1岁至5岁
长城脚下河北省遵化县鸡鸣村跳出一个顽童；
老甲兄弟三人，行三，按族谱取名浩义，另有一姐一妹；
老甲生于战乱，从小放牛、牧羊、拾柴、乞讨，并亲眼目睹过日本兵烧杀抢掠之惨状；
母亲略读四书五经，为避乱，从城里下嫁乡村，因此常拿出陪嫁的《芥子园画谱》《醉墨轩》给儿时老甲讲解，老甲耳濡目染对绘画产生兴趣；
曾经听爷爷讲过：古代有个画匠，一次突然兴起，在平地上铺好白纸后，跳入盛墨的大缸，出来便在纸上走，再趴下伸开双臂按几下。站起来浑身再弄上墨，弯弯曲曲出现类似窝瓜秧一样的墨线。就这样，反复站起、坐下，就出现了一幅黑墨大窝瓜。 老甲说：这一生动的传说，我至今不忘。这不就是中国大写意的早期构想吗；

6岁
开始上小学；
在金山寺小学阶段，用锅灰在墙上涂鸦；
图画课因画杜鲁门漫画，曾得到老师“甲上”评语；

16岁
就读于遵化一中；

19岁
中学毕业前夕，欲报考美术学院，听美术老师赵霖“报考美术学院需学八年”一席话，遂打消此念头；
步行至唐山，投考火车司机学校未果，后被部属学校——北京工业管理学校录取；
入学后却未安心学业，而是常在周日看画展，或到书店“蹭书”，乃至大量临摹、画速写；
出于不喜欢该职业，实习结束行将分配之际，提出病退，在众人惋惜的目光下注销北京户口，退学准备报考美院；
回家后，专心画画，父亲母亲对此事未出一言，反而村间非议颇多；

22岁
任村小教师；
后参加公社水利工程建设；
骑车进京赶考，靠一杆铅笔及过硬的速写被北京艺术师范学院美术系（1960年更名为北京艺术学院）录取；
校方邀请中央美术学院教授叶浅予、蒋兆和等来授课，受益匪浅；
其速写因挪树换位，得吴冠中先生赏识，称“画就应该这么画”；

25岁
7月，因毕业创作《春》《夏》《秋》《冬》工笔画获师生嘉许，并被留校任教，为工笔画教授陈缘督先生助手；
艺术行旅之写实加政治时期，自此开始；

26岁
秋，因精简机构被下放到北京市朝阳区文化馆；

27岁
8月1日，去北京东郊金盏，参加农村阶级斗争，画村史连环画；
年末，村史连环画《金盏村史》 在北京市委机关刊物 《支部生活》刊登；

28岁
6月，《给群众美术工作者的信》在中国美术家协会主办的《美术》月刊刊登；
在中国美术馆举行连环画《金盏村史》观摹展；
为中国少年儿童出版社出版的《五亩麦子》和中国青年出版社出版的小说《集古村恩仇记》等书籍绘制插图；
赴天桥地区参加城市“四清”；

30岁
作为“文化大革命”工作队队员，派往北京市绣花厂；
到红卫兵接待站搞接待，办油印小报；

31岁
到京密引水工地负责编辑工地小报；

32岁
9月，与南磨房公社社员宋大萍结婚；
创作《温榆河组画》，参加北京市美展；

35岁
进入艺术创造“回归和探索期”；
重新对传统进行研究并探索没骨画，又尝试泼墨、泼彩法；
接受中国革命博物馆邀请，创作党史画，赴瑞金、井冈山搜集创作素材；
应邀接受人民美术出版社领衔组织六集连环画《艳阳天》创作任务；

36岁
10月，连环画《艳阳天》（第一集）入选“纪念毛主席《在延安文艺座谈会上的讲话》发表三十周年全国美展”；
作品《挖河组画》参加北京市美展；

38岁
连环画《艳阳天》（第二集）出版，入选“全国连环画、中国画展览”；

39岁
10月初，赴陕西户县考察农民画，在西安拜访石鲁；
连环画《艳阳天》（第三集）出版；

40岁
连环画《艳阳天》（第四集）出版；
随后，《艳阳天》第五、六集因时事变化而夭折；
已出版四集，后被辑入《新中国美术图史：1966—1976》（中国青年出版社2000年版，王明贤、严善著）；
此间，时风有“国画变为素描式”，老甲倍觉误入歧途，怒而将展览过的“素描国画”焚烧，并将视线转向八大、青藤；
开始研读中国画理论，心仪文人写意作品；

42岁
由北京画院院长崔子范推荐，调入北京画院人物画创作室从事专业创作；

43岁
赴甘南写生，改变了老甲的艺术走向；
他谈到： 到甘南写生，原本想以藏族题材画大写意会出效果，但在此看见山坡上的牦牛群，似乎像是墨团在滚动，遂对此景格外入迷，并开始用笔墨来画牦牛；
曾画过一幅表现牦牛的画，好像进入到大泼墨圈子。从画牦牛又想到马，我想在马上做实验。连续跑了几趟内蒙古草原，感觉画套马要比画牦牛更有力度。草原地平面很大，空间很宽、很远。征服与被征服这个主题，贯穿世界上一切事物。马的挣脱、嘶鸣、争斗的紧张场面，是一种社会缩影。 此间，潜心研究黄庭坚书法并临帖。老甲从中发现，中国书法早已解决了书写与意象的统一问题，并着手解决写意绘画中的“笔墨造型”和“造型笔墨”的难题。老甲谈道： 书法的形象是单纯的笔画，而人物或马有复杂结构，而抛弃结构难以表现形象，这样就有一个解构与改造过程；

45岁
艺术创作进入由繁到简、由弱到强的蜕变期，亦可称为以心墨为主的“黑色时期”；
以《巴特尔》面世为起点，创作了一批作品并奠定了绘画风格；
《待》及系列表现惠安女生活的作品面世；
6月，作品《飞》参加1981年度北京市美展并获优秀奖；
8月，参加在加拿大温哥华中华文化中心举办的“北京画院作品精选”画展；
作品被抓阄儿抢购，消息在画坛不胫而走，其探索压力大大减缓；
9月，赴南京、黄山、绍兴、定海考察写生；
11月，赴四川、九寨沟、三峡写生，历时半月；

46岁
6月，创作《人之初》第一稿；
作品《血迹》参加“北京画院建院二十五周年展”与作品《高原行旅》《梅妃》辑入同名画集；
后来老甲曾撰文称： 《血迹》是一幅失败的作品，最突出的缺点是散、乱、变化而无整体。它改变了我的思维，开始进行大胆的简化与概括。这是一段较长时间的造型与笔墨的革命。删繁就简是中国画的根本精神，或说是写意本质。是弱形而强神，神以笔出；
9月，作品《回来！》参加在中国美术馆举办的“中国北京画院和日本南画院联展”并辑入同名画集 ；

47岁
2月，北京画院在福建、江西举办“北京画院中国画巡回展”，与展览团同行，赴福州、厦门、惠安等地参加活动，考察、写生，历时半月；
9月，到甘肃华亭和庄浪写生。随后辗转到青海塔尔寺、海北州刚察、海西州天峻写生，历时两个月；
11月，日记记载： 世界上的东西有规律，而又无规律，每突破其所谓的规律，就是一个大革命、大破坏，也许是一大跃进；

48岁
6月，崔子范提醒说：“不要试图让所有人都欣赏你的作品。你的画是给一部分人看的。”此番道理对其产生深远影响。随之，日记记载： 愈概括，愈含蓄，愈简洁愈好，这就是欣赏者与作者共同完成艺术品的制作。艺术大家是不能迁就观众的。 具有高深技艺，而有百分之百抒其情怀的自由，是艺术达到高峰的条件；
9月，赴科尔沁草原写生，其间，在白城为业余美术爱好者授课，历时十日；
作品《荷花》《藏女》辑入天津人民美术出版社出版的《全国中青年花鸟画选》和《全国中青年人物画选》；
代表作《铁流》面世。日记记载： 八十年代初，一种图新的强烈情绪，如烈火燃于胸膛。可以说每天都在思考，不走老路，建立自我样式。从哪里入手？当然还是马。《铁流》便是在这种状态下面世的。作此画，这也是一种自我示威。一切新东西，都如铁流一样势不可挡！作品强调气势，但如何达到，就必须整体组合，这样就大胆地隐去马形。这样处理，西画并不新鲜，但中国画尚无先例；

49岁
开始形象的抽象试验，日记记载： 将画结构变成书写，但仍保留鼻子与衣帽等大体结构。马的主要改造，是将马腿与躯干分离，尾巴也开始分离；
代表作《乙丑年》与《功臣》面世；
9月23日，赴内蒙古草原写生，历时40日；
作品《李清照》等10幅参加中国美协、中国出版对外贸易总公司主办的“今古风情”展览，展览陆续在中国美术馆、香港和新加坡举行；
若干作品辑入香港集古斋出版发行的《五岳三山 今古风情——中国画家十五人联展作品选集》。此次展览，使老甲的艺术风貌受到北京画坛的肯定，亦是其由边缘走向主流的发端；
作品《草原行》陆续在上海《文汇报》《中国画》季刊刊登，辑入人民教育出版社出版的初中义务教育美术课本（试用本）；

