霍春阳。1946年出生于河北省清苑县李庄乡李庄村，1969年毕业于天津美术学院并留校任教至今。历任天津美术学院中国画系系主任、教授、硕士研究生导师。现任天津美术学院美术馆馆长、天津美术家协会副主席、中国美术家协会会员、中国书法家协会会员、美国内森大学特聘教授、博士生导师、大中华学区专家委员会委员、天津画院院外画师、天津青年美协顾问、荣获天津高校名师称号。现任清华大学美术学院、天津音乐学院、山西师范大学、山西大学、烟台大学等高校客座教授、担任北京大学国学社专家顾问。天津市第九届、第十届政协委员。

霍春阳倾心元、明、清以来的文人画传统，经过对中国传统文化深刻领悟及对自然之美的悉心体味，潜心追求虚静空灵的艺术境界，以“净化人的心灵”为创作宗旨，是我国传统写意花鸟最具代表性的画家之一。

自1976年以巨幅作品《山花烂漫》名闻四方后，霍春阳一直执教于天津美术学院国画系，潜心花鸟画，成为当代最具代表性的写意花鸟大家之一。

霍春阳追求画的意境，用简约的形象表达出深沉、博大的意境。绘画中的用笔能传达情性，线条中轻重缓急的变化，更能呈现出一个人的思想、情感乃至学识修养。他的画中能有超凡脱俗的意境，主要得益于自己继承传统和文化上的积淀。在霍春阳看来，传统本身是一个博大的世界，经久弥远，是精神世界永恒的自由王国。

对于霍春阳的成功探索，美术界一直评价颇高。当代著名的写意人物画家赵星说：“最简单的一花一草在他的绘画中，都以境界的营造融入了画家已有的思想和情怀，这样的‘因心造境’，显示了画家厚重豁达的性格内涵和人格修养。”中国美术学院中国画系教授、著名画家吴山明说，霍春阳深厚的传统根基，才使他能够由传统而出新，形成有时代特征的个人画风。美术评论家薛永年更是赞叹霍春阳“是在物欲膨胀、生态危机的异化威胁中重建着充满自信的精神家园。”

“霍春阳个人画展”举办期间，他应邀到中央美术学院、清华大学美术学院做了题为《中国画笔墨的文化背景》学术讲座。霍春阳说：“举办讲座的目的，就是希望学子们能关注中国的优秀传统文化，所以我的研究生必须熟读《论语》。学生中有人问我，我在中国画史上最崇尚的画家是谁？我说，从当时在美院上学，到现在耳顺之年，不同时期崇尚的画家不一样，最后还是落脚在宋元上，因为它最能体现传统文化精神。中国画的文脉不是来自亚里士多德、柏拉图，它来自国学，来自孔子、孟子、庄子……中国画的根是传统民族文化。”霍春阳在《双清图》题跋中写道：“兴来磨就三长墨，写得芭蕉和梅花。骨格纵然清瘦甚，品高终不染尘埃。”人们都说画如其人，也许，这正是霍春阳画风和人格的最好写照。

相关教学及学术机构

霍春阳传统艺术研究会

清华美院霍春阳传统绘画研究室

北京凤凰岭霍春阳工作室

北京荣宝斋霍春阳工作室

北京霍春阳画苑

霍春阳花鸟作品

 1946-1999

1946年 出生于河北省清苑县李庄乡李庄村。

1965年 考入天津美术学院。

1969年 毕业并留校任教。

1976年 与孙其峰先生合作中国画《山花烂漫》参加第四届全国美展，作品被中国美术馆收藏。

1978年 在文化部中国画创作组作画。1979年 为人民大会堂、钓鱼台国宾馆作画。

1982年 参加在法国巴黎艺术沙龙举办的中国画展。

1983年 在河北省保定、秦皇岛，山东省青岛先后举办个人画展。

1984年 作品《林间》参加第六届全国美展。与孙其峰先生在沈阳举办二人联展。

1985年 加入中国美术家协会及天津书法家协会，参加由文化部及中国美术家协会组织、以叶浅予先生为首的中国美术家代表团赴香港举办当代中国画展，并进行文化交流活动。

1986年 任天津美术学院绘画系主任。赴美国达拉斯参加得克萨斯建州二百周年庆典，并进行文化交流活动。在山东省美术馆举办个人画展。参加首届全国花鸟展。

1987年 参加北京中国文化书院举办的进修班，联合举办南北方九人画展。当选为中国美术家协会天津分会常务理事。晋升副教授。

1988年 加入中国书法家协会。参加新文人画展。

1989年 赴日本福冈，美国夏威夷进行文化交流。在中国文化书院进修毕业。

1990年 参加东方美术交流学会五周年展览。在北京为天安门城楼作画《松梅香远》。为天津机场作画。

1991年 参加在北京中国画研究院举办的花鸟画邀请展。参加建党七十周年天津展。参加中国对外展览公司展览。参加在香港举办的霍春阳、赵松涛、孙克纲、杜滋龄四人联展。参加全国第七届花鸟画展。

1992年 任天津美术学院教授，并开始享受国务院颁发的特殊津贴待遇。担任天津市文联“文艺新星”评委会委员。创作《秀色秋来重》参加首届中国画艺委会举办的中国画展。

1993年 在中国艺术研究院中国画名家研修班进修艺术理论。创作《浩然天地秋》参加全国第八届美展。

1994年 中国艺术研究院中国画名家研修班毕业。

1995年 任天津美术学院中国画系主任。

1996年 由河北教育出版社出版《_二十世纪下半叶中国画家丛书》、《新文人画家作品精选集．霍春阳专集》。 1997年 由文化部、中国文联、中国美术家协会评为“中国画坛百杰”。

