论当代水墨艺术中的哲学转译与符号重构

以当代水墨艺术系列《七念》为核心研究对象，探讨其如何从传统的“诗画同源”理论中发生创造性转化，形成独特的“七念精神”与“书画同源”实践。作品通过将汉字书写、数字符号（1-7）与水墨写意进行跨媒介整合，构建了一套关于逆境、内省与精神超越的视觉哲学叙事。本文首先追溯“诗画同源”的理论谱系，进而分析《七念》如何将文学性的诗意隐喻，转化为以“松柏精神”为内核的视觉哲思。重点论述作品通过“数字剪贴”这一符号学策略，对传统笔墨语言进行的当代重构，并逐一解码“韧立”、“澄鉴”至“归真”等七念的哲学意涵。最终指出，《七念》不仅是一件艺术品，更是一场以视觉为载体的哲学实践，它通过激活传统资源，为身处现代性困境中的个体提供了反思自我与坚持信念的精神图景。

On the Philosophical Translation and Symbolic Reconstruction in Contemporary Ink Art

Focusing on the contemporary ink art series Seven Aspirations as the core research object, this paper explores how it has achieved a creative transformation from the traditional theory of "the homology of poetry and painting" and formed the unique "Spirit of Seven Aspirations" and the practice of "the homology of calligraphy and painting". By integrating Chinese character writing, numerical symbols (1-7) and freehand ink wash through cross-media means, the work constructs a set of visual philosophical narratives about adversity, introspection and spiritual transcendence. This paper first traces the theoretical lineage of "the homology of poetry and painting", then analyzes how Seven Aspirations transforms the literary poetic metaphor into visual philosophical thinking with "the spirit of pine and cypress" as its core. It focuses on discussing the work's contemporary reconstruction of traditional brush and ink language through the semiotic strategy of "digital collage", and decodes the philosophical connotations of the seven aspirations one by one, from "Tenacious Persistence" and "Clear Reflection" to "Return to Innocence". Finally, it points out that Seven Aspirations is not only a work of art, but also a philosophical practice with vision as the carrier. By activating traditional resources, it provides a spiritual vision for individuals in the predicament of modernity to reflect on themselves and adhere to their beliefs.

（创作的开端）The Genesis of Creation

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一、从文学隐喻到视觉哲思的理论溯源

中国艺术理论素有“诗画同源”之传统，如苏轼评王维“诗中有画，画中有诗”，深刻揭示了文学与绘画在意境、节奏与抒情性上的互通。这一传统构成了中国文人画的美学基石。然而，当代艺术的任务并非简单地承袭传统，而是在其基础上进行“创造性转化”。《七念》系列作品的深层价值，恰恰在于它实现了从“诗画同源”向“书画同源”与“七念精神”的哲学性跃迁。

I. Theoretical Origin: From Literary Metaphor to Visual Philosophical Thinking

Chinese art theory has long had the tradition of "the homology of poetry and painting". For example, Su Shi commented on Wang Wei that "there is painting in poetry and poetry in painting", which profoundly reveals the interconnection between literature and painting in artistic conception, rhythm and lyricism. This tradition constitutes the aesthetic cornerstone of Chinese literati painting. However, the task of contemporary art is not to simply inherit the tradition, but to carry out "creative transformation" on its basis. The in-depth value of the Seven Aspirations series lies precisely in its realization of a philosophical leap from "the homology of poetry and painting" to "the homology of calligraphy and painting" and "the Spirit of Seven Aspirations".

作品的灵感源头，直接锚定于《荀子·大略》中的经典论断：“歲不寒無以知松柏，事不難無以知君子”。此句以松柏经冬不凋的自然属性，隐喻君子于逆境中砥砺品格的道德理想。这便将艺术的起点，从一般的审美愉悦，提升至对人性与存在状态的哲学叩问。《七念》正是以水墨这一最具中国传统精神的媒介，为这一古老的文学隐喻寻找当代的视觉化身。它不再满足于在画面上题诗点题，而是试图让水墨形式本身“言说”哲学，使每一笔触、每一构成都成为精神状态的直接表征。

The source of inspiration for the work is directly anchored in the classic assertion from Xunzi·Daluo: "One cannot know the pine and cypress without the cold of winter, nor can one know the gentleman without the trials of affairs". This sentence uses the natural attribute of pine and cypress that remain evergreen through winter to metaphorize the moral ideal of a gentleman tempering his character in adversity. This elevates the starting point of art from general aesthetic pleasure to a philosophical inquiry into human nature and the state of existence. With ink wash, the medium that best embodies the spirit of Chinese tradition, Seven Aspirations seeks a contemporary visual embodiment for this ancient literary metaphor. It is no longer content with inscribing poems on the painting to highlight the theme, but attempts to make the ink wash form itself "speak" philosophy, turning every brush stroke and every composition into a direct representation of the spiritual state.

