Born in 1940 in Dizang Temple, Xiajin, Shandong Province, Liu Ruyang graduated from the Department of Art History of the Central Academy of Fine Arts in 1965, and in the same year, he was assigned to the People's Fine Arts Publishing House to do editorial work, which lasted for 35 years, and edited more than 200 kinds of art books such as "A Collection of Qibaishi Painting Masterpieces". He was the editor of the People's Fine Arts Publishing House and the director of the Modern Art Editing Room.

In the mid-1970s, he studied landscape painting under Li Keran, and in 1984 he was introduced to the Chinese Artists Association by Li Keran and Liu Jizun. His landscape paintings have been exhibited in many exhibitions at home and abroad, and he has organized many exhibitions of Liu Ruyang's paintings. His works have been selected in the albums of "The Complete Collection of Modern Chinese Art" (Chinese Paintings - Landscape Volume) and other albums. His landscape paintings "Li River Rain" and "Maiji Mountain" were collected by the China Academy of Painting. Misty Moon" and "Spring Light in the Alley" were collected by the National Art Museum of China. Liu Ruyang published "Liu Ruyang painting collection", "Liu Ruyang Chinese painting works" and other albums. His personal profile was included in the Dictionary of Chinese Experts, Who's Who in World Chinese Literature and Art, and other dictionaries.

At present, he is a painter of People's Fine Arts Publishing House, a painter of the Painting and Calligraphy Art Center of the China Federation of Literary and Art Circles, a vice-president of the Chinese Fan Art Society, and enjoys the State Council's Special Allowance.

Excerpts from comments about Liu Ruyang's painting art:

Shen Peng "...... He originally majored in art history at the Central Academy of Fine Arts, but later developed a 'self' from the creation of Chinese paintings

. '. For a long time, every place to group manuscripts, looking for authors, running printing presses, visiting colleges and universities, did not forget the hand of a brush, with sweat moistened one after another Xuan paper, the pursuit of Yuan Qi drenching the beauty of the footage to see the soul of the search for the zhang. Liu Ruyang with his hard and honest labor to attract the attention of society. ......"

--Excerpted from Shen Peng's "Dedication to Doing the Rest of the Dowry"

Yunhe "... ...He traveled all over the Great Wall, inside and outside the Great Wall, north and south of the Yangtze River, and appreciated the majestic beauty of the motherland's mountains and rivers, accumulating a wealth of feelings and materials for the creation of landscape paintings. In the early years, he painted more Li River scenery, fishing boats and sails; after that, the painting tends to a wide range of landscapes, such as the Jiangnan water towns, the northern mountains and rivers, the Huangshan Mountains and Emei, the grottoes and Buddhist temples and so on, which are all seen in his works in recent years. His works focus on the beauty of nature, but also to give the interest of life, ink and brush, fresh mood, flavor. His paintings also have a kind of simplicity and childish interest, which is in line with his personality. And Ruyang has had dealings with people, will feel that he is sincere, friendly, real; although not much to say, but the inner savings is very rich. ......"

--Excerpted from Yunhe's "Between the Mountains and the Waters After the Paperwork"

Qinling Yun "... ...He is always pointing his brush to dense forests, secluded paths, villages, kilns, islands, and water towns, etc., which makes his works covered with pastoral poetic feelings and rich life style, and when facing his works, it is just like encountering a newly-opened pot of old wine, which has a strong aroma and makes people mesmerized. His creation, get the creation, get the society, its roots come from the soil of life, such eulogy of nature and life of the painting, the general closed-door car by the so-called works of fabrication and imitation of the world is not the same language.

Ruyang's landscape painting, from the object, realm, language, rhyme, have their own unique vision. He is bold and even wantonly thick brush and heavy ink, waving arbitrarily, clumsy in the interesting, plus the fullness of nearly Western-style composition, drenching the water halo ink, the atmosphere of the picture rhyme, unusually strong charm, intriguing. ......"

--Excerpted from Qin Lingyun's "Good Crops Growing in Self-Retained Land"

Liu Longting "... ...Ruyang's landscape paintings, whether of scenic spots, sails in the south of the Yangtze River, landscapes beyond the borders of the Seychelles, or small scenes in mountain villages, are all warm and hearty in ink and brushwork, with muted and down-to-earth colors, and a thick and calm style.

