藝術(shù)家既是時(shí)代的創(chuàng)作者，更是人類精神文明的引領(lǐng)者與推動(dòng)者。他們的作品不應(yīng)止于見證時(shí)代，更要成為人類藝術(shù)寶庫中歷久彌新的瑰寶，持續(xù)照亮觀者心靈，在文明長河中留下深遠(yuǎn)回響。

歷史從不會(huì)真正消失，卻時(shí)常面臨被歪曲、誤讀乃至選擇性遺忘的境遇。但藏于歲月深處的真善美，終會(huì)穿越塵埃、永不消散——這便是我創(chuàng)作《友誼地久天長》的初心。

人類的精神發(fā)展史，更像是裹挾著文明野蠻、進(jìn)步與愚昧、清醒與麻木、善良與殘暴、奉獻(xiàn)與自私，一股懵懂混沌的洪流，不論你愿不愿意，我們都摻雜其中主動(dòng)或被動(dòng)的走向未來，歷史本身就如同一塊多棱的水晶，從不同的角度折射出不同的光彩，我們看到的歷史，往往取決于我們站在哪里看！

我們所知的宏大敘事，往往只是冰山浮出水面的部分，那些被時(shí)光塵封的個(gè)體故事，那些跨越疆域的無私奉獻(xiàn)，那些奠定基石的第一次，才是拼湊出完整歷史圖景的關(guān)鍵碎片。

這組作品，謹(jǐn)獻(xiàn)給那些為人類文明進(jìn)程躬身奉獻(xiàn)、默默犧牲的人們。他們的足跡不該被時(shí)光掩埋，而我愿以藝術(shù)為碑，銘刻下他們的光輝，讓這份跨越時(shí)空的美好與堅(jiān)守，永遠(yuǎn)被銘記。

Artists are not only creators of their times, but also pioneers and promoters of human spiritual civilization. Their works should not merely witness the era; rather, they must become timeless treasures in the human artistic treasury, continuing to illuminate the viewers' souls and leave a profound echo in the long river of civilization.

History never truly fades away, yet it often faces the fate of being distorted, misinterpreted, or even selectively forgotten. But the truth, goodness, and beauty hidden deep in the years will eventually pass through the dust and never dissipate — this is the original intention behind my creation Auld Lang Syne.

The history of human spirit is more like a muddled torrent, embracing civilization and barbarism, progress and ignorance, clarity and numbness, kindness and cruelty, dedication and selfishness. Whether we are willing or not, we are all involved in it, moving towards the future either actively or passively. History itself is like a multi-faceted crystal, refracting different lights from different angles; the history we see often depends on where we stand to look at it!

The grand narratives we know are often just the tip of the iceberg above the water. Those individual stories dusted by time, those selfless dedications across borders, and those foundational "first times" are the key pieces that piece together the complete historical picture.

This series of works is respectfully dedicated to those who have worked diligently, dedicated themselves, and made silent sacrifices for the progress of human civilization. Their footprints should not be buried by time, and I am willing to use art as a monument to inscribe their brilliance, so that this timeless beauty and perseverance will be remembered forever.

崔文智 ——

一位扎根黑土、心系家國的藝術(shù)耕耘者，畢業(yè)于長春市教育學(xué)院藝術(shù)系，后深造于天津美術(shù)學(xué)院高研班，師古而不泥古，博采眾長而自成一家。

現(xiàn)為吉林省美術(shù)家協(xié)會(huì)會(huì)員、公安部文聯(lián)美術(shù)家協(xié)會(huì)理事、吉林省榆樹市美術(shù)家協(xié)會(huì)副主席。

其作品屢次入選國家級(jí)及省內(nèi)外重要展覽，屢獲殊榮，以深厚筆力與真摯情感詮釋時(shí)代精神，于丹青之中鐫刻忠誠與熱愛，彰顯出新時(shí)代藝術(shù)家的責(zé)任擔(dān)當(dāng)與藝術(shù)風(fēng)骨。

Cui Wenzhi

-- An in the black soil and made to his country. He came from the Art Department of Educational College of Education and later developed advanced studies at the Senior Research Class of Educational Academy of Fine Arts. Respecting the fact that yet is not being taught by it, he came on board to form a unique style of learning of his own.

