1931年生于浙江省浦江县西塘下村。父亲方自成，原为当地小学教师；母周云鹊，家庭妇女。
1934年去离家二里路的通津桥村外婆家住。读《芥子园画谱》、《点石斋画报》等。
1943年就学通津桥私塾。由于私塾陈先生指点有方，接受并喜爱上中国古典文学，能阅读《唐诗》、《古文观止》等。
1949年7月，考入浙江杭州国立艺术专科学校。
1950年春，国立艺术专科学校改名为中央美术学院华东分院。作品在春季全院创作评比中名列前茅。秋，全院赴安徽皖北，参加两期土改。
1953年夏，毕业于绘画系，毕业创作画油画《师与徒》。留校，转入本院创办的研究生班，指导老师为油画家黎冰鸿。
1954年夏，研究生班毕业，分配入新创设的中国画系。后随同中央美术学院、浙江美术学院敦煌考察队赴千佛洞，研究、临摹壁画三个月，又深入草原藏区写生。
1955年，任教于浙江美术学院中国画系。时年春，由指导老师叶浅予、邓白、史岩、金浪带队，随浙江美术学院和中央美术学院师生组织的文物考察队，赴敦煌千佛洞考察、临摹，为期三个月。7月、8月，在兰州天祝藏区深入生活，画彩墨画《拾蘑菇》。9月，回杭州创作《粒粒皆辛苦》。同年，黄宾虹去世，在吊唁仪式中作水墨画《黄宾虹像》。
1956年，《粒粒皆辛苦》随中国画展去民主德国展出，并发表在该国美术杂志封面上。秋，去上海中国画院进修中国画，从指导老师王个研究吴昌硕派花卉四个月。
1958年，随学生入农村现场教学，画大量速写。开始深入研究人体造型结构，结合教学，以线描作素描，试行中国画专业素描。夏，在浙江海宁海边农村现场教学，画海塘工程《驯服大海》。
1960年，在浙江嵊县现场教学，画大量反映农村生活的速写。回杭州后创作《浙西三秋》。同时为中国历史博物馆作水墨画《上海第三次工人武装起义》。
1963年，写《怎样画水墨人物画》。此书为新水墨人物写生技法提供了可参考的经验，因而大受群众欢迎。1973年又再版，共出版几十万册。
1964年创作《说红书》。
1965年，《美术》第2期发表马贡戈撰写的《〈说红书〉的艺术成就》一文，指出《说红书》一画在艺术上是新人物画中最突出的代表作品。秋，因胃病加剧，去杭州屏风山疗养院治疗。
1974年为画《艳阳天》插图，赴北京郊区密云县，搜集素材。
1975年完成《艳阳天》水墨插图三十幅。这些插图后来由北京、上海、河北三地的出版社出版了三个不同版本的单行本。
1978年，任第五届全国人民代表大会代表，当选为浙江省美术家协会副主席。在全国人大会议上，提出两项提案：一是建议恢复黄宾虹纪念馆，二是建议建立潘天寿纪念馆。（两项建议均得到有关部门的支持，第二年潘天寿纪念馆筹建。
1979年被选为中国美术家协会常务理事。浙江《工农兵画报》出《方增先作品选》专刊。在上海人民美术出版社《美术丛刊》上发表论文《人物画的造型问题》，针对全国各美术院校的中国画人物专业基础课，首次提出必须改革的专论。创作《孔乙己》插图三十幅。
1981年《美术》第9期发表江丰为《方增先画集》序撰写的《要突破中国画的无人之境》一文。
1982年赴绍兴农村小镇，画《乡镇早市》。7月，浙江日报》刊登《方增先在创新的道路上》一文（来永祥撰文）。9月，香港《文汇报》以一整版的篇幅刊登了作品及《方增先人物新作》一文（马克撰文）；《迎春花》第1期人物专号刊登《粒粒皆辛苦》、《孔乙己》、《艳阳天》插图、《李时珍》等作品及《为当代人传神写照》一文（马克撰文）。10月，《浙江画报》刊登《人物画家方增先》一文（郑朝撰文）。
1983年，入上海中国画院。11月，安徽《画刊》刊登古装人物《深山鸟语》、《咏梅》、《步月》等。7月，赴青海玉树州藏族草原。9月，又赴青海藏区泽库草原。10月，画《帐棚里的笑声》。《中国文学》第9期刊登《屈原》、《牧牛》、《海燕像》等作品及《人物画家方增先》一文（李瑞林撰文）。
1984年任上海中国画院副院长，当选为中国美术家协会常务理事。《帐棚里的笑声》参加全国美展，获上海地区优秀奖。同年，任上海中国画院副院长。随上海文化局文化代表团赴日本参加日本富山北陆书道院活动。台湾《雄狮美术》刊登作品《屈原》、《海燕》。
1985年7月，赴甘南藏族自治州深玛曲大草原。同年任上海美术馆馆长。
1986年2月，再赴甘南夏河拉不楞寺庙会。8月，山东《艺术天地》刊登《方增先和他的水墨人物画》一文（徐虹撰文）。上海《书与画》第3期刊登《方增先近期水墨画》一文（吴亮撰文）。1988年10月，携上海近现代中国画展赴法在马赛、里昂展出，并参观巴黎主要博物馆。
