On December 19th, "Brush and Ink China - The First Academic Invitational Exhibition of Chinese Painting Masters" was exhibited at the Art Museum of China Art Publishing Group. The exhibition showcased more than 150 Chinese paintings created by more than 40 artists of three generations, including He Shuifa, Wang Xijing, Xu Qinsong, Chen Yongqiang, Chen Jialing, Feng Dazhong, Xu Yisheng, Guo Yixiao, Cao Wenchi, Zhang Zhimin, Gao Yun, Le Zhenwen, Ai Xuan, Chen Xiangbo, Guo Shifu, Liu Wanming, Guo Shifu, Wan Ding, Wu Guannan, Yu Guowei, etc. These works show the national, contemporary and people's nature of Chinese painting art with their diverse styles of "brush" and "ink", which not only shows the cultural identity of the contemporary development of traditional Chinese painting, but also vividly shows the creative ecology and development law of contemporary Chinese painting. 
When talking about the academic significance of this exhibition, Yu Yang, director of the scientific research department of the Academy of Fine Arts, believes that the theme of this exhibition, "brush and ink", emphasizes the judgment that the structure of brush and ink and the spirit of freehand are the core of the value of Chinese painting, which is conducive to our understanding of Chinese painting from cultural self-confidence and the core of Chinese local culture. In the exhibition hall, you can see not only the vigorous masterpieces, but also the boneless sketches with contemporary meaning. For example, at the entrance of the exhibition hall, Feng Dazhong is 6The 8-meter-long "Yellow River Zhaohui" and He Shuifa's 5-meter-long "Bright Golden Radiance" reflect each other, and there are new attempts in creative content and creative techniques. "The nation, the times, and the people are the biggest characteristics of this exhibition," the painter He Shuifa said at the scene: "The opening ceremony of the exhibition has been cancelled, and the masses are allowed to judge and let the works speak, which is also a great respect for the works." The exhibition is diverse in terms of creative content, reflecting its richness, and showing the artist's creative passion and creative ideas. It is worth thinking about how Chinese painting can show life experience and natural perception in the creative process, and the painter Yu Guowei said that his works in this exhibition integrate his life experience into it. "I was born by the sea and have a motherly affection for the sea, so the sea is my subject. The other is a field of reeds, where I have lived and worked for many years. I hope to use the language of Chinese painting and the unique concept of Chinese painting to express my observation and understanding of nature. ”
The exhibition site is from the "post-30s" to the "post-80s", from the traditional themes of flowers, birds, and landscape paintings to the grand theme art creation, from the delicate outline to the extensive brushwork and ink painting, and then to the comprehensive materials, The generation of techniques and abstract schemas can clearly see that whether it is the age span of the participating painters, the breadth of the subject matter of the works, and the depth of exploration of the painters' language and style, they all show their great enthusiasm and valuable exploration of the major topic of how to achieve creative transformation and innovative development of brush and ink in contemporary times, which fully demonstrates the openness, inclusiveness, professionalism and unique academic research value of this exhibition. It is reported that the exhibition will last until December 23. 
Exhibition viewSome of the works in the exhibition
In chronological order of age).
Li Wei six contract spring 2018.
Liu Han Daiyu 2016.
Qiu Xiaoqiu is in love with 2023.
Chenjialing Jinggang main peak in 2013.
Guo Yixiao's mountain flowers are wild in 2023.
Cao Wenchi Yandang Stone 2023.
Xu Yisheng is high in 2022.
Guo Shifu is evergreen in 2014.
Wang Xijing, untitled, 2023.
He Shui is in the world in April 2023.
Ai Xuan ** Girl 2015.
Chan Wing Cheung Summer Leisure 2012.
Please landscape screen**).
Feng Dazhong, Heart of the Yellow River, 2021.
Wu Guannanhua laughed at who in 2016.
Xu Qinsong Plateau Ganyu 2009.
Long live the motherland of Qin Tianzhu 2015.
Miao Zaixin is booming in 2022.
Li Xueming's spring water is weeping poplar in 2022.
Wanding moon rises in 2023.
Fan Yang's woodcutter treads the clouds in 2023.
Baiyun Township Autumn Mountain is clear and like makeup in 2022.
Zhang Zhimin's sacrifice to the sea (finger ink) in 2023.
Gao Yun I We 2019.
Lezhen Wenyun Cirrus Yunshu 2022.
Koonwik Yukino Okawa March 2021.
Hushi flowers, birds, fish and insects, 2016.
Yu Guowei: Sunrise, Luhai, clouds cover half 2020.
Chen Hui Wannan Legacy 2012.
Lu Yushun is beautiful in the world, and the pen is in 2014.
Li Xiang Dan Songtao 2021.
Liang Mingyun outside the high mountain for the road eye in 2023.
Chen Xiang's waves of water in 2023.
Chen Xiang Xiao Qi Mu Poetry Intent 2018.
Jia Guangjian Tiandi Zhengqi 2008.
Yin Canghai Traces 2022.
Liu Wanming's calf protection diagram in 2016.
Untitled, 2016.
Lu Ziyang is bright in 2022.
Zhang Yi is crazy and crazy in 2022.
Zhou Wusheng ape moans in 2021.
Wang Haibin Xiaofei 162023 years.
Ma Xiaohu is angry and far out of 2023
*Courtesy of the organizer.