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《峥嵘七十载 与祖国同梦》献礼建国 70 周年——国际著名艺术家张介宇

2019-07-02 12:51:19    来源:本站整理    作者:Admin 【减小字体 增大字体

张介宇,1948年出生,现为北京胡杨礼赞书画院院长,胡杨艺术研究院院长,中央文史研究馆书画院研究员,中国美术家协会会员,文化部中国国际书画艺术研究会理事,北京大学兼职教授,岭南大师黎雄才入室弟子,人民大会堂金色大厅《胡杨礼赞》创作者。

Zhang Jieyu, born in 1948, is the president of Beijing Huyang Lizan Academy of Calligraphy and Painting, the president of Huyang Academy of Art, the researcher of the Academy of Calligraphy and Painting of the Central Museum of Literature and History, the member of the Chinese Artists Association, the director of the China International Calligraphy and Painting Art Research Association of the Ministry of Culture, a part-time professor of Peking University, a disciple of Lingnan Master Li Xiongcai, and the creator of the Golden Hall of the Great Hal

作品1

当我第一次看到张介宇先生的画作《胡杨礼赞》,内心为之一振。这幅展示在我眼前的长卷,是在新疆塔里木河流域周围空寂的荒漠地区大片胡杨树的生命状态,它们枝叶繁茂、欣欣向荣,它们凋零衰颓、不屈不挠,它们顽强再生、繁衍不息……我还来不及细细观赏,凭看画的直觉,我意识到这不是一般意义上的大幅山水画,而是对有独特品格的胡杨树的礼赞,是借以表现一种生生不息精神的艺术力作。待我随着长卷的展开细细观赏,我最初的震撼之情并不消减,仍然沉浸在感动和敬佩之中,这既是为胡杨树顽强生命力而感佩,也为作者献身艺术,用绘画形式弘扬一种崇高精神的努力所折服。

When I first saw Mr. Zhang Jieyu's painting "Praise to the Poplar of Euphorbia Poplar", I was inspired. This long scroll in front of me is the life state of a large area of Populus euphratica in the desert area around the Tarim River Basin in Xinjiang. They are flourishing and flourishing, withered and decadent, indomitable, and stubborn to regenerate and proliferate. I have not had time to appreciate it carefully. With the intuition of painting, I realized that this is not a large landscape painting in general sense, but a praise of Poplar Euphrates with unique character, which is an artistic work expressing a kind of endless spirit. As I watched the long scroll, my initial feeling of shock did not diminish. I was still immersed in emotion and admiration. This is not only for the stubborn vitality of Populus euphratica, but also for the author's dedication to art and the efforts to promote a lofty spirit in the form of painting.

作品2

我原来对张介宇的艺术经历所知甚少,但我相信,在《胡杨礼赞》中表现出如此宏大气魄和如此精湛技巧的画家,绝非画界等闲之辈。读了张介宇的艺术简历,了解了他已经完成的艺术创作,证实了我的这一判断:他是一位在创作经验上有充足储备,在山水画领域已经取得杰出成就的艺术家。数十年来,他已完成若干巨幅的山水作品,它们写祖国山河之美,赞大自然宏伟、雄健之力。这见于他的作品如《黄山夕照》(2002年),在夕阳余辉下远景群山色彩斑斓,近景劲松挺立于坚固的崖壁之上,云雾缭绕,气象万千;如《珠峰晓月》(2002年),用浓彩重笔描绘喜马拉雅高峰奇异瑰丽之大景象;如《暮歌》(2000年),用俯视角度,收落日之光辉下的群山于眼底;如《黄河颂歌》,波涛汹涌,巨石屹立,是动与静博弈的诗篇;又如《万壑松风图》(2000年),百尺长卷,峰峦起伏,林木苍翠,云海滚滚,叠泉飞瀑,气势恢弘……看来,张介宇之所以对宏大的艺术构思情有独钟,是因为他基于自己所受到的教育和生活体验所确立的崇高艺术理想。