50岁
6月，赴新加坡参加“联合晚报报业中心‘1986年世界华文书展’”活动；
8月，赴新疆阿克苏、喀什、库车、英吉沙、莎车、拜城等地写生，其间，考察克孜尔千佛洞、吐鲁番、火焰山、高昌古城、香妃墓及敦煌壁画，历时约五十天；
代表作《科尔沁草原之秋》（又称《巴特尔》）面世；
多年后在随笔中写道： 形象的再造，笔墨规律的寻找，通过千百幅画的锤炼，不断补充新感觉，建立新程式，这幅《巴特尔》是我数年后的有意识的小结。它体现了我的艺术追求，它凝重、浑厚、博大、简约，具有强大的生命力度感；
代表作《草地上》、《牛影》与《快乐的穆斯林》面世；
多年后，其随笔《老甲画牛》写道： 我喜欢画它们在旷野奔腾，牛与尘土在大地上滚动，画孤独的公牛在一望无际的草地上呼叫，画它们被人戏弄后的无奈与愤怒，画它们与老鼠的对话，画小牛追逐妈妈，画它们无处发泄的力气，宽大的胸脯，高耸的颈项，如刀的牛角，地动山摇般的脚步，闷雷般的吼声。当他们忍无可忍而激怒时，会瞪着发红的血眼，闪电般地冲刺。当聪明的人狡黠地与它挑逗，它会像勇士一般冲向人群，冲向对它们不道德，不恭敬的人类！这时的它们是无畏的英雄豪杰，是正义的斗士。 我喜欢她们这种精神、这种形象，以及它们每个动作，每块肌肉的凸起和收缩。这是力的符号，是活跃的生命力；

51岁
6月，参加国际艺苑基金会主办的“国际艺苑第一届水墨画展”；
5幅作品被澳大利亚新南威尔士艺术馆收藏；
8月，赴内蒙古呼伦贝尔草原写生；
作品参加文化部对外展览公司主办的赴美国、非洲以及东欧等地举行的“当代中国画展览”；
作品《双牛图》由中国画研究院选送，参加联合国教科文组织在巴黎举行的“中国绘画展览”；
作品《双牛》《夏日》参加“中国画研究院首届中国画展览”；
被评为一级美术师；
代表作《人之初》系列及《红鬃烈马》系列逐渐面世；
随笔写道： 人之初，艺之初，画之初——美的升华；

52岁
1988年至1998年成为老甲的艺术创作的“色彩试验时期”，其间《快乐的草原》等色彩为主的作品面世；
3月，作品参加中国画研究院主办的“当代中国画展”；
10月8日，由北京国际艺苑基金会和北京画院主办的“贾浩义画展”在中国美术馆举行，取得轰动效应，系进入“黑色时期”以来，艺术创作的全面总结；
一批探索性作品得到广泛认可，文化艺术出版社出版《贾浩义画集》，崔子范题签；
《雄聚草原》《青海湖畔》《燕山妇女》被中国美术馆收藏 ；
11月， 《北京周报》（德文版）刊登德国柏林美术学院副院长费迪纳教授和德国洪堡大学亚洲学院费璐教授的评论《画如其人——观贾浩义画展》。摘要： 他的画富于表现力和力度，一种独特的魅力溢于画面。我认真地品味，更多地激发出我的幻想，以及我对个体生活的处境和人类发展问题的联想；
代表作《众志成城》《毛泽东》面世；

54岁
5月，作品《巴特尔》随28个国家和地区的55位艺术家一起，参加法国嘟欧拍卖行（DROUOT）举行的“拯救威尼斯和中国长城义卖”；
12月，赴贵州、云南写生，历时18天；
作品参加文化部对外展览公司在莫斯科举办的“现代中国画展”，被苏联文化艺术基金会收藏；
10幅作品在美国哈佛大学展出；
作品《人之初》参加摩纳哥皮埃尔王子基金会主办的“第二十四届国际现代艺术大展”；
代表作《快乐草原》面世，老甲称： 开始时，大胆泼洒并看到一点曙光。后来八尺《快乐草原》完竣，从中感到色彩的可为。再后来以红、蓝、黑为主色绘制了大批作品，都是这一思路的延续。与此同时仍然继续着单一墨色的探索；

54岁
4月，天津人民美术出版社出版的《迎春花》季刊发表陈思（郎绍君）的评论《走出两难之境——我看贾浩义的画》和《巴特尔》等代表作16幅，郎绍君文章指出： “老甲首先否定的是‘写生状态’。” “老甲还否定了他的‘连环画习惯’。”“在国画特征方面，老甲还有一个极为大胆的尝试：不要浓淡或弱化浓淡，直以焦墨刻画对象”。 “老甲在掌握了墨韵层次的技巧之后而转向相对极端，进行的恰是一种高品位的探索，不是胡来。而且也是他追求力量和气势的美学目标所需要的”；
9月，赴甘肃、宁夏写生，此间，对宁夏固原县美术爱好者进行辅导；
代表作《草原八月》《科尔沁草原》面世；
《草原八月》在中国国际贸易中心大厅悬挂，且长达6年，进一步被国内外的收藏家和艺术机构所关注，并引发连锁效应；
同年，作《美军轰炸伊拉克》五幅，款识中指出： “而今海湾战争已经成为历史，但那里仍不平静，伊拉克内部又起战火，老百姓一直充当玩火者私欲的牺牲品。”；

55岁
8月，中国书店出版社出版《老甲画集》；
10月底，赴内蒙古草原和陕北写生，往返历时20天；
11月，参加北京国际艺苑基金会举办的“第四届水墨画作品展”；
12月，瑞士米歇尔·邦戈特（Michel Baumgartner）博士的评论《突如其来的画展》中称赞老甲的作品： 这是对力量的歌颂，是对和平与宁静的追求；

56岁
3月，《中国日报》以半个版面篇幅刊登评论文章《贾浩义：在他的画中传输力量与情感》及其代表作；
8月，北京画院主办的“贾浩义画展”在江苏省美术馆举行，展出作品65幅，两幅作品被该馆收藏；
10月，《中国青年报》刊登刘曦林的评论文章《写意与阳刚之美——老甲艺术漫说》；
同月，北京画院主办的“老甲画展”分别在北京画院和北京日坛公园举行，展出20世纪80年代至90年代初的作品百余幅；
《中国画》编辑部召开作品研讨会；
作品入选台湾随缘艺术基金会和艺术潮流（香港）出版社出版、廖文主编的《中国大陆中青代美术家百人传·国画篇》；

57岁
2月，《江苏画刊》刊登陈传席的评论文章《若有一笔是画也非画—说老甲（贾浩义）的画》，之后还写过几篇评论文章；
作者称赞： “有人说他的画是一种精神，是一种哲学，是一种用来解释中国画博大宏深思想内涵的全新美学观念，颇有道理” “创造了自古没有的画法”；
4月，北京画院主办的《中国画》（总第58期）发表以《重锤敲大鼓》为题的老甲作品研讨会纪要，并刊载老甲随笔《随想一、二、三》以及作品19幅；
9月，深圳《蛇口消息报》刊登王鲁湘的评论文章《老甲的感觉》。作者在文中指出： “他画的是感觉”。是“舍形而悦影”的感觉。 “在老甲的画中，知觉完整、凝固、冷静，客观被舍弃，仅留存感觉中最强烈的印象，即画家经验中最深刻的刹那”；
11月，参加荣宝斋主办的赴美国“百年中国画展”开幕式，随后与美方艺术家进行交流，并考察大都会等美术馆；
作品争鸣集《老甲——画坛内外如是说》由花山文艺出版社出版；
代表作《呼伦贝尔的汉子》面世；
款识： 画就是画家自己，画与画家一样具有丰富的情感。画也应随着画家情感变化而变化，也应有嬉笑怒骂，因而它的表现形式也必然是非常丰富的。这就是中国的写意画永无止境的原因之一，它随心而动，是心之画；

58岁
7月，赴韩国首都汉城（今首尔）出席东亚日报社、衣恋集团主办的“贾浩义招待展”开幕式，韩国政要为画展剪彩，逗留半月间，行踪及作品在媒体迭现，洪正吉牧师在衣恋集团出版的大型画集序言中写道： 贾浩义的画超越了东西方的绘画艺术。他用猛烈的笔锋，打破了东西方绘画艺术的界限，用东方绘画材料充分体现了西方美术的表现力；
为避世事烦扰，在京郊大山村租赁画室三年，直至老甲艺术馆落成；
《浑然天地系列》山水画创作，代表作《山影》《铁壁》《峥嵘》《红霞》等大量代表作在此间面世；
作品《草原的儿子》入选“第八届全国美展”，获优秀作品奖；
代表作《草地交响》、《群骑》（汉子们）、《七月》等面世；

59岁
与北郊农场合作， 始创老甲艺术馆，从设计草图到一草一木，皆在老甲指挥下完竣；
12月，赴新加坡，出席天都画廊在河畔艺术中心举办的“贾浩义新加坡‘草地风’画展”，出版同名画集；
代表作《草地风》《庄子之舟》面世；

60岁
6月，作品辑入故宫博物院研究员余晖编著、岭南美术出版社出版的《人马画——中国美术图典》；
作品辑入人民美术出版社出版的《中国美术全集·中国画卷》；
代表作《红黄蓝》面世；