1989年7月16日《羊城晚报》发表《母亲》。10月5日《光明日报》刊登《美术创作的新收获》一文（邵大箴撰文），对《母亲》一画作评论。《母亲》参加第七届全国美术展览，获银质奖、齐白石奖。
1990年，香港《收藏天地》一文刊登《方增先简论》一文（徐虹撰文）。《美术》第5期刊登《方增先的水墨世界》一文（徐虹撰文）。6月，《香港明报》刊登《方增先的水墨人物》（周天黎撰文）。以上海文化代表团团长身份携中国画、版画、摄影作品赴日本横滨办展。
1991年被美国传记研究院授予该院终身董事和国际顾问。时年《母亲》获上海文学艺术优秀奖。《美术》第2期刊登《方增先随访录》一文（陈秋田录）。5月，携上海中国画展赴澳门办展。6月，赴珠海创作古装巨幅作品《古文士图》，至12月，画成六十幅。同年11月辞去上海画院副院长一职。
1993年任中国美术家协会中国画艺术委员会副主任。
1995年受聘为上海大学讲席教授。
1996年举办第一届上海双年展，任艺委会主任。
1998年受聘为中国美术学院荣誉教授。1998年举办第二届上海双年展，主题为“融合与拓展”，以水墨为表现形式。
1999年被选为上海市文联副主席和上海市美术家协会主席。
2000年举办国际性的第三届上海双年展，日本NHK电视台专场播放节目近一小时。进入积墨画的探索，画《大山的回忆》。
2001年用积墨法画《闲看行路人》、《行行复行行》。
2002年上海美术家协会举办以“家”为主题的室内家居设计展，全国各艺术院校都参与，任展览总策划人。用积墨法画《家乡板凳龙》。参加在北京政协礼堂举办的当代国画优秀作品系列展——上海作品展。
2003年由天津人民美术出版社出版《草书兰亭序》。
2004年获文化部文学艺术成果奖。天津人民美术出版社出版《草书后赤壁赋》。
2005年画《穿旧裘皮的人》。作品参加在浙江潘天寿纪念馆举办的浙派人物画文献展。
2006年举办跋涉者—方增先艺术回顾展。

1949年，新中国成立，百废待兴，为适应新的时代需求，传统中国画的革新成为当时美术界的迫切任务。如何突破传统国画的规范与束缚，创造能适应新时代的审美需求、为社会主义建设服务的“新国画”，成为二十世纪五十年代国画革新、发展的主题，“新国画”要求新的内容、新的形式。顺应时势的变化与发展，
1955年，方增先所在的浙江美术学院重新恢复了中国画系，原本学习油画的方增先也因此被转入国画系。在此背景下，天资聪颖、勤奋钻研的方增先充分利用学院当时的教学资源，博采中外各家之所长，创造出一套融合西方结构素描法和中国水墨画传统（主要是写意花鸟画传统）的新颖的中国画人物表现方法。这种方法很好地解决了中国画的人物造型问题，用中国传统的水墨材料创作具有鲜明时代特征和现实生活气息的人物画探索由此走出了一片全新的天地，这也是中国画现代化实践过程中具有历史性意义的篇章。
方增先的中国人物画基础是“线性人体结构素描”，它的形成是从法国明暗五调子素描法、苏联契斯恰可夫的分面法到美国伯里曼结构学，进而到线的结构法以及线的团块整体表现，实现了潘天寿有关中国画必须以线为主的观点在现代人物画教学中的具体落实，是在推崇以明暗为主体的西方传统素描法外的另辟蹊径之举，成功解决了当时中国人物画表达的迫切现实需要。由于这套方法行之有效，易于掌握，受到广大学生的欢迎和学校的重视，很快在浙美的国画教学中普及开来，之后影响到全国各地的美术院校，成为中国画系人物画教学的基础课程。而方增先也以其对于中国人物画现代化改造产生的重大影响，当仁不让地成为浙派人物画的奠基者和领军人物。
五十年代的《粒粒皆辛苦》、六十年代的《说红书》、七十年代的《艳阳天》，既是方增先写实人物画的典范之作，也是浙派写实人物画最具代表性的作品，更是那个特殊的时代的艺术“经典”，蕴涵着丰富的艺术、历史、政治、社会等诸多价值和意义。对于今天的人们来说，它们是象征性的图像符号，是属于一个已经过去的时代的不可磨灭的记忆，但，正是这些记忆，让我们能更清醒地反思过去、立足现实。

二十世纪七十年代后期，灾难深重的“文化大革命”结束，这也宣告了极左文艺路线的终结，中国文艺界迎来新的春天。美术界，对于艺术本体的思考重新为人们所关注，关于艺术中的“内容与形式”、“形式美”等问题的讨论成为一时之焦点。摆脱了长久以来的政治附庸地位，发掘真实美好的人性、表达纯朴真挚的情感成为艺术家们绘画创作的主要动力。面对日渐自由宽舒的文化环境，方增先以极大的热情和愉悦的心情投入到创作中。一方面他努力弥补自己在中国画传统基础工夫上的欠缺，另一方面他不辞辛苦、深入青海藏区，作了大量的人物写生。1984年，他创作出自己在文革后的第一幅重要作品《帐篷里的笑声》。
