作品《小伙伴》(136cm×136cm1984年)、《海边小憩》(136cm×136cm1989年)、《千手千眼观音》(1989年)、《晨露》（136cm×136cm1994年）、《绿色田园》（190cm×180cm1999年）、《山寨小溪》（190cm×180cm2004年）、《聆听风吟》（ 160cm×138cm2007年）、《晨祈》（170cm×150cm2011年）分别参加第6、7、8，9、1 0、11、12届全国美展并屡获大奖。作品《秋暮》（138cm×138cm1988年）参加中国当代工笔山水画大展获一等奖；作品《蒙山秋》（160cm×160cm1992年）获纪念《讲话》发表5 0周年全国美展银牌奖；作品《大红枣》（180cm×160cm1992年）获中国当代工笔画第三届大展金奖；作品《家园》获首届中国画大展铜奖；作品《净湖》（180cm×160cm1997年）入选百年中国画大展；作品《正午蝉鸣》（180cm×160cm1995年）、《山寨小溪》（190cm×180cm2004年）参加全国画院双年展一、二届大展，国画作品《回家》（170cmx150cm 2013年）参加2015第六届中国北京国际美术双年展；国画《金色青稞》（180cmx180cm2014年）应邀参加“中国美术馆弘扬中国精神系列展览：2016贺岁大展——中华民族大团结全国美术作品展”；《吉祥高原》（260cmx160cm2015年）应邀参加“第二届中国画学会展时代华章·2018”；国画《金色青稞》（2014年）、《吉祥高原》（2015年）、《我心飞扬》（170cm×130cm2017年），分别参加由中国国家画院主办的2015、2016、2017年“写意中国中国画展”全国巡回展。

历时三年，创作国画作品《血痛－抗日战争中受难的中国女性》（350cm×500cm2009年）入选全国重大历史题材作品展，并由国家博物馆永久收藏。被中国文联、中国美协评定为中国画坛百杰称号。

2018年，创作《马克思童年时代的特里尔城》（190cm×500cm2018），参加“真理的力量——纪念马克思诞辰200周年主题展览”，并由国家博物馆永久收藏。

2014年9月，坐落在山东淄博的“于文江艺术馆”开馆。

主要出版画册有《当代中国画家大系---于文江》、《国家国家重大历史题材美术工程于文江作品----血痛·抗日战争中受难的中国女性》、《当代画史（第三辑）人物卷·于文江》、《于文江艺术馆精品集》、《第22回全日中国国际美术大展---于文江先生作品》、《丝路画雨·于文江写生作品集》、《真理的力量·马克思童年时代的特里尔城》等作品集、《中国高等院校教学范本精选·于文江作品精选》（北京工艺美术出版社）、《全国高等美术学院名家教育范本·于文江国画作品精选》（吉林出版社）。其作品在法国、德国、意大利、比利时、俄罗斯、白俄罗斯、乌克兰、美国、墨西哥、日本、泰国及香港、澳门、台湾等国家和地区展出。

于文江国画作品

 于文江：追求图像与精神的统一

在中国当代画家中，于文江的人物画独

树一帜。他的绘画往往形式上是工笔的，却

又具有丰富的写意性，造就出一种张力内

蕴、情趣盎然的审美样式。

亦工亦意，不刻而隽

于文江的艺术之路表面上看颇为平顺，以至于他自己用一句话就概括完了：“小时候梦想当画家，长大后真的成了画家。”然而，为找到适合个人的艺术风格和绘画语言，在美术界拥有一席之地，于文江却是经过了艰辛努力和不懈探索。

于文江于1963年生于山东烟台，自幼酷爱美术，17岁考入山东师范大学艺术系，1984年其毕业创作《小伙伴》成为当年唯一入选全国六届美展的在校生作品并获优秀作品奖。那时，他的绘画以纯工笔为主。他回忆说：“我在大学阶段认识到，造型语言标志着一个画家对人物精神境界的理解水平。我要求自己在画面中不仅要描写现象，还要通过笔触透过现象刻画形象更多样的意义。”

大学毕业后，于文江到山东省美术馆工作。在刚刚成为一名专职画家的那段日子里，他产生了深深的困惑。他意识到，中国传统的工笔绘画在形式语言上已不再适合当代人的审美需要，于是，如何找到中国画在当代、在国际中的位置，如何走出传统并形成自己的艺术风格，成为他不得不思索的问题。

