在當前的山水畫創作中，強化精神力度與精求筆墨趣味，已成為普遍關注的問題。新近當選北京美協理事的青年畫家陳克永，恰恰經過多年的努力探索，在二者的統一方面邁出了有力的步伐，理所當然地受到了行家和觀眾的好評。
In the current creation of landscape painting, it has become a common concern to strengthen the spiritual strength and seek the ink interest. Chen Keyong, a young painter who was recently elected as the director of Beijing Artists Association, has made great strides in the unity of the two after years of hard exploration, and has naturally been praised by experts and audiences.
觀賞中國山水畫研究院院長陳克永的山水畫，第一個引人矚目之處，就是其壯美的真景似乎超越了具體時空的局限，大美的境象與崇高的精神融為一體。他的許多作品，以大山為主體，層巒疊嶂，云涌泉流，唯獨不見人物，然而那杳無人跡的高山大壑已經人格化了，分明煥發著飽滿昂揚的人文精神。可以想見，在陳克永的觀念中，絲毫沒有西方畫家“主客兩分”，有的只是中國畫家的“亦物亦我”和“天人合一”。他在人民大會堂有多幅大型山水畫展示。
The first thing that attracts people's attention when they watch Chen Keyong, President of the Chinese Academy of landscape painting, is that his magnificent real landscape seems to transcend the limitations of specific time and space, and the grand landscape and lofty spirit are integrated. Many of his works, with mountains as the main body, are surrounded by mountains and streams of clouds, but there are no figures. However, the mountains and gullies where there are no people have been personified, which clearly radiates a full and uplifting humanistic spirit. It can be imagined that in Chen Keyong's concept, there is no "subject and object dichotomy" of Western painters, but only "also matter and I" and "unity of heaven and man" of Chinese painters. He has many large-scale landscape paintings displayed in the Great Hall of the people.
他無論畫“閱盡人間春色”的莽莽燕山，還是畫茫茫瀚海上的錚錚古木，抑或是畫自天而落的滔滔黃河，都深情地注入了整個民族的歷史記憶和現實感奮，都寄寓早已融入高山巨川、大漠長河中的古老而且充滿生機的民族精神。這與他對山水畫優良傳統的繼承，有著密不可分的關系。把山水作為民族生存的偉大空間和高昂精神的感情投射，正是中國山水畫早已形成的寶貴傳統。對于深諳傳統奧秘的畫家而言，山水畫是人的自由旺盛的創造精神與大自然陰陽熏蒸的蓬勃生氣的統一，是對屹立于歷史時空中蘊含著精神文化的生存環境的謳歌，是奔躍的生命，是可愛的鄉土，是充滿自豪與自信的精神家園。
No matter he painted the wild Yanshan mountain, the ancient wood on the vast sea, or the surging Yellow River from the sky, he deeply infused the whole nation's historical memory and realistic emotion, and all of them embodied the ancient and vital national spirit that had been integrated into the mountains, rivers and deserts. This is closely related to his inheritance of the fine tradition of landscape painting. It is the precious tradition of Chinese landscape painting to take landscape as the great space of national existence and the emotional projection of high spirit. For painters who are familiar with the mystery of tradition, landscape painting is the unity of human's free and vigorous creative spirit and nature's yin-yang fumigation. It is an eulogy to the living environment which contains spiritual culture in historical time and space. It is a leap life, a lovely local place, and a spiritual home full of pride and confidence.
12世紀后文化中心的南移，北方畫家的銳減，元明清山水畫家心態的變化，大江以南山水的秀美，最終釀成了山水畫的由雄轉秀，宏偉壯闊變為蕭散簡淡，更后隨著摹古風的流行，秀美的山水畫進一步走上了公式化的狹路，雖不乏名家，但總體上是衰落了。近百年來，志在改革的山水畫家，為了扭轉因襲摹古的頹風，開始以科學的求真精神，變師古人為師造化，變書法畫的寫意為繪畫性的寫實，變臨摹前人為對景寫生。雖然在刻畫具有時代性的人文景觀上大有收獲，但未充分理解科學與藝術把握世界方式的差異，在構景造景上受到焦點透視處理空間的西方風景畫的影響，盡管增加了生活氣息，卻少有勢足力大的精神燦爛之作。
After the 12th century, the cultural center moved to the south, the painters in the North declined sharply, the mentality of landscape painters in the yuan, Ming and Qing Dynasties changed, and the beauty of the landscape in the south of the great river finally turned into the magnificent landscape painting, which turned into the simple and simple landscape painting. Later, with the popularity of copying the ancient style, the beautiful landscape painting further went on the narrow path of formula, although there are many famous artists, but it declined on the whole. In the past hundred years, landscape painters who are aiming at reform, in order to reverse the trend of imitating the ancients, began to take the scientific spirit of seeking truth, to change their learning from the ancients, to change the freehand brushwork of calligraphy and painting into the realistic brushwork of painting, and to change the copying from the predecessors into the landscape brushwork. Although there are great achievements in depicting the humanistic landscape with the characteristics of the times, the differences between the ways of grasping the world by science and art are not fully understood, and the western landscape painting, which focuses on perspective processing space, has been influenced in landscape construction. Although it has increased the flavor of life, there are few energetic and brilliant works.
直到改革開放的80年代，眼界的開拓，對傳統的反思，重振民族雄風的壯志，才造就了一些用復興五代北宋大山大水傳統以弘揚民族精神的畫家。這些畫家以愛鄉土愛祖國的深情，把創作扎根于鄉土生活的深處，以不同于西方人的“天人觀”，用講求筆墨語言的嚴謹寫實風格，創造了以北方山水真景為母題的紀念碑式的作品，雄渾樸茂，氣象萬千，勢強境闊，無愧前人。在這一方面，中年畫家賈又福的《太行豐碑》早已為世人所稱道，陳克永則是為數不多的青年畫家中的佼佼者。
It was not until the 1980s of reform and opening up that the development of vision, the reflection on tradition, and the ambition to revive the national spirit brought up some painters who carried forward the national spirit by reviving the tradition of mountains and rivers in the Five Dynasties of Northern Song Dynasty. These painters, with their deep love for the native land and the motherland, have rooted their works in the depth of local life, with their "outlook on heaven and man" different from that of Westerners, and with their rigorous realistic style of writing and ink language, have created monumental works with the true landscape of the North as the motif. They are magnificent, simple and luxuriant, magnificent, powerful and broad-minded, worthy of predecessors. In this respect, the monument of Taihang by Jia Youfu, a middle-aged painter, has long been praised by the world, and Chen Keyong is one of the few outstanding young painters.
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