杜滋龄，1941年生于天津，1958年始于天津美术出版社从事评述编辑工作，1979年至1981年就学于中国美术学院国画研究生班，从师于叶浅予、李震坚先生。1981年到1996年先后任天津人民美术出版社副总编辑、总编辑。1996年调入南开大学任东艺系主任、教授，从事美术教学工作。

从1984年先后出版了<杜滋龄写生作品选>、《速写基础训练》、《杜滋龄画集》等多本专著、画集，多幅作品先后在国内外参展，几度获国家奖励，先后出访巴基斯坦、日本、俄罗斯、德国/法国等进行艺术交流，现担任中国美协理事，中国画艺委会委员、天津美协副主席、北京唐风美术馆高级顾问等职务。

杜滋龄的人物画融合了南北人物画的优长，既有北方的凝重厚实，气息相当博大，同时也学到浙派人物画风的灵动潇洒、墨润华滋。他的画造型准确，形象生动传神。他笔下人物突出在面部刻画，尤其注意眼神，做到精雕细刻，十分生动。在墨色的控制上特别注意画面大块面墨白灰的分布，做到繁简得宜、虚实相生、笔法流畅、潇洒自然；艺术语言做到深入浅出，雅俗共赏。

他的笔墨以北宗蓄其势，以南宗添其韵，运笔清劲洒脱，追求墨韵的灵动与润泽，不作抽、涩、怪、险之笔，并大胆借鉴黄宾虹在山水画中“雨淋墙头月移壁”的干而润、润而见骨的画法以及“墨、密、厚、重”的浑厚华滋的画风。在用色方面，他偏爱黑白，善于布白，作品中有意减弱飘忽跳跃的色块，加强黑白对比及韵律，墨不碍色，色不碍墨，墨色交融成趣而又各自分明，将水墨画的灵性和精要发挥得淋漓尽致。

杜滋龄画作

 1941年生于天津。

1958年始于天津美术出版社从事评述编辑工作。赴欧洲的德国、法国、比利时、荷兰诸国访问。获捷克斯洛伐克布拉迪斯拉发国际青少年读物插图优秀奖。

1963年、1958年获二届全国连环画奖，四次获天津鲁迅文艺奖、金奖、优秀作品奖。

1979年就学于中国美术学院国画研究生班，从师于叶浅予、李震坚先生。

1981-1996年任天津人民美术出版社副总编辑、总编辑。

1987年率中国美术家代表访问巴基斯坦。二次获日中水墨画大展优秀作品奖。

1989年赴日本国东京举办个人画展。

1991年参加中国出版代表团第二次访问日本。

1993年赴马来西亚吉隆坡举办个人展览并讲学。

1994年赴俄罗斯访问并艺术交流。

1996年调入南开大学任东艺系主任、教授，从事美术教学工作。

1998年再赴欧洲的英国、法国、奥地利、意大利诸国进行文化艺术考察。

2000年赴埃及、土耳其、希腊、以色列诸国文化艺术考察。

2001年为中央文化部制作大型56个民族艺术展。

杜滋龄画作

 在当代中国画领域，杜滋龄是一位风格独特、成绩斐然的画家。他的写意人物画深得中国传统美学“以形写神”的要义，其作品兼具南北技法之长，又能熔铸成一家笔法，在结合写生的基础上，形成了浑厚华滋、畅快洒脱的风格。他多年来醉心于西域边陲的自然、人文景观，以饱蘸深情的笔墨刻画了这块神奇土地的人物风情和自然风貌，其孜孜不倦的精神受到画界赞许。此次入选“当代国画优秀作品展———天津作品展”，杜滋龄的<雪域藏女> 、 <高原风>等作品得到了京津两地美术评论家的一致肯定。有评论家认为，他的用

笔较之以前更加浑厚自如了，并且在厚重中见精细。这正是画家不断探索艺术表现形式和长久的生活积淀带来的结果。

杜滋龄被誉为当代“边塞画家”的代表人物之一。他之所以长时间“咬”住这一题材不放，源于心灵深处对雪域世界的钟爱。他告诉记者，这块土地地域辽阔，人民朴实，而且具有很深的文化底蕴，带给他创作的冲动。从上世纪80年代起，他曾多次到西部边陲体验生活。高原上恶劣的自然条件让人难以忍受；和藏犬“搏斗”的离奇经历至今想起来仍惊险无比，但这些困难换来的却是一幅幅笔精墨妙的作品。