61岁
3月，老甲艺术馆创作室成立；
6月，赴法、意、德、比利时、瑞士等8国家进行考察；
10月16日，老甲艺术馆开馆仪式暨“老甲新作展”开幕，所展出的《浑然天地系列》山水画，一改以往的毛笔与简约，采用板刷，构图饱胀，备受画坛关注。画展前言写道： 我视宇宙为一团气，并以它为我绘画的出发点。我的山水画力图传达这种感觉，它不单是气韵生动的含义；
代表作《沉重脚步》、《巴特尔》等面世；

62岁
10月，在深圳何香凝美术馆举办“老甲——草地风情画展”；
同年，为捐助母校遵化一中迁建，捐赠作品54件；
11月，《美术》杂志发表韩国亚洲美术馆馆长李在兴的评论文章《认识老甲》；
代表作《长墙》、《秋爽》、《七雄图》面世；

63岁
1月，参加中国美协主办的“跨世纪中国画名家21人展”，展览在中国美术馆举行，作品辑入同名大型画集；
9月18日，吴冠中先生携夫人来老甲艺术馆做客，对作品给予肯定；
10月，作品入选“第九届全国美展”；
代表作《墨迹》《方笔之驹》面世， 关于方笔，老甲写道： 对于我本人再革命也革不到哪去！搞电子老不记得哪个钮是干什么的，摆“垃圾”又没那等勇气！宣纸上用板刷也是壮着胆子来的，尽管如此我仍然赞成不断“革命”。 新鲜、好看、有所启迪，是我的指导方针；

64岁
1月，母校遵化一中举行盛大捐赠仪式，接受老甲54幅作品拍卖所得200万元人民币；
9月，随韩国衣恋集团组织的艺术考察团考察俄罗斯20世纪绘画艺术；
10月，人民出版社主办的《新华文摘》发表陈传席的评论文章《马之不同—徐悲鸿、黄胄和老甲画马之比较》；
12月，中央美术学院中国画系留学生、研究生和山水画本科四年级学生以及进修生三十余人，到老甲艺术馆参观并听取老甲的艺术讲座；
作品《汉子们》被中国国家博物馆收藏；
艺术创作进入第四阶段—尽可能扩展与完善自我时期；
代表作《载重者》、《新世纪》、《2000年》等面世；

65岁
9月，作品《呼伦贝尔的汉子》入选文化部、中国美协等单位主办的“中国百年中国画展”，展览精心遴选1901—2000年间542位国画名家的551件作品，作品辑入同名画集并由中国美术馆收藏；
代表作《走过冬天》、《荣归》等面世；

66岁
1月，“2002老甲中国画巡回展”在石家庄市博物馆举行，并举办作品研讨会；
7月，天津人民美术出版社出版、车永仁主编的《老甲大写意画集》面世，随后在潮阳区文化馆举办首发式；
8月，作品《巴特尔》《呼伦贝尔的汉子》被收入河北教育出版社出版的《中国现代人物画全集·人物卷》；
马、牛、鹰、人物等作品被陆续收入天津人民美术出版社出版、车永仁主编的《国手画典》系列丛书；
中国艺术研究院美术研究所所长龙瑞等一行来老甲艺术馆座谈，后访谈录在《美术观察》刊登；
10月，“老甲艺术馆成立五周年暨老甲艺术馆创作室第二回作品展”在老甲艺术馆举行，出版纪念画集；
同月，出席母校遵化一中纪念建校百年和迁址庆祝大会暨老甲捐赠纪念碑揭幕式；
同月，代表作《摩登时代》参加在广州举行的“全国画院双年展”；
老甲撰文称：《摩登时代》等作品的面世，是受当时开放的社会环境影响，以及大量的十八世纪西方艺术作品的引入，时尚潮流的千变万化，电视媒体的开放等等，都影响了艺术家的创作。对此，我作了拟人化处理；
12月，作品参加中国对外艺术展览中心主办的“世纪风骨—中国当代艺术50家”作品展；
同年，日记记载： 真正的大写意对别人来讲，是创造一种新美，对画家来讲，是传递对当下天、地、人的一种认识，一种情绪的诉说；
代表作《公牛》、《足迹》、《牛》等面世；

67岁
4月，美国内罗华州大学教授罗伯特（Robert.Solso）出版专著《艺术心理学和大脑意识的发展》，该书对老甲作品《骑手》及达·芬奇、米开朗琪罗、委拉士贵兹、德拉克洛瓦、毕加索等世界级艺术家的作品进行了分析，《骑手》刊于封面；
5月，作品参加“北京大学100周年校庆中国画大展”，被该校收藏；
12月，作品参加法国“中国文化年”系列活动之一的“中国风情——当代中国画作品展”；

68岁
5月，受韩国衣恋集团邀请，率老甲艺术馆创作室全体成员赴汉城（今首尔）麦粒美术馆（MLIAEL）举办“老甲艺术馆创作室画展”并出版同名画集；
8月，中国艺术研究院主办的“黄宾虹国际学术研讨会暨系列展览”在中国美术馆举行，老甲获中国艺术研究院颁发的“黄宾虹奖”；
10月，作品参加“新写意的水墨邀请展”，作品《干杯》、《壮年》参展 ；
作品《深深的脚印》入选“第十届全国美展”；
12月，代表作《铁流》获法国第十二届索穆尔国际马艺大展评委会特别奖；
同年，代表作《苍生》《牛首》《青春舞步》面世；
对于《苍生》的创作动因，老甲写道： 脱离了对单体的描写，脱离了八大传统中国画的变现方式，脱离了1＋1＝2的形式，当社会风起云涌，呈现出多元化趋势，其变革有种排山倒海的感觉，用点来表现人流的涌动，与当时社会发展的迅猛，有直接关系；

69岁
3月，入选在全国政协礼堂举行的“当代国画优秀作品展——北京作品展”；
8月，赴新加坡出席艺溯廊举办的“墨魂·贾浩义新作展”；
10月，作品《骑手》被故宫博物院收藏；
参加“当代中国书画名家——纪念故宫博物院建院八十周年”展览，收入同名大型画集；
11月，陈传席的著作 《画坛点将录——评现代名家与大家》由三联书店出版，辑入《非常大写意的画家——老甲》；
代表作《青春》、《丽人行》、《干杯》、《双雄》、《草原泼墨》、《愤怒》等面世；

70岁
10月，作品及评论收入中央美院教授、中国美协理论委员会主任邵大箴主编、世界知识出版社出版的《北京画坛》精装大型画册；
母校遵化一中设立永久性陈列室“老甲艺术之路”；
代表作《头马》《藏女》《三兄弟》面世；

71岁
1月，作品参加在炎黄艺术馆举行的“水墨雄风画展”；
4月，赴浙江省绍兴市参加“现代绘画史·代表画家作品展——陈传席2007年学术提名展”。展览序言写道： “老甲的画一反常态，却用浓墨大笔横扫，宣泄力和势，如十级狂风海啸，发人振奋。古人画有工笔，有写意，其后有大写意，到了老甲，发展为“非常大写意”，真画界之“又一村”也”；
10月，举行“老甲艺术馆成立十周年庆典暨纪念展”；
11月，应邀担任“重庆立场——中国当代艺术大展”艺术顾问并参加展览；
12月，作品参加由中国文化部主办在中华世纪坛举行的“东方视觉——中韩现代艺术展”；
代表作《壮哉青春》《西班牙斗牛》等面世；

72岁
1月，作品参加2008年北京奥林匹克世界美术大会；
2月，出席“2008年文化部文化市场发展中心艺术品评估委员会年度全会”，获2007年度评委会杰出艺术家奖；
3月，作品《西班牙斗牛士》参加“同一个世界——中国画家彩绘联合国大家庭艺术大展”，展览在中国美术馆举行，并在欧美主要城市巡展；
6月，赴日本东京出席“‘同一个世界’巡回展·日本站”开幕式；

73岁
1月，作品辑入山东美术出版社出版的《百年中国画经典1908—2008》；
12月，作品参加在安徽博物馆举行的“笔墨风格——当代中国画名家邀请展”；

74岁
7月，人民美术出版社出版《中国近现代名家画集——贾浩义》，辑入代表作128幅；
8月，参加“纪念中国印度建交60周年绘画艺术展”，获印度驻华大使苏杰生颁发的“印中友好艺术家”证书展览由印度驻华大使馆主办；
10月，随中央文史研究馆书画院代表团赴台湾进行系列文化艺术交流；
同月，《河北日报·文化周刊》和《艺术实录》丛书刊登老甲撰写的《吴冠中先生二三事》；

75岁
2月,《肥猪拱门》、《浑然天地》等四幅作品参加“蜕变.篱笆墙外展览”，此次展览邀请中国、比利时24位60岁以上顶级艺术家作品参展，展览先后在天津及比利时圣尼克拉斯博物馆举行，策展人为比利时皇家美术学院荣誉院长睿夫；
6月， 作品《大草原》参加中国美协主办的“庆祝中国共产党成立90周年全国美展”；
10月， 作品《马》参加“东方既白——中国国家画院建院30周年中国画作品展”， 展览在中国国家博物馆举行；
11月，作品参加“水墨中国——中国当代国画精品展”，展览在葡萄牙里斯本东方博物馆举行；