1998年 为人民大会堂小礼堂接待厅作画《清风高节》。

1999年 在天津举办“霍春阳画展”。在烟台市美术博物馆举办个人画展3

2013年送亲笔匾额 及筹集资金六十余万建造了李庄高中的大门及厕所等、。

2000-2013

由文化部艺术司、中国影视音像交流协会、影视传播中心、北京诺基亚经济文化发展公司联合出版发行《中国画名家技法》系列光盘。由中央美术学院出版名家、名教授经典教学系列片《写意花鸟技法与创作》，光盘由中国广播音像出版社出版发行。天津电视台拍摄播出大型系列书画专题片《书画英华·霍春阳的艺术境界》。由荣宝斋出版社出版《霍春阳画集》。

2001年由天津人民美术出版社出版《跨世纪杰出中国画作品集·霍春阳画集》。由中央电视台教育台拍摄《霍春阳花鸟画》专题片。由黑龙江美术出版社出版《名校名教授中国画赏析·霍春阳专辑》。

2002年由河北教育出版社出版《中国名家精品集·霍春阳专辑》。

12月，入选人民美术出版社出版《世纪风骨》中国当代艺术50家提名展暨作品集。

2003年入选中国画家提名展《作品文献集·花鸟卷》。入选民族出版社出版《东方之韵》2003年中国画成就展精品集。

2月，入选全国政协举办的天津十位画家进京展及由天津美术出版社出版《天津当代国画优秀作品展画集》。

3月，由荣宝斋出版社出版“国画技法丛书”《梅》、《兰》、《竹》、《菊》个人专辑。

5月，由中国画道杂志社出版《感应生命的经纬·霍春阳花鸟画作品》。

8月，由北京工艺美术出版社出版《时代名家一一静虚通大道·霍春阳专刊》。　9月，入选人民美术出版社出版《中国当代花鸟画坛名家作品集》。

12月，人民美术出版社出版《中国画》第一辑刊载“艺通于道、万象在旁”，霍春阳教授访谈录。入选长城出版社《中国艺术研究院中国画名家研修班创办10周年优秀作品邀请展作品集》。

2004年当选天津市第十一届政协委员。入选文化艺术出版社出版《中国画艺术年鉴》。由天津美院组织到日本及韩国启明大学等地访问。由荣宝斋出版社出版、霍春阳著《荣宝斋国画技法丛书写意画范·牡丹》。

1月，由北京工艺美术出版社出版，中国画研习范本《梅、兰、竹、菊画谱》。人民美术出版社出版《中国

画》中国当代国画艺术丛刊刊载——中国的艺术精神霍春阳。就任天津文史研究馆馆员。

5月，由河北教育出版社出版《大器丛书》霍春阳绘画作品。北京工艺美术出版社出版《中国当代著名画家个案研究·霍春阳写意花鸟》。天津美术出版社出版《中国书画艺术家·霍春阳作品》。

6月，人选北京工艺美术出版社《水墨心象——当代中国画名家学术邀请展作品集》。

9月，由山花文艺出版社出版、霍春阳编著《河北老年大学统编教材——写意花鸟画基础。

11月，获“黄宾虹奖”并人选河北教育出版社出版《2004黄宾虹奖获奖画家作品集》。

2005年出版中国邮政明信片《当代书画名家霍春阳专辑》。《国画家》增刊《贤林问道——霍春阳》。 《翰墨名家》刊载二十一世纪最具实力艺术家系列专访——霍春阳集。 由天津电视台拍摄并播出《文苑点击》——霍春阳评说张其翼与梁崎的艺术成就。 由天津电视台拍摄并播出《中国画教学系列片》16部。 由山东电视台拍摄并播出霍春阳专题片——《道心禅意》。 入选由山东电视台公共频道、山东文化音像出版社联合摄制，国家新闻出版总署《十五规划》重点选题——当代中国书画家精品图库。 人选中国文联出版社出版《笔墨在当代——2005中国画名家邀请展作品集》。

1月，人选人民美术出版社出版《中国名家小品集》第三集。

2月，《中国典藏》杂志社出版《艺海精英霍春阳》。中国美术家协会组织到印度采风。3月，人民美术出版社出版《中国画》第六集大家、艺术、人生——霍春阳专辑。

4月，《中国书道》杂志社出版《水墨平台》——霍春阳专辑。

5月，文化艺术出版社出版《藏画——中国当代花鸟画经典名家专辑·霍春阳卷》。《书与画》刊载“写意花鸟画家霍春阳”。

6月，中国工人出版社出版《名画典藏》霍春阳专辑。获中国《美术》编辑部颁发的中国画终身成就奖。

7月，《水墨前沿》刊载。“淡远冲和、妙造天籁”——当代画坛中坚霍春阳。

8月，河北教育出版社出版《当代最具升值潜力的画家·霍春阳专辑》。《美术报》画家周刊刊载“独步画坛”——霍春阳绘画思想述略。

9月，由中国画廊联盟出版《巨匠之门》——霍春阳研究。作为世界华人著名美术家代表参加“环球和平之旅走近联合国”六十周年庆典活动。

10月，人民美术出版社出版《当代中国画名家四条屏画选》。由中央电视台教育频道拍摄并播出霍春阳专题。

11月，《世界华人精英》刊载霍春阳撰文《感应生命的经纬》及画作。

12月，入选河北教育出版社出版《当代画史——名家经典作品集》花鸟卷。《中国艺术市场》第六期“前沿人物”介绍霍春阳专题。《收藏》杂志刊载——经典名家霍春阳及其画作。就任美协天津分会副主席、天津美术学院美术馆馆长。