作为当代杰出的人物画家，杜滋龄青年时期在人物速写方面下过苦功，勤奋加天分，进步很快，得到当时天津人民美术出版社社长郭钧的赏识，力荐给叶浅予先生，拜师学艺，为美术界传为佳话。这对于他后来艺术风格的形成有很深刻的影响。掌握高度熟练的速写技巧，对画家至关重要，它是造型基本功的基础之一，它使画家的眼睛观察之敏锐和手上表现的迅捷准确，相得益彰，更重要的是训练了画家的形象记忆力，并达到艺术创作时的鲜明生动性。在老一辈艺术家，叶浅予、黄胄诸先生是最好的楷模。在当代名家中受益于此的大有人在，而杜滋龄无疑是其中佼佼者。

杜滋龄工作室坚持“以形写神，涉猎中外，贴近生活，多出精品”的教育方法，目的是培养人物画的写生能力、默写能力和造型能力以及人物画写意技巧和方法，培养学生尊重艺术规律，尊重生活感受，反映具有时代特征的主题创作和具有浓厚的生活气息的写意人物画。生活是创作的源泉，生活是画家的老师。“感人心者，其先乎情。”

情感的投入是创作的成功要素，“情感”推动着想象和理解，从而构成了新的意境。为此，第一学期我率领全体学员赴山西省吕梁山区深入农村、矿山及钢铁厂写生。第二学期到甘南藏区、四川大凉山彝族写生。写生中，学员们真正做到扎根生活、反映现实，以表现当代生活和时代精神为己任，并在写生中锤炼造型结构、锤炼对人物形象的捕捉能力、锤炼笔墨的基本功。通过大量的写生，真切地了解基层百姓的淳朴民风和深厚的文化底蕴，带回大量的创作素材。

杜滋龄在实际生活中，体会到中国人物画创作，不能单一地只练习中国人物画所包括的技法，还得从花鸟画、山水画技法中汲取中国画笔墨的营养。把花鸟画的勾勒、点染、泼墨法以及山水画中的勾、皴、擦、点、染的技法，中锋、侧锋、藏锋、露锋等笔法及墨法中的积墨法、破墨法、泼墨法等都吸收到人物画中，此外，还要强调书法的练习。以丰富人物画技法的多样性，做到在笔墨中求变化，在单纯中求丰富，在深入严谨中求整体的笔墨流畅，从平淡中求微妙含蓄，在柔和中求典雅秀美。基于生活，把生活升华为艺术，让生活因艺术而丰富美好，艺术因生活而博大厚重。

杜滋龄早年曾师从叶浅予等人物画大家，他的早期创作以插图和连环画为主。上世纪80年代初期，他在浙江美院中国画系研究生班系统研习中国写意人物画技法，在后来的创作实践中，他以扎实的造型工夫为基础，在继承传统民族艺术精神的同时，融西法的技巧于笔墨当中，逐渐形成了自己的艺术风格。

杜滋龄虽然走的是写实的道路，但在笔墨上却没有拘泥于原生态的人物风情和自然风貌，他追求一种厚重之美。在此次“当代国画优秀作品展———天津作品展”中，他的《高原风》便采用了积墨的画法来画人物的服饰，层层加重的墨色和刚健的线条在表现衣纹的质感上相当到位。他说：“传统的写意人物画讲求逸笔草草，用这样的笔墨方式来处理现代题材的作品有时并不理想。我把山水画的积墨用到人物画中，这样可以加强笔墨的厚度。而笔墨的厚重正是衡量艺术深度的标准之一。”

除了自己钟情的雪域题材外，杜滋龄这几年仍没有放下画插图的“行当”。他认为，画插图是一件必须下工夫的事。用水墨来表现人物，必须要对人物所处的时代有准确的把握，而且还要熟悉原作。

杜滋龄画作

 在当代中国画领域，杜滋龄是一位风格独特、成绩斐然的画家。他的写意人物画深得中国传统美学“以形写神”的要义，其作品兼具南北技法之长，又能熔铸成一家笔法，在结合写生的基础上，形成了浑厚华滋、畅快洒脱的风格。

杜滋龄先生的创作继承了叶浅予先生以速写入画的创作方法，笔墨注重率真潇洒，淋漓生动，每于疾笔迅行、经意不经意间，让笔墨产生出丰富多彩的变化，或枯中有润，或润中有干，浓淡变化，尽其自然。除了在一般处追求笔墨的变化外，杜滋龄先生还特别着意于人物眼睛的描写。因为一个人的眼睛是他的心灵的窗户，画家对眼睛描写的如何，常常关乎他对对象之神传达得如何。

