1904年生于东台安丰。

1919年（15岁）被上海美专以考试第一名成绩录取西画系。

1920年从上海美专肄业，进入商务印书馆印刷所学习设计，一直沿用至今的“马利”牌颜料商标即为其20年代的设计。

1921年起在上海商务印书馆印刷所图画部从事装帧设计。

1932年与友人创办学友图书社，任副经理、挂图部主任，从事教学挂图编绘与出版经营。

1932年1月28日，日本侵略军进攻闸北，戈湘岚亲自编绘出版了一组军民抗战的宣传挂图，激励全市民众的爱国热情。

1937年“八．一三”事变后，上海成为敌伪沦陷区。因出版“松沪战争”宣传挂图，遭日本宪兵搜捕。适逢外出会友，侥幸逃过灾难。

1938年，拒绝为日本当局编绘教育挂图推行奴化教育服务。始习中国画。

1940年，在上海举办首次个人绘画展览会，被赵叔孺先生接纳为入室弟子。

1942年为避战祸，举家避居扬州。

1946年，创作《神骏扬蹄》。

1949年，上海解放后进大中国图书局，任编委。

1955年进上海科学技术出版社，负责绘图工作。

1956年任教育图片出版社编绘部主任，被上海中国画院聘为画师。后历任上海教育出版社第三编辑室主任，

1961年起负责《辞海》编辑部植物部分的插图组长。

1962年任上海教育出版社编审。

1964年3月为上海豫园小刀会历史馆赶制《白马图》时，胆结石发作，英年早逝。

 戈湘岚以画马名世，擅善翎毛、花卉、鱼虫、走兽。建国初期更以饱满的创作热情深入生活，开掘题材，以传统的笔法融入西洋绘画的光影渲染，致力于现实主题性创作。观其艺术，成就卓著的无疑是兼工带写、神态各异的骏马了。

从他的师承分析，对中国历代画马名手结构广泛涉猎，取径多方，譬如，唐代韩?的用笔细劲浑穆，马身的肥腴有骨，姿态的雄骏豪纵；宋代李公麟勤于观察，“终日不去，几与俱化”的写生独创，以及元代赵松雪、任仁发的“法备而神完”，境开复格雅，清代波城画家郎世宁讲究结构、体积的写实技艺，其师赵叔孺精到的丝毛、配景特长，等等，经过他的取舍、鉴别，一一汇聚笔端，形成自家前期画马毛片细密，体态神骏，布景雅丽，后期笔录纵放，常以大笔泼墨画马的鲜明个性。 

《群马图》

在戈湘岚的《群马图》中，画家居然一笔不苟地画了上百匹骏马，计有白马、黑马、黄骠马、花斑马、雪青马……在广阔的草原上，或聚或散，或奋蹄驰骋，或扬鬃嘶鸣，或相互角力，或捉对嬉戏，无不形神兼备，情趣相谐；在表现技法上，勾勒精细，刚柔并济，设色雅致，虚实相生，呈现出叱咤风云的豪迈气概。

《八骏图》

在戈湘岚众多的画马佳作中，值得推荐的尚有早期作品四条屏《八骏图》，每幅绘骏马两匹，由画友朱渊补景，均结构准确，造型优美，缠绵厮磨者站于高冈，远山逶迤，布局平中见奇，许是长途跋涉后的片刻休憩，结伴饮水聆听水声者有之，顽石堆叠，枯木逢春，似有缕缕清风吹过；草坡食草半卧者有之，枝头红叶片片，俨然秋高气爽郊野邂逅，隔河相望者有之，一黑一白，双骏怡然自得。在画家的笔下，马是充满灵性、富有情感的，同大自然和谐相处，同人类相依为命，透过这些颇有人情味的画面，人们崇尚天人合一、人物共生的希冀愈发显得真诚和可贵。 《八骏图》的问世，还让识者领略到两位画家在艺术风格上能如此妥切、融洽，天作之合，画坛罕见。 

泼墨奔马

戈湘岚的绘画可以说是花卉、飞禽走兽无一不精，特别长于绘马，效法郎世宁的画法有西洋画风格，扬州博物馆曾收藏一幅他在抗战胜利后所作的泼墨奔马。郭沫若先生见后极为欣赏，为之题跋称“急驰如电，嘶声如雷，空有骅骝志，何处试霜蹄。” 

戈湘岚画犬

“戈君画犬气如虎，笔与而师写马同。便载猖獢驱驷驖，围场十月猎霜风。”（陈含光）

其作品被国家文化部门予以禁止出口

 Born in 1904.

 

In 1919 (15 years old), he was admitted to the western painting department by the first prize in the examination.

 

In 1920, he learned from the design of the printing shop of the commercial press and learned the design of "he" brand pigment trademark, which is the design of 20s.

 

Since 1921, graphic design has been carried out in the picture section of the printing Hall of the commercial press.