为寻得问题的答案，于文江每天花费大量时间，按照中国绘画发展史的脉络，对绘画技法和表现语言的历史演变进行细致的研究。在研究工笔画的同时，他也对吴昌硕的花鸟画、任伯年的写意人物画、石涛和石溪的山水画等进行了系统的临摹，逐渐加深对中国绘画写意性的理解，领悟到“写意是中国绘画的精神内涵，工笔绘画同样具有丰富的写意性”。1988，于文江进入中央美术学院深造，进一步锤炼自己的造型和绘画语言把握能力。1990年后，于文江的创作进入新阶段。在《蒙山秋》（1992年）和《家园》（1993年）中，他初步尝试把花鸟画和山水画的因素引入到人物绘画中并取得成功，打破了工笔画领域长久以来概念化和程式化的表现方式。在《聊斋系列》（1993年）和《旧梦系列》（1994年）中，无论画面表现的是古代人物还是现代生活，他都力图在绘画美学思想上注重工笔绘画的意境表现，把绘画的境界美与形式美、笔墨的丰富性和写意性结合起来。

在刻苦不怠的探索中，于文江逐渐初步确立了自己的风格范式。他将自己以写意衬托工笔、亦工亦写、亦实亦虚的画法称为“小写意”，既包含工笔和造型的严谨，却不为笔周之虑而滞于刻板规矩；既随处可见写意的松快和飘逸，却又不以意足之求而坠入肆意妄为，满幅皆守理路和细谨。其作品陆续在全国美展及中国当代工笔画大展中多次获奖，成为中国人物画坛一颗耀眼的新星。

绘画是塑造心灵的艺术

“艺术需要通过技巧来表达，但艺术不是技巧。”回顾自己的艺术探索之路，于文江总结说：“无论历史如何发展、社会如何变迁，情感与精神才是人的人的生活状态和生命方式。在《草原牧歌》（2004年）、《埃及所见》（2005年）、《雪原母子》（2007年）、《迁徙》（2010年）、《回家》（2011年）以及耗时3年为中国重大历史题材工程创作的巨幅国画《血痛－－抗日战争中受难的中国女性》等作品中，画面更显博大舒朗的艺术气质，笔随心运，形随意发，从绘画的形式结构、色彩观念到形象塑造都力求在丰富、厚重、完美上达到一个新的高度。

于文江说，画家一辈子主要考虑两件事，一是画什么，二是怎么画，前者是题材问题，后者是绘画语言问题，但归根到底，都是追求图像与精神的统一问题。他说：“艺术创作说到底还是生活赋予我们精神世界的情感表达。只有深切地发自精神领域的表达需求才是图像世界的真正源泉。”

画家不要过多关心市场

现在，于文江是中国国家画院国画院副院长、国家一级美术师，同时身兼宁夏画院名誉院长、文化部现代工笔画院副院长、中国当代工笔画学会常务理事、中国艺术研究院中国画院研究员、中国美协会员、于文江工作室导师等多个头衔和职务。但在他心里，自己永远首先是一个画家。至今，于文江仍坚持每天大部分时间用于作画和研究画。他尤其喜欢于夜深人静时作画，常画至凌晨一两点，上午九十点以后起床，这是他多年养成的作息习惯。尽管在当代发展艺术，所有艺术家都不可避免地要面对艺术市场，但于文江认为，画家不要过多地关心市场，而是应该沉下心来专注于自己的作品。“真正好的画家，具备了高超的笔墨功夫和技法和深厚的画外功力，自然会被市场认可和接受，并经得起时间的考验和历史的推敲；相反，如果画得不好，哪怕短暂地赢得市场，也是虚高的假市场，最终还是会被市场抛弃。”

“画家的天职首先在于用丰富的艺术表现手段，把自己的审美理想倾注于作品之中。作为画家，要为自己负责，也要为真正喜欢你作品的收藏家负责，凡是从你手中交出的作品，不论参赛、出售还是赠送朋友，都应该一样尽力去画好。”于文江说：“从历史的角度来看，艺术市场和收藏的本质意义在于，它是对一个时代、一个国家、一代人的精神产品的尊重、认知和传承，是对人类精神历史的保存和积淀。当前，中国艺术市场尚处于发展初期阶段，却是中国画家自古以来最幸福的时代。在新的知识视野和时代背景下，希望我以后创造出无愧于这个伟大时代的艺术精品。”

