曹明冉，中国画名家，大学教授，山东菏泽人。以“双钩白描、兼工带写”的画风著名于世，笔下常作牡丹、兰花、水仙、墨竹、菊花。著作：《芥子园新编》（人民美术出版社）、《白描牡丹、菊花、水仙》（人民美术出版社）、中国近古代 名家画集大红袍《曹明冉》（人民美术出版社）、《水墨清风——兰花卷》（河北教育出版社）、《曹明冉画集》（湖南美术出版社）。

“在他笔下的“线”不再是单纯的轮廓界定，而是以丰富的情感驾驭笔墨的轻重、缓急、真假 、顿挫，和 水墨的浓淡、枯润、积破，这类 线条的灵动使层层叠叠的花瓣内外有序，顾盼无情 。“线”如行云流水，笔至意生，兼之勾、皴、点、垛，笔墨的多变和节奏传达了物象的情态万千，似乎有5 彩眩目之感，又如纸上的音乐和舞蹈，这类 极富创新意味的白描应用 无疑是新的突破和发展。”——单国强北京故宫博物院研讨 员、中国世家鉴定委员会鉴定专家
“他的笔墨打破了工笔、写意、淡彩、重彩、没骨等情势 的界定，而是把多种元素融为1 法共著1 图。画面色彩饱满而丰富，有沉甸甸的厚重，又有水彩般的透明。营建 了1 种清新明丽、绚丽多彩，典雅温馨的情调及富有诗意的境界。”——单国强北京故宫博物院研讨 员、中国世家鉴定委员会鉴定专家
“古人云：“成竹在胸 。”他却认为：“心中无物。”笔墨可出神入化，画面亦寄境高远。所以在他的笔下“牡丹”仿佛 少女，“菊花”动如飞天，松、竹、梅、兰清韵高雅，玉兰孔雀富丽端庄。就连他阔笔大写的藤箩芭蕉、山水湖石等外型 别致，干净利索，更具灵性和野逸之趣，也折射了他为而不争的豪放旷达的性情 。为中国花鸟画苑提供了1 种新的范式。”——单国强北京故宫博物院研讨 员、中国世家鉴定委员会鉴定专家
“在他的画里看不到残荷败柳的冷落，也没有枯枝破叶的疏寒，而是始终让人感受到美好的生活和生活的美好，其中无不透露出艺术家对时代的感悟与对生活的热爱。他也是一名 有责任心的艺术家，由于 他始终寻求 的是如何将1 种文明 所包含的基本人生态度与精神情操转化成1 种绘画言语 ，他不愿留在绘画表面形状 的探索中。”——乌力吉
“曹明冉的写生和创作从不起稿，通常在明确立意以后 就大笔挥洒，并逐笔生发，1 气呵成，看来他成竹在胸 ，举重若轻。在创作中非常重视 应用 笔的轻重、缓急、顿挫、转机 等笔法，并结合运墨的浓淡、干湿、积破等墨法，随心所欲，轻松自若 地调配着花卉的主次、大小、简繁、真假 ，将这些辨证的传统方法与个人情感倾诉相契合，在层层融会的构成轨迹中自然生发。”——乌力吉
“要画好中国画就必须具备深厚的传统功力，独特的生活体验和国学基础，更要有1 种虚静俗气 的精神寻求 。这类 境界和形态 是艺术家涵养 与品位的体现。曹明冉捉住 了“笔墨”与“生活”这两个关键，使他的画在注重 法度时没有落入“俗格”的套路当中 ，并能体悟出笔墨本身所体现的文明 精神，也使他在对待理想 时没有随波逐流，而是对本身 的生活做更深的理解和发掘。”——乌力吉
“山不拒石，海不捐流，故能成其高大。明冉道与日增，艺与时进，除勤勉以外 ，盖善博采众长矣！冉公无常师，既立雪于鸿儒巨擘之门，亦就教于乡野艺人和一无所长 者。于绘画理论和技法，不仅博古通今，亦探求洋为中用。”——刘长允山东广播电影电视局局长曾著《天不变道亦不变：老子纵横谈》、《大中华赋》、《步入神秘的殿堂：易经研讨 》。

