纳斯达克艺术收藏指南—中国宝藏艺术家陈秀梅　Nasdaq Art Collection Guide—Chinese Treasure Artist Chen Xiumei

陈秀梅，女，满族，辽宁海城人。毕业于西南师大美术系国画专业，进修于北京画院王文芳导师工作室，中国美术家会员，国家一级美术师，宁夏书画院专业画家。宁夏文史馆研究员。

Chen Xiumei, female, Manchu, from Haicheng, Liaoning. Graduated from the Department of Fine Arts of Southwest Normal University, majoring in traditional Chinese painting, studied in Wang Wenfang’s tutor studio of Beijing Academy of Painting, member of Chinese Artists, national first-class artist, professional painter of Ningxia Academy of Painting and Calligraphy. Researcher of Ningxia Museum of Literature and History.

1992年全国“国防杯”书画展，《归乡图》获优秀奖；

In 1992, the National “National Defense Cup” Painting and Calligraphy Exhibition, “Homecoming Picture” won the Excellence Award;

1999年庆祝中华人民共和国成立50周年《千岩竞秀》获铜奖；

In 1999, celebrated the 50th anniversary of the founding of the People’s Republic of China, “Thousand Rocks Competition” won the bronze medal;

2000年纪念毛泽东《在延安文艺座谈会上的讲话》发表60周年全国美术《塞上情》入选；2003年第七届全国少数民族体育运动书画展《塞上秋深》入选；

In 2000, to commemorate the 60th anniversary of Mao Zedong’s “Speech at the Yan’an Forum on Literature and Art” was selected for the National Fine Arts “Songshang Qing”; in 2003, the 7th National Minority Sports Painting and Calligraphy Exhibition “Songshang Shen” was selected;

2004年第二届中国西部大地情全国展《山远疑无树、云波似海流》获优秀奖；

In 2004, the 2nd National Exhibition of Land Conditions in Western China won the Excellence Award for “Mountains without Trees, Clouds and Waves Like Ocean Currents”;

2004第二届全国少数民族美术作品展《春山一路鸟空啼》获纪念奖；

2004 Second National Minority Art Works Exhibition “Spring Mountain All the Way Bird Cry” won the commemorative award;

2004年当代中国画家收藏交流展《三里人家》获三等奖；

In 2004, Contemporary Chinese Painter Collection Exchange Exhibition “Sanli Renjia” won the third prize;

2006年赴香港，台湾举办画展；

In 2006, he went to Hong Kong and Taiwan to hold art exhibitions;

2006年第三届中国青岛艺博会《坡上情更浓》获银奖，同年作品被宁夏回族自治区人大会堂收藏；

In 2006, the third China Qingdao Art Fair, “The Love on the Pond” won the silver award, and the work was collected by the Great Hall of the People of Ningxia Hui Autonomous Region in the same year;

2007年北京荣宝斋举办八人画展，赴上海参加女画家画展，赴宁夏固原举办送温暖书画展；

In 2007, Beijing Rongbaozhai held an eight-person painting exhibition, went to Shanghai to participate in an exhibition of female painters, and went to Guyuan, Ningxia to hold an exhibition of sending warmth;

2008年纪念李可染先生诞辰100周年被强档推出为“第三代弟子”称号；

In 2008, to commemorate the 100th anniversary of Mr. Li Keran’s birth, he was strongly promoted as the “third-generation disciple”;

2009年作品入选全国首届和文化艺术展并获金奖；

In 2009, his works were selected into the first national cultural and art exhibition and won the gold medal;

2011年作品入选全国女画家书画展；

In 2011, his works were selected into the National Female Artists Painting and Calligraphy Exhibition;

2011年10月参加中韩第二届书画展；

Participated in the 2nd China-Korea Painting and Calligraphy Exhibition in October 2011;

2012年由深圳政府邀请在深圳罗湖区文化广场举办个人画展；

In 2012, invited by the Shenzhen government to hold a solo exhibition at the Cultural Plaza in Luohu District, Shenzhen;

