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阔别家乡十多年的女艺术家古仪带着这几年来创作的一百幅作品，来杭州举办大型个人画展。
古仪（原名励国仪），是著名国画大师潘天寿的儿媳，中央美术学院院长潘公凯的夫人。她少年时代与潘公凯同时求学于浙江美术学院附中，附中生活开始了她对艺术之梦的探索和追求。尽管因“文革”她的求学生涯充满着艰辛和挫折，但是回忆起附中生活，她仍十分愉快地说：“虽然那时没有很多可看的画册，我们仍从学校图书馆找出前苏联列宾、苏里科夫的画册，进行翻拍，装订成册供自己学习。图片是用潘公凯手工制作的放大机放的，放得十分清晰，比照相馆里放得还好。 ”“文革”结束后，古仪在出版社任美术编辑，创作了大量的儿童连环画和书籍插图，其中有些作品在瑞士、法国、伊朗等国获奖。
1985年，古仪调入杭州画院开始了专职绘画创作，她的艺术才能得以充分地展示。1996年，她被任命为杭州画院副院长。在画院中，她潜心于深层的艺术风格探索与追求，在深度研习中国传统工笔绘画的同时，多方面吸取写意水墨画的墨色、意境以及西方现代艺术中的构成、色彩和画面处理要素，力图使传统的工笔画更厚实、更富新意，具有更强的艺术表现力。
工笔与写意的深度融合，东方意蕴与西式技法的完美联结，加之古仪所具有的独特视角，以及她为女性艺术创作所作的积极努力，使古仪在国际绘画舞台上有着属于自己的独特地位。二十余年间，她的作品在美国、法国、新加坡、奥地利等国家多次展出，并在国内及日本、法国、美国多次获奖。法国艺评家莫阿氏 ·埃维农曾写信赞扬：“非常赏识您的细腻而充满诗意的作品，这次评选，虽然您获得的
是第二名，但我们还组织了另外的一个完整的纯学术价值的评委团，评选您的作品荣获一等奖。 ”前世界银行行长詹姆斯·沃尔芬森也写信赞扬古仪的作品。她还多次受邀作为中国女艺术家的代表，参加各种国际艺术交流活动，将中国女性绘画的优秀成果呈现给世界。国内甚少举办画展、行事低调的古仪，早已是享誉世界的国际知名女艺术家。
丰富的国际艺术交流活动，进一步拓展了古仪的视野，启发她创作题材的多样化，鼓舞着她大胆进行各种艺术探索，使其作品在典雅的东方诗意中呈现出国际化现代审美特征。
2003年因丈夫潘公凯调往北京工作，她随夫赴京，移居在中央美术学院附近。得益于中央美术学院浓厚的艺术学术氛围，她经常去中央美院艺术馆和图书馆观看欣赏艺术作品，同时还结识了北京及来自全国各地的艺术家。虽然这里存在着画风的地域性、文化、习俗的差异，但是她以敏感的悟性，博览众家，求同存异，拓宽了自己的创作天地。著名理论
古仪作品：左为《芭蕉碧玉》，右为《品茶图》。 Two paintings by Li Guoyi
家水天中先生对古仪的作品有着不菲的评价：“古仪的水墨人物画是对一系列艺术问题的回答。她采取了多方采撷而为我所用的聪明办法，来解决‘时代性’与‘民族性’的问题。与当代主流人物画不同——不以场面的冲击力和人物神态的矛盾吸引人；与‘新文人画’不同——不以飘逸笔墨和伪托古人取胜。她笔下的女性形象优雅大度而不忸怩作态，闲适宁静而充满活力，现代人生情致和古典文化韵味在她的作品里相
古仪水乡系列作品之一
This painting by Li Guoyi portrays Jiangnan.
