孙永

 1984年荣获第六界全国美展铜质奖。

1989年出版《孙永画集》。

1998年出版《孙永画册》。

1998年获浙江省小品画展金奖。

1999年被中国文联授予“1999年中国百杰画家”称号。

锦泉斋美术馆推荐孙永作品欣赏 

2000年再次被中国文联授予“2000年中国百杰画家”称号。

2002年出版《当代名家青绿山水精品—孙永》。 历年来以有数百幅作品出版，艺术经历已被列入数十种艺术专业辞典。

2005年任浙江省文联委员

2005年入选浙江省"五个"一批人才

《水乡 风情图》获第六届全国美展铜奖，并为中国美术馆收藏；《幽居夜色》参加第一届全国山水 画展，《山野天真图》参加第三届全国山水画展。作品有《春雨霏霏水乡》、《寒夜之慰藉 》等。

孙永自序

自弱冠始，常以稚拙心智频频涂鸦，稍长后愈加浸淫其中——曾经冒天下之不韪，于同窗间以逃学旷课而著称。缘由矢志于绘事，竟令师长无语而免罚。

早年既视业界前辈为今生楷模，希翼而立后能蜕变成他们——即便是下乡务农季，依旧青灯黄卷而笔耕不辍……

不期，幸运之神眷顾，于上世纪70年代末金榜题名，为首届山水研究生，师从恩师俨少陆公——俨然是“贫儿暴富”而一发不可收。

学业有成，遂根系浙江画院，从此咬定青山不放松，风雨摇曳间如白驹过隙，暮然回首，几度春秋？

年少从业，不免时有蹉跎、游离和彷徨，甚至倒行逆驰……庆幸的是终究恪守底线。不论如何探幽涉远或百般诉求，从未敢忘恩师所嘱：四分读书，三分写字，三分画画。逝水流年间，凡过目所睹，情至所致，唯幸万般情愫均一一化作笔墨留痕为证。

于今回眸从艺求索之轨迹——致广大或致精微，无不涉猎。可谓两极具备，不乏派生，又时有意外斩获，鉴此林林种种，足可聊以自慰。

时至当前，虽诗酒年华已逝，华发垂暮日臻，依旧壮心不已而只争朝夕——画人终究还要以画说话。宿愿所图：不为浮云而甘当磐石——以期永存也。

2014年春仲

《模山范水——孙永写生集》序

中国画的“山水”相对西画的“风景”而言，两者根本的区别在于——前者承载着本民族更多广博丰厚的“隐喻”、“诗性”和“哲思”的人文内涵。

山水画在我国千年绘画传承发展的长河里一直扮演着主角——历朝历代被推崇公认的代表人物均以山水画家为主（而西方一直以人物画为主）。这一独特的历史现象背后其实无不蕴含着诸如“以物励志”、“以境养心”、“触景生情”，或是“以丘壑抒胸怀”和“林泉高致”等等祖先的哲思导向和人文积淀。这种人与自然、文化、艺术四者间如此紧密、和谐地联结并完美彰显的艺术形式，在世界艺术之林中无疑是唯一并至高的。

中国的山水画自五代、两宋至元代业已登峰造极，而明、清两代数百年却被世风困囿、衰萎于前人之蕃篱——笔墨甜俗而庸懒，技法陋陈而僵滞，意境苍白而虚无……总之，那种既程式化且教条化的艺术形态，已被后人广为诟病（而恰恰在此消彼长的定律下，花鸟画倒是脱颖而出了几位旷世奇才）。

由兴盛转而衰落，究其根本，初前三四百年的山水画鲜有本章可寻，画人唯有以自然风物为师，潜心揣摩，悉心领悟，自成体系后方可成为楷模而流芳后世（前些年我去太行山荆浩隐居地采风写生时对此感触颇深）。而后之五六百年，则因为有了大量前人存遗的本本，惰性地依样画葫芦在所难免，闭门抄袭蔚然成风，当年的人们都时尚般地浸淫于前人之衣钵，“只知其然，不知其所以然”地纷纷“东施效颦”，于是便一个个地自觉或不自觉地沦为前人的“小妾”或甘为“奴才”……

