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2026年3月，“山还是那座山——孟多昕太行主题画展”在太原启幕。作为一位深耕太行山四十余载的画家，孟多昕从水彩转入山水，融中西技法于一炉，以太行为母题，践行“以创作带基础”的艺术理念。本次展览汇集近五十件作品，涵盖太行四时之景与八陉人文意象，既有鸿篇巨制，亦见精致小品。评论家指出，其画风从细密叙事转向粗犷写意，呈现出“刚柔相济、烟润气韵”的独特风貌，更以太行精神为内核，完成从地理复刻到心灵原乡的笔墨升华。本专题特辑展览现场、艺术家自述与学界评析，以飨读者。

 

In March 2026, the exhibition “The Mountain Remains the  Same – Meng Duoxin’s New Taihang Paintings” opened in Taiyuan. A painter  who has immersed himself in the Taihang Mountains for over forty years,  Meng transitioned from watercolor to landscape painting, integrating  Chinese and Western techniques while taking Taihang as his central  motif, practicing the artistic principle of “using creation to drive  fundamentals.” This exhibition brings together nearly fifty works,  covering the four seasons of Taihang and the cultural imagery of the  Eight Passes, including both monumental compositions and delicate  sketches. Critics note that his style has shifted from meticulous  narrative to a more rugged, freehand expression, presenting a unique  aesthetic of “hardness-softness balance with moist and ethereal charm.”  With the spirit of Taihang as its core, his work achieves a  brush-and-ink sublimation from geographical replication to spiritual  homeland. This feature compiles exhibition scenes, the artist’s own  statements, and scholarly critiques for our readers.

 

关键词

Keywords

 

孟多昕；太行山；山水画；中西融合；写生；共情；太行八陉；笔墨精神；刚柔相济；烟润气韵

一、开幕盛况：群贤毕至，共绘太行新境

I. Grand Opening: A Gathering of Minds, Painting a New Vision of Taihang

3月27日，“山还是那座山——孟多昕太行主题画展”在山西太原隆重开幕。众多文化艺术界人士以及来自多地的艺术家、书画爱好者共同出席开幕式，现场气氛热烈。
On  March 27, the exhibition “The Mountain Remains the Same – Meng Duoxin’s  New Taihang Paintings” grandly opened in Taiyuan, Shanxi Province.  Numerous cultural and artistic figures, along with artists and  calligraphy enthusiasts from various regions, attended the opening  ceremony, creating a lively atmosphere.
 

展览由山西省人民政府参事室（文史研究馆）主办，书画频道山西工作中心、迎泽贤书书画院联合承办。同期举办了专题艺术沙龙活动，与会者围绕“太行主题绘画的精神指向”等议题展开深入交流，现场讨论气氛热烈。
The  exhibition was hosted by the Counsellors‘ Office (Research Institute of  Culture and History) of the Shanxi Provincial People’s Government, and  co-organized by the Shanxi Work Center of the Calligraphy and Painting  Channel and the Yingze Xianshu Calligraphy and Painting Academy. A  special art salon was held concurrently, where participants engaged in  in-depth discussions on topics such as “the spiritual direction of  Taihang-themed painting,“ generating a vibrant on-site exchange.

二、技法融合：中西合璧，刚柔相济

II. Technical Fusion: Chinese-Western Integration, Balancing Hardness and Softness
 

展览现场共展出孟多昕近年创作的近50幅山水精品。作品尺幅不一，既有鸿篇巨制，亦有精致小品，涵盖太行山四时之景与太行八陉人文意象。
The  exhibition featured nearly fifty fine landscape works created by Meng  Duoxin in recent years. The pieces vary in scale, including both  monumental compositions and delicate sketches, covering the four seasons  of the Taihang Mountains and the cultural imagery of the Eight Passes  of Taihang.
 

画作以刚柔相济、烟润气韵为特色，既见大斧劈皴写就的岩崖刚劲，亦有泼墨渲染的云岚柔润，更融入西画光影与水彩技法。评论家指出：“我们从他的山水画中能够发现，他的技法是综合的……不仅有他早年对油画语言的转化，同时也有对水彩、壁画，当然更多的是综合到山水画技法当中。孟多昕先生的山水画技法是充分融合了中西绘画的多种技法而形成的。”这种中西合璧的探索，使太行的雄浑、灵秀、沧桑与禅意融于一炉。
The  paintings feature a fusion of hardness and softness, with moist and  ethereal charm. They display the ruggedness of cliffs rendered in bold  axe-cut texture strokes, as well as the softness of clouds and mist  expressed through splash ink, while also incorporating Western  light-and-shadow effects and watercolor techniques. As one critic noted:  ”From his landscape paintings we can see that his techniques are  comprehensive… not only the transformation of his early oil painting  language but also elements of watercolor and mural painting—most  importantly, these are integrated into the techniques of landscape  painting. Mr. Meng Duoxin‘s landscape painting techniques are formed by  the full integration of various Chinese and Western painting methods.“  This Chinese-Western synthesis blends the grandeur, elegance,  vicissitudes, and Zen quality of Taihang into one.