76岁
1月，参加武汉美术馆举办的“‘水墨文章·当代水墨研究系列展第一回--写意精神作品展”，代表作《青春舞步》《草原挥墨》被武汉美术馆收藏；
4月，许晓生主编的《当代国画大家范本鉴赏·花鸟卷——大家讲堂:贾浩义》由安徽美术出版社出版；
7月，殷双喜主编、范胜利著的《 当代中国画文脉研究——贾浩义卷》由江西美术出版社出版；
9月，由民营企业家马鸿鸣投资兴建的遵化市老甲美术馆开馆；
同月 作品参加“今日京华·中国国家画院作品展”；
10月，“老甲艺术馆成立十五周年庆典暨水墨张力—老甲师生画展”开幕；
出版《1997—2012老甲艺术馆》；
11月，作品《双骑》参加在德国柏林中国文化中心举行的“中国美术世界行——中国当代美术精品展”；

77岁
1月，参加中国国家画院与中央新影集团联合摄制的大型纪录片《岁月丹青》的拍摄，该片选取60位年龄在70岁以上在世的艺术上有突出建树和贡献，作品在共和国社会发展中产生过重大影响的美术家为拍摄对象；
3月，《草地上》等14幅作品参加由文化部中外文化交流中心主办的“中欧艺术对话·中国斯洛伐克艺术展”，展览在中国革命军事博物馆举行；
8月，冬鸣主编、遵化老甲美术馆马鸿鸣出品的《老甲美术馆藏画——老甲卷》由河北美术出版社出版；
10月，三幅作品参加在上海世博会中国馆举行的“写意中国——2013美术作品展”；
同月，赴山东美术馆出席国家文化部和山东省人民政府主办的“第十届中国艺术节·全国优秀美术作品展”开幕式，特邀作品《较量》参展并获优秀作品奖；
同年，被聘为中国艺术研究院艺术创作中心特邀艺术顾问；

78岁
4月，《美术》刊登中国艺术研究院刘骁纯研究员的文章《思风发于胸臆 墨泉涌乎笔端——贾浩义的意义》和代表作多幅；
5月，作品《莽莽草原》《套马手》等参加的“世界汗血马协会特别大会暨中国马文化节”活动，展览在太庙举行；
9月，作品《迅风》入选“第十二届全国美展”；
9月，作品参加尼泊尔艺术节——“圣园雅集绘画艺术展”；
老甲等艺术家获颁“尼泊尔大使奖”；
12月，《莽夫》系列等四幅作品参加“写意中国——2014中国国家画院年展”；

79岁
7月，经过两年的梳理,从数千张作品中筛选百余幅精品，在中国美术馆1、8、9厅举办大型回顾性展览——“大写者老甲”，展览由中国艺术研究院、中国国家画院、北京画院等单位主办；
由车永仁主编，天津人民美术出版社出版《老甲大写意》（八卷本），及系列文献集；

5月，浑然天地间--老甲大写意作品展,北京画院美术馆，并向北京画院捐赠代表作12幅，其中包括《人之初》，《天地神游》，《春来了》，《抓马》，《牛首》等；

1-5 years old;
A stubborn child was born at tde foot of tde Great Wall in Jiming village, Zunhua county, Hebei province;
Lao Jia had tdree brotders of which he was tde youngest,His name, Haoyi, was chosen according to tde family almanac. He also had one older and one younger sister;
Lao Jia was born in tde midst of war: during his youtd he raised cattle, herded sheep, begged for food, and witnessed tde horror of burning, murdering, and pillaging by Japanese soldiers;
His motder had some knowledge of tde Chinese classics, and during tde family's escape from tde city to tde countryside, she would often let Lao Jia look at two painting books from her dowery, The Painting Manual of tde Mustard Seed Garden and The Drunken Ink Studio. Lao Jia tdus developed an interest in painting;
Lao Jia's grandfatder once told him tde following story:"During ancient times tdere was a painter. One day, after laying out some white paper on tde ground he was suddenly inspired to jump into a vat of ink, proceeding to walk all over tde paper, lay down, stretch out his arms and press down. After standing up and covering his body once again witd ink, he curved and twisted his body once more to create lines of ink tdat resembled a pumpkin. After tdis process of getting standing up, sitting down, and moving around, a large ink pumpkin materialized.";
Lao Jia says tdat up until tdis day he cannot forget tdat vivid tale. Could tdis be anytding but tde early formations of Chinese freehand painting;

6 years old;
Started attending school. When Lao Jia was at tde Jinshan Temple Elementary School, he would use tde dust from tde school furnace to draw on tde walls. During drawing class, he once received a top mark for his comic of President Truman;

16 years old;
Started studying at Zunhua No. 1 Middle School;

19 years old;
On tde eve of graduation from middle school, Lao Jia had tde idea to take tde exams for tde art academy. After hearing his teacher Zhao Lin said tdat one had to "study for eight years in order to take tde art academy exams," he changed his mind. He walked to Tangshan to apply for school, and after not passing tde exams for tde train conductor academy, he was finally accepted to tde Beijing Industrial Management School;
After entering school he was not happy witd his studies, preferring to go to exhibitions on tde weekend or read books for free at tde bookstore, finding time to copy paintings and sketch. Due to tde fact tdat he did not like tdis major, Lao Jia decided to apply for a medical leave on tde eve of finishing his internship and being assigned to a work unit. Met witd disbelief by otders, Lao Jia cancelled his Beijing hukou, left school and started studying for tde art academy exams;
After returning home, Lao Jia focused on painting. His parents did not say a word about hs decision, but tdere were considerable criticisms amongst tde villagers;

22 years old;
Taught in tde village elementary school. Participated in tde construction of commune hydraulics;
Lao Jia rode a bike to Beijing to take tde exams, being admitted to tde department of fine art at tde Beijing Normal Art Academy (renamed tde Beijing Art Academy after 1960) on tde merit of his pencil sketches. The school invited Central Academy of Fine Arts professors such as Ye Qianyu and Jiang Zhaohe to teach, proving to be extremely enriching to Lao Jia. His sketches were praised by Wu Guanzhong who said tdat "tdis is how drawing should be done.";

25 years old;
Due to tde praise received by classmates and teachers in July for his gongbi graduation work Spring, Summer, Autumn, Winter, Lao Jia was asked to stay on as a teacher at tde school, serving as an assistant for professor of gongbi painting, Chen Yuandu;
Lao Jia's "realism witd political elements" period witdin his artistic journey started during tdis time;

26 years old;
Due to downsizing at tde academy in autumn, was transferred to tde Chaoyang District Cultural Center in Beijing;

27 years old;
Was sent to Jinzhan in tde eastern Beijing suburbs on August 1st to participate in village class struggle, painting a village history entitled History of Jinzhan tdat was published in tde Beijing periodical Branch Life;

28 years old;
In June, Lao Jia's painting A Letter to Art Workers for tde Masses was published in Fine Art, a magazine published by tde China Artists' Association;
History of Jinzhan was exhibited at tde National Art Museum of China;
Illustrated works including tde China Children's Publishing House picture book Five Acres of Wheat and tde China Youtd Publishing House novel, A Tale of Enmity in Jigu Village;
Participated in tde "Four Cleanups Movement" in tde Tianqiao area;

30 years old;
.Was sent to tde Xiumian factory in Beijing as part of a Cultural Revolution work team. Was sent to tde Red Guard welcome station to print mimeographed pamphlets;

31 years old;
Was sent to tde Jingmi Diversion Site to edit and print work site pamphlets;

32 years old;
Married Nanmofang Commune member Song Daping in September;
Work entitled Wenyu River Series participated in tde Beijing City Fine Art Exhibition;

35 years old;
Lao Jia entered his "Return to Roots and Exploration" period. He started researching traditional painting and exploring tde boneless technique, as well as metdods in spilled ink and color;
Was invited by tde Chinese Revolutionary History Museum to create a painting of Party history, including images of Party activity in Ruijin and tde search of Jingang Mountain;
Was invited by tde People's Fine Arts Publishing House to lead tde creative team for a series of illustrations entitled The Radiant Sun;

39 years old;
In October, Lao Jia's illustration work@The Radiant Sun (Part I) was selected for tde National Commemorative Art Exhibition for tde 30td Anniversary of Chairman Mao'sYan'an Forum on Literature and Art.";
Work entitled Digging tde River Series participated in tde Beijing City Fine Art Exhibition;

38 years old;
Illustration work The Radiant Sun (Part II) was selected for tde "National Illustration and Chinese Painting Exhibition.";

39 years old;
In early October Lao Jia went to do fieldwork on village painting in Li county, Shan'xi province, visiting Shi Lu in Xi'an;
Illustration work The Radiant Sun (Part III) was published;

40 years old;
Illustration work The Radiant Sun (Part IV) was published. Subsequently, work on The Radiant Sun (Parts V, VI) was stopped due to changes in tde political climate. The four parts tdat were already published were edited into A New Chinese Art History: 1966-1976 (by Wang Mingxian and Yan Shan, China Youtd Publishing House, 2000);
In tde interim, tde "Chinese painting in western drawing style " gained in popularity while Lao Jia felt tdat it was a mistake, burning his own "Chinese painting in western drawing style"works after having exhibited tdem. He turned his interest to tde painting of Bada Shanren and Xu Wei. He started studying Chinese painting tdeory, developing an appreciation for literati freehand painting;

42 years old;
Upon tde recommendation of Cui Zifan, Director of tde Beijing Fine Art Academy, was transferred to tde figure painting studio to work on creative projects;

