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无 尘 |画 鹰

来源:延安网    作者:李强    人气:    发布时间:2019-09-19    
 


横飞墨雨写苍鹰

                                              文/琢 璞

       画家无尘笔下的鹰,可谓是画中精品。

       师承中国当代画鹰大家李苦禅大师,他对鹰的认识,烂熟于胸,用心写意。经高度艺术夸张,他的鹰,锋利如钩的鹰喙、明亮的眸子,微张的双翅黑白相间、雄健孔武的爪子,傲立于山巅,仿佛亘古长明的星辰,冷冷地雄视群谷,高傲而深情。

       鹰的绘画,较早见于唐晋宫廷,之后宋朝第八代皇帝赵佶也喜欢画鹰,并有“宋徽宗的鹰,赵子昂的马”之说。因为是宫廷绘画,所以画艺别致,形貌可人,但骨感不足。无尘画鹰,写意用墨,用大泼墨法挥写翅羽,用笔相当豪放劲爽,正是:横飞墨雨写苍鹰。画家无尘在日常作品创作过程中,取其内涵,究其神采。在鹰的喙、眼、羽、爪上精心刻画,强调内涵拓展,精确绽放张力。每幅作品都凸显鹰的特征,并蕴含了鹰的千古精神。

       运笔如行云流水,笔墨挥洒中已经达到“笔简意繁”的艺术境界。画家无尘经过三十多年笔、墨、彩、韵的深层次探索,画风一转,于不惑之年形成奇崛险峻、墨彩淋漓的独异风采。

      他运笔果断强劲,主张:“强其骨”、“一味霸悍”。作品善从高、远、大处立意,以奇特构图、贯通气脉,深得劲拨阳刚之美。

       独到的审美观和丰富的表现手法,创作出许多神形兼备、千姿百态的艺术形象。他笔下的鹰即是对鹰的忠实写照,又是高度艺术浓缩的再现。简单几笔的重墨勾勒,在看似随意中隐含着朴拙之意,在自然含蓄中再现阳刚之气。

       鹰,有时比鸡飞得还要低,但鸡却永远也飞不到鹰的高度!

      无尘笔下的鹰,代表着一种精神,代表着一种其它生物所不具有的精神!那就是一种坚韧不拔、永不放弃的奋斗精神!那是一种百折不挠、无所畏惧的、伟大的超越精神!

 

                                                                              2019年8月8日于渤海堂

 

无尘作品欣赏

 

     守正出奇  灵变成就

无尘,中国国礼画家、幻化泼彩艺术家。

2008年创作中国画《玉屏金晖》已作为中央领导同志出访礼品,赠送外国政党和国家领导人。获中共中央对外联络部颁发的收藏证书。

2012年应邀为中央领导同志的办公厅创作中国画作品《日出泰和》,获中南海管理局颁发的收藏证书。

现为:国家书画院副院长、国家一级美术师、美协会员。福建省海峡文化发展促进会总会长、福建省海峡画院院长;香港云峰画苑、深圳雅昌艺术特约画家,福建丹青画廊首席主笔画家。在国内外主要战略城市举办过百多场次的个人专场主题巡回展。   

个人资料及部分作品收入《中国画家名人录》等,颇受国内外主流媒体聚焦关注!

 

无尘作品,以画说话。

画家无尘在艺术上主张以多方位的宏观思维及现代审美意识表现笔墨精神,立今承古,立中承西,立足民族精神、东方意蕴,注重东西方、传统与现代的融汇,强调笔墨意境和构成意识。

早在二十年前,就开始探索、研究、实验、独创幻化泼彩中国画山水,从真正意义上实现“泼洒”的幻化泼彩技法,而非停留在传统的用斗笔饱蘸水、墨写意的“大泼墨”。

无尘先生的过人之处在于使用的是水瓢等泼洒工具。画面不但有骨有肉,气韵饱满;而且这种真正意义上的大泼彩,每幅作品都是单一不可复制的。作品清新自然、意境开阔,感观效果在传统技法之上。在忘情的泼洒中,随着泼的轻、重、缓、急,洁白的纸上随即出现浓、淡、干、湿、焦的五彩墨色;走近作品,仔细一看,不免发觉画面上留下了泼洒的痕迹。这时的墨与水产生了灵变与生命,它如同造化用风雨雷电,狂风激流在太古雕刻出天地山川一样,是凭借泼洒而出的水和墨,用自然力量在画纸上幻化而成千姿百态:或为山石、或为云水、或为草木,万壑千岩的大山圣水。