二十世纪八十年代，是中国文化思想界异常活跃的时期。随着对外窗口的开放，有关西方现代文艺理论、流派、思潮的各种图书被翻译介绍进国内，国内艺术家们的视野一下子获得了极大的拓展，他们开始尝试以各种现代主义的艺术观念、手法进行创作，寻找自由表达的途径，中国美术界出现了前所未有的多元化格局。在这个新的时代里，写实人物画亦由原先的主流而变成为多元艺术中的一元。同样，在政治对艺术创作的影响渐渐弱化后，写实人物画如何走出自己全新的发展道路，形成既有时代特点又有自我个性化语言的新面貌，成为摆在人物画家面前的一个新的挑战。
在时代发展变化和个人自觉艺术追求的双重推动下，方增先开始积极地进行着新的尝试，以寻找水墨人物画现代化的新的可能。为此，他进行了各种各样的实验，从上个世纪八十年代到九十年代，他在东方与西方、历史与现实之间苦苦求索。他既向西方现代艺术汲取灵感和形式资源，在水墨人物画中融入西方现代艺术中构成和变形因素，也对中国民间美术的形式特点做研究，还回溯历史向传统中国画寻求笔墨形式与精神内涵上的支持，将文人画的笔墨特性、审美意趣反复琢磨、研究，融入进自己的创作。在长达十年的时间里，他画了大量的草稿、速写，不断进行自我语言上的锻造和提炼，以寻找联结古今东西且能表达自我情感和精神的个人风格图式与水墨语言。这是试图超越自己既有艺术成就的非常勇敢的探索。从青海写生到古代诗意画和白描人物，再到积墨法的实验以及结合书法线条的平面造型探讨，方增先以一个与时俱进者的姿态进行着自我艺术征程的跋涉，在不断地挑战自我的过程中又不断地超越自己。
以皴、擦、点、染为基本技巧的积墨法在宋以后的中国山水画创作中一直占有重要地位，但这种方法基本上也只是在山水画中运用而已。方增先为寻找新的水墨人物表现方法，在学习和研究传统绘画的过程中，受到山水画积墨法的启发，而萌生将其引入自己的人物画创作的想法——用以增加所画人物的厚重感和质感，并立刻付诸行动。
关于积墨法，在上个世纪八十年代的古代题材人物画和藏民题材人物画中，方增先就进行过这方面的尝试，当时这种积墨的方法都是用在表现人物的衣着上，尚未用在人物的面部上。从2001年开始，方增先开始将之运用来处理人物的脸、手和肌体。在创作的过程中，画家发现了积墨法在塑造和表现方面的诸多好处：用积墨法画人物，可以增强群像的整体感、形式感，在运用明暗法时，不再局限于西画式的一个光源，而是根据形式的需要来分布黑白。这样的明暗，是在现实中无法见到的，它是由画面笔墨关系和黑白关系去主宰的，甚至在某种程度上，形象也因为某种明暗关系而发生改变。积墨能产生斑斑驳驳的肌理效果，既可以表现衣着的质感，如皱巴巴的西装、厚实的棉衣等，也使这些衣物产生特别的形式感，画面中的形象与现实的形象已不再一样了。
用积墨法绘制的人物，给人的感觉大都凝重而沉郁，带有岁月的沧桑和苦涩味，与传统中国人物画笔墨所传达的文人式审美情趣和精神气质有很大差异。而从乡村走出来的画家方增先认为，这恰好可以表现自己内心一直所关怀和敬重的对象——那些质朴的农民和牧民们，他们是生活中的弱势群体同时又是历史和生活的创造者。近年来，积墨法已成为方增先人物画创作的重要手段之一。《怀素书蕉》、《祝酒舞》、《梦》、《佛珠》等作品，是为方增先积墨法初试告捷之作。《大山的回音》、《闲看行路人》、《家乡板凳龙》等则已是具有典型性的积墨画法作品，在这些作品中积墨法显然得到了非常成熟的运用。

当积墨法得以成功运用进人物画以后，方增先的水墨人物画创作步入了一个新的阶段。扎实的造型功底、浑厚沉郁的积墨画法、清癯爽利的书法用线、现实主义的创作观念，今天的方增先先生，我们可说他在非常有选择地吸收古今中外艺术营养的基础上，已创造出了属于自己的、独特的水墨人物画风格。
观方先生近作，就绘画的题材、内容与表现手法看来，他在创作上已进入了相当自由的境地。无论是传统中国画题材表现文人之高蹈境界与幽雅趣味的作品，还是现实题材的反映牧民或乡民以及生活中普通人的生活和精神面貌的作品，其墨色之浓淡、线条之繁简、墨与线之多寡，工与写之比重，构图之平淡与奇崛，气韵之风流与沉滞，都有不同的侧重，由此他笔下的水墨人物亦呈现出生动而丰富多变的神韵和气质。
