《红色的山》与《即兴》是馆内最大型的两幅作品。2017年，陈天龙出席“爱心温州•绘画助力梦想”关爱自闭症儿童公益项目，现场为一群自闭症儿童现场创作了这一系列画作。作品整体基调明亮大胆，充满童趣，像孩童一样无拘无束，他运用符号式的笔触，给人无限的想象空间。陈天龙说，孩子的世界没有边框，他们是我的老师。

Improvisation and Red Mountains are the two largest works in themuseum. In 2017, Chen Tianlong attended the“Love Wenzhou, PaintingHelps Dreams”charity project for autistic children. Chen created a seriesof paintings for an autistic audience. The overall tone of the work is bright,bold, and unrestrained with full of childless. He uses symbolic brushstrokesto give people unlimited imagination. Chen said that the children’s worldhas no borders. They are his teachers.

《红色的山》与《即兴》是馆内最大型的两幅作品。2017年，陈天龙出席“爱心温州•绘画助力梦想”关爱自闭症儿童公益项目，现场为一群自闭症儿童现场创作了这一系列画作。作品整体基调明亮大胆，充满童趣，像孩童一样无拘无束，他运用符号式的笔触，给人无限的想象空间。陈天龙说，孩子的世界没有边框，他们是我的老师。

Improvisation and Red Mountains are the two largest works in themuseum. In 2017, Chen Tianlong attended the“Love Wenzhou, PaintingHelps Dreams”charity project for autistic children. Chen created a seriesof paintings for an autistic audience. The overall tone of the work is bright,bold, and unrestrained with full of childless. He uses symbolic brushstrokesto give people unlimited imagination. Chen said that the children’s worldhas no borders. They are his teachers.

《星火》和《长长长》是陈天龙以温州肯恩大学为主题创作的作品。画家将自己的作品最终选择以温州肯恩大学为家，正是看中了在中美合作办学背景下，温肯独有的开放性和创新性。他寄寓温肯可以像星星之火，将创新的办学、人才培养模式点亮未来。而另一幅《长长长》，则寓意“十年树木，百年树人”，希望温肯在人才培养上不断耕耘。

Spark and Growing up are created by Chen Tianlong on the theme of Wenzhou-Kean University. Chen chose this University as the home for his work, which wasbecause of the unique openness and innovation of this university under thebackground of Sino-US cooperation in running schools. He believes thatWenzhou-Kean University can be like a spark, lighting up the future with creativeschool conducting and talent training models. Growing up means that it takes tenyears to grow a tree but a hundred years to bring up a generation of good men.He hopes Wenzhou-Kean University will continue to cultivate talents.

《星火》和《长长长》是陈天龙以温州肯恩大学为主题创作的作品。画家将自己的作品最终选择以温州肯恩大学为家，正是看中了在中美合作办学背景下，温肯独有的开放性和创新性。他寄寓温肯可以像星星之火，将创新的办学、人才培养模式点亮未来。而另一幅《长长长》，则寓意“十年树木，百年树人”，希望温肯在人才培养上不断耕耘。

Spark and Growing up are created by Chen Tianlong on the theme of Wenzhou-Kean University. Chen chose this University as the home for his work, which wasbecause of the unique openness and innovation of this university under thebackground of Sino-US cooperation in running schools. He believes thatWenzhou-Kean University can be like a spark, lighting up the future with creativeschool conducting and talent training models. Growing up means that it takes tenyears to grow a tree but a hundred years to bring up a generation of good men.He hopes Wenzhou-Kean University will continue to cultivate talents.

画作的灵感来源于除夕之夜的鞭炮声响，对于这场听觉上的触动，陈天龙运用线条将其记录，表现了极具特色的抽象之美。用线条构成画面的创作想法，他在之前就有所表现。第一次是在美国的拉斯维加斯，看似杂乱实则有序的线条呈现出不夜之城的灯火通明，第二次则是回到了北京，昏暗的灯光下伴着酒吧里的爵士乐，脑海中无规律的线条再一次激发。除了之前的经验累积，该幅画作也考验着画家本身熟练的技法，将声音通过线条传递，进行表达。

In Chen Tianlong’s view, art itself is the progression and combination of“appearance”“soul”and“spirit”. It is the product of spiritual aesthetics,and it is also a vital soul creation. The five self-portraits were all created in thesame period. However, in each work, there are certain differences in theexpression of lines, the combination of colors, and the expression of techniques.The sense of difference comes from the emotional changes in Chen’s innerworld. Different times have different emotions, which affects the expression of painting and the cognition of images. The creation of self-portraits is not a simpledepiction of images, but with the infusion of soul. Just as Chen painted and said,he placed his mood in the painting at every moment and transformed theobjective“appearance”into a spiritual“image”through the interweaving oflines and the interaction of colors.

