前 言

当笔墨承载使命，艺术便有了穿越时空的力量。本次“艺术名家·巨擘传奇·国际领航”主题作品展，汇聚当代艺坛杰出代表之精品力作，展现中华文化的深厚底蕴与时代风华。一幅幅作品，或雄浑磅礴，或清雅隽永，既是技艺的结晶，更是文化的传承与精神的寄托。它们见证了艺术家对传统的坚守、对创新的探索，也彰显了中国艺术走向世界的坚定步伐。在此，我们以笔墨为媒，以丹青为桥，邀您共赴一场心灵与视觉的盛宴，感受艺术之美的同时，领略大家风范，共启文化新程。

Preface:

Preface: When the brush and ink bear a mission, art acquires the power to transcend time and space. This exhibition of "Art • Legendary Giants • International Pioneering" theme works gathers outstanding representatives of the contemporary art world, showcasing the profound cultural heritage and contemporary elegance of Chinese culture. Each, whether majestic and grand, or elegant and enduring, is not only a crystallization of skills but also a heritage of culture and a consolation of spirit. They bear witness the artists' adherence to tradition and exploration of innovation, and also demonstrate the firm steps of Chinese art towards the world. Here, we invite you to join us with the brush ink as the medium and the painting as the bridge, to share a feast of the soul and the eyes, to feel the beauty of art while appreciating the style of the great, and to embark on a new journey of culture together.

技进乎道，兰韵千秋

——杨根柱画兰艺术三大贡献的深刻解读

兰，自古为文人墨客寄怀写志之灵卉；画兰，亦是中国画中至难至雅之艺境，素有“笔墨之祖”之称，“十年画竹，百年画兰”道尽其中艰辛。历代能于此道突破桎梏者，凤毛麟角。当代军旅书画家杨根柱先生，积数十年之功，独辟蹊径，融军人风骨于笔墨，汇文人雅韵于兰姿，不仅开创个人风格鲜明的画兰体系，更从技法、理法与创作维度三重层面，推动兰画艺术实现当代转化与升华。其所创“写意工笔画”“九叶分”技法及巨幅兰草宏制，被誉为对兰画艺术的三大里程碑式贡献，共同构筑起一座承前启后的艺术高峰。

"Mastering the Art of Orchid Painting: A Profound Interpretation of Yang Genzhu's Three Major Contributions to Orchid Art"

Orchid, since ancient times, has been a spiritual flower for literati and poets to express their aspirations; painting orchids is also the most difficult and elegant artistic realm in Chinese painting, known as the "ancestor of brush and ink" and the saying "it takes ten years to paint bamboo, a hundred years to paint orchids" fully captures the hardships involved. Throughout history, those who can break through the shackles in this field are as rare as phoenix feathers and unicorns. Mr. Yang Genzhu, a contemporary military painter, has accumulated decades of effort, blazed a new trail, integrated the military spirit into his brush and ink, and fused the literati elegance with the orchid form. He not only created a distinctive personal style of orchid painting system, but also promoted the contemporary transformation and sublimation of orchid painting art from the three levels of technique, principle, and creation dimension. His creation of "freehand brushwork and fine brushwork", "nine leaves division" technique, and large-scale orchid masterpieces are hailed as three milestone contributions to orchid painting art, collectively building an artistic peak that carries forward the past and ushers in the future.

杨根柱，字五谷，号墨兰斋，陕西兴平人。1987年入伍，2006年于北京某部队退休，是兼具军人风骨与文人情怀的杰出代表。其著作《当代画兰大师 杨根柱》已被国家图书馆、首都图书馆等全国重点机构珍藏。他现任于右任国际书法研究会北京工作站副站长、陕西三原于右任书法学会常务副会长兼北京分会会长，受聘为辽宁省中华学院客座教授。

先生自幼酷爱武术与绘画，尤擅画兰，其艺术成就绝非偶然。他独创的三大贡献，既是对千年兰画传统的高度提炼与大胆创新，更是对这一“中国画天花板”级题材的当代重塑，每一项均足以载入兰画艺术史册。以下是对其画兰艺术三大贡献的深度解读。

Yang Genzhu, styled Wugu and known by his pseudonym Molanzhai, was born in Xingping, Shaanxi. He joined the army in 1987 and retired from a certain unit in Beijing in 2006. He is an outstanding representative who combines the spirit of a soldier with the sentiment of a literati. His work "Contemporary Orchid Painting Master Yang Genzhu" has been collected by key institutions across the country, including the National Library and the Capital Library. He currently serves as the deputy director of the Beijing Workstation of the Yu Youren International Calligraphy Research Association, the executive vice president of the Yu Youren Calligraphy Society in Sanyuan, Shaanxi, and the president of its Beijing branch. He has also been appointed as a visiting professor at the China College in Liaoning Province.

