姬子
姬子先生，著名山水画家，从事山水绘画四十多年，1942年生，河北宣化人，名王云山，号云山姬子。现居北京。60年代
中期开始参加全国省市美展、发表作品。
作品气势恢宏，境界开阔；构图大开大合，既具经典绘画的内涵，又有现代视觉图像构成；风格、笔势豪放，特别是潜心几十年磨练的独创笔法意蕴深远。观之，如登三山五岳，揽之，若四海云飞；凝视良久，又觉天地感应、澄怀观道，既有远古的悠扬，又有现代的融合。天人合一、超然物外的中国经典哲学思想尽显无遗，独特地表现了现代人审美的大自然世界，提倡“墨道山水”的创作精神，将文化的追求涌入到艺术中。
展览：
2009年 “墨道法相”——姬子个展，798艺术区，北京
2009年 第一届中国水墨双年展，上海多伦美术馆
2009年 同行——德中当代艺术展，武汉
2009年 新中国成立60周年书画艺术成果展，北京
2009年 水墨记事，伊德艺术空间，酒厂国际艺术区，北京
2009年 “笔意”——中韩绘画交流展，北京
2008年 符号学水墨第一回展，玛斯比德艺术中心，北京
2008年 釜山2008国际现代水墨画展，韩国
2006年 上苑第三届工作室开放展等，北京
2002年 上苑第二届工作室开放展，北京
1999年 河北美术精品展，石家庄
1996年 第四届中国艺术博览会，北京
1992年 海外中国书画研究会展，加拿大
1991年 百米长卷民族之魂创作与展览，北京
1984年 全国职工美术书法摄影展（获优秀奖），太原、北京
1982年 河北山水画展，石家庄
1972年代 河北海河美展、河北中堂画展、河北书法展等，石家庄
作品发表：
《河北文艺》（1972年第二期，石家庄）、《安详》杂志（2期、5期，台湾）、
《当代中国画杰出人才作品集》，2002，北京、《荣宝斋》(2001.8，北京) 、
《东方艺术》（2002年，北京）、《中国当代艺术家·北京找北卷》（四川美术，2006，北京）、《中国画艺术年鉴》（2007，北京）、《中国书画交流年鉴》（2007，北京）、《艺术时代》（2009年第4期）、《中国文化报》（2009年4月16日）、《艺术地图》（2009年第7期，北京）、《艺术与投资》（2009年第7期）、《缪斯艺术》（2009年第3期）、《东方艺术·大家》（2009年第4期）、《新视觉》（2009年第10期）等
评论：
贾方舟：穿越时空 纵横天地
近两年姬子先生的画风突变，真让我刮目相看。先生已是近70的年龄了，在艺术上尚如此精进不懈，很是让我感慨。
姬子的新作主要体现在《墨道系列》和《构成系列》中。在这两个系列中，画家突破了山水画的传统格局和惯常手法，放弃了以往那种对物理时间秩序的遵循，完全进入自由调动时空的主观表现状态。
姬子的新作正是以一个现代人的视角和手段，从多种角度表现出自然的万千气象，创造了一种雄浑壮伟、大气盘旋的“墨道山水”。特别是他那些融进了强烈色彩对比的作品，是一种更富有奇幻效果和宇宙意识的自然景观，是一个现代山水画家返回传统山水画“观道”原点后创造出来的新图式、新境界。
姬子先生老骥伏枥，衰年变法，使自己的艺术进入佳境，值得祝贺。
2009年4月27日 于北京上苑
殷双喜：道法自然
姬子先生的水墨，出自传统，但又不拘传统，来自自然，但又超越自然。在笔墨方面，他能够自由运用积墨皴染，表现出生动大化的云水形象，元气淋漓。但在构图方面，他却超越了时下山水画以自然山水丘壑为构图模版的写实路线，而是自由组合山川万物，疾云劲水，冰川荒漠。
我感觉到姬子先生的作品，其美学意趣显然不是中国传统山水画以人为视觉主体的中观山水或近观山水，而是蕴含了现代人对宇宙认识和反思的宏观山水。进而他的意趣不在山水，而是借山水以澄怀观道，反思宇宙和人类的前世今生。
姬子先生的作品自有其“道”，这个“道”就是人的生存尊严，它表现为人对自然的亲近和对生命的敬畏。
2009年5月25日 于中央美院
阿瑟·C·丹托：姬子的绘画：飞腾的世界
姬子的某些作品有些是用中国传统水墨山水风格画的，但是它们和我在纽约大都市博物馆收藏的作品中看到的那些安详、禅悟的卷轴画不同。
姬子作品的千山万壑沸腾着、震颤着，若湍流急水。人们感受到巨龙正处在焦灼的睡眠中。当它们苏醒之时，必纵身跃起。
这些作品具有同样的野性感，差不多是原始感。在某种程度上，它们展示了自然所隐藏的神秘
姬子的山水让我想起柯勒律治描写沸腾的河水时那种荒原景象……这些绘画作品的实际笔触是否实际上传递了一个完全不同的世界？
2009年5月21日于纽约
Jia Fangzhou: The Breakthrough of Time-Space
In recent two years Mr. Jizi’s style of painting has changed greatly, for which I am so strongly impressed. Though Jizi is near to 70 years old, he is so diligent in creating new art. I am so moved by it.
