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刘大为——学术观点

 Liu dawei, academic point of view

 

 

融会通达的境界

Combining the level of understanding   


    刘大为是当代中国画界很有成就和影响力的艺术家。早在上世纪70年代前半期,他的作品就入选当时的全国美展。上世纪80年代,他的工笔重彩和速写受到人们的关注。而在上世纪80年代末90年代初,他以《漠上》、《阳光下》、《马背上的民族》、《晚风》等杰出作品在全国性展览上屡屡得奖而获得广泛声誉。自1998年至2007年,他任职中国美术家协会常务副主席,主持全国美协的日常工作,但他并未因肩负重任而放弃自己的艺术追求。在繁忙的行政工作之余,他不但一直坚持艺术创作,而且接受了许多严肃的主题性创作任务,不断有新作问世。同时,他努力提高自己的艺术修养,开阔视野,锤炼和完善艺术语言,追求创新。他的个性风格也越来越鲜明、成熟。



    Liu dawei is beginning in contemporary China is very successful and influential artist. Early in the first half of 1970 s, his work is included in the national art at that time. In the 1980 s, he and claboratestyle and sketch the attention of people. In the late 1980 s and early '90 s, he in the desert ", "the sun", "on horseback nation", "wind" and other outstanding works in the national exhibition repeatedly win the wide reputation. From 1998 to 1998, he served China artist association, executive vice President, presided over the national society of daily work, but he was not due to the broad shoulders and give up her artistic pursuit. In the busy executive work, he not only has been sticking to the artistic creation, and received many serious thematic writing task, constantly has a new book. At the same time, his efforts to improve their artistic accomplishment, expand their horizons, to temper and improve the artistic language and the pursuit of innovation. His style is becoming more and more bright, mature personality.


 

 

  我之所以用融会通达这4个字来概括刘大为营造的艺术境界,是出于我对他为人处事的观察与了解,更是由于他20多年来不同类型作品给我留下的印象。融会,即融合之意。他的中国画作品立足传统、融合中西,熔工笔与写意技巧于一炉,自成一格;通达,即明白、顺畅之意。他的中国画作品,寓深刻之含意于通晓、明白的语言之中,兼有雅境和俗趣,可谓雅俗共赏。


    I have summed up by combining the mastery of these four words, liu dawei, create artistic state is out of my observation and understanding of his people skills, but also because he works for more than 20 years of different types of the impression to me. Pertaining to the fusion. He based on the traditional Chinese painting works, the fusion of Chinese and western, melting traditional Chinese realistic painting and freehand brushwork in traditional Chinese painting techniques in a furnace, sui generis. Tongda, viz., smooth. He works of Chinese paintings, implies a profound meaning in the language of knowledge, understand, with elegant environment and SuCu, it may be said is fit.

 


  少年时,刘大为跟随父亲支边内蒙古,定居包头。蒙古族豪迈粗犷的性格和大草原茫茫景色与其在故乡的感受形成鲜明的反差。中原文化的儒雅与草原文化的雄健,滋养了他的心灵,培育了他的性情,对其成长和未来的审美取向产生了不可忽视的影响。1968年,他进入内蒙古师范学院美术系,接受中西融合型教育。毕业后,先分配到工厂接受“再教育”,后调入《包头日报》任美术编辑。他一面仰望精英文化和艺术,研习古今中外经典,磨练自己的技巧,收集素材,进行艺术创作;一面又饶有兴味地做群众性的美术创作:为报刊画插图、为大众创作连环画,既练就了他用艺术适应社会不同需求的本领,也锻炼了他能上能下能文能武“随和”的性格特征。在大学期间,他主修油画、水彩、水粉等西画门类,对工笔重彩、水墨等民族绘画样式也有所研习。他通过艰苦、系统的学习掌握了坚实的造型基础,又有很好的笔墨功夫训练。“文革”后不久,他沐浴着改革开放的春风,于1978年以优秀成绩考入中央美术学院中国画系研究生班,受教于叶浅予、蒋兆和、吴作人、李可染、刘凌沧等大师。在此期间,他严格而深入地学习传统技法,研究古代画论和美学思想,名师高徒受益匪浅,对中国画传统的认识更上一层楼。毕业后任职解放军艺术学院美术系,1987年任该系的系主任。他边教学边创作,结合教学与创作思考当前中国画创作面临的许多课题。

