《七念》雕塑系列作品-雕绘同源The "Seven Reflections" Sculpture Series

——从传统造像到当代雕塑的线相语言转换

The Common Origin of Sculpture and Painting – The Transformation of Linear Language from Traditional Iconography to Contemporary Sculpture

文/刘永刚

本文以“雕绘同源”为视角，梳理中国自秦汉以来雕塑与绘画在造像艺术中的共生传统，通过秦始皇兵马俑彩绘、霍去病墓石刻等案例，分析古代艺术家如何以线相语言凝结时代印记。进而以当代雕塑系列作品《七念》为研究对象，探讨传统线相美学在当代艺术中的转译与重构，论证线相语言作为文化基因如何参与当代叙事，实现个体精神、社会关怀与世界对话的有机统一。

This paper adopts the perspective of "the common origin of sculpture and painting" to sort out the symbiotic tradition between sculpture and painting in Chinese iconographic art since the Qin and Han dynasties. Through case studies such as the painted Qin Shi Huang’s Terracotta Army and the stone carvings at Huo Qubing’s Mausoleum, it analyzes how ancient artists condensed the imprints of their times using linear language. Further, it takes the contemporary sculpture series *Seven Reflections* as the research object, exploring the translation and reconstruction of traditional linear aesthetics in contemporary art, and demonstrating how linear language, as a cultural gene, participates in contemporary narratives to achieve the organic unity of individual spirit, social concern, and global dialogue.

《七念》彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》 Year: 2025 ； Material: Resin；  Height：60cm

雕绘同源的历史脉络与美学内核

The Historical Context and Aesthetic Core of "the Common Origin of Sculpture and Painting"

中国造像艺术自古便呈现出“雕绘一体”的特征。无论是秦始皇兵马俑的彩绘细饰、汉代霍去病墓“马踏匈奴”的凿刻线条，还是佛教造像的赋彩施金，均体现了雕塑与绘画在形态表达上的不可分割性。这种“雕绘同源”不仅是一种技术融合，更是古人通过线相语言——即线条的节奏、力度、韵律与赋彩的象征性——记录时代精神与哲学观念的美学实践。线相既是对物象的提炼，亦是对意蕴的承载，成为连接物质实体与精神世界的关键媒介。

Chinese iconographic art has demonstrated the characteristic of "integrated sculpture and painting" since ancient times. Whether it is the detailed painted decorations on Qin Shi Huang’s Terracotta Army, the carved lines of "Horse Treading on Xiongnu" at Huo Qubing’s Mausoleum of the Han Dynasty, or the colored and gilded Buddhist statues, all reflect the inseparability of sculpture and painting in form expression. This "common origin of sculpture and painting" is not merely a fusion of techniques, but also an aesthetic practice through which ancient people recorded the spirit of the times and philosophical concepts via linear language – i.e., the rhythm, strength, melody of lines and the symbolism of colors. Linear language is both a refinement of objects and a carrier of connotations, serving as a key medium connecting material entities and the spiritual world.

​传统造像中的线相语言

——时代印记的凝结

Linear Language in Traditional Iconography: The Condensation of Era Imprints

1. 秦汉气象

彩绘与石刻的仪式性表达

1. The Grandeur of Qin and Han: Ritual Expression in Painting and Stone Carving

秦始皇兵马俑的彩绘残迹，可见朱红、靛蓝、金粉等色彩与雕塑形体紧密结合，赋予陶俑以生命气息与社会等级隐喻；

From the remaining painted traces on Qin Shi Huang’s Terracotta Army, colors such as vermilion, indigo, and gold powder can be seen closely combined with the sculptural forms, endowing the terracotta warriors with vitality and metaphors of social hierarchy.

秦始皇兵马俑

The Terracotta Army of Qin Shi Huang

霍去病墓石刻则以粗犷简练的阴刻线条勾勒出战马雄姿，通过石质肌理与线形动势彰显汉代雄浑开阔的时代气质。

The stone carvings at Huo Qubing’s Mausoleum, on the other hand, outline the majestic posture of war horses with rough and concise incised lines, highlighting the powerful and broad temperament of the Han Dynasty through the texture of stone and the momentum of linear forms.