如《卡拉奇妇女》一画在对画面主人公眼睛的处理上，就是特别讲究的，他不仅精细地抓住了牟子的神情，而且，在笔墨上，也利用三波九染。调动了杜滋龄潜在的修养和能力，既创造了鲜明的个性形象，也造就了他作品中丰富多变的表现技法。傣族处于亚热带的绿色环境之中，民族热情，人民朴实，且民族色彩丰富。因此，在创作中，他把西画中色彩关系的变化及表现能力融入了中国画的流畅圆润的笔墨表现之中，恰到好处地体现出了南国的民族特色和人物性格。

杜滋龄作为叶浅予的弟子在速写上下的工夫是很深的，而且对他后来水墨人物画风格的形成有更深刻的影响。掌握高度熟练的速写技巧至关重要，它是造型基本功之一。就技巧方面讲，它使画家的眼睛观察之敏锐和手上工夫的迅捷准确相得益彰，训练了视觉记忆力。五六十年代美术院校专业课程设置一般有速写—项，但由于素描等“长期作业”占主要位置，速写成了辅科或课外作业，勤奋与手懒的学生速写水准相差很多但都能毕业。从深层次考虑，对于中国画专业，速写与素描的概念是很不同的。先说素描这种传自西方的技法形式，画素描其实是为画油画做的基本功，基本原则是准确再现，观察与表现都讲究“体”和“面”，即使有“线”，也解释为“面与面之间的交界”或“体与空间的视界”；而速写则与中国传统绘画理念相近，简单说一是传神，二是简约，三是线条美、节律美。

杜滋龄1979年进入浙美深造是他一生最决定性的一步。浙美中国画系研究生班在李震坚教授的指导下，以水墨画了半年人体，既扎实地研究了关键的结构、解剖等问题，也把造型与笔墨实践结合问题提到一个新高度。两年的学习是开放的，广泛地吸取了古今中外的营养。从浙美出来之后，杜滋龄最得益的是不断地到全国各地写生，尤其是多次的西北之行，去新疆、去西藏，开阔了心胸视野，更加深了人生阅历理解。这对于一个画家精神的而不仅只是技艺方面的腾飞是绝对重要的。

几十年的绘画生涯，杜滋龄的足迹踏遍大江南北、山寨乡村。同时，他在大量的写生过程中，深入研究传统绘画中的经验，在生活中去认识前人总结的规律。写生的目的在于对客观规律的把握。所以，他的人物画首先忠实于对象，严肃地对待对象。但，生活本身并不是艺术，要把现实生活、现实人物推进到艺术的境地，而不是停留在忠实地传达和复制生活的话，就必须在创作中投入思想情感与艺术构思。主观上情感的参与和意境的深化是艺术的灵魂之所在。

杜滋龄由于是从生活中的人物开始走入艺术世界，因而便自然地专注于对人生和人的精神世界的求索。在他所有的写生创作的艺术构思中，伴随着笔墨的表现,逐渐发现自己最感兴趣和充满创作激情的，是那些显示出个性活力的人物本身。那被阳光或风雪映出的每道轮廓线，被笑容挤出的每道皱纹，以及被描绘者内在丰富的精神底蕴和性格特征，都使他激动而奋力地追摹。

他对把握人物的心理活动和造型特征有一种特殊敏感，对用毛笔塑造复杂变化的人物形象具有特殊的驾驭能力。因此，他的写生作品实际上是赖于其丰富的思想感情和对人物内心世界的微妙关系的把握而体现出来的一种艺术整体思维。他笔下的侗乡少女，若不是经过他的深入观察，又怎能发现特殊的美，在画上“留下三月的欢语”和“恬淡的笑颜”？正是在这个意义上，他的人物画既是所描绘人物的内心情感与精神活动的集中反映，又是作者自己情感的化身。一笔一画既是人物外在特征的表现，又是自己变瞬间为永恒的美的感情的抒发。

杜滋龄画作

 观赏品味杜滋龄的作品，可以看出他是以十分诚实的品格和平静、质朴的心态，去感受山川、人生的美丽，去感受生命的奋进及跃动，并醉心痴迷地捕捉它们的形与神，诉诸于自己的笔墨中。他的画如同他的人一样质朴深沉，有时质朴如同阳光、空气、土地。他从不粉饰生活，更不矫揉造作地表现，只是深情地把生活中的真善美用心再造出来。在当代中国画领域，杜滋龄是一位风格独特、成绩斐然的画家。他的写意人物画深得中国传统美学“以形写神”的要义，其作品兼具南北技法之长，又能熔铸成一家笔法，在结合写生的基础上，形成了浑厚华滋、畅快洒脱的风格。