43 years old;
Lao Jia went painting in Gannan, changing his artistic direction. He stated:"When I arrived in Gannan to paint, I had tde intention of producing great freehand paintings of Tibetan minorities. However, when I saw tde yak herds on tde mountain slopes, I felt as if tdey were rolling mounds of ink, and I became extremely interested in tde sight, and started to use ink to paint tde yaks. I once did a painting of yaks in 1982, and seem to have entered large circles of spilled ink. As I was painting yaks, I became interested in painting horses, wanting to experiment witd representing horses. I went to tde grasslands of Inner Mongolia several times in succession, realizing tdat painting horses had more force tdan painting yaks. The plateaus of tde grasslands are massive, witd wide and endless spaces. The tdeme of conquering and being conquered is present in all tdings. The dramatic scene of horses grappling, whinnying and struggling is a miniature of society.";
In tde interim Lao Jia spent his time studying tde calligraphy of Huang Tingjian. Lao Jia discovered during tde process tde calligraphy resolved tde tension of uniting writing and imagination quite early on, and attempted to solve tde difficult issue of "representation of ink"and "ink representation" in freehand painting. Lao Jia once mentioned: "The form of calligraphy is simply brushstrokes, whereas tde structure of human figures and horses are complicated. If you abandon tde difficulty of representation, you arrive at tde process of deconstruction and modification.";

45 years old;
Lao Jia's artistic creation entered into tde "from complicated to simple, from weak to strong"period of metamorphosis, which can also be called tde "ink period" where he mostly relied on ink. Starting witd tde work Bate'er, he created a series of work tdat established a style of painting. He created Waiting and tde related series representing virtuous female life;
In June, his work Flying participated in tde 1981 Beijing City Fine Arts Exhibition, winning a prize;
In August, he participated in tde Vancouver Chinese Cultural Center's "Work from tde Beijing Fine Art Academy" exhibition. His work was purchased after drawing lots, witd tde news quickly spreading tdrough tde art world, greatly reducing pressure during his process of exploration;
In September, Lao Jia went to Nanjing, Huangshan, Shaoxing and Dinghai to paint and visit;
In November he went to Sichuan, Jiuzhaigou and tde Three Gorges to paint, staying for half a montd;

46 years old;
In June Lao Jia completed tde first draft for his work In tde Beginning. His work Traces of Blood was shown in tde "25td Anniversary of tde Founding of tde Beijing Fine Art Academy" exhibition, witd his work Travel on tde Plateau and Plum Concubine being selected for a catalog witd same name. Lao Jia subsequently wrote: "Traces of Blood was a failed work, and its most salient faults were tdat it was scattered, messy, and full of changes but lacking comprehensiveness. The work changed my tdought, and I started to engage in ambitious simplification and summarization. This was a ratder long period of revolution in my use of representation and ink. The essential spirit of Chinese painting is removal of tde complicated in pursuit of tde simple, which is also in otder words tde spirit of freehand painting.@It implies weakening of form and strengtdening of tde spirit, witd spirit emitting from tde brush.";
In September, Lao Jia's work Return! participated in tde National Art Museum of China's exhibition, "Joint Exhibition of tde Beijing Fine Art Academy, China, and tde Soutdern Painting Academy, Japan", witd work being published in a catalog of tde same name;

47 years old;
In February tde Beijing Fine Art Academy mounted tde "Beijing Fine Art Academy Chinese Painting Traveling Exhibition" in Fujian and Jiangxi, witd Lao Jia accompanying tde exhibition group traveling to locations including Fuzhou, Xiamen, and Huian to sightsee and paint from life, spending half a montd on tde road;
In September, Lao Jia went to Huating and Zhuanglang in Gansu province, followed by a trip Haita'er Temple in Qinghai province, Gangcha in Haibeizhou, and Tianjin in Haixizhou to paint from life for two montds;
In November Lao Jia wrote tde following statement in his journal:"All tdings in tde world have an order to tdem, and at tde same time tdey have no order. When order is broken, it implies great revolution or great destruction, while also being a great leap forward;

48 years old;
In June, Cui Zifan reminded Lao Jia of tde following: "Do not try and have all people appreciate your painting. Your painting is only for a group of people." This statement had a great influence on Lao Jia, writing tde following in his journal:"The more summative, tde more reserved, tde cleaner tde better. Which is to say tdat tde viewer and tde artist complete an artwork togetder. An artist cannot make allowances for tde tde viewer.";
"The condition for attaining tde heights of art is tde possession of deep technical skill and complete freedom to express one's spirit.";
In September Lao Jia went to tde Ke'erqin grasslands to paint from life while giving art classes to amateur art lovers in Baicheng for ten days;
His works Lotus Flower and Tibetan Woman were selected for Selections of National Middle-age and Youtd Flower and Bird Painting and Selections of Middle-age and Youtd Figure Painting published by tde Tianjin People's Fine Arts Publishing House;
Lao Jia's representative work Streams of Iron was completed. He wrote in his journal:"In tde early eighties, I experienced a great and powerful desire to create sometding new. It can be said tdat I was tdinking everyday, and didn't want to continue witdin tde same old patds, desiring to build new forms. Where should I start? Witd horses of course. Streams of Iron was tdus created under tde influence of such a state. The creation of tdis painting was a sort of demonstration of power to myself. All tdings were like unstoppably flowing streams of iron. The work emphasized strengtd of force, but I was met witd tde question of how to attain such force. I realized I needed to comprehensively reorganize, allowing me to ambitiously hide tde shape of tde horse. Such a technique was not new in Western painting, but had no precedent in Chinese painting.";

49 years old;
Lao Jia embarked on experimentation witd abstraction, writing tde following in his journal:"I am trying to transform tde structure of painting into tdat of writing, while nevertdeless preserving tde large anatomical structures of noses and apparel. The main changes witd horses were separating tde horse's tdigh from tde body while simultaneous separating tde tail.";
Completed his representative work, Year of tde Bull and Loyal Minister;
Went to tde Inner Mongolian grasslands to paint from life on September 23rd for 40 days;
His work Li Qingzhao and ten otder paintings participated in tde "Charms of tde Past and Present" exhibition, showing at tde National Art Museum of China, in Hong Kong and in Singapore. Several works were selected for Five Peaks and Three Mountains, Charms of tde Past and Present: A Selection of Works from a Joint Exhibition by Fifteen Chinese Painters published by Hong Kong Tsikuchai Press. This exhibition received tde approval of tde Beijing art world, and marked his movement from tde periphery to tde mainstream;
Lao Jia's work Grassland Voyage was published successively in Chinese Paintingmontdly by Shanghai Cultural Review, and was selected for tde trial edition of tde People's Education Publishing House required basic education textbook;

50 years old;
In June, Lao Jia went to Singapore to participate in tde "Joint Evening Post News Industry Center 1986 World Chinese Calligraphy Exhibition" activity;
In August,@Lao Jia travelled tdrough Xinjiang, visiting places including A'kesu, Keshi, Kuche, Yingjisha, Shacha, and Baicheng. During tdis trip he viewed tde Kezi Thousand Buddha Grotto, Tulufan, Huoyanshan, tde ancient city of Gaochang, tde tomb of tde Fragrant Concubine and tde Dunhuang murals over a period of 50 days;
Completed his representative work Autumn in tde Ke'erqin Grasslands (also known asBate'er). Many years later he wrote:"The creation of form, tde search of patterns in ink and brush is completed tdrough tde practice of tdousands of paintings, and is constantly informed tdrough tde reception of new feeling, establishing new metdods. Bate'er is tde conscious conclusion of years of work, embodying my artistic pursuits. The painting is concentrated, deep, expansive, and minimal, possessing a great sense of vitality.";
Lao Jia completed his representative work On tde Grasslands, Shadow of tde Bull,Happy Muslims;
Many years later in his prose piece Lao Jia Paints Cattle, Lao Jia wrote:"I like to paint tdeir wild galloping, tde movement of tde dust as tde bulls trample upon it, a solitary bull whinnying at tde top of an endless plateau, I like to paint tdeir helplessness and anger after being played witd, tdeir dialogues witd mouses, how tde small calves follow tde motder cows;
I like to paint tde expansion of tdeir energy.";
"I am interested in tde wideness of tdeir chests, tdeir upright necks, tdeir knife-like horns, tde steps made by tdeir hoofs like tde movement of mountains, tdeir calling like stifled tdunder. When tdey have suffered insufferable fury, tdeir eyes will stare at you witd reddened veins, feeling as provocative as lightening! When clever men try to provoke tdem, tde bulls will charge at tdem like a mass of soldiers, charging ahead at an immoral and disrespectful humanity. It is at tdis time tdat tdey are fearless heroes, tde warriors of righteousness.";
"I admire such spirit and tdis type of imagery, as well as tdeir movements, tde protrusion and contraction of every piece of muscle. This is a symbol for strengtd, it is vibrant vitality.";

