方济众画作

 方济众(1923.6 .11-1987.7.18)著名国画家。笔名雪农。陕西省勉县武侯镇(原老城乡)方家坝村人。受兄长和美术教师影响，自幼学画。一九四四年于汉中普通高中毕业后，曾先后在中、小学任美术、语文教师。

40年代随赵望云研习中国画。

1949年后任《西北画报》编辑室主任，西北美术协会秘书，西安美术协会秘书及创作委员会副主任。

50年代在美协西安分会国画研究室从事创作，是"长安画派"画家之一。

"文革"期间，他全家"下放"回陕南山区。这种人生遭际丰富了他艺术中的内涵，在他那些描写林间鹿群、岩畔山水或陕北窑洞、黄土高原的写意小景中充溢着浓郁的生活气息。《三边塞上风光》一画分别以赭石和绿色表现了荒漠古老的长城和白莲盛开的河塘，相映相彰，一片塞外江南景色。驼队和雁阵也平添了画趣和强烈的生命气息。

曾任中国美术家协会常务理事、中国书法家协会理事、陕西省美术家协会副主席、陕西省书法家协会副主席、陕西省文联副主席、陕西省国画院首任院长。第六届全国人大代表，第五届陕西省政协常委。

书法以行书见长，其作章法谨严，运笔苍劲有力，墨色枯润相济，清朗利落，自具面貌。精国画，创作以反映陕西农村，牧区风光及建设场景为主，取法传统，师古不泥，致力于创新，形成自己独特的田园画风。

方济众画作

 方济众(1923--1987)字雪农，陕西勉县人。1946年师赵望云学画，1950年前任中小学美术教员。后在陕甘宁边区文协美工会、西北文化部美术科工作。曾任《西北画报》编辑部主任 。

方济众是"长安画派"的代表画家之一，长期从事中国山水画、花鸟画、及书法的创作，在传统中国画向新中国画转型时期做出了重大贡献，终生致力于传统与创新的创研之中。作品多次参加全国美展、国际展览并举办个人美展。作品曾多次在多种美术刊物上发表。

1953年:作品《云横秦岭》入选第一届全国美展并被中国美术馆收藏。

1954年:作品《最后的道路》《秦川一角》先后参加全国美展。

1955年:作品《溪柳迎风》被中国美术馆收藏并在《美术》杂志发表。

1957年:为人民大会堂创作《西岳华山》。

1958年:作品《夜渡》发表于《美术》杂志。

1959年:作品《幽林》参加中国首届维也纳国际博览会展览。作品《初冬的山谷》发表于《解放军画报》封底。

1961年:数十件作品参加西安美协在京举办的"西安美协中国画研究室习作展"。

1962年:作品赴上海电影制片厂担任动画片《牧笛》的背景设计(李可染作人物造型设计)。该片获丹麦安徒生童话片国际金质奖。

1963--1965年:创作《山春》《山林雪后》《平湖春晓》《山野的春天》《灯笼会》等大量的作品。

1966年"文化革命"开始，遭批斗，进"牛棚"，停笔四年。

1970年:全家被下放到陕西洋县白石公社劳动改造，白天上山劳动，晚上偷着画画。这期间画了很多速写，并经常习书法，作了大量的诗词。

1976年:作品《忆延安》组画参加"文革"后第一届全国美展，并发表于《人民画报》封底。

1977年:为外交部驻外使馆作丈二匹画十余幅。《美术》和《美术家》发表《黄山颂》等作品数幅。

1978年:人民美术出版社出版《昆仑春晓》单幅画。调回陕西主持陕西省美术家协会工作。

1979年:为人民大会堂创作《古城雪霁图》。中国美术馆收藏《蜀道一瞥》等数十件作品。

1980年:赴上海美术电影制片厂担任《鹿铃》的背景设计。

1981年:作品《山野的春天》入选中国画研究院第一届院展。

1982年:《美术》杂志社发表作品《荷》。率陕西书法代表团赴日本举办书法展，任团长。陕西人民出版社出版《方济众画集》

1984年:作品《沙鸟聚相亲》参加第六届全国美展，获优秀作品奖。天津人民美术出版社出版《方济众画集》

1985年:率陕西书画代表团赴日举办书画展览，任团长。赴香港举办"陕西国画展"。作品《红柳滩外好荷花》参加"中国现代画展"赴莫斯科展出。人民美术出版社出版《方济众画辑》