在国画界，杜滋龄的人物画以其造型优美、笔墨精湛、清新灵气而被公认为人物画中的佼佼者。这位在画界很有影响力，做事又非常严谨低调的知名画家却很少举办自己的个人画展。

20年来，杜滋龄从一个普通的美术编辑、连环画画家，逐渐为国内外 画界所知名。在长期担任出版社的繁杂的行政业务工作之余，仍然努力作画。前几年转业到南开大学东方艺术系任教授、系主任，教学之余有较多时间作画和思考艺术，在我的印象中，杜滋龄从来就是一位在艺术上不怕辛苦、肯于攀登的人。

在不断的艺术探索过程中，深厚的生活积淀和充足的思想感情，调动了杜滋龄潜在的修养和能力，既创造了鲜明的个性形象，也造就了他作品中丰富多变的表现技法。傣族处于亚热带的绿色环境之中，民族热情，人民朴实，且民族色彩丰富。因此，在创作中，他把西画中色彩关系的变化及表现能力融入了中国画的流畅圆润的笔墨表现之中，恰到好处地体现出了南国的民族特色和人物性格。

描绘西藏题材，由于其地理和社会人文环境不同，要把藏民那古朴而深厚的精神内涵体现出来，运用描绘傣族风情的技法表现则远不能达到与之相适应的完美艺术效果。因而，此时此刻便强调和发挥了传统中国画中纯粹的线的作用，利用线在变化中的情感内涵，着重焦笔干擦，以展现那带有苦涩与坚韧的人性中透出的古朴与充实。正是他在生活中善于挖掘新的感受和丰富自己的表现技法，所以，在当今水墨写实人物画创作艰辛的情况下，他的人物作品却常能给人以新意，富有生命气息，让人感奋不绝。

杜滋龄是一位勤奋专一的画家，他是那种视觉和思维都离不开画画的人，凡生活所历、视野所容，无不可以信手拈来，落笔成章。他去欧洲和南亚访问，归来即有《塞纳河之秋》、《中东风情》、《山民》、《舞蛇》、《卡拉奇妇女》等洋溢着异域风情之作，而且是简约明快，以少胜多．即使一袭裙袍、一个眼神，都似有风情万种，令观者悠然而神往。

 我在七十年代末考入了浙江美术学院中国画系人物画研究生班，从而专功写意人物画。我在研究生求学期间，研究和继承了浙派人物画的特点，从而在水墨人物画的发展、学习上，以水墨洒脱，干、湿、浓、淡兼而有之。能在短期内以点染加入线描来完成人物画的形与神的创作。毕业后，因在创作中，我又感到如果只重点染的方法、宜得轻浮、飘逸之感，从而宜犯轻、散(不整体)之弊病。故又研究北方推崇之层层积染的积墨法，以求画面浑厚、华滋之感。目前。我的水墨画在艺术风格上以南北二派之特点为学习宗旨，求得笔墨厚重、华滋、洒脱、整体之风格。在人物造型上是以形写神，在严格、概括地把握形体结构上，求得人物画的最终要求：“借神”。

在人物画题材上，我把握以画现代人物的生活题材为主攻目标。人物画所涉及的题材，范围很广，古代名士，历史故事，唐诗、宋词诗意画等等。要加强画家对现代生活中人物的把握，涉及现代题材中：有领袖、现代名人的肖像画，也有军史画，革命历史画，现代人生活的风俗画.我着重地研究中国少数民族风情画。因为中国是各民族组成的大家庭，五十六个民族兄弟共同为祖国的建设事业和繁荣昌盛努力奋斗。几十年来。我深入到藏、蒙、回、傣、朝鲜族、苗、布依、塔吉克、维吾尔、哈萨克、克尔克孜、彝、壮、侗、瑶、哈尼等民族中间深入生活。上面所涉及到民族，我都可以不用找人物参考。即能画出反映他们生活的画来。也就是说，多年来，我一直创作反映多民族生活的画作。同时，也画了一些革命家、文艺家名人肖像画作品，并创作不少涉及文学作品的插图。近期刚完成的老舍先生的《骆驼祥子》的插图三幅(大幅)已刊入近期出版的个人画集中。另外，我喜欢画我心中崇拜之古代名士，经常反复画“苏轼”的生活及诗意画。他是我人格上的追求的榜样，故此，现代人的民族风情和古韵人物同时是我的描绘对象。

