人在都市如人在山水中,一种理想,一种生存境遇悠然显现在于敏的工笔人物画里。向往人文体验,借助载体,重现自己心性经历,并能在形象意义里通达传统的文化自律,追寻当代人文心语,这已成为于敏文化精神的历程和人物画的深层课题。于敏的绘画语言结构探讨着人物画的当代性,从写生向写意的艰辛求索,于敏体会着人和都市、人与自然的矛盾与和谐。在她扎实的人物造型基础上显现出领略工笔人物形与象的内在涵义,同时她重视追溯文化本源的笔墨之格,从而于敏获得了从生活现实人物又还原为生活中理想人物的 People in the city, such as people in the landscape, an ideal, a living situation leisurely in Yu Min’s meticulous portrait painting. Looking forward to the human experience, with the carrier, to reproduce his own experience of heart and mind, and in the image of the meaning of access to the traditional cultural self-discipline, the pursuit of contemporary humanistic language, which has become Yu Min’s spiritual history and the deep subject of portrait painting. Yu Min explores the contemporary characterization of painting in Yu Min’s painting language structure. From the sketch to the painstaking pursuit of freehand writing, Yu Min embodies the contradiction and harmony between man and the city, man and nature. On the basis of her solid character modeling, she reveals the inner meaning of appreciating the figure-style and the image of the heroine, and at the same time, she attaches great importance to the tracing of the origin of the brushwork in the cultural origin. Thus, Yu Min gains the ideal figure from the real life object to the real life object again