2012年在中央党校参加百位书画名家优秀作品展；

In 2012, he participated in the excellent works exhibition of one hundred famous calligraphy and painting artists at the Central Party School;

2013年中国国际集邮，国家邮政，电信部门为做出重大贡献的当代知名艺术家发行的纪念珍藏邮册，共有六福发行；

In 2013, China International Philately, the State Post, and the telecommunications sector issued a commemorative collection album for well-known contemporary artists who have made major contributions, and they were issued by Luk Fook;

2014年参加建国65周年，由中国邮政在全国发行个人中国画邮票；

Participated in the 65th anniversary of the founding of the People’s Republic of China in 2014, and China Post issued individual Chinese-painted stamps nationwide;

2015年参加宁夏书画院建院30周年书画展；

Participated in the 30th Anniversary Painting and Calligraphy Exhibition of Ningxia Academy of Painting and Calligraphy in 2015;

2016年作品被天津济海艺术馆收藏；

In 2016, his work was collected by Tianjin Jihai Art Museum;

2017年作品被宁夏回族自治区宁夏美术馆收藏；

2017年2月被中国好品牌人物榜网络评选为，中国书画品牌网，中国品牌影响力书画家。2017年5月参加中国好品牌艺术人物榜，品牌影响力艺术形象大使。

In 2017, his works were collected by Ningxia Art Museum of Ningxia Hui Autonomous Region;

In February 2017, he was selected as the Chinese calligraphy and painting brand network, Chinese brand influence calligrapher and painter. In May 2017, he participated in the list of China’s good brand art figures, and is the ambassador of brand influence art.

2018年参加宁夏书画院在甘肃美术馆举办中国梦一宁夏情书画作品展。

2018年被邀请参加纪念赵朴初先生诞辰110周年主题中国画大展；

2018年庆祝改变开放1978一2018中国当代书画艺术领军人物大型文献类珍藏邮册；

In 2018, he participated in the Ningxia Painting and Calligraphy Institute held an exhibition of Chinese Dream-Ningxia Love Calligraphy and Painting at the Gansu Art Museum.

In 2018, he was invited to participate in the Chinese painting exhibition commemorating the 110th anniversary of Mr. Zhao Puchu’s birth;

Celebrating change and opening in 2018 1978-2018 Large-scale document collection stamp album of leading figures in contemporary Chinese painting and calligraphy;

2019年作品被银川市委二楼会议厅收藏；

2019年9月塞上江南、美丽宁夏全区书画展。

2019年参加全国百名画家“真迹杯”（峥嵘七十载与祖国同梦）书画活动并获得了（中国国画）名家年度展“金奖”授予最具有艺术价值画家，和最有实力国画家称号。

In 2019, his works were collected by the conference hall on the second floor of Yinchuan Municipal Party Committee;

In September 2019, there will be a painting and calligraphy exhibition in Jiangnan and beautiful Ningxia.

In 2019, he participated in the painting and calligraphy activity of the 100 national painters “True Cup” (Zhengrong 70 Years Dreaming with the Motherland) and won the “Gold Award” at the Annual Exhibition of Famous Artists (Chinese Traditional Painting), awarded the title of the most artistically valuable painter and the most powerful Chinese painter. .

2020年参加宁夏回族自治区和旅游厅，宁夏书画院，宁夏美术馆举办的“塞上江南，美丽宁夏”主题美术展。三幅作品入选，一幅作品被宁夏回族自治区宁夏美术馆收藏。

In 2020, he will participate in the theme art exhibition of “Scattered South of the Yangtze River, Beautiful Ningxia” held by the Ningxia Hui Autonomous Region and Tourism Department, Ningxia Academy of Painting and Calligraphy, and Ningxia Art Museum. Three works were selected, and one was collected by the Ningxia Art Museum of Ningxia Hui Autonomous Region.

