河南
藝術家既是時代的創作者，更是人類精神文明的引領者與推動者。他們的作品不應止于見證時代，更要成為人類藝術寶庫中歷久彌新的瑰寶，持續照亮觀者心靈，在文明長河中留下深遠回響。
歷史從不會真正消失，卻時常面臨被歪曲、誤讀乃至選擇性遺忘的境遇。但藏于歲月深處的真善美，終會穿越塵埃、永不消散——這便是我創作《友誼地久天長》的初心。
人類的精神發展史，更像是裹挾著文明野蠻、進步與愚昧、清醒與麻木、善良與殘暴、奉獻與自私，一股懵懂混沌的洪流，不論你愿不愿意，我們都摻雜其中主動或被動的走向未來，歷史本身就如同一塊多棱的水晶，從不同的角度折射出不同的光彩，我們看到的歷史，往往取決于我們站在哪里看！
我們所知的宏大敘事，往往只是冰山浮出水面的部分，那些被時光塵封的個體故事，那些跨越疆域的無私奉獻，那些奠定基石的第一次，才是拼湊出完整歷史圖景的關鍵碎片。
這組作品，謹獻給那些為人類文明進程躬身奉獻、默默犧牲的人們。他們的足跡不該被時光掩埋，而我愿以藝術為碑，銘刻下他們的光輝，讓這份跨越時空的美好與堅守，永遠被銘記。
Artists are not only creators of their times, but also pioneers and promoters of human spiritual civilization. Their works should not merely witness the era; rather, they must become timeless treasures in the human artistic treasury, continuing to illuminate the viewers' souls and leave a profound echo in the long river of civilization.
History never truly fades away, yet it often faces the fate of being distorted, misinterpreted, or even selectively forgotten. But the truth, goodness, and beauty hidden deep in the years will eventually pass through the dust and never dissipate — this is the original intention behind my creation Auld Lang Syne.
The history of human spirit is more like a muddled torrent, embracing civilization and barbarism, progress and ignorance, clarity and numbness, kindness and cruelty, dedication and selfishness. Whether we are willing or not, we are all involved in it, moving towards the future either actively or passively. History itself is like a multi-faceted crystal, refracting different lights from different angles; the history we see often depends on where we stand to look at it!
The grand narratives we know are often just the tip of the iceberg above the water. Those individual stories dusted by time, those selfless dedications across borders, and those foundational "first times" are the key pieces that piece together the complete historical picture.
This series of works is respectfully dedicated to those who have worked diligently, dedicated themselves, and made silent sacrifices for the progress of human civilization. Their footprints should not be buried by time, and I am willing to use art as a monument to inscribe their brilliance, so that this timeless beauty and perseverance will be remembered forever.
崔文智 ——
一位扎根黑土、心系家國的藝術耕耘者，畢業于長春市教育學院藝術系，后深造于天津美術學院高研班，師古而不泥古，博采眾長而自成一家。
現為吉林省美術家協會會員、公安部文聯美術家協會理事、吉林省榆樹市美術家協會副主席。
其作品屢次入選國家級及省內外重要展覽，屢獲殊榮，以深厚筆力與真摯情感詮釋時代精神，于丹青之中鐫刻忠誠與熱愛，彰顯出新時代藝術家的責任擔當與藝術風骨。
Cui Wenzhi
-- An in the black soil and made to his country. He came from the Art Department of Educational College of Education and later developed advanced studies at the Senior Research Class of Educational Academy of Fine Arts. Respecting the fact that yet is not being taught by it, he came on board to form a unique style of learning of his own.
He was appointed as a member of the Artists Association of China, a director of the Artists Association of the China Public Security Literature and Art Federation, and the vice chairman of the Yushu City Artists Association in the Province of China.
His works have been selected for important national, cultural and cultural undertakings, winning awards. With the help of a number of artists who work and work in the spirit of the times, who love and love in his life, and who demonstrate the sense of responsibility and integrity of an artist.
藝術是超越語言的一種溝通方式，也是文化承載與歷史記錄的載體，也是區域認同與批判的工具，是藝術家思想的物化，盡管一件美術作品根本承載不了那么多東西，或者可能不是一件美術作品所具備的功能，但我仍然試著去做！
Art is a form of communication that transcends language; it is also a carrier of culture and historical records, a tool for regional identity and criticism, and the materialization of an artist’s thoughts. Although a single work of fine art cannot fundamentally bear so much weight, nor may this even be within its inherent function, I still attempt to do so!
