陈宜明，祖籍江苏无锡。1950年12月生于上海，1976年进哈尔滨画院。1982年到 中央美术学院油画系进 

修。1984年毕业于中央美院油画系高研班。1985年进浙江美术学院执教。任中国美术学院油画系教授；中国油画协会理事； 中国美术家协会会员；中国美术家协会浙江分会理事；中国油画学会副秘书长。

 《伤痕》

　　陈宜明与 刘宇廉、 李斌于1978年合作的连环画 《伤痕》，在全国引起极大反响。他们合作的连环画《伤痕》 连环画《枫》 《枫》与 《张志新》，一扫建国后极左政治路线统治下的虚假艺术模式，以高度写实的艺术手法再现了历史的真相，其真挚的情感，新颖的形式，令千百万刚刚走出文革阴影的中国人为之动容。陈宜明、刘宇廉、李斌在20世纪70年代末的合作创作，是“伤痕美术”的发端与代表作，具有重要的历史价值。铸就了中国当代美术史上一段华美篇章。 

　　1978年， 《连环画报》邀请陈宜明、刘宇廉、李斌一起创作《伤痕》，这是根据当年影响很大的卢新华的同名小说改编而来，表现“文革”中悲剧灾难的生活历史。1979年刊出后获得广泛好评。获第二届全国连环画展览一等奖。

《枫》

　　1979年他们又应邀合作连环画《枫》，描画一对恋人在“文革”中分属不同红卫兵派别，最终都成为牺牲品的悲剧故事。由于这组连环画真实刻画了当时的社会环境，出现了 四人帮、 林彪的画像等，当时有主管领导人认为有宣传四人帮的嫌疑，刊载《枫》的《连环画报》一度被禁止发行，后放行并加印十万份。这组画引起很大的反响，据说有上百万的读者，和当时的“伤痕文学”同步，被媒体评论为“伤痕美术”的代表作，在建国30周年全国美展上获一等奖。

《张志新》

　　鲜为人知的是，1979年陈宜明、刘宇廉、李斌还创作过一组从未发表的连环画《张志新》。他们为此深入曾监禁张志新的沈阳一监狱进行调查写生，并了解到张志新遭到很多非人的待遇，听说因为不给水她还曾拿经血沾馒头吃，他们边写生边请模特拍摄，尝试用报道式的手法和政论式的文字来表现对那个时代的反思，但是画稿出来后上面说张志新已经宣传得够多了，不准刊登。

 自由创作

　　历史给“ 伤痕美术”的定位已经足够了，所以，我不太爱有事没事去谈论这个问题。“文革”后，中国文化 连环画《伤痕》 界出现类似“伤痕文学”“伤痕美术”这样的艺术形式是一种很自然的事情，没有谁去刻意去为了表现伤痕而伤痕。我们搞“伤痕美术”时，也根本没有什么刻意的行为，而《连环画报》向我们约稿，我们也认为符合我们的身份，并且我们自己亲历了这段历史，所以才画的。至于美术乃至文化界怎么去评价和认识，那是后来的事情。当然，“伤痕美术”之所以给当时的美术界带来了一股新鲜的空气，那是因为当时我们没有严格按照毛主席的文艺政策路线，而是按照自己的方式去画，所以，显得很自然。

激情幼稚

　　因为当时我们都是二十多岁的青年，青年的朝气、活力都摆在那里的，所以，并不觉得那段经历很苦。只是返城后再回过头来看那段历史时，才发觉自己原来经历的是一场噩梦，但很多东西都已找不回来了。 

　　我一般不太愿意谈这段历史，在创作上，其实那个时候是很幼稚的。在此之前，受到美术教育也不是很正规，直到后来我进学校到老师至今，我反而是认为显得更成熟一点，离艺术更近一点。78、79年虽然影响很大，可影响并不意味着就是我艺术的高峰期，我是比较客观的看这个问题。不过，现在与那时无法比拟的是，虽然当时技术上很幼稚，但创作的态度却很真诚。

 "Scar"

Chen Yiming and Liu Yulian, Li Bin in 1978 with the cooperation of comic "Scar", caused great repercussions in the country. They work with comic "Scar" comic "Feng" "Feng" and "Zhang Zhixin", after the founding of false art mode sweep under the rule of the leftist political line, with a high degree of realism of the artistic reproduction of the historical truth, the true feelings, novel form, make millions just out of the shadow of the Cultural Revolution China people touching. Chen Yiming, Liu Yulian, Li Bin in the end of the 1970s cooperation creation, is "scar art" the originator and the representative work, has the important historical value. Cast a gorgeous chapter in the history of Chinese contemporary art.

1978, "serial pictorial" invited Chen Yiming, Liu Yulian and Li Bin together with the creation of "Scar", which is based on the great influence of Lu Xinhua's novel of the same name, the performance of "Cultural Revolution" in the tragic disaster life history. 1979 published to wide acclaim. Won the first prize of the second national exhibition of comics.

"Maple"

In 1979 they were invited to cooperate the comic "Feng", painted a pair of lovers from the "Cultural Revolution" in different red guards factions, will eventually become a victim of the tragedy story. Because of this group of comics depict the real social environment at that time, the gang of four, the portrait of Lin Biao, was in charge of propaganda leaders that the gang of four suspects, published "Feng" the "serial pictorial" was banned after the release, release and print one hundred thousand copies. This series has caused great repercussions, is said to have millions of readers, and at the time of the "Scar Literature", comments by the media as "scar art", won the first prize in the 30 anniversary of the founding of the national art exhibition.

"Zhang Zhixin"

Little is known of Chen Yiming in 1979, Liu Yulian, Li Bin also wrote a set of unpublished comic book "Zhang Zhixin". They were imprisoned for in-depth Zhang Zhixin Shenyang prison investigation sketch, and learned that Zhang Zhixin was a lot of inhuman treatment, because she had not heard the water with blood stained Steamed Buns while they eat, please try to sketch edge model photography, reports style and political comment style of the text to reflect on the times. But after the above drawings that Zhang Zhixin has enough publicity, not published.

Free creation

History to the "scar art" positioning is enough, so, I do not love something to talk about this issue. After the "Cultural Revolution", China culture comic "Scar" circles appear similar to the "Scar Literature" "scar art" this form of art is a very natural thing, no one deliberately in order to show the scars and wounds. We engage in "scar art", also do not have what deliberate behavior, and "serial pictorial" to our manuscripts, we also believe that with our identity and our own experience of this period of history, so that painting. As for the art and culture, how to evaluate and understand, it is a matter of later. Of course, the "scar art" has brought a fresh air to the time of the art circle, that's because we were not strictly in accordance with the literary policy route of Chairman Mao, but in their own way to the painting, so it seems quite natural.

Passion childish

Because at that time we are all more than and 20 years old youth, the youth's vitality, vitality are placed there, so, do not feel that the experience is very bitter. Just return to the city after looking back at that time, only to find that they had experienced a nightmare, but a lot of things have not been returned.

I generally do not want to talk about this history, in writing, in fact, that time is very naive. Prior to this, the art education is not very formal, until then I went to school to the teacher so far, but I think it is a little more mature, closer to the arts. 79, 78 years, although the impact is great, but it does not mean that the peak of my art, I was more objective look at this issue. However, now with the time can not be compared, although at that time was very naive, but the attitude is very sincere.