新时代文化强国践行者——梁炜彬作品展示-中国新闻联播

纵观古今，博大精深、源远流长的中华文明不仅滋养了中华民族，也为世界的繁荣和发展作出了突出贡献。随着数智时代的到来，智能传播技术打破了时间与空间的隔阂，使中华文明的“灵韵”得到重生，竖屏化、视觉化、场景化的表现手法能够让中华文明更好地进行国际传播。提高传播质量、提升传播效力、增强传播效能、拓宽传播渠道等多个方面综合发力，从而讲好中华文明故事，更好地推动中华文明走向世界。让中华文明得以纵跨千年、横越万里，让世界感受到中华文明的魅力。

梁炜彬，广东南海大沥人，早年师从南海名画家区太杰先生和岭南画派名宿黎葛民先生，曾任佛山市美协副主席和南海区美协主席，现系广东省美协会员、中国楹联学会会员、CCTV央视书画频道签约艺术家、中国楹联学会书画艺术院和北京国韵文华书画院特聘书画家、广东楹联学会会员、南海画院顾问、佛山市书协会员，副研究馆员。国画、书法、速写、诗联、论文曾入选（入编）市、省、国家和海外的展览及刊物，中国人民对外友好协会曾收藏其国画作品，并获2007年中国艺术博览会金奖。2024年其国画作品入选第十六届精神文明建设五个一工程优秀美术作品奖，同年被国台办信息交流中心聘请为第十六届海峽论坛文化顾问。

Liang Weibin, born in Dali, Nanhai, Guangdong, studied under the famous painter Qu Taijie from Nanhai and the renowned Lingnan painter Li Gemin in his early years. He has served as the Vice Chairman of the Foshan Artists Association and the Chairman of the Nanhai Artists Association. Currently, he is a member of the Guangdong Artists Association, the Chinese Couplets Association, a contracted artist on CCTV's Calligraphy and Painting Channel, a specially appointed calligrapher and painter at the Chinese Couplets Association Calligraphy and Painting Academy and Beijing Guoyun Wenhua Calligraphy and Painting Academy, a member of the Guangdong Couplets Association, a consultant at the Nanhai Painting Academy, a member of the Foshan Calligraphy Association, and an associate research curator. Chinese painting, calligraphy, sketch, poetry couplets, and papers have been selected (edited) into municipal, provincial, national and overseas exhibitions and publications. The Chinese People's Association for Friendship with Foreign Countries has collected his Chinese painting works, and won the gold medal of the 2007 China Art Expo. In 2024, his Chinese painting works were selected for the Excellent Art Works Award of the 16th Five One Project of Spiritual Civilization Construction, and in the same year, he was hired as a cultural consultant for the 16th Cross Strait Forum by the Information Exchange Center of the Taiwan Affairs Office.

岭南画坛开新风

——喜读岭南花鸟画家梁炜彬新作《红棉·鱼》

梁根祥

红棉是岭南地区的英雄树，它挺拔、苍劲、花红，是岭南人文精神的象征。岭南画派的先驱和历代名家如陈树人、梁占峰、陈永锵等，以红棉为题材的经典作品很多，在南国画坛上树起了一座一座丰碑。如何在红棉画法上有新的作为而不重复前人的样式，一直是当代岭南花乌画家要超越的难题。

笔者最近读到了佛山市南海区原美协主席梁炜彬的一批《红棉·鱼》新作，顿觉眼前为之一亮。他以山水画的图式融入花鸟画之中，构图气魄宏大、雄风拂面:他以鱼跃之动与红棉之静成对比，画面一刚一柔，勃勃生机;他以传统笔墨与光影色彩结合，图像亦素亦艳，墨彩辉映，视觉冲击力很强。本来岭南水乡水边多木棉树，其枝干与花蕾伸向水面与鱼塘中之鱼呼应也是平常之景，但此众人眼中之景却鲜见于前人的画作。如今梁炜彬从平凡生活中得到灵感而艺术地组合成意境深远的画面，成为一人笔下之画，无疑为岭南花鸟画特别是红棉画法开拓了一条新的路子。

