古有丹青，凡言人物画者，必宗晋唐之法。晋唐绘画雄浑雅正，上承汉魏，下启宋元，精妍深远，穷神尽变。历诸思潮云涌，朝代更迭，光辉彪炳。然至明清，丹青沉消，渐趋萎靡，而意笔画，灿若星辰，大师林立。至新中国，有大成就者，均在意笔。有徐悲鸿，蒋兆和，黄胄，王子武等大家汲西画技法精髓，融于写意人物创作，破旧研新，成就粲然。可于丹青探源寻根，坚守深研者虽不乏人，且成就不斐，然被列入年画之类别，且后来者渐与年画无别，终究未能成势，工笔画仍难走出低谷。才有潘洁滋先生振臂高呼，弘扬汉唐精神乃吾辈之大任。
文革之后，百业待举，美术界深思反省，纷纷探寻艺术真谛。何家英衡中西以相融，初出茅庐，即显才华，虽有写意人物画《春城无处不飞花》荣获“第二届全国青年美展”二等奖，却善反思，另辟蹊径。领悟工笔画须赓续晋唐之魂，且可融西法而成，是为大道。遂以工笔画表现时人生活，画人尽态，非止其所求之境，画人入“骨”，尽得其神，是谓真性真情。于是乎，一改陈规，不落窠臼，不拘形式，用心体察，着重心灵刻画，故《街道主任》应运而生，以工笔之体写人物神髓，上承唐人之遗韵，下写时代之感怀，一洗时弊概念，突显时人真容，明鉴其心，昭示其道。
《春城无处不飞花》 创作于1980年
《街道主任》 创作于1981年
何家英洞悉写实工笔人物必放异彩，信心坚定，用功至深。观丝路壁画，以至西方中世纪绘画，文艺复兴后之欧洲绘画，察中西绘画同理而异流，晓中国绘画之写实，须明东方美学之理。度物象而取其真，非止表象描摹，乃意与真合一。工笔画博大包容，能于互补并蓄中推陈出新，遂探中西绘画更深融通，追求大艺臻境。
1983年工笔画《山地》诞生，别开生面，参加“天津第二届青年美展”荣获金奖，何家英引领工笔人物画再觅新语，以传统技法而立像，又得古壁画之浑然，塑劳作之脊梁，展顽强之精神，区区个人命运，象征着中华脊梁宏大主题，方寸间尽显雄浑悲壮。此作成为工笔画意与技，中与西融合之典范，彼时画界震撼，开辟新风。
《山地》 创作于1983年
上世纪八十年代初，秦征主席汇青年骨干于创作研究班，博览古今中外绘画资料与展览，上太行山研究美术创作规律，何家英兢于探索研求，茅塞顿开，遂佳作频出，《山地》《十九秋》《夏》《米脂的婆姨》应运而生，使工笔人物画焕然一新，作品立足生命情感，紧扣本然真性，表达时代精神，彰显人性光辉。
1988年，当代工笔画学会首展举办，何家英以《酸葡萄》参展，荣获金叉大奖，创作理念与实践成果获高度认可。亦有众画家佳作林立，看到希望，未来可期。故潘洁兹先生发言时宣告：中国工笔画从此走出低谷，前景开阔，可谓意义重大。
当代工笔画学会二届大展上，何家英又以《秋冥》荣获金奖;前有《魂系马嵬》，后又有《朝·露·桑》《舞之憩》问世，一时声名大噪，奠定人物工笔画地位。
自此，工笔人物画风大变，不复拘于“肌理细腻骨肉匀”之表象，尽去文革“假大空”之虚浮。在其倡引下，工笔画既重技法细腻，更求人物精神，创作主题由表象描绘转入内心刻画，思想充盈，开工笔人物新画境。何家英深究探索，抒发自我心性。在其影响下，工笔人物画浪漫蕴藉，耐人寻味。此变革重塑工笔画艺术价值，使其于当代艺术中再度崛起，焕发新生。彼不惟确立当代工笔人物画创作方向，更为后世广辟探索之道。何家英无疑为此变革中关键人物，举足轻重。其贡献使工笔人物画于当代艺术史据重要地位，更为后继铺出一条康庄大道。
九十年代中期始，何家英即以文人山水画笔墨融于写意人物画中，用线平和委婉，追求散淡诗意。何家英把深沉隽永化作文质轻盈，彬彬然，訚訚然，虽画外逸兴不绝如缕，然心中理想还未臻达。
2014年，何家英受聘中国艺术研究院，创建工笔画研究院，构建系统、科学、全面之学术平台，培养美术人才。其中，“古丝绸之路沿线壁画临摹与推广创作项目”是其引领新方向。临摹之道，一在发掘恢复传统技艺与材料，二在捕捉时光印迹于壁。不仅求真实再现原貌，更在汲传统创新精华，尤以工笔重彩为启。遂帅青年众画家创作出《塔吉克婚礼》和《欢乐春节》，尝引古壁画效果，赋工笔人物以宏大气象，此举是其深化“衡中西以相融”理念，化情思为笔痕之又一新探索，高山景行，仰无止境，望开中国工笔人物画味厚力浑之新风。以期守正出新，推动中国画创变发展。
《欢乐春节》
He Jiaying:
Inheriting Ancient Elegance,
Inspiring Unique Modernity
In ancient times, the art of painting, especially in depicting human figures, adhered to the methods of the Jin and Tang dynasties. Jin and Tang paintings were grand and elegant, inheriting the legacy of the Han and Wei dynasties and paving the way for the Song and Yuan dynasties. They were refined and profound, capturing the essence and variations of life. Throughout various ideological movements and dynastic changes, their brilliance remained prominent.However, by the Ming and Qing dynasties, the art of painting declined and became increasingly weak. Yet, freehand brushwork flourished, producing numerous masters. In the new China, significant achievements were made in freehand painting. Masters