尽管写实是方增先人物画的基础，然而他作品画面形态的丰富性说明了他为水墨的形式表现和画面构成留出了足够的发挥想象的余地，他是以形写神，踩上写实的基石后又不求形似，尽全力去把握被表现对象的神韵与气质，追求所谓的画外之境、言外之意。关于形式与意境，画家说过的一段话里点明了二者的关系：“近两年，体质益弱，但我正在试以书法入画，并希望在笔墨的探索中，加强意笔画“意”的浓度，在我看来，中国画中的意，只是一种情绪，由笔墨中表达出来。在西方现代、前卫艺术中，形式语言如有真心的表达，也是在情绪的范围之内。……但并不是有了形式就能出情绪，唯美的形式，只是一种表层的美感”。而关于艺术创作的真谛，画家自己亦总结说：“艺术的原创，在于艺术家对宇宙、人生的感悟；在于对事物的感受和对感情、思想的表达”。
 

方增先除了是一个优秀的水墨画家、美术教育家，方增先先生还是一个对国内当代艺术发展具有前瞻性和相当影响力的人物。他历任上海中国画院副院长、上海美术馆馆长、上海美术家协会主席等职务，为上海地区、乃至华东地区美术的活跃和发展作了很多具有推动性的工作，尤其体现在从上个世纪中期起至今在他领导下上海美术馆连续主办了六届、现已成为国内著名当代艺术展览品牌且具有相当国际影响的上海双年展上。这是首次由中国人自己举办的国际双年展，是中国人站在自己的民族文化立场、从自己的文化发展需要出发确定展览主题、选取艺术家的展览，它改变了长期以来中国艺术家在国际艺术舞台上处于被选择的尴尬境地，对提升中国当代艺术在国际当代艺术舞台上的地位、中国在国际上的文化形象都起到了非常积极的作用和效果。从首届推出有中国味的油画，到第二届的兼具传统与实验的水墨，再到第三届的突出国际化但强调本土性的“海上”，再至第四届的“都市营造”、第五届的“影像生存”以及第六届的“超设计”主题，上海双年展在国际化、现代性的走向中始终有一条关注本土化、强调民族性的基本线索贯穿其间，其实这和方增先始终坚持的走民族特色艺术之路、建立自己的本土化当代艺术的思想不可分割。
方增先先生是一个思维活跃开放，具有很强的包容性和探索性的人，他自己尽管走的是写实为基础的水墨人物画道路，但他对其它各种艺术流派、风格不排斥、不拒绝，而是抱着学习、探究的态度，尤其对于年轻人的艺术创作，他很开明宽容，尽力去理解、支持。所以，现实中，他常常是鼓励各种新的艺术形式、艺术风格的尝试和探索，积极为年轻人创造崭露头角的机会和平台，这些也是今天的上海美术馆能够成为中国当代具有相当影响力和凝聚力的国家级美术馆的重要原因。

方增先，二十世纪后半叶现实主义中国人物画创作的代表人物之一，中国画坛具有广泛影响的“新浙派人物画”的奠基人和推动者。作为一个具有典型意义的艺术个案，方增先身上集中体现了新中国成立以来中国画家为适应新的时代需要不断地求变革、图创新、不懈探索的艰辛艺术实践历程。[1]
上海美术馆经过历时一年的精心筹备，特别推出“跋涉者—方增先艺术回顾展”，是希望通过举办这样一个具有典型意义的回顾性展览，不仅对画坛中国画大家方增先半个多世纪以来漫长的水墨画探索历程进行全面的回顾与展示，同时也是对以方增先为代表的二十世纪后半叶以来的中国人物画沿革、“浙派人物画”的贡献与意义进行一番综合的梳理和研究。
展览将通过对方增先二十世纪五十年代至今各个阶段创作的一百余件代表性水墨画、素描、速写的展示，来概括性地呈现其艺术发展的基本面貌。同时，配合本次展览，还将通过相关文献、录像、大型画册与图文回顾录的出版等多种方式，来综合体现他的艺术实践、成果、艺术思想和创作理念，真实而客观地反映他作为一个优秀的水墨画家、书法家、美术教育家、中国美术馆事业的重要推手等身份和角色，对中国水墨画的创作、中国当代艺术的发展、以及中国美术馆事业的繁荣所起的积极贡献和推动作用。

1931 born in Zhejiang, Pujiang province Xitang village. The father was originally from a local primary school teacher; mother Zhou Yunque, a housewife.
1934 go home two miles of Tong Jin Qiao Cun live with my grandmother. Read the "Mustard Seed Garden", "the Dianshizhai pictorial" etc..