梁炜彬长期生活在岭南水乡，并在基层从事文化工作几十年，是广东省美术家协会会员副研究馆员职称。他年青时师从岭南画派名宿黎葛民先生，在岭南画派“折衷中西、融会古今”的精神感召下，遵从“外师造化、中得心源”的古训，以传统为师，以生活为师，辛勤耕耘，大胆创新，是岭南花鸟画家群中的实力派画家。其《红棉.鱼》作品曾在北京获2007年中国艺术博览会金奖，并为中国人民对外友好协会收藏和在友谊馆展出。古语说:“笔墨当随时代”是从纵向的历史源流中说明作品要有时代气息;“笔墨当随自然”是从横“笔墨当随个性”是从个体感受中说明作品要向地域对比中说明作品要有浓郁的地方特色;有鲜明的个人风格。梁炜彬的《红棉·鱼》系列作品尽管还有待精益求精，但其时代感、地域性、个性化的艺术语言是无庸置疑的，在学术上有其不可替代的意义。

(本文作者为中国美术家协会会员、中国文艺评论家协会会员、佛山市美术家协会名誉主席)

Red cotton is the hero tree of Lingnan region. It stands tall, vigorous, and has red flowers, symbolizing the humanistic spirit of Lingnan. The pioneers of the Lingnan School of Painting and famous artists throughout history, such as Chen Shuren, Liang Zhanfeng, Chen Yongqiang, etc., have created many classic works with red cotton as the theme, which have erected monuments in the southern painting world. How to make new achievements in the technique of red cotton painting without repeating the styles of predecessors has always been a challenge that contemporary Lingnan painters need to surpass.

The author recently read a batch of new works by Liang Weibin, former chairman of the Nanhai District Artists Association in Foshan City, titled 'Red Cotton Fish', and was immediately impressed. He integrated the patterns of landscape painting into flower and bird painting, creating a grand and majestic composition. He contrasted the movement of fish leaping with the stillness of red cotton, creating a picture that was both rigid and soft, full of vitality; He combines traditional brush and ink with light, shadow, and color to create vivid and vivid images. The ink and color blend together, creating a strong visual impact. Originally, there were many kapok trees by the water in the Lingnan water town, and their branches and flower buds extended towards the water surface to echo the fish in the pond, which was also a common sight. However, this scene in the eyes of many people is rarely seen in the paintings of predecessors. Nowadays, Liang Weibin draws inspiration from ordinary life and artistically combines it into a painting with profound artistic conception, becoming a painting under one's own pen. Undoubtedly, it has opened up a new path for Lingnan flower and bird painting, especially the red cotton painting method.

Liang Weibin has lived in a water town in Lingnan for a long time and has been engaged in cultural work at the grassroots level for decades. He holds the title of Deputy Research Fellow of Guangdong Artists Association. When he was young, he studied under the renowned figure of the Lingnan School of Painting, Mr. Li Gemin. Inspired by the spirit of the Lingnan School of Painting's "compromise between East and West, integrate ancient and modern" philosophy, he followed the ancient motto of "learning from nature, learning from the heart", took tradition as his teacher, life as his teacher, worked hard, boldly innovated, and became a powerful painter among the Lingnan flower and bird painters. His work "Red Cotton. Fish" won the gold medal of the 2007 China Art Expo in Beijing, and was collected by the Chinese People's Association for Friendship with Foreign Countries and exhibited in the Friendship Museum. The ancient saying goes, 'Brush and ink should follow the times', which means that works should have a sense of the times from the vertical historical origins; 'Brush and ink should follow nature' is a horizontal expression, while 'brush and ink should follow personality' indicates that the work should have strong local characteristics through regional comparison based on individual feelings; Has a distinct personal style. Although there is still room for improvement in Liang Weibin's "Red Cotton Fish" series of works, its sense of the times, regional characteristics, and personalized artistic language are undoubtedly irreplaceable in academia.

(The author of this article is a member of the China Artists Association, the China Literary Critics Association, and the Honorary Chairman of the Foshan Artists Association)