like Xu Beihong, Jiang Zhaohe, Huang Zhou, and Wang Ziwu absorbed the essence of Western painting techniques and integrated them into freehand figure painting, innovating and achieving remarkable results.Despite the fact that there were dedicated individuals exploring the roots of traditional painting and achieving notable success, these works were often categorized as folk paintings. Later efforts became indistinguishable from folk art, failing to establish a significant presence. Gongbi (meticulous) painting struggled to rise from its low point until Mr. Pan Jiezi advocated for the revival of the Han and Tang spirit, considering it a great mission for contemporary artists.
After the Cultural Revolution, many sectors awaited revival, and the art community engaged in deep reflection, seeking the true essence of art. He Jiaying, integrating Western and Chinese techniques, emerged as a talented artist. His freehand figure painting "Spring City is Full of Blossoms" won the second prize at the Second National Youth Art Exhibition. However, he was introspective and sought a different path.He realized that Gongbi painting must continue the spirit of the Jin and Tang dynasties while incorporating Western methods, which he considered the true path. Thus, he used Gongbi painting to depict contemporary life, capturing not only the appearance but also the essence and spirit of his subjects, achieving true expression and emotion.He broke conventional norms, avoiding clichés and rigid forms, focusing on sincere observation and psychological depiction. Thus, "Street Director" was created, using Gongbi techniques to capture the essence of human figures. It inherited the elegance of Tang paintings while expressing contemporary sentiments, eliminating outdated concepts and highlighting the true nature and spirit of the times.
He Jiaying understood that realistic Gongbi figure painting had great potential. He was confident and dedicated, studying Silk Road murals, Western medieval paintings, and post-Renaissance European art. He recognized the similarities and differences between Chinese and Western painting, understanding that Chinese realistic painting must be grounded in Eastern aesthetics.To capture the essence of objects, it was not just about surface depiction but unifying meaning and truth. Gongbi painting, being inclusive, could innovate through mutual integration. He thus explored deeper integration between Chinese and Western painting, pursuing the pinnacle of artistic achievement.
