亚明 | 钟山胜景
亚明（1924—2002）是中国画坛重要流派——“新金陵画派”的中坚推动者和组织者。专攻中国画，擅人物、山水，提出“中国画有规律而无定法”之说，主张中国画的去向应继承传统，面向生活，融会外国绘画艺术之精华，促进中国绘画艺术的发展。他像同时代的画家一样，把文艺作为革命的工具，力图以艺术的表现反应新时代的面貌。同时，四十年的南京生活，也为他的思想和文化血脉注入了遗传的基因。
这幅作于1980年代的《钟山胜景》，颇有兴致的描绘了紫金山天文台的景观。紫金山天文台前身是1928年成立的紫金山天文所，1950年改称中国科学院紫金山天文台，我们在同时期的“新金陵画派”画家的绘画中经常会见到紫金山天文台的身影，甚至紫金山天文台和北极阁气象台会同时出现，它们是20世纪初至20世纪末，整个南京乃至中国现代化的想象对象，承载了无数中国人对于未来的美好憧憬。
Yaming (1924-2002) was a significant advocate and organizer of the influential "New Jinling School" of Chinese painting. He specialized in Chinese painting, specializing in figures and landscapes, and promoted that the direction of Chinese painting should be inherited from tradition, oriented to life, and blended with the essence of foreign painting art, in order to promote the development of Chinese painting art. Like his predecessors, he saw literature and art as revolutionary tools and attempted to respond to the face of the new era through artistic expression. Simultaneously, forty years in Nanjing introduced genetic genes into his thought and cultural ancestry.
This 1980s painting, Zhongshan Scenery, displays the landscape of the Zijin Mountain Observatory with tremendous fascination. The Zijin Mountain Astronomical Institute, which was founded in 1928 and renamed the Zijin Mountain Observatory of the Chinese Academy of Sciences in 1950, was the forerunner to the Zijin Mountain Observatory. The Zijin Mountain Observatory appears frequently in the paintings of painters of the New Jinling School of Painting at the same time, and the Zijin Mountain Observatory and the Beiji Ge Meteorological Observatory even appear at the same time, which were imaginary objects of modernization in Nanjing and even in China in the early and late twentieth centuries. They were the projected objects of modernization for Nanjing and even China from the beginning to the end of the twentieth century, and they conveyed the wonderful visions of the future to countless Chinese people.
亚明（1924年－2002年2月19日）在中国画坛上，以其卓越的艺术成就熠熠生辉，他出生于安徽省合肥市。1941年，他毕业于淮南艺术专门学校，这个里程碑标志着他艺术之旅的起点。他是中国画坛重要流派——“新金陵画派”的中坚推动者和组织者，这一重要运动在中国艺术界留下了不可磨灭的印记。亚明主张“中国画有规律无定法”，这一理念贯穿于他的作品中，培养出独创性的艺术手法，引人入胜并超越了艺术的界限。他曾数次受命进行外交使命，进行友好访问和中外文化交流，以艺术这一普遍语言加强了中国与世界的联系。他长期担任江苏省国画院的主要负责人和副院长，以及江苏省美术协会的主席，他的杰出贡献在艺术领域留下了不可磨灭的印记。
In the realm of Chinese art, Ya Ming (1924 - February 19, 2002) stands as a luminous figure, celebrated for his remarkable artistic accomplishments. Born in Hefei, Anhui Province, his journey began with his graduation from the Huainan School of Art in 1941, a pivotal moment that marked the genesis of his artistic odyssey. Within the realm of Chinese artistry, Ya Ming emerged as a pivotal driving force and organizer of the esteemed "New Jinling School," a movement that etched an indelible mark on the canvas of the Chinese art scene. His guiding philosophy, advocating that "Chinese painting adheres to principles yet flourishes in boundless creativity," infuses his works with an innovative essence, transcending artistic confines to captivate hearts and minds. Bestowed with diplomatic missions, he undertook cordial visits and facilitated cross-cultural exchanges, leveraging the universal language of art to strengthen global bonds. His legacy resonates through his pivotal roles as the principal and deputy director of the Jiangsu Provincial Academy of Chinese Painting, along with his chairmanship of the Jiangsu Artists Association, leaving an enduring imprint on the artistic tapestry.
新金陵画派
“新金陵画派”是20世纪在中国美术史上崛起、发展并产生持续性、全国性影响的中国画流派。明末清初的南京地区曾有以龚贤为代表的“金陵画派”“，“新金陵画派”的崛起和兴盛深刻地诠释了“思想变了，笔墨就不能不变”（傅抱石语）的时代内涵。毫不夸张的说，时代变革成就了新金陵画派，而新金陵画派反映了时代风尚。
新金陵画派最重要的历史契机和活动场域即是江苏省国画院的诞生与发展，甚至可以说，二者是互为表里的关系。1960年江苏省国画院正式成立。同年9月15日中国美协江苏分会组成“江苏国画工作组”，开始为期三个月的两万三千里旅行写生。团长为傅抱石，副团长为亚明，成员包括了钱松嵒、宋文治、魏紫熙等。1961年5月2日至21日，由中国美协和江苏分会主办的“山河新貌——江苏国画家写生作品展览”在京展出，引起巨大反响。以此为标志，新金陵画派崛起为新中国代表性画派之一。其中参与画院建立和两万三千里旅行写生以及“山河新貌”画展的画家团队即包括了后来被公认的新金陵画派代表性人物：傅抱石、钱松嵒、亚明、宋文治、魏紫熙等。
“新金陵画派”的代表画家有傅抱石、钱松岩、亚明、宋文治和魏紫熙等人。北极阁气象台、紫金山天文台、南京长江大桥、扬子石化集团和南钢集团等意象经常出现在“新金陵画派”艺术家的创作中。