汉代霍去病墓“马踏匈奴”

"Horse Treading on Xiongnu" at Huo Qubing's Mausoleum of the Han Dynasty

二者皆以“线色相生”的方式，将历史场景与精神信仰物化于造像之中。

Both materialize historical scenes and spiritual beliefs into iconography through the "interdependence of lines and colors".

2. 佛教艺术中的赋彩与线刻

神圣性的构建

从敦煌彩塑到龙门石刻，佛教造像通过彩绘强化佛像的慈悲面相，以流畅衣纹线条传递宗教的超越性。线相在此不仅是造型手段，更是沟通人神、传递教义的符号系统。

2. Coloring and Line Carving in Buddhist Art: The Construction of Sacredness

From the painted sculptures in Dunhuang to the stone carvings at Longmen Grottoes, Buddhist statues use colors to enhance the compassionate features of Buddha images and convey the transcendence of religion through smooth lines of garment folds. Here, linear language is not only a modeling tool, but also a symbolic system that connects humans and gods and disseminates doctrines.

当代转译

线相语言的当代表达与社会参与

Contemporary Translation: The Contemporary Expression and Social Participation of Linear Language

进入当代，线相语言需在继承传统美学的基础上回应新的文化语境。《七念》系列雕塑群正是这一转译的典型案例。作品以七件独立雕塑构成心理叙事序列，其创新性体现在：

In the contemporary era, linear language needs to respond to new cultural contexts while inheriting traditional aesthetics. The *Seven Reflections* sculpture series is a typical case of such translation. Composed of seven independent sculptures forming a psychological narrative sequence, the series’ innovations are reflected in the following aspects:

《七念》彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》 Year: 2025 ； Material: Resin；  Height：60cm

1. 材质的隐喻与线相的抽象化

作品以树脂塑造基础形态，表面施以当代风格的绘画，形成“雕绘同源”的当代演绎。钢铁材质的局部运用则强化了线相的冷峻力度，与传统石刻的“金石气”一脉相承，却转而指向现代人内心的坚韧与孤独。

1. **Metaphor of Materials and Abstraction of Linear Language**

The works use resin to shape the basic forms, with contemporary-style paintings applied to the surface, forming a contemporary interpretation of "the common origin of sculpture and painting". The partial use of steel strengthens the cold intensity of linear language, which is in the same lineage as the "metallic vigor" of traditional stone carvings, yet shifts to reflect the inner tenacity and loneliness of modern people.

2. 线相作为心理状态的视觉化

七件作品分别以“韧立”的倾斜线、“澄鉴”的曲折镜面、“破茧”的舒张轮廓等线相变化，喻示人在逆境中的心理轨迹。线相在此不再是客观物象的描摹，而是内在精神的外化，与《荀子》“岁寒知松柏”的哲学观形成跨时代呼应。

2. **Linear Language as Visualization of Psychological States**

The seven works use linear variations such as the tilted lines of "Resilient Standing", the curved mirror surface of "Clear Self-Reflection", and the stretching outline of "Breaking the Cocoon" to metaphorize the psychological trajectory of humans in adversity. Here, linear language is no longer a depiction of objective objects, but an externalization of inner spirit, forming a cross-era resonance with Xunzi’s philosophical view that "the cold of winter reveals the evergreen pine".

3. 公共性与社会对话

作品鼓励观众穿行触摸，通过身体互动激发对“坚持与信念”的共鸣。线相语言由此从静态观赏转为动态体验，成为连接个体反思与社会议题的桥梁，践行了“与你我有关，与社会有关”的创作理念。

3. **Publicity and Social Dialogue**

The works encourage viewers to walk through and touch them, stimulating resonance with "perseverance and faith" through physical interaction. Thus, linear language transforms from static viewing to dynamic experience, becoming a bridge connecting individual reflection and social issues, and practicing the creative concept of "being relevant to you and me, and to society".