三、创作心语：悲悯共情，以笔写魂

孟多昕在展览中分享了自己的创作体悟：“太行山，我已经用四十多年的时间走遍了太行山的山山水水、沟沟壑壑。特别是近两年，利用三次时间走完了太行八陉，对太行山有了一个更深入、更细致的了解。”
At  the exhibition, Meng Duoxin shared his creative insights: ”I have spent  over forty years traversing every mountain, river, and ravine of  Taihang. In particular, over the past two years, I have completed three  journeys through the Eight Passes of Taihang, gaining a deeper and more  detailed understanding.“
 

一位文化界友人在开幕式上动情地说：“艺术家更应该有一种悲悯情怀，对大自然也好，对人也好。那种悲悯之心一旦融入到自然之中，它是可以和这个自然彼此共情的……一个画家、艺术家，能和自己笔下所画之物也在共情。这种共情出来的作品，他首先是感动他自己，然后才感动别的人。艺术不能耍花招。艺术应该呈现的是笔下所画的灵魂的存在。”
A  cultural figure said at the opening ceremony with deep emotion:  ”Artists should possess compassion, whether toward nature or toward  people. Once that compassion integrates with nature, it enables mutual  empathy with nature… A painter or artist can also empathize with what he  depicts. The works born from such empathy first move the artist  himself, and only then can they move others. Art cannot resort to  trickery. Art should present the soul of the subject depicted.“
 

孟多昕正是以这种共情之心，以太行为师，将个人情感与山川精神融为一体，以笔墨写心，以山水寄情。
With  this empathetic heart, Meng takes Taihang as his master, integrating  personal emotion with the spirit of mountains and rivers, expressing his  heart through brush and ink and conveying feelings through landscapes.

四、学术品评：从复刻地理到升华精神
IV. Critical Appraisal: From Geographical Replication to Spiritual Sublimation
 

评论家认为，孟多昕的创作已从早期的地理复刻转向精神原乡的笔墨升华。“山还是那座山”的主题，正是这一转向的凝练表达。
Critics  believe that Meng Duoxin’s work has shifted from early geographical  replication to a brush-and-ink sublimation of spiritual homeland. The  theme ”The Mountain Remains the Same“ is a concise expression of this  transition.
 

有学者评价：“他固然雄浑大气都在，也有书卷气、书香味、有诗情、有画意、有佛性、有禅意……在孟多昕的笔下，山已经不是以前他画的那些山了，是他进入成熟思考之后、特殊感悟之后、特别认知之后，以崭新的笔墨、崭新的构思、崭新的创意所绘出来的别具风味的、既有人文色彩又有自然意义的那座太行山。”
One  scholar remarked: ”While his grandeur and power are still present,  there is also a scholarly elegance, poetic sentiment, pictorial charm,  Buddhist nature, and Zen quality… Under Meng Duoxin’s brush, the  mountains are no longer what he painted before. They are the Taihang  Mountains rendered with fresh brushwork, fresh composition, and fresh  creativity, born of mature reflection, special insight, and unique  understanding—both humanistic and natural.“
 

另一位评论家补充：“他的作品在竭力地塑造山西精神、太行精神。因此说他的作品最能够打动人。”本次展览不仅是对孟多昕艺术生涯的阶段性总结，更是对“表里山河”文化精神的当代诠释。
Another  critic added: ”His paintings strive to shape the spirit of Shanxi and  the spirit of Taihang. That is why his works are most touching.“ This  exhibition is not only a milestone summary of Meng Duoxin’s artistic  career but also a contemporary interpretation of the cultural spirit of  the ”Biao Li Shan He“ (land within and beyond the mountains).
 

五、写生为本：四十载深耕，太行为师
V. Sketching as Foundation: Forty Years of Deep Cultivation, Taking Taihang as Master
 

孟多昕1951年生于内蒙古，毕业于内蒙古师范大学美术学院，受教于妥木斯、胡勃等名家。初学水彩，后攻山水。他曾任中国美术家协会山西分会理事，现为山西省人民政府文史馆员。
Meng  Duoxin was born in Inner Mongolia in 1951. He graduated from the Fine  Arts College of Inner Mongolia Normal University, where he studied under  renowned artists such as Tuomusi and Hu Bo. He initially studied  watercolor and later turned to landscape painting. He previously served  as a director of the Shanxi Branch of the China Artists Association, and  is currently a librarian of the Shanxi Provincial People’s Government‘s  Research Institute of Culture and History.
 

四十余年来，他坚持深入太行写生，无论刮风下雨，四季不辍。有同行回忆：“孟老师下雪的时候还直接到太行山里去采风，冒着大雪，这种精神令人感动。”
For  over forty years, he has persisted in sketching in the Taihang  Mountains, rain or shine, through all seasons. A fellow artist recalled:  “When it snowed, he went straight into Taihang to collect materials,  braving heavy snow. This spirit is touching.”
 

展览作品分为三部分：过去十余年积累的优秀作品、太行八陉写生、以及以白陉为主的创作探索。孟多昕表示：“觉得作为一个画家，有责任把太行山完整地表现出来。”
The  exhibition works are divided into three parts: outstanding works  accumulated over the past ten-plus years, sketches from the Eight Passes  of Taihang, and exploratory works based on the Bai Pass. Meng Duoxin  said, “I felt it is my responsibility as a painter to fully represent  the Taihang Mountains.”
 

另一位艺术家评价道：“今年的作品更放得开了……更加粗犷了一些，写意的成分更多了一些，更率真了一些。看他的画，就更加感觉到身临其境。”这种以写生为本、以造化为师的态度，成就了他笔下“不一样的太行山”。
Another  artist commented: “This year’s works are more liberated… more rugged,  more freehand, more straightforward. Viewing his paintings, you feel  more immersed.” This attitude of taking sketching as the foundation and  nature as the teacher has given birth to “a different Taihang Mountains”  under his brush.