昔有范子，名迪安，执笔砚田，以画会道。乃当代画坛之翘楚，美术评论之巨擘，教育之大家，中国美术家协会之领袖，京师文联之副座。其人也，以山川为题，以写生为务，以立心为志，绘事中国画家与知识分子之大任。
Fan Dian, a luminary of our age, wields the brush to unify art with philosophy. He stands as a preeminent figure in contemporary art circles, a titan of art criticism, a master of education, the leader of the China Artists Association, and the deputy of the Beijing Federation of Literary and Art Circles. Fan Dian, with mountains and rivers as his subjects and sketching from life as his duty, devotes himself to the noble cause of a Chinese painter and intellectual.
范子之步，遍及神州，茶马古道，林海雪原，长征胜地，青藏高原，皆留其足迹。所绘之景，巍巍太行，黄河激流，海丝盛景，东北沃土，皆显其胸中丘壑，笔下波澜。
Fan has traversed the expanse of China, walking the ancient Tea Horse Road, through forests and snowfields, visiting sites of the Long March, and stepping onto the Tibetan Plateau, leaving his mark across these landscapes. His paintings capture the majestic Taihang Mountains, the turbulent Yellow River, the grand scenes of the Maritime Silk Road, and the fertile lands of the Northeast, all reflecting the vastness within him and the dynamism under his brush.
彼之论画，写意写生，同出而异名，皆以“写”字为宗。写生者，锤炼意象表达之道也;写意者，抒发心灵之术也。面对自然，范子以独到眼光察之，以深邃思考提炼之，取自然之一粟，绘心中之万千。
In his discourse on painting, Fan sees "freehand" and "life sketching" as related yet distinct; both start with "depicting" but diverge in focus—one on capturing life, the other on expressing the soul. When faced with nature, Fan observes uniquely and thinks deeply, extracting essences for his art, capturing myriad forms of nature in a single facet.
其画面也，大山大水，辽阔无垠，草木之精微，色彩之冷暖，笔触之空间，皆力求油画本体语言与写意方法之有机结合。范子深谙中国传统绘画理论，书法之道，风骨、气韵、格调，皆入画中，强调自然与人之精神相通。
His canvases are expansive, featuring great mountains and waters, vast and boundless, with meticulous attention to the subtleties of flora, the nuances of colors, and the spatial dynamics of brushwork, all aimed at integrating the essence of oil painting with the methods of freehand brushwork. Fan deeply understands the theories of traditional Chinese painting and calligraphy, embodying the concepts of structure, spirit, and style in his work, emphasizing the connection between nature and human spirit.
油画自西方来，范子观其变，自古典至现代，自具象至抽象。然范子不满足于模仿，主张中国艺术家应有机、内在地融合、转换与创新，以构建中国学派于世界艺术之林。
Oil painting, having originated from the West, has evolved from classical realism to modern abstraction in Fan's view. Yet, he advocates for a synthesis and transformation that is organic and inherent to Chinese artists, aiming to establish a Chinese school within the global art scene.
范子之艺，非独画布之事，亦美术史之研究，艺术家思想观念与风格语言之阐述。其以感性之经验，切入艺术现象，分析创作之思想内涵与语言方式，于时代语境中，为艺术家及其创新寻文化之坐标，传释艺术创作之时价。
Fan's artistry extends beyond the canvas to the study of art history, articulating the thoughts and styles of artists. With an intuitive grasp of artistic phenomena, he delves into the ideological content and stylistic methods of art, finding cultural coordinates for innovation within the context of the times, thereby interpreting the contemporary value of artistic creation.
范子迪安，美术之宗匠也。其以评论之眼，入美术之场，策展之手，启展览之新篇。坚守文化之主体，扬吾邦美术之优良传统，主题思想为魂，展示水平为骨，反映美术发展之主旋律，兼顾风格样式之艺术探索。
Fan Dian, a master of art, not only critiques but also actively participates in the art scene, curating exhibitions that open new chapters. He upholds the core values of culture, promotes the fine traditions of Chinese art, and reflects the main themes of art development while exploring stylistic diversity.
策划《水墨本色》《从延安走来》《走向西部》《“工”在当代：中国工笔画大展》《向祖国汇报：新中国美术60年》《文明的回响》，皆显吾土美术之风采。藏馆旧宝与当代新意相辉映，激活沉寂之宝，展现时代之新潮。越海而西，范子之策展，如星辰之耀于夜空。于柏林之汉堡火车站艺术馆，展《生活在此时：中国当代艺术》，巴黎之蓬皮杜艺术中心，呈《中国怎么样?中国当代艺术》，德累斯顿国家艺术博物馆，显《中国水墨艺术》之雅韵。澳大利亚国家博物馆，揭《新境界：中国当代艺术》之幕。德国卡塞尔，《大道之行：中国当代艺术展》引思潮。比利时皇家美术馆，《再序兰亭：中国书法大展》显书法之美。美国华盛顿肯尼迪艺术中心，《中国当代艺术展》传华夏之声。德国鲁尔区八馆联展，《中国8》彰显艺术之力量。
He has curated exhibitions like "The Essence of Ink," "From Yan'an," "Towards the West," "Contemporary Gongbi: A Chinese Fine Brush Painting Exhibition," "Reporting to the Motherland: 60 Years of Art in New China," and "Echoes of Civilization," showcasing the elegance of Chinese art. These exhibitions juxtapose ancient treasures with contemporary visions, reviving dormant masterpieces and displaying modern trends. His exhibitions have shone like stars across the globe—from the Hamburger Bahnhof in Berlin, displaying "Living in the Moment: Contemporary Art from China," to the Centre Pompidou in Paris with "How about China?" and the Dresden State Art Collections with "Chinese Ink Art," to the National Museum of Australia's "New Boundaries: Contemporary Chinese Art." In Kassel, Germany, the exhibition "The Path of Dao: Contemporary Chinese Art" stirred intellectual currents, while the Royal Museums of Fine Arts of Belgium's "Re-Sequencing Lanting: A Major Exhibition of Chinese Calligraphy" highlighted the beauty of calligraphy. At the Kennedy Center in Washington, D.C., "Contemporary Chinese Art Exhibition" conveyed the voice of China, and in Germany's Ruhr region, the joint exhibition "China 8" showcased the power of art.
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