I didn't know much about Zhang Jieyu's artistic experience, but I believe that the painter who showed such magnificence and exquisite skill in "Praise of Poplar Hu" is not a idle person in the painting world. Reading Zhang Jieyu's art resume and understanding his completed artistic creation confirms my judgment that he is an artist who has made outstanding achievements in the field of landscape painting with sufficient reserve of creative experience. Over the past decades, he has completed a number of huge landscape works, which write the praise of the motherland's mountains and rivers, and praise the magnificent and vigorous power of nature. This can be seen in his works, such as "Huangshan Sunset" (2002), which are colorful in the sunset afterglow, with close-range Jinsong standing on the solid cliff wall, cloudy, meteorological; such as "Peak Everest Dawn Moon" (2002), depicting the magnificent scenes of Himalayan peaks with heavy colors; such as "Twilight Song" (2000), with a downward perspective, harvesting the brilliance of sunset. The hills below are in the bottom of our eyes, such as the Song of the Yellow River, which is a poem of dynamic and static game with turbulent waves and huge rocks standing erect, and the Wind Map of Wangai Pine (2000), which is a hundred-foot long roll, undulating peaks and mountains, verdant trees, rolling clouds and seas, flying springs and waterfalls, and magnificent momentum... It seems that Zhang Jieyu is fond of grand artistic conception because of his lofty artistic ideal based on his education and life experience.

作品3

张介宇出生于河南濮阳一位书香之家,父亲张法先毕业于原天津法政大学,母亲李璐毕业于原北平北昌女子师范学院,两人从事教育工作,均酷爱绘画,父亲还是一位书法家。张介宇从小受艺术熏陶,幼年起临芥子园画谱,并受到名家尤其是石涛、石溪画作感染。青年时期家乡遭水灾之难,又遇“文革”冲击,生活坎坷,经受种种磨难,遂移居山西晋南,生活稍安顿之后开始业余绘画创作。他有过一段从事基层美术工作和在电影放映公司担任美工的经历,其间有作品获地方或全国奖项,受到莫大鼓励。为了专心从事中国画创作,一九七九年他举家移居西安,观摩、研赵望云、石鲁、方济众等作品。他深受汉唐博大雄浑365bet体育影响,仰慕雄健画风。他心仪秦岭,足迹遍及终南、太白、华岳,勤奋写生,积累了大量艺术素材,开阔了视野,滋养了性情。一九八六年,又专程赴上海拜名画家李丁陇为师,入其创办的“八法草堂”研究生班进修,同时领略海上画派诸家谢稚柳、王个?、程十发、刘海粟、陆俨少等人艺术风采。在艺术成长过程中,张介宇受到岭南画派大师黎雄才的器重。黎雄才收他为弟子,还为他的画室“紫华堂”题名(一九八八年)。他们的这段师生之情,表面上似乎出自偶然,实际上有其内在的必然性。岭南画派以融合中西、借西兴中的艺术理念和实践傲立于二十世纪中国画坛。重视写生,将传统的笔墨造型与西画的块面造型合为一体,在发挥墨的特性的同时,适当运用色彩以加强画面的艺术感染力,是岭南画派的艺术特色。张介宇的艺术观念是在广收博采、集众家之长的基础上形成的,他酷爱传统写意文人画,谙熟笔墨之道;同时又对写实造型颇为赞赏,能体悟其精妙。在他看来,艺术传统有中西之分,技巧有写实写意之别,但彼此并非水火不能相容,为表现客观自然和抒发内心感受,将各种技法有机交融是行之有效的途径,关键是不失中国画的民族气派。基于这种认识,张介宇敬重岭南画派的艺术主张。黎雄才之所以看重张介宇,似乎也因为他看到这位富有才能的青年画家有兼蓄中西艺术的心胸。事实上,从二十世纪七十年代末张介宇崭露头角以来,他的创作方向一直是与以笔墨为中心的传统文人画有所区别,而是坚持全面承继中国画的传统,强化写生,兼重笔墨情趣与自然造型。《胡杨礼赞》可以说是他在这一艺术方向上集大成的作品。