In Jizi’s two new series of Dao of Ink and Construction, he has broken through the conventional and habitual compositions and techniques of Chinese landscape painting, gave up the previous stereotypes of physical order description and entered a completely subjective expression of time-space.
Jizi’s new works expresses the kaleidoscope-like world of nature from the modern perspective and thus creates a kind of ‘Dao of Ink’ Landscape, magnificent and overwhelming. Especially those strongly colored works are the spectacular world of fantastic effects and macro-consciousness, and they ought to be considered as a new painting and new imagery when a modern artist tries to reflect the primeval state of landscape painting.
Jizi has changed his methods and style of painting at the senior age and made himself to come to a new state of creation. So he is worth being acclaimed.
April 27, 2009 Beijing
The author is Chinese famous art critic
Yin Shuangxi: Dao Follows Nature
Mr. Jizi’s ink painting derives from tradition but is not limited by it; it comes from nature but transcends nature. As the brush-stroke methods are concerned, he is capable of applying ink one layer by another layer to express the vivid images of clouds and water, illusionary and wonderful. But compositionally, he goes beyond the popular patterns of imitating natural landscape and remakes freely the mountains, valleys, water, clouds and icy snow and wildness.
I think that Jizi’s works aims aesthetically not at Chinese traditional landscape painting, but at a kind of macro-landscape and nature as how the modern reflects our universe. Furthermore, his intention is not on landscape but to think over Dao and the life of universe and human-being.
Jizi’s works have their own ‘Dao’, which could be a kind of existential dignity, an affinity to nature and a respect to life.
May 25, 2009
The author is Chinese famous art critic
and Professor of Central Academy of Fine Arts, Beijing
Arthur C. Danto: The Seething World of Jizi’s Paintings
Some of Jizi’s paintings are somewhat in the traditional style of Chinese ink landscape, but they do not look like the quiet meditative scrolls I have seen in the Metropolitan Museum’s collections.
Jizi’s hills seeth and tremble like troubled waters. One feels that mighty dragons lie in troubled sleep. When they do wake up, and stand on their heavy legs, the ground above them will split, and chasms will open up.
My sense is that these works have the same feeling of wildness and almost savagery that the landscapes have.
Jizi’s landscapes remind me of the wildness of Coleridge’s description of seething water, vast rocky domes, fragments of dislocated stone, dancing and crashing into the underground sea.
I have to wonder whether the actual touch and brush of the paintings is actually a convey of a whole different world?
May 21, 2009 New York
（Arthur C. Danto is famous American philosopher and critic of art
Jizi – Chinese Artist
Jizi (also called Wang Yunshan) was born in 1942. He started art career from late 1950s. He now lives in Beijing.
Exhibitions
2009 – Dao of Ink Imagery – Jizi Solo Exhibition, Beijing, etc.
2009 – Brush Matters – Chinese and Korean Painting Exhibition, Beijing
2008 – Busan 2008 International Modern Ink Painting Exhibition, Korea,
2008 – Symbolic Ink Painting First Round Exhibition, Must-be-art Centre, Beijing
2006 – Shangyuan Third Studio Open Exhibition, Beijing
2004 – Hebei Fine Arts Exhibition for the 55 Anniversary of PRC, Shijiazhuang
2002 – Shangyuan Second Studio Open Exhibition, Beijing
1999 – Hebei Fine Arts Exhibition, Shijiazhuang
1996 – The 4 China Art Expo, Beijing
1992 – The Maple Leaf Ink Painting Exhibition, Canada
1991 – Making and Exhibition of the 100 Meter-long Painting, Beijing
1984 – National China Workers Painting·Calligraphy·Photography Exhibition, Taiyuan, Beijing
1982 – Hebei Landscape Painting Exhibition, Shijiazhuang
1970s – Provincial and City Art Exhibitions, Shijiazhuang
1960s – Beginning to attend art exhibitions
Publications
HebeiLiterature and Art(No.2 issue), 1972, Shijiazhuang
China's Who's Who of Fine Arts, Beijing, 1981
Dictionary of Calligraphers of ContemporaryChina, Beijing, 1981
Anxiang Zen Magazine(No. 2 issue, 1995 and No.5 issues, 1996), Taiwan
Yearbook of Calligraphy and Painting of World Chinese Artists (1901 - 1998), Beijing, 1999
The Collection of the 20th Century Chinese Famous Artists, Beijing, 1999
Rongbaozhai Art Magazine(August, 2001) , China Art Publishing House, Beijing
The Selected Works of Contemporary Excellent Chinese Artists, 2002, Beijing
East Art Magazine, Beijing, 2002
ChinaMedia, Beijing, 2004
China’s Contemporary Artists, Sichuan Art Publishing House, Chengdu, 2006
Yearbook of Chinese Painting Art（2007）, China Culture Publishing House, Beijing
Chinese Art Collection（2007）, China Art Publishing House, Beijing,
Art Time,No.4, 2009,ChinaCulture Daily,April 16, 2009,
Art Map，No.7, 2009, Beijing;Art and Investment,No. 7, 2009, Beijing;Muse Art，No.3, 2009;Oriental Art·Master, No.4, 2009;New Vision,No.10, 2009, Beijing, etc