STARDOM名家风采
得益彰。在形式处理上，她善于运用含蓄节制的色与墨，营造出明朗而蕴藉的精神境界……古仪使多样艺术因素协调并存，形成一种优美古雅而又具时代精神的艺术气质。 ”
“我喜欢写意画的灵动、多变、奔放，亦喜欢工笔画的淡淡的细腻的渲染手法，在寻求二者相融合的过程中，最重要的是在艺术语言应用上的统一。我在创作中力求做到这二者统一的完美。 ”古仪如是说。她的这次名为“古意新仪——古仪绘画作品展”汇集了近六年来创作的精品国画，包括怀旧、女性、少数民族、花鸟画、水墨拼贴等系列。画家在传统人物画的基础上，将中国写意画的水墨韵味融入工笔作品，展现了融合工笔精细写实及水墨渲染渗化的独特面貌。
在展览的开幕式上，画家古仪的亲朋好友、同事、粉丝团等三百多人济济一堂。古仪身着一袭乳白色的套装，手捧家人和友人送上的玫瑰，笑容可掬地和来宾们边喝茶边谈艺。古仪说：“这次展览就是回家来看看，向家乡人民作一个汇报。”
古仪对杭州有着很深的情结。1964年，她怀着美好艺术理想，离沪来杭，在西湖边的中国美院附中读书学画，从此与杭州这座美丽的城市结下了不解的缘分。
作为成长于上海又在杭州浸润多年的江南女子，古仪的作品多以女性为表现对象，笔下的人物或清新细腻，或端庄典雅，或带着几分神秘气息，在一颦一笑之际、一静一动之间，生动地显露江南女子的温婉。即便是她在创作中借鉴西方现代绘画构成及技法的创新画作，也掩盖不住作品中散发的传统东方气质和江南韵味。
古仪带来的大多是近些年在北京创作的作品，但流露出来的却是江南的风情，江南的情结深植于其心里。她是江南的，更是杭州的，无论她走到哪里，她的根都在这里。
Artist Holds Solo Show in Hangzhou
By San Jianghong
Gu Yi， a female artist who is away from Hangzhou for more than ten years， is back. She is now holding a solo show
in Hangzhou with over one hundred paintings created in the past six years.
Gu Yi is the name Li Guoyi uses for her art activities. She is wife of Pan Gongkai， the son of Pan Tianshou and president of the Central Academy of Art. She studied at the middle school affili-ated to the Zhejiang Academy of Fine Arts， the predecessor of the present-day China Academy of Art in Hangzhou， where she met Pan Gongkai. The life at the middle school was characterized by hardships and upheaval as it was ravaged by the Cultural Revolution （1966-1976） but she managed to find fun. Few art books were avail-able in these years， but she remembers photographing collections of masterpieces of the Soviet Union artists such as Ilya Yefimovich Re-pin and Alexander Surikov and making enlarged copies on a device manually made by Pan Gongkai. It produced better photos than those by photo shops. After the Cul-tural Revolution was finally over in 1976， she worked as an art editor for a publishing house in Hangzhou. She also created quite a few picture
books for children and did some illustrations. Some of her books for children won awards in Sweden， France and Iran.
In 1986 she became a full-time artist at Hangzhou Institute of Art and in 1996 she became the vice president of the institute. The full-time job enabled her to pursue her own style. During this period， she firmly established herself as an artist who explored the depths and widths of the traditional Chinese painting， styles， and colors. She also looked into the western arts for inspiration. As the result， her elaborate-styled painting breaks new grounds. Her artworks were displayed in America， France， Singapore， Austria， and Japan. And she won many awards and honors.
In 2003， her husband was appointed the president of the Central Academy of Fine Arts and the couple moved to Beijing. The new life in Beijing has greatly broadened her horizons as libraries and galleries are easily accessible and artists from different provinces are legion. She has improved a great deal.
Her figure painting in traditional Chinese ink an-swers an important question： how do modern artists of traditional Chinese painting create figure paintings that express and balance modernity and nationality at the same time？ She does not paint historic events in mainstream styles. She does not depict historic mo-ments and figures in modern history. Nor does she go back to ancient times and depict ancient events. She focuses on images of women graceful without pre-tenses， serene and ebullient. In her works， sentiments of a modern life commingle well with classic grace.
Gu Yi explains her style this way： “I like the agility， changeability， and ebullience of the freehand style. I also love the elaborate style that glorifies poetic de-tails. I seek to combine the two in my work.”
The opening ceremony of her solo painting show in Hangzhou was attended by over three hundred guests， including her family members， friends， colleagues and fans. Dressed in milky white and holding a bundle of roses， she smiled and chatted with guests. The artist said， “This exhibition is my report to my hometown people.”
She considers Hangzhou as her hometown， though she is from Shanghai. In 1964， she came to Hangzhou and started her art student education. Her life became intricately entangled with the local people and the West Lake of Hangzhou.
Though most of the exhibits were created in Bei-
jing， they reflect a personality of Jiangnan， arguably
the most amazing noun in Chinese that describes the natural beauty， prosperity， peace， culture and history in the south of the Yangtze River delta. No matter where she goes， she considers herself a native of Jiangnan.