友誼地久天長之克萊爾·李·陳納德 2025
丙烯油彩
120x120cm
友誼地久天長之聶會東 2025
丙烯油彩
120x120cm
友誼地久天長之蒲安臣 2025
丙烯油彩
120x120cm
我用我的畫來關注這些，重整這些碎片記憶，感恩那些心裝濟世情懷，給我們帶來啟蒙火種的人們，走進黑白之間看到那些被遺忘的灰色地帶，把那些人性中的善良凝固在我的畫面中~
I use my paintings to focus on these, reorganize these fragmented memories, and express gratitude to those who hold a heart of benefiting the world and brought us the fire of enlightenment. Stepping between black and white, we can see those forgotten gray areas, and I freeze the kindness in human nature in my works~
友誼地久天長之啟爾德 2025
丙烯油彩
120x120cm
友誼地久天長之司徒雷登 2025
丙烯油彩
120x120cm
友誼地久天長之愛德華·胡美 2025
丙烯油彩
120x120cm
友誼地久天長之約翰·洛克菲勒 2025
丙烯油彩
120x120cm
盡管一件美術作品根本承載不了那么多的東西，或者可能不是一件美術作品所具備的功能，但我仍然試著去做，藝術是超越語言的一種溝通方式，也是文化承載與歷史記錄的載體，也是區域認同與批判的工具，是藝術家思想的物化呈現。
Although a single work of fine art cannot fundamentally bear so much weight, nor may this even be within its inherent function, I still attempt to do so. Art is a form of communication that transcends language; it is also a carrier of culture and historical records, a tool for regional identity and criticism, and the materialized expression of an artist’s thoughts.
友誼地久天長之立德夫人 2025
丙烯油彩
120x120cm
友誼地久天長之卜舫濟 2025
丙烯油彩
120x120cm
友誼地久天長之明恩普 2025
丙烯油彩
120x120cm
友誼地久天長之馬相伯 2025
丙烯油彩
120x120cm
當代藝術如何在視覺層面建構歷史敘事？如何在形式語言中沉淀文化記憶，并轉化為審美體驗？崔文智的《友誼天久地長》系列，以拼貼式的結構、斑駁厚重的肌理、冷峻而沉郁的色調，展現了一種“視覺考古”式的藝術風格，使觀者仿佛透過塵封的史料碎片，進入一場關于權力、文化與時代嬗變的沉浸式體驗。
作品的畫面布局具有強烈的象征性：清朝官員與西方紳士的并置，標志著晚清歷史中東西文明的激烈碰撞；藍色龍的剪影隱匿于背景斑駁的時間肌理之中，象征著東方文明在西方殖民擴張下的掙扎與蛻變。而另一幅作品中，“北京協和”牌匾下，西裝紳士與身著護士服的群像構成冷峻的對視關系，隱喻著現代醫學的輸入及西方科技話語權的建立。粉色花朵的多次出現，既是作品間的形式勾連，也可能寓意生命的脆弱、延續與時代更替的輪回。
在技法層面，崔文智采用拼貼、肌理疊加、色層滲透等方式，使畫面仿佛一張被時間侵蝕的老照片。人物、符號、歷史遺跡被剝離原始時空，浸潤于晦暗的色彩與斑駁的畫面肌理之中，呈現出超越單純具象描繪的歷史維度。藝術家并非單純地再現歷史，而是在歷史殘片的拼貼中，重構記憶與敘述，塑造出一種具象與抽象交織的“歷史質感”。
藝術的價值，在于對現實與歷史的批判性反思。這組作品既是視覺的考古學，同時也是時間的隱喻學。在這些歷史的殘影中，我們不僅看到往昔的權力博弈與文化互動，更在視覺層面感受到時間的沉積與文明嬗變的余韻。它啟發我們思考：被歷史書寫的，是否真的屬于歷史？今日的文化身份，又如何在這些交錯的文明痕跡中獲得定義？
How does contemporary art construct historical narratives at the visual level? How does it precipitate cultural memories in formal language and transform them into aesthetic experiences? Cui Wenzhi’s Auld Lang Syne series, with its collage-like structure, mottled and profound texture, and cold yet gloomy color palette, presents an artistic style akin to "visual archaeology." It allows viewers to seemingly pass through dusty fragments of historical materials and enter an immersive experience concerning power, culture, and the evolution of eras.
The composition of the works carries strong symbolism: the juxtaposition of Qing Dynasty officials and Western gentlemen marks the fierce collision between Eastern and Western civilizations in late Qing history; the silhouette of a blue dragon hides in the mottled temporal texture of the background, symbolizing the struggle and transformation of Eastern civilization under Western colonial expansion. In another work, beneath the "Peking Union Medical College" plaque, a group portrait of a suit-clad gentleman and nurses forms a cold gaze, metaphorizing the introduction of modern medicine and the establishment of Western technological discourse power. The repeated appearance of pink flowers not only serves as a formal link between the works but also may imply the fragility and continuity of life, as well as the cycle of era transitions.
Technically, Cui employs collage, texture overlay, and color layer infiltration, making the paintings resemble old photographs eroded by time. Figures, symbols, and historical relics are stripped from their original time and space, immersed in dark colors and mottled textures, presenting a historical dimension beyond mere figurative depiction. Instead of simply reproducing history, the artist reconstructs memories and narratives through collaging historical fragments, creating a "historical texture" intertwined with figurative and abstract elements.
The value of art lies in critical reflection on reality and history. This series is both a visual archaeology and a metaphorology of time. In these residual images of history, we not only see the past power struggles and cultural interactions but also feel the accumulation of time and the aftertaste of civilizational evolution visually. It inspires us to ponder: Is what is recorded in history truly part of history? How can today’s cultural identity be defined amid these intertwined traces of civilization?
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