2006年1月，由四川美术出版社出版《中国画二十三家霍春阳专集》。由中国书画杂志社出版《书画人物霍春阳》。由中华博览杂志社出版《艺术人生霍春阳》。

2006年1月8日——2006年1月24日，由天津美院组织到日本访问。

2月，由中国美术家协会组织中国画家出访印度南部和斯里兰卡。由中央电视台拍摄并播出“霍春阳的花鸟画”。

4月，由香港中华书局出版《霍春阳画集》并在津举办赠书仪式。

2008年7月，《当代美苑》杂志刊载，当代逸品——霍春阳的花鸟艺术及画作。

2009年4月17日，清华美院书画高研班霍春阳传统绘画工作室成立，霍春阳先生来北京讲学拉开序幕。

2010年9月15日，在北京成立霍阳春传统艺术研究会。

2012年5月，在呼和浩特蒙宝斋举办【静虚】霍春阳、霍岩作品展览。

10月，由助教刘贞麟带队，有清华美院高研班的同学一起赴额济纳采风，看胡杨林，收获颇丰。

2012年12月1日，在霍春阳研究会举办【问道】霍春阳学术观摩展览，中央2套、新华社、中央人民广播电台都对此作 了大篇幅报道。

2012年12月8日，在上海朵云轩举办个人展览。

2013年3月6日，清华美院霍春阳传统绘画高研班第十期开学。累计学生两百余人。“霍家班”在全国名声日隆。

2013年5月5日，北京凤凰岭美术馆“著手成春”霍春阳作品展览。

霍春阳花鸟作品

 考察霍春阳先生的绘画艺术，我们不得不先从传统文人画的发展及其特征入手。在上个世纪80年代中后期，霍春阳先生曾被列入新文人画代表画家的行列，但并没有得到画家本人的认可。因为，在当时的新文人画的思潮中，其艺术主张存在着很多值得商榷的问题。可以说，新文人画的论点是难以成立的。霍先生曾说：“文人画哪还有新旧之分？如果视旧为没有生命的死的东西，那我们至今还学什么元四家、四王、四僧呢？！”他主张只有老老实实地画传统，才能从学古人中著己之地。纵观霍春阳先生的作品，早期用笔以书趣风神胜，中期似以飘逸恣肆胜，而后期则已愈发趋向理法和意境，虽大有随心所欲不逾矩之意，但始终与传统文人画一脉相承。其间流露的并不是老的旧的东西，相反，一股时代气息夹带着浓浓的书卷气扑面而来，这些无不显现着画家对中国传统文人画的哲学、笔墨和情感内涵的深深了悟。

1、彼此不觉之谓神

“文人画”作为中国美术史上的一个重要现象，在宋以后几乎占据了画坛的主导地位。在其后漫长的演变过程中，他的哲学内涵，也因为承认了“道”的客观存在及其规律性，承认了“心”的物质因素和其可调节性，承认了“性”与“天”的统一性以及在文化上体现的完美性而日趋丰富。明董其昌说：“画之道所谓宇宙大乎手者，眼前无非生机。”说明绘画一旦掌握了天地大理，便掌握了创作的自由！于是“应目会心”和“澄怀观道”成为了绘画创作的重要方法论；清代的石涛也将“一画”作为“万象”的最根本的法则，主倡对万事万物“深入其理，曲尽其态”，以求达到“画可从心”的自由创作境界。所以从哲学的角度，中国文人画的最根本的内涵是以庄子的“自由”思想和由此而展开的审美关系。霍春阳先生对此三昧独有体悟，他说：“中国画讲究通过物态形象、笔墨境界表达主体对形而上的宇宙之道、人生之道的认知和体验。”他认为，自由的创作源于“心”中要有一个“境界”，即一个人的精神所达到的万物归以的“无我”之境。这种境界是永恒的，是老子的“得道”，是庄子的“心斋”、“坐忘”。观霍春阳先生的作品，于许多微妙处洋溢着他的“心斋”，这种空虚的心境，穿行在他的笔下苦心经营的百卉灵禽间。正所谓“虚室生白”，“唯道集虚”，只有“虚”，才能实现对“道”的观照，才能“无听之以耳而听之以心，无听之以而听之以气”。霍先生的“听之以气”，即以气运化画面的构图，以及枝叶的穿插向背，从而获得老庄的自由境界。所以他的画尚简以求不俗，“画以简贵为尚。简之入微则洗尽尘渣，独存孤迥。”孤迥为何？又是“心斋”也。他以“抱一而为天下式”的心态应对目中之物，心中之物。他的“观”很特别：“观自然之道无所观，不观之以目，而观之以心，心深微而无所见，故能照自然之性。”“观”的一切准则都是为了通过最自然的方式达到最必然结果，“无我”之境，或称为“神”。对于“神”，古往今来皆用于品评，而霍老师却用于经营。他说：“彼此不觉之谓神。”“觉”，大概可以解释为察觉、觉悟，是用心感悟的意思。但是，用心感悟之心是变化无穷的，对画面对象要做到“彼此不觉”，这是一种何等的秩序啊，这可能就是霍春阳先生追求的“道”吧。

2、瘦劲方通神

在中国绘画史上，重要的画家和代表作品都出自文人画家之手，而非纯粹的职业画家。其重要原因就是因为文人创造和掌握了文化，它使得绘画的高度能与文化发展的高度相并行。这里有一个重要的媒体——书法。文化的表达方式和传承方式都离不开文字，汉文字和文化含量几乎成为传统文化的重要根基。在文字基础上发展起来的书法艺术，更使得汉文字成为具有无限抽象又具有无限内涵的形式载体。文人掌握了汉字，便使得汉字与文化、汉字与书法、书法与线、线与用笔、用笔与绘画形成了艺术与文化的完美结合。于是乎，绘画艺术在世界上文人的手中变成了不可逾越的创作高峰。线，也就成为文人画家宣泄情感，塑造形象，舞文弄墨的主旋律。