 

    As a teenager, liu dawei, follow father supported edge Inner Mongolia settled in baotou. Mongolian bold rough character and the vast prairie scenery and feeling in stark contrast in my hometown. The elegance and the grassland culture of powerful central plains culture, nourished his soul, to cultivate his temperament, for its growth and the aesthetic orientation of the future can not be ignored. In 1968, he entered the Inner Mongolia normal university fine arts department, accept the fusion of Chinese and western education. After graduation, first assigned to the factory to accept "re-education", after the call in the baotou journal as a fine arts editor. As he looked elite culture and the arts and study the classics, ancient and modern, Chinese and foreign hone their skills, collecting material, make art; And fascinating to do mass art creation: drew pictures for newspapers and magazines, comic books, to the masses both learned his art to meet the needs of different social skills, can also can exercise his next he "easy-going" personality traits. During the university, he majored in oil painting, watercolor, gouache painting category, such as the claboratestyle, ink and other national painting style has the study. He through hard learning to master the solid modeling, system, and have a good ink kung fu training. Shortly after the "cultural revolution", he bathed in the spring breeze of reform and opening-up, China central academy of fine arts in 1978 for outstanding achievement graduate student class, Chinese painting education in Ye Jianyu, Jiang Zhaohe, wu zuoren, Li Keran, Liu Lingcang master. During this period, he is strict and in-depth study of traditional techniques, the research theory of ancient art and aesthetic thoughts, teacher, I have benefited a lot from the understanding of traditional Chinese painting to the next level. After graduation for the PLA art academy of fine arts in 1987, the department dean. He teaching, combining teaching and creative thinking many task faced by the traditional Chinese painting creation.

 



  西画的素描写实造型和民族传统的线描造型之间的矛盾,是从事中国画创作的前辈艺术家们一直探讨的学术问题,也是刘大为这一代人要继续处理的难题。刘大为在实践中不断探索,不断有新的体会。综观他的创作历程,可以清晰地看到,他坚持融合中西、推进中国人物画革新的方针。他的人物画重视写实造型,巧妙地将西画素描结构与白描的平面性融为一体,同时恰当地运用西画的光影和色彩,以加强、丰富中国画的表现力。刘大为是一位非常勤奋好学的画家,除了传统人物画外,他对20世纪北派(以北京画家为主)、南派(新浙派和海上画派)的人物画,都有很认真的钻研。他研究美术史,关注中外油画人物画的创造成果,对色彩绚丽的壁画也颇感兴趣。通过在中亚一些国家的访问与参观,他对古代丝绸之路东、西文化的交流融合,有较为深切的认识,这也坚定了他在创作中融合中西的信念。


    policy. His figure painting attaches great importance to the realistic modelling, the painting sketch ably planarity of the structure and the lyrics together, at the same time properly USES painting of light and color, to strengthen, enrich the expressive force of Chinese painting. , liu dawei, is a very studious artist in addition to the traditional figure painting outside, he told north sent (mainly Beijing artist) in the 20th century, the south sea (new zhejiang pie and painting) the figure painting, have very serious study. He studied art history, pay attention to the creation of oil painting figure painting achievements both at home and abroad, the colorful murals are also interested. Through the visit and visit some countries in central Asia, he on the ancient silk road communication fusion of east and west culture, have more deep understanding, this also confirmed his fusion of Chinese and western belief in creation.

 

 


  20世纪以来,特别是新中国成立以后,中国画人物画的题材内容具有明显的意识形态,主要是表现革命领袖活动和工农兵的生活,在形象塑造上取得了不可抹杀的成绩。刘大为的人物画继承和发扬了这一优秀传统,这可见于他的扛鼎之作《晚风》与《人民公仆·刘少奇》等。与前辈艺术家表现领袖的人物画不同的是,刘大为的这些作品更多地注意领袖人物的平民特点,在他们平民化的面貌中,表现他们宽广的胸怀和不凡的气质。


    Since the 20th century, especially after the founding of new China, the subject of traditional Chinese painting figure painting has obvious ideological content, mainly the revolutionary leader activities and performance of life of workers, peasants and soldiers, in the image creation shall not kill. Liu dawei's figure painting to inherit and carry forward the fine tradition, the one of best seen in his "wind" and "people's public servant, liu shaoqi", etc. With senior leader's figure painting artist performance, liu dawei's civilian characteristics of these works more attention of leaders, in their common features, their broad mind and extraordinary temperament.