1986年:天津人民美术出版社出版《山石、树木技法》。作品《大漠行》参加西北五省美术展览。

1987年:参加"赵望云师生展"展出作品三十余幅。七月十八日因病逝世。

1988年:日本帝都书画院出版《方济众遗墨展作品集》。

1992年:荣宝斋出版社出版《荣宝斋画谱--山水部分--方济众》。

1995年:荣宝斋出版社出版《方济众画集》。

2005年:荣宝斋出版社出版《方济众小品集》。

2006年:荣宝斋出版社出版《方济众画集》。

 方济众的国画有着明显的与其它艺术形式不一样的地方。他的国画有着自己明显的特征。传统的国画不讲焦点透视，不强调自然界对于物体的光色变化，不拘泥于物体外表的肖似，而多强调抒发作者的主观情趣。而方济众的国画讲求"以形写神"，追求一种"妙在似与不似之间"的感觉:则讲求"以形写形"。创作的过程中，也注重"神"的表现。但它非常讲究画面的整体、概括。方济众的国画是"表现"的艺术。

方济众画作

 临摹

方济众对绘画临摹的重视，他在《画品》中的"姚云度"条下提到时人伪姚云度画，"戴逵"条下提到画工临戴逵画，"刘绍祖"条下提到刘以摹写画迹著称于世。宋中书侍郎虞龢在《论书表》一文中，例举富于书法藏品的收藏家有桓玄、刘毅、卢循素、新渝惠侯等，其中，新渝惠侯"雅所爱重，悬金招买，不计贵贱"，所收书法"招聚既多，时有佳迹"。在谈到当时书法消费的盛行时，虞龢更是说:"西南豪士，咸慕其风。人无长幼，翕然尚之。家赢金币，竞远寻求。于是京师三吴之迹，颇散四方。"然而，检索六朝文献，寻找能够显示绘画消费盛行的能与《论书表》相类的记载，却一无所获。对此，唐初中书舍人斐孝源似有觉察，他在序言中，言及魏晋的绘画时，仅说:"及吴魏晋宋，斯道始兴。"用词之慎，与形容书法消费"人无长幼，翕然尚之"相去甚远。

三个概念

第一个概念是观念系统中的局部概念

在中国传统的政治、哲学思想中，最高的境界是天下，修身齐家治国从而平天下。天下是一个第一等的概念，国家的概念在天下的概念之下。古时君子若是天下不在掌握之中，才退而在"国家"的层次上作为。只有当天下不可为时，才会为其次，这个部分就是所谓的"国"。同样，在中国传统的学术中，所有的学问只有一种，就是经学，除此，只是小学:等而下之或前期准备的学识。古人做学问，就是孔子所说"为学也"，放诸四海而皆准、放诸天下而皆通的事理。因此，等到做一个具体个别国家事务的研究撰述之时，就是在讨论一个第二等的问题，是一个带有私自性的公共问题。因此，国学的提法就中国传统政治、哲学和学术的思想来衡量，也是一个二等问题。如果这个具体化个别化的过程是出自主动的进取，也许是现代学术日益科学化、算计化的结果，或者是现代绘画的日益在地域和文化上自觉的结果，如果是被迫，就有另外的问题需要面对。国画与国学概念相似，是被动现代化的结果，并不是一个主动的选择。

