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在贵州的山乡村寨，画笔并不只属于美术馆。田埂边、院坝里、文化馆的教室中，一幅幅色彩浓烈、构图大胆的画作铺展开来：庆丰收、唱大歌、赶集市、建新城……农民用最质朴的方式，把日常生活定格成画面。
In the mountain villages of Guizhou, the paintbrush does not belong solely to museums. Along field ridges, in village courtyards, and inside cultural center classrooms, bold compositions and vibrant colors come alive on canvas: harvest celebrations, Dong Grand Songs, bustling market days, newly built cities. With the simplest of tools, farmers capture everyday life and turn it into enduring images.
这种源于乡土、由农民创作的民间艺术，被称为“农民画”。
This folk art form, rooted in rural life and created by farmers themselves, is known as "peasant painting".
水城农民画师展示“村画”创意。六盘水市水城区委宣传部供图
20世纪80年代，贵州农民画走上全国舞台。1983年，全国首届农民画展举办，贵州多地组织农民创作参展，开启了本土农民画的发展历程。
In the 1980s, Guizhou'speasant paintings stepped onto the national stage. In 1983, at China's first National Peasant Painting Exhibition, works from across Guizhou were selected for display, marking the beginning of the province's formal development in this art form.
此后，水城、大方等地逐渐形成创作群体，而在黔东南、黔南等民族地区，苗族、侗族群众也以浓烈色彩描绘节庆歌舞与山水家园。多民族聚居的文化土壤，让贵州农民画在题材与风格上呈现出鲜明多样的面貌。
Since then, communities such as Shuicheng and Dafang have developed active creative groups. In the ethnic minority regions of southeast and south Guizhou, Miao and Dong artists have also used rich colors to depict festivals, songs, and the landscapes they call home. The province’s multiethnic cultural environment has given Guizhou peasant painting a distinctly diverse range of subjects and styles.
“画到开心的地方会开怀大笑，画到悲伤的地方会偷偷抹眼泪，农民画师好像描绘的是自己的故事。”龙里平坡农民画带头人兰开军说，平坡农民画有一个颇具辨识度的特点——人物的眼睛画成鱼，寓意“年年有余”。在画面中，人物表情夸张、色彩饱满，情绪直接而热烈。
“When we paint joy, the figures laugh heartily. When we paint sorrow, they quietly wipe away tears. It feels like we’re telling our own stories,”said Lan Kaijun, a leading artist of Pingpo peasant painting in Longli County. One distinctive feature of Pingpo’s style is that figures are often given fish-shaped eyes, symbolizing“abundance year after year.”Expressions are exaggerated, colors are saturated, and emotions are direct and vivid.
秋收1990年 徐承贵 绘
平坡农民画画师兰有江用一个月完成一幅作品，将快速发展的城市与少数民族群众的新生活并置在同一画面中：“我们画的，是自己看到的变化。”他说。
Another Pingpo artist, Lan Youjiang, spent a full month completing one work that places a rapidly developing modern city alongside the new lives of ethnic minority residents.“We paint the changes we see with our own eyes,”he said.
在水城，画师徐承波从17岁起坚持创作，40余年间创作数千幅作品。“喜欢什么就画什么，多半画欢庆的东西。”他的作品曾走出国门，在美国、加拿大和欧洲等地展出。
In Shuicheng, artist Xu Chengbo has been painting since the age of 17. Over more than four decades, he has created thousands of works.“I paint what I like—mostly scenes of celebration,”he said. His paintings have been exhibited internationally, including in the United States, Canada, and across Europe.
2024年，“山地公园省·多彩贵州风”文旅推介活动在加拿大温哥华美术馆举行，24幅水城农民画同步亮相。
近年来，贵州农民画多次亮相国际文化交流活动，以鲜明的乡土气息和强烈的视觉冲击力吸引海外观众驻足。2024年8月，24幅水城农民画走进加拿大温哥华美术馆。色彩斑斓、极具生活意趣的水城农民画受到了艺术界瞩目。
In recent years, Guizhou peasant paintings have appeared frequently in international cultural exchange events, drawing overseas audiences with their strong rural character and striking visual impact. In August 2024, 24 Shuicheng peasant paintings were showcased at the Vancouver Art Gallery in Canada, where their vivid colors and lively depictions of everyday life attracted attention from the art community.
资深艺术史学家Roger Lee表示，贵州农民画值得当代艺术家特别是西方艺术家关注，农民画色彩鲜艳，结构活泼，透过作品可以看到农民画作者严谨的技法和深厚的功底。“他们通过画笔描绘所知所见，呈现了和谐富足、生机勃勃的乡村生活。”
According to senior art historian Roger Lee, Guizhou’s peasant paintings merit the attention of contemporary artists—especially in the West. Their bright palettes and dynamic compositions reveal disciplined technique and deep artistic foundations.“Through their brushes, these artists depict what they know and see, presenting a vision of harmonious, prosperous, and vibrant rural life.”
如果说色彩和构图是农民画的外在语言，那么生活本身则是其内在逻辑。从赶集到建房，从民族节庆到城市新貌，农民画记录的是乡村社会的流动与变迁。六盘水市水城区文化馆副研究馆员董成认为，农民画本身就是艺术品，“它让人在无意中接受美的教育，也能带来经济收入，对乡村振兴有很大帮助。”
If color and composition form the outward language of peasant painting, life itself is its inner logic. From market days to home construction, from ethnic festivals to urban renewal, these works record the movement and transformation of rural society. Dong Cheng, Associate Researcher at the Shuicheng District Cultural Center in Liupanshui, believes peasant painting is art in its own right.“It allows people to absorb aesthetic education almost unconsciously, and it can also generate income. It plays a meaningful role in rural revitalization,”he said.
你吹我舞热腾腾 董成 绘
如今，农民画正从“纸上”走向“生活”。来自水城的徐源是“子承父业”的农民画“画二代”，他专门成立公司，开发以水城农民画为元素的文创产品，创新探索农民画的“新玩法”。“产业和传承要两条腿并行。”他说。通过市场化转化，农民画不仅提升了附加值，也为当地群众开辟了新的增收路径。
Today, peasant painting is moving beyond paper and into everyday life. Xu Yuan, a second-generation peasant painting artist from Shuicheng, has established a company dedicated to developing cultural and creative products based on Shuicheng peasant painting. He explores new possibilities for the art form through innovative applications.“Industry and heritage must advance on two legs together,”he said. Through market-oriented transformation, peasant painting has increased its added value while opening new income channels for local communities.
在贵州，农民画不只是艺术现象，更是一种文化自觉。当村民以画笔描绘家乡与时代，他们也在以自己的方式参与公共叙事。从山间院坝到国际展厅，从乡土记忆到现代生活，农民画见证着一个个普通家庭的变化，也折射出乡村振兴的生动图景。
In Guizhou, peasant painting is more than an artistic phenomenon—it is a form of cultural self-awareness. When villagers depict their hometowns and their era with brush and pigment, they are also participating in a broader public narrative. From mountain courtyards to international exhibition halls, from rural memory to modern life, peasant painting documents the transformation of ordinary families and reflects the dynamic reality of rural revitalization.
色彩在延展，故事在延续。画布之上，是乡村的温度；画布之外，是乡村的未来。
The colors continue to expand. The stories continue to unfold.On the canvas lies the warmth of the countryside; beyond it, the promise of its future.
上一篇：村里喜事捎北京·村BA｜篮球击地时，一个村庄与世界共振 When the Ball Hits the Ground, a Village Resonates with the World