在艺术技巧上，我喜爱中国传统之水墨意笔画作，尤为更喜以墨为主的作品，在处理今天雪域高原之生活中的情景时，多以雪景为主，原因是在艺术上的黑与白的品格味道所决定的。也是我审美上的一种追求。我认为大美无言、黑白的冲击力度、以壮美、朴厚画风的追求。以书人画、以山水大家黄宾虹先生的学养和笔墨内涵为精神力量，以完成我的追求和艺术上的攀登点而努力奋斗。

 Du Ziling was born in Tianjin in 1941. He started working as a commentary editor in Tianjin Fine Arts Publishing House in 1958. From 1979 to 1981, he studied in the Graduate Class of Chinese Painting of China Academy of Fine Arts. He was taught by Mr. Ye Shaoyu and Mr. Li Zhenjian. From 1981 to 1996, he was successively deputy editor and chief editor of Tianjin People's Fine Arts Publishing House. In 1996, he was transferred to Nankai University as Chairman and Professor of the Department of Eastern Arts and engaged in the teaching of fine arts.

Since 1984, he has published many monographs and collections, such as Selected Works of Du Ziling's Sketches, Basic Training of Sketches and Collections of Du Ziling's Paintings. Many works have been exhibited at home and abroad, and have won several national awards. He has visited Pakistan, Japan, Russia, Germany/France for artistic exchanges, and now serves as the China Association of Fine Arts. Director, member of Chinese Painting Arts Committee, vice chairman of Tianjin Art Association, senior consultant of Beijing Tangfeng Art Museum, etc.

Du Ziling's figure painting combines the merits of North and South figure painting. It not only has the dignity of the North, but also learns the spirit of Zhejiang School figure painting. His paintings are accurate in shape and vivid in image. His characters stand out in facial portrayal, paying special attention to the eyes, making them exquisite and vivid. In the control of ink color, special attention should be paid to the distribution of large areas of ink and grey, so as to achieve simple and appropriate, the combination of virtual and real, fluent brushwork, natural and natural; artistic language should be deep and simple, elegant and popular.

His brush and ink have its momentum in the north, and add its rhyme in the south. His brushwork is fresh and free. He pursues the flexibility and moisturization of the rhyme without drawing, astringent, strange and dangerous brushwork. He also uses Huang Binhong's dry, moist and bony painting method in landscape painting as well as his thick and graceful "ink, density, thickness and heaviness" for reference. Style of painting. In terms of color, he prefers black and white, and is good at cloth and white. In his works, he intentionally weakens the flickering color blocks, strengthens the contrast and rhythm between black and white. Ink does not hinder color, and color does not hinder ink. Ink blends into interesting and distinct colors, so that the spirituality and essence of ink painting can be brought into full play.

Born in Tianjin in 1941.

In 1958, Tianjin Fine Arts Publishing House began to work as a commentary editor. Visits to Germany, France, Belgium and the Netherlands in Europe. He won the Czechoslovakia Bratislava International Youth Reading Illustration Excellence Award.

In 1963 and 1958, he won the second National Comic Prize, and four Tianjin Luxun Literature and Art Award, Gold Award and Excellent Works Award.

In 1979, he studied in Graduate Class of Chinese Painting of China Academy of Fine Arts. He was taught by Mr. Ye Shaoyu and Mr. Li Zhenjian.

From 1981 to 1996, he was deputy editor and chief editor of Tianjin People's Fine Arts Publishing House.

In 1987, he led a representative of Chinese artists to visit Pakistan. He was awarded the Excellent Works Award of the Japanese and Chinese Ink Painting Exhibition for the second time.

In 1989, he went to Tokyo, Japan, to hold a personal painting exhibition.

In 1991, he participated in the second visit of the Chinese publishing delegation to Japan.

In 1993, he went to Kuala Lumpur, Malaysia to hold personal exhibitions and lectures.

In 1994, he visited Russia and exchanged art.

In 1996, he was transferred to Nankai University as Chairman and Professor of the Department of Eastern Arts and engaged in the teaching of fine arts.

In 1998, he went to Britain, France, Austria and Italy for cultural and artistic research.

In 2000, he visited Egypt, Turkey, Greece and Israel for cultural and artistic research.

In 2001, 56 large-scale national art exhibitions were produced for the Central Ministry of Culture.