第二个概念文化保守和文化对抗的概念

中国人已不再认为中国的绘画是放诸四海皆准的全人类的一个普遍的概念，而只是艺术这个大概念在中国这个特殊地域之内的一种存在。中国的艺术只是艺术中的一种，除此之外还有其他国家的艺术，中国画只是画之一种，另外还有西洋画等等。而意大利人从不说本国的绘画是"国画"一样，他们不会把达芬奇的画称为意大利画，因为他们认为这种画是放诸四海皆准的，全世界人都应该这样画画。同理，法国的印象派不会把自己的画叫做法国画，只会说它是一种画派。因此，所谓国画或说一国之画，是在一个政治上受到压迫和侵害的国家中，由于国人的自信心受挫而产生的概念，它不是一个主动求取的概念，而是一个退守保全自我

 文化的概念。探究历史，国画一词出现之时，正是在中国开始在政治军事上失败，积贫积弱之后，一代初步了解社会并有自觉意识的中国人开始反省自身的时候。这种反省的集中体现就是洋务运动的思路，在这一全国性的检讨自己而求取于"西方技术"的过程中，开始对早已有的西洋画、洋画、油画等概念进行新的理解。

第三个概念是体制等级的概念第二个概念所针对的是外来压力，为保全自身与之相抗，而强调一个国家的、地区的独特风格，从而在内、外之际作出区分。而国画的第三个概念则是在本国范围内也作出区分。只把中国艺术中一部分用水墨表现的传统艺术形式冠以国画之称，而把其他所有组成部分仍以年画、漆画、壁画、剪纸等方式分别提出。与此同时，将这种以国画称呼的艺术列为中国艺术的最高等级，国画作为相对于"低级绘画"、民间绘画的概念而出现。考古发现证实中国自商周起就有了漆皮;在朝鲜境内乐浪地区也曾发掘出完整绘有昆仑山、西王母等图案的汉代漆器。为何漆画的历史如此悠久却不得国画之名?木刻年画曾经是中国广大农村的最为普遍的绘画，为何年画的使用如此广泛却不得国画之名?乃是因为将国画认作中国艺术中最具代表性、等级最高的一种，而非历史最悠久或流布最普遍的一种。只有中国艺术中已经成熟的、有高度成就的那种艺术形式才是国画，其他相对低级和简陋的艺术形式即使是中国特有甚或源远流长，也不能享国画之誉(即使它们未必简陋，更非低级)。

 《兰州黄河大桥》获第一届全国青年美展三等奖;《溪柳迎春》等入选第三届全国美展;《沙鸟聚相亲》入选第六届全国美展优秀作品展。《蜀道一瞥》被中国美术馆收藏。担任背景设计的水墨动画片《牧笛》和《鹿铃》分别获丹麦安徒生童话片国际金质奖和苏联电影节最佳美术片奖。

出版有《方济众画辑》、《方济众画集》，著有《山石树木技法》等。

 方济众，是中国现代受人欢迎的国画家，评论家。他的绘画，文章在几十年沧桑风雨中保持一贯的风格:雍容恬静，其国画更是脍炙人口。在方济众先生的作品中，国画恐怕是最为著名的了。往往是寥寥几笔，就勾画出一个意境。方济众的许多画，都是以人物作为题材的，例如《幽林》和《三边塞上风光》。方济众的画，让所谓的成人都觉得惭愧。什么时候，这个世界，能少一些欺诈，少一些执着，多一些自然，多一些淡泊。

方济众的人物画如一片片落英都含蓄着人间的情味。方济众的人物画，追求的是一种崇高而绚烂的美，其间，不乏哲思和诗意的存在。

 60年代崛起的长安画派，提出"一手伸向传统，一手伸向生活"的艺术主张，可谓当时

艺术变革的佼佼者，而方济众先生是其中一员。

方济众先生的艺术特点是将现实生活导入田园诗情化的艺术感受之中，从而变革了传统山水模式的格局，将传统山水画变化为以现实生活形象为特征的朴素亲切感人的田园风景模式。从而确立了自己在中国山水画中的地位。方济众先生是位重自然性灵的画家，早年故乡的清风明月，巴山蜀水自然环境的心灵滋养，形成其内秀的性格气质。如果我们以其与同时期的画家赵望云、石鲁先生的作品比较便可看出:赵先生朴拙敦厚，画中有倔劲，注重自然形象刻画，石先生奇倔外向，重情感张扬，方济众先生则重自然本性的抒发。这便形成了方济众先生自己的艺术特色及独特的艺术魅力。