In 1983, the Gongbi painting "Mountain Land" was created, presenting a fresh perspective. It won the gold medal at the Second Youth Art Exhibition in Tianjin. He Jiaying led the Gongbi figure painting to seek new expressions, using traditional techniques to depict robust figures inspired by ancient murals. He portrayed the backbone of labor and tenacious spirit, symbolizing the grand theme of the Chinese spirit, conveying magnificence and poignancy within a small frame.This work became a model of the integration of Gongbi's artistic conception and technique, blending Chinese and Western elements. It shocked the art world and opened up a new trend.
In the early 1980s, Chairman Qin Zheng gathered young talents in a creative research, studying ancient and modern, Chinese and foreign painting materials and exhibitions. They went to Taihang Mountains to study artistic creation rules. He Jiaying was diligent in exploration and research, gaining sudden insight, leading to the creation of masterpieces such as "Mountain Land," "Autumn Nineteen," "Summer," and "Mizhi Women." These works revitalized Gongbi figure painting, rooted in life emotions, emphasizing true nature, expressing the spirit of the times, and highlighting the brilliance of humanity.
In 1988, the first exhibition of the Contemporary Gongbi Painting Society was held. He Jiaying's "Sour Grapes" won the Gold Fork Award, and his creative concepts and practical results were highly recognized. Numerous excellent works by various artists were also exhibited, indicating a promising future. Hence, Mr. Pan Jiezi declared in his speech that Chinese Gongbi painting had emerged from its low point and had a bright future, a statement of great significance.
At the second exhibition of the Contemporary Gongbi Painting Society, He Jiaying won the gold medal again with "Autumn Meditation." Prior to this, he created "Soul of Mawei," followed by "Morning Dew Mulberry" and "Rest of the Dance," gaining significant acclaim and establishing his status in Gongbi figure painting.
Since then, Gongbi figure painting has undergone significant changes, no longer constrained by superficial details but focusing on the spirit of the subjects. Under He Jiaying's influence, Gongbi painting emphasized delicate techniques while pursuing the essence of human spirit. Creative themes shifted from surface depiction to inner portrayal, rich in thought, opening up new realms for Gongbi figure painting.He Jiaying delved deeply into exploration, expressing his own sentiments. Under his influence, Gongbi figure painting became more romantic and intriguing. This transformation reshaped the artistic value of Gongbi painting, leading to its resurgence in contemporary art. He not only established the direction for contemporary Gongbi figure painting but also paved the way for future exploration.He Jiaying was undoubtedly a key figure in this transformation, playing a crucial role. His contributions established an important position for Gongbi figure painting in contemporary art history and paved a broad path for future generations.
Since the mid-1990s, He Jiaying has integrated the brushwork of literati landscape painting into freehand figure painting, using gentle and subtle lines to pursue a detached poetic quality. He transformed deep and lasting emotions into light and elegant compositions, though his ideal remained unfulfilled.
In 2014, He Jiaying was appointed by the Chinese National Academy of Arts to establish the Gongbi Painting Research Institute, creating a systematic, scientific, and comprehensive academic platform to cultivate art talents. Among these initiatives, the "Mural Copying and Promotion Project Along the Ancient Silk Road" led a new direction. The goal of copying murals was twofold: to restore traditional techniques and materials and to capture the traces of time on the walls. It sought not only to accurately recreate the original appearance but also to draw on the essence of traditional innovation, especially in Gongbi and heavy color painting.He led young artists to create works like "Tajik Wedding" and "Joyous Spring Festival," attempting to evoke the effects of ancient murals and endowing Gongbi figures with grandeur. This effort was a further exploration of his concept of integrating Western and Chinese elements, transforming emotions into brushstrokes. With this new exploration, He aimed to open a new trend of robust and rich Gongbi figure painting, striving to uphold tradition while innovating, promoting the development and transformation of Chinese painting.
Preview：
e Jiaying asserts that Chinese painting emphasizes brushwork and ink, valuing their spirit and charm beyond mere effect and mood. However, in recent years, the art of xieyi (freehand) painting has declined because its essence is not well understood. "Xieyi" is not merely a matter of style or form but a fundamental artistic spirit, unrelated to the size of the brushstroke. Understanding this concept is essential to grasping the essence of xieyi painting.
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