霍先生的绘画相当程度地承继了“线语言”的造型原则和表达方式，紧紧抓住“笔墨”这一语言体系，从文化的角度，深入到笔墨的内部，用笔墨传达画家本人对宇宙、自然、社会和人生的认识。霍春阳先生在总结用笔时说：“绘画中的骨法用笔关乎画家的表达能力，也能传达情性。线条中的轻重缓急的变化，更能呈现出一个人的思想、情感乃至学识修养。”所以他在用笔的变化时，更着重于画面上的物象与线的关系。他画兰花，常常与石头合在一起，用石头磊落、苍劲、灵透的特征衬托出兰花的纤弱、舒展和摇曳，二者形成鲜明的对比，突出了兰花的性格；他画兰花，方圆左右，纵横上下，虽寥寥几笔，但阴阳刚柔俱应，尤其在兰叶的穿插上，用笔若断若连，意到笔不到，似缓似急，有种举重若轻的感觉。于线条的轻重变化中，传达着他的思想和学养。

在霍春阳先生的笔墨语言中，笔和墨是交相响应的。他似不赞成“大泼彩”和“大泼墨”，认为笔墨是不应该分家的。霍先生之用笔，于素尺方寸间蕴达着力度，这样墨不离笔，看得出是为画者个人的学识修养和功力所控制的，正所谓“瘦劲方通神”，有力度方可笔下出神而达韵。

而于用“墨”，霍春阳先生说，墨法就是水法。要凭感觉，靠经验。他提出了用墨要有体积和厚度的概念。他在用墨的时候，不是常人用的平涂和拉的方法，他在实践中摸索出了“揉墨法”。他所说的“墨要有体积和厚度的概念”，就是在“揉墨”中体现的。通过“揉”，在毛笔与宣纸层层叠加中，墨的层次和变化尽显其中。当年黄宾虹前辈总结的用墨七法，把积墨提高到了一个新的境界，使得其作品墨华飞动，浑厚华滋，在厚厚的积墨里呈出了“亮墨”。霍春阳先生的揉墨画法也是自有心得，把用线叠加变为以墨反复与纸揉磨。他画的梅干，就是通过渴笔和渴墨，把行笔的力度和速度控制得恰到好处。把用笔与用墨有机地结合起来，以墨代色，正是“墨不碍色，色不碍墨”。对墨的把握，使得霍春阳先生的作品单纯、简约，达到了以少胜多的艺术效果，这样“意足不求颜色似”，亦是画者本色也。在霍先生的画中，我们找不到古人摒弃的那些浮、软，没有骨气、没有神韵的“浮笔涨黑”。每一点墨到纸上都似是游动的、透气的，干而不燥，湿而不浮，轻松但不轻飘，灵动而暗沉内力，笔轻意重，有光彩，有活力。

3、无异言而生清净心

“情感”是文人画的本质特征之一。文人画作为载体，历来都承载了文人志士的自我心性和社会情感。他们常以笔代言，抒发胸怀，籍此作为言情达性的工具。正如司马迁在《报任安书》中称《诗经》、《周易》、《离骚》以及自己的作品为“大抵圣贤发愤之所为作也。”文同曾向苏轼表露：“吾乃学道未至，意有所不适，而无以遣之，故一发于墨竹。”而苏轼画古木竹石，只为一抒“胸中盘郁”之气。八大山人自题其画曰“墨点无多泪点多”，想其笔端，涕泪濡纸，他的寂寞无可奈何之境可堪一斑。大多数文人这种“凡物不得其平则鸣”的心态其原因多发乎“情性”二字，这种情怀在文人画中经过近千年的锤炼，已经成为他们表达思想，诉说情怀的必由之路。于是更多的艺术家在对现实的无奈之余把精神转向了山林，转向了禅佛，转向了超然于世，出现了大批的山人和居士，他们把追求绝对的精神寄托变成了他们毕生的生活理想和奋斗目标从而偏离了现实。

但“情感”并非超验的概念，作为人们对现实的一种评价性的反映，它在不同的画家身上体现的却也不同。在霍春阳先生的画中，我们很少看见那种愤世嫉俗的冷漠和天老地荒的萧条。他的情怀正如他的名字：“春阳”，一如春天里的朝阳般温暖平和。他的情，是“静”不是“愤”，是“境”而非“荒”。他说：“艺术首先要净化自己”、“去掉一切私心杂念和浮躁气”、“只有保持了纯正纯洁、质朴的心态，才会排除世俗的污染，只留清气满乾坤”。他一直追求“无异言而生清净心”。只有不求异言，才能清净下来，才能进入一种“去留无意，宠辱不惊”的境界。在历代文人的心目中，荷花是高洁的象征。其“濯清涟而不妖，出淤泥而不染，中通外直，不蔓不枝”的美好形象，赋予了画家取之不尽的灵感。霍先生笔下的荷花，虽多秋荷，但少有残败之象，正是“秋荷独后时，摇落见风姿”。他画莲蓬，题道：“莲籽得时依旧长，文禽无事等闲来。”一派悠哉游哉澹澹的景象跃然笔端。他在创作中践行着自己的人生理想，人格的修炼和锻造健康的心态成为他艺术实践的重要过程。记得霍先生在他的《双清图》题跋中写道：“兴来磨就三长墨，写得芭蕉和梅花。骨格纵然清瘦甚，品高终不染尘埃。”表现出了一个文人不入俗流、我之为我的品格。

