1949年出生于辽宁省盖县，号“伏虎草堂主人”。幼年随母亲描花绘草画人。十五岁时拜辽东名士李笑如为师。其艺术道路主要靠自学成家，专攻画虎，兼研山水及其他。他笔下的虎突破了传统的表现形式，被冠上“天下第一虎”的美誉。 第十、十一届全国人大代表，中国美术家协会理事，国家一级画家，中国工笔画学会副会长，辽宁省美协副主席。
多年来，冯先生先后在北京、香港、日本、台湾、新加坡、法国、澳大利亚等国家和地区举办展览，作品多次入选全国性大展并获奖。作品《苏醒》、《母与子》入选《中国现代美术全集》;作品《苏醒》、《惊梦》入选"中国百年画展"及《中国百年画集》;有18件作品为中国美术馆收藏，另有数十件作品被国内外重要美术馆、专业机构及收藏家收藏。冯先生在日本、香港以及中国荣宝斋、杨柳青、人民美术出版社等出版机构已出版多种画集、画谱。

1984年 作品《苏醒》获第六届全国美展银奖(与宋雨桂合作)
1985年 作品《初雪》获全国青年美展二等奖
1988年 作品《早春》获中国工笔画首届大展金牌
1991年 作品《晚霞》获第二届中国工笔画大展银奖
1992年 作品《母与子》入选《中国美术五十年》(1942-1992)大型画集
1993年 获国务院特殊津贴待遇
1994年 作品《霜晖》获第三届中国工笔画大展一等奖
1994年 作品《艳阳》获第八届全国美展优秀作品奖
1995年 被辽宁省政府授予“优秀专家”荣誉称号
1999年 参加中华人民共和国文化部组织“悉尼中国年艺术展”，悉尼，澳大利亚
2000年 参加中华人民共和国文化部与联合国教科文组织联合举办的“中国艺术展”，巴黎，法国
被评为“中国百年百名优秀画家”
被辽宁省委宣传部授予“德艺双馨”艺术家称号
当选辽宁省美术家协会副主席
2001年 作品《苏醒》《惊梦》入选“中国百年画展”，同时入编《中国百年画集》
再次被辽宁省委授予“优秀专家”荣誉称号
当选为第五届中国美术家协会理事
2002年 受中央军委委托为“八一大楼”作《白虎图》
应邀赴澳大利亚为“中国艺术展”做评委，悉尼，澳大利亚
参加中国美术家协会组织“告别三峡”写生
再次被辽宁省政府授予“优秀专家”称号
应邀出席“世界文化节”活动，台湾
2003年 历任辽宁省政协第六、七、八、九届委员后，当选第十届全国人民代表大会代表
当选第六届中国美术家协会理事
2006年 作品《幽谷之馨》参加“辉煌五十年”作品展，沈阳，中国
应中国作家协会邀请参加“国际华人滕王阁文会”，南昌，中国
2007年 揭裱旧作《苏醒》进行再次创作
2008年 当选第十一届全国人大代表
大型现代建筑“冯大中艺术馆”在辽宁开工建设

艺术视角

图腾崇拜是一种最原始[9]的宗教形式，约发生于氏族公社时期，它指的是原始人认为本氏族的人和某种特定的物种有着亲密的关系而对之加以崇拜和供奉的现象。虎图腾文化详实于我国先秦神话地理志《山海经》，并在民族融合中发展、流变，形成特有的虎文化。随着宗教的发展，有着猛兽和神兽双重身份的虎，更是深深地根植于道、佛、萨满等宗教的信仰中，并影响到了人们的信仰与生活。以虎为对象的绘画作品也是比较早的出现在宗教题材中。六朝时期最有影响力的画家张僧繇就是其中的代表人物，他的创作以绘饰佛寺壁画为主。张僧繇吸取天竺的没骨法，使观者“远望眼晕如凹凸，就视乃平”，被称为“张家样”。唐人著录中他有《维摩诘像》、《吴王格虎图》、《横泉斗龙图》等传世。可惜《吴王格虎图》今已不存，虎画风格实难考证。但在南宋以后，随着文人绘画的兴起，这个题材被逐渐地民间化、世俗化。及至今日，很多艺术家已经不敢触碰它，怕被贴上庸俗的标签。冯大中以他的独特视角及表达方式向世人重新展示了这一古老题材的视觉可能，并以此开拓了动物题材的一种新的发展方向。
生门蹊径