《七念》彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》 Year: 2025 ； Material: Resin；  Height：60cm

线相语言与当代叙事

——如何讲好“中国故事”

《七念》的实践表明，传统线相语言在当代艺术中仍具生命力，但其复兴需满足三个维度的转译

Linear Language and Contemporary Narration: How to Tell "Chinese Stories" Well

The practice of *Seven Reflections* shows that traditional linear language still has vitality in contemporary art, but its revival requires translation in three dimensions:

1. 个体维度：

线相应成为个体情感与精神困境的载体，如《七念》中“积微”的层叠线条暗示日常坚持的艰辛与崇高。

Individual Dimension**: Linear language should be a carrier of individual emotions and spiritual dilemmas. For example, the layered lines of "Accumulating Minute Progress" in *Seven Reflections* imply the hardship and nobility of daily perseverance.

2. 社会维度：

线相需介入公共空间，引发集体共鸣。作品中钢铁与树脂的材质对话，隐喻当代社会刚柔并济的生存状态。

Social Dimension**: Linear language needs to engage in public spaces and arouse collective resonance. The dialogue between steel and resin in the works metaphorizes the survival state of contemporary society that combines rigidity and softness.

3. 世界维度：

线相作为东方美学符号，应超越地域界限。如“归真”的返璞形态，呼应全球现代性反思中对“初心”的追寻，形成跨文化对话。

Global Dimension**: As an oriental aesthetic symbol, linear language should transcend geographical boundaries. For instance, the simple form of "Returning to Authenticity" echoes the pursuit of "original aspiration" in global reflections on modernity, forming cross-cultural dialogue.

线相语言的未来向度

The Future Direction of Linear Language

从秦汉彩绘石刻到《七念》雕塑系列作品，“雕绘同源”的传统始终贯穿中国造像艺术的历史脉络。线相语言不仅是形式工具，更是民族美学基因的承载者。在当代语境下，线相的成功转译需植根于传统精神，直面当下人的生存状态，并以开放的形态参与社会建构与世界对话。《七念》以其哲思性、材料实验与公共互动，为这一转译提供了可资借鉴的路径——唯有让线相“活”在当代的呼吸中，传统方能真正成为讲述中国故事、沟通人类情感的永恒语言。

From the painted stone carvings of the Qin and Han dynasties to the *Seven Reflections* sculpture series, the tradition of "the common origin of sculpture and painting" has always run through the historical context of Chinese iconographic art. Linear language is not only a formal tool, but also a carrier of the national aesthetic gene. In the contemporary context, the successful translation of linear language must be rooted in traditional spirit, face the living conditions of people today, and participate in social construction and global dialogue with an open form. With its philosophical thinking, material experimentation, and public interaction, *Seven Reflections* provides a reference path for this translation – only by making linear language "live" in the pulse of the contemporary era can tradition truly become an eternal language for telling Chinese stories and connecting human emotions.

参考文献

[1] 王子云．《中国雕塑艺术史》．人民美术出版社，2012．

[2] 巫鸿．《中国古代艺术与建筑中的“纪念碑性”》．上海人民出版社，2009．

[3] 孙振华．《中国当代雕塑史》．中国青年出版社，2018．

[4] 《荀子·大略》．中华书局，2015．

References

[1] Wang, Ziyun. *A History of Chinese Sculptural Art*. People’s Fine Arts Publishing House, 2012.

[2] Wu, Hung. *The Monumentality of Early Chinese Art and Architecture*. Shanghai People’s Publishing House, 2009.

[3] Sun, Zhenhua. *A History of Contemporary Chinese Sculpture*. China Youth Press, 2018.

[4] *Xunzi: Daliue* (Excerpts). Zhonghua Book Company, 2015.

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“歲不寒無以知松柏，事不難無以知君子無日不在是。”此句出自《荀子》，喻示人必經歷考驗，方能顯現真實品格。松柏經冬不凋，君子遇難愈堅，這不僅是品格的隱喻，也是本作品《七念》的精神源起。

Sculpture Description: *Seven Reflections*

"The cold of winter reveals the evergreen pine; hardship reveals the true gentleman—such trials are constant." This quote from *Xunzi* illustrates that one’s true character emerges only through trials. Just as pines remain verdant through winter, gentlemen grow stronger in adversity. This is not merely a metaphor for virtue, but also the spiritual origin of the sculpture *Seven Reflections*.

