字畏之、號老拙。中國美術家協會會員、湖南省美術家協會理事，國家一級美術師；中國書法家協會湖南會員；中南林業科技大學客座教授；九三學社中央畫院畫家；大風堂張大千國際藝術研究會執行會長；華夏城鄉文化書畫研究院常務副院長。曾就讀于中央美術學院研究生班，清華大學美術學院美術理論高研班；北京鳳凰嶺書院二期書畫學精英班；中國國家畫院龍瑞、范揚導師工作室畫家。
The word is afraid and the number is old and clumsy. Member of China Artists Association, director of Hunan Artists Association, national first-class artist; Hunan member of China Calligrapher Association; Visiting professor of Central South University of forestry science and technology; Painter of the central Painting Academy of the Jiusan Society; Zhang Daqian, executive president of the International Art Research Association; Executive vice president of Huaxia urban and rural culture calligraphy and Painting Research Institute. He studied in the graduate class of the Central Academy of fine arts and the advanced research class of art theory of the Academy of fine arts of Tsinghua University; Elite class of calligraphy and painting, phase II, FengHuangLing academy, Beijing; Long Rui, Fan Yang tutor studio painter of the National Academy of painting of China.
早年曾受業于宋文治、關山月、郭紹綱、曾曉滸諸先生。。多年來從事中國畫的理論研究與實踐。致力于歷史與現代、東方與西方、民間與廟堂、文化縱橫比較與思考。作品風格多變， 水墨寫意、青綠重彩，均得心應手 ,追求正大陽剛，氣勢恢宏之氣象，潛心于中國山水畫表現的新形式.。
In his early years, he worked in Song Wenzhi, Guan Shanyue, Guo Shaogang and Zeng Xiaohu.. He has been engaged in the theoretical research and practice of Chinese painting for many years. It is committed to the vertical and horizontal comparison and thinking of history and modernity, East and West, folk and temples, and culture. The style of his works is changeable. He is comfortable with ink freehand brushwork and green and heavy color. He pursues the atmosphere of righteousness, masculinity and grandeur, and devotes himself to the new form of expression of Chinese landscape painting.
近年來， 取法乎上，在故紙堆中尋求傳統中國畫筆墨精髓及精神內涵。深研從宋、元、五代之古賢，尤崇元四家之王黃鶴、黃公望。明清之唐寅、仇英、文征明，龔半千、髡殘、石濤、王原祁諸家。融南北宗，博采眾長，厚積薄發， 作品時而恣肆放縱，時而書卷內斂。注重畫外功的個人修為，讀萬卷書：以經史子集為圭臬，歷日課讀，手不釋卷。趨步于技進乎道、大道至簡之格調；行萬里路：飽游沃覽，澄懷味象、呼嘯山林、煙云供養之狀態。使畫面呈現古拙樸素幽深之意境，蘊涵其儒家之厚重，道家之清虛，釋家之空靈之大美。乃是業內公認頗具學術價值和創作實力的中國畫藝術家。
In recent years, he has adopted the best method and sought the essence and spiritual connotation of traditional Chinese brush and ink in the pile of old papers. Deeply study the ancient sages of the song, yuan and Five Dynasties, especially Huang He and Huang Gongwang, the kings of the four families of the Yuan Dynasty. Tang Yin, Qiu Ying, Wen Zhengming, Gong banqian, Kun can, Shi Tao and Wang Yuanqi in the Ming and Qing Dynasties. It integrates the north and South sects, draws on the strengths of others, accumulates a lot, and works are sometimes wanton and indulgent, and sometimes introverted. Pay attention to the personal cultivation of painting external skills and read thousands of books: Based on the sub collection of classics and history, read in calendar classes without putting down the books. Step by step in the style of technology, road, Avenue and simplicity; Travel thousands of miles: full tour, fertile view, Chenghuai taste image, Wuthering mountain forest, smoke and cloud support. The painting presents an ancient, simple and profound artistic conception, which contains the massiness of Confucianism, the emptiness of Taoism and the great beauty of Buddhism. He is a recognized Chinese painting artist with considerable academic value and creative strength in the industry.