传统与创新是每一个时代的艺术家都要面对的问题，我们今天耳熟能详的艺术家，如五代的荆、关、董、巨;元代的黄、王、吴、倪;清代的四僧等等，他们之所以从时代背景中脱颖而出，正是因为他们每一个人都有自己独特的造型语言体系，也就是说他们每一个人都是因为创新而引领时代。这些先贤的创新在为我们开启一种全新的观看方式时，也为我们的创新设置了一座座山峰。每一位试图创新的艺术家都必须去翻越这些高峰——传统，正如李可染先生所言：“用最大的功力打进去，用最大的勇气打出来”。
五代董源说过：“师今人不如师古人，师古人不如师自然，师自然不如师造化”。这句话道出了艺术家创新的不二法门，这里面的古人我们可以理解为传统，自然可以转化为写生，而造化则是对万事万物的根本理解，或者说是万事万物的运转之理。其实，这三者之间是相互依存，相生相长的，不能截然分开。首先说传统，他是前人在观察自然体悟造化的基础上创造出来的视觉形象，那么，这个视觉形象体系就蕴涵着自然规律以及造化之理。如果我们足够的聪慧和敏感，在学习传统的过程中就可对自然及造化进行参悟。自然的运转无处不体现着造化的奥妙，我们对造化的认识一定是在观察自然的基础上进行抽象总结的。可以说，在我们的创新之路上，传统与自然是我们的具体切入点，而其高标则是通过这二者去理解造化。
画虎美学

他笔下的虎继承前人又超越前人，自创一格，为美术创作提供了可资借鉴的综合创新的宝贵经验。
艺术创新是时代的审美要求，是一个民族富有活力和创造精神的表征。冯大中在以虎为题材的创作中，表现出艺术创造的智慧和胆识，取得了令人羡慕的艺术成就。
中国有崇尚虎的文化传统。我姑且称之为“虎文化”。虎文化有丰厚、深远的积淀，渗透到审美与价值观念等许多方面。“虎虎有生气”、“龙腾虎跃”、“虎踞龙盘”，这些词语不仅象征着生气与活力，非凡的风范与气度，还表征着一种宏观气象。
历代画虎、欣赏虎，成为一种习尚。在艺术创作中有人把深厚的传统当作历史的包袱，甩掉为快，所以要“反传统”。冯大中不是抛弃而是深深扎根中华传统文化之中，作透彻的研究与分析，有所扬弃，有所发展。
冯大中作为时代的画手，首先要突破传统画虎的套式，进行新的美学思考。他从环境生态美学角度，从中华文化的积淀中，更从对虎的深入观察中，开拓新题材，提炼新主题，创造新技法。他笔下的虎充盈着勇武雄强之变，荡漾着母子亲情、天伦之乐，甚至离情别绪，他常采用拟人化的方法，借虎言志、抒怀。他的这种充满浪漫主义精神的艺术创作，强化、丰富了虎画的意蕴与精神内涵，开一代新风。
《月满青山》堪称杰作。画家从环境生态美学的审美视角结构画面，创造出未被污染的一片净土。皓月当空，大壑苍茫，瀑布化作奔腾跳跃的溪流，一对虎情侣畅饮清泉。借以讴歌大自然的生命与永恒。因为太多的“世外桃源”被野蛮的摧毁了。在冯大中的一系列作品中，内涵着呼唤保卫地球家园、珍惜生态环境的强烈意识。
画家在《摇篮》中题道：“摇篮乃母爱以缕缕情思所编织，内中蓄满了无私与圣洁、温馨与甘美、祈盼与祝福。”特别是小虎以妈妈的前臂为枕，后脚丫在睡梦中还顽皮地蹬着慈母的嘴巴。表现出画家对生活观察的精微。
画虎，动态神情的微妙难以捕捉，虎的性灵与情趣尤难传达。冯大中的成功，基于他对生活的深入体察与揣度。《夏梦》中三虎睡态各异，或酣睡如醉，或睡眼惺忪犹在梦中。画家在描绘中注入美丽的梦幻，梦得温馨烂漫。一切意味情趣全由微妙的艺术处理中得之。绘画的生动、神韵、情味是绘画的生命，冯大中以他的神来之笔在一系列作品中作了成功的艺术传达。而这些传达是以扎实的造型基本功和新创造的技法语言为依托的。冯大中笔下的虎有骨、有肉、有神，皮毛彪炳斑烂，连毛色的光泽感也表现出来了。他的艺术巧夺造化之功，古今无出其右者。
冯大中以虎蜚声画坛，其实他的山水画亦相当出色。其山水画的特点是注重整体效果，追求画境的单纯与幽深。他长于删拨大要、剪却杂芜，用全力去把握画面的整体氛围、情调、气象。他把造境放在首位。
在他的笔下，大野苍茫之境，长白雪月之境，秋山沉醉之境，春山晓雾之境，芦花霜晨之境，梨花春雨之境，都意味深长，动人情思。
正因为他山水画的功力深厚，善于创造画境，他才能“放虎归山”，把虎置于他创造的特定情调氛围之中，使虎与境化，相得益彰，增添了不尽的艺术感染力量。开创了工笔虎崭新的技法：尽精刻微的笔法如同丝绣发编，“丝毛”不落笔痕。
大中的工笔虎有独特的绘画语言，尽精刻微的笔法如同丝绣发编。工笔画画得精细易，画出学识难。大中的工笔画画得轻松，轻松中显露出画家深厚的学养，看上去细而不腻，工而不匠。大中驾驭整体画面的能力极强，画出了工笔画难有的气势。不少美术工作者，对大中的工笔虎的“丝毛“不落笔痕，百看不解，甚至想掀起画轴，从背后瞧瞧那绒嘟嘟的虎毛是怎样从纸上长出来的。大中的工笔虎，是以破锋笔细丝而成，那柔韧蓬松的毛绒和美丽的斑纹，系留白所致，未施一点儿白粉，妙自天成。故能使整个画幅，在磅礴里显示出一种特有厚味、高趣、雅情。冯大中笔下的虎有骨、有肉、有神，皮毛彪炳斑斓，连毛色的光泽感也表现出来了。
他极尽绘画的精微，这恰如他把虎含蓄化那样，并不以剑拔弩张的线条和纵肆泼放的墨色取胜，而以尽精刻微的笔法与月色朦胧般的谐和性表现见长，以至于从不妄下每道笔痕，他把工笔画之工推向了极致，但感觉上却很超逸轻松，令人叹为观止。他并不像民间艺术人那样把虎的色彩强化，而是把色彩淡化、雅化。他很少画激烈运动中的虎，而是把虎静化、柔化，在静态的造型上和形体的转折中内涵着力。在威猛与柔静之间，在整体气势与精谨表现之间体现着对立统一的辩证关系。
他把造境放在首位。在他的笔下，大野苍茫之境，长白雪月之境，秋山沉醉之境，春山晓雾之境，芦花霜晨之境，梨花春雨之境，都意味深长，动人情思。正因为他山水画的功力深厚，善于创造画境，他才能“放虎归山”，把虎置于他创造的特定情调氛围中，使虎与境化，相得益彰，增添了不尽的艺术感染力量。恋虎情缘——对虎这种动物的情感；如何开始画虎；形成自己风格的过程。

