冯鉴棠，广东肇庆人，1956 年 5 月出生，是当代中国著名山水画家中央美术学院教授，国宝级艺术大师中国高级工艺国画美术大师中华人民共和国文房四宝制砚一级艺术大师，全国艺术楷模，中国东方艺术研究员。现为:中国文化商会理事、中国楹联学会书法艺术研究会副秘书长、国际文明论坛艺术交流组委会特聘委员、美国华美商会国画艺术名誉顾问，肇庆市西江画院院长,肇庆市星岩书院副院长他自小对美术十分感兴趣，师从岭南画派大师黎雄才、李国华后，从此以超脱世俗之心热切美术研究，热爱中国画创作，于是作品琳琅满目，在国内多家大媒体相继报道，即使到国外，仍然热心宣传民族文化、中国画艺术，多次成功地举办画展进行艺术交流，因此成就卓越在中外知名度极高，获奖数不胜数。
Feng Jiantang, born in May 1956 in Zhaoqing, Guangdong, is a renowned contemporary Chinese landscape painter and professor at the Central Academy of Fine Arts. He is also a national treasure level art master, a senior craftsman and traditional Chinese painting art master, and a first-class art master in the Four Treasures of the Study of the People's Republic of China. He is also a national art model and a researcher in Eastern Chinese art. He is currently a director ofthe China Cultural Chamber of Commerce, deputy secretary-general of the Calligraphy Art Research Association of the China Couplet Society, special member of the International Civilization Forum Art Exchange Organizing Committee, honorary advisor to the Chinese Painting Art of the American Huamei Chamber of Commerce, president of the Xijiang Painting Academy in Zhaoqing City, and vice president of the Xingyan Academy in Zhaoqing City. He has been very interested in art since childhood and studied under the masters of the Lingnan Painting School, Li Xiongcai and Li Guohua. Since then, he has been passionate about art research and loves Chinese painting creation with a heart that transcends the secular world. As a result, his works are diverse and have been reported by many major media in China. Even when he goes abroad, he is still enthusiastic about promoting national culture and Chinese painting art, and has successfully held art exhibitions for artistic exchanges. As a result, he has achieved excellence and is highly There are countless awards.
松山多正气，玉瀑尽毫情
——记著名画家冯鉴棠
峰峡冠雄幽，山水泊哲思。作山水是独与天地精神往来的过程，能作山水奇观者必是丹青文化古今相传的雄才。当代著名画家冯鉴棠先生深谙为山水立骨传神的画道，创作山水格调高雅，格局磅礴。以雅腴灵秀，苍润浑然的画风，称誉画坛。其笔墨深具烟云缥缈，泉瀑洗涤之致，不以笔害形，亦不以形碍笔，笔与画相益，作天人合一之景观，云岚出岫非有意，流水下滩是自然!纵览其山水佳作，可谓皆是自然天成，外师造化，中得心源!
观赏先生的山水，其用笔毫无搁笔断续之迹，作主峰危立，善大笔勾勒，运笔滑畅，一气呵成，绝无笔病。再观其松石米点，大有沾笔一次点完一丛之形势，短线结组有序，顿挫有效，毫不松懈。中国画以线造型的功夫，被先生表现得炉火纯青出神入化。画面中的重山复岭，可以集线成面，如若钢打铁铸，为山水立骨，此为典范。笔力雄浑，足以彰显百尺悬瀑盈天而下不可阻挡的气势，无论是全局结线还是细腻点皴，尽是先生背临映写的自然结果，颇有性灵散发，抒我胸怀的情绪感，自然是笔写神韵寸土必争，空无留白玄妙机锋!
山水之作，重在用墨，用墨凡俗，则山体不灵，反之则见神通。细赏先生的山水用墨，以水为道，以墨为器，水分调节相当精确，多一分则湿，少一分为躁，不多不少是苍而润的意象。随意纵横，信笔点染，浓淡干湿，尽情铺陈，墨色水韵完美融合。积墨时可达十几层，不会一踏糊涂，层次分明，黑中有亮，劲有写逸，再赋以浅绛青绿，色不碍墨，墨不碍色，把西峰峥嵘喷流泉，东崖复沓蔽轻雾的情景，表现得蓊郁淋漓气势磅礴。
特别值得一提的是，在松树的笔墨墨上，他从古典之法入手，又参意当代造型的立体感，枝如虬龙蜿蜒，叶如铁针勃勃，使得画中的坡松皆有浓密茂盛的气质韵味，又不乏凤尾梢卷之势，缜丽丰润，苍翠华滋，这种独有法度的松韵塑造，是其山水多有芊绵意象的支撑，法不欺人，功不欺世!纵览先生的山水作品，把三远之法调节的相当和谐，高远山势耸立，上突危峰，下览深谷，云山共高下。平远随深远，近处松杉崖岩相衬，令人心摇目断，神追三山之巅。远山云雾氤氲，虚实相映。空间层次丰富，可以心泊其间，忘我畅神。溪水潺潺，扬气腾波，重山复岭，气势嵯峨!从先生的山水画中，可以看出他对山水的南北两宗的兼收并蓄，博观约取已经摆脱了流派的束缚，走上了师造化悟真诀的境界!
山中一夜氤氲雨，树杪松木百重瀑。当今的山水，范式作品太多，临画唯以粉本为上，这是山水缺少性灵的原因。先生作山水，知范式得不拘于范式，创作的主动性特别强，游览真山真水，把真实的视觉经验提炼成山水的文化气韵，写意重峦迭翠万壑争流，表现云蒸霞蔚草木蒙茸，自然是举重若轻，驾轻就熟。山映斜阳天接水，雅俗共赏大手笔!
著名书画评论家 林智贤