 Fang Jizhong (1923.6.11-1987.7.18) is a famous Chinese painter. The pen name is Snow Farmer. Fangjiaba Village, Wuhou Town, Mianxian County, Shaanxi Province. Influenced by elder brother and art teacher, he learned painting from childhood. After graduating from Hanzhong Ordinary High School in 1944, he was a teacher of fine arts and Chinese in primary and secondary schools.

In the 1940s, he studied Chinese painting with Zhao Wangyun.

In 1949, he became the director of the editorial room of Northwest Pictorial, the Secretary of Northwest Art Association, the Secretary of Xi'an Art Association and the deputy director of the Creation Committee.

He was one of the "Chang'an Painting School" painters who worked in the Chinese Painting Research Laboratory of the Xi'an Branch of the Association of Fine Arts in the 1950s.

During the Cultural Revolution, his family "decentralized" back to the mountains of southern Shaanxi. This kind of life experience enriched the connotation of his art, and filled with rich flavor of life in his freehand scenery describing forest deer herds, Rockside mountains and rivers or caves in northern Shaanxi and the Loess Plateau. The painting "Scenery on the Three Frontier Fortress" shows the ancient desert Great Wall and the white lotus pond with ochre and green respectively, which are complementary to each other, and a scenery of the south of the Yangtze River outside the fortress. Camels and geese also add to the painting and strong breath of life.

He was the executive director of the Chinese Artists Association, the director of the Chinese Calligraphers Association, the vice-chairman of the Shaanxi Artists Association, the vice-chairman of the Shaanxi Calligraphers Association, the vice-chairman of the Shaanxi Literary Federation and the first president of the Shaanxi Traditional Chinese Painting Academy. The sixth NPC deputy and the fifth Standing Committee of the Shaanxi Provincial Political Consultative Conference.

Calligraphy is good at running scripts. It has strict rules, vigorous brushwork, dull and moist ink, clear and neat, and has its own features. The fine traditional Chinese painting mainly reflects the scenery and construction scenes of rural and pastoral areas in Shaanxi Province. It takes the tradition as its guide and devotes itself to innovation to form its own unique pastoral painting style.

Fang Jizhong (1923-1987) is a snow farmer from Mianxian County, Shaanxi Province. Zhao Wangyun studied painting in 1946 and was a primary and secondary art teacher before 1950. Later, he worked in the art trade union of the Shaanxi-Gansu-Ningxia Border Region and the Art Department of the Northwest Ministry of Culture. He was the editorial director of Northwest Pictorial.

Fang Jizhong is one of the representative painters of "Chang'an Painting School". He has been engaged in the creation of Chinese landscape painting, flower and bird painting, and calligraphy for a long time. He has made great contributions in the transition period from traditional Chinese painting to new Chinese painting, and has devoted his life to the creation and research of tradition and innovation. His works have participated in national art exhibitions, international exhibitions and individual art exhibitions for many times. His works have been published in many art journals.

1953: The work Yunheng Qinling was selected for the first National Art Exhibition and was collected by the Chinese Art Museum.

1954: Works "The Last Road" and "The Corner of Qinchuan" participated in the national art exhibition successively.

1955: The work Xiliu Yingfeng was collected by the Chinese Art Museum and published in the magazine Art.

1957: Writing Huashan Mountain in Xiyue for the Great Hall of the People.

1958: Night Ferry was published in Art Magazine.

1959: Youlin participated in the exhibition of the first Vienna International Exposition in China. The work "Valley in Early Winter" was published on the back cover of "PLA Pictorial".

