艺术家既是时代的创作者，更是人类精神文明的引领者与推动者。他们的作品不应止于见证时代，更要成为人类艺术宝库中历久弥新的瑰宝，持续照亮观者心灵，在文明长河中留下深远回响。
历史从不会真正消失，却时常面临被歪曲、误读乃至选择性遗忘的境遇。但藏于岁月深处的真善美，终会穿越尘埃、永不消散——这便是我创作《友谊地久天长》的初心。
人类的精神发展史，更像是裹挟着文明野蛮、进步与愚昧、清醒与麻木、善良与残暴、奉献与自私，一股懵懂混沌的洪流，不论你愿不愿意，我们都掺杂其中主动或被动的走向未来，历史本身就如同一块多棱的水晶，从不同的角度折射出不同的光彩，我们看到的历史，往往取决于我们站在哪里看！
我们所知的宏大叙事，往往只是冰山浮出水面的部分，那些被时光尘封的个体故事，那些跨越疆域的无私奉献，那些奠定基石的第一次，才是拼凑出完整历史图景的关键碎片。
这组作品，谨献给那些为人类文明进程躬身奉献、默默牺牲的人们。他们的足迹不该被时光掩埋，而我愿以艺术为碑，铭刻下他们的光辉，让这份跨越时空的美好与坚守，永远被铭记。
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、心系家国的艺术耕耘者，毕业于长春市教育学院艺术系，后深造于天津美术学院高研班，师古而不泥古，博采众长而自成一家。
现为吉林省美术家协会会员、公安部文联美术家协会理事、吉林省榆树市美术家协会副主席。
其作品屡次入选国家级及省内外重要展览，屡获殊荣，以深厚笔力与真挚情感诠释时代精神，于丹青之中镌刻忠诚与热爱，彰显出新时代艺术家的责任担当与艺术风骨。
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.
艺术是超越语言的一种沟通方式，也是文化承载与历史记录的载体，也是区域认同与批判的工具，是艺术家思想的物化，尽管一件美术作品根本承载不了那么多东西，或者可能不是一件美术作品所具备的功能，但我仍然试着去做！
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!
友谊地久天长之克莱尔·李·陈纳德 2025
丙烯油彩
120x120cm
友谊地久天长之聂会东 2025
丙烯油彩
120x120cm
友谊地久天长之蒲安臣 2025
丙烯油彩
120x120cm
我用我的画来关注这些，重整这些碎片记忆，感恩那些心装济世情怀，给我们带来启蒙火种的人们，走进黑白之间看到那些被遗忘的灰色地带，把那些人性中的善良凝固在我的画面中~
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~
友谊地久天长之启尔德 2025
丙烯油彩
120x120cm
友谊地久天长之司徒雷登 2025
丙烯油彩
120x120cm
友谊地久天长之爱德华·胡美 2025
丙烯油彩
120x120cm
友谊地久天长之约翰·洛克菲勒 2025
丙烯油彩
120x120cm
尽管一件美术作品根本承载不了那么多的东西，或者可能不是一件美术作品所具备的功能，但我仍然试着去做，艺术是超越语言的一种沟通方式，也是文化承载与历史记录的载体，也是区域认同与批判的工具，是艺术家思想的物化呈现。
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.
友谊地久天长之立德夫人 2025
丙烯油彩
120x120cm
友谊地久天长之卜舫济 2025
丙烯油彩
120x120cm
友谊地久天长之明恩普 2025
丙烯油彩
120x120cm
友谊地久天长之马相伯 2025
丙烯油彩
120x120cm
当代艺术如何在视觉层面建构历史叙事？如何在形式语言中沉淀文化记忆，并转化为审美体验？崔文智的《友谊天久地长》系列，以拼贴式的结构、斑驳厚重的肌理、冷峻而沉郁的色调，展现了一种“视觉考古”式的艺术风格，使观者仿佛透过尘封的史料碎片，进入一场关于权力、文化与时代嬗变的沉浸式体验。
作品的画面布局具有强烈的象征性：清朝官员与西方绅士的并置，标志着晚清历史中东西文明的激烈碰撞；蓝色龙的剪影隐匿于背景斑驳的时间肌理之中，象征着东方文明在西方殖民扩张下的挣扎与蜕变。而另一幅作品中，“北京协和”牌匾下，西装绅士与身着护士服的群像构成冷峻的对视关系，隐喻着现代医学的输入及西方科技话语权的建立。粉色花朵的多次出现，既是作品间的形式勾连，也可能寓意生命的脆弱、延续与时代更替的轮回。
在技法层面，崔文智采用拼贴、肌理叠加、色层渗透等方式，使画面仿佛一张被时间侵蚀的老照片。人物、符号、历史遗迹被剥离原始时空，浸润于晦暗的色彩与斑驳的画面肌理之中，呈现出超越单纯具象描绘的历史维度。艺术家并非单纯地再现历史，而是在历史残片的拼贴中，重构记忆与叙述，塑造出一种具象与抽象交织的“历史质感”。
艺术的价值，在于对现实与历史的批判性反思。这组作品既是视觉的考古学，同时也是时间的隐喻学。在这些历史的残影中，我们不仅看到往昔的权力博弈与文化互动，更在视觉层面感受到时间的沉积与文明嬗变的余韵。它启发我们思考：被历史书写的，是否真的属于历史？今日的文化身份，又如何在这些交错的文明痕迹中获得定义？
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?