古仪（原名励国仪），是著名国画大师潘天寿的儿媳，中央美术学院院长潘公凯的夫人。她少年时代与潘公凯同时求学于浙江美术学院附中，附中生活开始了她对艺术之梦的探索和追求。尽管因“文革”她的求学生涯充满着艰辛和挫折，但是回忆起附中生活，她仍十分愉快地说：“虽然那时没有很多可看的画册，我们仍从学校图书馆找出前苏联列宾、苏里科夫的画册，进行翻拍，装订成册供自己学习。图片是用潘公凯手工制作的放大机放的，放得十分清晰，比照相馆里放得还好。 ”“文革”结束后，古仪在出版社任美术编辑，创作了大量的儿童连环画和书籍插图，其中有些作品在瑞士、法国、伊朗等国获奖。
1985年，古仪调入杭州画院开始了专职绘画创作，她的艺术才能得以充分地展示。1996年，她被任命为杭州画院副院长。在画院中，她潜心于深层的艺术风格探索与追求，在深度研习中国传统工笔绘画的同时，多方面吸取写意水墨画的墨色、意境以及西方现代艺术中的构成、色彩和画面处理要素，力图使传统的工笔画更厚实、更富新意，具有更强的艺术表现力。
工笔与写意的深度融合，东方意蕴与西式技法的完美联结，加之古仪所具有的独特视角，以及她为女性艺术创作所作的积极努力，使古仪在国际绘画舞台上有着属于自己的独特地位。二十余年间，她的作品在美国、法国、新加坡、奥地利等国家多次展出，并在国内及日本、法国、美国多次获奖。法国艺评家莫阿氏 ·埃维农曾写信赞扬：“非常赏识您的细腻而充满诗意的作品，这次评选，虽然您获得的
是第二名，但我们还组织了另外的一个完整的纯学术价值的评委团，评选您的作品荣获一等奖。 ”前世界银行行长詹姆斯·沃尔芬森也写信赞扬古仪的作品。她还多次受邀作为中国女艺术家的代表，参加各种国际艺术交流活动，将中国女性绘画的优秀成果呈现给世界。国内甚少举办画展、行事低调的古仪，早已是享誉世界的国际知名女艺术家。
丰富的国际艺术交流活动，进一步拓展了古仪的视野，启发她创作题材的多样化，鼓舞着她大胆进行各种艺术探索，使其作品在典雅的东方诗意中呈现出国际化现代审美特征。
2003年因丈夫潘公凯调往北京工作，她随夫赴京，移居在中央美术学院附近。得益于中央美术学院浓厚的艺术学术氛围，她经常去中央美院艺术馆和图书馆观看欣赏艺术作品，同时还结识了北京及来自全国各地的艺术家。虽然这里存在着画风的地域性、文化、习俗的差异，但是她以敏感的悟性，博览众家，求同存异，拓宽了自己的创作天地。著名理论
古仪作品：左为《芭蕉碧玉》，右为《品茶图》。 Two paintings by Li Guoyi
家水天中先生对古仪的作品有着不菲的评价：“古仪的水墨人物画是对一系列艺术问题的回答。她采取了多方采撷而为我所用的聪明办法，来解决‘时代性’与‘民族性’的问题。与当代主流人物画不同——不以场面的冲击力和人物神态的矛盾吸引人；与‘新文人画’不同——不以飘逸笔墨和伪托古人取胜。她笔下的女性形象优雅大度而不忸怩作态，闲适宁静而充满活力，现代人生情致和古典文化韵味在她的作品里相
古仪水乡系列作品之一
This painting by Li Guoyi portrays Jiangnan.