1961: Dozens of works participated in the Exhibition of Chinese Painting Studio of Xi'an Artistic Association held in Beijing.

1962: The work went to Shanghai Film Studio to design the background of the animated film "Mudi" (Li Keran as character design). The film won an international gold medal for Andersen's fairy tale film in Denmark.

1963-1965: Created a large number of works, such as "Mountain Spring", "Mountain Forest Snow Queen", "Pinghu Spring Dawn", "Mountain Spring", "Lantern Club".

In 1966, the "Cultural Revolution" began, and was criticized, entered the "cowshed" and stopped writing for four years.

1970: The whole family was transferred to Baishi Commune in Yangxian County, Shaanxi Province, where they worked in the mountains during the day and painted stealthily at night. During this period, a lot of sketches were drawn, and calligraphy was often practiced, and a lot of poems were made.

1976: The group painting of "Yi Yan'an" participated in the first national aesthetic development after the "Cultural Revolution" and was published on the back cover of "People's Pictorial".

1977: More than ten paintings for the embassies of the Ministry of Foreign Affairs abroad. "Art" and "Artist" published several works such as "Ode to Huangshan".

1978: People's Fine Arts Publishing House published a single painting of Kunlun Spring Dawn. Return to Shaanxi to preside over the work of Shaanxi Artists Association.

1979: Creating Snow Map of Ancient City for the Great Hall of the People. The Chinese Art Museum collects dozens of works such as A Glimpse of Shudao.

1980: I went to Shanghai Fine Arts Film Studio to design the background of Luling.

1981: The work Spring in the Wild was selected for the first Academy Exhibition of Chinese Painting Research Institute.

1982: Fine Arts magazine published the work Lotus. He led the Shaanxi Calligraphy Delegation to Japan to hold a Calligraphy Exhibition and was the head of the delegation. Shaanxi People's Publishing House Publishes the Collection of Fangji People's Paintings

1984: The work "Sand Birds Get Together" participated in the 6th National Art Exhibition and won the award of Excellent Works. Tianjin People's Fine Arts Publishing House Published the Collection of Fangji People's Paintings

1985: Leading the Shaanxi Painting and Calligraphy Delegation to Japan to hold the Painting and Calligraphy Exhibition. I went to Hong Kong to hold the Shaanxi Traditional Chinese Painting Exhibition. The work "Good Lotus on the Red Willow Beach" was exhibited in Moscow at the "Modern Chinese Painting Exhibition". People's Fine Arts Publishing House Publishes Fang Jizhong Painting Collection

1986: Tianjin People's Fine Arts Publishing House published "Mountain Stone, Tree Techniques". The work "The Great Desert" participated in the five northwest provinces art exhibition.

1987: More than 30 works were exhibited at Zhao Wangyun Teachers and Students Exhibition. He died of illness on July 18.

1988: The Japanese Imperial Academy of Calligraphy and Painting publishes the Collection of Works of Franciscans Ink Exhibition.

1992: Rong Baozhai Publishing House published "Rong Baozhai Painting Spectrum - Landscape Part - Fang Jizhong".

1995: Rongbaozhai Publishing House publishes The Collection of Fangji People's Paintings.

2005: Rongbaozhai Publishing House publishes The Collection of Franciscans.

2006: Rongbaozhai Publishing House publishes the Collection of Fangji People's Paintings.

Fang Jizhong's traditional Chinese painting is obviously different from other art forms. His Chinese paintings have their own distinct characteristics. Traditional Chinese paintings do not focus on perspective, do not emphasize the change of light and color of objects in nature, do not adhere to the appearance of objects, but more emphasize the subjective interest of the performers. Fang Jizhong's traditional Chinese paintings emphasize "describing spirit by form", and pursue a feeling of "beauty between similarity and dissimilarity": they emphasize "describing form by form". In the process of creation, we also pay attention to the expression of "God". But it pays great attention to the overall picture and generalization. Fang Jizhong's traditional Chinese painting is the art of expression.