Since childhood, Mr. X has had a passion for martial arts and painting, with a particular expertise in orchid painting. His artistic achievements are by no means accidental. His three major contributions are not only a high degree of refinement and bold innovation of the thousand-year tradition of orchid painting, but also a contemporary reshaping of this "ceiling-level" theme in Chinese painting. Each of these contributions is worthy of being recorded in the annals of orchid painting art. Below is a deep interpretation of his three major contributions to the art of orchid painting.

一、 开创“写意工笔画”：技法融合的范式突破

杨根柱先生将工笔画的精微严谨与写意画的潇洒气韵创造性地熔于一炉，开创了“写意工笔画”这一全新范式。不同于传统“兼工带写”偏重工致与写意的主次叠加，传统工笔画需经起稿、勾线、打底、分层晕染等繁复工序，往往难以呈现灵动鲜活的气韵，而写意工笔画其核心在于“一笔双色，浑然天成”的即时性与表现力——在保留工笔质感的同时，极大释放了写意的神韵与生动。这不仅是技法的融合，更是对兰画艺术语言的重新定义。

2015年4月，其代表作《蕙兰报春图》亮相第五届中国画节，甫一展出便惊艳全场。作品被潍坊市博物馆馆长慧眼识中，次日委派馆内工作人员杨女士洽谈高价收购事宜，成为画坛佳话。先生当时题诗：“中国画节添亮点，九叶兰花惹客眼。众人幅前皆留步，照相留影笑开颜。”这正是其艺术魅力的真实写照。这种技法超越了层层晕染的繁复，让兰草的生命力与画家当下的心绪合二为一，直达“心手相应”的化境。

I. Pioneering "Freehand Brushwork Gongbi": A Paradigm Breakthrough in Technique Integration Mr. Yang Genzhu creatively combines the exquisite rigor of Gongbi painting with the free and easy charm of freehand painting, pioneering a new paradigm of "Freehand Gongbi painting". Unlike the traditional "combining both meticulous and freehand techniques" that emphasizes the primary and secondary layers of meticulousness and freehandness, traditional Gongbi painting requires complex processes such as sketching, line drawing, grounding, and layered shading, often making it difficult to present a vivid and lively charm. The core of Freehand Gongbi painting lies in the immediacy and expressiveness of "one stroke with two colors, naturally harmonious" - while retaining the texture of Gongbi, it greatly releases the charm and vividness of freehand. This is not only a fusion of techniques, but also a redefinition of the artistic language of Gongbi painting.

In April 2015, his masterpiece "Orchid Blossoms" made its debut at the 5th Chinese Painting Festival, captivating the audience with its stunning display. The work was recognized by the director of the Weifang Museum, who promptly assigned Ms. Yang, a staff member from the museum, to negotiate the acquisition of the painting at a high price, becoming a legendary tale in the art circle. At that time, the director inscribed a poem: "The Chinese Painting Festival gains a highlight, nine-leaf orchids catch the eyes of guests. Everyone pauses in front of the painting, taking photos and smiling brightly." This is a true portrayal of his artistic charm. This technique transcends the complexity of layered shading, merging the vitality of the orchid with the painter's current mood, reaching the realm of "mind and hand in harmony".

二、 创立“九叶分”技法：数理美学的体系建构

源于对艺术辨识度的极致追求，杨根柱先生潜心提炼出“九叶分”这一革命性技法体系。该体系巧妙融合四大核心：画兰至难的传统认知；兰花作为佛花的“至大”精神境界；数字“九”作为阳数之极的哲学内涵；中华文化中对“九”寓意吉祥长久的美好情感。

“九叶分”将画兰步骤予以美学格式化，以九笔之法勾勒一株完整兰草，笔笔皆蕴长与短、曲与直、俯与仰、聚与散等对立统一之美。看似简约至拙，实则变化无穷，暗合“道生一，一生二，二生三，三生万物”的古老智慧。它使创作既有法可依，又能在法度内极尽变化，实现了“分即是合，合即是分”的艺术辩证，为兰画创作建立了兼具审美高度与实践指导意义的系统框架。

II. Creating the "Nine-Leaf Division" Technique: The Systematic Construction of Mathematical Aesthetics Driven by an extreme pursuit of artistic distinctiveness, Mr. Yang Gengzhu devoted himself to refining the revolutionary "Nine-Leaf Division" technique system. This system ingeniously integrates four core elements: the traditional perception that painting orchids is extremely difficult; the "utmost" spiritual realm of orchids as Buddhist flowers; the philosophical connotation of the number "nine" as the ultimate yang number; and the positive sentiment towards "nine" in Chinese culture, symbolizing auspiciousness and longevity. "Nine-Leaf Division" aesthetically formats the steps of painting orchids, using nine strokes to outline a complete orchid plant, with each stroke embodying the beauty of the unity of opposites such as length and shortness, curvature and straightness, downward and upward, and convergence and divergence. It appears simple and unsophisticated, but in reality, it is infinitely variable, subtly echoing the ancient wisdom of "Tao gives birth to one, one gives birth to two, two give birth to three, and three give birth to all things." It enables creation to have rules to follow while also allowing for extreme variation within those rules, realizing the artistic dialectic of "division is integration, and integration is division," and establishing a systematic framework for orchid painting creation that combines aesthetic height and practical guidance.