在当代，似乎更多的画家仅仅是讲情感而已，却少有大情感者，这不仅是缺乏传统文化底蕴的表现，也是在把艺术创造与人生修养的结合上缺乏认识的表现。从霍春阳先生的“写意”中可以看出，在他的画面上融进了他对《周易》的理解，不仅有写，还有“经营”。众所周知，《周易》表现的是宇宙万物的秩序，是本质性的规律。霍先生将创作情感引入到万物的秩序中，就是将小我融进大我，又以大我体现自我，从情意“悟处”着手，去营造属于他自己的精神和情感领地。这种自我意识的觉醒和内敛的情性落在创作上，就表现为主观融合客观，以情感再创意象，“一花一世界，一叶一如来。”最简单的一花一草在他的绘画中，都以境界的营造融入了画家己有的思想和情怀，这样的“因心造境”，显示了画家厚重豁达的性格内涵和人格修养。

中国人的思维特征是整体性的思维，即用所有的感官去感悟大千世界中的一切生命，然后再在“圆”的体系中宏观地把握最本质的东西。霍春阳先生的成功，其因素是多方面的，天分，勤奋，认识力、经验、环境等等，虽不可或缺，然更多的还是有赖于他对中国传统真正内涵的理解和认识，他深悟所谓“珍珠虽小，鉴包六合；镜子再大，所照必偏”的道理，以为惟有圆，才能通，惟有通，才能天人合一，才能创作出自己达情顺性的作品，使自己的艺术有源有流。创作如此，做人亦如此，这也许就是霍春阳先生一生崇尚的艺术状态和生活准则吧。

 1、不求繁芜

在当代花鸟画领域，天津美院国画系主任霍春阳以其简淡冲和、虚静空灵的画风赢得普遍赞誉。他的作品多取材于传统的兰、竹、梅、荷等题材，这些题材并不新，而且历代都不乏精品，在此基础上画出时代特征与画家自己的个性来，其难度可想而知。

霍春阳在他30多年的创作实践中，固守“以淡寓浓，以简寓繁，以疏寓茂，以轻寓重”的创作理念，结合自己对中国传统文化的参悟，逐渐形成了独特的画风，为画界所赏。他的作品不求繁芜，不重尺幅，寥寥数笔，一杆劲竹、几株兰草便跃然纸上，给人一派幽远沉静、古雅端庄之美。美术评论家梅墨生在评价他的画时说：“相对于如今那些满纸莫名其妙的满塞的‘黑画’，张扬的纵横涂抹的‘大’作，我品尝到了一种平淡幽远的意境寄托。” 　1969年毕业于天津美术学院的霍春阳在上世纪70年代中期便崭露头角，为画界所重视。上世纪80年代以后，他的创作进入成熟期，并确立了在当代中国画坛的地位。此次入选“当代国画优秀作品展———天津作品展”，霍春阳精心创作了十几幅作品。京津两地的评论家观后普遍反映，画家在固守传统文化精神的同时，不断开掘自身的艺术深度，已经在原有画风的基础上，更加成熟了。

2、简淡冲和

霍春阳作品所形成的简淡冲和、虚静空灵之美，来自他对中国传统文化的深刻领悟和对自然之美的悉心体味。他告诉记者，中华民族的文化博大精深，中国画的传统哲学思想也非常丰富，这些都是当代画家汲取不尽的营养。作画不单是为了再现自然的原生态，而是要从道德、哲学的高度去关照自然，要带给观者更深层次的艺术启迪。“艺术是净化人心灵的东西”，画家除了要在技法上不断提高外，还要注重自身艺术品格的修养，潜心充实自己的思想，不被外物所左右，使自己的心能够静下来，这样才能画出更高的境界。

霍春阳所追求的，正是中国画传统哲学思想中的精华所在。他在不断的玩味、揣摩中终于用自己的作品对这种思想做了最好的注解。

“在前人面前，我们永远是小学生。”霍春阳说。

面对传统，霍春阳虔诚地吸纳。面对自然，霍春阳又能以当代人的感受去悉心体味，这是他的作品既有传统，又富当代意味的重要原因。他吸纳传统，最终表达的还是当代人的审美趣味。“每个画家对待自然的感受都是不一样的，和前人相比，我的情感自然具有当代性。”和别人相比，他似乎不够关心那些宏大的、刺激的场景，他关心的是自然细微之处的美，向隅的梅花、池塘一角的残荷，这些清幽的景色让他冲动，让他的作品具有了自己的情味。

3、平淡境界

国画艺术大师霍春阳做客中国网·滨海高新访谈时表示“平淡是一个大的境界”。平淡是很难的，平淡是一个大的境界，也是人生的精神追求。从这一点上讲，能够使精神平淡下来，那是经过整个的生命体验，那是人淡如菊。为什么要崇尚君子，崇尚菊花，菊花是善于处后、处下的，这是一种境界。善于处后就是说，没有一种平淡的心，他不会善于处后的。从这一点上来说就是，能够处后、处下的人，才能够沉静下来，能够静下来，才能够淡下来。如果能使人的心情淡下来，他就不会有任何愁的事情，更不会有任何的怨恨，这样来讲，在人的精神生活里面是一种精神归宿了。

 Huo Chunyang. Born in Lizhuang Village, Lizhuang Township, Qingyuan County, Hebei Province, in 1946, he graduated from Tianjin Academy of Fine Arts in 1969 and has been teaching since then. He has been the chairman, professor and tutor of the Department of Chinese Painting, Tianjin Academy of Fine Arts. He is currently the curator of the Art Gallery of Tianjin Academy of Fine Arts, vice-chairman of Tianjin Artists Association, member of China Artists Association, member of China Calligrapher Association, specially appointed professor of Nathan University, doctoral supervisor, member of Expert Committee of Greater China University District, painter outside Tianjin Academy of Fine Arts, consultant of Tianjin Youth Art Association, and winner of Tianjin University. The title of a famous teacher. He is currently a visiting professor in Tsinghua University, Tianjin Conservatory of Music, Shanxi Normal University, Shanxi University, Yantai University and other universities, and an expert consultant in the Chinese Society of Peking University. Member of the Ninth and Tenth Political Consultative Conference of Tianjin.