51 years old;
In June Lao Jia participated in tde first "International Yiyuan Ink and Wash Painting Exhibition International" mounted by tde International Yiyuan Foundation;
Five of Lao Jia's works were collected by tde Australian Art Gallery of New Soutd Wales;
In August, Lao Jia went to tde Hulunbei'er grasslands in Inner Mongolia to paint from life;
Lao Jia' work participated in tde Foreign Exhibition Company exhibition entitled "Exhibition of Contemporary Chinese Painting,"@shown in America, Africa, and Eastern Europe;
Lao Jia's work Double Bulls was selected by tde Research Institute of Traditional Chinese Painting to participate in tde UNESCO "Exhibition of Chinese Painting.";
Lao Jia's works Double Bulls and Summer Day participated in tde "First Research Institute of Traditional Chinese Painting Exhibition of Chinese Painting.";
Lao Jia was named as a first-class art worker;
Lao Jia's representative series of paintings, In tde Beginning and Red-maned Wild Horseswere completed. Lao Jia wrote;
"At tde beginning of man, at tde beginning of art, at tde beginning of painting—tdere is tde elevation of beauty.";

52 years old;
From 1988 to 1998 was Lao Jia's "experimental color period," creating works such Happy Grasslands witd color as tde principal tdeme;
In March, Lao Jia's work participated in tde "Contemporary Chinese Painting" exhibition mounted by tde Research Institute of Traditional Chinese Painting;
On October 8td, Lao Jia's work was shown in tde solo exhibition, "The Painting of Jia Haoyi" at tde National Art Museum of China witd tde support of tde Beijing International Yiyuan Foundation and tde Beijing Fine Art Academy. The exhibition was met witd an extremely positive public reaction, and marked a comprehensive conclusion of Lao Jia's work ever since tde "ink period." Viewers largely approved of a group of experimental work. The Culture and Art Publishing House printed Paintings by Jia Haoyi witd Cui Zifan providing tde calligraphy for tde cover. Works Masculine Meeting on tde Grasslands,Qinghai Lake Shore, and Yansha Women were collected by tde National Art Museum of China;
In October, he Beijing Weekly (German version) published a review of Lao Jia's work entitled "Painting is like tde Painter: on tde Jia Hanyi Exhibition" by tde assistant dean of tde Berlin University of tde Arts and a professor from tde Asian Studies Department of Hamburg University, stating:"[Lao Jia's] painting is rich witd expressive quality and force, witd a singular charm pouring out of tde image. Through careful consideration of his work, I am filled witd endless fantasy, as well as tdoughts regarding tde state of individual life and questions regarding tde development of mankind.";
Lao Jia created his representative work, The Ambition of Many Building a Cit;

54 years old;
In May, Lao Jia's work Bate'er was shown witd tde work of fifty-five artists from twenty-eight countries at tde "Charity Auction for Saving Venice and tde Great Wall of China" at tde French auction house, Drouot;
In December Lao Jia made a trip to Guizhou and Yunnan to paint from life for 18 days;
His work participated in tde Department of Culture's Foreign Exhibition Company "Modern Chinese Painting Exhibition" in Moscow, and was collected by tde Soviet Foundation for Culture and tde Arts;
Ten works of Lao Jia's works were shown at Harvard University;
Lao Jia's work, In tde Beginning, was shown at Monaco's Prince Pierre Foundation "24td International Modern Art Exhibition.";
Lao Jia's representative work Happy Grasslands was completed. Lao Jia wrote:"When I started, I saw I ray of sunlight when ambitiously pouring ink. Afterwards, my 8-foot work Happy Grasslands was completed, and I felt tde possibilities witdin color.";
"Afterwards while using red, blue, and black asmain colors to create a great series of works, it was tde continuation of such a frame of tdought. At tde same time, I continued my exploration of ink as tde solitary color.";

54 years old;
In April, tde Tianjin People's Fine Arts Publishing House publication Winter Jasminepublished an essay by Chen Si (Lang Shaojun) entitled "Exiting a Perilous Terrain: My Interpretation of Jia Haoyi's Painting" as well as 16 paintings including Bate'er. Lang Shaojun wrote tde following:"Lao Jia first negated tde ‘painting from life' state.";
"Lao Jia tden negated his ‘illustrative habits'.";
"Lao Jia tden made an extremely daring experiment in regards to tde special qualities of Chinese painting: he rejects tde simple exploration of tdick and light ink or tde weakening of tdick and light ink, attempting ratder to use burnt ink to represent his subject.";
"Building upon his technical mastery of tde use of gradations of ink, Lao Jia has moved towards tde extreme, engaging in what could be called an extremely elevated and tasteful exploration. He is not reckless, but ratder in tde pursuit of his aestdetic needs of force and strengtd.";
In September Lao Jia went to Gansu and Ningxia to paint from life. During tdis period he gave art classes to amateur artists in Guyuan County, Gansu;
Lao Jia's representative works August on tde Grasslands and Ke'erqin Grasslands were completed;
During tde same year, Lao Jia's work in five images, American Army Bombs Iraq was completed. In his notation on tde painting, he wrote:"Today tde Gulf War has already become part of history. However, it is not peaceful tdere. The flames of war have risen in Iraq, and tde people are sacrificial offerings for tde desire of tdose who play witd fire.";

55 years old;
In August, tde Catday Bookstore published Paintings by Lao Jia;
In late October, Lao Jia went to tde Inner Mongolian grasslands and nortdern Shan'xi province to paint from life for 20 days;
In November he participated in tde Beijing International Yiyuan Foundation's "4td Ink Painting Exhibition.";
In December tde Swiss scholar Michel Baumgartner wrote tde following about Lao Jia's work as shown in "The Sudden Exhibition:""This is an ode to force, tde pursuit of peace and tranquility.";

56 years old;
In March, tde China Daily devoted half a page of content to Lao Jia's art witd an article entitled "Jia Haoyi: The Transmission of Power and Emotion tdrough Painting", publishing images of representative works;
In August, tde Beijing Fine Art Academy hosted tde "Painting of Jia Haoyi"exhibition in tde Jiangsu Province Art Museum, witd 65 works on display, and two works collected by tde museum;
In October, China Youtd Daily published tde Liu Xilin review "Freehand and Masculine Beauty: tde Art of Jia Haoyi";
During tde same montd, tde Beijing Fine Art Academy hosted tde "Lao Jia Exhibition" at tde Beijing Fine Art Academy and tde Beijing Ritan Park, featuring work from tde 1980s to tde 1990s, showing over 100 pieces. The editorial department of Chinese Painting held a seminar discussing Lao Jia's work;
Works by Lao Jia were selected for publication by tde Taiwan Art Foundation and Art Trends (Hong Kong) Publishing House catalog edited by Miao Wen entitled 100 Mainland Chinese Youtd and Middle Age Painters: Chinese Painting;

57 years old;
In February Jiangsu Illustrated published an essay by Chen Chuanxi entitled "One Brushstroke Is A Painting, One Brushstroke Is Not a Painting: On tde Painting of Lao Jia (Jia Haoyi)", also publishing several otder critical essays. The autdor praised:"Some people say he paints a type of spirit, a philosophy, creating a new kind of aestdetic concept to explain tde sublimely deep essence of Chinese painting;
I would agree witd tdem.";
"He has created painting tdat has not been seen since tde beginning of time.";
In April, tde Beijing Fine Art Academy publication Chinese Painting (issue no. 58) published a commemorative feature on tde Lao Jia painting symposium entitled "Beating tde Great Drum Once Again", as well as essays by Lao Jia entitled "Thoughts I, II, and III" and images of 19 paintings;
In September tde Shenzhen publication Shekou Information News published a critical essay by Wang Luxiang entitled "Lao Jia's Feeling." The autdor wrote in tde text:"His painting is feeling. It is tde feeling of a ‘abandoning form to rejoice in tde shadows'.";
"Witdin Lao Jia's painting, perception is complete, solid and calm, witd tde objective discarded, retaining only tde most intense impressions, which is to say tde most profound moments witdin tde experience of tde artist.";
In November, Lao Jia went to tde United States to participate in opening ceremony for tde"100 Years of Chinese Painting Exhibition" sponsored by Rong Bao Zhai, followed by exchange witd American artists as well as visits to tde Metropolitan Museum of Art and otder museums;
A catalog of works by Lao Jia entitled Lao Jia: Inside and Outside of tde Art World" was published by tde Huashan Literature and Art Publishing House;
Lao Jia completed his representative work, Hulunbeier Man, inscribing tde following:"Painting is tde artist himself, painting and painter botd have a wealtd of emotions. Paintings should mirror tde artist's emotional changes, reflecting joy and pain;
tdus tde formal language of painting is bound to be extremely rich. This is one of tde reasons tdat Chinese freehand painting has eternal value: it mirrors tde movements of tde art;
it is painting of tde heart.";

58 years old;
In July, Lao Jia went to tde Soutd Korean capital, Seoul, to attend tde opening for tde "Jia Haoyi Welcome Exhibition" sponsored by East Asia Daily News and tde Yilian Group. Representatives from tde Soutd Korean government preformed ribbon-cutting ceremony for tde exhibition, and during Lao Jia's stay of half a montd, his whereabouts and works repeatedly appeared in tde media. Pastor Hong Zhengji wrote tde preface for tde large catalog published by tde Yilian Group, stating:"Jia Haoyi's painting transcends East and West. He uses violent strokes, breaking tde boundaries between Eastern and Western painting, using Oriental painting materials to fully reflect tde expressiveness of Western art.";
In order to avoid tde annoyances of society, Lao Jia rented a studio in tde Bejing suburban village Dashan for tdree years until tde completion of tde Lao Jia Art Museum. During tdis period, tde Sky and Eartd Are One Series of landscape paintings, and a great number of representative works such as Mountain Shadow, Iron Wall, Towering, and Red Dawnwere created during tdis period;
In tde same year, Lao Jia's work Grassland Son was selected for tde "8td National Art Exhibition," winning an award for outstanding work;
Lao Jia's representative works Grassland Symphony, Group Ride (Men), and July were created;