三、 拓展巨幅兰草创作：题材格局的宏观革命

杨根柱先生毅然突破传统兰画多为尺幅小品的局限，成功创作出画芯规格达270cm×70cm的鸿篇巨制，其中最长兰叶近两米。这一突破，绝非简单的尺寸放大，而是对微观题材的宏观再现，是对兰草精神气格的极致升华。

在中国艺术史上，将兰花这类清供雅品推向巨幛大幅的探索极为罕见。先生的巨幅兰草，气势磅礴而气韵高古，充分展现了其驾驭宏大构图与精微笔墨的非凡功力。此举极大拓展了兰画的视觉张力与空间叙事能力，成功将兰花从文人书斋的案头把玩，推向公共空间的殿堂陈列，赋予传统题材以崭新的时代气象与承载价值。

III. Expanding the Creation of Giant Orchid Paintings: A Macro Revolution in Theme Patterns Mr. Yang Gengzhu resolutely broke through the limitation of traditional orchid paintings, which are mostly small-scale works, and successfully created a masterpiece with a painting core size of 270cm×70cm, featuring the longest orchid leaves nearly two meters long. This breakthrough is not simply a matter of enlarging the size, but a macro representation of micro themes and an ultimate sublimation of the spirit and elegance of orchids. In the history of Chinese art, the exploration of pushing orchids, a type of elegant and refined subject matter, to giant-sized paintings is extremely rare. Mr. Yang's giant orchid paintings are magnificent and have an ancient charm, fully demonstrating his extraordinary skill in mastering grand compositions and delicate brushwork. This greatly expands the visual tension and spatial narrative ability of orchid paintings, successfully elevating orchids from being mere objects on the desks of literati to being displayed in public spaces, endowing traditional themes with a new era atmosphere and carrying value.

结语：技道合一，兰韵新章

杨根柱先生的三大贡献，并非孤立存在，而是构成了一个有机整体：“写意工笔画”奠定技法根基，“九叶分”构建理论体系，“巨幅兰草”开拓表现疆域。三者环环相扣，共同成就了一套完整而独特的当代兰画艺术体系。

其更深层的价值，在于完成了对传统文人精神的现代转化。他将兰花所象征的高洁品格，从古代文人的自我比附，拓展为能够引发当代大众广泛共鸣的文化符号与精神图腾。这种转化，是人格修养与艺术造诣的高度统一，使其作品蕴含着深邃的文化内涵、厚重的学术价值与鲜明的时代气息。

杨根柱先生的画兰艺术，是“技”精炼至极致而通达于“道”的生动典范。他以军人之魄开疆拓土，以文人之心深耕细作，在兰画这一古老领域树立起一座崭新的里程碑。其艺术之路，正是中国传统文化在当代继承、创新与发展的珍贵缩影，必将兰韵流芳，启迪千秋。

Conclusion: The integration of technique and Tao, a new chapter in the orchid charm. Mr. Yang Gengzhu's three major contributions do not exist in isolation but form an organic whole: "freehand brushwork and meticulous painting" lays the foundation of technique, "Nine Leaves Division" constructs the theoretical system, and "giant orchid" expands the realm of expression. The three are interconnected, jointly forming a complete and unique contemporary orchid painting art system. Its deeper value lies in the modern transformation of the traditional literati spirit. He has expanded the noble character symbolized by orchids from the self-comparison of ancient literati to cultural symbols and spiritual totems that can evoke widespread resonance among contemporary audiences. This transformation is a high degree of unity between personal cultivation and artistic attainments, making his works contain profound cultural connotations, substantial academic value, and distinct contemporary flavor.

Mr. Yang Genzhu's art of painting orchids is a vivid exemplar of how "skill" can be refined to the extreme and connected to the "way". With the courage of a soldier, he expands the boundaries, and with the heart of a scholar, he delves deeply and works meticulously, erecting a new milestone in the ancient field of orchid painting. His artistic journey is a precious epitome of the inheritance, innovation, and development of Chinese traditional culture in the contemporary era, and his orchid paintings will surely endure and inspire generations to come.