Brief Introduction to Characters

Huo Chunyang was born in Lizhuang Village, Lizhuang Township, Qingyuan County, Hebei Province in 1946. He graduated from Tianjin Academy of Fine Arts in 1969 and has been teaching since then.

Mr. Huo Chunyang emerged in the mid-1970s and is good at freehand flower and bird painting. Since the 1980s, it has entered a period of fruitful creation and established its position in the contemporary Chinese painting circle. Its works have been selected for many times in the National Art Exhibition and won prizes.

Huo Chunyang's works have been collected by the Great Hall of the People, the Chinese Art Museum, Chairman Mao Memorial Hall, Diaoyutai State Guest House, CCTV and other foreign museums. He has gone abroad for many times for artistic exchanges and published a variety of personal collections.

Huo Chunyang's literati painting tradition since the Yuan, Ming and Qing dynasties has been one of the most representative painters in Chinese traditional freehand brushwork of flowers and birds, through profound understanding of Chinese traditional culture and careful appreciation of the beauty of nature, and dedicated pursuit of the artistic realm of emptiness and spirituality, with the purpose of "purifying the soul of human beings".

Since 1976, Huo Chunyang has been teaching in the Department of Traditional Chinese Painting of Tianjin Academy of Fine Arts. He has devoted himself to flower and bird painting and has become one of the most representative freehand flower and bird painters in contemporary times.

Huo Chunyang pursues the artistic conception of painting and expresses deep and broad artistic conception with simple images. The use of pens in painting can convey emotions, and the changes of priorities in lines can better present a person's thoughts, emotions and even knowledge. The artistic conception of his paintings is extraordinary, which is mainly due to his inheritance of tradition and cultural accumulation. In Huo Chunyang's view, tradition itself is a vast world with a long history and an eternal free kingdom in the spiritual world.

For Huo Chunyang's successful exploration, the art circle has been highly appraised. Zhao Xing, a well-known contemporary freehand figure painter, said: "The simplest flower and grass in his paintings, all with the creation of realm into the painter's existing thoughts and feelings, such a"state of mind"shows the painter's generous and open-minded personality connotation and personality cultivation." Wu Shanming, a professor and famous painter in the Department of Chinese Painting at the Chinese Academy of Fine Arts, said that Huo Chunyang's deep traditional foundation enabled him to innovate from tradition and form a personal painting style with the characteristics of the times. Xue Yongnian, an art critic, even praised Huo Chunyang for "rebuilding a self-confident spiritual home in the alienation threat of material expansion and ecological crisis."

During the "Huo Chunyang Individual Painting Exhibition", he was invited to give an academic lecture entitled "Cultural Background of Chinese Painting Brushes and Inks" at the Central Academy of Fine Arts and the Academy of Fine Arts of Tsinghua University. Huo Chunyang said: "The purpose of the lecture is to hope that students can pay attention to the excellent traditional Chinese culture, so my graduate students must be familiar with the Analects of Confucius." Some of the students asked me, who is my most respected painter in the history of Chinese painting? I said, from then on in the Academy of Fine Arts, to now in the year of Ershun, the painters advocated in different periods are different, and finally settled in the Song and Yuan Dynasties, because it best reflects the spirit of traditional culture. The context of Chinese painting does not come from Aristotle or Plato. It comes from Chinese studies, Confucius, Mencius and Zhuangzi. The root of Chinese painting is traditional national culture. In the inscription and postscript of Shuangqing Tu, Huo Chunyang wrote: "Xinglaimo has three long inks, which are composed of bananas and plum blossoms. Even though the bones are very thin, they will not be stained with dust in the end. People say that painting is just like others. Perhaps this is the best portrayal of Huo Chunyang's painting style and personality.

Relevant Teaching and Academic Institutions

Huo Chunyang Traditional Art Research Association

Huo Chunyang Traditional Painting Laboratory, Tsinghua Academy of Fine Arts

Huo Chunyang Studio, Fenghuangling, Beijing

Beijing Rongbao Zhai Huo Chunyang Studio

Beijing Huo Chunyang Painting Garden

Artistic Pursuit

To investigate Mr. Huo Chunyang's painting art, we have to start with the development and characteristics of traditional literati painting. In the mid and late 1980s, Mr. Huo Chunyang was listed as a representative painter of New Literature Painting, but he was not recognized by the painter himself. Because, in the trend of thought of the new literati painting at that time, there were many questions worth discussing about its artistic proposition. It can be said that the argument of the new literati painting is difficult to hold. Mr. Huo once said, "Where is the difference between old and new literati paintings? If we regard it as a dead thing without life, what are we still learning from the Four Kings, the Four Monks?! He advocated that only by honestly painting the tradition can we learn from the ancients. Throughout Mr. Huo Chunyang's works, the early use of pens to win with book interest and spirit, the middle seems to win with elegance and wanton, while the latter has become more and more tending to rationality and artistic conception, although there is a lot of free will, but always in line with traditional literati painting. In the meantime, it does not reveal the old things. On the contrary, an atmosphere of the times comes with a strong air of scrolls, which shows the painter's deep understanding of the philosophy, ink and emotional connotations of traditional Chinese literati painting.

