibition Creation Class of the whole army, won the bronze prize of the 10th National Art Exhibition for his work "Fathers and Villagers", and was the judge of the 1st National TV Chinese Painting Competition "Fenjiu Group Cup of Xinghua Village" held by CCTV. In November, he attended the Chinese Youth Delegation and accompanied the First Secretary of the Central Committee of the delegation to visit Korea and Japan. His works were presented to the Prime Minister of Korea and the Prime Minister of Japan respectively.

In May 2005, more than 30 famous young artists were organized to sketch in Sanjiangyuan, Qinghai Province, and an exhibition of works of famous Chinese painters from the same river was held in the Chinese Art Museum.

Yin Shuang Xi

Today's society is a visual society. Images and images have become a material force in social life and participate in the process of social history. Especially those images produced by contemporary artists have been separated from the worship value of art and become a force of interaction with social process. In this regard, we can take Xie Hailong's "Big Eye Girl" as an example. This famous photographic work reflects the rural girls'desire for learning in their hard life, thus promoting the rapid development of "Hope Project" in China. From the tremendous energy produced by such artistic images in social communication, we can see that today's art is no longer regarded as merely "reflecting" and "communicating" the world we live in, but also participating in the creation of the world. In the contemporary world of artistic images, the beliefs, values and desires of individuals and nations are increasingly constructed, refracted or distorted through images.

In my opinion, a series of thematic Chinese paintings by Li Xiang, a military painter, is such an art that actively participates in the process of social history and provides us with a unique way of viewing contemporary society. Li Xiang's works, focusing on the fate and visual memory of the nation and the vulnerable groups in society, reflect the general trend of social development in contemporary China. But his works are not recorded sociological images, but reflect the beliefs and values of individuals and nations. Hegel, a famous German philosopher, once mentioned the importance of art to a nation in his book Aesthetics, because later generations could understand the spiritual development history of a nation through art. If a nation does not leave rich and distinct portraits in its own historical development process, then in the visual history of future generations, because the images and images of the nation's portraits are blurred or blank, our understanding of it will lose the basis of judgment and the possibility of understanding.

From this point of view, we can see that the artistic value of Li Xiang's figure painting lies in his understanding of the essence of figure painting, putting the artist's sincere feelings in the first place, facing life directly, and writing real ordinary people in China, leaving us a credible image of contemporary Chinese people. In his works, Li Xiang weakens the story and plot factors in the thematic painting tradition of New China, focusing on the portrayal of prominent characters. In this process, Li Xiang did not stop at the objective reproduction in the general sense, but paid attention to his subjective experience. He transformed his ability to sense the psychological activities of characters into the creation of artistic images, and expressed the traces of daily life on the faces and bodies of characters by means of visual penetration. 。 Instead of simply "beautifying" the characters in his works, he pursues the inner consistency between the reality of objective objects and the reality of artists'perception. While reflecting the images of realistic figures, he also reflects the specific historical environment in which they live, thus revealing the essence of the characters in his works (mainly soldiers and peasants) in the contemporary era. The state of God.