蒋采苹1934年4月出生，河南省洛阳市人。1958年毕业于中央美术学院中国画系，现为中央美术学院教授。1998年—2000年受聘为文化部教科司主办的中国重彩画高研班主持，2001年—2002年任中央美术学院中国重彩画高研班导师，2003年受聘为香港中文大学客座教授，2005年受聘为中国艺术研究院中国重彩画工作室导师。

作品多次入选国内外重要展览，《宋庆龄光辉的一生》等获金奖，《筛月》、《轮回》等为中国美术馆收藏，出版个人画集、文集、技法材料书籍、主编中国重彩画集等十数种。研制的“高温结晶颜料”获国家知识产权局发明专利证书。

蒋彩萍花鸟画作品

 1953年毕业于天津市耀华中学

1956年《山村妇女》入选全国青年美展

1958年毕业于北京市中央美术学院中国画系

1959-1961年任教于山西艺术学院美术系

1962年至今任教于中央美术学院中国画系

1964年《打虎岭上摘蜜桃、碧莲池中网大鱼》入选“全国年画展”，并入选赴澳大利亚中国画展

1978年《李清照》入选“北京工笔重彩画展”

1980年《赴街》入选“法国巴黎春季沙龙展”

1981年《孔雀之歌》入选“中国画研究院成立展”，被中国画研究院收藏

1982年《海的女儿》入选“北京市春季美展”，北京市美术家协会收藏

1984年《太阳城的苹果》入选“第六届全国美展 荷

”《摘火把果的姑娘》入选赴莫斯科、阿尔及尔国际美展

1985-1989年任中央美术学院工笔画室主任

1986年在巴黎郭安博物馆举办个展，在法国里昂中国艺术馆举办个展

1987年《荷》《胡昂——雪》入选“中日女画家展”

1988年《三月三之夜》入选“中国工笔画学会首届大展”，获银牌奖

1989年《北京的雪》入选“中国工笔山水画展”，获一等奖著作《工笔人物画技法》由天津人民美术出版社出版

在东京银座水井画廊举办五人联展《夜》《三月三》入选“台北当代大陆工笔画展”

1990年《秋瑾》入选“纪念鸦片战争150周年展”《黄遵宪东瀛赏樱图》入选“纪念黄遵宪当代书画艺术国际展览”

1991年《宋庆龄光辉的一生》入选“中国工笔画协会第二届大展”，获一等奖，并获中国美术家基金会和关山月基金会奖《月色》《金秋》等入选“叶浅予师生画展”，《月色》被中国美术馆收藏

1992年《筛月》入选“20世纪.中国”展，被中国美术馆收藏

1993年在新加坡乌节坊举办个人画展《蒋采苹画集》由天津杨柳青画社出版

1994年《红珊瑚》入选“中国工笔画学会第三届大展”，获荣誉奖

1995年在中国美术馆举办个人画展

1996年访问台湾《孙中山与宋庆龄在东京》入选“孙中山与华侨书画展”

1997年《叶浅予先生》入选“中国人物画展”，获优秀奖在中国美术馆举办“潘世勋、蒋采苹台湾写生展”