 

  刘大为擅长工笔。他在工笔画上所做的创新在于:大胆地把西画的造型、结构、光影和色彩运用到其中,以加强体积感和形式上的艺术感染力。他承继了传统工笔画的工整制作传统,更注意在工整的描写中表现自己的感情,注意画面的格调和趣味。他着眼于绘画语言的现代感,重视形体的充实和结构的严谨,重视画面的构成意味和整体效果。刘大为深知,工笔重彩语言用之不当则失之于繁琐、呆板和拘谨,所以他努力在工笔中融进更多的写意因素,在不放松细节精微刻画的同时,更注意画面的大效果,使细节服从他营造的境界。在敷色上,他颇讲究温和、含蓄和沉着。他用传统绘画的高染法,在渲染中追求色调的统一和层次的丰富,讲究虚实转换的节奏。这方面的得意之作如《漠上》。刘大为同时对写意水墨颇有造诣,这对于工笔画家来说是很难得的。由于他的速写能力很强,又深谙笔性墨性,善于灵巧机智地点、擦、皴、染,挥洒自如。他的写意水墨人物和动物颇有生活气息。刘大为能打通工、写之间的壁垒,从另一个侧面反映出他的性格和艺术修养融通的特点。

 

    Liu dawei is good at painting. He did on the claborate-style painting innovation lies in: boldly the painting of the shape, structure, light and colour is applied to it, volume and form in order to strengthen the artistic appeal. He inherited the traditional claborate-style painting of neat, pay more attention to in neat description to show his feelings, pay attention to the image of style and taste. He looked at the contemporary sense of the painting language, attaches great importance to the form of enrichment and the structure is rigorous, attaches great importance to the effect of the composition of the mean and the overall picture. Liu dawei, know and claboratestyle improper language use is lost in the tedious, dull and stiff, so his efforts into more freehand brushwork in traditional Chinese realistic painting factors, not relax at the same time, the subtle details describe the big effect, pay more attention to the picture make details to obey his build. On the application of color, he is quite modest, implicitness and composure. He high staining of traditional painting, in the rendering to pursue the unification of the color and level of rich, pay attention to the rhythm of the actual conversion. This aspect of the masterpiece, such as a "desert". Liu dawei to freehand brushwork in traditional Chinese ink painting is quite accomplished at the same time, it is very rare for traditional Chinese realistic painting artist. Because of his sketch ability is very strong and capable of sexual ink, clever wit place, brush, Cun, dye, aplomb. His freehand brushwork in traditional Chinese ink painting figures and animals have a good life. Liu dawei, can get through work, write the barriers between from another side reflects his character and artistic culture characteristics of accommodation.

 

 




  刘大为在长期任职中国人民解放军艺术学院美术系和中国美术家协会的工作中所表现出来的开拓精神,也与他有开阔的心胸和务实的精神有关。他能团结各种不同意见的艺术家和同事一起共事,使学院的教学工作和协会的工作充满勃勃生机,开创了一个新局面。

 

    Liu dawei in long-term art academy of fine arts of the Chinese people's liberation army and the Chinese artists association of the work of pioneering spirit, and he also has a open mind and pragmatic spirit. Can unite different opinions of the artist and his colleagues work together, make the teaching work of the college and work of the association is full of vitality, created a new situation.

 

 




  刘大为是幸运者,改革开放的时代给他创造了充分发挥才智的机会。他也以满怀感激的心情感受时代的气息与脉搏,用自己辛勤的劳动和心血回报时代、回报大众。这位懂得生活艰辛与艺术甘苦、有社会责任感和历史使命感的艺术家,正处于创作旺盛期。他未来更出色的艺术成果是我们期待的。


    Liu dawei, are fortunate era of reform and opening up to him to create the chance to give full play to their talents. He also with grateful mood feel the breath and the pulse of The Times, with their hard work and efforts in return, return on the public. The sympathetic, understand hard life and art, have a sense of social responsibility and historical mission of artists, is apparent. His future is we are looking forward to more wonderful art achievements.



  

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