直至上世纪中叶，随着新中国的建立，有一大批从旧社会走进新时代的山水画家，他们正是在新兴的主流价值观的感召下，时不我待地焕发出了艺术青春—如傅抱石、李可染、陆俨少，还有钱松喦、宋文治等等，都纷纷背起行囊，走出画室，上山下乡，跋山涉水，直面祖国大好河山、人文遗存和革命圣地。通过实地的采风、写生等不同形式，先后提出了“与古人血战”、“待细把江山图画”和“为山河立传”等学术主张，随后以各自超群的才情和能力，立竿见影地创造出了一大批极富民族特色又颇具时代特征，并足以树碑立传的精品力作，致使当年业已沉寂了五六百年的山水画坛，刹时风生水起而令世人刮目……

斗转星移，物是人非。老前辈已经先后离我们而去，他们生前呕心沥血的艺术精华已逐渐被人们淡忘或视而不见（除了其固有的货币价值之外）。因为今天的我们正在经受着改革开放和市场经济大潮的荡涤考验—原本的价值已被扭曲，原来的标准正被异化，原有的底线却被突破—人们开始因浮躁而失去信仰，因趋利而失去诚信，因贪婪而自甘堕落……在一个被忽悠得颠三倒四的社会背景下，我们又何来独善其身？我们是否已在不经意间将前辈的优良传统给淡忘了？玩丢了？今天除了权力、地位、金钱，还有几人真正地“志存高远”、“青灯黄卷”而“厚积薄发”？今天的人们就这么将岁月蹉跎掉而不去担当？以后我们又有什么脸面去正视前辈的在天之灵？又拿什么向我们的后人作个正面交待？辗转反侧不禁让我愈加惆怅……

然而当下，最令我忧心的是我们业界的主观意识和生态环境——画山水的人，往往将自己封闭在一个个都市钢筋水泥的丛林中聊以度日，人生所有的欲望都在其中被满足。哪怕偶尔外出，也只是象征性地“走马观花”或“到此一游”罢了，回到画室依旧“老方一帖”地周而复始。如今中央号召大家“走基层”，对我们业界来说尤为及时和必要。也只有等到大家的自觉意识转化为自觉行动，真正地去“亲山爱水”，我们山水界才真正有救、有希望了。

我自上世纪70年代和“写生”结缘，至今算来已近40年。由近及远，从南至北，九州方圆凡是向往的地方已然载入了自己的写生册中。无论用铅笔、炭笔、钢笔，也无论用水墨、浅绛或重彩等不同形式，汇总累计已不下两三千帧之巨，今天能将其中遴选出的200余件付梓面世，聊以慰抚几十年为之付出的心血和艰辛，也权作以往艺术征程上阶段性的一次小结。

通过几十年不间断的写生，总结了如下几点感悟：

写生——前人启示我们要认真地去“模山范水”，严肃地去“师法自然”，虚心地去“师造化”；

写生——如同我们的身体要不间断地补充养分，使肌体持续拥有活力和朝气；

写生——能让笔墨技法不断有所创变，表现能力不断增强；

写生——能使我们对大自然逐渐领悟、懂得敬畏，以自然为师；

写生——是人与自然的真诚沟通和交流，至高境界是让你“胸怀丘壑”而“放眼世界”。

此序此集，真心诚意地敬请业界同仁点拨为感。

孙永

2011年立冬于杭州屏峰山下坐卧山房

 In 1984, he was awarded the Copper Prize of the Sixth National Art Exhibition.

Sun Yong's Paintings was published in 1989.

Sun Yong's Painting Book was published in 1998.

In 1998, he won the gold medal of Zhejiang Sketch Painting Exhibition.

In 1999, he was awarded the title of "1999 Chinese Baijie Painter" by the Chinese Federation of Literature.