He was appointed as a member of the Artists Association of China, a director of the Artists Association of the China Public Security Literature and Art Federation, and the vice chairman of the Yushu City Artists Association in the Province of China.

His works have been selected for important national, cultural and cultural undertakings, winning awards. With the help of a number of artists who work and work in the spirit of the times, who love and love in his life, and who demonstrate the sense of responsibility and integrity of an artist.

　　藝術(shù)是超越語言的一種溝通方式，也是文化承載與歷史記錄的載體，也是區(qū)域認(rèn)同與批判的工具，是藝術(shù)家思想的物化，盡管一件美術(shù)作品根本承載不了那么多東西，或者可能不是一件美術(shù)作品所具備的功能，但我仍然試著去做！

Art is a form of communication that transcends language; it is also a carrier of culture and historical records, a tool for regional identity and criticism, and the materialization of an artist’s thoughts. Although a single work of fine art cannot fundamentally bear so much weight, nor may this even be within its inherent function, I still attempt to do so!

　　友誼地久天長之克萊爾·李·陳納德 2025

丙烯油彩

120x120cm

友誼地久天長之聶會(huì)東 2025

丙烯油彩

120x120cm

友誼地久天長之蒲安臣 2025

丙烯油彩

120x120cm

　　我用我的畫來關(guān)注這些，重整這些碎片記憶，感恩那些心裝濟(jì)世情懷，給我們帶來啟蒙火種的人們，走進(jìn)黑白之間看到那些被遺忘的灰色地帶，把那些人性中的善良凝固在我的畫面中~

I use my paintings to focus on these, reorganize these fragmented memories, and express gratitude to those who hold a heart of benefiting the world and brought us the fire of enlightenment. Stepping between black and white, we can see those forgotten gray areas, and I freeze the kindness in human nature in my works~

友誼地久天長之啟爾德 2025

丙烯油彩

120x120cm

友誼地久天長之司徒雷登 2025

丙烯油彩

120x120cm

友誼地久天長之愛德華·胡美 2025

丙烯油彩

120x120cm

　　友誼地久天長之約翰·洛克菲勒 2025

丙烯油彩

120x120cm

　　盡管一件美術(shù)作品根本承載不了那么多的東西，或者可能不是一件美術(shù)作品所具備的功能，但我仍然試著去做，藝術(shù)是超越語言的一種溝通方式，也是文化承載與歷史記錄的載體，也是區(qū)域認(rèn)同與批判的工具，是藝術(shù)家思想的物化呈現(xiàn)。

Although a single work of fine art cannot fundamentally bear so much weight, nor may this even be within its inherent function, I still attempt to do so. Art is a form of communication that transcends language; it is also a carrier of culture and historical records, a tool for regional identity and criticism, and the materialized expression of an artist’s thoughts.

友誼地久天長之立德夫人 2025

丙烯油彩

120x120cm

友誼地久天長之卜舫濟(jì) 2025

丙烯油彩

120x120cm

友誼地久天長之明恩普 2025

丙烯油彩

120x120cm

友誼地久天長之馬相伯 2025

丙烯油彩

120x120cm

　當(dāng)代藝術(shù)如何在視覺層面建構(gòu)歷史敘事？如何在形式語言中沉淀文化記憶，并轉(zhuǎn)化為審美體驗(yàn)？崔文智的《友誼天久地長》系列，以拼貼式的結(jié)構(gòu)、斑駁厚重的肌理、冷峻而沉郁的色調(diào)，展現(xiàn)了一種“視覺考古”式的藝術(shù)風(fēng)格，使觀者仿佛透過塵封的史料碎片，進(jìn)入一場關(guān)于權(quán)力、文化與時(shí)代嬗變的沉浸式體驗(yàn)。

