钟涵曾评价周令钊“开创出一种平面装饰图像语言体系”，并称之为中国现代的“周家样”，认为其影响深远。所谓“周家样”，并非可被轻易归类的风格标签，而是在长期艺术实践与审美探索中逐渐形成的一套现代视觉语法，以装饰性的秩序承载叙事，以象征性的符号传达民族气质，以富于乐感的节奏组织意义，让“民族形式”不止停留在图像表面，而获得持续的生命力与传播力。
更关键的是，周令钊对“民族形式”的理解，核心在于如何“解构”与“重构”。以《白云黄鹤》、《山乡锦绣》等作品为例，他从传统、民族、民间审美中分析提炼意象、气韵与秩序，再借助现代构成与色彩逻辑重新组织，使图像既保有东方美学的意蕴，又呈现清朗、向上的现代气质；既能够进入公共空间，也能够被大众阅读、记取。由此，民族性的表达不再只是被观看的装饰符号，而成为可以进入生活、被共同铭记的经验。
与“民族形式”探索并行的，是他对“真善美”的不懈坚守。于他而言，美不只是装饰性的悦目，而是一种可感的温度；善不只是抽象的指向，而是对人的体恤、对生活的关照；真也不只是“写实”的准确，而是对时代气息与人心经验的真诚回应。正是在这种审美与伦理的双重自觉里，图像具备了更稳定、更持久的精神指向。
因此，“映光 · 传心”的逻辑便清晰可循：当作品在语言上趋于成熟，它所映照的“光”便不再局限于画面之内，而能够从视觉传播进入公共生活，并在更长的时间尺度中实现延续与再生成。周令钊艺术深处的“光”，由此成为一种可感、可循、可传的艺术精神，既根植传统，又面向当代；既属于民族，也贴近大众，拥有不断延续、持续延展的生命力。
01
传移模写
周令钊 寒冰地狱（四川大足石窟）1954年 53×38cm 纸本水粉 中央美术学院美术馆藏
该作品是周令钊于1953年至1955年间，随文化部“四川石刻艺术调查团”赴大足宝顶山考察时，对第20号“地狱变相”中“寒冰地狱”局部所作的现场水粉临摹。画面聚焦于两位受刑者形象，他们蜷缩蹲坐，双臂紧抱双膝，眉头深锁、獠牙外露，夸张的面部肌理与狰狞神情极具表现张力。画家以冷峻的灰褐与青灰色调渲染出石质肌理的厚重与寒冷，深色背景进一步强化了形象的立体感与场景的压抑氛围。
在艺术处理上，周令钊有意将高浮雕的体量关系转化为二维图像：人物躯体被概括为凝练的三角构图，衣纹简化为硬朗的折线，以表现冰凌割体的质感；背景则以纵向的冰柱笔触，与人物横向的动态构成视觉张力。尤为重要的是，画家提高了色彩明度，舍弃了原石刻的风化深重色调，使“寒气”通过更具现代感的视觉语言得以传达，凸显其从现场写生到创作素材的转换意图。
此稿不仅记录了“地狱变相”中“寒冰地狱”的典型图像，也见证了二十世纪五十年代国家主持的石刻调查与美术创作之间的互动。这批临摹作品曾在央美 U 字楼展出，并为筹备革命博物馆和军事博物馆提供了重要的素材，兼具实物记录、教学研究与创作参考的多重价值。
周令钊 敦煌飞天（321初唐，龛顶飞天） 1981年 184×102cm 纸本水粉 中央美术学院美术馆藏
画面描绘了成群结队的飞天从画面右侧红色拱形结构向左侧飘舞而去｡飞天身姿轻盈，长带飘逸，身后留下一道道流畅的彩带与飘卷的线条，似在虚空中滑行，仿佛置身天界云海 ｡ 人物多呈回首 ､ 伸臂､飞舞的动态，神态飘然，展现出佛教世界的超凡与清净｡
02
“周家样”
钟涵曾评价周令钊“开创出一种平面装饰图像语言体系”，并称之为中国现代的“周家样”，认为其影响深远。所谓“周家样”，并非可被轻易归类的风格标签，而是在长期艺术实践与审美探索中逐渐形成的一套现代视觉语法。
周令钊、陈若菊 山乡锦绣 1984年 103×103cm 纸本丙烯 中央美术学院美术馆藏
该作品捕捉了两位少数民族女性日常互动场景。人物造型生动，服饰与头饰刻画精细，体现出浓郁的民族特色。画面以温润的绿色描绘山乡环境，与人物服饰中红、黄、蓝等明快色彩形成对比。既突出主体，又传递出生机盎然的乡土气息。在创作中，陈若菊参与了民族服饰的绘制。
该作创作于20世纪80年代，在改革开放的语境下，周令钊并未选择宏大叙事，而是聚焦于平凡生活中的温情瞬间。作品不仅展现了少数民族地区的文化风情，更通过细腻的视觉语言，呈现出山乡生活的美好与希望，成为这一时期人文关怀与乡土抒情的典型代表。
