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胡蓉一直醉心于民间美术,并试图在一种原始的文化符号中寻找自己的归宿。她从最初对民俗学的兴趣,到后来的学术上的深层感悟,撰写了大量的民间美术学术论文并创作了具有强烈个性的油画作品。84年她创作了具有鲜明装饰风格的壁挂《阿福》,画面中,她大量地运用了民间色彩规律,红黄搭配,绿紫相间,既浓烈又古朴,给人一种陕西泥玩具之感。由于她出自工艺美术专业,“三大构成”便给她奠定了一个充分的视觉理论及视觉表达基础。她无论怎样画总能让人看出立体主义中的结构因素。然而,她仍用十几年心血深入生活,去寻找民间美术的真谛,大量的实地采风及不断地深入研究民间美术的过程,使她拓宽了学术研究的领域,《东北民族民间剪纸与地域文化的断想——图腾之梦》、《造型与选择》、《东北民间皮影面面观》、《中国民间美术与宇宙观》等重要学术论著问世。博大精深的民间美术深深的解动了她,她也深刻地
Hu Rong has been obsessed with folk art, and tried to find their own destiny in a primitive cultural symbol. From her initial interest in folklore to her later academic insights, she wrote a large number of folk art academic dissertations and created oil paintings with strong personalities. 84 years she created a distinctive decorative style wall “Fu”, the screen, she used a large number of folk color law, with red and yellow, green and purple, both strong and simple, giving a feeling of clay toys in Shaanxi . Because of her professional arts and crafts, “the three constitute” gave her a full set of visual theory and visual basis. No matter what kind of painting she always can make people see the structural factors in Cubism. However, she still spent more than a decade hard life, to find the true meaning of folk art, a large number of field folk songs and continue to study the process of folk art, making her broaden the field of academic research, "Northeast folk paper-cut and regional culture Imagination - Totem Dream, Shape and Choice, Northeast Folk Shadow, Chinese Folk Art and Universe, and other important academic treatises. Her deep and profound folk art relieved her, she also profoundly