金马开新岁，艺桥通四海

　　楚山楚水的灵秀之气，孕育了当代画坛的中坚力量——国家一级美术师周常义。这位植根咸宁的人民书画家，以三十余载笔墨耕耘，在师承传统与开拓创新中走出独特艺术之路，其作品兼具学术深度与人文温度，成为当代山水画坛传统向现代转型的典范。 周常义的艺术成就早已载誉业界。作为著名山水大家董继宁先生的得意门生，他承袭荆楚画派"重写生、强笔墨、求意境"的精髓，更将其推向新境。从第12、14届"楚天群星奖"银奖到湖北省第三届中老年书画大赛银奖，从"第六届当代中国山水画展"入选到"中国八届艺术节"参展，诸多省级乃至国家级大奖见证着他的艺术高度。其作品被多家美术馆、博物馆永久收藏，多篇论文与画作发表于《文化月刊》《中国美术年刊》等国家级核心期刊，更获评"全国三十位影响人物"，以"人民书画家"的深厚造诣赢得专业界与大众的双重认可。身兼湖北省楚天画院秘书长、咸安区美协主席等多重职务，他既是艺术创作者，更是地域文化的推动者，完美诠释了"三位一体"的艺术家担当。 在艺术表达上，周常义以"兼工带写，南北融通"的鲜明标识独树一帜。他将北派山水的雄浑气象与南派山水的灵秀意境熔于一炉，以破墨与积墨的自如调度，构建出"可观可居"的山水空间。其用笔劲健精微，线条离合聚散间如交响乐般有序，树干纹理见书法笔意，花叶虫鱼以精微点染，形成"粗犷骨架与灵性血肉"共生的美学特质。《秋醉南鄂》中，层峦叠嶂与低云薄雾相映成趣；《青山秀水村自闲，白云深处隐人家》里，乡居景致饱含温情，皆体现出"外师造化，中得心源"的创作真谛。构图上遵循"三远法"，墨彩交融间泼墨氤氲、积墨沉厚，既继承"墨分五色"的传统，又融入现代色彩观念，让鄂南的山林泉瀑在宣纸上焕发永恒生机。 作为《星星文学》主编，周常义将文人修养与笔墨技法深度融合，使画作超越视觉表象，升华为"山水如诗，笔韵中国"的精神图景。他的山水既是巴楚大地的地理印记，更是中国人"诗意栖居"的精神向往，在传统笔墨与时代精神的碰撞中，重新诠释了"气韵生动"的艺术内涵。从基层群艺馆的深耕到国际展览的绽放，周常义以笔墨为桥，连接传统与当代、地域与天下，用丹青妙笔书写着新时代的山水传奇，其艺术之路也为当代艺术家提供了"植根传统、立足本土、拥抱时代"的珍贵范本

　　The exquisite spirit of Chu Mountain and Chu River has nurtured the backbone of the contemporary art world - the national first-class artist Zhou Changyi. This people's calligrapher and painter rooted in Xianning has devoted more than 30 years of brush and ink cultivation, and has embarked on a unique artistic path through learning from tradition and exploring innovation. His works combine academic depth and humanistic warmth, becoming a model for the transformation from tradition to modernity in the contemporary landscape painting industry. Zhou Changyi's artistic achievements have long been acclaimed in the industry. As a proud disciple of the famous landscape painter Mr. Dong Jining, he inherited the essence of the Jingchu painting school's emphasis on sketching, strong brushwork, and pursuit of artistic conception, and pushed it to new horizons. From the Silver Award at the 12th and 14th "Chutian Star Awards" to the Silver Award at the 3rd Hubei Province Middle aged and Elderly Painting and Calligraphy Competition, from being selected for the "6th Contemporary Chinese Landscape Painting Exhibition" to participating in the "8th China Art Festival", many provincial and even national awards have witnessed his artistic height. His works have been permanently collected by multiple art galleries and museums, and many papers and paintings have been published in national core journals such as Culture Monthly and China Art Yearbook. He has also been named one of the "Top 30 Influential Figures in China" and has won dual recognition from the professional community and the public with his profound expertise as a "People's Calligrapher and Painter". He holds multiple positions such as Secretary General of Hubei Chutian Painting Academy and Chairman of Xian'an District Artists Association. He is not only an artistic creator, but also a promoter of regional culture, perfectly interpreting the "trinity" of artist responsibility. In terms of artistic expression, Zhou Changyi stands out with the distinctive symbol of "part-time work with writing, north-south integration". He blended the majestic atmosphere of Northern style mountains and waters with the exquisite artistic conception of Southern style mountains and waters, and constructed a "considerable and livable" landscape space through the flexible coordination of breaking and accumulating ink. His brushwork is vigorous and delicate, with lines that come and go in an orderly manner like a symphony. The texture of the tree trunk reflects the calligraphic brushwork, while flowers, leaves, insects, and fish are delicately dyed, forming an aesthetic characteristic of "rough skeleton and spiritual flesh and blood" coexisting. In 'Autumn Drunken in Southern Hubei', the layers of mountains and the low clouds and mist complement each other in a charming way; In the poem 'Leisure in Qingshan Xiushui Village, Hidden in White Clouds', the rural scenery is full of warmth, reflecting the creative essence of' learning from nature outside and gaining inspiration from the heart within '. In terms of composition, we follow the "Three Distances Method", where ink and color blend together to create a misty and thick ink. We inherit the tradition of "dividing ink into five colors" and incorporate modern color concepts, allowing the mountains, forests, springs, and waterfalls in southern Hubei to shine with eternal vitality on rice paper. As the editor in chief of "Star Literature", Zhou Changyi deeply integrates literary cultivation with brush and ink techniques, elevating his paintings beyond visual appearances to a spiritual landscape of "mountains and waters as poetry, brush and ink as China". His landscape is not only a geographical imprint of the land of Bachu, but also a spiritual aspiration of Chinese people to "live in poetry". In the collision of traditional brushwork and the spirit of the times, it reinterprets the artistic connotation of "vivid charm". From the deep cultivation of grassroots art museums to the blooming of international exhibitions, Zhou Changyi uses his brush and ink as a bridge to connect tradition and modernity, region and the world, and writes the landscape legend of the new era with exquisite brushwork. His artistic path also provides contemporary artists with a precious model of "rooted in tradition, rooted in the local area, and embracing the times"