In Chongqing, there is such a "Sichuan American native", who has been studying Chinese painting in the Sichuan Painting Department since he was 19 years old, and has been studying for 49 years. He has participated in 4 national art exhibitions in a row and has been engaged in administrative management for more than 20 years. Agreed to meet at 3 p.m. at the studio in Huxi Commune. When I was a little late because I was tossing and turning, a thin and energetic big brother was already in the aisle. Obviously it was the home field, but he seemed to have arrived at someone else's house, and he was a little cramped. Rub your hands together or straighten your scarf from time to time while talking. As soon as you get started, you can only see a small studio, and the walls are full of representative works of various periods, such as ink figures, heavy color brushwork, theme creation, classic series, fan sketches, and a grand view. He is the famous Fu Zhongchao. It can be seen that as a professor and a master of Chinese painting who has specialized in figure painting for decades, he has been pursuing the infinite in the finite. I was anxious to feast my eyes, and after a lot of chasing new and curious rewards, I settled down in the old-fashioned tea party. The life of a "Sichuan American native" who has achieved remarkable results has begun to slowly reappear from self-description and questioning. 
Unlike many artists who have gone through twists and turns, Fu Zhongchao seems to have always been smooth. It is hard to believe that he was born in 1955. But it is true that he was not only born in that fiery era, but also, like many of his peers, graduated from junior high school and went to the vast world of great achievements with the wave of the leader's hand. During the three years he went to the countryside, he only worked in the countryside for one year, and then he entered the mechanical and electrical maintenance factory of the water conservancy project headquarters of the Dongfeng Irrigation District of Jianyang County, where he opened planers and drilling machines, and also did propaganda work. At this time, the calligraphy and painting training received since childhood finally came in handy. Fu Zhongchao was born in a family of intellectuals, his parents were teachers before liberation, and became civil servants after liberation. He remembered that when he was very young, he followed his father to learn calligraphy, first willow and then Yan, at first he was covered and copied, and when it was almost, he came to the front, and then he turned his back. Check it weekly, write well, draw circles with a cinnabar pen, and if the circles are not enough, you will hit the hand board. The ring ruler fell high, ** there was a sound, and sometimes it hurt so much. Under the stern gaze, his hands were still red and swollen, but he had to continue writing. When he was in high school, Xiao Zhongchao fell in love with watercolor painting. The father didn't know how to get a copy of Harding's "How to Paint Watercolors" from **, and copied a copy of it for his son. It was this book of the ages that ignited his son's earliest passion for art. But the official enlightenment was after studying in Jianyang Middle School in 1968. Retrospectively, Jianyang can be called the hometown of art. There is a figure painter Zhang Suqing in history, whose Taoist figure has a far-reaching influence in the history of Chinese character painting. In the 1960s, many teachers from the Sichuan Fine Arts Institute cooperated with the "Four Cleansing" movement in Jianyang, once again leaving the seeds of art. Fu Zhongchao remembers that when he was in middle school, a group of gentlemen who graduated from the Southwest American College formed an art interest group to promote mass art activities. He worshipped under Li Qingzhong, a middle school art teacher, and began to receive formal training in sketching and gouache. As soon as he had the chance, he immersed himself in painting. At that time, he was particularly sensitive to color, in addition to imitating Linhua, the white clouds in the sky and the rice fields on the roadside were often reflected on the paper, which made him proud and fascinated for a long time. After graduating from junior high school, he really walked into the rice field. The 16-year-old's body is as thin as a piece of paper, and sometimes when the wind blows, he feels like he will fly like a kite. In his spare time, he insisted on painting and became a frequent visitor to various art creation classes. At that time, it was popular to watch ***, which was almost the only entertainment suitable for all ages. Fu Zhongchao, who is dreaming of being a painter, worships He Youzhi, Hua Shanchuan, Dai Guobang, Bai Desong and other *** families. At the same time, Fang Zengxian, Yang Zhiguang, and Guangdong's four great King Kong Tang Xiaoming, Chen Yanning, Wu Qizhong, Lin Yong and other painters are also god-like beings. He reads the works of the masters, such as "The Red Book", "The Great Changes in the Mountains and Villages", "The White-Haired Girl", "The Story of Xishuangbanna", etc., sometimes all night, sometimes dreaming of copying. At that time, the county cultural center often invited some painters to give lectures, and every time he received a notice, he would walk dozens of miles to receive the baptism of art. After listening to the class, I rushed back to the production team in the