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王沂东:实力集聚在中国的景象之间

Wang Yidong: strength between cluster in China


中国艺星网/编发/海羽

Chinese art starnet/spread/sea feather


 


  王沂东的创作母题,是现世的沂蒙人物和景色;其绘画理想,则是彼岸的古典和浪漫。王沂东的画室技术,是平静的描摹和写实;其艺术追求,则是诚实的、一丝不苟的实力。

    Wang Yidong creation motif is earthly river bank Mongolia characters and scenery; The painting ideal, is the other shore of the classical and romantic. Simulations of Wang Yidong studio technology, it is calm and realistic; The pursuit of art, is honest, meticulous strength.

 

  在这几者之间的勇敢跨越,便使他的画堪称为大气的中国景象。

 

    Between the person of span bravely, then make his painting is for Air China.

 

 


  沂蒙山水:沉积心底的乡野映像

    River bank Mongolia landscape: sedimentary rural image of the bottom of my heart

 

  王沂东极力推崇艺术表达的真实,其绘画的灵感源于故乡的山水。老家临沂的“每一湾溪水、每一条小径、每一畦瓜地、每一片树林”,给了王沂东儿时最快乐的时光;他留校执教中央美院油画系,其作品灵感,仍然来自沂蒙山区的秀丽景物和质朴民风。


    Wang Yidong to express the real art, its landscape painting inspiration comes from home. Their hometown linyi "every bay streams, each path, each strip melon, each a forest", gave Wang Yidong the happiest time of my childhood. He stay at the central academy of fine arts, painting the inspiration, still comes from the beautiful scenery of yimeng mountain area and plain folkway.


  王沂东留心过勤劳敦厚的北方农民,1983年的《沂蒙山组画》,集中表现了其对农民和农村的看法。在当时艺术界各种思潮的热烈探讨中,直面沂蒙老区的《组画》,不仅是王沂东向“写实主义”风格迈出的坚实一步,也影响了其他很多画家去关注家乡。1984年参加“法国第十六届世界艺术节”的《王玉贞》、获得“六届全国美展”优秀奖的《农家母女》,以及1985年获得“第三届全国青年美展”二等奖、入藏中国美术馆并被经常陈列的《古老的山村》等作品,都取材其农民生活。劳动人民最本质的东西,不是苦难,而是存在于平常生活里和最基本状态中的、人性最恒久的“乐观地活着”。王沂东正是带着厚重的乡野情感,置身都市,体验到山里人“视而不见”、城里人“听而未闻”的美好。


    Wang Yidong heed a hardworking sincere northern farmer, "yimeng paintings" in 1983, focuses on the view of farmers and the countryside. A warm discussion in the art world of ideas, to face the river bank Mongolia old "paintings", is not only a Wang Yidong a solid step to the "realism" style, also influenced many other artists to pay attention to home. In 1984 to participate in the 16th world art festival "France" "yu-zhen wang", for "six national arts exhibition" honorable mention "the peasant women," in 1985 and won the third national youth arts exhibition "second prize into Tibet, China art gallery, and is often displayed the ancient village" and other works, based on its farmers' life. Working people the most essential thing, and not suffering, but in normal life and the most basic condition, human nature in the most enduring "an optimistic life. Wang Yidong that, with a thick countryside emotion in metropolis, experience the mountaineers "blind eye", the city "hear and smell good.


  王沂东早期带有自然主义倾向的《沂蒙山组画》等,有其选取的苛刻;后期作品更呈现出强烈的主观色彩,正如其自称的“并非完全的现实主义,而是带有一点浪漫主义和理想主义”。


    Wang Yidong early with a naturalistic tendency "yimeng paintings" and so on, has a strict selection; Later work more present a strong subjective color, as the self-proclaimed "is not entirely realistic, but with a bit of romanticism and idealism".


  王沂东作品的场景多依据事先“制造”,成熟于心的人物形象,经常会沉淀许久之后,再去人群中“抓取”。他所选中的形象,必须代表其审美倾向。在他看来,模特的品位和情感传达是作品成败的关键,不同的主题须不同个性的模特完成。例如,1992年获“中央美院二十世纪中国回顾展”新作优秀奖的《蒙山雨》,最初构思于沂蒙山中懒懒冬日下的一块巨石,他突然想象出一连串奇妙的构图,甚至想好了人物的服饰。而该画灵感的迸发,则是他在北影厂偶遇了一位与心底意境极为契合的女演员,依其为模特创作完成。王沂东“先行”于创作的还有其的激情。他将创作中真情流露奉为最高的艺术准则。例如,他以女儿为模特的画作,便是其儿时情境的再现,是其精神世界与自然沟通的结果。1992年的《初雪》,正是画家凭借对家乡初冬第一场雪的亲身感受,以深秋的寒气烘托孩子的稚气,传递出风的凉意和脚踏雪地的声音。