2021年6月纪念长征胜利85周年，作品入选穿越长征建党10O周年全国书画主题创作展。

2021年6月10日“千秋伟业.百年辉煌”庆祝建党100周年，主题美术创作展，由宁夏书画院主办，一一在宁夏银川美术馆展出。

In June 2021, to commemorate the 85th anniversary of the victory of the Long March, his works were selected into the National Painting and Calligraphy Theme Creation Exhibition of the 10th Anniversary of the Founding of the Long March.

On June 10, 2021, “A Thousand Years and A Hundred Years of Glory” celebrates the 100th anniversary of the founding of the Party. The theme art creation exhibition, sponsored by Ningxia Academy of Painting and Calligraphy, will be exhibited at Ningxia Yinchuan Art Museum one by one.

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屹然天立镇中流

——解读陈秀梅山水画的成就及其艺术

Standing in the middle of Tianli Town

——Interpretation of Chen Xiumei’s achievements in landscape painting and his art

文：张弛

Text: Zhang Chi

时代变了，思想感情变了，内容变了，技法一定要变。山水画也要有思想内涵的。

Times have changed, thoughts and feelings have changed, content has changed, and techniques must change. Landscape paintings must also have ideological connotations.

鲁迅先生说：旧形式不能适应新内容，必有所增益和删除，就有所改革。

有些人专以仿古为能事，没有自己的感受，自然就沦入公式化，如屈原和他的《离骚》，司马迁和他的《史记》，黄公望和他的《富春山居图》，张择端和他的《清明上河图》，颜真卿和他的《祭侄稿》，岳飞和他的《满江红》等等。

Mr. Lu Xun said: The old form cannot adapt to the new content, so there must be some gains and deletions, and then some reforms.

Some people specialize in antiquity, and without their own feelings, they naturally fall into formulas, such as Qu Yuan and his “Li Sao”, Sima Qian and his “Historical Records”, Huang Gongwang and his “Fuchun Mountain Residence”, Zhang Zeduan And his “Surfing the River on Qingming Festival”, Yan Zhenqing and his “draft for sacrificing nephew”, Yue Fei and his “Man Jianghong” and so on.

又如李白、梁楷式的那种洒脱和风度。这种风度，也就是古人所谓的“狂”。

但是，这种“书生留得一分狂”，在中国历史上则留下了他们的芳名。这种“狂”，是一种情感的外化，一种自由精神的载体，人类的创造性，往往缘于这种自由的“狂放”。阮籍和嵇康等“竹林七贤”就是最典型的代表，后来陆续还有李白、苏东坡、徐渭、石涛等。

Another example is the free and easy style of Li Bai and Liang Kai. This kind of demeanor is what the ancients called “crazy”.

However, this kind of “students stayed mad” has left their fame in Chinese history. This kind of “madness” is a kind of emotional externalization, a carrier of free spirit, and human creativity often results from this kind of free “wildness.” The “seven sages of the bamboo forest” such as Ruan Ji and Ji Kang are the most typical representatives. Later, there were Li Bai, Su Dongpo, Xu Wei, and Shi Tao.

一个真正的艺术家，一定是一个有担当的人。

A true artist must be a responsible person.

他关注社会，关注现实，关注人生，具有“成教化，助人伦”的担当。当代中国画坛，山水画家可谓多矣，但并非所有的人都具有那种驾驶时空、挥洒自如的大家气象。她，表现出山水的气势、境界和精神风骨，从而传达出千年一脉的中国文化精神。她，就是独步当代的陈秀梅。她的山水画是另一番气象。

He pays attention to society, reality, and life. He has the responsibility of “adult education and helping others”. In contemporary Chinese painting circles, there are many landscape painters, but not all people have the kind of atmosphere of driving time and space and swaying freely. She shows the momentum, state and spirit of the landscape, thus conveying the Chinese cultural spirit of a thousand years. She is the unique contemporary Chen Xiumei. Her landscape paintings are a different look.

