艺名孔紫，女，1952年12月生。1985年在浙江美术学院国画系进修，1989年毕业于解放军艺术学院美术系国画专业。现为中国美术家协会会员、中国工笔画学会会员、北京女画家联谊会会员、国家一级美术师。自1971年开始发表美术作品。

 作品多次参加全国美展，并赴台湾、香港、日本、韩国、澳大利亚等地区和国家展出，并有作品被中国美术馆等收藏。《藏女与墨牦牛》获“当代中国水墨新人奖”优秀奖并参加第七届全国美展，《青玉米》获“中国当代工笔画学会二届大展”三等奖，《苞谷熟了》获“东方杯国际水墨画联展”银牌奖，《微风》获“全国首届中国画展览”二等奖，《秋风》获“全国首届中国画展览”优秀作品，《十月》、《绿雪》获中国画学术精诚奖。1998年获《中国首届国画家学术邀请展》“国画家奖”，1999年作品《青春华彩》获《第九届全国美术作品展览》银奖，1997年被中国文联和中国美协评为“中国画坛百杰”。出版为《孔紫画集》。曾在北京、上海、深圳、桂林举办七人联展、五人联展、十人联展。1994年出版《孔紫画集》。《高粱青青》、《微风》被分别收入1992年、1993年《中国画年鉴》，《秋风》、《远山》被收《95中国水墨》画集。

 主题性创作是绘画中的交响乐

孔紫认为如果把美术作品以音乐类比的话，主题性创作应是绘画中的交响乐，这是由它本身所具备的诸多因素决定的：缜密的思想、深刻的内容、恢弘的气度、丰富的人文内涵、扎实的造型功力、整体画面的把握以及艺术上的完美表达。孔紫认为艺术是时代的，她有幸经历着中国正经历历史上前所未有的大变革，一切都鲜活地展示着其独特的生命力，给艺术提供了可驰骋的广阔空间。主题性创作是时代的歌者，是人类文明的浓缩和彰显，补充自己的知识积累，挖掘个人的智慧潜能，努力创作出与时代同步的作品，艺术家责无旁贷。

对精神的关照是中国画的根本

孔紫认为中国画高追求的精神性使其涵盖哲学、文学、宗教、意趣、性情……“形而上”是中国画最本质的一个特点，画家主观的意象美被强调，无论花鸟、山水、人物都贯穿了美的主观法则：如历代山水，宋人的折枝花鸟，唐代仕女等，这是人物画家在借鉴西方造型体系的同时应该引为思考的。传统是发展的，传统因发展才形成了今天看到的传统脉络。中国画在各个历史时代都带有那个时代的印迹，汉、唐、宋、元、明、清绘画，各具鲜明的时代面貌。传统因发展而充满生机，因时代而面貌鲜活。关照精神、关注时代，是中国人物画家学习传统、继承传统、发扬传统毋庸质疑的课题

 Kong Zi, female, was born in December 1952. He studied in the Department of Traditional Chinese Painting of Zhejiang Academy of Fine Arts in 1985 and graduated from the Department of Traditional Chinese Painting of the Academy of Fine Arts of PLA in 1989. Now he is a member of China Artists Association, China Fine Brushwork Association, Beijing Female Painters Association, and a national first-class artist. Artistic works have been published since 1971.

His works have participated in many national art exhibitions, and have been exhibited in Taiwan, Hong Kong, Japan, Korea, Australia and other regions and countries. Some of his works have been collected by the Chinese Art Museum. "Tibetan Woman and Ink Yak" won the "Contemporary Chinese Ink Novels Award" excellent award and participated in the seventh National Art Exhibition, "Green Corn" won the third prize of "Second Exhibition of Contemporary Chinese Fine Brush Painting Society", "Shugu Maturity" won the silver medal of "Oriental Cup International Ink Painting Joint Exhibition" and "Light Wind" won the second national first Chinese Painting Exhibition. First prize, "Autumn Wind" won the "National First Chinese Painting Exhibition" excellent works, "October" and "Green Snow" won the Chinese Painting Academic Sincerity Award. In 1998, he was awarded the First Chinese Painters Academic Invitation Exhibition, the Chinese Painters Award, the Ninth National Exhibition of Fine Arts in 1999, and the Chinese Federation of Chinese Literature and the Chinese Association of Fine Arts in 1997. Published as "Kong Zi Painting Collection". He has held seven, five and ten joint exhibitions in Beijing, Shanghai, Shenzhen and Guilin. In 1994, Kong Zi Painting Collection was published. Sorghum Qingqing and Breeze were included in the Chinese Painting Yearbook in 1992 and 1993 respectively. Autumn Wind and Far Mountain were included in the Chinese Ink and Wash Painting Collection in 1995.

Thematic Creation is Symphony in Painting

Kong Zi thinks that if we compare art works with music, thematic creation should be a symphony in painting, which is determined by many factors of its own: meticulous thought, profound content, magnificent bearing, rich humanistic connotation, solid modeling skills, mastery of the overall picture and art. Perfect expression. Kong Zi believes that art is the era, and she is fortunate to experience unprecedented changes in China's history. Everything vividly demonstrates its unique vitality and provides a vast space for art to gallop. Thematic creation is the singer of the times and the concentration and manifestation of human civilization. It is the duty of artists to supplement their own knowledge accumulation, tap their own wisdom potential and strive to create works synchronized with the times.

Concern for spirit is the foundation of Chinese painting.

Kong Zi thinks that the spirit of Chinese painting makes it cover philosophy, literature, religion, interest, temperament and so on. "Metaphysics" is the most essential characteristic of Chinese painting. The subjective image beauty of painters is emphasized. No matter the flowers and birds, landscapes, and characters, there are subjective laws of beauty: such as mountains and rivers of past dynasties, broken branches of Song people, beautiful women of Tang Dynasty and so on. This is what figure painters should consider while drawing lessons from the Western modeling system. Tradition is developing, and tradition has formed the traditional context that we see today because of its development. Chinese painting bears the imprint of that era in every historical era. Paintings in Han, Tang, Song, Yuan, Ming and Qing dynasties have distinct features of the times. Tradition is full of vitality because of its development, and its appearance is lively because of the times. It is an undoubted subject for Chinese figure painters to study, inherit and carry forward tradition by caring for spirit and times.