middle of the night, and when I turned back step by step, I trotted when I encountered the "back time". When I got home, as soon as I lay down on the bed, the teacher's words came back to my mind over and over again. He longs for the day when he can also have a painting signed by Zhang, which will be watched and praised by others. Soon, his first Chinese painting, "Patience Teaches Humility", was selected to participate in the Neijiang Regional Art Exhibition, which was probably the first public review in his artistic career. The inspiration was so great that as soon as he picked up the brush, he felt confident. A year in the countryside, fulfilling and happy. The smell of the earth didn't seem to have enough, but he was ordered to go to the factory. As a peasant, the work of a worker, he alone is the smallest microcosm of the worker-peasant alliance. Because of his art expertise, he also has more work than his co-workers. During the day, the machine tool is opened, and the steel plate is carved at night, and the propaganda posters are painted, the art characters are written, and the blackboard newspaper is also run regularly. His index finger still has a thick callus. It was this hard work that gave him the opportunity to learn more. During this period, in addition to sketching gouache, he was also exposed to woodcuts, illustrations and other art disciplines. He has a penchant for brilliant colors. In his eyes, the world is inherently colorful, and so are dreams. But he never thought about going to a professional art academy to study at university. One is that the college entrance examination has been stopped early, and the other is that he didn't know that there was a special art academy. When Wang Yuanshou, a teacher of Sichuan American oil painting, came to the cultural center to give a lecture in person and give a demonstration of oil painting, he was so excited that he couldn't help himself. The flamboyant colors and burning passion brought him unprecedented visual shock. What's more, "I learned for the first time that there is a university that specializes in painting, the Sichuan Academy of Fine Arts. It's so fascinating!Recalling that year, Fu Zhongchao still had an expression like waking up from a dream. never expected that the first easter egg in life would fall on his head. In 1974, since the "Cultural Revolution", the first batch of workers, peasants and soldiers universities were enrolled, and after layers of recommendations, sketching and cultural class examinations, Fu Zhongchao was able to step into the Sichuan Mei Compound. "I was very fond of color and wanted to study oil painting, so I was assigned to Chinese painting. But being able to enter the beauty of Sichuan is already a great blessing. There are 12 students, most of whom are artists in cultural centers and cinemas, and a small number of them are educated youths. I am one of the lucky ones among the educated youth. Fu Zhongchao recalled that at that time, there were only more than 30 students in the three majors of the entire painting department, and there were more teachers than students. Seeing that the students have been recruited to have classes to attend, the teachers who have regained their dignity are enthusiastic, and the students who have different ages and different backgrounds also cherish this "God-given" college time. Fu Zhongchao, who is only 19 years old, is in the same room with these "old classmates" with a solid foundation, and the pressure can be imagined. But he held the attitude that diligence can make up for clumsiness, and stupid birds fly first, and he studied hungrily. After graduating 3 years later, he stayed on to teach because of his excellent grades. According to his specialty, he was assigned to teach figure painting. Thus began his long life of dealing with all kinds of "people". In the classic paintings and the chaotic reality, all kinds of people come together or encounter them head-on, which has become the source of inspiration for him in the teaching and creation of figure painting. As the youngest faculty member of the Chinese Painting Teaching and Research Department, Fu Zhongchao was fortunate to listen to the teachings of Feng Jianwu, Xiao Jianchu, Huang Hairu, Li Wenxin, Du Xianqing, Bai Desong and other predecessors, and entered the Chongqing Academy of Chinese Painting under their recommendation. In countless activities of Chinese painting, from conception, composition, brushwork and coloring, to the completion of the works, he has learned valuable practical experience, and has a deeper understanding of the noble character of the old gentlemen. 
"The Girl from East Sichuan".210x160cm ink and color on paper In 1982, during those precious years, he seemed to have gone to university again, laying a more solid foundation for his future pen and ink career. During that period, Fu Zhongchao created a number of large-scale ink figure paintings with local and historical themes, and his masterpiece "The Girl from Eastern Sichuan" was widely acclaimed. 
Fast forward to 1985. Fu Zhongchao, who was standing at an age, began to have strong anxiety. That is, the matter of the postgraduate entrance examination can no longer be delayed. I have always wanted to take a leave of absence to further my studies, either because the school has a poor teacher, or because Sichuan Mei has not set up a graduate student in figure painting, and it has been delayed for many years.