作品创作的灵感来源于在窗口偶然撞见飞机在天空中飞过的痕迹。这一现实的场景却让陈天龙有了音乐的联想，他用犹如五线谱的的线条去描绘他所感知的景象。对陈天龙来说，艺术是一刹那的感受，绘画不是刻意的，而是顺其自然的情感表达。

The inspiration of this work came from the traces of the plane flying in the skythat Chen Tianlong accidentally saw in the window. This scene in reality gave hima musical association. He used lines like the stave to describe the scene heperceived. For Chen, art is a momentary feeling, and painting is not deliberate, buta natural emotional expression.

《月季花》对陈天龙来说不仅是一次新的“尝试”，更是审美艺术上的一场飞跃。在线条方面，他采用弧线为主，直线为辅，弯曲的弧线以静化动，如舞蹈者般展示了心绪的跳跃，因此，陈天龙也称这些线条为精神之线。同时，在色彩的选择上，虽看似随意，却在微妙中体现出了差异感，这都离不开画家年轻时对艺术感知的潜心修炼。

Chinese Roseis not only a new attempt for Chen Tianlong but also a leap in hisaesthetic art. In terms of lines, Chen mainly used arcs with straight lines as asupplement. The static curved arcs move like a dancer, showing rolling thoughts.Therefore, Chen Tianlong called these lines“spiritual lines”. In the choice ofcolors, although it seems random, it has slight differences, which is inseparablefrom Chen’s concentrated cultivation of artistic perception when he was young.

与《白色草花》的田园诗风格形成对比，这幅作品表现了一种现代风格的审美特点，竹林中摆着瓶花，但并没有让人觉得不和谐。画家用光与影协调了整个画面，反而丰富了竹林诗意。

Flower in Vaseby Bamboos presents modern aesthetics. Chen balanced thebamboo forest and flowers in the vase on canvas with light and shadow. Thistechnique enriches a poetic sense to this work and makes it contrast with thepastoral style inWhite Flowers.

在年轻时代，陈天龙所描绘的静物讲究写实，在把握“形”的基础上追求内心的真实感。该幅画作，以虚为实，将“神”贯彻其中。画中一簇簇如绣球般的芹菜花，以小汇大，在技法上具有丰富的表现。在色彩上，绿色作为主调，以微妙多变的绿色使画面有着一股源源不断的生命力，激发起人们美的精神空间。

Chen Tianlong paid attention to realism in his early depiction of still life. Chen alsopursued the true feeling based on the appearance of the object. This painting thusshows the virtuality and reality at the same time when implements his spirit. In thepainting, large clusters of small celery flowers that resemble hydrangea presentrich techniques. In terms of color, green is the main tone. The subtle changes ofgreen give the picture a steady flow of vitality and inspire people’s spiritualspace for beauty.

画作以反贪为创作主题。微敞的门缝、门神手中的钥匙和门神严肃的神情形成对比...处处充满了寓意。

Gods of the Doorsis an allegory of anti-corruption. Door gods’seriouslooks contrast with the slightly opened doorway and the key in the hand, whichindicates the theme.

在陈天龙的作品中，家乡的一景一物是他常常描绘的主题之一。这副作品他描绘了旧时记忆中温州城的模样——城里河流纵横，水网密布。仔细观察，你是否发现了画面中的小船各不相同？这是陈天龙有意而为之，他将温州当时的特色船只都集中在了画中，有瓯江上来往的蚱蜢舟、还有渔船、摇橹船……展现了江南水乡的繁荣景象。

One of the themes of Chen Tianlong’s works is depicting the scenery of hishometown. This work presents Wenzhou in his memory, the city with crisscrossedrivers and water networks. By looking at the picture carefully, have you noticedthat each boat is different? Chen gathered Wenzhou’s characteristic boats at thetime in the painting, including the small grasshopper-like boats, fishing boats, andsculling boats that travel across the Ou River. The picture shows the prosperity ofthe water town in southeastern China.