His works "little partner" (136CM × 136CM, 1984), "seaside rest" (136CM × 136CM, 1989), "thousand hands and thousand eyes Guanyin" (1989), "morning dew" (136CM × 136CM, 1994), "green garden" (190cm × 180cm, 1999), "cottage Creek" (190cm × 180cm, 2004), "listen to the wind chant" (160cm × 138cm, 2007), "morning prayer" (170cm × 150cm, 2011) were participated in respectively Add the 6th, 7th, 8th, 9th, 10th, 11th and 12th National Art Exhibition and won many awards. His work "Autumn Twilight" (138cm × 138cm, 1988) won the first prize in the Chinese Contemporary Meticulous landscape painting exhibition; his work "mengshanqiu" (160cm × 160cm, 1992) won the silver medal in the national art exhibition commemorating the 50th anniversary of the speech; his work "big red date" (180cm × 160cm, 1992) won the gold medal in the third Chinese Contemporary Meticulous Painting Exhibition; his work "homeland" won the bronze medal in the first Chinese painting exhibition; Jinghu (180cm × 160cm, 1997) was selected into the Centennial Exhibition of Chinese painting; cicadas singing at noon (180cm × 160cm, 1995), Shanzhai Brook (190cm × 180cm, 2004) participated in the first and second biennial exhibitions of National Academy of painting; home (170cmx150cm, 2013) participated in the Sixth China Beijing International Art Biennale; golden barley (18) 0cmx180cm2014) was invited to participate in the "China Art Museum to promote the spirit of China series exhibition: 2016 New Year's exhibition - National Art Works Exhibition of great unity of the Chinese nation"; "auspicious plateau" (260cmx160cm2015) was invited to participate in the "era of the second Chinese painting exhibition Huazhang · 2018"; Chinese painting "golden highland barley" (2014), "auspicious plateau" (2015), "my heart flying" 》(170cm × 130cm in 2017), respectively participated in the 2015, 2016 and 2017 "freehand Chinese Painting Exhibition" national tour exhibition sponsored by China National Academy of painting.

For three years, the creation of traditional Chinese painting "blood pain - Chinese women suffering in the Anti Japanese War" (350cm × 500cm, 2009) was selected into the National Exhibition of major historical works, which was permanently collected by the National Museum. It was awarded the title of top 100 in Chinese painting circle by China Federation of literary and art circles and China Art Association.

In 2018, he created "Trier city in Marx's childhood" (190cm × 500cm2018), participated in the "power of truth - Theme Exhibition commemorating the 200th anniversary of Marx's birth", and was permanently collected by the National Museum.

In September 2014, yuwenjiang Art Museum, located in Zibo, Shandong Province, opened.

His main publications are Yu Wenjiang, a major department of contemporary Chinese painters, Yu Wenjiang, a national major historical art project, blood pain, Chinese women suffering in the Anti Japanese War, Yu Wenjiang, a volume of contemporary painting history (Volume III), a collection of works of Yu Wenjiang Art Museum, the 22nd China international art exhibition, Mr. Yu Wenjiang's works, silk Lu Huayu, Yu Wenjiang's sketching works collection, the power of truth, Trier city in Marx's childhood and other works collection, China's higher education model selection, Yu Wenjiang's Works Selection (Beijing Arts and Crafts Press), China's higher education model, Yu Wenjiang's Chinese painting works selection (Jilin Press). His works are exhibited in France, Germany, Italy, Belgium, Russia, Belarus, Ukraine, the United States, Mexico, Japan, Thailand, Hong Kong, Macao, Taiwan and other countries and regions.

Yu Wenjiang: pursuing the unity of image and spirit

Among contemporary Chinese painters, Yu Wenjiang's figure painting is unique

A tree is a banner. His paintings are often formal and meticulous, but

It also has rich freehand brushwork, creating a tension

Aesthetic style full of implication and interest.

Work and meaning, not engraved and meaningful

Yu Wenjiang's art road is so smooth on the surface that he summed it up in one sentence: "when I was a child, I dreamed of becoming a painter, and I really became a painter when I grew up." However, in order to find a suitable artistic style and painting language, Yu Wenjiang has a place in the art world, but he has gone through arduous efforts and unremitting exploration.

Yu Wenjiang was born in 1963 in Yantai, Shandong Province. He was fond of fine arts since he was a child. At the age of 17, he was admitted to the Art Department of Shandong Normal University. In 1984, his graduation creation "little partner" became the only student work selected in the six national art exhibitions and won the excellent work award. At that time, his paintings were mainly pure and meticulous. "I realized in college that modeling language marks a painter's level of understanding of the spiritual realm of characters," he recalled. I ask myself not only to describe the phenomenon in the picture, but also to portray more diverse meanings of the image through the phenomenon. "

After graduating from University, Yu Wenjiang went to work in Shandong Art Museum. During the period when he just became a full-time painter, he was deeply confused. He realized that the traditional Chinese fine brushwork painting was no longer suitable for the aesthetic needs of the contemporary people in terms of formal language. Therefore, how to find the position of Chinese painting in the contemporary and international world, how to go out of the tradition and form his own artistic style became a problem that he had to think about.