1943 school Tianjin bridge school. The school Mr. Chen pointing well, accept and love Chinese can read classical literature, "poetry", "classical view only" etc..
In July 1949, he was admitted to Hangzhou National Art College of Zhejiang.
The spring of 1950, the National College of art was renamed the East Branch of China Central Academy of Fine Arts. The best works in the spring the creation of competitions. In autumn, the hospital in Anhui in Northern Anhui, two land reform.
In the summer of 1953, graduated from painting department, graduation painting oil painting "teacher and disciple". The research into school, founded the student class, the instructor for the painter Li Binghong.
In the summer of 1954, graduated from graduate school, assigned to the newly created Chinese painting department. Along with China Central Academy of Fine Arts, Academy of Fine Arts in Zhejiang after the Dunhuang expedition to Cheonbuldong, research, copy mural for three months, and in-depth grassland sketching.
In 1955, he taught Chinese painting department in Zhejiang Academy of Fine Arts. When the spring, led by teacher Ye Qianyu, Deng Bai, Shi Yan, Kingnet, Zhejiang with the Academy of Fine Arts and China Central Academy of Fine Arts teachers and organization of cultural relics investigation team, inspection and copying to Dunhuang Cheonbuldong, for a period of three months. July, August, in Lanzhou Tianzhu Tibetan into life, painting ink and color painting "pick up mushrooms". In September, the creation of "journey to Hangzhou". The same year, Huang Binhong died for painting "Huang Binhong" as in the condolence ceremony.
1956, "journey" with the China exhibition to democratic Germany exhibition, and published in the country's art on the cover of a magazine. Autumn, go to Shanghai Chinese academy study Chinese painting, from the teacher of King Wu Changshuo sent flowers for four months.
In 1958, with the students in rural field teaching, drawing a lot of sketch. The deep study on body shape structure, combined with teaching, to make a sketch drawing, sketch painting Chinese trial. In summer, teaching in Zhejiang sea of Haining rural scene painting seawall project "taming the sea".
In 1960, Zhejiang province in the teaching field, a large number of paintings reflecting rural life sketch. Back to Hangzhou after the creation of "Zhejiang Sanqiu". At the same time for Chinese History Museum for ink painting "Shanghai third workers armed uprising".
1963, wrote "how to draw ink figure painting". This book provides a reference experience for the new ink figure sketching techniques, thus greatly popular. 1973 edition, published hundreds of thousands of copies.
Creation of "red book" in 1964.
In 1965, the second issue of "fine arts", published by Ma Ge Ge, "the art achievement of red book", pointed out that the painting of "red book" is the most outstanding representative work in the new figure painting. Autumn, due to increased stomach trouble, to Hangzhou screen hill sanatorium treatment.
1974 painting "sunny day" illustrations, went to Beijing suburb of Miyun, collecting material.
1975 to complete the "sunny day" ink thirty illustrations. These illustrations later from Beijing, Shanghai, Hebei three, the press published three different versions of the booklet.
1978, he served as the Fifth National People's Congress, was elected vice chairman of Zhejiang artists association. At the National People's Congress, proposed two proposals: first, it is recommended to restore the Huang Binhong Memorial, and the two is the proposed establishment of the memorial hall of Pan Tianshou. Two proposals have been supported by the relevant departments, the construction of the second year Pan Tianshou memorial.
1979 was elected executive director of the China Artists association. Zhejiang gongnongbing "illustrated" out of "selected works of Fang Zengxian". In Shanghai people's Fine Arts Publishing House "art series" published "portraits of other issues", according to the characters of art institutions across the country China painting professional courses, the reform must be put forward for the first time. Creating thirty illustrations of "Kong Yiji".
In 1981 ninth period published "the art" Jiang Feng as the "Fang Zengxian album" written by "order to break China painting" a place where there is no one in the.
In 1982 went to Shaoxing rural town, township "morning" painting. July, Zhejiang daily published "Fang Zengxian on the road of innovation" (written by Lai Yongxiang). September, Hongkong, "Wen Wei Po" in a full page published works and "Fang Zengxian" a new character (Mark wrote); "winter jasmine flower" first characters from the published "journey", "Kong Yiji", "Yan Yangtian", "Li Shizhen" and other works of illustrations and vivid portrayal of contemporary people "" an article (written by Mark). In October, "Zhejiang pictorial" published "Fang Zengxian" (a figure painter Zheng Chao wrote).
In 1983, Shanghai Chinese academy. In November, "Anhui pictorial" published "deep in the mountains, birds" costumed characters "Yongmei", "step on" etc.. July, went to Qinghai Tibetan Grassland in Yushu. In September, went to Qinghai in Zeku grassland. October, "laughter in the tent". "China literature" Ninth period published "Qu Yuan", "cattle", "like" and "petrel works such as" the square figure painter Zengxian (by Li Ruilin).