陈秀梅“大家气象”，雄浑、博大、开阔、崇高、自由、昂扬。她承继传统，严守法度，又能放笔直取，真意皆出，具有震撼人心的艺术力量。我一向认为，在山水画中，无风骨何以论气势？无气势何以论境界?但“风骨”和“气势”首先从“意象”而来。黄宾虹说，胸中自有神奇，造化自为我有；将客观的视觉探求与内心的情感倾诉浑化为一，从而提炼升华出一种全新的意象符号，形成画家笔下的“第二自然”。

Chen Xiumei’s “everyone’s atmosphere” is vigorous, broad, open, sublime, free, and high-spirited. She inherits the tradition, strictly abides by the laws, and is able to take it straight away. She has all the true meaning and has shocking artistic power. I have always thought that in landscape paintings, why do you have no vigor to talk about momentum? Why is the state without momentum? But the “vitality” and “vigorousness” first come from “imagery”. Huang Binhong said that there is a miracle in the chest, and the good fortune is my own; the objective visual inquiry and the inner emotional confession are integrated into one, so as to refine and sublimate a brand-new image symbol, forming the painter’s “second nature”.

陈秀梅的山水画就在于她对“意象”提炼的精道，对于“第二自然”表现上的自由、通达和深邃。陈秀梅在山水画中将“观物”与“观我”的内涵进行了深刻的笔墨阐释，她画的是山而非山，非山而皆山，她的主观情感以山水为寄托，山水是其情绪的外化。读者会从她的山水画中，读出她那豪放爽朗的性格，读出热情而简洁的语言。她那看似横扫直抹、一挥而就的笔墨，其实是用“慢动作”描绘出来的“这一个”。故而山苍树秀，水活石润，一派浑厚华滋之貌。

人们皆赞赏陈秀梅及其作品的男人气质，殊不知，她的一切阳刚之美皆蕴于阴柔之美中。

Chen Xiumei’s landscape paintings lie in her refinement of “imagery” and the freedom, understanding and profoundness of her expression of “second nature”. In her landscape paintings, Chen Xiumei explained the connotations of “observing objects” and “observing myself” in pen and ink. She painted mountains instead of mountains, and mountains are all mountains. Externalization of emotions. Readers will read out her bold and hearty character and warm and concise language from her landscape paintings. Her pen and ink that appears to be swept across and swiped in one swipe is actually “this one” portrayed in “slow motion”. Therefore, the mountain trees are beautiful, the water is lively and the stone is moist, and they have a vigorous and beautiful appearance.

People admire the masculine temperament of Chen Xiumei and her works, but everyone does not know that all her masculine beauty lies in the feminine beauty.

她画山水大幅以得势为主，山得势，林木得势，虽参差向背不同，而各自条畅。石得势，虽奇怪而不失理，即平常亦不为庸；山坡得势，虽交错而知不繁乱。

您透过陈秀梅的山水画，似乎可以悟出三昧；所谓“势”不单单是山石草木的排列组合，不单单是位置上的经营安排，它主要是画家审美精神的自由流淌，是主体创造思维通过山石草木的秩序所形成的一个“情感场”或曰“意象群”。

陈秀梅的大幅山水之所以得“势”，并不依靠明显的开合、聚散，或靠草木点缀、云岚的笼罩未整合完善。

In her paintings of large landscapes, she focuses on gaining power. Mountains and forests are in power. Although they are different from one side to the other, they are in good order. The stone gains power, although strange but not unreasonable, that is, it is not mediocre in ordinary times; the hillside gains power, although it is staggered, it is not complicated.

Through Chen Xiumei’s landscape paintings, you seem to be able to comprehend the samadhi; the so-called “potential” is not only the arrangement and combination of mountains, rocks, and plants, but also not only the positional management arrangement, but also the free flow of the painter’s aesthetic spirit and the passage of the subject’s creative thinking. An “emotional field” or “image group” formed by the order of mountains, rocks, and trees.

The reason why Chen Xiumei’s large-scale landscape gains “power” does not depend on the obvious opening and closing, gathering and dispersing, or the lack of integration and perfection by the vegetation embellishment and the cloud cover.