百余年来,为拓展中国画的艺术语言,有远见的艺术家们不约而同地探索在创新的路上,然而这条路崎岖不平,能一路坚持的艺术家寥寥无几。为了给传统中国画开创出另一片新天地,无尘先生,靠的就是坚定的信念!我们期待无尘先生的这套大泼彩技法,早日走进高校校园,成为高等艺术学院的专业学科教材。

    万壑千岩争雄崎,

    喷珠泻玉显灵秀;

    泼洒纵横九万里,

    水墨幻化皆无尘。

       这正是无尘先生所创的大泼彩作品的真实写照......

 

Stick to hisown style and innovate for achievements

Wuchen is a Chinese painter and artist inink splash painting. His paintings were selected as national official gifts.

In 2008, the Chinese painting “YupingJinhui”created by Wuchen was selected as a gift for the central governmentofficials to present to foreign political parties and state leaders, and wasawarded a certificate of collection by the Ministry of Foreign Affairs of theCPC Central Committee.

In 2012, he was invited to create a Chinesepainting "Sunrise Taihe" for the Central Government Office and wonthe Zhongnanhai’s Collection certificate.

Now Wuchen is: Vice President of ChinaNational Painting and Calligraphy Institute; National First Class Artist;Member of Chinese Artists Association; President of the Fujian Strait CultureDevelopment Promotion Association; Dean of the Fujian Straits Painting Academy;contributing artist in Yunfeng Painting Court (Hong Kong)and Yachang Art Museum(Shenzhen); and the chief painter in Danqing Gallery in Fujian. He had heldmore than 100 personal themed exhibitions in major cities at home and abroad.His personal portfolio and major works are included in the List of ChinesePainters, quite popular among domestic and international mainstream media.

Wuchen’s paintings speak through thepaintings themselves.

Wuchen advocates to express the spirit ofbrushstrokes with multi-dimensional macroscopic thinking and modern aestheticconsciousness. He establishes the present by inheriting the past, combining theChinese tradition with the western one, and emphasizing the national spirit andoriental implication. He pays great attention to the integration of Eastern andWestern cultures, of traditional and modern cultures and the pen and inkconception as well as the compositional awareness.

As early as twenty years ago, he beganexploring, researching, experimenting, and creating original Chinese landscapesthat transfigured splashes of color, realizing the illusionary “splashing”techniques instead of staying in the traditional “Po’mo” with brushes, waterand ink.

The excellency of Mr. Wuchen is the use ofsplash tools such as water scoops. Not only does the images have bones andflesh, it is full of enthusiasm; and, in this true sense of splash, each pieceis a single piece that cannot be copied. The works are fresh, natural, and openin artistic conception. The sensory effects are above traditional techniques.In the irrepressible splash, with the light, heavy, slow, and acute splashes,the white paper immediately appeared thick, light, dry, wet, and dark. A closerlook reveals that the image has been left on the paper. There are traces ofsplashing.At this time, the ink and water created a change of spirit and life.It is like the use of wind, rain, thunder and lightning, and the turbulent torrent sculpts the mountainsand rivers in the ancient world. It is the water and ink that are spilled out,and is transmuted with natural forces on the drawing paper in a variety ofways: for the mountains and rocks, or for the cloud water, or for vegetation,mountains and thousands of rocks in the mountains of the holy water.

For more than a hundred years, in order toexpand the artistic language of Chinese painting, visionary artists haveinvariably explored the road to innovation. However, this road is rugged andthere are few artists who can stick to it. In order to create a new world fortraditional Chinese painting, Mr. Wuchen is relying on a firm belief! We hopethat his techniques of splash of color will soon enter college campuses andbecome the textbook for college students in art.

Ten thousand rocks are competing with eachother, spraying pearls and jade. The splashing and sprinkling of ninetythousand miles, ink and water are all illusionless.

This is a true portrayal of the splashyworks created by Mr. Wuchen.


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