In 1984, Shanghai China academy vice president, was elected as the executive director of Chinese artists association. "The tent" laughter in the national art exhibition, won the award of excellence in Shanghai area. The same year, the Shanghai China academy vice president. With the Shanghai Bureau of culture cultural delegation to Japan to participate in the activities of Toyama Japan Hokuriku book monastery. Taiwan "lion art" works published in "Qu Yuan", "swallow".
July 1985, went to Gannan Tibetan Autonomous Prefecture deep Maqu prairie. In the same year he served as curator of Shanghai art museum.

In February 1986, then go to Gannan Xiahe Lenz temple. In August, Shandong "art world" published "Fang Zengxian and his ink painting" a text (written by Xu Hong). Shanghai "book and painting" third published "Fang Zengxian recent ink painting" a text (written by Wu Liang). In October 1988, with the Shanghai modern China exhibition exhibition in Marseille, Lyon, France, and Paris to visit the main museum.
July 16, 1989 "Yangcheng Evening News" published "mother". October 5th "Guangming Daily" published a "new harvest of art" (Shao Dazhen wrote), "mother" a painting comment. "Mother" in the seventh national art exhibition, won a silver medal and the Qi Baishi prize.
1990, Hongkong, "collection of heaven and earth," a text published "Fang Zengxian brief" a text (written by Xu Hong). "Fine arts" fifth period published "Fang Zengxian's ink world" a text (written by Xu Hong). In June, the "Hongkong Ming Pao" published "Fang Zengxian" (written by Zhou Tianli) ink figure. The head of the delegation of Shanghai culture identity painting, printmaking, photography and China works in Japan Yokohama exhibition.
1991 by the American Academy of biography awarded the Academy tenured directors and international advisers. When the "mother" by the Shanghai literature and Art Award of excellence. "Art" second issue "Fang Zengxian follow up" (Chen Qiutianlu). In May, Shanghai Chinese exhibition in Macao exhibition articles. In June, in the creation of Zhuhai costume giant works "ancient scholar", to December, painted sixty pictures. In November of the same year resigned as vice president of Shanghai Painting Academy.
1993 Chinese Artists Association, deputy director of the Chinese painting art committee.
1995 employed as Chair Professor of Shanghai Univer.
1996 held the first session of the Shanghai Biennale, director of the arts council.
In 1998 he was appointed Honorary Professor of The China Academy of Art. Held in 1998 second Shanghai Biennale, the theme of "integration and development", in the form of ink.
1999 was selected chairman and vice chairman of Shanghai Federation of literary and art circles and Shanghai artists association.
Held in 2000 Third International Shanghai Biennale, Japan's NHK television special broadcast for nearly an hour. Exploration into the ink painting, painting "the memory of mountains".
In 2001 with the accumulation of ink painting "leisure to see passers-by", "Xing Xing line".
2002 Shanghai Artists Association held "home" as the theme of the interior home design exhibition, the national art colleges are involved in any exhibition chief planner. Painting "hometown bench dragon" with accumulative ink method. Participate in the series of outstanding works of contemporary Chinese painting held in Beijing CPPCC Auditorium - Shanghai exhibition.
In 2003 by the Tianjin people's Fine Arts Publishing House "cursive Lanting Pavilion sequence".
2004 literature and art achievement award. Tianjin people's Fine Arts Publishing House "Chibi Fu" cursive.
2005 old people wearing fur "New Year paintings". Works to commemorate the Zhejiang painting exhibition held in Zhejiang Pan Tianshou museum.
2006 Trek - Fang Zengxian art retrospective.

In 1949, the new China was established, in order to adapt to the demand of a thousand things wait to be done, the new era, the traditional painting China innovation has become an urgent task in art circles at that time. How to break the rules and constraints of traditional Chinese painting creation, can adapt to the new era of aesthetic needs, serve socialist construction of new Chinese painting, Chinese painting reform, in 1950s to become the theme of the development of "new Chinese painting" new content, new form. The change and development in line with the current situation,
In 1955, Chinese Painting Department of Academy of Fine Arts in Zhejiang where the party Zengxian resumed, originally studying oil painting Fang Zengxian has been transferred to the Department of traditional Chinese painting. Under this background, talented, diligent study of Fang Zengxian college at that time to make full use of teaching resources from other countries, each of the director, to create a fusion of Western painting Chinese structure sketch method and traditional (mainly freehand brushwork of traditional methods) novel China painting material. This method solves the problem of China figure painting, figure painting to explore the creation of traditional Chinese painting materials China have distinctive characteristics of the times and the reality of life thus out of a new world, which is of historic significance Chinese modern painting practice in the process of text.
Fang Zengxian Chinese figure painting is based on "sketch" linear structure of the human body, it is formed from the French shade five tune sketch method, the Soviet Qisiqiakefu surface method to America Bryman structure, overall performance and mass structure method to line and line, the Pan Tian China Shou painting must to the main line of view the concrete implementation in the teaching of modern figure painting, is respected in the western traditional drawing method with shading as the main body of the outside of the new move, successfully solved the urgent need for real time Chinese painting expression. Because of this set of effective, the method is easy to grasp, welcomed by the majority of the students and the school's attention quickly in the teaching of traditional Chinese painting Zhejiang beauty in popularity, influence throughout the art college, a basic course China painting figure painting teaching. But Zengxian also has a significant impact on the modernization of the China painting, he has become the founder of zhe school painting and leader.