周令钊 织网（惠安组画） 1984年 45×44.1cm 纸本丙烯 中央美术学院美术馆藏
《织网》是周令钊 “惠安组画”系列中的代表作。通过特写视角聚焦惠安渔女劳作的场景，将日常劳动升华为一幅充满地域风情的人文画面。画家以概括的线条提炼出惠安女独特的斗笠、头巾与服饰造型，使之成为鲜明的文化符号；色彩上则以蓝绿色调呼应海洋环境，并以暖棕、粉红等色点缀人物，在对比中既还原渔村生活的真实氛围，又凸显出民俗美学的生动气息。
该作以平凡劳动为切入点，体现了改革开放初期艺术创作对基层生活与地域人文的深入观照。作品不仅是对劳动场景的描绘，更是“人物—劳动—环境”紧密关联的文化缩影，成为承载地域
周令钊 织网（惠安组画） 1984年 45×44.1cm 纸本丙烯 中央美术学院美术馆藏
《织网》是周令钊 “惠安组画”系列中的代表作。通过特写视角聚焦惠安渔女劳作的场景，将日常劳动升华为一幅充满地域风情的人文画面。画家以概括的线条提炼出惠安女独特的斗笠、头巾与服饰造型，使之成为鲜明的文化符号；色彩上则以蓝绿色调呼应海洋环境，并以暖棕、粉红等色点缀人物，在对比中既还原渔村生活的真实氛围，又凸显出民俗美学的生动气息。
该作以平凡劳动为切入点，体现了改革开放初期艺术创作对基层生活与地域人文的深入观照。作品不仅是对劳动场景的描绘，更是“人物—劳动—环境”紧密关联的文化缩影，成为承载地域
周令钊 贵阳黔灵公园 1984年 44.3×44.3cm 纸本丙烯 中央美术学院美术馆藏
这件作品创作于1984年，以平视延伸的构图，将巴陵桥作为视觉起点，通过桥面与延伸向远方的铁路，构建出“桥—铁路—城市”的递进空间序列。造型语言凝练概括，桥栏、路灯、房屋等元素经几何化处理，精准捕捉了80年代城市建设的秩序感与发展节奏。
色彩上依托纸本丙烯媒介，以灰白主调表现桥体与路面，辅以暖棕、灰绿点缀建筑与植被，既还原了城市环境的质感，也凸显出改革开放初期朴素、高效的工业化审美特征。画面中心一列远远驶来的火车，为静谧的城景注入一缕动感与生机。
该作不仅记录了改革开放深化阶段的城市发展痕迹，更以交通基础设施为切入点，体现了艺术对现代化进程中人文景观的早期关注。它在周令钊的创作中，是“城市景观日常化”与“基础设施艺术化”的先行探索，兼具现实记录与形式表达的双重价值。
03
生产生活
周令钊 插秧比赛 1961年 73×59cm 纸本水粉 中央美术学院美术馆藏
这幅创作于1961年的《插秧比赛》，以全景构图生动再现了韶山公社水田集体劳作的场景。作品灵感来源于1960年的劳动竞赛，画面中人物队列疏密有致，动态简练而富有节奏，精准捕捉了竞赛特有的协作感与秩序性。色彩处理方面，使用青绿色调表现水田，人物服饰以蓝、绿色为主，与红色旗帜形成明快对比，既展现了南方的农耕环境，也烘托出分组竞赛的热烈氛围。
该作是周令钊在中央美术学院执教水彩水粉课程期间的重要实践，亦可视为一幅完整的套色木刻创作画稿。是记录劳动美学、集体主义精神与时代动员力量的生动艺术见证。
周令钊 ⼈民公社万岁（创作⼩稿）1963年 23×26cm 纸本粉彩 中央美术学院美术馆藏
作品创作于人民公社化运动持续推进阶段，民族地区积极响应政策，这一时代背景使作品成为时代与民族文化互动的艺术见证。创作采用小型尺幅，以纸本为载体保留创作过程的生动笔触，以水彩质感突出民族建筑色彩与生活场景氛围的呈现｡
画面中呈现的苗族吊脚楼为土地改革时征用的当地土户房屋，作者以这幢建筑与集体生活场景为核心，通过平面化造型手法,精准还原干栏式建筑结构，人物动态贴合集体劳作与生活互动的场景。依托纸本水粉特性，以棕褐､蓝绿､粉紫及多彩服饰色营造强烈色彩层次,既凸显苗族文化绚丽特征，又呼应时代主题的热烈氛围。
该作将民族建筑空间与时代集体叙事相融合，成为民族地区落实政策的艺术切片，记录了时代运动在民族地区的实践瞬间。作为周令钊民族题材创作的关键环节，此小稿实现了从生产场景记录到“民族空间+时代主题”融合的拓展，为后续创作探索了空间布局与题材整合的路径。