Jinquanzhai Art Museum recommends Sun Yong's works for appreciation

In 2000, he was awarded the title of "Chinese Baijie Painter 2000" by the Chinese Federation of Literature.

In 2002, Sun Yong, a famous contemporary artist, was published. Over the years, hundreds of works have been published, and art experience has been listed in dozens of art dictionaries.

Member of Zhejiang Literature Federation in 2005

In 2005, he was selected as a group of "five" talents in Zhejiang Province.

"Water Township Character Map" won the bronze prize of the 6th National Art Exhibition and was collected by the Chinese Art Museum; "Living in the Night" participated in the 1st National Landscape Painting Exhibition; and "Mountain Innocence Map" participated in the 3rd National Landscape Painting Exhibition. His works include "Spring Rain and Water Township", "Comfort on a Cold Night" and so on.

Sun Yong's Preface

Since the beginning of the weak crown, often with childish mind graffiti frequently, later more immersed in it - once risked the world, between the classmates to truancy and famous. The reason for this is that he is committed to painting, so that the teacher is silent and exempted from punishment.

In his early years, he regarded his predecessors as the model of his life and hoped that they could be transformed into them when he stood up. Even during the farming season in the countryside, he was still working with green lights and yellow rolls.

Unexpectedly, lucky god, in the late 1970s, Jinbang was named as the first landscape graduate student, who was taught by a teacher like a young Lu Gong, who was just like a "poor child getting rich" and could not be received.

Academic success, then rooted in Zhejiang Academy of Painting, from then on bite the green hills do not relax, the wind and rain swaying like a white foal across the gap, evening look back, how many Spring and Autumn?

Young employees are inevitably stumbling, wandering and hesitating, even going backwards and backwards... Fortunately, we stick to the bottom line after all. No matter how far you go or how you want to go, you never dare to forget what your teacher told you: four points of reading, three points of writing, and three points of drawing. In the past years, all the feelings that we have witnessed and witnessed are the result of our feelings. Fortunately, all kinds of feelings have been turned into ink marks as evidence.

Looking back at the trajectory of pursuing art today - to be broad or delicate, all involved. It can be said that the two poles are well-prepared, many derivatives, and sometimes unexpected harvest, in view of this forest, enough to console ourselves.

At present, although the years of poetry and wine have passed away, and Chinese hair is dying, they are still ambitious and strive for the day and night - the painter will eventually have to speak with painting. Desire picture: not for the floating clouds and willing to be a rock - in order to survive forever.

Chunzhong, 2014

Preface to Sun Yong's Biography Collection

The fundamental difference between the "landscape" of Chinese painting and the "landscape" of Western painting lies in that the former carries more extensive and rich humanistic connotations of "metaphor", "poetry" and "philosophical thinking" of the nation.

Landscape painting has been playing a leading role in the development of thousands of years of painting in our country - landscape painters have been the main representatives of the past dynasties (while figure painting has been the main western). Behind this unique historical phenomenon are the philosophical orientation and humanistic accumulation of ancestors, such as "inspiring by things", "nourishing the mind by circumstances", "touching the scenery to create feelings", or "expressing the mind by hills" and "elegant forest springs". This artistic form, which is so closely and harmoniously linked with nature, culture and art and perfectly manifested, is undoubtedly the only and supreme one in the world's art forest.

Chinese landscape painting has reached its peak since the Five Dynasties, the Song Dynasty and the Yuan Dynasty, while the Ming and Qing Dynasties have been trapped by the world's customs for centuries and declined to the hedge of their predecessors - sweet and lazy brush and ink, poor and stagnant techniques, pale and empty mood... In a word, the art form that is both stylized and dogmatic has been widely criticized by later generations (and precisely under the law of decline and decline, flower-and-bird painting stands out from the rest of the world).