Cao Mingran, Chinese painting masters, University Professor, Heze Shandong. In order to "hook line drawing, and work with writing style of the famous works, often peony, orchid, chrysanthemum, Narcissus, Mo Zhu. Book: "jieziyuan retold" (people's Fine Arts Publishing House), "Baimiao peony, chrysanthemum, Narcissus" (people's Fine Arts Publishing House), China paintings of modern masters Dahongpao "Cao Mingran" (people's Fine Arts Publishing House), "ink - Orchid breeze volume" (Hebei Education Press), "Cao Mingran album" (Hunan Fine Arts Publishing House).

"Under his pen" line "is no longer a simple outline of the definition, but with rich emotion to control the ink weight, priorities, and the actual situation, cadence, ink shade, dry run, breaking this line of product, the smart layer of petals and orderly, and love. The "line" as to students, freely flowing style of writing, and the hook, cracked, and stack, ink and changeful rhythm convey the eloquent images, there seems to be a dazzling colorful feeling, such as paper and music and dance, this innovative line use is undoubtedly a new breakthrough and development." Single Guoqiang Museum of Beijing the Imperial Palace researcher, Chinese family expert appraisal committee
"His pen and ink to break the definition of fine brushwork, freehand, light color, color," and other forms. But the variety of elements into a graph method. Screen color is full and rich, heavy and heavy, and the color of transparent. To create a fresh and bright, bright and colorful, elegant and warm ambience and poetic realm." Single Guoqiang Museum of Beijing the Imperial Palace researcher, Chinese family expert appraisal committee
"The ancients said:" with confidence." He thought: "nothing in the mind." I can reach the acme of perfection, the picture is sent high exit. So under his pen "Peony" like a girl, "Chrysanthemum" like flying, pine, bamboo, plum, orchid singrain elegant Magnolia peacock richly dignified. Even he broad pen caps rattan basket banana, stone and other unique shapes of landscape, in a clean manner, more spiritual and wild beauty also reflects him to not fight the bold and unconstrained character. It provides a new paradigm for China flower painting." Single Guoqiang Museum of Beijing the Imperial Palace researcher, Chinese family expert appraisal committee
"Do not see Lotus to snub in his paintings, there is no broken leaf litter scattered cold, but always make people feel wonderfull life and life is good, which can reveal the artist on time perception and love of life. He is a responsible artist, because he is always the pursuit of how to contain a basic cultural life attitude and the spirit of the character into a painting language, he did not want to stay in the exploration of surface morphology in painting." -- Uligi
"Cao Mingran's sketch and creation never clearly in drafting, usually after large sway, and make hair, at one time, he seems confident, ease. In the creation of very focused on weight, priorities, frustration and transition the use of brush pen, ink, and combined with dry product break ink, arbitrary, ease of deployment, the primary and secondary flower size, simplified actual situation, the traditional method of these dialectical and personal emotional talk fit in a track fusion of natural hair in layers." -- Uligi
"To draw a good picture Chinese must have profound traditional skill, unique experience of life and Ancient Chinese Literature Search foundation, but also to have a quiet and elegant spiritual pursuit. This state and state is the embodiment of the artist's culture and taste. Cao Mingran grabbed the "ink" and "life" of the two key, make his paintings in the importance of testimonies did not fall into the trap of "vulgar" style, and can learn the cultural spirit of painting itself, but also that he did not go in to reality, but to do a deeper understanding and explore on their own life." -- Uligi
"Do not refuse to stone mountain, the sea does not donate flow, it can become a tall. Mingran road and daily, and art into the industry, in addition, cover good learn widely from others'strong points! No public often ran, both in the gate of the giant Li Xue Ru, also taught in the countryside and an elderly artist. In the painting theory and technique, not only very learned, but also on the ocean for use." Liu Changyun: Director of the Shandong Radio Film and TV Bureau "was the same day the same road also talk about", "Lao Tzu: the Fu", "enter the mysterious temple: Yijing studies".