她善于以气造势，以势御气，以心中之气将笔墨推出。她往往是浑然一体的擦染之中，在大块墨色的淋漓之中，用简括有力的若隐若现的线条勾勒立骨，草草点点，浑茫而精微，于不经意中，气势俱足，韵味俱足。陈秀梅的山水画中漾溢着浓郁的诗意。尤其是山间的危桥、舟车、幽溪、远渚、杂树、藤萝、牛羊、野鸟，以及村落、屋舍、落晖、炊烟、农夫、牧笛等，宛如精彩的诗句在画面上熠熠生辉。

She is good at creating momentum with the vigor, with the vigor to defend the vi, and with the spirit of the heart to push the pen and ink. She is often in a whole body of rubbing and dyeing, in the dripping of large ink, using simple and powerful looming lines to outline the bones, hastily, vaguely and subtle, inadvertently, full of momentum and full of flavor. . Chen Xiumei’s landscape paintings are full of rich poetry. Especially the dangerous bridges in the mountains, boats, rivers, Yuanzhu, miscellaneous trees, vines, cattle and sheep, wild birds, as well as villages, houses, sunsets, cooking smoke, farmers, herding flutes, etc., are just like wonderful poems on the screen Shining brightly.

这使她笔下的山水，不仅可观可望，而且可游可居，雅俗共赏，好看耐品，无愧为山水画中的上乘之作。陈秀梅有扎实的传统之功，却没有沉重的因袭之痕，她更多的是传统笔墨的现代气息。陈秀梅用情笔墨之中，放怀笔墨之外，她对山水的痴情和依恋，简直到了“物我两忘”之境。她爱山，看山，画山，梦山，视一树一石为恋人而终生相许，这次第，怎一个“痴”字了得！所以，我认为她的山水画的最成功之处就在于，她能站在“山水”之上俯瞰大地人间。大气，功底扎实,用笔老练；她构图，墨韵，色彩，都很好。画风大气令人震撼。

This makes her landscape paintings not only observable, but also accessible, elegant and popular, good-looking and durable, and is worthy of being the best in landscape paintings. Chen Xiumei has solid traditional skills, but there is no heavy inheritance. She is more modern with traditional brushwork. In Chen Xiumei’s pen and ink with love, and in addition to the pen and ink, her infatuation and attachment to the landscape have reached the state of “things and I have forgotten both”. She loves mountains, looks at mountains, paints mountains, dreams of mountains, and regards a tree and a stone as a lover and promises each other all her life. This time, how can she be “idiotic”! Therefore, I think the most successful aspect of her landscape painting is that she can stand on the “landscape” and overlook the earth and the world. Majestic, solid foundation, sophisticated pen; her composition, ink rhyme, and color are all very good. The style of painting is shocking.

中国画的精华，像范宽的《溪山行旅图》这样的作品，是非常激动人心的。如《清明上河图》绝不是仅往两边伸展，同时也很注意深度，往深里发展。

艺术上美的抽象的规律往往是最高的境界。

The essence of Chinese painting, such as Fan Kuan’s “Traveling in the Mountains and Streams”, is very exciting. For example, the “Surfing the River at Qingming Festival” is not just extending to both sides, but also paying attention to the depth and developing into the deep.

The abstract law of artistic beauty is often the highest state.

一张画要有最精粹之处——所谓“画眼”；主要的东西可以强调、夸张，竭力描写自己最感兴趣的，最主要的东西，才能引人入胜，打动人心。艺术就怕搔不到痒处。艺术家不仅表现所见，还要表现所知和所想。中国古代艺术家描写的《仙山楼阁图》，就是把最美的建筑放在最美的环境里，这是艺术家根据现实的想象，是现实主义和浪漫主义的结合。中国画家画黄山，绝不是站在某一个固定地点取某一个固定的角度画其眼所仅见，而是全面观察理解以后加以表现，好像是站在黄山的上空。艺术应比真实更高，更集中，更概括。要运用自己的全部修养把自然提高到更美的境界。

