兴意象,抒真情
宛少军
近一两年来疫情肆虐而反复无定,严重影响了社会的正常运转和人们的日常生活。在此情形下,读到“境随心转:安徽油画家题名展”策展的资料,感到温暖和喜悦。这是一个小型的展览,但却是一个小而精的极具学术品质的展览,是一个纯粹进行学术交流的展览,是一个集聚了安徽油画创作的中坚力量而值得人们重视的展览。
此次参展的11位画家,年龄相近,基本上都是文革后陆续进入大学进行美术专业学习的一代人。除了一两位更年轻的画家之外,可以说这个参展阵容很是整齐,很有特点。毫无疑问,他们是安徽油画界的领军人物和学术中坚。他们作为见证者、参与者和创建者亲身体验了改革开放后安徽以至中国油画四十年奋进发展的全过程。他们经过自己多年在油画专业上的学习、思索和勤奋实践,具有广阔的学术视野,积淀了丰厚的学识,练就了精深的专业能力,取得了令人欣喜的艺术成就,成为了油画领域的佼佼者,他们的专业水准反映了安徽油画界的创作实力,代表了安徽油画界的整体艺术水平,以至在全国产生一定的影响。他们大都任职于专业院校,在油画的专业教育和人才培养上,传承育人,桃李满天下,对于后辈的油画专业学习一直起着举足轻重的影响。
由于展览条件的限制,参展作品的尺幅都不大,但是学术品质自见。不用说,艺术水平的高低与尺幅的大小并没有必然的联系。这些作品大都是作者新近的创作,反映了他们的基本艺术面貌,因此更具有学术交流和探讨的意义。从这些作品可以看出,他们在艺术上一直所具有的孜孜以求的进取精神和鲜明的艺术特色。巫俊的画面色彩丰富且微妙,缤纷而灵动,用笔自由洒脱,郁结而又恣肆,他把印象主义和表现主义结合起来,又糅合传统写意与当代艺术的某些观念,表达了日常景观中即熟悉又陌生的非常意蕴。杨国新把油画艺术语言与传统山水结合起来,充分发挥油画语言的特色,以丰富沉稳的色彩,自由灵动的用笔,厚重笃实的色层肌理,表现了山水田园的意趣之美。高飞从传统艺术汲取营养,以散逸而松动的笔法和清雅舒缓的色调,营造出山村和荷花的意象,表达了清远澄明的文人意趣。韩玉龙刀笔结合,率意恣肆,纵横涂抹,以大写意式的语言展现了山村的独特意象。徐公才用笔直抒胸臆,利落飒爽,注重用线和点线面的自由构成,形成了具有抽象性的写意语言。傅强的色彩具有情感的喻示性,点线面色的自由安排营造出半抽象的意趣,营造出清新悠长的诗意。高强重视色块的冷暖与互补色的对比构成,注意画面的大小、疏密等形色的韵律与节奏感,形成了极具形式美感的抽象语言特色。贾跃民从山村对象提炼以块面与线条的意趣构成,形成轻松柔和的视觉意象。项春生把生活图像与书写性的笔法趣味结合起来,形成了具有当代艺术观念的非现实性的意象。汪三林注重发挥油画材质的美感,在反复的厚涂与薄染中,形成厚实的意象肌理,增强了表现的力度与意趣。周泉的色彩烂漫而热烈,画面色彩与线条纷繁交织,形成自由稚拙而富有浪漫的情趣。
从参展画家们都有着自己明确的艺术特质可以看出,他们长期不懈地追求和锤炼着自己油画语言的特色和品质。形式语言的创造是艺术作品成形的关键环节,在整个艺术创作中占据着重要的位置,是画家艺术风格和艺术成就确立的重要标志。形式语言一方面承载和表现了作者的内在思想感情,另一方面,它本身具有形式感,可以有某种意味,这种相对独立的形式美融入作品的意象而成为作品美感的一部分。更有意思的是,参展画家们在展现各自语言特色的同时,似乎都表现出了共同的倾向性,即写意性。作为语言形式层面的写意性,就是相对于写实性而言,他们不再注重物象的真实性和细节刻画,不再追求“如物再现”的逼真视觉效果,而是“逸笔草草,不求形似”,对于物象自然的客观造型和色彩,进行大胆的主观处理。同时更加重视用笔的书写性和直觉性,他们或用笔轻松灵动,散逸舒缓;或笔力迅疾,率意淋漓,或大刀阔斧,或点扫皴染等等,形成不同的写意性的形式感。在精神意蕴层面上的写意性,写意是“如何写”“怎样的意”,“怎样的意”即是“立意”、“意在笔先”的意,也就是作者归根直指所想表达的自己心中的感情和思绪。“如何写”就是表现情感的语言方式,“怎样的意”是作品的核心和灵魂。没有了内在的“意”,“写”也就失去了意义和依归,或成为纯写的游戏。由此“写”和“意”构成了作品的完整意象,写意就此展现出动人的艺术魅力。在这个意义上,这些作品都展现出了画家不同取向的心中之意。通过“写”的意象,他们都在表达着自己对于自然、世界和生活的独特感受和思绪。正如展览主题“境随心转”很好地喻示了画家们在写意性的整体特质所表现出的所思所感,由此,我们读到的是他们一个个鲜活的生命个体所感发的温度与情怀。