这幅作品创作于1958-1959期间，陈天龙在新安江水电站建设工地参与劳动这一时期。《上班》记录了工人们早晨上工的画面。陈天龙回忆，当时自己总是起得很早，在工人上班的路上架起画架开始写生。下乡劳动一呆就是个把月，陈天龙一边劳动，一边挤时间进行艺术创作。这段时期对陈天龙的创作人生起到了很大的影响。生活在城市里的知识青年深深体会到了劳动的价值与快乐，更让他认识到了艺术来源于现实，要在生活里感受艺术。而大量接触写实的场景，也让他更加注重技术的训练，不断丰富自己的表达语言，来呈现更加多元的画面。

These two paintings were created in 1958 and 1959.Go to Worksketched outworkers heading to workplaces in an early morning. Chen kept painting whileworking at the Xin’an river construction site for months. Value and pleasure oflabor work make him aware that art comes from reality and he should feel art inreal life. His extensive exposure to realistic scenes made him pay more attentionto technical training, enrich his artistic expression, and present diverse images.

蒙蒙细雨，加重了一层天气的湿冷寒意，陈天龙回忆当年创作这幅作品时只带了一个装着冷开水的军用水壶，五个冰冷的馒头。这幅作品的风格画家借鉴了法国外光画派的技法。陈天龙形容这幅作品的色彩运用已经到了“危险的边缘”。表达含蓄微妙的色彩需要极为扎实的基本功，也是练习绘画者观察力最好的方式之一。陈天龙希望借用这幅作品，激励现代学子在艺术的道路上切忌浮躁，要有刻苦的钻研精神。

Chen painted On the Mountainin a damp and cold weather. He brought only amilitary canteen of cold boiled water and five cold steamed buns with him at that time. The style of this work was inspired by French Pleinairism. Owing to his keenobservation, the usage of colors reached at most subtlety. This work aims toinspire students to be patient and deliberate over art creation.

在陈天龙看来，艺术本身就是“相”“魂”“神”三者之间的递进与结合，是精神审美的产物，也是一场有生命力的灵魂创作。五幅自画像均创于同一时期，然而在每幅作品中，无论是线条的表现，色彩的调配还是技法的表达都存在一定的差异。差异感的产生来源于陈天龙内心世界的情感变化，不同的时间拥有不同的情绪，从而影响绘画的表达形式以及对图示的认知。自画像的创作并不是简单的形象描绘，而是将魂注入其中。正如陈天龙所绘所言，他将自己每刻的心绪寄托于画中，通过线条的交织与色彩的碰撞，将镜中之“相”转变成精神之“象”。
In Chen Tianlong’s view, art itself is the progression and combination of“appearance”“soul”and“spirit”. It is the product of spiritual aesthetics,and it is also a vital soul creation. The five self-portraits were all created in thesame period. However, in each work, there are certain differences in theexpression of lines, the combination of colors, and the expression of techniques.The sense of difference comes from the emotional changes in Chen’s innerworld. Different times have different emotions, which affects the expression ofpainting and the cognition of images. The creation of self-portraits is not a simpledepiction of images, but with the infusion of soul. Just as Chen painted and said,he placed his mood in the painting at every moment and transformed theobjective“appearance”into a spiritual“image”through the interweaving oflines and the interaction of colors.

在陈天龙看来，艺术本身就是“相”“魂”“神”三者之间的递进与结合，是精神审美的产物，也是一场有生命力的灵魂创作。五幅自画像均创于同一时期，然而在每幅作品中，无论是线条的表现，色彩的调配还是技法的表达都存在一定的差异。差异感的产生来源于陈天龙内心世界的情感变化，不同的时间拥有不同的情绪，从而影响绘画的表达形式以及对图示的认知。自画像的创作并不是简单的形象描绘，而是将魂注入其中。正如陈天龙所绘所言，他将自己每刻的心绪寄托于画中，通过线条的交织与色彩的碰撞，将镜中之“相”转变成精神之“象”。
In Chen Tianlong’s view, art itself is the progression and combination of“appearance”“soul”and“spirit”. It is the product of spiritual aesthetics,and it is also a vital soul creation. The five self-portraits were all created in thesame period. However, in each work, there are certain differences in theexpression of lines, the combination of colors, and the expression of techniques.The sense of difference comes from the emotional changes in Chen’s innerworld. Different times have different emotions, which affects the expression ofpainting and the cognition of images. The creation of self-portraits is not a simpledepiction of images, but with the infusion of soul. Just as Chen painted and said,he placed his mood in the painting at every moment and transformed theobjective“appearance”into a spiritual“image”through the interweaving oflines and the interaction of colors.