《七念》是一件由七件獨立雕塑構成的群組作品，以當代藝術語言重新詮釋傳統哲思，旨在探討人在逆境中的心理狀態與精神超越。七件雕塑既各自成章，又彼此呼應，形成一組視覺與思想上的連續敘事。

*Seven Reflections* is a series of seven independent yet interrelated sculptures. It reinterprets traditional philosophy through contemporary artistic language, exploring the human psychological state and spiritual transcendence in times of adversity. Each sculpture stands on its own while resonating with the others, forming a continuous narrative both visually and conceptually.

《七念》彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》 Year: 2025 ； Material: Resin；  Height：60cm

“七念”，並非指七種具體念頭，而是借“七”這一充滿文化隱喻的數字，表達人在困頓中多重面向的反思與堅持。在日常生活中，“七念”亦可視為一種生活理念：它強調面對不如意時保持信念、不氣不餒，以微笑應對艱難，以行動堅持進步，不被懶惰與消極情緒所束縛，從而在複雜的社會關係中保持豁達與積極。

The "Seven Reflections" do not refer to seven specific thoughts. Instead, they draw on the cultural symbolism of the number "seven" to express the multifaceted reflection and perseverance of individuals in hardship. In daily life, "Seven Reflections" can also be seen as a life philosophy: it emphasizes maintaining faith in the face of setbacks, staying undaunted, greeting difficulties with a smile, persisting in progress through action, and freeing oneself from laziness and negativity to remain open-minded and positive amid complex social relationships.

本作品中，每一件雕塑形態各異，或线相表达或具象呈现，分別凝結了一種狀態或抉擇的瞬間：

Each sculpture in the series has a distinct form—some abstract with linear expressions, others figurative—capturing a moment of state or choice:

第一念，「韌立」：以傾而不倒之態，喻示根基之穩；

1. **Resilient Standing**: Leaning yet unyielding, it symbolizes a firm foundation.

《七念》1 彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》1  Year: 2025 ； Material: Resin；  Height：60cm

第二念，「澄鑑」：如鏡面曲折，映照自我，提醒觀者內省；

2. **Clear Self-Reflection**: Curved like a mirror, it reflects the self and reminds viewers to introspect.

《七念》2 彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》2  Year: 2025 ； Material: Resin；  Height：60cm

第三念，「破繭」：形態由緊至舒，象徵突破限制；

3. **Breaking the Cocoon**: Shifting from a tight to a relaxed form, it represents breaking free from constraints.

《七念》3 彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》 3 Year: 2025 ； Material: Resin；  Height：60cm

第四念，「持衡」：動態中求平衡，對應處世之智慧；

4. **Balanced Perseverance**: Seeking balance in movement, it corresponds to the wisdom of navigating life.

《七念》4  彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》4 Year: 2025 ； Material: Resin；  Height：60cm

第五念，「積微」：層疊漸進，喻示進步源自點滴堅持；

5. **Accumulating Minute Progress**: Layered and progressive, it signifies that progress stems from consistent small efforts.

​

《七念》5 彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》5 Year: 2025 ； Material: Resin；  Height：60cm

第六念，「望遠」：線條向上延伸，代表眼界超越現實；

6. **Looking Beyond**: With lines extending upward, it represents seeing beyond immediate reality.

《七念》6 彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》6  Year: 2025 ； Material: Resin；  Height：60cm

第七念，「歸真」：形態返璞，指向初心與本質。

7. **Returning to Authenticity**: Embracing a simple form, it points to one’s original aspiration and essence.

《七念》7  彩雕绘画/树脂 ；高60cm； 2024-2025年作

《Seven Reflections Series》7  Year: 2025 ； Material: Resin；  Height：60cm

整體造型上，作品運用树脂制作，并在雕塑上面绘画出当下时代的〝本相”，或以钢铁材質放大使之与观者對話，冷峻中見溫度，粗礪中含精細，正如人之品性於磨難中淬煉出光華。觀眾可穿行其間，從不同角度觀看、觸摸甚至感知，從而喚起自身對“堅持與信念”的共鳴。

In terms of overall design, the sculptures are crafted from resin, with paintings depicting the "true essence" of the present era. Some are scaled up using steel to engage viewers in dialogue—there is warmth within their calmness, and delicacy within their ruggedness, just as human virtue is refined and shines through hardships. Viewers can walk among them, observing, touching, and even sensing the works from different angles, thereby evoking their own resonance with "perseverance and faith."

