庞薰琹（1906—1985） 笔名鼓轩，江苏常熟人。中国著名画家、工艺美术家、工艺美术教育家。
1925年赴法国，入巴黎叙利恩绘画研究所学画，1927年在巴黎格朗歇米欧尔研究所深造。1930年回国，成为当时有进步倾向的新兴美术启蒙运动组织者之一。1931年在上海昌明美术学校、上海美专任教。1932年，与倪贻德等人创建中国现代美术史上第一个自觉吸收借鉴西方现代派美术成果的、有宣言的、有纲领的学术性社团——“决澜社”，蜚声艺林。在上海举行第一次个人画展，以后又举行广告画展览。1938年开始搜集中国古代装饰纹样和云南少数民族民间艺术。翌年深入贵州民族地区作实地考察研究工作。1940年任四川省立艺专教授兼实用美术系主任。1947年在广东省立艺专任教授兼绘画系主任，兼中山大学教授。1953年在北京中央美术学院任教，并负责筹建中央工艺美术学院。同年底任“全国民间美术工艺展览会”具体负责人（郑振铎为主任委员）。遵照周恩来总理意见，1954年又筹备四个工艺美术展览会分赴苏联、东德、波兰、匈牙利、罗马尼亚、捷克和保加利亚展出。并任工艺美术代表团团长赴苏联访问。1956年，中央工艺美术学院正式成立，任教授、第一副院长。
庞薰琹立足于本民族传统，不断吸收、融化和创新，擅长油画、水彩画及白描，尤精图案、装饰艺术设计，是中国现代艺术的先驱者、现代工艺美术事业的拓荒者。著有《中国历代装饰画研究》、《工艺美术设计》、《图案问题的研究》和《庞薰琹画辑》等。曾任中国美术家协会理事。
Pang Xunqin (1906-1985), pen name Gu Xuan, a native of Changshu, Jiangsu province, Chinese famous painter, industrial artist and educator.
In 1925 Pang went to France and entered the Academie Julien to study painting in Paris and then transferred to La Grand Chamiere for further study in 1927. After his return to China in 1930, he became one of the progressive organizers of the enlightenment movement of modern art. In 1931, he took a teaching post in Shanghai Changming Art College and Shanghai Fine Arts College. In 1932, together with Ni Yide and other artists, he created ‘JueLan Soceity’ which is the first learned society with declarations, programs and conscious absorption and reference of the achievements of the western modernist art in Chinese modern art history. The foundation of the ‘JueLan Soceity’ made him famous in art circles, his first picture show and advertisement picture show were held successively in Shanghai during the period. In 1938, he began to collect Chinese ancient decorative patterns and study the folk art of Yunnan minority, and penetrated into Guizhou minority area for field exploring the next year. In 1940, he taught in Sichuan art college as a professor and the head of the practical fine arts department. In 1947, he went to Guangdong for teaching as the professor and the dean of the painting department in Guangdong art college and concurrently being the professor of Zhongshan university. In 1953, he taught in the Central Academy of Fine Arts in Beijing with responsibility for the construction of the Central Academy of Arts and Design, and held the post of the chief principal of ‘the exhibition of national folk industrial arts’ (Zhen Zhenduo as the chairman) at the end of the same year. In 1954, according to the opinion of Premier Zhou Enlai, Pang organized four exhibitions of folk industrial arts for showing in Soviet Union, East Germany, Poland, Hungary, Romania, Czech and Bulgaria, and visited to Soviet Union as the head of the delegation of industrial arts. In 1956, the Central Academy of Arts and Design established officially, Pang was appointed as the first vice-president. During the later 22 years Pang was wrongly labeled as a ‘Rightist’.
Basing on the Chinese national traditions and continuous absorption and innovation , Pang became an excellent oil, water-color and line drawing painter, moreover, he was especially skillful in the design of the patterns and decorative arts. Pang was the forerunner of the Chinese modern arts and the pioneer of the Chinese modern industrial arts. His works includes a Study on Chinese Decoration Paintings of the Past Dynasties, Industrial Arts Design, a Study on Pattern Design, the Collection of Pang Xunqin Paintings and so on. Furthermore, Pang was ever a director of Chinese Artists Association .