In 50s the "journey", 60s "the red book", 70s "sunny day", is a model of Fang Zengxian realistic figure for Zhepai realistic painting is the most representative works, is the special art in the age of "classic", contains rich art and history and the political, social and other value and significance. For people today, they are symbolic images, belong to a past era of indelible memories, but it is these memories, so that we can more clearly reflect on the past, based on reality.

In late 1970s, disaster-ridden the end of "Cultural Revolution", it also declared the end of the left pole line in literature, literary and art circles Chinese usher in a new spring. In the fine arts circles, the thinking about the art noumenon has been paid more and more attention, and the discussion of "content and form" and "formal beauty" in art becomes the focus of the moment. Get rid of the long-standing political vassal status, discover the true humanity, simple expression of sincere emotion has become a major driving force for artists painting. In the face of the increasingly free relaxed cultural environment, Zengxian party with great enthusiasm and joy into creation. On the one hand, he tried to make up for their lack of time on the basis of the traditional painting in Chinese, on the other hand he worked tirelessly, in-depth Qinghai Tibetan area, made a lot of figure painting. In 1984, he created his first important work after the Cultural Revolution "laughter in the tent".
1980s, is an extremely active period of Chinese cultural and ideological circles. With the window open, all kinds of books on modern western literary theory, genre, thoughts were translated and introduced into China, the domestic artists vision suddenly got great expansion, they tried to modern art concepts, techniques of creation, to find ways of freedom of expression, Chinese art circles appeared the hitherto unknown pattern. In this new era, realistic figure painting from the original mainstream into a pluralistic art of the yuan. Similarly, in the political impact of the artistic creation gradually weakened, how realistic figure painting out of their new path of development, the formation of new features not only has the characteristics of the times and the self personalized language, has become a new challenge in front of the figure painter.
Under the dual impetus of the development of the times and the pursuit of individual artistic consciousness, Fang Zengxian began to make a new attempt to find the new possibility of the modernization of ink figure painting. To this end, he carried out various experiments, from the last century, from 80s to 90s, he was seeking between the East and the west, the history and reality. He not only to the western modern art inspiration and form of resources into the modern western art form and deformation factors in ink figure painting, also feature of China folk art research, but also to the traditional painting history Chinese seeking painting form and connotation of the spirit of support, will study the characteristics of ink, literati painting aesthetic charm, repeatedly pondering into his creation. In ten years time, he painted a large number of drafts, sketches, and constantly self forging and refined language, to personal style schema with the language for connection of ancient and modern things and can express self emotion and spirit. This is an attempt to go beyond their own artistic achievements of the very brave exploration. From Qinghai to the ancient poetry and painting line drawing characters, and then to the Jimo method of combining experiment and graphic calligraphy line, with a square Zengxian times of the attitude of self art journey journey, challenge themselves and in the process constantly beyond themselves repeatedly.
The cracked, rub, and dyed basic skills of product Chinese landscape painting in the song after the ink law has played an important role, but this method is basically in the landscape painting by. Fang Zengxian to find a new expression method of ink figure, in the process of learning and Research on traditional painting, landscape painting inspired by accumulated ink method, and the initiation of the introduction of his figure painting ideas to increase the painting figures the thickness and texture, and immediately put into action.
On the ink in the last century, in 80s the theme of figure painting and ancient Tibetan theme of the painting, Zengxian party has made this attempt, then this method is used in the ink performance figures dressed, yet in the face. From the beginning of 2001, the party began to apply Zengxian to the human face, hands and body. In the process of creation, the artist found ink performance many benefits in terms of shape and with ink painting figures, can enhance the overall sense, a sense of form, in the use of chiaroscuro, a light source is no longer confined to the western style, but according to the needs of the situation to the distribution of black and white. Such light and shade, is not seen in reality, it is dominated by the relationship between the picture and ink and black and white relations, and even to some extent, the image is also due to some changes in the relationship between light and shade. Jimo can produce a mottled texture effect, which can be showed in texture, such as crumpled suit, thick cotton padded clothes, these clothes also makes special sense of form, the image and the real picture of the image is no longer the same.
With the ink drawing characters, feels the most dignified and gloomy, with the vicissitudes of life and bitter taste, there are great differences between the literati and the aesthetic temperament and spirit of traditional Chinese figure painting conveys. And came out from the village of painter Fang Zengxian believes that this can just show their heart always care and respect those objects -- simple farmers and herders, they are the vulnerable groups in life is also the creator of history and life. In recent years, ink accumulation has become one of the important means of Fang Zengxian's figure painting. "Banana", "toast Book Huai Su," the dream "dance", "beads" and other works, Fang Zengxian is for the initial success of Jimo method. "Echo of the mountains", "leisure to see passers-by", "hometown bench dragon" is a typical product

When the product Mofade to successful application in figure painting, Zengxian square of ink painting has stepped into a new stage. Solid modeling skills, deep melancholy ink painting, thin crisp calligraphy line, realism creation idea, today, Mr. Fang Zengxian, we say he is selectively absorbing nutrition on art at all times and in all countries, have created their own unique painting style.