In the field of contemporary Chinese painting, Du Ziling is a painter with unique style and outstanding achievements. His freehand portraits are deeply rooted in the essence of traditional Chinese aesthetics, and his works have both the merits of North and South techniques, and can be melted into a brushwork. On the basis of combining sketch, he has formed a rich, flowing and free style. Over the years, he has been fascinated by the natural and humanistic landscapes in the border areas of the Western Regions. He has depicted the characters and natural features of this magical land with his affectionate pen and ink. His tireless spirit has been praised by the painting circles. This time, Du Ziling's works such as "Tibetan Women in Snow Areas" and "Plateau Wind" were unanimously affirmed by Beijing and Tianjin art critics. Some critics believe that his use

The pen is thicker and smoother than before, and finer in its thickness. This is precisely the result of artists'constant exploration of artistic forms and long-term accumulation of life.

Du Ziling is known as one of the representative figures of contemporary "frontier fortress painters". The reason why he has been "biting" the subject for a long time is that he loves the snow world in his heart. He told reporters that this land is vast, the people are simple, and has a deep cultural heritage, which gives him the impulse to create. Since the 1980s, he has gone to the western border to experience life many times. The harsh natural conditions on the plateau are unbearable; the extraordinary experience of fighting Tibetan dogs is still breathtaking, but these difficulties have resulted in exquisite works.

As an outstanding contemporary figure painter, Du Ziling made great efforts, diligence and talent in character sketch during his youth, and made rapid progress. He was appreciated by Guo Jun, then president of Tianjin People's Fine Arts Publishing House, and strongly recommended to Mr. Ye Shaoyu. He paid tribute to his teachers and learned art, which made a good story for the art circle. This has a profound impact on the formation of his later artistic style. Mastering highly skilled sketch skills is very important to the painter. It is one of the basic skills of modeling. It makes the painter's eye observation keen and the hand performance fast and accurate, complement each other. More importantly, it trains the painter's image memory, and achieves the vividness of artistic creation. In the older generation of artists, Mr. Ye Shaoyu and Mr. Huang Qianzhu are the best models. Most of the contemporary famous families have benefited from this, and Du Ziling is undoubtedly one of the best.

Du Ziling studio adheres to the educational method of "describing spirit by form, studying at home and abroad, getting close to life and producing more excellent works", aiming at cultivating the ability of portrait sketching, steganography and modeling, as well as the freehand brushwork skills and methods of portrait, cultivating students'respect for artistic rules, life feelings and reflecting the masters with the characteristics of the times. Creation of inscriptions and freehand figure paintings with a strong flavor of life. Life is the source of creation, and life is the painter's teacher. "A touching person comes first."

Emotional input is the key factor of success in creation, and "emotion" promotes imagination and understanding, thus constituting a new artistic conception. For this reason, in the first semester, I led all the students to the Luliang Mountains of Shanxi Province to go deep into the countryside, mines and iron and steel works to sketch. Second semester to Gannan Tibetan area, Sichuan Daliangshan Yi Nationality sketch. In sketching, the students really take root in life and reflect reality, take the expression of contemporary life and the spirit of the times as their responsibility, and in sketching shape structure, the ability of capturing characters, and the basic skills of writing and ink. Through a large number of sketches, we can truly understand the simple folk customs and profound cultural connotations of the grass-roots people, and bring back a large number of creative materials.

In real life, Du Ziling realized that the creation of Chinese figure painting can not only practice the techniques included in Chinese figure painting, but also learn the nutrition of Chinese painting brush and ink from the techniques of flower and bird painting and landscape painting. The sketch, dot-dyeing, ink-splashing, sketch, rubbing, dot-dyeing techniques in landscape paintings, ink-accumulating, ink-breaking and ink-splashing techniques in central, lateral, Tibetan and Lufeng brushwork and ink-splashing techniques in figure painting are all absorbed. In addition, the practice of calligraphy should be emphasized. In order to enrich the diversity of figure painting techniques, we should seek change in pen and ink, enrich in simplicity, smooth in depth and rigor, subtle and implicit in plain, elegant and beautiful in gentleness. Based on life, sublimate life to art, enrich life with art, and enrich art with life.

In his early years, Du Ziling was a master of figure painting such as Ye Shaoyu. His early creation was dominated by illustrations and comics. In the early 1980s, he studied Chinese freehand figure painting techniques systematically in the postgraduate class of the Department of Chinese Painting of Zhejiang Academy of Fine Arts. In his later creative practice, he inherited the traditional national artistic spirit on the basis of solid modeling skills, and at the same time, integrated the skills of Western methods into the brush and ink, gradually formed his own artistic style.