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Fang Jizhong attaches great importance to the copying of paintings. He mentions the fake Yao Yundu paintings under the article "Yao Yundu" in "Paintings", "Dai Kui" refers to the painter's copying of Dai Kui paintings, and "Liu Shaozu" refers to Liu's copying of paintings. Song Zhongshu Shilang Yu cited collectors rich in calligraphy collections such as Huan Xuan, Liu Yi, Lu Xunsu and Xinyu Huihou in his article "On Shubiao". Among them, Huihou in Xinyu "loves elegance, pays for money, regardless of nobility or inferiority", and collects calligraphy "gathers a lot and has good marks at times". When talking about the prevailing consumption of calligraphy at that time, Yu Yu Yu said: "Southwest haozhi, admire its style. No man is old or young. Home wins gold coin, go for it. Therefore, the three Wu traces of the Beijing Teachers are scattered in all directions. "However, searching the literature of the Six Dynasties to find records that can show the prevalence of painting consumption can be similar to Lunshubian, but nothing has been achieved. In this regard, Fei Xiaoyuan, a scholar in the early Tang Dynasty, seems to be aware of it. In his preface, when he talks about paintings in the Wei and Jin Dynasties, he only says, "As for Wu, Wei, Jin and Song Dynasties, Shidao began to flourish. "Careful use of words, and the description of calligraphy consumption" people have no age, but still "far from.

Three concepts

The first concept is the local concept in the conceptual system.

In China's traditional political and philosophical thinking, the highest state is the world, so that the world can be stabilized by cultivating one's moral integrity and governing one's family. The world is a first-class concept, the concept of the state is under the concept of the world. In ancient times, if the world was not under control, a gentleman would retreat and act at the level of "state". Only when the present is impossible, will it be secondary, this part is the so-called "state". Similarly, in traditional Chinese academics, there is only one kind of learning, that is, Confucian classics. Besides, it is only primary school: waiting for the next or preparing for the first time. Ancient scholarship is what Confucius said "learning is also for learning". It can be applied to all parts of the world and to all parts of the world. Therefore, when we do a research on specific individual national affairs, we are discussing a second-class issue, which is a public issue with selfishness. Therefore, the formulation of Chinese traditional learning is also a two-sided problem in terms of traditional Chinese political, philosophical and academic thinking. If this process of concrete individualization is an initiative, it may be the result of the increasingly scientific and calculating of modern academia, or the result of the increasingly conscious regional and cultural awareness of modern painting. If it is forced, there are other problems to be faced. Chinese painting is similar to the concept of traditional Chinese painting. It is the result of passive modernization, not an active choice.

The second concept is the concept of cultural conservatism and cultural confrontation

Chinese people no longer think that Chinese painting is a universal concept for all mankind, but only a kind of existence of the concept of art in this special region of China. Chinese art is only one kind of art, in addition to other countries, Chinese painting is only one kind of painting, in addition to Western painting and so on. Italians never say that their paintings are "traditional Chinese paintings". They don't call Leonardo Da Vinci's paintings Italian paintings because they think that they are universal and that people all over the world should draw like this. Similarly, the French Impressionists would not call their paintings French paintings, but they would only say that they are a kind of paintings. Therefore, the so-called traditional Chinese painting or painting of a country is a concept produced by the frustration of Chinese people's self-confidence in a country which has been oppressed and infringed politically. It is not a concept of seeking actively, but a concept of retreating and preserving oneself.

The concept of culture. Exploring history and the emergence of the term "traditional Chinese painting", it is precisely after China began to fail politically and militarily and accumulate poverty and weakness, that a generation of Chinese people with a preliminary understanding of society and conscious began to reflect on themselves. This kind of introspection is embodied in the thought of Westernization Movement. In the process of national review of oneself and seeking "Western technology", a new understanding of the already existing concepts of Western painting, foreign painting and oil painting has begun.