A painting must have the most quintessence-the so-called “painting eye”; the main things can be emphasized, exaggerated, and try to describe the most interesting and main things of oneself, in order to be fascinating and move people’s hearts. Art is afraid of not scratching the itch. The artist not only expresses what he sees, but also expresses what he knows and thinks. The “Xianshan Pavilion” described by ancient Chinese artists puts the most beautiful buildings in the most beautiful environment. This is the artist’s imagination based on reality, and it is a combination of realism and romanticism. In painting Huangshan, the Chinese painter is definitely not standing at a fixed place and taking a fixed angle to paint what he sees, but after comprehensive observation and understanding to express it, as if standing above Huangshan. Art should be higher, more focused, and more general than reality. We must use all our self-cultivation to improve nature to a more beautiful state.

罗丹雕刻时就是在石头上逐渐地剥出一个人来，有时连手脚还没有剥出来，但感觉意境够了，就不再剥了。艺术表现总是要求“够”，要求充分体现自己的感受，中国山水画从来讲究气氛。如说：“山中有龙蛇”，就是贯气，又说“苍茫之气”，“含烟带雨”，“挥毫落纸如云烟”，“试看笔从烟中过”等等，都含有这个意思。画好山水画，线条和层次关最难，没有一个大艺术家不追求深厚的。陈秀梅的山水画中真的笼罩着一种气氛，有了气氛画才能活起来。她的山水画中墨是主要的，要画够，明暗、笔触都要在墨上解决，着色只是辅助。技巧是为内容服务的，现代名山大川里面的东西已经变了。就拿动车、电脑、火箭来说，古人是根本想象不到的。现代山水画，要让后代人瞅一眼就知道，这是21世纪的画家作品！

When Rodin was sculpting, he gradually peeled a person out of the stone. Sometimes he hadn’t peeled his hands and feet, but he felt that the mood was enough, so he would not peel it anymore. Artistic expression always requires “enough” and full expression of one’s own feelings. Chinese landscape painting always pays attention to atmosphere. For example, “there are dragons and snakes in the mountains” means the qi, and they also say “the vast air”, “smoke and rain”, “smooth paper like clouds of smoke”, “try to see the pen passing through the smoke” and so on. this means. To paint a landscape painting well, the lines and layers are the most difficult. There is no major artist who does not pursue profoundness. Chen Xiumei’s landscape paintings really envelop a kind of atmosphere, and only atmosphere paintings can be alive. In her landscape paintings, ink is the main thing. To paint enough, light and shade and brush strokes must be solved in ink, and coloring is only an auxiliary. Skills are for content, and things in modern famous mountains and rivers have changed. Take high-speed cars, computers, and rockets for example, the ancients simply couldn’t imagine them. Modern landscape painting, let future generations take a look at it and know that this is the work of a 21st century painter!

我认为，纯粹的山水画是超不过古人的。我们知道，一种表现方法是一种旋律。和一曲音乐一样，要有统一旋律，或是粗放，或是秀美，不能单纯根据对象，画人物的用笔要和画风景的用笔要统一，远景和近景的用笔要统一，笔调色调本身就代表一种情调。陈秀梅的艺术技巧精湛，风格雄浑，大气磅礴，独步当代。

I think that pure landscape painting is beyond the ancients. We know that a method of expression is a melody. Just like a piece of music, it must have a uniform melody, either extensive or beautiful. It cannot be based solely on the object. The pen used for drawing characters and landscapes should be unified, and the pens used for distant and close views should be unified, and the tone of the pen should be unified. It represents a sentiment in itself. Chen Xiumei’s artistic skills are superb, his style is powerful, majestic, and unique contemporary.

我相信，她一定能够登上中国山水画的巅峰。

I believe that she will be able to reach the pinnacle of Chinese landscape painting.

写于2019年4月22日北京淡泊堂

Written in Beijing Danbotang on April 22, 2019