He finally determined the time point of the crossing in the year of his establishment, perhaps by coincidence, or by providence. In order to succeed in his school, he prepared two years in advance, mainly to remedial English. Fortunately, my lover is a Sichuan Mei English teacher, which is equivalent to hiring a free tutor. On the one hand, he was teaching professionally day after day, and on the other hand, he was chirping and chirping vocabulary grammar exercises, and whenever there was a gap, he took out the English "red book" and recited it silently for a while. However, when the examination period was approaching, the department arranged for him to teach in the refresher class. It's already a challenge. "There are more than 10 classmates in the class, all older than me. Some of them are more than ten years old, and they are basically art cadres from large enterprises, cultural centers, and movie theaters, and they are trained in a targeted manner. The ** lake, which is all the same, doesn't trust me very much. On the first day, in the face of these 'old oils', I did not smile, if there was no one around, I set up the sketchpad and started to write, starting from the structure, combining lines and surfaces, and soon a human body sketch with accurate shape and vivid language was presented. The classroom suddenly fell silent, and more than a dozen pairs of eyes gathered on the charcoal pen in my handThis little brother teacher really has two hits!In the next 6 weeks of human body classes, I worked with them and established a deep friendship. At the end of the course, they achieved excellent results and received praise from the department. They kept in touch with me for a long time. Fu Zhongchao, who is quiet and beautiful, is somewhat proud when he talks about another conquest. 
In 1984, the refresher class taught homework in classWhile preparing for the graduate school entrance examination, he taught hard, and when he was sent to the class, he was admitted to the hospital. Lying on the hospital bed, he felt a deep frustration: Is it possible to take the sick postgraduate examination?Is fate important, or is it important to go to graduate school?He couldn't help but retreat. Mr. Ye Yushan, the dean of Chuanmei and a famous sculptor, came to visit him at home and said emotionally: "I saw your paintings, which are very talented and promising." Don't miss this opportunity to take the postgraduate entrance examination, just help Mr. Ye take the exam. ”
Pilgrimage195x155cmPaperAs soon as these words came out, Fu Zhongchao's heart was hot, and his eyes were clear. At that time, Chuanmei was in urgent need of talents, and Fu Zhongchao was one of the many seeded players. Whether it is for the individual or the overall situation, this research must be examined!He immediately expressed his position, prepared carefully, and sprinted with all his might. The graduate exams lasted a full week. On the night of the exam, as soon as he entered the house, he hugged his babbling young daughter and kissed him violently, but his daughter pushed him into the back room and said, "Hurry up and study!".”。His nose was sore, and he couldn't understand what his young daughter was saying, but he knew how important it was for his father to study all day and all night. She's used to the days when she's not amused by her dad. The results were revealed, and Fu Zhongchao lived up to expectations and was admitted. 
"The Lost Homeland".203x171cmPaper 1986Fortunately, I remembered that I was a graduate student, but my heart was heavy. It was in this year that the "85" art trend surged, and Li Xiaoshan's article "My Views on Contemporary Chinese Painting" threw out the theory that Chinese painting was at the end of the road, causing an uproar in the art world. To those in the game, this roar is like a midnight terror. At a glance, it seems that the traditional brush and ink that is fixed and difficult to get rid of the stylized barrier of traditional Chinese painting is indeed gradually distancing itself from the aesthetic needs of the open, inclusive, and ever-changing tide of the times. 
"Distant Empire".190x145cmPaper 1986What kind of Chinese painting do we want to paint?What kind of breakthroughs and innovations should be sought in figure painting?In addition to visiting the classics and visiting famous teachers, Fu Zhongchao decided to replace his speech with action. All the exploration, between pen and paper. "Art should follow one's own mind, different from the ancients and today, and different from oneself. Thanks to the tireless teaching of the two mentors Du Xianqing and Bai Desong, as well as the personal guidance of a group of teachers such as Feng Jianwu, Xiao Jianchu, Huang Hairu, Bai Cheng, etc., Fu Zhongchao firmly believes that not abiding by the rules, not admiring the times, respecting cultural traditions and aesthetic laws, and respecting the nature and heart are the foundation of his own life. Based on this, it will be my own way to make progress by absorbing new artistic concepts, trends of thought and techniques, and painting works with a personal style full of the atmosphere of the times. For three years, he spent almost all of his time in the studio except for eating, sleeping and going out. In the meantime, he was fortunate to be invited to go to Yongle Palace with Professor Du Xianqing to copy the murals, the original big figures, a line of high ladders, nearly three meters long from beginning to end, to do it in one go, but also to make it old, it is really difficult. However, the murals that have gone through the vicissitudes of life, the mottled feeling and the sense of heaviness are particularly intoxicating, and Fu Zhongchao has learned particularly well in later innovations and fine brush paintings. 