应当说,参展画家们对于写意性的追求,也展现了他们对于当代中国油画发展路向的思考。他们虽然立足于安徽,却总是着眼于全国油画发展的动向。在当代国内外文化生态日趋复杂的情形下,特别是面对当代艺术观念、图像文化等的冲击和严重的影响,油画发展面临新的挑战,如何让中国油画在当代获得新的发展生机,如何使中国油画继续提升学术品质并深具民族审美精神和特色,是中国油画家们始终在努力思考和探索的时代大课题。无论是当代写生热的出现,提倡重回自然与生活,增强直接的感受;还是回归中国文化传统,从中国艺术传统中汲取各种有益的资源与营养;亦或是对西方传统和现代艺术作继续深入的研习,都展现了中国油画从不同面向努力面对挑战的策略与艺术进取的精神。显然,安徽的油画家们也在回应和探索着这个大课题。由此展览中的作品可以看作是他们在思索中探索的新成果,从作品总体写意性的表现倾向可以看到他们在艺术精神上的自觉。这种自觉不仅仅是对民族文化精神的回归,更重要的是他们在经过多年的历练之后,更加认识到回到自己内心精神世界的重要,更加尊重自己的独特感受和真诚表达的重要。他们是在写自己的意。从这一点来说,他们是在自觉回归自己心灵的最深处,回归艺术创造的本质,这个自觉更加令人欣喜。
从写意性中还可以看出,作为生长于斯的安徽画家,安徽一方水土和这一方的历史与文化带给他们的滋养。安徽具有独天得厚的自然资源和人文传统,这是生活在这片土地上的艺术家天然地获得的馈赠和滋养。在这片厚土浸润既久,养成了他们普遍深厚沉潜的人文气息。这些参加的画家普遍具有平和内敛的心态,不张扬不造作,孜孜以求于自己的艺术。这是安徽深厚的文化传统无声孕育的结果。同时也造就了他们文化担当的意识、文化抱负的理想和对艺术不懈追求的精神,这也是一种“意”,这种意早已融入进了他们的写意性之中而成为自己精神世界重要部分,并激励着他们不断地求索前行
由此,“境随心转”的展览,不在作品的多,不在作品的大。而在小中见品质、见真诚、见态度;在小中见格局、见精神、见价值!
宛少军
中央美术学院博士
国油画学会副秘书长
中国国家画院一级美术师
Rejuvenate the Images, Express True Emotion
Wan Shaojun
In the past two years, the pandemic has been rampant and uncertain, which has seriously affected the normal operation of society and people's daily life. In this situation, I feel warm and happy when I read the materials of this exhibition, "Flow with the Heart: Minerva Gallery autumn 2021 Oil Painter Nomination exhibition". This is not a grand exhibition, but it is a refined exhibition with high academic quality for purely academic exchange. Gathering the backbone of Anhui oil painting creation, it deserves people's attention.