《七念》不僅是藝術的呈現，更是一場視覺的哲思。它提醒我們：在這易被名利與欲望遮蔽的時代，更需時刻返回內心，檢視行為與心念，於紛擾中保持澄明，於困難中保持前行。

*Seven Reflections* is more than an artistic expression; it is a visual philosophical meditation. It reminds us that in an era easily overshadowed by fame, fortune, and desire, we must constantly turn inward to examine our actions and thoughts—remaining clear amid chaos and moving forward amid difficulties.

這組雕塑，是松柏的隱喻，也是君子的當代註腳——願每一位觀者，皆能從中看見自己，並汲取前行的力量。

This series of sculptures is both a metaphor for the pine and a contemporary annotation of the "gentleman." May every viewer see themselves in these works and draw strength to move forward.

作者简介

刘永刚

国际著名当代艺术家

中国美术学院特聘教授

清华美术学院高研班导师

中国美术家协会会员

中国雕塑学会会员

中国当代雕塑艺术研究院研究员、创作部主任

李自健美术馆终身“荣誉顾问”

1964年出生于内蒙古根河市

1982－1986年 就读于中央美术学院油画系靳尚谊先生第一工作室，获学士学位

1992－1997年 就读于德国纽伦堡美术学院自由艺术系Colditz教授工作室，获硕士学位

现工作、生活在北京、惠州、柏林

代表作品

1987年油画《北萨拉的牧羊女》获首届中国油画展优等奖

1989年油画《北萨拉的白月》获第七届全国美展铜奖

1997年油画《十字》获德国纽伦堡美术学院“达纳”一等奖，同年获大师生称号

1999年~2009年系列组雕《站立的文字—爱拥》102件

2010年雕塑《双升》获“刘开渠”银奖

2016年6月，德国碧德尔斯多夫镇，《站立的文字--爱拥》系列作品，荣获NordArt 国际艺术大奖。

2023年创作 《挺立的汉字》 系列作品

2025年创作《七念》系列作品

主要展览及艺术活动

个展

2023年9月-12月在李自健美术馆举办《挺立-刘永刚雕塑绘画大展》

2021年9月《传奇-刘永刚“本相”主题》作品展， 北京锦都艺术中心

2012年《尚立——刘永刚作品展》 ，浙江美术馆

2012年《线相——刘永刚绘画展》， 北京今日美术馆

2010年《乾元——刘永刚抽象艺术展》 ，北京时代美术馆

2009年《乾元——刘永刚个人油画作品展》，上海美术馆

2008年《站立――刘永刚雕塑作品展》  ，北京中华世纪坛广场

2007年《站立的文字——刘永刚雕塑绘画作品展》 ，北京中国美术馆

1997年《十字系列》作品获德国纽伦堡美术学院金奖 ，德国纽伦堡美术学院

联展

2023年作品《站立的文字～长江》参加『雕塑头条』“中国姿态·第六届中国雕塑展”，上海美术馆

2018年参加《今日美术首届公共艺术展》，今日美术馆

2018年参加国家艺术基金一带一路“汉字的力量”水墨大展，安阳文字博物馆

2017年参加德国路德维希美术馆《对话中国当代艺术展》，德国路德维希美术馆

2017年声光作品《线相生肖》参加swell国际雕塑节，澳大利亚黄金海岸-可伦滨海滩Currumbin Beach

2017年参加《2017天工开悟当代公共艺术主题展》，北京中国世纪坛

2017年参加《2017首届中国城市公共艺术展》，北京今日美术馆

2017年参加《“互补与契合”--中国留学德国艺术家作品展》，上海刘海粟美术馆

2015年参加《共振——中国当代艺术展》，瑞士圣—乌尔班当代艺术馆

2015年参加《北方艺术》展，德国卡舒特艺术馆

2014年参加《国际艺术展》，德国伦茨堡布德尔斯多尔夫市卡尔舒特艺术中心

2013年参加《首届中国装置艺术双年展》 ，北京当代艺术馆、天津美术馆

2012年参加《中德文化艺术交流展》，德国伦茨堡布德尔斯多尔夫市卡尔舒特艺术中

2012年参加《中国百年雕塑展》 ，中国国家博物馆（北京）

2011年雕塑作品《七念》参加《开悟-首届大同国际雕塑双年展》，7件作品被收藏，大同市和阳美术馆

2010年参加《上海世博会雕塑展》 ，上海世博会

2009年参加《2009奥运工程建设展》，北京市规划展览馆

2008年参加《中国抽象艺术展》 ，澳门-艺术博物馆

2007年参加《连·接》展 ，北京当代艺术馆

2005年 作品《北萨拉的牧羊女》参加《大河上下1976—2005油画回顾展》 ，中国美术馆

1988年参加《中国油画展》获中国美术家协会“新人新作奖”，日本-东京美术馆

1987年参加作品《北萨拉的牧羊女》获《首届中国油画展》优等奖，上海国际展览中心

主要专著

《刘永刚艺术》

《站立的文字》

《刘永刚雕塑》

《线相的现象》

《笔墨生肖——刘永刚线相艺术》

《品物》

《线相——清华大学美术学院刘永刚高研班师生作品集》

《刘永刚公共艺术》

《刘永刚绘画艺术》

《本相——刘永刚绘画》

《挺立~刘永刚雕塑与绘画》

《中国线相艺术》

主要收藏

作品被中国美术馆、中央美术学院、中国美术家协会、TCL集团、鄂尔多斯市政府、杭州市政府、北京奥组委、北京规划展览馆、美国达拉斯亚洲艺术博物馆、德国总统高克、上海市政府、内蒙古美术馆、华为集团、李自健美术馆、湖南湘江新区规划馆等收藏及私人收藏。