Created works in the eightiesIn the early summer of 1988, Chuanmei held a graduate graduation exhibition, and he exhibited dozens of works at once, which made people amazed. "After seeing it, Dean Ye Yushan was very satisfied and gave me a lot of encouragement. He always cared about me. Fu Zhongchao recalled that he was very grateful to the old dean for rewarding newcomers and promoting the younger generations. As one of the first batch of master's degree students in figure painting in southwest China, he said that he was a little older when he was 30 years old, but with a solid foundation in life and art practice, he knew his strengths and weaknesses, and he became more conscious of his learning. In the past three years, artistic thoughts, concepts, visions, techniques, and minds have been greatly expanded and jumped. The works of this period, regardless of the choice of subject matter, the expression of meaning, the artistic form and the expression of language, are mostly different from the previous single mode of ink figure painting. On the whole, it presents self-confidence, openness, inclusiveness and diversity, with the atmosphere of the times, and to a certain extent, reflects the exploration and thinking of the development of Chinese painting. 
"The Wind of September".170x135cm ink and color on paper In 1987, his graduation work "The Wind of September" was a great success with his personalized ink imagery, first won the "Golden Dragon Award", a special award for the 1989 Chinese Painting Exhibition, and was selected for the 7th National Art Exhibition in the same year. This work, so far, seems to have a strong avant-garde character in both schema and pen and ink language. Tibetans are grazing in the grassland, the wind blows suddenly, the yaks bow their heads, and the long hair of the Tibetans dances with the wind, like a torrent, like a whirlpool. Isn't the windy, real and illusory grassland scenery just like the art world under the "85 Thought"?Determination and courage are more important than anything else. 
"Breaking Dawn".100x90cmPaper 1yearsBreaking through in perseverance and finding in tolerance, Fu Zhongchao obtained the first bumper harvest in creation in the year of graduation with a master's degree. "85 Challenge", he can bear it.
In his early thirties, he made a name for himself in the Chinese painting world. Fu Zhongchao continued to work hard and was lucky. Before his graduate studies, his freehand figure paintings tended to be based on two ends, one is historical figures, and the other is real figures. The former is represented by "Tan Sitong" and "Zou Rong", and the latter is represented by "The Girl from Eastern Sichuan", with vivid and simple brushwork and solid and accurate modeling, which is unforgettable. During his graduate studies, he began to place Chinese painting in a profound and broad cultural background to inherit and innovate. In the face of the changes in the aesthetic orientation of the current era, he focused on exploring the way of the restoration of Chinese painting from the art of the Han and Tang dynasties, folk art, and grotto art. During this period, he created works such as "Impression of ** Taiwan", "Lost Homeland", "Distant Empire", "Drunken Dream" and "September Wind", giving Chinese painting a new look and language. In addition to the great success of "The Wind in September", during this period, his **** light shadow was published by "** newspaper". But Fu Zhongchao believes that what really made him a national reputation was a large number of Gongbi figure paintings in the 1990s with novel schemas, exquisite drawings and extraordinary imagery.
"Footprints from afar".195x150cmPaperyearsIn 1990, Fu Zhongchao participated in the Jiashan Youzao Workshop held by the ** Academy of Fine Arts, which lasted for more than two months. This famous painter, known as one of the four mountains of Japanese painting, brought new inspiration to the young Chinese students. "When we open the window, all we see is the square, but we can imagine that behind the square is the forest, the endless sea in the sky, and the seagulls and sailboats. Our images can be extended as needed by our imagination. More than 30 years later, Fu Zhongchao repeated the words of Jiashan Youzao, his eyes unconsciously raised, and he swept over the tea table, as if there was a square and the sea in front of him. He said that Kayama also painted the human body, deliberately choosing women wearing kimonos on the streets of Tokyo to express the gaudy fat powder. He chose thick, rough watercolor paper from England and used pencil to outline the lines to express the beauty of the body and skin under the subtle ups and downs, which is very secular and very aesthetic. In order to enhance this feeling, the background of the picture is also made of silkscreen prints, supplemented by a strong pictorial beauty. It seems that the human body is full of warmth and fragrance, and it is soft and beautiful.