Zhang Jieyu was born in Puyang, Henan Province. His father Zhang Faxian graduated from Tianjin University of Law and Politics, and his mother Li Lu graduated from Beichang Women's Normal College in Beiping. Both of them were engaged in education and loved painting. His father was also a calligrapher. Zhang Jieyu was influenced by art since childhood. He began to learn mustard seed garden painting when he was young. He was also influenced by famous painters, especially Shitao and Shixi paintings. When he was young, his hometown suffered from floods and the impact of the Cultural Revolution, and his life was rough. After suffering various hardships, he moved to southern Shanxi and began to create amateur paintings after settling down a little. He has been engaged in grass-roots art work and worked as an artist in a film projection company. During this period, some of his works won local or national awards and were greatly encouraged. In order to concentrate on the creation of Chinese paintings, he moved to Xi'an in 1979 to observe and study works of Zhao Wangyun, Shilu and Fang Jizhong. He was deeply influenced by the broad and vigorous culture and art of the Han and Tang Dynasties and admired the vigorous style of painting. He loved the Qinling Mountains and traveled all over Zhongnan, Taibai and Huayue. He was diligent in sketching, accumulated a lot of artistic materials, broadened his horizons and nourished his temperament. In 1986, Li Dinglong, a famous painter in Shanghai, was invited to study in his "Eight Facts Cao Tang" postgraduate class. He also appreciated the artistic style of Xie Zhiliu, Wang Gemin, Cheng Shifa, Liu Haisu, Lu Lishao and others. In the process of artistic growth, Zhang Jieyu was highly valued by Li Xiongcai, a master of Lingnan School of Painting. Li Xiongcai accepted him as a disciple and also named his studio "Zihua Hall" (1988). Their affection for teachers and students seems to come from chance on the surface, but in fact it has its inherent inevitability. Lingnan School of Painting is proud to stand in the 20th century Chinese painting circle with its artistic ideas and practices of integrating China and the West and borrowing from Xixing Zhong. It is the artistic feature of Lingnan School to attach importance to sketching, integrate traditional ink and brush sculpture with block sculpture of Western painting, and use color appropriately to enhance the artistic appeal of the picture while giving full play to the characteristics of ink. Zhang Jieyu's artistic conception is formed on the basis of extensive collection and collection of the strengths of various families. He is fond of traditional freehand brushwork and knows the way of brush and ink. At the same time, he appreciates realistic modeling and understands its subtlety. In his opinion, the art tradition is divided into Chinese and Western, and the techniques are different from realistic ones, but they are not incompatible with each other. In order to express the objective nature and inner feelings, it is an effective way to organically blend various techniques. The key is not to lose the national style of Chinese painting. Based on this understanding, Zhang Jieyu respects Lingnan School's artistic ideas. The reason why Li Xiongcai attaches great importance to Zhang Jieyu seems to be that he sees this talented young painter with both Chinese and Western art mind. In fact, since Zhang Jieyu came into prominence in the late 1970s, his creative direction has been different from the traditional literati painting centered on brush and ink. Instead, he insists on inheriting the tradition of Chinese painting in an all-round way, strengthening sketch, and emphasizing both the interest of brush and ink and natural modeling. "Praise of Poplar Hu" can be said to be his masterpiece in this artistic direction.