Author Profile

Liu Yonggang

• Internationally renowned contemporary artist

• Distinguished Professor at China Academy of Art

• Tutor of Advanced Study Program at Academy of Arts & Design, Tsinghua University

• Member of China Artists Association

• Member of China Sculpture Institute

• Researcher and Director of Creation Department at China Institute of Contemporary Sculpture Art

• Lifetime "Honorary Advisor" of Li Zijian Art Museum

Born in Genhe City, Inner Mongolia in 1964.

• 1982-1986: Studied in the First Studio of Professor Jin Shangyi at the Oil Painting Department of Central Academy of Fine Arts, obtained a Bachelor's degree.

• 1992-1997: Studied in the Studio of Professor Colditz at the Department of Free Art, Nuremberg Academy of Fine Arts, Germany, obtained a Master's degree.

Currently works and lives in Beijing, Huizhou and Berlin.

Representative Works

• 1987: Oil painting Shepherdess of North Sara won the Excellent Award at the First China Oil Painting Exhibition.

• 1989: Oil painting White Moon over North Sara won the Bronze Award at the 7th National Art Exhibition.

• 1997: Oil painting Cross won the "Dana" First Prize of Nuremberg Academy of Fine Arts, and he was awarded the title of "Meister" (Master) in the same year.

• 1999-2009: Created the series of 102 sculptures Standing Characters - Embrace of Love.

• 2010: Sculpture Double Ascension won the Silver Award at the "Liu Kaiqu" Sculpture Award.

• June 2016: The series Standing Characters - Embrace of Love won the NordArt International Art Award in Bad Doberan, Germany.

• 2023: Created the series Upright Chinese Characters.

• 2025: Created the series Seven Aspirations.

Major Exhibitions and Artistic Activities

Solo Exhibitions

• September-December 2023: Held "Upright - Liu Yonggang Sculpture and Painting Exhibition" at Li Zijian Art Museum.

• September 2021: "Legend - Liu Yonggang's 'True Nature' Theme" Exhibition at Beijing Jindu Art Center.

• 2012: "Shang Li - Liu Yonggang Art Exhibition" at Zhejiang Art Museum; "Line Nature - Liu Yonggang Painting Exhibition" at Today Art Museum, Beijing.

• 2010: "Qian Yuan - Liu Yonggang Abstract Art Exhibition" at Beijing Times Art Museum.

• 2009: "Qian Yuan - Liu Yonggang Solo Oil Painting Exhibition" at Shanghai Art Museum.

• 2008: "Standing - Liu Yonggang Sculpture Exhibition" at the Square of China Millennium Monument, Beijing.

• 2007: "Standing Characters - Liu Yonggang Sculpture and Painting Exhibition" at National Art Museum of China, Beijing.