The third concept is the concept of hierarchy of institutions. The second concept aims at external pressures. In order to protect itself against them, it emphasizes the unique style of a country and a region, so as to distinguish between internal and external pressures. The third concept of Chinese painting is to make a distinction within the scope of the country. Only a part of the traditional art form expressed in ink in Chinese art is called traditional Chinese painting, while all other components are put forward separately in the form of New Year's paintings, lacquer paintings, murals, paper-cut and so on. At the same time, this kind of art called Chinese painting is listed as the highest level of Chinese art, and Chinese painting emerges as a concept relative to "low-level painting" and folk painting. Archaeological discoveries confirm that lacquer has existed in China since Shang and Zhou Dynasties, and Han lacquerware with complete patterns of Kunlun Mountain and West Queen Mother has been excavated in Lelang area of Korea. Why does lacquer painting have such a long history but not the name of traditional Chinese painting? Woodcarving New Year's Painting was once the most common painting in the vast rural areas of China. Why is the use of New Year's Painting so widespread but not the name of traditional Chinese painting? It is because traditional Chinese painting is recognized as the most representative and highest-ranking one of Chinese art, rather than the oldest or most popular. One. Only the mature and highly accomplished art form in Chinese art is Chinese painting. Other relatively low-level and crude art forms, even if they are unique to China or have a long history, can not enjoy the reputation of Chinese painting (even if they are not necessarily crude, not inferior).

Lanzhou Yellow River Bridge won the third prize of the first National Youth Art Exhibition, Xiliu Yingchun was selected into the third National Art Exhibition, and Sandbird Meeting was selected into the sixth National Art Exhibition. Shudao Glimpse is collected by the Chinese Art Museum. As background design, the ink cartoon "Pastoral Flute" and "Deer Bell" won the Golden Prize for Andersen Fairy Tales in Denmark and the Best Art Film Award for the Soviet Film Festival, respectively.

Published by the "Fang Ji Zhong Painting Collection", "Fang Ji Zhong Painting Collection", "Rock Tree Techniques" and so on.

Fang Jizhong is a popular Chinese painter and critic in modern China. His paintings and articles have maintained a consistent style in the vicissitudes of decades: graceful and quiet, and his traditional Chinese paintings are popular. Among Mr. Fang Jizhong's works, Chinese painting is probably the most famous. Often only a few strokes sketch out an artistic conception. Many of Francisco's paintings are based on characters, such as The Youlin and The Scenery of the Three Side Fortress. Fang Jizhong's paintings make the so-called adults feel ashamed. When can the world be less fraudulent, less persistent, more natural and more indifferent?

Fang Jizhong's figure paintings, like a piece of falling Ying, imply the human flavor. Fang Jizhong's figure painting pursues a noble and gorgeous beauty, during which there is no lack of philosophical and poetic existence.

The Chang'an School of Painting, which rose in the 1960s, put forward the artistic idea of "stretching one hand to tradition and one hand to life".

Mr. Fang Jizhong is one of the outstanding artists in the field of artistic change.

Mr. Fang Jizhong's artistic feature is to introduce real life into the artistic feeling of idyllic poetry, thus changing the pattern of traditional landscape pattern, and changing traditional landscape painting into a simple and affecting rural landscape pattern characterized by the image of real life. Thus it established its position in Chinese landscape painting. Mr. Fang Jizhong is a painter who attaches great importance to nature and soul. In his early years, the clear breeze and bright moon in his hometown and the spiritual nourishment of the natural environment in Bashan and Shushui formed his inner and beautiful character and temperament. If we compare their works with those of Zhao Wangyun and Shilu painters of the same period, we can see that: Mr. Zhao is simple and honest, with stubbornness in his paintings, he pays attention to the depiction of natural images, Mr. Shi is stubborn and outgoing, he emphasizes emotional publicity, and Mr. Fang Jizhong emphasizes the expression of natural nature. This formed Mr. Fang Jizhong's own artistic characteristics and unique artistic charm.