1998年由郁芳画廊主办，在台北国家艺廊举办“潘世勋、蒋采苹台湾写生展”，同时出版同名画集

《并蒂鸡冠花》入选“中国工笔画学会第四届大展”主持文化部第一届重彩画高级研究班，并研制高温结晶颜料在班上试用

1999年著作《中国画材料应用技法》由上海人民美术出版社出版主编《现代重彩画集》，由山东美术出版社出版

主持文化部第二届重彩画高级研究班主持文化部中日专家重彩画授课班

  蒋采苹1958年毕业于中央美术学院中国画系，之后长期于母校任教，在退休前的最后5年（1985——1989年）任工笔画室主任，是工笔画教学挑大梁的人物。此间正值工笔重彩画复兴期的开始，她在1987年召开的当代工笔画学会成立大会上当选为学会副会长，又使之成为致力于工笔重彩绘画事业的美术活动家。当美术史家们认为工笔重彩画的复兴为新时期美术事业的亮点时，不会忘记潘漂兹、蒋采苹及其同仁群体的奉献。正是在这工笔画走出低谷、走向繁盛的时空时里，适应着社会的需求，工笔绘画的教育走出了学院，蒋采苹自1998年起受文化部教育司和科学技术司之聘主持五届重彩画高级研究班教学，第六届是在中央美术学院举办的，2005年起又中国艺术研究院之聘担任蒋采苹重彩画工作室导师，于2008年共九届284，一大批静年重彩画家出自她门下，其成材率恐高于正式的院校教学。此间，我们有过交谈，她太想在这艺术创作盛期辞去社会教职，但她还是走上了讲台，培养重彩画梯队已经成为她责任，刻入她古稀之年的年轮。作为重彩画教育家的蒋采苹为此陷入《中国画材料应用技法》。著述的日夜荣作，又与道友、弟子共同编写了《名家重彩画技法》。她旗帜鲜明地守护中华民族的文化身份，将其高研班冠以“中国重彩画”而有别于同期出现的其他流派，从形而上的层面上对中国传统的认知与A扬的立场，以现实主义精神为主导将生活、修养、创作相联系的思维，使用传统矿石颜料并自制高温结晶颜料所体现的对材质、技法的重视，以及用温州皮纸作重彩画时与水墨画的衔接，形成了当代中国重彩画由道而器的完整的体系，使她作为艺术教学家的形象充实地深入到弟子们的心中。当我进入蒋采苹作品的评析之前，我不能不把工笔重彩绘画复兴中需要蒋采苹和出现了蒋采苹的时代背景勾画一番，不能不把她作为重彩画活动家和教育家的侧面立体地诉诸笔端。将中国画简单地视为“单线平涂”的时代已经成为历史，蒋采苹也不是一个可以“单线平涂”的人。她时时感到不足，便读史、读论，像学者型的艺术家那样写了不少论文，她身为写实油画家潘世勋之妻，倾向于现代的潘缨之母，就这个和而不同的家庭文化氛围也可以感受些她画室里多氧的空气。

蒋采苹首先是一位工笔重彩的人物画家。她自大学时代的（母子图）入选1957年的全国青年美术工作者作品展览会（即第一届全国青年美展）开始涉入画坛，至1970年代末进入收获期，，1990年代臻于高峰。她笔下的人除黄遵宪、秋瑾、孙中山、宋庆龄、叶浅予外，大部分为女性尤其少数民族女性形象，这不排除所有画家对少数民族风情的倾倒，对其服饰的丰满性的迷恋因素，但在蒋采苹的人物中，通过那明亮的眸子里照见着他们内心世界的明丽，就像蒋采苹自己的眼神里闪现的对真、善、美的渴求。她赋予《台湾排湾族新娘》公主、皇后般的造型，饰美族姑娘》则强化其山姑的朴实与纯真，而《戴银冠的苗女》则突现着那银冠的文化象征意味，后者的对称格局和纯化的色调不仅显示了画家对中国重彩人物画技法、材料的新突破，也昭示出寓意性和现代感的追求，这在她的花卉作品中有着更充分的体现。

进入1990年代，蒋采苹的一幅《筛月》以其独特的诗思、纯化的色调引起了不知多少观众的共鸣，然而在画家自己心中唤起的则是与年龄渐老的同构性联想，是那苍老的美隐寓的另一种生命的辉煌。从此，这成为她挥之不去的情思，又在一系列老芭蕉或新老芭蕉对照的画面上溢出，她也在以物比兴、物我两忘的传统文化层面上展开了那潜在的花鸟画思维的才智，而且又将丰富的造型提炼为抽象性的结构和语汇，将丰富的色彩概括为纯化的色调一黄调如金，自调如银，红得热火，蓝得深湛，把情感的倾向性通过色彩独有的视觉感应突现出来，为重彩花鸟画的现代性实验作出了成功的回答。如果我们注意到她在花卉和人物中背光的微妙处理的共性，那光晕使人想到了佛光，她仿佛像佛弟子崇敬佛祖那样将这光投射于她酷爱的平凡人物和普通花木，这光源自她那颗崇尚真、善、美的灵魂，源自她苍老复青春的心态。

蒋彩萍工笔画作品

中国工笔重彩画起源于春秋时期，成熟于唐宋。

这种用简练工笔描写人和动物形象的画，就是我国工笔画的起源。在以后的近千年中，工笔画备受冷落，工笔画作品被挤入桃花坞、杨柳青等木刻批量生产的年画当中，在近千年的中国绘画史中也很少提及，工笔画师多被排在民间画匠的行业。