著述出版近一百多萬字的藝術批評及學術研究文字。其中有《中國山水畫色彩運用探微》、《溢墨泛彩沒骨山水之經營》、《中國水墨畫與玄學》、《論丹青精神》、《中國水墨寫意與西畫抽象的比較》、《戲說墨分五色》、《二十世紀末名存實亡的傳統中國畫》、《當今湖湘藝壇誰主沉浮？》諸文。作品多次入選全國、全省重要展覽和賽事，藝事載入數十種籍典。作品被國際、國內學術權威機構如博物館、美術館等收藏。
He has written and published more than 1 million words of art criticism and academic research. Among them are the exploration of the color application of Chinese landscape painting, the management of ink spilling and color boneless landscape, Chinese ink painting and metaphysics, on the spirit of Danqing, the comparison between Chinese freehand brushwork and Western painting abstraction, joking that ink is divided into five colors, traditional Chinese painting that survived at the end of the 20th century, and who is in charge of the ups and downs of Huxiang art world today Zhu Wen. His works have been selected into national and provincial important exhibitions and competitions for many times, and art events have been recorded in dozens of books. His works have been collected by international and domestic academic authorities, such as museums and art galleries.
他的山水畫具有深厚的學術傳統，風格雄渾博大，意境高遠宏壯。《秋水共長天一色》，色彩絢爛，具象和抽象之間，山巒·湖水，長天·云彩融于一體。《天籟》《弘道圖》，以紅色為主彩，層層疊高，具有宋代郭熙《林泉高致》中所說的“高遠”之大境界，畫面彰顯宏壯的宇宙意識，給人以天風浪浪，海山蒼蒼之感。《壁立千仞》，用直線條畫出邊緣，似鋼板錯落排列，層層樹立的平板一樣的山體，輔以皴擦，壁立千丈，大塊面幾何性構成剛健的山體，創造出一種全新的山水畫形式。《清氣滿太虛》，吸收四王皴法，融入龔賢，石濤的墨韻，創造出渾厚華滋，圓潤清醇的山水圖式。由此可見，何仁誥在傳統和現代兩極用力頗深。
His landscape painting has a profound academic tradition, vigorous and broad style, lofty and magnificent artistic conception《 The autumn water is a long sky with one color. The color is gorgeous. Between concrete and abstract, mountains, lakes and clouds are integrated《 The sound of nature and the painting of Hongdao are mainly colored in red and stacked high layer by layer, which has the great realm of "lofty" as mentioned in Guo Xi's "Lin Quan Gao Zhi" in the Song Dynasty. The picture shows the magnificent cosmic consciousness and gives people a sense of heaven, wind and waves, and the sea and mountains《 Standing on a thousand feet, the edge is drawn with straight lines, which is like a flat mountain set up by layers of steel plates, supplemented by Cun wipe, the wall stands thousands of feet, and the large surface geometry forms a strong mountain, creating a new form of landscape painting《 Qingqi fills Taixu ", which absorbs the four kings' texturing method and integrates the ink rhyme of Gong Xian and Shi Tao to create a rich, mellow and mellow landscape pattern. It can be seen that he rengao made great efforts at both the traditional and modern poles.
其長年不斷的研習和創作，更使他能夠對中國山水畫理論和技法博觀而約取，既汲取傳統中的精華，又不拘泥于固有的程式和套路，在對傳統文化的揣摩領會中，逐漸形成了獨具一格的既古樸厚重又具有現代氣息的山水畫筆墨風格。
His constant learning and creation has enabled him to draw on the theories and techniques of China's landscape painting, drawing on the essence of tradition and not sticking to the inherent formula and routine. In the understanding of traditional culture, he gradually formed a unique style of landscape painting which is simple and thick and modern.
何仁誥的山水畫令我感到震撼的是其背后呈現的生命格局。不論是畫的江南，還是塞北，都有一種向死而生的精神旨歸，都包含著充沛的生活氣韻和活力。我比較喜歡具有穿透時空，也穿透表象，充滿生命張力的藝術品。藝術在這個意義上與生命的氣象直接相連，并且表現生命的大美與大氣。中國畫講究氣韻生動。我想這其中更多的是指向繪畫所表達的天地萬物生命的氣象，氣格和氣量。何仁誥先生正是在這個層面進行繪畫創作的，他的繪畫是對生命氣象的充沛表達。
What shocked me about he rengao's landscape painting was the life pattern behind it. Whether it is the south of the Yangtze River or the north of the Great Wall, there is a spiritual purpose of living to death, which contains abundant life charm and vitality. I prefer works of art that penetrate time and space, also penetrate the appearance and are full of life tension. In this sense, art is directly connected with the weather of life, and expresses the great beauty and atmosphere of life. Chinese painting stresses charm and vividness. I think this is more to point to the weather, Qi and volume of life of heaven and earth expressed by painting. It is at this level that Mr. He rengao carries out his painting creation. His painting is a full expression of life atmosphere.
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