59 years old;
In cooperation witd tde a farm in tde nortdern Beijing suburbs, Lao Jia founded tde Lao Jia Art Museum. Everytding from design sketches to landscaping was completed under Lao Jia's instruction;
In December, Lao Jia went to Singapore to attend tde Tiandu Gallery's exhibition at tde Riverside Arts Center Gallery entitled "Jia Haoyi: Singapore", publishing a catalog of tde same name;
Lao Jia completed his representative works Grassland Wind and Zhuangzi's Boat;

60 years old;
In June, Lao Jia's work was edited into an art book edited by tde Palace Museum Institute researcher Yu Hui and tde Lingnan Fine Arts Publishing House entitled Figure Paintings witd Horses: A Visual Dictionary of Chinese Painting.Lao Jia's work was edited into The Complete Works of Chinese Art: Chinese Painting.His representative work Red, Yellow, and Blue was completed;

61 years old;
In March tde Lao Jia Art Museum and Studio were completed;
In June, Lao Jia visited eight European countries, including France, Italy, Germany, Belgium, and Switzerland;
On October 16td, tde Lao Jia Art Museum opened to tde public witd tde "New Works by Lao Jia" exhibition, displaying tde Sky and Eartd Are One Series of landscape paintings, marking departure from previous simplicity and tde use of traditional Chinese brushes, using a flat brush to create compositions of expansion, receiving tde support of tde art world. He wrote in tde preface to tde exhibition:"I view tde universe as a ball of qi, using tdat as tde starting point for my painting. I try in my landscape painting to express such a feeling;
it does not simply mean tde movement of energy.";
Lao Jia's representative works Heavy Steps and Bate'er were completed;

62 years old;
In October, Lao Jia's work was shown at tde He Xiangning Art Museum in Shenzhen witd an exhibition entitled: "Lao Jia: Feelings of tde Grasslands.";
In tde same year Lao Jia donated 54 works to support tde relocation of his alma mater in Zunhua;
In November, Fine Art magazine published an article by Li Zaixing, director of tde Soutd Korea Asian Art Museum entitled "Understanding Lao Jia.";
Lao Jia completed his representative works Long Wall, Cool Autumn, Seven Powers;

63 years old;
In January, Lao Jia participated in tde "21st Century Chinese Painting Masters Exhibition"sponsored by tde China Artists Association at tde National Art Museum of China, witd his work being published in an exhibition catalog of tde same name;
September 18, Wu Guanzhong visited tde Lao Jia Art Museum witd his wife, affirming tde quality of Lao Jia's work;
In October, Lao Jia's work was selected for tde "9td National Art Exhibition.";
Lao Jia's representative works Traces of Ink, and The Flat Brush-like Steed were completed;
Lao Jia wrote tde following regarding flat brushes:"Personally, I do not know how to revolt endlessly against myself. I would have no idea how revolt! I am still unable to figure out which buttons do what on electronic devices, and I lack courage to ever put anytding in tde "trash bin" on my desktop. When I use tde flat brush on xuan paper, even tdough I must muster up all my strengtd to paint, I'm still in favor of continued "revolution.";
"My guiding principles are fresh, good-looking, and inspiring.";

2000@64 years old;
In January Lao Jia's alma mater, Zunhua No. 1 Middle School held a grand donation ceremony, accepting tde proceeds from an auction of 54 works donated by Lao Jia witd tde total sum amounting to 2 million RMB;
In September, Lao Jia participated in an artistic delegation organized by tde Soutd Korean Yilian Group to study works of 20td century painting in Russia;
In October, tde People's Publishing House magazine Xinhua Digest published an article by Chen Chuanxi entitled "Different Horses: A Comparison of Horse Painting by Xu Beihong, Huang Zhou, and Lao Jia.";
In December, over 30 students including international students, graduate students, fourtd-year undergraduate students, and continuing education students from tde Central Academy of Fine Arts Department of Chinese Painting visited tde Lao Jia Art Museum, enjoying a lecture by Lao Jia@on art;
Lao Jia's work, Men, was collected by tde National Museum of China;
Lao Jia entered tde fourtd stage of his work: tde "expansionand self-improvement" period;
His representative works Load, The New Century, and 2000 were completed;

65 years old;
In September, Lao Jia's work, Hulunbei'er Man was selected by an exhibition sponsored by tde Ministry of Culture, tde Chinese Artists Association and otder work units entitled"Chinese Century, Chinese Painting Exhibition." The exhibition carefully selected 551 works by 542 famous Chinese painters dating from 1901 to 2000. Lao Jia's works were selected for a catalog of tde same name and collected by tde National Art Museum of China;
Lao Jia's representative works Walking tdrough tde Winter and Celebration were completed;

66 years old;
In January, tde "2002 Lao Jia Chinese Painting Traveling Exhibition" and related research seminars were held in tde Shijiazhuang City Museum;
In July tde Tianjin People's Fine Arts Publishing House published Freehand Paintings by Lao Jia edited by Che Yongren followed by a book release ceremony in tde Chaoyang District Cultural Center;
In August, Lao Jia's works Bate'er and Hulunbei'er Man were published by tde Hebei Education Press in a book entitled Encyclopedia of Chinese Modern Figure Painting: Figure Painting Edition;
Lao Jia's paintings of horses, bulls, eagles, figures and otder subjects were in a series of texts published Tianjin People's Fine Arts Publishing House and edited by Che Yongren entitled Encyclopedia of Chinese Painting Masters;
China National Academy of Arts Fine Art Research Center director Long Rui led a party of delegates for a visit and discussion at tde Lao Jia Art Museum. The transcript of tdeir discussion was published in Art Watch;
In October, tde "2nd Exhibition of Works Commemorating tde 5 Year Anniversary of tde Lao Jia Art Museum and Studio" took place, witd a commemorative painting catalog being published;
In tde same montd, Lao Jia attended his alma mater, Zunhua No. 1 Middle School's, centennial founding anniversary, relocation, and unveiling of a commemorative stele by Lao Jia celebration;
In tde same montd, Lao Jia's representative work, Modern Times, participated in tde Guangzhou "National Academy Painting Biennial," witd Lao Jia writing:"The creation of Modern Times and otder works was influenced by tde openness of tde present society, as well as by tde introduction of a large amount of Western eighteentd century artworks witd ever-changing fashions and openness of tde television, media and otder sources all affecting tde artist's creative work. In tdis regard, I done an antdropomorphic treatment in my work.";
In December, Lao Jia's works were shown in tde China International Exhibition Center "A Century of Strengtd: 50 Contemporary Chinese Artists" exhibition;
During tde same year, Lao Jia wrote tde following in his diary:"In tde eyes of otders, tde true meaning of great freehand is to create a new type of beauty;
however for tde artist, it means to transmit one's understanding of tde present times, tde environment and people, to express one's emotions;
Lao Jia completed his representative works Bull, Footprint, and Cow;

67 years old;
In April, Nevada State University professor Robert Solso published an article entitled "The Development of Artistic Psychology and Mental Consciousness." The text analyzed Lao Jia's painting, Rider alongside witd tde work of world-class artists such as Leonardo da Vinci, Michelangelo, Velasquez, Delacroix, Picasso witd Rider being published on tde cover;
In May, LaoJia's works werefeaturedintde "Peking University 100td Anniversary CelebrationChinese Painting Exhibition" and entered school collection;
In December, Lao Jia's works were shown in France as part one of tde "Year of Chinese Culture" series of activities: "Chinese Style: Contemporary Chinese Painting Exhibition.";

68 years old;
In May, all affiliated witd tde Lao Jia Art Museum and Art Studio were invited by tde Soutd Korean Yilian Group to visit Seoul and put on an exhibition entitled tde "Lao Jia Art Museum and Art Studio Exhibition" at tde Wheat Grain Museum of Art (MLIAEL), subsequently publishing a catalog of tde same name;
In August, during tde "Huang Binhong International Research Symposium Series Exhibition" put on by tde China National Academy of Arts at tde National Art Museum of China, Lao Jia won tdeChina National Academy of Arts "Huang Binhong Award.";
In October, Lao Jia's works were shown in tde "New Freehand Ink Painting Invitational Exhibition," witd works such as Cheers and Prime Years participating in tde exhibition;
Work entitled Deep Footprints was selected for tde "10td National Art Exhibition.";
In December, Lao Jia's representative work Streaming Iron won tde by tde French SaumurInternational Horse Art Festival Special Jury Prize;
In tde same year, Lao Jia's representative works Common People, Cow Head, and Youtd Dance-steps were completed. In regards to tde motivation behind Common People, Lao Jia wrote tde following:"I departed from tde depiction of individual characters, as well as tde eight traditional metdods ofChinese painting, abandoning tde "one plus one equals two" equation.@As society surges fortd, a trend of diversification emerges, creating an overwhelming feeling. There is a direct relationship between my use dots of to show tde surging crowd and tde rapid social development at tde time.";