"Spring Dawn".130x136cmPaper2014 "Choose all means to perform. The "unscrupulous" Oriental Picasso brought this simple Chongqing painter a new creative concept. Back in Chongqing, he began to experiment ambitiously. He integrated his skillful skills and deep thinking in ink freehand painting and gongbi painting into his understanding of the ancient murals of Yongle Palace, and practiced it over and over again on rice paper, and finally made a major breakthrough. In "Moistening the Land", he uses the freehand technique of ink and wash on the grassland land, boldly washing, splashing, dipping and dyeing with color and ink, and then using the brush to guide the direction of color ink and water, controlling the form, depth and thickness, dry and wet shades, so that the picture presents the mottled, heavy and vicissitudes of the mural.
"Running the Land".145x158cmPaperIn 2004, when dealing with the snow and clothing in "Winter", he used the brush technique to smudge the white snow layer by layer, and also achieved great results and success. In ecstasy, he worked the back of the paper in his follow-up creations, and the time and space effects of the paper back and the leakage marks of the house were revealed.
Winter, 135x130cm, on paper, 1997yearsSo much later, he was out of control, and combined making and drawing lines, a kind of natural mountain baldness, ground wrinkles, tree branches, and character clothing patterns, which he could do as he wanted, and solved it seamlessly. When people write to him asking about these complex innovations, he can't answer them simply. Even his daughter Xixi lamented: "Dad's Gongbi innovation is difficult to understand, and his paintings look calm and distant, but bitter, with deep meanings and thought-provoking." At this point, Fu Zhongchao's dedication to innovative gongbi painting that is different from any historical period has finally made a name for himself in the art world. At the sound of this, he let out a long breath, and his brow furrowed a lot. The feeling of happiness that has been achieved in exchange for hard work is really indescribable.
"Sunshine in Winter".115.5x121cm ink and color on paper Since then, "Autumn Dream of the Prairie", "Autumn Love", "Thick Earth", "Winter", "Quiet Snow Field", "Sunshine in Winter", "Winter", "Mountain Fruit", "Red Wall Series" and other works have been selected for important exhibitions and university art textbooks, and have won awards across the country. In particular, "Winter" was unveiled at the first national Chinese Portrait Painting Exhibition and won the bronze award, which is eye-catching.
"Village".150x145cmPaperIt was not until 2004 that "Village" was exhibited in the 10th National Art Exhibition and won the Outstanding Work Award, that his attention shifted slightly and he refocused on freehand figures. After that, he began a double-track parallel for more than ten years, freehand and gongbi, like two parallel and endless railroad tracks, carrying Fu Zhongchao's thin body, tenacious will, abundant talent, Xu *** In addition to "Sky Series", "Runland" and other masterpieces, he also launched a variety of styles of ink figures. For example, the lotus theme, the same hearty lotus field, classical characters, traditional scholars, ** women, real characters, etc., appear one after another, showing the painter's humanistic feelings of revisiting the tradition and combing the brush and ink. These paintings are very popular in the market. And "Daylight Diagram Series" is a new exploration. In the similar painting style, without exception, three or five naked children, perched on the stones of Taihu Lake, with similar bodies, skin colors and expressions, jumping up and down like monkeys, climbing trees, throwing water, and playing, as if they were not in the world, but in a dream. This surreal picture is fused with traditional landscape imagery, which makes people feel new and inexplicable.
"Sunlight Diagram No. 1".68x136cmInk on paper2015 "I drew the first one in 2015, and it was unstoppable, and I drew a total of twenty or thirty pictures. Maybe it's because when people reach a certain age, they can't help but think about their origins. Where did people come from and where are they going?Modern people live anxious, depressed, and endlessly searching, is there no end?This group of paintings, in fact, is a symbol, alluding to people's desire for the liberation of human nature, the freedom of the heart, and the return to the age of innocence. Fu Zhongchao pointed to a recent "Daylight Map" and patiently explained. The moment I met his gaze, I vaguely felt that the light in his eyes seemed to really put me in the bright sunlight.