In order to find the answer to the question, Yu Wenjiang spends a lot of time every day, according to the context of the development history of Chinese painting, making a detailed study on the historical evolution of painting techniques and expression language. While studying fine brushwork, he also made a systematic copy of Wu Changshuo's flower and bird paintings, Ren Bonian's freehand figure paintings, Shi Tao's landscape paintings and Shi Xi's landscape paintings, gradually deepening the understanding of freehand brushwork of Chinese painting, and realizing that "freehand brushwork is the spiritual connotation of Chinese painting, and fine brushwork painting also has rich freehand brushwork". In 1988, Yu Wenjiang entered the Central Academy of fine arts for further study, and further developed his ability to master the modeling and painting language. After 1990, Yu Wenjiang's creation entered a new stage. In "Mengshan autumn" (1992) and "homeland" (1993), he initially tried to introduce the factors of flower and bird painting and landscape painting into the figure painting and achieved success, breaking the long-standing conceptualization and stylization of the fine brushwork field. In "Liaozhai series" (1993) and "old dream series" (1994), no matter what the picture shows is ancient characters or modern life, he tries to pay attention to the artistic conception expression of meticulous painting in the painting aesthetic thought, combining the realm beauty of painting with the form beauty, the richness and freehand brushwork of painting.

In the hard work, Yu Wenjiang gradually established his own style paradigm. He called his brushwork "small brushwork", which is characterized by freehand brushwork, hard work and hard work, as well as real and virtual brushwork. It not only contains the preciseness of brushwork and modeling, but also does not lag behind the rigid rules for the sake of the surrounding of brushwork. It can be seen everywhere that freehand brushwork is loose and elegant, but does not fall into arbitrary and reckless actions for the sake of willful sufficiency. All of the paintings are reasonable and meticulous. His works have won many awards in the national art exhibition and Chinese contemporary fine brushwork exhibition, and become a dazzling new star in Chinese figure painting.

Painting is the art of shaping the soul

"Art needs to be expressed through skill, but art is not skill." Looking back on his own way of artistic exploration, Yu Wenjiang concluded: "no matter how the history develops and how the society changes, emotion and spirit are people's living conditions and life styles. In "grassland Pastoral" (2004), "what we saw in Egypt" (2005), "snow mother and son" (2007), "migration" (2010), "going home" (2011), as well as the giant Chinese painting "blood pain -- Chinese women suffering in the Anti Japanese War", which took three years to create for China's major historical projects, the picture shows more broad and comfortable artistic temperament, and the brushstroke is free From the formal structure, color concept to image building, we strive to reach a new height in richness, massiveness and perfection.

Yu Wenjiang said that there are two main things for painters to consider in their whole life: one is what to draw, and the other is how to draw. The former is the subject matter, and the latter is the language of painting, but in the final analysis, they are all the pursuit of the unity of image and spirit. "Art creation is, after all, the emotional expression that life gives to our spiritual world," he said. The real source of the image world is the deep expression demand from the spiritual field. "

Painters don't care too much about the market

At present, Yu Wenjiang is the vice president of the Chinese Painting Academy of the National Academy of painting and a national first-class artist. At the same time, he is also the honorary president of Ningxia painting academy, the vice president of the modern fine brush painting academy of the Ministry of culture, the executive director of the Chinese contemporary fine brush painting society, the researcher of the Chinese Painting Academy of the Chinese Academy of art, the member of the Chinese Art Association, and the tutor of Yu Wenjiang studio. But in his heart, he is always the first painter. Up to now, Yu Wenjiang still insists on spending most of his time in painting and research every day. He especially likes to paint in the dead of night. He often draws until one or two in the morning and gets up after 90 in the morning. This is a habit he has developed for many years. Although in the contemporary development of art, all artists inevitably have to face the art market, Yu Wenjiang believes that painters should not care too much about the market, but should concentrate on their own works. "A really good painter, with superb brush and ink skills and deep skills outside painting, will naturally be recognized and accepted by the market, and can stand the test of time and the scrutiny of history; on the contrary, if the painting is not good, even if it wins the market for a short time, it is also a false market, and will eventually be abandoned by the market."

"The painter's vocation is first to pour his aesthetic ideal into his works with rich artistic expression means. As a painter, we should be responsible for ourselves, and also for the collectors who really like your works. All works handed over from you, no matter they are for competition, sale or gift to friends, should try our best to draw well. " Yu Wenjiang said: "from a historical point of view, the essence of art market and collection lies in its respect, recognition and inheritance of spiritual products of an era, a country and a generation, as well as its preservation and accumulation of human spiritual history. At present, the Chinese art market is still in the early stage of development, but it is the happiest time for Chinese painters since ancient times. In the new knowledge field of vision and the background of the times, I hope I can create fine art worthy of this great era in the future. "