在陈天龙看来，艺术本身就是“相”“魂”“神”三者之间的递进与结合，是精神审美的产物，也是一场有生命力的灵魂创作。五幅自画像均创于同一时期，然而在每幅作品中，无论是线条的表现，色彩的调配还是技法的表达都存在一定的差异。差异感的产生来源于陈天龙内心世界的情感变化，不同的时间拥有不同的情绪，从而影响绘画的表达形式以及对图示的认知。自画像的创作并不是简单的形象描绘，而是将魂注入其中。正如陈天龙所绘所言，他将自己每刻的心绪寄托于画中，通过线条的交织与色彩的碰撞，将镜中之“相”转变成精神之“象”。
In Chen Tianlong’s view, art itself is the progression and combination of“appearance”“soul”and“spirit”. It is the product of spiritual aesthetics,and it is also a vital soul creation. The five self-portraits were all created in thesame period. However, in each work, there are certain differences in theexpression of lines, the combination of colors, and the expression of techniques.The sense of difference comes from the emotional changes in Chen’s innerworld. Different times have different emotions, which affects the expression ofpainting and the cognition of images. The creation of self-portraits is not a simpledepiction of images, but with the infusion of soul. Just as Chen painted and said,he placed his mood in the painting at every moment and transformed theobjective“appearance”into a spiritual“image”through the interweaving oflines and the interaction of colors.

在陈天龙看来，艺术本身就是“相”“魂”“神”三者之间的递进与结合，是精神审美的产物，也是一场有生命力的灵魂创作。五幅自画像均创于同一时期，然而在每幅作品中，无论是线条的表现，色彩的调配还是技法的表达都存在一定的差异。差异感的产生来源于陈天龙内心世界的情感变化，不同的时间拥有不同的情绪，从而影响绘画的表达形式以及对图示的认知。自画像的创作并不是简单的形象描绘，而是将魂注入其中。正如陈天龙所绘所言，他将自己每刻的心绪寄托于画中，通过线条的交织与色彩的碰撞，将镜中之“相”转变成精神之“象”。

In Chen Tianlong’s view, art itself is the progression and combination of“appearance”“soul”and“spirit”. It is the product of spiritual aesthetics,and it is also a vital soul creation. The five self-portraits were all created in thesame period. However, in each work, there are certain differences in theexpression of lines, the combination of colors, and the expression of techniques.The sense of difference comes from the emotional changes in Chen’s innerworld. Different times have different emotions, which affects the expression ofpainting and the cognition of images. The creation of self-portraits is not a simpledepiction of images, but with the infusion of soul. Just as Chen painted and said,he placed his mood in the painting at every moment and transformed theobjective“appearance”into a spiritual“image”through the interweaving oflines and the interaction of colors.

这幅作品是陈天龙的早期作品，在写实的过程中，真实感是他创作的关键。画中的天空具有质感，凭借扎实的技法，他将云彩以及颜色的变化表现得生动且逼真。而对于树和泥土，陈天龙并没有如古典主义那样将景画得很精确，而是体现了它的绘画性，使得它具有艺术魅力。

A Few Treesis Chen’s early work. Chen adopts Classicism landscapepainting technique to present clouds truthfully with accurate colorvariations. By contrast, trees and soil are pictorial in this work.

这幅作品创作于1958-1959期间，陈天龙在新安江水电站建设工地参与劳动这一时期。《上班》记录了工人们早晨上工的画面。陈天龙回忆，当时自己总是起得很早，在工人上班的路上架起画架开始写生。下乡劳动一呆就是个把月，陈天龙一边劳动，一边挤时间进行艺术创作。这段时期对陈天龙的创作人生起到了很大的影响。生活在城市里的知识青年深深体会到了劳动的价值与快乐，更让他认识到了艺术来源于现实，要在生活里感受艺术。而大量接触写实的场景，也让他更加注重技术的训练，不断丰富自己的表达语言，来呈现更加多元的画面。

These two paintings were created in 1958 and 1959.Go to Worksketched outworkers heading to workplaces in an early morning. Chen kept painting whileworking at the Xin’an river construction site for months. Value and pleasure oflabor work make him aware that art comes from reality and he should feel art inreal life. His extensive exposure to realistic scenes made him pay more attentionto technical training, enrich his artistic expression, and present diverse images.