The 11 painters participating in this exhibition are similar in age, basically a generation of people who successively entered the university to study art after the Cultural Revolution. Besides one or two younger painters, it can be said that the exhibition lineup is very neat and characteristic. There is no doubt that they are the leaders and academic backbone of Anhui oil painting industry. As witnesses, participants, and founders, they have personally experienced the whole process of the vigorous development of Anhui and even Chinese oil painting in the past 40 years after the reform and opening up. After years of study, thinking and diligent practice in oil painting, they have gained a broad academic view, accumulated rich knowledge, trained profound professional ability, made gratifying artistic achievements, and become leaders in the field of oil painting. Their professional level reflects the creative strength of Anhui oil painting industry. It represents the overall artistic level of Anhui oil painting industry, and even has a certain impact in the whole country. Most of them work in professional colleges and universities. In the professional education and talent training of oil painting, they inherit and educate people all over the world, always playing an important role in the professional learning of oil painting for future generations.
Although the scale of participating works is not large, but with a self-evident academic quality. Needless to say, the level of art is not necessarily related to the size. Most of these works are the author's recent creations, which reflect their basic artistic appearance, so they are of great significance for academic exchange and discussion. It can be seen from these works that they have always had the enterprising spirit and distinctive artistic characteristics in art. Wu Jun's pictures are rich and subtle in color, colorful and flexible, free in strokes, depressed and bold, combining Impressionism and Expressionism, and integrating some concepts of traditional freehand brushwork and contemporary art to express the familiar and strange meaning in the daily landscape. Yang Guoxin incorporates the artistic language of oil painting with traditional landscape, giving full play to the characteristics of oil painting language, and expressing the interesting beauty of landscape and countryside with rich and steady colors, free and flexible strokes, and thick and solid color layer texture. Gao Fei has absorbed nutrition from traditional art and created images of mountain villages and lotus flowers with loose strokes and elegant and soothing colors, expressing the clear literati interest. Han Yulong's combination of knife and pen, painting arbitrarily and boldly to show the unique image of mountain village in a free language. Xu Gongcai have expressed his mind directly with his pen, neat and sassy. He has paid attention to the lines and free composition of points, lines and surfaces to form an abstract freehand language. Fu Qiang’s color has emotional metaphor. The free arrangement of points, lines and surfaces creates semi-abstract interest, with fresh and poetic flavor. Gao Qiang has attached importance to the contrast composition of color blocks and complementary colors, and payed attention to the rhythm of colors such as the size and density of the picture, forming an abstract language feature with great formal beauty. Jia Yuemin has abstracted from the objects of the mountain village and forms a relaxed and soft visual image with the interest of blocks and lines. Xiang Chunsheng has combined the life image with the writing style interest to form an unrealistic image with the concept of contemporary art. Wang Sanlin has paid attention to the aesthetic feeling of oil painting materials, formed thick image texture in repeated thick painting and thin dyeing, and enhanced the strength and interest of expression. Zhou Quan's colors are brilliant and warm, with picture colors and lines are intricately intertwined, forming a free, childish, and romantic interest.