蒋采苹工笔画作品《山村妇女》《碧莲池中网大鱼》等早在上世纪五六十年代就被选入全国青年画展和全国年画展。她在经历“文革”十年歇笔后，又有《李清照》《秋瑾》《赶街》《孔雀之歌》《北京的雪》《孙中山与宋庆龄在东京》等作品参加国内外画展。她的人物画《三月三之夜》曾在1988年“中国工笔画学会首届大展”上荣获银牌奖。她在1979年秋就加入由刘凌沧、潘洁兹、刘力上、俞致贞、王淑晖、田世光、潘素等老一代画家发起的北京工笔重彩画会。蒋采苹自1998年3月至2000年8月，在文化部工笔重彩画高级研究班任主持，为全国各地培养过150多位工笔画中青年画家。她在近50年从事中国画的实践中，挖掘整理出近10万字的《中国画及颜料研究》等专著。

现全国几百万从事“复制中国画”的人群中，大约有近万名中青年作者是在从事工笔重彩画的。这也许是蒋采苹多年来积极复兴工笔重彩画所希望看到的局面吧。

中国重彩画古称“丹青”，唐代称“重彩”，近代称“工笔重彩”，今天我所称的“中国重彩画”是恢复它原有的传统称谓。中国重彩画本是中华民族绘画的原发形态，在唐代它是中国画坛主流（唐末才有水墨画），而且是无比的灿烂辉煌。宋元以降，文人水墨画成为画坛主流，中国重彩画虽在画坛仍占有一席之地，但已成为边缘绘画。虽有元代赵孟A、明代陈老莲、清末民初任伯年之流在坚守，其弱势已为定局。究其原因，应当归于历史：南宋只有半壁江山：元朝是蒙古族政权；明代版图很小，不断地受异族侵犯，连英宗皇帝也被掳走；清代是满族统流，只能出现提倡复古的“四王”和只画翻白眼鸟的八大。所以有人说：“只有盛世才有工笔重彩画。”今正逢新的盛世，中国重彩画的回归与重现绝非偶然。

过去的中国美术史是不十分公正的，因为它忽视了民间绘画，而唐代以后的中国重彩画主要是由非文人画系统的民间绘画继承，所以中国重彩画才不至失落而绵延不断。例如，敦煌佛教洞窟壁画（从北魏至元代）、永乐宫道教壁画（元代）、法海寺佛教壁画（明代）、雍和宫佛教壁画（清代），以及明清影像画、寺庙道观中之幡画，包括藏传佛教的唐卡，还有手绘的杨柳青年画等，它们不但越千年的流传，而且愈来愈得到中国画界的认可和重视。中国重彩画与文人水墨画是中国画的两大支脉，它们共同组成中国画，形成双峰对诗、两水分流的壮丽景象。中国重彩画是有源头的，从晚周帛画算起，它至少有两千年的历史，它兼容文人画和民间绘画两大体系，其生命力是如此顽强，中国重彩画在我国美术史上并未失落，只不过在一段历史中呈弱势而已。

Jiang Caiping was born in April 1934 in Luoyang, Henan Province. He graduated from the Department of Chinese Painting of the Central Academy of Fine Arts in 1958 and is now a professor of the Central Academy of Fine Arts. From 1998 to 2000, he was appointed as the chairman of the China Heavy Colour Painting Advanced Research Class sponsored by the Education Department of the Ministry of Culture. From 2001 to 2002, he was appointed as the tutor of the China Heavy Colour Painting Advanced Research Class of the Central Academy of Fine Arts. In 2003, he was appointed as a visiting professor of the Chinese University of Hong Kong. In 2005, he was appointed as the tutor of the China Heavy Colour Painting

His works have been selected for many important exhibitions at home and abroad, Song Qingling's Glorious Life has won gold medals, and the collections of "Sieve Moon" and "Samsara" are collected by the Chinese Art Museum. He has published more than ten kinds of personal paintings, anthologies, technical materials books and editors-in-chief Chinese heavy-color paintings. The developed "high temperature crystalline pigments" have obtained the invention patent certificate of the State Intellectual Property Office.

Meticulous heavy color painting

Chinese meticulous heavy-color painting originated in the Spring and Autumn Period and matured in the Tang and Song Dynasties.

This kind of painting which depicts the image of human and animal with concise Meticulous Brushwork is the origin of Meticulous Brushwork in our country. In the next thousand years, Meticulous Brushwork has been neglected, and Meticulous Brushwork works have been squeezed into the mass production of New Year's paintings such as Taohuawu and Yangliuqing. It is seldom mentioned in the history of Chinese painting in the past thousand years, and Meticulous Brushwork painters are mostly excluded from the industry of folk painters.