 

    Wang Yidong work scenarios on the basis of "manufacturing" in advance, more mature in the heart of the character image, often after the precipitation, go to "grab" in the crowd. He selected image, must represent the aesthetic tendency. In his view, the model of grade and affective communication is key to the success or failure of the works, different subjects should be different personality model. In 1992, for example, "the China central academy retrospective" in the 20th century in China new excellence award "mengshan rain", was originally conceived in yimeng lazy winter under a big rock, he suddenly thought out a series of wonderful composition, even think good character's clothing. And it burst of inspiration, it is his encounter in BeiYingChang an actress with heart artistic conception is very fit, for model according to its production. Wang Yidong "leading" in the creation and its passion. He will be true feelings as the highest artistic standards in literary creation. For example, his daughter as a model of painting, is the reappearance of the context of the childhood is the result of the spirit world and the natural communication. The first snow in 1992, it is the artist's first snow of winter home feel personally, in late autumn cold foil of the child's childlike, convey the voice of the wind chill and their feet on the


 


  上世纪80年代,在现代艺术的潮涌和艺术市场的喧嚣中,“写实”既落伍又不讨好。王沂东坚守“写实”,事实上,王沂东在温和地对抗当代美术潮流。他坚定地认为:“近百年来的中国美术革命,并非全部正确”。因为在生活中找到有视觉冲击力的环境、人物、色彩、造型,是很有难度的事,所以,他并不以为“讲究典型环境中的典型人物”是落后的观念,仍然将其看作很有价值的创作原则。他绘画的典型人物、场景和情绪,续接了中国绘画数千年来的审美理想;在追求幸福、希望和美感的平民品性中,契合中国观众的阅读习惯,令观者“赏心悦目”、沉醉其中。

 

    In the 1980 s, in the wave of modern art and the art market in the hustle and bustle, "realism" is outdated and not to please. Wang Yidong stick to "realistic", as a matter of fact, Wang Yidong in gently against the contemporary art trend. He firmly believe that: "over the past century Chinese fine arts revolution, not all right". Because in life to find a visual impact environment, character, color, shape, is a very difficult thing, so, he does not think "pay attention to typical characters in typical environment" is the backward ideas, still see it as valuable. His paintings of typical character, scene and emotion, the characters of aesthetic ideal for thousands of years of Chinese painting; Civilians in the pursuit of happiness, hope, and aesthetic qualities, fit Chinese audience's reading habits, make the viewer "pleasant", indulge.



  以工为写:引外润中的艺术理想

    To the workers to write: outside the artistic ideal in embellish

 

  王沂东发现叙述式作品长于文学趣味和情节,弱于形式感。上世纪80年代中期,他的创作向两个方向纵深。


     Wang Yidong found declarative work longer than the literary taste and plot, weak in the sense of form. In the mid - 1980 - s, his works in both directions in depth.

 

  王沂东对西方古典油画推崇备至。他视维米尔的《弹吉它的人》为最震撼心灵的艺术品,对《读信的少女》更是永志不忘。他最崇拜的西方艺术家是达?芬奇,拜读每一幅达?芬奇“体现了艺术、美及生命的尊严,充满了对自由与和平的向往”的画,都激动不已。王沂东作品造型、用光、笔触等,都受益过拉斐尔、伦勃朗、荷尔拜因、委拉斯凯兹。不过,王沂东钦佩西方艺术家,并没有受到铺天盖地的画廊和现代美术馆的影响,依旧坚信“中国艺术不差”。王沂东赴美国讲学办展,受到《纽约时报》、《华盛顿邮报》等媒体热烈赞扬,但他将那段“找不到一点乡情、听不到一点乡音”的时光,看得十分痛苦。在遥远且陌生的美国文化背景中,他更清醒地觉察到,只有中国的“大气场中”才会有想要表达的愿望。于是,他提前回国,坚持“画中国题材,还得在中国”。


    Wang Yidong western classical oil painting, to the utmost. He saw vermeer's "the guitar man" is the most striking the art of the mind, to read the letter, the girl is kid. His favorite western artists are up to? Vinci, read each? Vinci "embodies the art, beauty and the dignity of life, full of passion for freedom and peace", all excited. Wang Yidong works shape, light, brush, etc., all benefit from Raphael, Rembrandt, worship of er, appoint lars katz. Wang Yidong admire western artists, however, was not affected by a frenzy of gallery and modern art, still believes that "Chinese art is not bad". Wang Yidong went to the United States exhibitions, lectures by the New York times, the Washington post and other media warm praise, but he will be the "can't find a bit of nostalgia, to hear a little accent an" of the time, very painful. In the distant and unfamiliar cultural background in the United States, he was more clearly aware of, only China's "in the atmosphere would have wanted to express wishes. So he returned early, adhere to the "painting Chinese subjects, but also in China".