（创作过程）The Creative Process

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二、“七念”的构成：数字符号与传统笔墨的跨媒介对话

《七念》作为一组七件的独立作品，其核心创新在于引入了“数字”这一非传统艺术符号。

II. The Composition of "Seven Aspirations": Cross-Media Dialogue Between Numerical Symbols and Traditional Brush and Ink

As a set of seven independent works, the core innovation of Seven Aspirations lies in the introduction of "numbers" as non-traditional artistic symbols.

1. 数字的符号学意义重构：

选取民间剪纸艺术中“1-7”的数字形态，并以剪贴方式介入水墨画面。这一行为具有多重符号学意义。首先，数字本身具有的序列性、逻辑性与普遍认知性，与水墨的随机性、感性与东方性形成张力。这种张力打破了传统水墨的封闭语境，注入了现代甚至后现代的构成元素。其次，在文化隐喻层面，“七”在中国传统文化中是一个充满玄理的数字（如七情、七星、七日来复），它象征着过程的完整与循环。在此，“七念”并非七种具体念头，而是借“七”之数，象征人在逆境中心理状态的多重面向与动态演进过程。数字的剪贴，如同在流动的思绪与情感中钉下的坐标，既是一种“提醒”，也是一种“结构”，将不可见的内心活动予以视觉化定格。

1. Reconstruction of the Semiotic Meaning of Numbers

The numerical forms of "1-7" from folk paper-cutting art are selected and incorporated into the ink wash paintings through collage. This act has multiple semiotic meanings. First, the sequence, logic and universal recognition of numbers themselves form a tension with the randomness, sensibility and orientalism of ink wash. This tension breaks the closed context of traditional ink wash and injects modern and even post-modern compositional elements. Second, at the level of cultural metaphor, "seven" is a number full of profound meanings in traditional Chinese culture (such as the seven emotions, the seven stars, and the return after seven days), symbolizing the completeness and cycle of a process. Here, "Seven Aspirations" do not refer to seven specific thoughts, but use the number "seven" to symbolize the multiple aspects and dynamic evolution process of a person's psychological state in adversity. The collage of numbers is like coordinates nailed in the flowing thoughts and emotions, which is both a "reminder" and a "structure", visualizing and freezing the invisible inner activities.

2. “书画同源”的当代诠释：

“书画同源”古指书法与绘画在工具、笔法及气韵上的同根同源。在《七念》中，这一概念被赋予了新的内涵。作品中的汉字（如小篆的“龙凤”的线相化形态）并非以传统书法的形式展现，而是被解构、线相为绘画性的视觉元素。书写的行为与绘画的行为合而为一，文字的“意指”功能被削弱，其“造型”与“表意”功能被强化。当这些线相化的文字与数字符号并置时，形成了一种“符号的双重奏”：数字赋予其结构秩序，文字（书法）赋予其文化底蕴与情感温度，二者共同在水墨的氤氲基底上，构成了全新的“书画同源”景观。

2. Contemporary Interpretation of "The Homology of Calligraphy and Painting"

The ancient concept of "the homology of calligraphy and painting" refers to the common origin of calligraphy and painting in tools, brush techniques and artistic conception. In Seven Aspirations, this concept is endowed with new connotations. The Chinese characters in the work (such as the abstracted form of the small seal script for "dragon and phoenix") are not presented in the form of traditional calligraphy, but are deconstructed and abstracted into painterly visual elements. The act of writing and the act of painting are integrated into one, the "referential" function of characters is weakened, and their "modeling" and "ideographic" functions are strengthened. When these abstracted characters are juxtaposed with numerical symbols, a "duet of symbols" is formed: numbers endow it with structural order, while characters (calligraphy) endow it with cultural heritage and emotional warmth. Together, they form a brand-new "homology of calligraphy and painting" landscape on the hazy background of ink wash.