He learned his own technique from Mr. Keran, discovered the beauty and meaning from the nature between the mountains and rivers, and found his own artistic language through repeated practice and thinking. ......"

--Excerpted from Liu Longting's "Muddy and Calm, Warm and Sound"

Cheng Dali "... ...His paintings are just like his person, his brushwork is thick and steady, his heart is very heavy, and he pays attention to the grasp of the whole. He likes to use a medium stroke, a stroke to write, even dyeing is also a stroke, very much like Mr. Li Keran, the pursuit of a kind of thousands of pounds of falling stone meaning, rather than the kind of "one stroke" of the talent style.

Ruyang also has a nature of romantic and delicate side, so, his center line and very lyrical, speedy staccato from the emotional needs, therefore, his line is alive, is full of emotion, surging with the line, no great cultivation is difficult to do this. The pen line kung fu is not ten years eight years, more than three years five years can come, when it is the result of decades of refining. Writing this, I think of a "blowing all the yellow sand to gold" of the old saying, a thousand hammers, deleting the redundant branches, leaving the essence of the self. ......"

--from Cheng Dali's "Blowing through the Yellow Sand to Gold"

Paintings are as simple and honest as they are

Liu Ruyang, a native of Xiajin, Shandong, was admitted to the Department of Art History of the Central Academy of Fine Arts in 1960, and graduated from the Department of Art History of the Central Academy of Fine Arts in 1965. After graduating in 1965, he worked at the People's Fine Arts Publishing House. He was taught by Mr. Li Keran for a long time and insisted on the creation of landscape paintings.

In 1981, his Chinese painting "Rain on Li River" was exhibited at the China Academy of Painting and collected by it. 1983, his Chinese painting "Harvesting Nets" was collected by the Beijing Artists' Association and exhibited in Japan and Scandinavia, etc. He was introduced by Li Keran and Liu Jizi wine wineglasses to join the China Artists' Association in 1984, and in 1989, he published his "Works of Liu Ruyang in Chinese Paintings", which was published at the same time, and he went to West Germany to take part in the joint exhibition of modern Chinese paintings. 1992, he held a cultural event in Beijing. 1992, he was invited to the exhibition of Chinese painting in Beijing. In 1992, he held the "Liu Ruyang Painting Exhibition" in Beijing, and in 1994, he published the "Liu Ruyang Painting Collection", in which many of his works were collected by the National Art Museum of China and other organizations.

Currently, he is the editor and director of the editorial office of the China Artists Association. His biography has been compiled in the book "Chinese Modern Artists' Personalities", "Chinese Modern Celebrities in Painting and Calligraphy", etc. He is also the director of the Editorial Office of China Artists Association.

Chinese painting has a long history, before the Han Dynasty, very few of them remain in the world, but the Han Dynasty painting has reached a high level, and the level of Shandong painting reached in the Han Dynasty precisely represents the level of the whole country. One of the four great masters in the history of Chinese painting: Zhan Ziqi of Sui Dynasty, "Spring Tour" created the beginning of "green landscape", laid the foundation of the painting, and has the reputation of "the ancestor of Tang Hua"; Zhang Zeduan of Song Dynasty, "Riverside Scene at Qingming Festival", which has made him enjoy the high status in the history of Chinese painting; Yuan Dynasty, Hakkai's painting reached a very high level, and the level of Shandong painting reached in Han Dynasty precisely represents the level of the whole country. The status of the Song Dynasty, Zhang Zeduan "Riverside at Qingming", so that he enjoys a high position in the history of Chinese painting; the Yuan Dynasty, living in Shandong, Zhao Mengfu, Wang Meng; the Qing and Ming times for the official Shandong Zheng Banqiao, they have added a bright stroke of Chinese painting, their thinking and art are admired by future generations. In the twentieth century, the paintings of Mr. Li Kuchan, a painter of capitalism in Shandong, were even more famous at home and abroad.

Creation comes from life, Liu Ruyang teacher originated in Shandong, his interest in painting from his mother, the old man stitch embroidered pillows, embroidered insoles, paper-cutting, these are called Mr. Liu had a great interest in this, in the countryside, especially in the New Year's festivals, the streets and alleys are everywhere traditional Chinese folk art, such as community theater, stilts, fireworks, mudballs, etc. These have left deep imprints on the memory of Mr. Liu! Mr. Liu's memory is y imprinted.