Born in 1949 in Liaoning Province, the county, "Fu Hu cottage owner". Childhood with his mother painted flowers painted grass. At the age of fifteen, thanks to Li Xiaoru for Liaodong celebrities. Its art mainly depends on the road to get married, specializing in painting, and the landscape and other research. He's a tiger break through the traditional forms, is considered "the best in all the land tiger" in the world. Tenth, the eleven National People's Congress, director of Chinese Artists Association, a national level artist, vice president of China Institute of painting, vice chairman of Liaoning artists association.
Over the years, Mr. Fung has held exhibitions in Beijing, Hongkong, Japan, Taiwan, Singapore, France, Australia and other countries and regions, works have been selected for the National Exhibition and award. Works of "awakening", "mother and son" in "modern art" the complete works of Chinese; "Wake", "dream" in China Centennial Exhibition "and" China century painting "; 18 Works for Chinese museum collections, dozens of works by domestic and foreign art galleries, professional institutions and collectors. Mr. Feng in Japan, Hongkong and China rongbaozhai, Yangliuqing, people's Fine Arts Publishing House Publishing Agency has published many paintings, painting.1984 work "Wake" won the Sixth National Art Exhibition silver (with Song Yugui)
1985 work "first snow" won the two prize in the National Youth Art Exhibition
1988 works "early spring" was the first Chinese painting exhibition gold medal
In 1991 the "sunset" works won the second China silver Painting Exhibition
1992 work "mother and son" named "Chinese art fifty years" (1942-1992) large paintings
In 1993 by the State Council special allowance
1994 work "cream Hui" won the third prize China Painting Exhibition
"The sun" in 1994 works won the outstanding works award in the Eighth National Art Exhibition
In 1995 by the Liaoning provincial government awarded the "outstanding experts" honorary title
1999 to participate in the People's Republic of China Ministry of culture organization "Sydney China Art Exhibition", Sydney, Australia
People's Republic of China, France and the United Nations Educational, scientific and cultural organization and the United Nations Educational, scientific and cultural organization, the "China Art Exhibition", Paris, France, 2000
Was named "China's 100 years of outstanding artists"
Liaoning provincial Party Committee Propaganda Department was awarded the "distinguished artist" title
Elected vice chairman of Liaoning Artists Association
2001 work "Wake" "dream" in Chinese Centennial Exhibition ", at the same time for the" China century painting "
Liaoning provincial Party committee was awarded the honorary title of "excellent experts"
Elected to the Fifth China Artists Association
2002 commissioned by the Central Military Commission for the "white tiger building" as the "white tiger"
Invited to Australia for the "Chinese Art Exhibition" to do the judges, Sydney, Australia
To participate in the Chinese Artists Association, "farewell to the Three Gorges" painting
Again by the Liaoning provincial government awarded the "outstanding experts" title
Invited to attend the "World Cultural Festival" activities, Taiwan
In 2003 sixth, seven or eight former Liaoning provincial CPPCC, nine members, elected to the Tenth National People's Congress
Elected Sixth China Artists Association
In 2006 the "valley of the Xin" in the works of "Fifty glorious years" exhibition, Shenyang, Chinese
Chinese Writers Association invited to participate in the "international Chinese Pavilion of Prince Teng", Nanchang, China
In 2007 the mounting works "Wake" re creation
Elected in 2008, the Eleventh National People's Congress
Large modern architecture "Feng Dazhong Art Museum" in Liaoning construction