作品4

前几年,张介宇多次去新疆塔里木盆地写生,那里大片的胡杨树林和它们顽强的生命力给他内心强烈震动。胡杨,使他最动心动情的,不仅是它们繁茂的生长状态,更是它们战胜恶劣环境顽强不屈的生命力。在干旱的沙漠地带,它们坚强地耸立,象征着生命的不朽。古老树木不畏大自然摧残、自强不息的坚韧精神,历来为中国传统文学家艺术家们所歌颂、赞美,并赋予拟人化的品格。文艺家们常以这种形象抒情明志,或以此来象征古老传统文明或精神的永久生命力。几十年来,张介宇的不少山水画作,如《活力》《百松图》《长青图》《松猿图》《松柏长青》等,均有对古老树木的描写,它们或盘根错节,或扩展枝干,或露出新叶,枯木逢春,显示生命之火的长久不息。胡杨使张介宇迷恋,这既由于他对胡杨树林在大自然中所显示出来的力和美的感性体验,以及这种感性体验的升华,将其视为生命意志,顽强搏斗与自我奉献精神的象征;还由于他对胡杨保护生态环境、维护绿色家园的作用的理性认识。正是这种感性体验和理性认识的结合,促使他产生崇高的艺术使命感和经久不衰的创作热情。

In the past few years, Zhang Jieyu went to Xinjiang Tarim Basin many times to sketch, where a large area of Populus euphratica forest and their tenacious vitality gave him a strong shock. Populus euphratica, which makes him most moved, is not only their flourishing growth, but also their tenacious vitality to overcome the harsh environment. In arid desert areas, they stand strong, symbolizing the immortality of life. Ancient trees have always been praised and praised by Chinese traditional writers and artists for their persistent spirit of self-improvement, fearless of the devastation of nature, and endowed with personified character. Literature and artists often use this image to express their feelings and wishes, or to symbolize the eternal vitality of ancient traditional civilization or spirit. For decades, many of Zhang Jieyu's landscape paintings, such as Vigor, Baisong Tu, Evergreen Tu, Pine Ape Tu and Pine and Cypress Evergreen, have described the ancient trees, which are intertwined, or expanded branches, or exposed new leaves, withered trees in spring, showing the eternal fire of life. Zhang Jieyu was fascinated by Populus euphratica because of his perceptual experience of strength and beauty in nature and the sublimation of this perceptual experience, which was regarded as a symbol of life will, tenacious struggle and self-dedication, and also because of his rational understanding of the role of Populus euphratica in protecting the ecological environment and maintaining the green homeland. It is this combination of perceptual experience and rational knowledge that prompts him to have a lofty sense of artistic mission and enduring enthusiasm for creation.

作品5

胡杨是世界上最古老的一种杨树,是残余的古老树种。胡杨生长期漫长,因其叶形多变又称“异叶杨”,是唯一能在干旱沙漠中生长的古老乔木树种。其树形优美,幼叶叶形似柳,有耐干旱,不怕酷热严寒,防风沙、抗盐碱等特性。民间流传胡杨有“活一千年不死,死一千年不倒,倒一千年不朽”的佳话,素有“大漠英雄树”的美称。由于在风沙和干旱中生长,很多胡杨树造型奇特诡异。全世界的胡杨绝大部分生长在中国,我国境内的胡杨主要分布在新疆、内蒙古等地的沙漠地带,其中百分之九十以上的胡杨林生长在塔里木河流域,沿流域呈走廊状分布有三十五点二万公顷胡杨林,是目前世界上面积最大的原始胡杨林。夏季胡杨勃勃生机,绿荫蔽天,秋季黄叶霜透,层林尽染,金色一片。在干旱少雨的沙漠地带,胡杨可将根扎进地下深处,顽强地支撑起一片生命的绿洲。在塔克拉玛干沙漠,一株株与命运奋力抗争的胡杨树,不论是粗干还是细枝,即使横倒坚斜,杂芜生长,都有绿色点染技梢。

