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<p align="center"><img width="350" height="199" style="border-right-width: 0px; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" alt="" oldsrc="W020171016348250177363.jpg" uploadpic="W020171016348250177363.jpg" complete="complete" src="http://www.cflac.org.cn/zgysb/dz/ysb/page_6/201710/W020171016348250177363.jpg" /></p>
<p align="center"><font color="#0000ff">四库全书与南北七阁（木版）张敏杰 </font></p>
<p>　　张敏杰的超细木刻是对并不存在于现实的众多农民集体鼓舞形象的刻画，来隐喻城市化浪潮给广大乡村农民生活带来的既具有集体狂欢也具有集体焦虑的精神心理。</p>
<p align="center"><img width="350" height="204" style="border-right-width: 0px; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" alt="" oldsrc="W020171016348250175372.jpg" uploadpic="W020171016348250175372.jpg" complete="complete" src="http://www.cflac.org.cn/zgysb/dz/ysb/page_6/201710/W020171016348250175372.jpg" /></p>
<p align="center"><font color="#0000ff">行走中的牛和人No. 16 （纸本水彩）陶兴琳 </font></p>
<p>　　陶兴琳的作品以现代平面语言与人物形象的塑造来体现造型艺术对于日常视觉形象的提升，画面极尽简约，藏族同胞山地生活形象也在这种简约中获得了精神上的升华。</p>
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