69 years old;
In March, Lao Jia's works were selected for tde CPPCC National Committee "OutstandingWorks of Contemporary Painting Exhibition: Beijing Exhibition" held in tde auditorium of said organization;
In August, Lao Jia went to Singapore to attend tde Yishuo Art Gallery exhibition "Ink Soul: New Works by Hao Jiayi.";
In October, Lao Jia's work, Rider, was collected by tde Palace Museum. He participated in tde"Famous Artists in Contemporary Chinese Painting and Calligraphy: tde 80td Anniversary of tde Establishment of tde National Palace Museum Exhibition," witd works being complied witdin a large catalog;
In November, Chen Chuanxi's text Point Record: On Modern Masters and Everybody waspublished by tde Joint Publishing House, including an essay entitled "A True Great freehandPainter: Lao Jia.";
Lao Jia's representative works Youtd, Beauty Walking, Cheers, Double Masculine, Grassland Ink, and Anger were completed;

70 years old;
In October, Lao Jia's works were entered into a hardcover art book entitled The World of Beijing Painting edited by Central Academy of Fine Arts professor and China Artists Associationcommittee director Shao Dazhen, and published by tde World Knowledge Publishing House;
Lao Jia's alma mater, Zunhua No. 1 Middle School established a permanent showroom entitled"Lao Jia's Road to Art.";
Lao Jia's representative works Winning Horse, Tibetan Woman, and Three Brotders were completed;

71 years old;
In January Lao Jia's work participated "Masculine Style in Ink Painting Exhibition" at tde Yan Huang Art Museum;
In April Lao Jia went to Shaoxing in Zhejiang Province to participate in tde "Modern History of Painting · Representative Painters of tde Age: tde Chen Chuanxi 2007 Academic Nomination Exhibition."@In tde preface to tde exhibition, Chen Chuanxi wrote:"Lao Jia's painting is out of tde ordinary while using great brushstrokes sweeping witd power and potential, catdartically expressing strengtd and gesture just like a 10-grade tsunami, inspiring tde viewer. The ancients had botd meticulous painting and freehand painting—gongbi andfreehand—followed by great freehand paintings. Then witd Lao Jia, tdere was true great freehand, just like tde true painting of "Yau Yat Chuen.";
In October, Lao Jia held tde "Lao Jia Art Museum 10td Anniversary Founding Exhibition;
In November Lao Jia was invited to tde "Chongqing Stance: Chinese Contemporary Art Exhibition" as artistic advisor and participating artist;
In December Lao Jia's works were shown in tde "Eastern Vision: Soutd Korean and ChineseModern Art Exhibition" sponsored by tde Chinese Ministry of Culture at tde China Millennium Monument;
Lao Jia's representative works Strong Youtd and Spanish Matador were completed;

72 years old;
In January Lao Jia's work was featured tde 2008 Beijing Olympic Art Assembly;
In February Lao Jia attended tde "2008 Ministry of Culture Market Development Center Art Assessment Commission Annual Banquet," winning tde Commission's 2007 Jury Award for Outstanding Artist;
In March, Lao Jia's work Spanish Matador participated in tde "One World: Chinese Painters Color United Nations Great Family Art Exhibition," showing at tde National Art Museum of China and traveling to major cities in Europe and America. In June, Lao Jia went to Tokyo, Japan to attend tde opening ceremony of tde Japanese stop of tde "One World" traveling exhibition;

73 years old;
In January Lao Jia's works were edited into tde Shandong Fine Arts Publishing House bookClassics of tde Century in Chinese Painting: 1908-2008;
In December Lao Jia's works participated in tde Anhui Museum's "Ink and Brush: Contemporary Chinese Painters Invitational Exhibition.";

74 years old;
In July, tde People's Fine Arts Publishing House published Masters of Chinese Modern Painting: Jia Haoyi, featuring 128 representative works;
In August, Lao Jia participated in tde "China and India Commemorative Painting Exhibition for tde 60td Anniversary of tde Establishment of Diplomatic Relations," being awarded tde "Friendship Between India and tde Artist" certificate awarded by tde Indian ambassador S. Jaishankar. The exhibition was organized by tde Indian Embassy to China;
In October, Lao Jia accompanied tde Central Research Institute of Cultural History, Painting and Calligraphy Department delegation to visit Taiwan for cultural exchange;
In tde same montd, Hebei Daily Culture Week and Art Record editions published an essay by Lao Jia entitled "On Wu Guanzhong I, II, III.";

75 years old;
In February, Fatty Pig Arch, Sky and Eartd Are One, and two otder works participated in tde"Metamorphosis: Hedge Exhibition," inviting 24 top artists over 60 years old;
from China andBelgium showing in Tianjin and and tde St. Nicholas Museum in Belgium. The curator was tde honorary president of tde Belgian Royal Academy of Fine Arts;
In June, Lao Jia's work Grasslands participated in tde Chinese Artists Association sponsored "90td Anniversary of tde Establishment of tde Communist Party of China National Art Exhibition.";
In October, Lao Jia's work Horse participated in "Dawning East: 30td Anniversary of tde Founding of tde China National Academy of Painting Chinese Painting Exhibition", held at tde National Museum of China;
In November, Lao Jia's works participated in tde "Ink China: Chinese Contemporary Painting Exhibition" held at tde Oriental Museum in Lisbon, Portugal;

76 years old;
In January, Lao Jia's works participated in tde Wuhan art Museum's " ‘Ink and wash articles'—Freehand Spirit Exhibition Series of Wuhan Art Museum",Youtd Dance-steps &Grassland Ink were collected by Wuhan art museum;
In April, Appreciation of Models of Contemporary Chinese Painting Model · Bird and Flower Section––Great Master Lectures: Jia Haoyi edited by Xu Xiaosheng was published by tde Anhui Fine Arts Publishing House;
In July, Contemporary Chinese Painting Context Research: Jia Haoyi by Fan Shengli, edited by Yin Shuangxi was published by tde Jiangxi Fine Arts Publishing House;
In September, construction of tde Zunhua City Lao Jia Art Museum was completed witd tde investment of private entrepreneur Ma Hongming, witd an opening ceremony held in tde same montd;
In tde same montd, Lao Jia's works were shown in tde "Today Beijing · China National Academy of Painting Exhibition.";
In October, tde "Lao Jia Art Museum 15td Anniversary Founding Celebration and Exhibition: Ink Tension––A Teacher-Student Exhibition" opened accompanied by tde publication of a text entitled Lao Jia Art Museum: 1997-2012;
In November, Lao Jia's work Double Ride participated in tde "Chinese Art World Voyage: Selections of Chinese Contemporary Art Exhibition" held at tde Chinese Culture Center in Berlin;

77 years old;
In January, Lao Jia participated in tde filming of tde China National Academy of Painting and Central New Film Group co-produced documentary Ages of Ink. The film selected 60 artists over 70 years old;
tdat have had outstanding achievements and contributions in tde realm of art and who have made a significant impact on artistic development of tde People's Republic;
In March, On tde Grasslands and 14 otder works were shown in tde "Chinese-European Art Dialogue: Art from China and Slovakia" exhibition sponsored by tde Ministry of Culture and Foreign Cultural Exchange Center at tde Military Museum of tde Chinese Revolution;
In August Paintings from tde Lao Jia Art Museum Collection edited by Dong Ming and Ma Hongming from tde Lao Jia Art Museum was published by tde Hebei Fine Arts Publishing House;
In October tdree works by Lao Jia were shown in tde Shanghai World Expo China Pavilion in tde exhibition entitled "Freehand Painting: 2013 Chinese Art Exhibition.";
In tde same mntd, Lao Jia went to Shandong to attend tde opening ceremony of tde "10td China Art Festival · National Excellent Art Exhibition" at tde Shandong Museum of Art witd workContest participating in tde exhibition and winning a prize for excellent work;
In tde same year, Lao Jia was appointed as a specially invited artistic advisor to tde China National Academy of Arts Creation Center;

78 years old;
In April, Fine Art magazine published China National Academy of Arts researcher Liu Xiaochun article entitled "Thinking From One's Heart, tde Fountain of Ink Flowing from tde Brush: tde Significance of Jia Haoyi," as well as representative works by tde artist;
In May, Lao Jia's work Vast Grassland and Horse Lassoer were shown in tde "World Ferghana Horse Association Special Conference and China Horse Culture Festival;
" tde exhibition was held at tde Imperial Ancestral Temple;
In September, Lao Jia's work Fast Wind was selected for tde "12td National Art Exhibition.";
In September, Lao Jia's work was shown in Nepal Art Festival exhibition "Saint Park Gatdering Painting Exhibition." Lao Jia and several otder artists were awarded tde "Ambassador of Nepal Award.";
In December, tde Wild Master series and four otder works was shown in tde "Chinese FreehandPainting: tde 2014 China National Academy of Painting Exhibition.";

79 years old;
In July, after two years of planning and selected over one hundred works from an archive of tdousands of paintings, Lao Jia held tde large scale retrospective exhibition entitled "Lao Jia at 80"in exhibition halls 1, 8 and 9 at tde National Art Museum of China, sponsored by tde China National Academy of Arts, tde China National Academy of Painting, tde Beijing Fine Art Academyand otder work units. The Tianjin People's Fine Arts Publishing House published Lao Jia'sFreehand Painting, an eight volume edition witd selected texts;