1. Unaware of each other, they are called gods.

As an important phenomenon in the history of Chinese fine arts, "literati painting" has almost occupied the leading position in the field of painting since the Song Dynasty. In the long process of evolution, his philosophical connotation is also enriched by acknowledging the objective existence and regularity of "Tao", the material factors and adjustability of "heart", the unity of "sex" and "heaven" and the cultural perfection. Ming Dong Qichang said, "The way of painting is that the universe is bigger than the hand. There is nothing but vitality in front of us." It shows that once painting masters the universe, it grasps the freedom of creation! So "knowing the heart from the eyes" and "viewing Tao from the heart" became the important methodology of painting creation; Shi Tao in Qing Dynasty also took "one painting" as the most fundamental principle of "all phenomena", advocating "thorough understanding of all things, making the best of their state", in order to achieve the free creative realm of "painting can follow the heart". Therefore, from a philosophical point of view, the most fundamental connotation of Chinese literary painting is Zhuangzi's "freedom" thought and the aesthetic relationship developed therefrom. Mr. Huo Chunyang has a unique understanding of these three ambiguities. He said: "Chinese painting pays attention to expressing the subject's cognition and experience of the metaphysical cosmic and life way through the state of image and the realm of brush and ink." He believed that the free creation originated from the "realm" in the "heart", that is, the "egoless" realm of all things attributed to one's spirit. This realm is eternal, Lao Tzu's "acquisition of Tao" and Chuang Tzu's "heart study" and "sitting and forgetting". Looking at Mr. Huo Chunyang's works, there are many delicate places filled with his "heart Zhai". This empty state of mind travels through his painstakingly managed birds and flowers. The so-called "empty room whitening", "only Tao gathers emptiness", only "emptiness" can realize the view of "Tao", can "listen to heart without listening to it, listen to Qi without listening to it". Mr. Huo's "listen to Qi", that is, the composition of the picture of Qi Yun, and the intersection of branches and leaves to the back, so as to obtain the free realm of Laozhuang. So his paintings are simple in order to be not vulgar. Simple entry washes away the dust and residues, leaving them alone. Why is it so lonely? It is also "Xinzhai". He responded to the object in his eyes and the object in his heart with the mentality of "embracing one as the world". His "view" is very special: "the way of looking at nature has nothing to see, not to look at the eye, but to look at the heart, the heart is deep and invisible, so it can follow the nature of nature." All the criteria of "view" are to achieve the most inevitable result in the most natural way, and the "egoless" state, or "god". As for "God", it has been used for appraisal all the time, but Mr. Huo has been used for management. He said, "God is what we don't know about each other." "Awareness" can probably be interpreted as perception and consciousness, which is the meaning of heartfelt perception. However, the heart of conscious perception is infinitely changeable, and the object of the picture should be "unaware of each other". What kind of order is this? This may be the "Tao" pursued by Mr. Huo Chunyang.

2. Thin and energetic

In the history of Chinese painting, important painters and representative works are from literati painters, not pure professional painters. The important reason is that literati created and mastered culture, which makes the height of painting parallel with the height of cultural development. Here is an important media - calligraphy. The way of expression and inheritance of culture are inseparable from words. Chinese characters and cultural content have almost become an important foundation of traditional culture. The art of calligraphy developed on the basis of characters makes Chinese characters a form carrier with infinite abstraction and infinite connotation. When literati master Chinese characters, they form a perfect combination of art and culture, Chinese characters and calligraphy, calligraphy and lines, lines and pens, pens and paintings. As a result, the art of painting has become an insurmountable peak in the hands of scholars all over the world. Line also becomes the main melody of literati painters to vent their emotions, shape their images and play with ink.

Mr. Huo's painting inherits to a considerable extent the principle of "line language" and the way of expression. He firmly grasps the language system of "pen and ink", goes deep into the interior of pen and ink from a cultural point of view, and conveys the painter's own understanding of the universe, nature, society and life with pen and ink. Mr. Huo Chunyang said in summing up the use of brushes: "The use of brushes in bone painting is related to the artist's expressive ability, but also to convey emotions. The change of priorities in the lines can better show one's thoughts, feelings and even knowledge accomplishment. So when he changes his pen, he pays more attention to the relationship between the image and the line in the picture. He painted orchids, often combined with stones, and set off the delicate, stretching and flickering of orchids with the characteristics of stone upright, vigorous and penetrating, which formed a sharp contrast and highlighted the character of orchids; he painted orchids, round and round, vertical and horizontal, although few strokes, but both Yin and Yang were rigid and flexible, especially in the wearing of orchid leaves. Plug in, if you use a pen, you will not be able to write, as if in a hurry, there is a sense of lifting weights as light as possible. In the light of the changes in line, he conveys his thoughts and cultivation.

In Mr. Huo Chunyang's pen-and-ink language, pen and ink are mutually responsive. He seems to disapprove of "splashing colors" and "splashing ink" and believes that pen and ink should not be separated. Mr. Huo's use of his pen embodies his strength in the space of a square inch of a plain ruler. In this way, it can be seen that the pen is controlled by the painter's personal knowledge, accomplishment and skill. It is the so-called "lean and energetic" that the power of his pen can bring out the charm of his writing.