Mr. Fang's view, the subject, content and style of painting, he has entered a fairly free position in the creation. Whether the traditional literati paintings China high realm and elegant taste of dance works, or realistic life and herdsmen or villagers reflect the lives of ordinary people and the spirit of the works, the ink lines of shade, simplified, ink and line number and the proportion of workers to write, light and unusual composition the airflow and the spirit of the stagnational, have different emphases, which under his pen ink figure also shows vivid and rich charm and temperament.
Although the realistic basis of Fang Zengxian's painting, however rich he works the picture form shows him as a form of performance and composition of screen ink and there is enough room for imagination, he is God in written form, on the basis of realistic and not for the shape, try to grasp the spirit and the performance is the temperament of objects, the pursuit of the so-called out of the territory, implication. On the form and artistic conception, the painter said a few words in pointing out the relationship between the two: "in the past two years, the physical benefits of weak, but I was trying to calligraphy and painting, painting and hope in the exploration, strengthen the concentration of" meaning ", meaning the strokes in my opinion, China in Italy, just a the expression of emotion, by the words out. In the modern and avant-garde art of the west, the formal language, if expressed sincerely, is in the range of emotion....... But not with the form can be emotional, aesthetic form, but a superficial aesthetic". As for the true meaning of artistic creation, the artist himself concluded: "the originality of art lies in the artist's perception of the universe and life".

Fang Zengxian is an excellent ink painter and art educator, and Mr. Fang Zengxian is a forward-looking and influential figure on the development of contemporary Chinese art. He served as vice president of Shanghai Academy of Chinese, curator of Shanghai Art Museum, Shanghai Artists Association chairman, has made a lot of work to promote the development of art and the active area of Shanghai, and eastern China, especially from the middle of last century since he in under the leadership of Shanghai Art Museum hosted the six consecutive it has become a considerable international influence, domestic famous brand and contemporary art exhibition at the Shanghai biennale. This is the first International Biennale organized by Chinese himself, is Chinese stood in their position of national culture, from the culture of their own development needs to determine the theme of the exhibition, selected artists exhibition, it has changed the China artist in the international art arena in the selected embarrassing situation, to enhance the status, China contemporary art in the international contemporary art on the stage of China international cultural image has played a very positive role and effect. From the first introduction of China taste paintings, to the second session of both traditional and experimental ink, to highlight the international third but stressed local "sea", and then to the fourth session of the "urban construction", the fifth session of the "image of survival" and the sixth session of the "hyper design" theme, Shanghai Biennale in the internationalization of modernity, there is always a concern of localization, emphasizes the basic clue of nationality throughout the meantime, actually this and Fang Zengxian always adhere to the national characteristics of the road of art, to establish their own localization of contemporary art thought inseparable.
Mr. Fang Zengxian is an active thinking open, inclusive and exploratory strong, although he is taking the road of realistic painting as the foundation, but he to various other artistic genres and style is not rejection, do not refuse, but holding the learning and inquiring attitude, especially for young people the creation of art, he is very open-minded and tolerant, try to understand and support. So, in reality, he often encourages various art forms and artistic style of the new attempt and exploration, actively create opportunities for emerging young people and the platform, these are also in Shanghai Today Art Museum will become an important cause of contemporary China has considerable influence and cohesion of the national art museum.

Fang Zengxian, a representative figure of the second half of the twentieth Century Chinese realistic figure painting, which has a wide influence China painting of the new Zhejiang School figure painting "the founder and promoter. As a typical case of art, Party Zengxian epitomizes since the new China established to adapt to the new era Chinese painters need to practice constantly seek change, innovation, unremitting exploration of hard art. [1]
Shanghai Museum of art, after a year of careful preparation, particularly the introduction of "Journey - Fang Zengxian Art Exhibition", is hoped to host such a typical retrospective exhibition, not only for the painting Chinese painting party Zengxian for more than half a century long ink painting exploration course review and display comprehensive. At the same time also to Zengxian as the representative of the party since the second half of the twentieth Century China painting history, "Zhepai figure painting" the contribution and significance of a comprehensive analysis and research.
The exhibition will first increase since 1950s in various stages of the creation of a hundred pieces of representative painting, sketch, sketch through the other show, briefly presents its basic features to the development of art. At the same time, the exhibition will be through the relevant literature, videos, photo albums and graphic book review published in a variety of ways, embodied in his artistic practice, achievements and artistic ideas and creative ideas, truly and objectively reflect the identity of him as an excellent painting calligrapher and art educator, Chinese of the art museums and the important push role, to China ink painting, China contemporary art development, and Chinese Art Museum of the prosperity of the positive contribution and role.