STARDOM名家风采
得益彰。在形式处理上，她善于运用含蓄节制的色与墨，营造出明朗而蕴藉的精神境界……古仪使多样艺术因素协调并存，形成一种优美古雅而又具时代精神的艺术气质。 ”
“我喜欢写意画的灵动、多变、奔放，亦喜欢工笔画的淡淡的细腻的渲染手法，在寻求二者相融合的过程中，最重要的是在艺术语言应用上的统一。我在创作中力求做到这二者统一的完美。 ”古仪如是说。她的这次名为“古意新仪——古仪绘画作品展”汇集了近六年来创作的精品国画，包括怀旧、女性、少数民族、花鸟画、水墨拼贴等系列。画家在传统人物画的基础上，将中国写意画的水墨韵味融入工笔作品，展现了融合工笔精细写实及水墨渲染渗化的独特面貌。
在展览的开幕式上，画家古仪的亲朋好友、同事、粉丝团等三百多人济济一堂。古仪身着一袭乳白色的套装，手捧家人和友人送上的玫瑰，笑容可掬地和来宾们边喝茶边谈艺。古仪说：“这次展览就是回家来看看，向家乡人民作一个汇报。”
古仪对杭州有着很深的情结。1964年，她怀着美好艺术理想，离沪来杭，在西湖边的中国美院附中读书学画，从此与杭州这座美丽的城市结下了不解的缘分。
作为成长于上海又在杭州浸润多年的江南女子，古仪的作品多以女性为表现对象，笔下的人物或清新细腻，或端庄典雅，或带着几分神秘气息，在一颦一笑之际、一静一动之间，生动地显露江南女子的温婉。即便是她在创作中借鉴西方现代绘画构成及技法的创新画作，也掩盖不住作品中散发的传统东方气质和江南韵味。
古仪带来的大多是近些年在北京创作的作品，但流露出来的却是江南的风情，江南的情结深植于其心里。她是江南的，更是杭州的，无论她走到哪里，她的根都在这里。
Artist Holds Solo Show in Hangzhou
By San Jianghong
Gu Yi， a female artist who is away from Hangzhou for more than ten years， is back. She is now holding a solo show
in Hangzhou with over one hundred paintings created in the past six years.
Gu Yi is the name Li Guoyi uses for her art activities. She is wife of Pan Gongkai， the son of Pan Tianshou and president of the Central Academy of Art. She studied at the middle school affili-ated to the Zhejiang Academy of Fine Arts， the predecessor of the present-day China Academy of Art in Hangzhou， where she met Pan Gongkai. The life at the middle school was characterized by hardships and upheaval as it was ravaged by the Cultural Revolution （1966-1976） but she managed to find fun. Few art books were avail-able in these years， but she remembers photographing collections of masterpieces of the Soviet Union artists such as Ilya Yefimovich Re-pin and Alexander Surikov and making enlarged copies on a device manually made by Pan Gongkai. It produced better photos than those by photo shops. After the Cul-tural Revolution was finally over in 1976， she worked as an art editor for a publishing house in Hangzhou. She also created quite a few picture
books for children and did some illustrations. Some of her books for children won awards in Sweden， France and Iran.
In 1986 she became a full-time artist at Hangzhou Institute of Art and in 1996 she became the vice president of the institute. The full-time job enabled her to pursue her own style. During this period， she firmly established herself as an artist who explored the depths and widths of the traditional Chinese painting， styles， and colors. She also looked into the western arts for inspiration. As the result， her elaborate-styled painting breaks new grounds. Her artworks were displayed in America， France， Singapore， Austria， and Japan. And she won many awards and honors.
In 2003， her husband was appointed the president of the Central Academy of Fine Arts and the couple moved to Beijing. The new life in Beijing has greatly broadened her horizons as libraries and galleries are easily accessible and artists from different provinces are legion. She has improved a great deal.
Her figure painting in traditional Chinese ink an-swers an important question： how do modern artists of traditional Chinese painting create figure paintings that express and balance modernity and nationality at the same time？ She does not paint historic events in mainstream styles. She does not depict historic mo-ments and figures in modern history. Nor does she go back to ancient times and depict ancient events. She focuses on images of women graceful without pre-tenses， serene and ebullient. In her works， sentiments of a modern life commingle well with classic grace.
Gu Yi explains her style this way： “I like the agility， changeability， and ebullience of the freehand style. I also love the elaborate style that glorifies poetic de-tails. I seek to combine the two in my work.”
The opening ceremony of her solo painting show in Hangzhou was attended by over three hundred guests， including her family members， friends， colleagues and fans. Dressed in milky white and holding a bundle of roses， she smiled and chatted with guests. The artist said， “This exhibition is my report to my hometown people.”
She considers Hangzhou as her hometown， though she is from Shanghai. In 1964， she came to Hangzhou and started her art student education. Her life became intricately entangled with the local people and the West Lake of Hangzhou.
Though most of the exhibits were created in Bei-
jing， they reflect a personality of Jiangnan， arguably
the most amazing noun in Chinese that describes the natural beauty， prosperity， peace， culture and history in the south of the Yangtze River delta. No matter where she goes， she considers herself a native of Jiangnan.