《两个树根》是陈天龙年少时的作品。为追求画面的质感，他在技法上严格训练自己，不断地进行揣摩。除了用笔和色彩的调配，陈天龙在工具选择上也颇为讲究，就像笔和刀，工具不同，在视觉上也会产生不同的审美效果。该作品中，他就用刀代替了笔，通过一层层的叠加，展现出老树根在画面中的厚重感。

Two Tree Rootsis one of Tianlong Chen’s early works. Chen’sprimary interest at this time was in texture and color, and he exploredmultiple techniques and tools. For this work, Chen utilized aknife and layer-by-layer composition in order to emphasize the sense ofweight in these ancient roots.

这副画作于大跃进时期。与老师同学下乡做宣传的陈天龙，顶着金华夏天的烈阳，拿着滚烫的画板，巧妙地刻画了丘陵地带通往远方无穷无尽的黄土路。无穷尽的路，这是一条漫漫的学子之路，又是无穷尽的人生之路，充满向往的路！

The Roadwas painted during The Great Leap Forward Movement. Chen wasdoing propaganda in countryside with his teachers and classmates. Holding a hotdrawing board under excessive heat, he depicted an endless dirt road that leadsfrom the hilly area to the distance. The dirt road indicates a long way of being astudent, an endless road of life, and a path of forever longing.

这是陈天龙1956年初进中央美术学院华东分院（现中国美术学院）时所作的一项课外作业。它代表着画家创作生涯第一阶段的风格—追求真实感。这幅作品与之后一系列有关“花”的作品展现着陈天龙绘画风格和理念的转变。从单纯追求写实，到追求多样化的艺术表现手段，不断训练色彩与用笔的技法。陈天龙说，技法是对象告诉我的，被我画的东西是我的老师，只有实实在在掌握手法，拥有丰富的积累，才能使表现手段不会单一，才能随心所欲地运用。

The Red Chrysanthemumisatypicalworkamong Chen’sfirststageofpaintings, where he sought only for truthfulness. His later paintings treat “flowers” with various manipulations of colors and strikes, other than a realistic expression. Chen Tianlong said objects taught him techniques. Only when he had a solid graspofskillsand accumulated rich experiences, he could utilize multiplemeans ofexpression as he wished.

隠喻赞美温州肯恩大学崛起使山野僻壤成了崭新的文化教育圣地，且带动落后的乡村渐走向现代文明。作者以漫不经意不守成法的自由笔调，是是非非不了了之的审美个性，在豪放不羁的意笔中构建了抒情的画面。这是一幅集西方的审美观念与中国的大写意绘画的笔墨理念相融合的个性化的当代中国写意油画。

Chen Tianlong metaphorically praised the rise of Wenzhou-Kean University for making remote mountains a new cultural and educational mecca, and for driving backward rural areas to modern civilization. Chen created a lyrical image in his uninhibited brushstrokes, with a freestyle of casual and unconventional, and a placid aesthetic personality. This is a personalized contemporary Chinese freehand oil painting that combines Western aesthetic concepts with the brushstroke and the concept of Chinese freehand ink painting.

在陈天龙看来，艺术本身就是“相”“魂”“神”三者之间的递进与结合，是精神审美的产物，也是一场有生命力的灵魂创作。五幅自画像均创于同一时期，然而在每幅作品中，无论是线条的表现，色彩的调配还是技法的表达都存在一定的差异。差异感的产生来源于陈天龙内心世界的情感变化，不同的时间拥有不同的情绪，从而影响绘画的表达形式以及对图示的认知。自画像的创作并不是简单的形象描绘，而是将魂注入其中。正如陈天龙所绘所言，他将自己每刻的心绪寄托于画中，通过线条的交织与色彩的碰撞，将镜中之“相”转变成精神之“象”。

In Chen Tianlong’s view, art itself is the progression and combination of“appearance”“soul”and“spirit”. It is the product of spiritual aesthetics,and it is also a vital soul creation. The five self-portraits were all created in thesame period. However, in each work, there are certain differences in theexpression of lines, the combination of colors, and the expression of techniques.The sense of difference comes from the emotional changes in Chen’s innerworld. Different times have different emotions, which affects the expression ofpainting and the cognition of images. The creation of self-portraits is not a simpledepiction of images, but with the infusion of soul. Just as Chen painted and said,he placed his mood in the painting at every moment and transformed theobjective“appearance”into a spiritual“image”through the interweaving oflines and the interaction of colors.