In the use of "ink", Mr. Huo Chunyang said that ink method is water method. It depends on feeling and experience. He put forward the concept of volume and thickness of ink. When he used ink, he was not the usual method of flat painting and pulling. In practice, he groped out the "rubbing ink method". What he called "ink should have the concept of volume and thickness" is embodied in "rubbing ink". Through rubbing, the layers and changes of ink are shown in the stacking of brushes and Xuan Paper. In that year, Huang Binhong's predecessors summarized the seven methods of ink use, which raised the ink accumulation to a new level, making his works fly, thick and lustrous, showing a "bright ink" in the thick ink accumulation. Mr. Huo Chunyang's painting method of rubbing ink is also his own experience. He changed the superposition of lines into rubbing ink repeatedly with paper. He drew plum trunks by thirsting for pens and ink, and controlled the strength and speed of his strokes properly. Combining pen with ink organically and replacing color with ink is precisely "ink does not hinder color, color does not hinder ink". The mastery of ink makes Mr. Huo Chunyang's works simple and concise, and achieves the artistic effect of winning more with fewer, so that "the meaning is not to seek the color similarity", which is also the true color of the painter. In Mr. Huo's paintings, we can't find the "floating pen rising black" which the ancients abandoned. Every bit of ink on paper seems to be swimming, breathable, dry but not dry, wet but not floating, light but not light, flexible and dark internal force, light and heavy brush, lustrous and vigorous.

3. Clean heart without any objection

"Emotion" is one of the essential characteristics of literati painting. As a carrier, literati paintings have always carried the self-consciousness and social emotions of scholars with lofty ideals. They often use the pen to express their mind, as a tool for expressing their feelings. Sima Qian called the Book of Songs, Zhouyi, Lisao and his own works in Baoren An Shu as "almost what the sages are angry about." Wen Tong once declared to Su Shi: "I was not yet learning Taoism, and I felt uncomfortable, but I could not send it off, so I sent it out in Mozhu." Su Shi paints ancient wood, bamboo and stone only for expressing the spirit of "depression in the chest". The Badashan people said in their paintings that "there are no more tears in ink" and that his loneliness and helplessness can be seen when he wants to use his pen and wet his tears with paper. Most literati's mentality of "everything can't be peaceful but sounds" is mainly due to the word "sentiment", which has become the only way for them to express their thoughts and feelings after nearly a thousand years of tempering in literati paintings. So more and more artists turn their spirit to the mountain forest, to Zen Buddha and to transcendence. A large number of mountain people and dwellers have emerged. They turn their pursuit of absolute spiritual sustenance into their lifelong ideal and goal of struggle, thus deviating from reality.

But "emotion" is not a transcendental concept. As a kind of evaluative reflection of reality, it reflects differently in different painters. In Mr. Huo Chunyang's paintings, we seldom see the cynical indifference and the depression of the old and the old. His feelings are just like his name: "Spring Sun", as warm and peaceful as the rising sun in spring. His sentiment is "quiet" not "indignation", but "state" rather than "barren". He said, "Art should purify itself first", "get rid of all selfish misconceptions and impetuosity", "Only by maintaining a pure and simple mentality, can it eliminate secular pollution, leaving only pure air to fill the universe". He has been pursuing the idea of "purifying the mind with no objection". Only if we do not ask for different opinions, can we be clear and enter a realm of "no intention of leaving or staying, spoil or disgrace without alarm". In the minds of literati of all dynasties, lotus is a symbol of nobility. Its beautiful image of "Lian Qing Lian but not demon, out of the mud without dyeing, straight, not vine but not branch" gives the painter inexhaustible inspiration. Although the lotus in Mr. Huo's works is full of autumn lotus, there are few signs of failure. It is precisely "when the autumn lotus is alone, it falls to the fore". He painted lotus pods and said, "The lotus seeds are still long, and the fowls are idle." A School of leisurely and tranquil scenery is vividly written. In his creation, he practiced his ideal of life. The cultivation of personality and the forging of healthy mentality became an important process of his artistic practice. I remember Mr. Huo wrote in his inscription and postscript of Shuangqing Tu: "Xinglaimo has three long inks, which can be written as bananas and plum blossoms. Even though the bones are very thin, they will not be stained with dust in the end. It demonstrates a literati's character that is not vulgar and I regard it as my own.

In the contemporary era, it seems that more painters only talk about emotions, but few have great emotions. This is not only a lack of traditional culture, but also a lack of understanding of the combination of artistic creation and life accomplishment. From Mr. Huo Chunyang's "freehand brushwork", we can see that his understanding of Zhouyi is integrated into his picture, not only in writing, but also in management. As we all know, Zhouyi expresses the order of all things in the universe and is the essential law. Mr. Huo introduced creative emotion into the order of all things, that is, to integrate the individual into the big ego, and to embody the self with the big ego, starting from the sentiment "understanding", to create his own spiritual and emotional territory. The awakening of self-consciousness and the introverted emotion fall on the creation, which is manifested by the subjective integration of objectivity and the re-creation of images with emotions. "One flower, one world, one leaf, the same." The simplest flower and grass in his paintings, all with the creation of realm into the painter's own thoughts and feelings, such a "state of mind" shows the painter's generous and open-minded personality connotation and personality accomplishment.

Chinese thinking is characterized by holistic thinking, that is, to use all the senses to perceive all life in the vast world, and then to grasp the most essential things macroscopically in the "round" system. Mr. Huo Chunyang's success depends on many factors, such as talent, diligence, knowledge, experience, environment and so on. Although it is indispensable, it still depends more on his understanding and understanding of the true connotation of Chinese tradition. He deeply understands the truth that "although pearls are small, they can be divided into six parts; if the mirror is big, they must be biased". Only in order to be round, can we pass through, only in order to unify nature and man, can we create our own works of affection and make our art active and flowing. Creation is like this, so is life, which may be Mr. Huo Chunyang's lifelong advocated artistic state and living standards.