In 2007, the Painting and Calligraphy Room of China People's Political Consultative Conference and the Ethnic and Religious Committee of China People's Political Consultative Conference held the "Presentation Ceremony and Report of's Five Hundred Arhats" in the Auditorium of China People's Political Consultative Conference.
2009: The Painting and Calligraphy Room of China People's Political Consultative Conference and Fujian Provincial Museum held the "Chen Liangmin Art Exhibition" in Fujian Jicuiyuan Art Museum, with the title inscribed by Li Ruihuan, former chairman of Chinese People's Political Consultative Conference.
20 12: The Painting and Calligraphy Room of China People's Political Consultative Conference and Erdos CPPCC held "Chen Liangmin Art Exhibition", which was inscribed by Li Ruihuan, former chairman of China People's Political Consultative Conference. Evaluation of Mr. Tang, Dean of Chinese Painting College of Central Academy of Fine Arts —— Harmony between Classicism and Modernity
Chen Liangmin is a self-taught painter, adhering to the persistent pursuit and efforts of Chinese painting. By absorbing and learning ancient paintings and excellent folk painting traditions, he formed a painting style that combines classical and modern. He is a figure painter who has no professional experience and rarely achieves great success, so he can feel different from other painters in his works. His painting experience seems more traditional. Starting from copying, he realized the spirit of the ancients and explored the way of traditional painting. At the same time, he also engaged in sculpture, so he also dabbled in the aesthetic style of folk art, which was reflected in his works, showing his extraordinary talent and talent.
Evaluation of Professor Xue Yongnian, Doctoral Supervisor and Famous Art Theorist of Central Academy of Fine Arts —— Focusing on the Method of Meaning and Motion
It goes without saying that Chen Jun's art is vivid and unique, and his woodcarving is exquisite and superb. However, his painting style is quite different from other painting schools at present, which really benefits from the tradition of folk art. The themes of the characters he painted are rich in folk interest, and his painting methods are not limited to western methods. They are all written in the same way, widely absorbed, and one end is not muddy. They give priority to expressing their feelings and writing their hearts, especially the vivid and linear strokes of China. There are only a few simple paintings that are lifelike, such as "Zhong Kui", which grasps the meaning of heaven and earth, exorcises evil spirits like thunder, and "Dharma", which is meditation and spiritual enlightenment. The grief and indignation of graceful "drunken maids" and "Xiangjiang River in Xiang Yu" are vivid in my mind. The painting is complicated and meticulous, and the characters are well handled. Looking around, I can handle it with ease and look wonderful. For example, "Eighteen Bachelor Students Go to Yingzhou", the elegant and romantic "Peach Blossom Club", the group of immortals celebrating their birthdays, singing and dancing to heaven, all of which are both ancient and modern, appealing to both refined and popular tastes.