三、七念哲思的视觉解码：一个从坚韧到本真的精神历程

《七念》的七件作品，构成了一个从面对困境到超越困境，最终回归本心的完整精神史诗。每一念都是一个关键的哲学节点：

第一念「韌立」：以“倾而不倒”的造型，视觉化地呈现了“根基之稳”。这不仅是物理形态的平衡，更是海德格尔所言“此在”于世界之中坚守其位置的存在主义姿态。它是所有精神追求的起点——立于危局而不溃。

III. Visual Decoding of the Philosophical Thinking in "Seven Aspirations": A Spiritual Journey from Tenacity to Original Truth

The seven works of Seven Aspirations constitute a complete spiritual epic from facing difficulties to transcending them, and finally returning to one's original heart. Each aspiration is a key philosophical node:

The First Aspiration "Tenacious Persistence": With the shape of "leaning but not falling", it visually presents the "stability of the foundation". This is not only the balance of physical form, but also the existential posture of Heidegger's "Dasein" adhering to its position in the world. It is the starting point of all spiritual pursuits - standing firm in a crisis without collapsing.

第二念「澄鑑」：通过如镜面般曲折的形态，将观者的目光引向“内省”。这呼应了古希腊德尔斐神庙的箴言“认识你自己”，也与儒家“日三省吾身”的修养传统暗合。画面成为映射内心的媒介，是实现精神超越的前提。

The Second Aspiration "Clear Reflection": Through the mirror-like twisted form, it guides the viewer's gaze to "introspection". This echoes the maxim of the ancient Greek Temple of Delphi "Know thyself" and also coincides with the Confucian tradition of "reflecting on oneself three times a day" for self-cultivation. The painting becomes a medium for reflecting the inner self, which is the prerequisite for achieving spiritual transcendence.

第三念「破繭」：形态由紧至舒的演变，是“突破限制”最直接的视觉隐喻。它象征着个体打破内在（如恐惧、惰性）与外在（如社会规训）的束缚，迈向自由与新生的一刻，是一个充满生命张力的瞬间。

The Third Aspiration "Breaking the Cocoon": The evolution of the form from tight to loose is the most direct visual metaphor for "breaking through limitations". It symbolizes the moment when an individual breaks free from internal constraints (such as fear and inertia) and external constraints (such as social discipline) and moves towards freedom and rebirth, which is a moment full of life tension.

第四念「持衡」：在动态中求取的平衡，是中国“中庸”哲学智慧的体现。它并非僵化的静止，而是在纷繁复杂的矛盾与力量中，寻得那个精妙的动态平衡点，是处世之道的艺术化表达。

The Fourth Aspiration "Maintaining Balance": Seeking balance in movement is the embodiment of the Chinese philosophical wisdom of "the mean". It is not a rigid stillness, but finding that delicate dynamic balance point among the numerous and complex contradictions and forces, which is the artistic expression of the way of dealing with the world.

第五念「積微」：以层叠渐进的形式，喻示“进步源自点滴坚持”。这既是荀子“积土成山”思想的视觉回响，也回应了现代心理学中“成长型思维”的理念。它对抗的是浮躁时代中的功利与速成心态。

The Fifth Aspiration "Accumulating Minute Progress": With the form of overlapping and gradual progress, it metaphorically indicates that "progress comes from persistent accumulation of small efforts". This is not only the visual echo of Xunzi's thought of "accumulating soil to form a mountain", but also responds to the concept of "growth mindset" in modern psychology. It resists the utilitarian and quick-success mentality in the impetuous era.

第六念「望遠」：线条向上延伸，代表着“眼界超越现实”。它将观者的视线与思绪引向画面之外，引向更高的理想与更远的未来。这是一种在困顿中保持希望、在局限中向往无限的宝贵能力。

The Sixth Aspiration "Looking Far": The upward extension of the lines represents "transcending the reality with vision". It leads the viewer's sight and thoughts beyond the painting to higher ideals and a farther future. This is a precious ability to maintain hope in difficulties and yearn for the infinite in limitations.