Although Du Ziling took a realistic road, he did not stick to the original ecological characters and natural features in his writing. He pursued a kind of heavy beauty. In this "Exhibition of Excellent Contemporary Chinese Painting Works - Tianjin Works Exhibition", his "Plateau Wind" used ink-accumulating painting to paint the costumes of characters. The layer-by-layer aggravated ink color and vigorous lines are quite in place to express the texture of clothing lines. He said: "The traditional freehand figure painting emphasizes easy brushwork, and sometimes it is not ideal to use such brushwork to deal with modern works. I use the ink accumulation in landscape painting to figure painting, so as to strengthen the thickness of the brush and ink. And the thickness of the pen and ink is one of the criteria to measure the depth of art.

In addition to his favorite snow theme, Du Ziling has not put down the illustrations in recent years. In his opinion, drawing illustrations is a must. To express characters with ink, we must have an accurate grasp of the times in which the characters live and be familiar with the original works.

In the field of contemporary Chinese painting, Du Ziling is a painter with unique style and outstanding achievements. His freehand portraits are deeply rooted in the essence of traditional Chinese aesthetics, and his works have both the merits of North and South techniques, and can be melted into a brushwork. On the basis of combining sketch, he has formed a rich, flowing and free style.

Mr. Du Ziling's creation inherited Mr. Ye Shaoyu's creation method of quick-writing painting. His brush and ink lay stress on frankness, simplicity and vividness. Every time the brush and ink moved quickly and carelessly, it made the brush and ink produce rich and colorful changes, or dry and dry in the wet, rich and weak changes, as natural as possible. In addition to pursuing the change of pen and ink in general, Mr. Du Ziling also pays special attention to the description of characters'eyes. Because a person's eyes are the window of his mind, how the painter describes them often depends on how well he conveys the God of the object.

For example, "Karachi Women" in the treatment of the eyes of the protagonist in the picture, is particularly particular, he not only carefully grasped Mou Zi's expression, but also in ink, also use three waves nine dyes. Mobilizing Du Ziling's potential self-cultivation and ability, not only created a distinct personality image, but also created a variety of performance techniques in his works. Dai people are in the green environment of subtropical zone. They are enthusiastic, simple and colorful. Therefore, in his creation, he integrated the change of color relationship and expressive ability in western paintings into the smooth and mellow expression of Chinese painting, which properly embodied the national characteristics and personality of Southern China.

As a disciple of Ye Shaoyu, Du Ziling's time in sketching is very deep, and has a more profound influence on the formation of his later style of ink figure painting. It is very important to master highly skilled sketch skills, which is one of the basic skills of modeling. In terms of technique, it makes the artist's eye observation keen and the hands of the quick and accurate complement each other, training the visual memory. In the 1950s and 1960s, sketch was generally offered as a specialized course in art colleges, but because sketch and other "long-term homework" occupied the main position, sketch became a supplementary subject or extra-curricular homework. The level of sketch of diligent and lazy students differed greatly, but they could graduate. From a deep point of view, sketch and sketch are different concepts for Chinese painting majors. First of all, sketch is a form of technique that is passed down from the West. In fact, sketch is the basic skill for oil painting. The basic principle is accurate reproduction. Observation and expression are all about "body" and "surface". Even if there are "lines", sketch is also interpreted as "the boundary between face and face" or "the horizon between body and space"; while sketch is the Chinese tradition. The concept of painting is similar. To put it simply, one is vivid, the other is concise, and the third is beautiful lines and rhythms.

Du Ziling's entry into Zhejiang and America in 1979 was the most decisive step in his life. Under the guidance of Professor Li Zhenjian, the postgraduate class of the Department of Chinese Painting in Zhejiang and America has painted the human body in ink and wash for half a year. It has not only studied the key problems of structure and anatomy, but also raised the problem of combining shape and ink practice to a new height. The two-year study is open, and it has absorbed nutrition from all ages, all over the world. After coming out from Zhejiang, Du Ziling benefited most from his continuous sketching trips to all parts of the country, especially in the Northwest. His trips to Xinjiang and Tibet broadened his horizons and deepened his understanding of life experience. This is absolutely important for a painter's spiritual development, not just for his skill.