Jiang Caiping's fine brushwork "Mountain Village Women" and "Big Fish in the Nets of Bilian Pond" were selected as early as the 1950s and 1960s in the National Youth Painting Exhibition and the National New Year Painting Exhibition. After ten years of "Cultural Revolution", she also participated in domestic and foreign art exhibitions with works such as Li Qingzhao, Qiu Jin, Running the Street, Song of Peacock, Snow in Beijing, Sun Yat-sen and Song Qingling in Tokyo. Her figure painting "The Night of March 3" won the silver medal at the first exhibition of the Chinese Academy of Fine Brushwork in 1988. In the autumn of 1979, she joined the Beijing Meticulous Painting Fair initiated by Liu Lingcang, Pan Jiezi, Liu Lishang, Yu Zhizhen, Wang Shuhui, Tian Shiguang, Pan Su and other old generation artists. From March 1998 to August 2000, Jiang Caiping chaired the Advanced Research Class of Meticulous Painting and Heavy Color Painting in the Ministry of Culture, and trained more than 150 young and middle-aged artists in Meticulous Painting for all parts of the country. She has been engaged in the practice of Chinese painting for nearly 50 years, and has excavated and sorted out nearly 100,000 words of monographs such as "Research on Chinese Painting and Pigments".

Among the millions of people engaged in "copying Chinese paintings", about 10,000 young and middle-aged authors are engaged in meticulous heavy-color painting. This may be the situation Jiang Caiping has been actively reviving meticulous heavy-color paintings for many years.

Chinese heavy-color painting was called "Danqing" in ancient times, "Chongcai" in Tang Dynasty and "meticulous painting" in modern times. Today, what I call "Chinese heavy-color painting" is to restore its original traditional title. Chinese heavy-color painting book is the primary form of Chinese national painting. In the Tang Dynasty, it was the mainstream of Chinese painting circle (only ink painting in the late Tang Dynasty), and it was incomparably brilliant. Since the Song and Yuan Dynasties, literati ink painting has become the mainstream of the painting world. Although Chinese heavy-color painting still occupies a place in the painting world, it has become a marginal painting. Although Zhao Meng A in Yuan Dynasty, Chen Laolian in Ming Dynasty and Bonian in late Qing Dynasty and early Republic of China are sticking to it, their weakness has become a foregone conclusion. The reason should be attributed to history: the Southern Song Dynasty had only half a wall: the Yuan Dynasty was a Mongolian regime; the Ming Dynasty had a very small territory and was constantly invaded by other nationalities, even the Emperor of the British Emperor was abducted; the Qing Dynasty was a Manchu tradition, with only eight "four kings" advocating the restoration of the ancients and eight white-eyed birds painting. So some people say, "Only in prosperous times can meticulous heavy-color paintings be produced." This is a new prosperity, the return and reproduction of Chinese heavy color painting is no accident.

The history of Chinese art in the past is not very fair, because it neglected folk paintings, and since the Tang Dynasty, Chinese heavy-color paintings are mainly inherited by non-literati painting system, so Chinese heavy-color paintings can not be lost and continue. For example, Dunhuang Buddhist cave murals (from Northern Wei to Yuan Dynasty), Yongle Palace Taoist murals (Yuan Dynasty), Fahai Temple Buddhist murals (Ming Dynasty), Yonghe Palace Buddhist murals (Qing Dynasty), as well as Ming and Qing image paintings, temple Taoist views of the banner paintings, including the Tangka of Tibetan Buddhism, as well as hand-painted Yangliuqing Youth paintings, etc. More and more thousands of years of spread, and more and more recognition and attention by the Chinese painting industry. Chinese heavy color painting and literati ink painting are the two branches of Chinese painting, which together constitute Chinese painting, forming a magnificent scene of two peaks to poetry and two water flows. Chinese heavy color painting has its source. From the silk painting of late Zhou Dynasty, it has a history of at least two thousand years. It is compatible with the two systems of literati painting and folk painting. Its vitality is so tenacious that Chinese heavy color painting has not lost in the history of Chinese art, but is only weak in a period of history.