Populus euphratica is one of the oldest poplar trees in the world. It is a remnant of the ancient tree species. Populus euphratica has a long growth period. It is the only ancient tree species that can grow in arid desert because of its variable leaf shape. Its beautiful tree shape, young leaves like willow, drought resistance, not afraid of extreme heat and cold, wind and sand, salt and alkali resistance and other characteristics. Populus euphratica has a popular saying that "live for a thousand years, die for a thousand years, pour for a thousand years" and is known as "desert hero tree". Growing in sandstorms and droughts, many Euphorbia euphratica trees have strange shapes. The vast majority of Populus euphratica in the world grows in China. Populus euphratica mainly distributes in desert areas of Xinjiang and Inner Mongolia. More than 90% of Populus euphratica forests grow in the Tarim River Basin. There are 352,000 hectares of Populus euphratica forests along the river basin, which is the largest primitive Populus euphratica forest in the world. Populus euphratica is vigorous in summer, shaded by green, frosty yellow leaves in autumn, full of trees and golden. In arid and rainless desert areas, Populus euphratica can root deep underground and tenaciously support an oasis of life. In the Taklimakan Desert, Poplar trees struggling with fate, whether thick or thin, even if they are hard to fall down and grow in disorder, have green dot dyeing tips.

作品6

出于崇敬和讴歌胡杨的目的,张介宇不顾自然环境的恶劣,不顾随时有被沙暴侵袭、掩没生命的危险,多次深入塔里木沙漠地区,亲身体验胡杨生长条件,感受胡杨的特性。当他有了“不到荒漠,不知胡杨之壮美,不见胡杨,不知生命之辉煌”的体会时,他描写胡杨的艺术构思已经开始孕育;而当他表达当时的心情:“胡杨不屈不挠的精神深深地震撼了我的灵魂,我为它不眠,为它忘食,将自己的生命与它千缠万绕地交织在一起,融化在一块。无数个晨晓夜昏,年复一年地似水流过,我与胡杨难解难分,同语共舞”时,他心中的胡杨画卷几乎是呼之欲出了。

For the purpose of revering and eulogizing Populus euphratica, Zhang Jieyu went to Tarim Desert area many times to experience the growth conditions of Populus euphratica and the characteristics of Populus euphratica, regardless of the harsh natural environment and the danger of being attacked by sandstorms and hiding life at any time. When he had the experience of "no desert, no grandeur of Populus euphratica, no glory of life", his artistic conception of describing Populus euphratica had begun to conceive; and when he expressed his mood at that time: "The indomitable spirit of Populus euphratica deeply shocked my soul, for it did not sleep, forgetting food, interweaving my life with it in a thousand ways. Put them together. Countless mornings, dawns and dusks, year after year like water, I and Populus euphratica indissoluble, dance with the same language, "when his heart of Populus euphratica scroll is almost ready to come out.

作品7

张介宇最早描写胡杨林是在2002年,那是一幅丈二的独幅画,而《胡杨礼赞》上卷的创作始于2006年。他之所以要创作长卷,出之于他对这一主题的深入认识。他的思考久久落在“英雄树”这一主题上。他从胡杨联想到大自然天然保护生态平衡的能力,联想到我们民族在抗争自然和社会灾难中英勇不屈的精神气概。他认为,如果没有长篇宏大的构图,不足以充分表达这一有丰富寓意的主题。