"Spring and Autumn in the Song".175x155cmPaperIn 2021, even now, Fu Zhongchao still rejects the genre and singular creative model. Next to the surreal works, there are also several realistic characters in ink painting, such as the Miao family women and the sand man at the Miao New Year's Festival. These thematic paintings, with their full composition, majestic composition, rough brushwork and ink, are crowded with people and are full of posture and excitement, which are very infectious, fully demonstrating the painter's super brush and ink skills, modeling ability and rich emotional world.
"The Man in the Sand".190x175cmPaperOn the huge felt wall in 2023, there are also several fans that are about to be finished. The lotus characters are plain and innocent, and they are extraordinary. In the big production room, there are occasional sketches, just like a serenade in a majestic movement. There is no doubt that this is a clever adjustment.
"Fish Joy Picture".69x24cm 2016 This can probably be seen as his fourth stage: his return to ink painting. And this return is precisely his second advance. When he was nearly seventy, his eyesight and energy did not allow him to continue to paint, and at the same time, returning to ink painting was also his emotional need and spiritual sustenance. Frankly speaking, this kind of free and unrestrained expression of pen and ink is more in line with the natural nature of a literati.
"Streams, Mountains and Pine Winds".290x110cm 2023As a 49-year-old "Sichuan American native", talking about his life of passion for art, he emphasized that he has always practiced integrity and innovation. Chinese painting was originally a genre of painting that was born and inherited from tradition, and abandoning tradition would only make the painter a lost dog and a vagabondSticking to tradition and clinging to the defects will only make the painter fall into the quagmire and lose himself. But how to keep the integrity and innovation is also a problem. And all these questions depend on the painter's continuous artistic practice to answer.
"Memories of Southeast Qiannan No. 6".47x35cm 2019 "I resolutely oppose one trick and eat all over the world. An artist should have a different look and a distinct imprint at different stages. It is necessary to constantly surging the vitality of creation and the enthusiasm for innovation. Fu Zhongchao said that after the two-line wandering of ink and wash brushwork, returning to ink painting is in fact a higher level of ink and wash practice—the brush and ink are freer, and the details are more sophisticated. The first stage and the fourth stage are connected from end to end, forming a closed loop of a long artistic career. "At all stages, I emphasize the difficulty and irreproducibility of creation, and the internal logic is actually very clear. In his small studio, Fu Zhongchao, who is thin and not good at words, seems to be a guest in an art parlor. His narration is always low-key and humble, and his slightly trembling pronunciation reveals a certain confidence and stubbornness, as well as an affirmation of his life as an artist. It is hard to imagine that such a simple "Sichuan American native" has also been engaged in administration for more than 20 years. Over the years, he has influenced generations of young artists and has contributed so many masterpieces that have touched the world. Stringing together these paintings is his plain and magnificent life. ——— Artist Profile
Introduction to Fu Zhongchao: Born in 1955. Graduated from Sichuan Fine Arts Institute with a master's degree in literature. Former director of the Chinese Painting Department of Sichuan Fine Arts Institute. He is currently a professor of Sichuan Fine Arts Institute, a director of the National Chinese Painting Society, a member of the Chinese Artists Association, the vice president of the Chongqing Chinese Painting Society, a member of the Chinese Painting Art Committee of the Chongqing Artists Association and the Chongqing Painting Academy, a consultant of the Chongqing Gongbi Painting Society, and a national art evaluation expert. His personal works have been selected for the first place.
The 7th, 8th, 9th and 10th National Art Exhibition. His representative works have won the Outstanding Works Award of the 10th National Art Exhibition, the Bronze Award of the First National Chinese Painting Exhibition, the Bronze Award of the World Chinese Calligraphy and Painting Exhibition sponsored by the Ministry of Culture and the China Artists Association, the Academic Award of the Chinese Painters of the China Artists Association, the Excellence Award of the National Teachers' Excellent Works Exhibition (no grade award), and the Excellence Award of the National Chinese Painting and Oil Painting Exhibition (no grade award).
The 4th and 5th National Gongbi Painting Exhibition Excellence Award, and won the first prize twice at the Sichuan Art Exhibition. His personal works have been included in the compilation of important documents such as "Complete Works of Chinese Contemporary Art", "Chinese Art Today", "New Chinese Artists Series", and many personal painting collections have been published. His works have been collected by the British Museum, the History Exhibition Hall of the Communist Party of China, the Zhejiang Art Museum of China, the Art Museum of the China National Academy of Painting, the Shanghai Oriental Art Museum, and the China Chongyan Revolutionary History Museum.