龐薰琹（1906—1985） 筆名鼓軒，江蘇常熟人。中國著名畫家、工藝美術家、工藝美術教育家。
1925年赴法國，入巴黎敘利恩繪畫研究所學畫，1927年在巴黎格朗歇米歐爾研究所深造。1930年回國，成為當時有進步傾向的新興美術啟蒙運動組織者之一。1931年在上海昌明美術學校、上海美專任教。1932年，與倪貽德等人創建中國現代美術史上第一個自覺吸收借鑒西方現代派美術成果的、有宣言的、有綱領的學術性社團——“決瀾社”，蜚聲藝林。在上海舉行第一次個人畫展，以後又舉行廣告畫展覽。1938年開始蒐集中國古代裝飾紋樣和雲南少數民族民間藝術。翌年深入貴州民族地區作實地考察研究工作。1940年任四川省立藝專教授兼實用美術系主任。1947年在廣東省立藝專任教授兼繪畫系主任，兼中山大學教授。1953年在北京中央美術學院任教，並負責籌建中央工藝美術學院。同年底任“全國民間美術工藝展覽會”具體負責人（鄭振鐸為主任委員）。遵照周恩來總理意見，1954年又籌備四個工藝美術展覽會分赴蘇聯、東德、波蘭、匈牙利、羅馬尼亞、捷克和保加利亞展出。並任工藝美術代表團團長赴蘇聯訪問。1956年，中央工藝美術學院正式成立，任教授、第一副院長。
龐薰琹立足於本民族傳統，不斷吸收、融化和創新，擅長油畫、水彩畫及白描，尤精圖案、裝飾藝術設計，是中國現代藝術的先驅者、現代工藝美術事業的拓荒者。著有《中國歷代裝飾畫研究》、《工藝美術設計》、《圖案問題的研究》和《龐薰琹畫輯》等。曾任中國美術家協會理事。
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 .