From the fact that the participating painters have their own clear artistic characteristics, we can see that they have been unremitting in pursuing and refining the feature and quality of their oil painting language for a long time. The creation of formal language is the key link in the formation of artistic works, which occupies an important position in the whole artistic creation and is an important symbol for the establishment of artists' artistic style and achievements. On the one hand, formal language carries and expresses the author's internal thoughts and feelings. On the other hand, it has a sense of form and can have a certain meaning. This relatively independent formal beauty integrates into the image of the work and becomes a part of the aesthetic feeling of it. More interestingly, while showing their own language characteristics, the participating painters seem to show a common tendency, that is, freehand brushwork. As a language form, freehand brushwork means that compared with realism, painters no longer pay attention to the authenticity and detail depiction of objects and images, no longer pursue the realistic visual effect of "like object reproduction", but "carefree brushwork, not seeking shape similarity", and boldly subjectively deal with the objective modeling and color of objects and images. At the same time, they pay more attention to the writing and intuition of the pen. They may use the pen easily and flexibly, loose, and soothing, or fast, with an incisive rate, or bold, or point scanning, chapping, and dyeing, etc., forming a different sense of freehand form. Freehand brushwork at the level of spiritual meaning is "how to write", "what kind of meaning". "What kind of meaning" is the meaning of "intention" and "meaning comes first before writing", that is, the author directly refers to the feelings and thoughts in his heart he wants to express. "How to write" is the language method to express emotion; "What meaning" is the core and soul of the work. Without the internal "meaning", "writing" will lose its meaning and dependence, or become a pure writing game. Thus, "writing" and "meaning" constitute the complete image of the work, and freehand brushwork shows a moving artistic charm. In this sense, these works show the meaning of the artist's different orientations. Through the image of "writing", they are expressing their unique feelings and thoughts about nature, the world and life. Just as the exhibition theme " Environment Changes at Will" well illustrates the thoughts and feelings of painters in the overall characteristics of freehand brushwork, therefore, we read the warmth and feelings of living individuals.
It should be said that the participating painters' pursuit of freehand brushwork also shows their thinking on the development direction of contemporary Chinese oil painting. Although based in Anhui, they always focus on the development trend of national oil painting. With the increasingly complex cultural ecology at home and abroad, especially in the face of the impact and serious influence of contemporary art concepts and image culture, the development of oil painting is met with new challenges. How to make Chinese oil painting obtain new development vitality in the contemporary age, how to make Chinese oil painting continue to improve academic quality and have deeply national aesthetic spirit and characteristics, all the above are major topics of the times that Chinese oil painters are always trying to think and explore. Whether the emergence of contemporary sketch fever, advocating returning to nature and life to enhance direct feelings, or returning to Chinese cultural tradition, drawing all kinds of beneficial resources and nutrition from Chinese artistic tradition, or the continuous and in-depth study of western traditional and modern art, all have shown the strategy and artistic enterprising spirit of Chinese oil painting to face challenges from different aspects. Obviously, Anhui oil painters are also responding to and exploring this big topic. Therefore, the works in the exhibition can be regarded as the new achievements of their exploration in thinking. From the overall freehand expression tendency of the works, we can see their consciousness in artistic spirit. This self-consciousness is not only the return to the national cultural spirit, but more importantly, after years of experience, they are more aware of the importance of returning to their inner spiritual world and respect their unique feelings and sincere expression. They are writing their own meaning. From this point, they are consciously returning to the deepest part of their hearts and the essence of artistic creation. This consciousness is even more gratifying.
From the freehand brushwork, we can also see that as Anhui painters growing up here, the soil and water, the history and culture of Anhui nourish them. Anhui boasts unique natural resources and cultural traditions, which are natural gifts and nourishment for artists living in this land. They have been infiltrated in this thick soil for a long time, which has developed their deep and potential humanistic atmosphere. These participating painters generally have a calm and introverted attitude, quiet, not pretending, striving for their own art, which is the result of the silent breeding of Anhui's profound cultural tradition. Meanwhile, their awareness of cultural responsibility, the ideal of cultural ambition and the spirit of unremitting pursuit of art are also created for the above, which is also a kind of "meaning" integrated into their freehand brushwork and has become an important part of their spiritual world, encouraging them to move forward.
Therefore, the exhibition of "Flow with the Heart" is not in the number or size of works but in seeing quality, sincerity, attitude, pattern, spirit and value in a unique angle!
Wan Shaojun
Doctor of Central Academy of Fine Arts
Deputy Secretary General of China Oil Painting Society
上一篇展览:“小葫芦,大福禄”明葫阁葫芦艺术展
下一篇展览:“缀玉含晖”孙海峰 戴振国作品捐赠展
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