第七念「歸真」：形态返璞归真，是整个精神旅程的终点与升华。历经考验、突破、平衡与积累之后，回归的是生命的本真与初心。这与道家“复归于朴”的思想相通，指明所有外在的磨砺，最终都是为了抵达内在的澄明与真实。

The Seventh Aspiration "Return to Innocence": The form returns to simplicity and innocence, which is the end and sublimation of the entire spiritual journey. After going through trials, breakthroughs, balance and accumulation, what is returned to is the original truth and initial aspiration of life. This is consistent with the Taoist thought of "returning to simplicity", indicating that all external trials are ultimately for reaching the inner clarity and truth.

这七个阶段，共同构成了一条从“抵抗”到“内省”，再到“超越”与“回归”的非线性精神路径。

These seven stages together form a non-linear spiritual path from "resistance" to "introspection", then to "transcendence" and "return".

四、材质与观看：新水墨美学的哲学光辉

《七念》在材质上融合水、墨、宣纸与丙烯等，这种融合本身就是一种隐喻。水墨的黑白世界，象征着对立与统一的基本哲学法则；而丙烯等现代材料的介入，以及数字剪贴带来的物质感，则象征着传统与当代的对话。“黑白中见光明，色彩中含和谐”，这正是君子品性于磨难中淬炼出光华的物质化体现。

IV. Material and Viewing: The Philosophical Brilliance of the New Ink Wash Aesthetics

Seven Aspirations integrates water, ink, rice paper and acrylic in materials, and this integration itself is a kind of metaphor. The black-and-white world of ink wash symbolizes the basic philosophical principle of opposition and unity; while the intervention of modern materials such as acrylic and the material sense brought by digital collage symbolize the dialogue between tradition and the contemporary. "Seeing light in black and white, and containing harmony in colors" - this is the materialized embodiment of the gentleman's character being refined into brilliance through hardships.

此外，作品鼓励观众从不同远近角度观看。远观，可得其气势与整体叙事；近察，则可品味笔墨的微妙变化与材质的肌理对话。这种观看方式，本身即是一种哲学行为的引导：它提醒我们，理解一件事物或一种精神，需要不断变换视角，既要有宏大的格局，也要有精微的体察。

In addition, the work encourages viewers to look at it from different distances. When viewed from a distance, one can appreciate its momentum and overall narrative; when observed closely, one can savor the subtle changes of brush and ink and the textural dialogue of materials. This way of viewing is itself a guide to philosophical behavior: it reminds us that to understand a thing or a kind of spirit, we need to constantly change our perspective, not only having a grand pattern, but also having a subtle insight.

五、作为视觉哲学实践的《七念》

《七念》系列作品的创作，在于它完成了一场有效的“哲学转译”。它将源自《荀子》的古典君子理想，通过“数字-水墨-文字”三位一体的当代艺术语言，转化为一套可供感知、引发共鸣的视觉系统。

V. Seven Aspirations as a Visual Philosophical Practice

The creation of the Seven Aspirations series lies in its completion of an effective "philosophical translation". It transforms the classical ideal of a gentleman derived from Xunzi into a set of perceivable and resonant visual systems through the contemporary artistic language of the "number-ink wash-character" trinity.

它不再是传统意义上的“诗画同源”，而是进阶为一种“思画同源”——让绘画直接承载哲学思考。在这个过程中，“七念精神”得以确立：它既是对抗逆境的生活理念，也是一种在当代社会中保持精神独立、积极前行的生存智慧。《七念》因而超越了单纯的审美对象，成为一面映照时代的“澄鉴”，它邀请每一位观者，在其中窥见自己的困境、挣扎与坚持，并最终如松柏般，在岁月的寒暑中，确认自身挺立的姿态。这正是中国传统智慧在当代艺术中的一次深刻回响与成功活化。

It is no longer "the homology of poetry and painting" in the traditional sense, but has advanced to a kind of "homology of thinking and painting" - allowing painting to directly carry philosophical thinking. In this process, "the Spirit of Seven Aspirations" is established: it is not only a life concept to confront adversity, but also a kind of survival wisdom to maintain spiritual independence and move forward positively in contemporary society. Therefore, Seven Aspirations transcends the mere object of aesthetics and becomes a "clear mirror" reflecting the times. It invites every viewer to see their own difficulties, struggles and persistence in it, and finally, like the pine and cypress, confirm their own upright posture in the cold and heat of the years. This is precisely a profound echo and successful activation of Chinese traditional wisdom in contemporary art.

​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.