From prosperity to decline, the first three or four hundred years of landscape painting rarely find this chapter, painters only take natural scenery as a teacher, deliberately speculate, fully understand, self-contained system can become a model and popular later generations (I went to Jinghao, Taihang Mountains, seclusion to draw life when I felt very deep about this). In the next five or six hundred years, because of a large number of original works of predecessors, it is inevitable to draw gourds lazily and copy them behind closed doors. In those days, people were fashionably immersed in their predecessors'clothes and bowls, and "just know what they are, don't know why they are doing it" one after another, so they were consciously or unconsciously. Jue Di became a concubine or a slave of his predecessors.

Until the middle of the last century, with the establishment of the new China, a large number of landscape painters from the old society into the new era. They are inspired by the emerging mainstream values, and they radiate their artistic youth at any time - such as Fu Baoshi, Li Keran, Lu Lishao, Qian Songxiao, Song Wenzhi, and so on. They all go back one after another. Bao, out of the studio, went to the mountains and countryside, trudged mountains and rivers, facing the motherland's great rivers and mountains, cultural relics and revolutionary holy places. Through the different forms of on-the-spot collecting and sketching, the academic propositions such as "bloody war with the ancients", "painting of rivers and mountains in detail" and "biography for mountains and rivers" have been put forward successively. Then, with their respective superb talents and abilities, a large number of extremely rich national characteristics and characteristics of the times have been created immediately, which are enough to build a monument for immediate transmission. Excellent works, resulting in that year has been silent for five or six hundred years landscape painting circle, suddenly the wind and water rise and make the world eye-catching...

Everything changes from person to person. The older generation has gone away from us. The essence of their life's pains has been gradually forgotten or ignored (except for their inherent monetary value). Because today we are experiencing the test of reform and opening up and the tide of market economy - the original value has been distorted, the original standard is being alienated, the original bottom line has been broken - people began to lose faith because of impetuosity, loss of integrity because of profit, and willingness to degenerate because of greed... In a society that has been tricked upside down, how can we be good at ourselves? Have we inadvertently forgotten the fine traditions of our predecessors? Lost? Today, in addition to power, status and money, how many people are really "ambitious", "green light yellow roll" and "thick accumulation thin hair"? Today's people just waste their time instead of taking on it? What face do we have to face up to our predecessors in the future? What can we say to our descendants in a positive way? Tossing and turning makes me more melancholy...

At present, however, what worries me most is the subjective consciousness and ecological environment of our industry, the people who paint landscapes, often enclosed themselves in the jungle of urban steel and cement to spend their lives, in which all the desires of life are met. Even if occasionally go out, it is only symbolic "go on a horse and watch flowers" or "come here for a visit", returning to the studio is still "old Fang Yi Tie" recurring. Now the central government calls on us to "go to the grass-roots level", which is particularly timely and necessary for our industry. Only when everyone's conscious consciousness is transformed into conscious action and we truly "love mountains and rivers", can our landscape industry really be saved and hopeful.

It has been nearly 40 years since I got married with "sketching" in the 1970s. From near to far, from south to north, every place Jiuzhou Fangyuan yearns for has been included in his sketch book. No matter using pencils, charcoal pens, pens, ink, shallow silk or heavy colors, the total number of frames has not exceeded two or three thousand. Today, more than 200 of them can be selected for publication. It is also right to make a summary of the past artistic journey in stages in order to comfort the pains and hardships that have been paid for decades.

Through decades of uninterrupted sketching, the following points are summarized:

Sketching - Our predecessors inspired us to seriously "model mountains and rivers", seriously "learn from nature" and modestly "learn from nature".

Sketching - like our bodies need to constantly supplement nutrients, so that the body has continued to have vitality and vitality;

Sketching - can make the skills of pen and ink constantly innovative, performance ability constantly enhanced;

Sketching - can enable us to gradually understand nature, understand the awe, take nature as a teacher;

Sketching - the sincere communication and communication between man and nature, the highest realm is to let you "mind hilly" and "look at the world".

This series sincerely invites colleagues in the industry to make comments.

Sun Yong

Beginning of Winter in 2011, sitting in a recumbent mountain house at Pingfeng Mountain, Hangzhou