人生能有几回搏?张介宇充分意识到他的胡杨长卷是他艺术生涯中最有挑战性的一搏,也是他调动和综合自己创作经验、尽情发挥自己才智的一搏。

除了充足的生活体验和素材储备这些必要的条件外,《胡杨礼赞》的成败取决于他能否找到恰当的艺术构思和艺术处理手法。虽然张介宇擅长创作宏大画面和长卷构图,但与以前作品不同的是,这幅作品要在数十米的长卷上描写胡杨树生长的状况,描写对象单一使画面缺少变化。为此,张介宇经过酝酿、构思,终于确立了我们见到的画面。长卷展开,我们首先看到春夏之交枝叶茂密、绿荫成片的胡杨林;继而看到在干漠地带与风沙、盐碱奋力抗争的一棵棵老龄胡杨,它们虽枝叶凋零,仍然或挺立、或斜卧,显示自己的生命力量;看到秋天灿烂金黄色的胡杨林;最后看到枯萎树干旁新苗茁壮地生长……画面上千姿百态的胡杨,陪伴它们的只是茫茫沙漠、稀疏的杂木草丛和几乎干枯的河床。为把这些景象组成画面,作者在构图、造型、笔墨、色彩等方面反复推敲,运用黑白、虚实、轻重、浓淡诸多对立因素的变化、统一,使画面产生起承转合的节奏与韵律。张介宇之所以能驾轻就熟地处理长卷画面造型与构图上的各种难题,全得益于他几十年来在融合中西方面所积累的经验。具体地说,他善于驾驭文人画的笔墨造型与西画的块面、色彩造型,用来表现物体的形、体量、质感、光影以至张力。他的传统国画技巧也在发挥线的长短粗细和笔墨点擦皴染的技巧上得到充分发挥。

Zhang Jieyu first described Populus euphratica forest in 2002, which is a unique painting of Zhang Er, and the creation of the volume of "Populus euphratica" began in 2006. The reason why he wants to create long volumes is his deep understanding of the theme. His thinking has long fallen on the theme of "Hero Tree". He associates Populus euphratica with the ability of nature to protect ecological balance, and with the courage and perseverance of our nation in fighting against natural and social disasters. In his opinion, without a long and grand composition, it is not enough to fully express this rich and implied theme.

How many bounces can life have? Zhang Jieyu is fully aware that his long roll of Hu Yang is the most challenging struggle in his artistic career, and it is also a struggle for him to mobilize and synthesize his creative experience and exert his talents to the fullest extent.

In addition to adequate life experience and material reserve, the success or failure of Poplar Praise depends on whether he can find the appropriate artistic conception and artistic treatment. Although Zhang Jieyu is good at creating grand pictures and long-volume compositions, unlike previous works, this work describes the growth of poplar trees on tens of meters long-volume, and the single object of description makes the picture lack of change. For this reason, Zhang Jieyu, after brewing and conceiving, finally established the picture we saw. As the roll unfolds, we first see the dense and shady Populus euphratica forests at the turn of spring and summer, and then we see the old Populus euphratica struggling with wind, sand and saline-alkali in the desert areas. Although the branches and leaves are withered, they still stand or lie aslant to show their vitality; we see the golden Populus euphratica forests in autumn. Finally, new seedlings near the withered trunk grow vigorously... The pictures of poplar in various forms are accompanied by vast deserts, sparse weeds and almost dry riverbed. In order to compose these scenes into pictures, the author has repeatedly deliberated on composition, shape, ink, color and other aspects, using the changes and unification of many opposing factors, such as black and white, virtual and real, light and shade, to make the pictures have a rhythm and rhythm of inheritance and convergence. Zhang Jieyu's ability to deal with various difficult problems in the shape and composition of long-roll pictures is due to his experience in integrating China and the West over the past decades. Specifically, he is good at mastering the brush and ink modeling of literati paintings and the block and color modeling of Western paintings, which are used to express the shape, volume, texture, light and shadow of objects and even tension. His traditional Chinese painting skills are also fully developed in the use of the length and thickness of lines and brush and ink rubbing and dyeing techniques.

作品8

赞颂胡杨意志和品格的《胡杨礼赞》,有崇高的思想内容和精神境界;有独特的笔墨品质;有质朴、平实、强健的个性风格。无疑,这是一幅与我们伟大时代精神相吻合、有很高艺术表现力的佳作。

(文/邵大箴)

Eulogizing the will and character of Populus euphratica, it has lofty ideological content and spiritual realm, unique ink quality, simple, plain and strong personality style. Undoubtedly, this is a masterpiece with high artistic expressiveness, which is consistent with the spirit of our great times.

(Wen/Shao Dazhuan)

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作者:Admin