Mr. Liu really began to paint when he came to Beijing, at that time he was still a child, listen to Mr. Liu recounted, when he was small, behind his home is the former residence of Xu Beihong, where there is a ping-pong table, where you often go to play ball, children tired of playing to Xu Beihong's studio to rest, see the painting. In the former residence before the establishment of often heard people say "we have a big painter on this street", but very regrettable, Mr. Liu did not know that is Xu Beihong, not to mention that the painting in the studio is his paintings, just think that those paintings are very beautiful, until later on there are adults to tell them that the origin of those paintings, then Mr. Liu began to enter the door of Chinese painting to feel the beauty and beauty of the painting. It was only then that Mr. Liu began to enter the door of Chinese painting to feel the profound Chinese culture, and this feeling was for the rest of his life. Later Mr. Liu was admitted to the Academy of Fine Arts, and came into contact with many famous masters in the painting world, but Mr. Liu painted everything at that time, and was very mixed, until Mr. Liu was very lucky to meet Mr. Li Keran, a famous master of the generation of Chinese painting ----. This is the real beginning of his Chinese landscape painting road.

Mr. Liu's landscape paintings, from the object, the realm, the language, the chiaroscuro, have their own unique vision. He is bold and even wantonly thick brush and heavy ink, waving arbitrarily, clumsy to see the fun, plus the fullness of the composition of nearly juggling, drenching the water rhyme and ink, the atmosphere of the picture rhyme, unusually strong charm, intriguing. Such as "Li River", "Shaanxi Autumn", "Fishing Island", "Rhine River", "Jinshanling Great Wall", "Light Boat Has Passed Ten Thousand Mountains", "Spring Rain" and other masterpieces, all of which are created, and society, and its roots come from the soil of life. Moreover, Mr. Liu in painting on the subject of avoiding, even forgetting the painter for many years used to use so far refused to get rid of the ancient pines, strange peaks, clouds, flowing water and other objects, but a deep love to point to the dense forests, secluded paths, villages and communities, kilns and caves, the island, the water townships. Truly do walk their own way, sing their own songs. When I walked into Mr. Liu's studio to see his work, I felt like a spring breeze, as if in the beautiful and wonderful nature.

"Honestly as a person, down-to-earth painting" this is Li Keran masters with their own actions on their own disciples of the teaching, in the study of Chinese painting, Mr. Li often said: "to learn the tradition, in-depth life, rooted in the life of the traditional Chinese art of painting the first step to be The first step in the treatment of traditional Chinese painting art is to study hard to do the fight in, and the second step is to fight out, pursuing their own artistic outlook." Mr. Li was very strict about art creation, and often said, "The most unforgivable thing is scribbling, scribbling as a human being and scribbling as a painter". Mr. Liu Ruyang remembered the teacher's teachings, decades of hard work, meticulous practice, his character and his painting style are called for admiration.

People who have seen Mr. Liu's painting think that Mr. Liu's main profession is to learn painting, in fact, Mr. Liu studied in the Academy of Fine Arts is the history of art, the history of art is also open to the painting class, but very miscellaneous, and what are painting until later to get the Li Keran teacher to guide, and suggested that he majored in landscape painting. But Mr. Liu never gave up his original profession when he majored in landscape painting. Mr. Liu has been engaged in art editing for decades and made outstanding contributions to China's art career. Mr. Liu has edited and published more than 200 kinds of books about art, such as "The Complete Collection of Modern Chinese Art", "The Collection of Paintings by Modern Masters", "The Collection of Fine Paintings by Qi Baishi", "Learning to Paint in the Middle-aged and the Elderly" and so on, which satisfy people with different techniques, ages, specialties, and different needs. They have been well received by the society and readers. Mr. Liu treats his editorial career as rigorous and serious, every time in the group of good pictures and text, the publishing house will send the material to the printing press, Mr. Liu in order to ensure the quality of the publication, but also to provide readers with the correct learning methods, he personally stared at the printing press each time the masters carefully proofread. Because he y understands that the development of art needs the support of more people, and more people need excellent works and books to understand Chinese art and develop Chinese art.

"Be honest, paint honestly". This is not only the motto of Mr. Liu Ruyang, but also the words from the bottom of his heart that he sends to his juniors and seniors.