作品的畫面布局具有強(qiáng)烈的象征性：清朝官員與西方紳士的并置，標(biāo)志著晚清歷史中東西文明的激烈碰撞；藍(lán)色龍的剪影隱匿于背景斑駁的時(shí)間肌理之中，象征著東方文明在西方殖民擴(kuò)張下的掙扎與蛻變。而另一幅作品中，“北京協(xié)和”牌匾下，西裝紳士與身著護(hù)士服的群像構(gòu)成冷峻的對(duì)視關(guān)系，隱喻著現(xiàn)代醫(yī)學(xué)的輸入及西方科技話語權(quán)的建立。粉色花朵的多次出現(xiàn)，既是作品間的形式勾連，也可能寓意生命的脆弱、延續(xù)與時(shí)代更替的輪回。

在技法層面，崔文智采用拼貼、肌理疊加、色層滲透等方式，使畫面仿佛一張被時(shí)間侵蝕的老照片。人物、符號(hào)、歷史遺跡被剝離原始時(shí)空，浸潤于晦暗的色彩與斑駁的畫面肌理之中，呈現(xiàn)出超越單純具象描繪的歷史維度。藝術(shù)家并非單純地再現(xiàn)歷史，而是在歷史殘片的拼貼中，重構(gòu)記憶與敘述，塑造出一種具象與抽象交織的“歷史質(zhì)感”。

藝術(shù)的價(jià)值，在于對(duì)現(xiàn)實(shí)與歷史的批判性反思。這組作品既是視覺的考古學(xué)，同時(shí)也是時(shí)間的隱喻學(xué)。在這些歷史的殘影中，我們不僅看到往昔的權(quán)力博弈與文化互動(dòng)，更在視覺層面感受到時(shí)間的沉積與文明嬗變的余韻。它啟發(fā)我們思考：被歷史書寫的，是否真的屬于歷史？今日的文化身份，又如何在這些交錯(cuò)的文明痕跡中獲得定義？

How does contemporary art construct historical narratives at the visual level? How does it precipitate cultural memories in formal language and transform them into aesthetic experiences? Cui Wenzhi’s Auld Lang Syne series, with its collage-like structure, mottled and profound texture, and cold yet gloomy color palette, presents an artistic style akin to "visual archaeology." It allows viewers to seemingly pass through dusty fragments of historical materials and enter an immersive experience concerning power, culture, and the evolution of eras.

The composition of the works carries strong symbolism: the juxtaposition of Qing Dynasty officials and Western gentlemen marks the fierce collision between Eastern and Western civilizations in late Qing history; the silhouette of a blue dragon hides in the mottled temporal texture of the background, symbolizing the struggle and transformation of Eastern civilization under Western colonial expansion. In another work, beneath the "Peking Union Medical College" plaque, a group portrait of a suit-clad gentleman and nurses forms a cold gaze, metaphorizing the introduction of modern medicine and the establishment of Western technological discourse power. The repeated appearance of pink flowers not only serves as a formal link between the works but also may imply the fragility and continuity of life, as well as the cycle of era transitions.

Technically, Cui employs collage, texture overlay, and color layer infiltration, making the paintings resemble old photographs eroded by time. Figures, symbols, and historical relics are stripped from their original time and space, immersed in dark colors and mottled textures, presenting a historical dimension beyond mere figurative depiction. Instead of simply reproducing history, the artist reconstructs memories and narratives through collaging historical fragments, creating a "historical texture" intertwined with figurative and abstract elements.

The value of art lies in critical reflection on reality and history. This series is both a visual archaeology and a metaphorology of time. In these residual images of history, we not only see the past power struggles and cultural interactions but also feel the accumulation of time and the aftertaste of civilizational evolution visually. It inspires us to ponder: Is what is recorded in history truly part of history? How can today’s cultural identity be defined amid these intertwined traces of civilization?