Artistic perspective
Totemism is a most primitive [9] religious form, about to the clan commune period, it refers to the primitive people believed that the clan people and certain species have close relationship and to worship and worship phenomenon. The tiger totem culture detailed in geography "pre Qin myth China The Classic of the Great Wilderness", and in the national integration in the development and evolution, formed a unique culture of tiger. With the development of religion has a dual identity of the beast and Animal Tiger, is deeply rooted in Taoism and Buddhism, Sa Man and other religious beliefs, and affects people's faith and life. The tiger as the object of the painting is also relatively early in the religious themes. The most influential of the Six Dynasties painter Zhang Sengyao is one of the representative figures, his creation to paint the mural. Zhang Sengyao learn Tianzhu boneless, make the audience "Yuanwang dizzy such as convex, as is called" flat ", like zhang". The description of his "Vimalakirti like", "tiger", "Wu Wang grid Hengquan dragon map" and handed down. Unfortunately, the "Wu Wang grid map" has not kept the tiger, tiger paintings style is difficult to research. But after the Southern Song Dynasty, with the rise of the literati painting, this theme has been gradually folk, secular. Until today, many artists have been afraid to touch it, for fear of being labeled vulgar labels. Feng and his unique perspective and expression to the world to show the people of this ancient theme of visual possible, and in order to open up a new direction of the development of animal subjects.
Door line
Tradition and innovation every times artists have to face the problem, we have today for having heard it many times artists, such as the five generation of Jing Guan, Dong Yuan and Ju; Huang, Wang, Wu, Ni; four monks in the Qing Dynasty and so on, they are from the background of talent shows itself, it is because each of them individuals have their own unique language system, that is to say each one of them is because innovation and lead times. The sages of the innovation in the open a new way of looking for us, also set up a mountain for our innovation. Every attempt to innovative artists have to go over the traditional peak, as Mr. Li Keran said: "with the most went out with the greatest courage".
Five Dong Yuan said: "the teacher today than the ancients, the ancients as division of natural division, naturally as nature". This sentence tells the artist innovation the only proper course to take it, we can understand the ancient tradition, nature can be transformed into the painting, and nature is the fundamental understanding of everything, or is everything in the operation of. In fact, the three are interdependent, mutual, not completely separate. The first tradition says, he is created based on the observation of natural understanding on the nature of visual image, so the visual image system contains the laws of nature and of nature of science. If we are smart and sensitive, learning traditional process can be on the nature and nature of enlightenment. An operation of nature everywhere embodies the nature of it, our understanding of nature must be abstract summary in the observation of nature on the basis of. It can be said that in the us the way of innovation, tradition and nature is a specific starting point for us, while its high standard is through the two to understand nature.
Painting tiger Aesthetics
He's a tiger inheriting and surpassing predecessor, created a grid, and provides valuable experience for reference for the comprehensive innovation of art creation.
Artistic innovation is the aesthetic requirement of the times, and it is a characterization of a nation's vitality and creative spirit. Feng Dazhong in the tiger as the theme of the creation of artistic creation, showing wisdom and courage, enviable artistic achievement.
China has the cultural tradition of advocating tiger. I call it the "tiger culture". Tiger culture has rich and profound accumulation, penetrate into the aesthetic and value concepts, and many other aspects of. "Like a tiger" and "a scene of bustling activity", "these words are not only a forbidding strategic point", a symbol of vitality, style and extraordinary tolerance, but also represents a kind of macro weather.
Enjoy the ancient painting tiger, tiger, become a kind of fashion. In the creation of art, it is a profound tradition as the burden of history, to get rid of the fast, so to the "anti tradition"". Feng Dazhong is not abandoned but deeply rooted in the traditional Chinese culture, for a thorough research and analysis, has been abandoned, some development.