In his decades of painting career, Du Ziling has traveled all over the rivers and villages. At the same time, in the process of a large number of sketches, he studied in depth the experience of traditional painting, to understand the laws summarized by predecessors in life. The purpose of sketching is to grasp the objective law. Therefore, his figure painting is first faithful to the object and takes the object seriously. However, life itself is not art. If we want to promote real life and real people to the artistic situation, instead of staying faithfully to convey and reproduce life, we must devote thought, emotion and artistic conception to creation. Subjective emotional participation and artistic conception deepening are the soul of art.

Du Ziling naturally concentrates on the pursuit of life and the spiritual world of human beings as he begins to enter the artistic world from the characters in his life. In all his artistic conceptions of sketch creation, accompanied by the expression of pen and ink, he gradually found that the most interesting and passionate creators were those who showed the vitality of their personality. Every outline reflected by sunshine or snow, every wrinkle squeezed out by a smile, and the rich inner spiritual details and personality characteristics of the painted person make him pursue it excitedly and energetically.

He has a special sensitivity to grasp the characters'psychological activities and modeling characteristics, and has a special control ability to shape complex and changing characters with brushes. Therefore, his sketches are actually a kind of artistic holistic thinking embodied by his rich thoughts and feelings and his grasp of the delicate relationship between the inner world of the characters. How could he discover the special beauty of Dong girls in his paintings without his in-depth observation, leaving behind the happy words of March and the tranquil smiles? It is in this sense that his figure painting is not only a concentrated reflection of the inner feelings and spiritual activities of the characters described, but also an embodiment of the author's own feelings. Painting by stroke is not only the expression of the external characteristics of the characters, but also the expression of the feelings that change the moment into eternal beauty.

In the late 1970s, I enrolled in the postgraduate class of figure painting in the Department of Chinese Painting, Zhejiang Academy of Fine Arts. During my postgraduate study, I studied and inherited the characteristics of Zhejiang School figure painting, so that in the development and study of ink figure painting, ink is free and easy, dry, wet, thick and light. It can finish the creation of figure and God with dot dyeing and line drawing in a short time. After graduation, because in the creation, I feel that if only focus on the method of dyeing, should be light, elegant feeling, thus suitable for light, scattered (not holistic) ills. Therefore, it also studies the layered dyeing method, which is highly praised by the North, in order to make the picture rich and Chinese. At present. In terms of artistic style, my ink and wash painting aims at learning from the characteristics of the north and South schools, and strives for the style of thick brush and ink, Huazi, free and easy, and the whole. Character modelling is to depict God in form. In strict and general grasp of body structure, the final requirement of figure painting is to "borrow god".

In the subject matter of figure painting, I take the life subject of modern figure painting as the main target. Figure painting involves a wide range of subjects, ancient celebrities, historical stories, Tang poetry, Song poetry and other poetic paintings. To strengthen the artist's grasp of the characters in modern life, it involves portraits of leaders and modern celebrities, as well as military history, revolutionary history and custom paintings of modern people's lives. I focus on the study of Chinese ethnic minority customs and paintings. Because China is a large family composed of all ethnic groups, 56 ethnic brothers work together for the construction and prosperity of the motherland. For decades. I went deep into Tibet, Mongolia, Hui, Dai, Korean, Miao, Buyi, Tajik, Uygur, Kazakhstan, Kirgiz, Yi, Zhuang, Dong, Yao, Hani and other nationalities to live in depth. When it comes to ethnic groups, I don't need to refer to people. That is to say, they can draw pictures reflecting their lives. That is to say, for many years, I have been creating paintings reflecting multi-ethnic life. At the same time, he also painted portraits of some revolutionaries and literary and artist celebrities, and created many illustrations involving literary works. Three illustrations of Mr. Laoshe's recently completed "Camel Xiangzi" have been published in a recent collection of personal paintings. In addition, I like to draw ancient celebrities whom I admire in my heart. I often repeatedly paint the life and poetic paintings of "Su Shi". He is an example of my pursuit of personality, so modern people's national customs and ancient rhyme figures are also my object of description.

In terms of artistic skills, I like Chinese traditional ink-and-wash brushwork, especially ink-based works. When dealing with the situation in today's snowy plateau life, mostly snow scenery, because of the black and white taste in art. It is also my aesthetic pursuit. I think the beauty is silent, the impact of black and white, and the pursuit of magnificence and simplicity. With the spiritual strength of calligraphers and paintings, Mr. Huang Binhong, a master of mountains and waters, and the connotation of his pen and ink, I strive to complete my pursuit and artistic climbing point.