周令钊 阳朔自由市场 1963年 54.5×37.5cm 纸本粉彩 中央美术学院美术馆藏
这幅创作于1963年的作品，描绘了广西阳朔一处熙攘的集市场景。它所记录的，不仅仅是地域风情，更是一个特殊历史时期的生动侧影——画面中的“自由市场”，正兴起于“三年自然灾害”那段连续干旱、物资匮乏的岁月之后。在艰难渐渐缓和的年代，市集的恢复与活跃，象征着民生韧性与社会生机的复苏。
画面中心，一条老街在青翠树影的荫蔽下向前延伸，白墙灰瓦的民居静立两旁，远方漓江畔的秀峰淡如墨痕。而街巷之中，却是另一番鲜活景象：人群摩肩接踵，男女老少穿梭往来，或挑担叫卖，或俯身挑选，或驻足交谈。每一张面容、每一个动作，都浸透着日常生活的温度与活力。
画家以扎实的写实功底与饱含情感的笔触，将那个特定年代里人们对生活最本真、最执着的热望，凝结于市井一隅。这不仅是一幅地域风情画，更是一份关于复苏、希望与平凡人生命力的视觉见证。
04
白云黄鹤
1983年，周令钊应邀为正在重建中的黄鹤楼设计一层大厅壁画——《白云黄鹤》，在周令钊和七位青年艺术工作者的共同努力下，这幅大壁画最终落成。工作过程十分艰苦，根据他的回忆：“我带了七位年轻人在宜昌彩陶厂刻、画陶瓷板、作品为高温釉下彩工艺，由宜昌彩陶厂烧制，共 756块彩色陶瓷板。我们自己刻、自己上釉，白天刻制，晚上进窑，满怀希望地等待作品次日出窑但往往是全部报废或大部分报废，我们又得重新刻制，所以花了很多时间、费了很多体力，动了很多脑筋，大家共同努力，用了近一年时间，才终于成功。”
参与设计者孙景波回忆“周先生那个时候63岁，已经是接近退休年龄的人了，可是吃了不少苦。我们在宜昌彩陶厂烧的是高温釉下彩陶瓷，它的窑温要达到1400度以上。周先生不顾年高体迈和我一起到宜昌，我们是六七月份的夏天在那里研制，因为那个时候中国的陶瓷壁画刚开展不久，很多釉料配合什么颜色，要艺术家亲自在厂子里头做大量色标的探索。因为烧成温度的不同，釉料配合的比重不同，都会达不到设计的理想，老先生这些全都是亲力亲为，而且经常在零上接近40度的高温天气。而我们的工作室在烤房的旁边，室内甚至高到四五十度，经常在热的汗流浃背的环境中从事创作。”
周令钊 黄鹤楼彩色设计终稿 1984年 178.5×103.5cm 纸本彩墨 中央美术学院美术馆藏
黄鹤楼实景
《白云黄鹤》是周令钊创作的一幅兼具历史价值与时代意义的壁画，如今已成为黄鹤楼的标志性视觉符号。
在改革开放后中国壁画复兴的进程中，这件作品占据着里程碑式的地位，它以宏大直观的艺术语言，凝练并传递出黄鹤楼跨越千年的深厚文化内涵。画面构图饱满、色彩鲜明，将神话传说、千古诗境与地标意象融为一体。上方，仙人乘鹤翩跹于云海江涛之间，飘逸灵动，呼应“昔人已乘黄鹤去”的悠远意境；下方，黄鹤楼巍然矗立，朱檐碧瓦与苍松云涛相映成趣，楼前游人如织、祥和欣然，一改原诗“此地空余黄鹤楼”的孤寂苍凉，满溢着积极向上的时代气息。
创作手法上，周令钊巧妙融合工笔重彩的装饰美感与舞台美术的空间张力，既保留了传统云水纹样的韵律之美，又以现代化的表现手法强化画面的视觉气势。这幅作品成为公共艺术参与文化重建、塑造城市形象、凝聚集体记忆的典范。于艺术史研究与公共文化传播领域留下了深远影响。
主编 | 何一沙
责编 | 杜隐珠
文字编辑 | 张满玉
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(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
Article III
Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
Article IV
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
Article III
Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
Article IV
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