Old Age and Youth

Jiang Caiping graduated from the Department of Chinese Painting of the Central Academy of Fine Arts in 1958 and later taught at his alma mater for a long time. He was the director of the Fine Brushwork Studio in the last five years (1985-1989) before his retirement. He was a leading figure in the teaching of Fine Brushwork. This is the beginning of the Renaissance of meticulous heavy-color painting. She was elected Vice President of the Society at the founding meeting of the Contemporary Society of meticulous heavy-color painting held in 1987, which made her an artistic activist devoted to meticulous heavy-color painting. When art historians believe that the revival of meticulous heavy-color painting is the highlight of the art cause in the new era, they will not forget the dedication of Pan Pizi, Jiang Caiping and their colleagues. It is in this time and space when fine brushwork has come out of its low ebb and flourished, and adapted to the needs of society, that the education of fine brushwork has come out of the college. Since 1998, Jiang Caiping has been employed by the Department of Education and Science and Technology of the Ministry of Culture to chair five senior research classes on heavy colour painting. The sixth one is held in the Central Academy of Fine Arts and has been held since 2005. The Chinese Academy of Art hired Jiang Caiping as a tutor of heavy-color painting studio. In 2008, there were nine 284 sessions. A large number of heavy-color painters in quiet years came from her door, and their success rate was higher than that of formal college teaching. During this time, we had a conversation. She wanted to quit her social teaching post at the peak of artistic creation, but she still stepped onto the platform. It has become her responsibility to cultivate the echelon of heavy-color paintings, which has been carved into the rings of her ancient and rare years. Jiang Caiping, as an educator of heavy-color paintings, falls into the "Applied Techniques of Chinese Painting Materials". The author's glorious works day and night, together with his Taoist friends and disciples, compiled "Famous Painting Techniques of Heavy Colors". She clearly guards the cultural identity of the Chinese nation. She calls her senior research class "Chinese heavy color painting", which is different from other schools that appeared at the same time. She has a metaphysical understanding of Chinese traditional culture and A Yang's position. She takes realism spirit as the leading factor to connect life, culture and creation, and uses traditional mines. Stone pigments and self-made high-temperature crystalline pigments reflect the importance of materials and techniques, as well as the use of Wenzhou paper for heavy-color painting and ink painting, forming a complete system of contemporary Chinese heavy-color painting from Tao to implement, so that her image as an art educator fully penetrates into the hearts of disciples. Before I entered the analysis of Jiang Caiping's works, I could not help but sketch the background of Jiang Caiping's times in the revival of meticulous heavy-color painting, and appeal to her as an activist and educator of heavy-color painting. The era of simply treating Chinese painting as "single-line flat painting" has become a history, and Jiang Caiping is not a person who can "single-line flat painting". She always feels insufficient, so she reads history and theory, and writes many papers like a scholarly artist. As the wife of realistic oil painter Pan Shixun, she tends to be the mother of modern Pan Mu. She can also feel the oxygen-rich atmosphere in her studio in this harmonious and different family cultural atmosphere.

Jiang Caiping is first and foremost a meticulous figure painter. Since she was elected to the National Youth Art Exhibition (the first National Youth Art Exhibition) in 1957, she has been involved in the art world. By the end of 1970s, she entered the harvest period, and reached its peak in 1990s. Except for Huang Zunxian, Qiu Jin, Sun Yat-sen, Song Qingling and Ye Shaoyu, most of the people in her works are women, especially minority women. This does not exclude all painters'fascination with minority customs and the fullness of their costumes. However, in Jiang Caiping's characters, he is seen through his bright eyes. The brightness of our inner world is like Jiang Caiping's desire for truth, goodness and beauty in her eyes. She gives the princess and queen-like shape to Paiwan Bride in Taiwan, while decorating the beautiful girl strengthens the simplicity and innocence of her mountain aunt, while Miaonu with silver crown highlights the cultural symbolism of the silver crown. The symmetrical pattern and purified tone of the latter not only show the painter's techniques and materials of Chinese heavy-colored figure painting. New breakthroughs also show the pursuit of implication and modernity, which is more fully reflected in her flower works.

In the 1990s, Jiang Caiping's "Shadow Moon" attracted many audiences'sympathy with its unique poetic thinking and purified tone. However, in the painter's own mind, it evoked isomorphic association with aging, which is another kind of brilliance of life hidden in the beauty of the old. From then on, it became her lingering emotion, and overflowed on a series of pictures of old or new bananas. She also developed her latent wisdom of flower and bird painting thinking on the traditional cultural level of comparing things with things and forgetting both things and me. Moreover, she refined the rich shape into abstract structure and vocabulary, which will enrich her life. The color is summarized as pure tone, yellow tone, silver tone, hot red tone and deep blue tone. The emotional tendency is highlighted through the unique visual sensation of color, which gives a successful answer to the modernity experiment of heavy-color flower and bird painting. If we notice the commonness of her subtle treatment of backlights in flowers and figures, the halo reminds us of Buddha's light, which she projected on ordinary characters and flowers that she loved as Buddha's disciples worshiped Buddha. This light source comes from her soul which advocates truth, goodness and beauty, and from her old and young mentality.