中文 
en 
Arranged chronologically, the New Jinling School of Painting was an important art movement that emerged in the early years after the founding of the People's Republic of China under the leadership of our Party. In terms of creative philosophy, we pursued the idea that "calligraphy must keep pace with the times," emphasizing praise for the era, profound insight into contemporary life, attention to people’s livelihood, and care for nature. In terms of subject matter, it not only expanded the traditional scope of landscape painting but also encompassed innovations in new visual forms, reconstruction of historical landmarks, natural scenery, and poetic imagery inspired by Mao Zedong’s verses. Simultaneously emerging alongside the New Jinling School was the Chang’an School of Painting. These two major schools shared common ground in celebrating the era and promoting the transformation of Chinese painting. Both answered the questions of how Chinese painting should engage with its time and practice through their own artistic endeavors and achievements.
Second is anisotropy. A great era calls for reform and innovation in Chinese painting, especially during periods of intense social change, which broaden artists’ horizons, deepen their understanding, and strengthen their expressive power. The New Jinling School advocated a synthesis of pragmatic realism and romantic transformation in its methodological approach, opening up a new chapter in the integration of Chinese painting practice with calligraphic sensibility. In stylistic expression, it sought to harmonize traditional calligraphy with everyday life, blending a fresh sense of daily vitality with the spiritual allure of calligraphy. In technical innovation, we adhered to traditional national painting methods as the foundation while appropriately incorporating foreign techniques, naturally integrating them into China’s indigenous aesthetic system, thus making significant contributions to the innovation of Chinese painting.
Third is regionalism. Jiangsu has long been a vital center of Chinese art, having given rise to four renowned schools: the Wu Gate School, the Lou Dong School, the Yushan School, the Jinling School, and the Yangzhou School. The painters of the New Jinling School worked collectively for extended periods in Jiangsu. Influenced by the local cultural atmosphere, they developed distinctive stylistic traits and were shaped by masters such as Fu Baoshi, who lived through the historical transitions of the late Qing dynasty, leaving behind a legacy of classic masterpieces that reflect their era. Although the modern term “New Jinling School” resembles the name of the Jinling School from the late Ming and early Qing dynasties, it refers to a different artistic tradition within the same region but a different historical period—signifying the inheritance of cultural lineage while transcending the past.
Dreams require passion; dreams demand struggle. How can today’s artists, particularly young artists, better learn from, inherit, and promote the spirit of the Jinling School and create more outstanding works? I believe at least three things should be done.