• 1997: "Cross Series" won the Gold Award of Nuremberg Academy of Fine Arts, exhibited at Nuremberg Academy of Fine Arts, Germany.

Group Exhibitions

• 2023: Work Standing Characters ~ Yangtze River participated in "China Posture · The 6th China Sculpture Exhibition" hosted by Sculpture Headline, at Shanghai Art Museum.

• 2018: Participated in "The First Today Art Public Art Exhibition" at Today Art Museum; participated in the National Art Fund's "The Power of Chinese Characters" Ink Wash Exhibition along the Belt and Road at Anyang Chinese Character Museum.

• 2017: Participated in "Dialogue: Chinese Contemporary Art Exhibition" at Ludwig Museum, Germany; sound and light work Line Nature Zodiac participated in the Swell International Sculpture Festival at Currumbin Beach, Gold Coast, Australia; participated in "2017 Tiangong Kaiwu Contemporary Public Art Theme Exhibition" at China Millennium Monument, Beijing; participated in "2017 First China Urban Public Art Exhibition" at Today Art Museum, Beijing; participated in "Complementarity and Agreement - Exhibition of Chinese Artists Studying in Germany" at Liu Haisu Art Museum, Shanghai.

• 2015: Participated in "Resonance - Chinese Contemporary Art Exhibition" at St. Urban Contemporary Art Museum, Switzerland; participated in "Northern Art" Exhibition at Kaschut Art Museum, Germany.

• 2014: Participated in "International Art Exhibition" at Karlsruhe Art Center, Budelsdorf, Lüneburg, Germany.

• 2013: Participated in "The First China Installation Art Biennale" at Beijing Contemporary Art Museum and Tianjin Art Museum.

• 2012: Participated in "China-Germany Cultural and Art Exchange Exhibition" at Karlsruhe Art Center, Budelsdorf, Lüneburg, Germany; participated in "Century of Chinese Sculpture Exhibition" at National Museum of China (Beijing).

• 2011: Sculpture series Seven Aspirations participated in "Enlightenment - The First Datong International Sculpture Biennale", 7 works were collected by Heyang Art Museum, Datong.

• 2010: Participated in "Shanghai World Expo Sculpture Exhibition" at Shanghai World Expo.

• 2009: Participated in "2009 Olympic Project Construction Exhibition" at Beijing Urban Planning Exhibition Hall.

• 2008: Participated in "Chinese Abstract Art Exhibition" at Macao Art Museum.

• 2007: Participated in "Connection" Exhibition at Beijing Contemporary Art Museum.

• 2005: Work Shepherdess of North Sara participated in "Up and Down the Great River: 1976-2005 Oil Painting Retrospective Exhibition" at National Art Museum of China.

• 1988: Participated in "China Oil Painting Exhibition" and won the "New Artist Award" from China Artists Association, exhibited at Tokyo Art Museum, Japan.

• 1987: Work Shepherdess of North Sara participated in "The First China Oil Painting Exhibition" and won the Excellent Award, exhibited at Shanghai International Exhibition Center.

Major Monographs

• Liu Yonggang Art

• Standing Characters

• Liu Yonggang Sculpture

• The Phenomenon of Line Nature

• Ink Zodiac - Liu Yonggang's Line Nature Art

• PinWu (Appreciating Things)

• Line Nature - Collection of Works by Teachers and Students of Liu Yonggang's Advanced Study Program at Academy of Arts & Design, Tsinghua University

• Liu Yonggang Public Art

• Liu Yonggang's Painting Art

• True Nature - Liu Yonggang's Paintings

• Upright ~ Liu Yonggang's Sculpture and Painting

• Chinese Line Nature Art

Major Collections

His works have been collected by National Art Museum of China, Central Academy of Fine Arts, China Artists Association, TCL Group, Ordos Municipal Government, Hangzhou Municipal Government, Beijing Organizing Committee for the Olympic Games, Beijing Urban Planning Exhibition Hall, Asian Art Museum of Dallas (USA), German President Joachim Gauck, Shanghai Municipal Government, Inner Mongolia Art Museum, Huawei Group, Li Zijian Art Museum, Hunan Xiangjiang New Area Planning Museum, as well as private collectors.