唐勇力，中央美术学院中国画学院院长、教授、博士生导师、全国政协委员，中央美术学院学术委员会常务委员，学位委员会委员，中国国家画院院委，中国艺术研究院博士生导师，中国美术家协会中国画艺委会副主任，中国工笔画学会副会长，中国美术家协会理事。享受国务院特殊津贴专家。 作品参加第五届、第六届、第七届、第八届、第九届、第十届、第十一届全国美展，参加北京国际美术双年展等国际国内各类型的美术作品展及学术研讨活动，举办个人画展数次，出版个人专著和个人画册30余种。主要著作与画册有：《厚德载物——唐勇力中国画教学理论文集》、《美术学院30年——唐勇力》、《唐勇力教学课稿》、《工笔画的写意性》、《中国人物画造型基础教学——线性素描研究》、《高等美术教育特色教材——唐勇力—素描—创作—写生三种》等。代表作品有：《木兰诗》、《大唐遗韵》、《敦煌之梦》系列作品。特别是历时三年创作完成的《新中国诞生》的工笔画，参加2009年我国“重大历史题材展览”，同时在全国十大城市巡展。并有学者提出《新中国的诞生》和50年代董希文创作的《开国大典》异曲同工，获得国家领导人及广大群众好评，成为新时期历史题材创作的经典作品。 在理论研究方向特别强调具有坚实的美术史和美学基础，有独立思考的能力。狠抓深度，开创个性，经过多年研究与实践提出了两项重大课题：“写意性工笔画创作及工笔画写意性研究”和“中国人物画造型基础研究?线性素描”，撰写了论文30余万字，取得了理论上的突破。提出了富有独到见解的认识和理论，为中国人物画的发展提出理论依据。 30年来，著述论文50多万字，作品被国内外各大美术馆收藏。 在当代中国画发展过程中，对中国美术和西方美术进行比较性研究。传统性与现代性的研究是中国画演进的必由之路。两端深入、中西融合的课题式进行写意型工笔人物画创作研究、探索传统绘画语言与现代绘画语言融合与出新，把中国人物画向现代推进，开拓人物画自由创作的新空间。Tang Yongli | profile The central academy of fine arts dean, professor, doctoral supervisor, and the CPPCC national committee, the standing committee of the central academy of fine arts of academic committee, academic degrees committee member, China national imperial art academy committee, China academy of art doctoral supervisor, China artist association、deputy director of the Chinese painting art committee, vice-chairman of the Chinese claborate-style painting society, director of China artists association. Enjoy special allowances of the state council. His works participated in the fifth, sixth, seventh, eighth, ninth, tenth, eleventh session of the national art exhibition, participated in Beijing international art biennale and other international and domestic various types of fine arts exhibition and academic seminars, held solo exhibition many times, published personal monograph and personal album more than 30. The main works and albums: 《Hold world with virtue——Tang Yongli Chinese painting teaching theory》、《30 years—— Tang Yongli academy of fine arts》、《Tang Yongli teaching lesson》、《The character of free sketching of claborate-style painting》、《The Chinese figure painting modeling basic teaching ——linearity sketch study》、《Characteristics textbook of higher fine arts education——Tang Yongli—sketch—creation—sketching》etc.. Representative works including:《Mulan poem》、 《Traditional culture style of Datang》、《Dream of Dunhuang》 series of works. Especially for the claborate-style painting 《New China was born》, it was took three years to created, was participated in important history subject exhibition in China in 2009, at the same time showed around in the top ten cities in China. And some scholars have proposed: 《New China was born》 and 《Founding ceremony》 are different in approach but equally satisfactory in result that was created by Dong Xi-wen in 1950s, and gained praise from national leaders and the masses, became the classical work of history subject in the new times. He specially emphasized that having solid art history and aesthetics foundation in the direction of theoretical research, and having the ability of independent thinking, pay attention to depth and create individualize, after years of research and practice, he put forward two great project:”The creation of claborate-style painting of freehand brushwork and the research of the character of free sketching of claborate-style painting” and “Chinese painting figure modeling basis research ·linearity sketch”, he wrote the papers more than 300 thousand words, and acquired the theoretical breakthrough. He put forward the original ideas and theories, and put forward the theory basis for the development of Chinese figure painting. After 30 years, he had wrote the papers 500 thousand words, his works was collected by art gallery at home and broad. In the process of the development of the contemporary Chinese painting, he demonstrated a comparative study between Chinese art and western art, the research of traditional and modernistic is the necessary way of evolution of Chinese painting. he use the subject of on both ends of the deep and fusion of Chinese and western, to create and research for the type of freehand brushwork of claborate-style figure painting, he explored the integration with the traditional painting language and modern painting language and move forward, he carry the Chinese figure painting to modern forward, open up new space for the creation of the figure painting.