 

In 1932, he set up a school friend library club with his friends. He served as deputy manager and director of wall charts department. He was engaged in the compilation and publishing of teaching wall charts.

 

In January 28, 1932, the Japanese aggressor troops attacked the enemy. He personally published a group of publicity maps for the war of resistance against Japan, which inspired the patriotic enthusiasm of the whole city.

 

After the "August 1 three" incident in 1937, it became enemy enemy occupied area. Japanese gendarmes arrested him for publishing a wall map of the Songhu War. When I am out of town, I am lucky to escape the disaster.

 

In 1938, the Japanese authorities refused to compile educational wall charts to promote enslavement education services. Begin to learn Chinese painting.

 

In 1940, he held the first personal painting exhibition in Zhao Shuru, and was accepted as an entry student.

 

In 1942, to avoid war disaster, the whole family stayed away from home.

 

In 1946, the creation of "Shenjun Yangshou".

 

In 1949, after the liberation of China, the Greater China Library Bureau was appointed editor in chief.

 

In 1955, he entered the science and Technology Publishing House, responsible for drawing work.

 

In 1956, he was appointed director of the editing department of Education Photo publishing house, and was employed as a painter by Shanghai Chinese Academy of painting. He was the director of the Third Editorial Office of the post education press.

 

Since 1961, he has been in charge of the illustration group of the plant section in the editorial department of Cihai.

 

He was editor of the education press in 1962.

 

In March 1964, when the "white horse map" was made in the history Hall of the knives and knives Association, the gallstone attack died early.

 

Ge Xianglan is famous for drawing horses and is good at feathers, flowers, fish and insects, animals and animals. In the early days of the founding of the People's Republic of China, he went deep into life with full creative enthusiasm, explored themes, and integrated traditional brushwork into the light and shadow rendering of Western paintings, devoted himself to realistic thematic creation. Looking at its art, it is undoubtedly a part-time horse with different manners that has made outstanding achievements.

 

From the analysis of his disciple, the Chinese painting masters in the past dynasties were widely dabbled in various structures, such as the Han Dynasty in Zhao Songxue in the Tang Dynasty. They were very fat and full of bones and posture. In the Song Dynasty, they were diligent in observing, creating "all the days without going to the world" and creating the "law and God" in the Yuan Dynasty, such as "the preparation of the law and the end of God", and the Qing Dynasty's wave of Zhao Songxue. Lang Shining, a city painter, pays attention to the realistic skills of structure and volume, and his master Zhao Shulu's fine silk hair, special scenery matching skills, etc. After his choice and identification, he gathers the pen-ends one by one to form his early paintings of horses with fine, graceful body, elegant scenery, and late record indulgence. He often paints horses with large ink-splashing strokes with distinct personality.

 

Qunmatu

 

In gurhshan's "map of horses", the artist even drew hundreds of horses in a meticulous manner, including white horse, dark horse, Huang Piaoma, flower zebra and snow blue horse. In the vast grasslands, or gathering or dispersing, or struggling to gallop, or raising mans or hoarse, or competing with each other, or catching and playing, all shapes and spirits are compatible, and temperament and interest are harmonious. In terms of expressive techniques, the outline is refined, rigid, flexible, and elegant, and the reality and reality are mutually present.

 

Bajuntu

 

Among Ge Xianglan's many excellent horse paintings, there are still four screens of "Eight Juntu" worth recommending. Each painting has two horses, supplemented by his painter Zhu Yuan, with accurate structure, beautiful shape, lingering grinders standing on high hills, rolling mountains, and plain layout. Perhaps it is a moment of rest after a long journey, accompanied by drinking water to listen to the sound of water, stubborn stones stacked, withered trees in spring. It seems that there are wisps of wind blowing through the grass, and grass on the grass and half lying on the grass. There are red leaves on the branches, which seem to be crisp and crisp in the countryside. In the painter's works, horses are full of spirituality and emotion, live in harmony with nature and depend on human beings. Through these human-friendly pictures, people's desire to advocate the unity of nature and human beings and the symbiosis of characters is becoming more sincere and valuable. The appearance of "eight Jun diagram" has also made the artists understand the two artists in the artistic style so perfectly and harmoniously.

 

Splashing ink and galloping horses

 

Ge Xiang Lan's paintings can be said to be flowers, birds and beasts. They are especially good at painting horses. Lang Shining's style of painting is western style. The Yangzhou Museum once collected a splash horse after he won the war of resistance against Japan. After seeing it very much, Mr. Yu wrote a preface to it. He said, "rush like electricity, hissing like thunder, empty has Hua Zhi Zhi, where to try frost hoof."

 

Goxianglan Painting Dog

 

"Ge Jun paints like a tiger, with the same brush as his teacher. They carry rampant barracks to drive away the foals and hunt frost wind in October in the paddock. (Chen Hanguang)

 

Its works are banned from export by the State Cultural Department