  王沂东中国式油画,决非“画了红颜色、画了新娘”这么简单。他的亲切感和信服力,来自于中国现实和本土传统之中,是以中国人的服饰、语气、手势、动态为载体,浓缩出了“属于他自己或者他那个人群的一股劲儿”。


    Wang Yidong Chinese oil paintings, it is by no means "paint the red color, the bride" so simple. His kindness and compelling force, from China's reality and local traditions, is the Chinese clothing, tone, gestures, dynamic as the carrier, condensed out of the "YiGuJin son of his own or his crowd".


  王沂东以单纯的艺术语言,来表达中国文明的深层内涵,且多年着力于对形、色和审美趣味的民族化处理。他很早就敏锐地发现,中国的现实与“漂亮”的西式范本之间,存在巨大的反差。所以,从上学时“专找白皮肤、凹眼窝模特儿,以便和西方画册接近”,到后来研究中国人的肤色和结构规律,王沂东一直在创新,最终得以将造型、色调、对比、黑白灰,甚至模特等因素,最大限度地协调一处。早在1984年的《历史系大学生》,他已经以平面装饰方法与人物精神气质相融合,营造了中国式的内在温润,展示纯正的古典画风。1986年之后,他从“外部”的严谨描绘,转向“内在”的抽象表现。例如,1988年的《江南女子》等,巧妙地运用黑、白、红、金色以及线条的组合,这是对中国传统壁画、民间年画趣味的借鉴;1991年的《暖冬》等,人物形象在用抽象观念创作;1992年的《有这么一个小院》等,试图在把握自然形态的精髓中,注入更多的形式因素。


    close", then studied the color and structure of the Chinese, Wang Yidong has been innovation, finally to modelling, color, contrast, black and white ash, even model, the influence factors, such as maximum coordination. As early as 1984 years of history at the university student, he has been decorated with graphic method and the integration of character spirit temperament, built the Chinese inner wen run, show the pure classical style. 1986 years later, he from the "external" rigorous, turning the abstract expression of "internal". For example, in 1988, the "jiangnan woman" and so on, clever use of black, white, red, gold, and the combination of line, this is the traditional Chinese paintings, folk pictures of reference; In 1991, the "warm winter" and so on, character image in with abstract concepts. 1992 "there is a small courtyard" and so on, trying to grasp the essence of natural form, inject more form factor.


 

  王沂东把中国笔墨融入创作中,使作品呈现出纯净、凝重、质朴等特征,展现中国神韵和魅力;他将民间的平面色彩,融进西式写实绘画的三度空间,为国人找到久违的亲熟感。实际上,“靠具体的形来说话”只是王沂东绘画之表,在写实的画面里,蕴藏着很深邃的抽象感。这种抽象,糅和中西两个古典传统之后,具有更深刻的品质。

 

    Wang Yidong put into the creation of Chinese painting, the work shows the characteristics of pure, dignified and simple, show China's charm and glamour; He will private plane color, melting into the three dimensions of western realistic painting, find stranger close familiar feeling for people. In fact, "depends on the specific shape to speak" just Wang Yidong table of painting, in realistic picture, there is a very deep sense of the abstract. This abstraction, them both of Chinese and western classical tradition, have a more profound quality.

 

 

  “实力”:中国写实画派的引领者

    "Power" : the leader of the Chinese realistic painting


  王沂东古典技术和中国题材,受到众多艺术收藏者喜爱。1986年,哈弗纳来中央美院,执意购买其刚撤展的一张小幅人体,王沂东却因“卖画很耻辱”而回绝。正是哈弗纳的青睐,他获得了费用资助和奥克拉哈马州立大学的邀请函,和王怀庆、艾轩一起,赴美国访学和考察。


    Wang Yidong classical technology and Chinese subjects, enjoyed by many art collectors. In 1986, harvard to cafa, determined to buy the first move-in a small body, Wang Yidong is rejected because of "the sale is very shame". It is harvard's favour, he offered a fee and the carat invitations in the state university of hamath, and Wang Huaiqing, ai, visiting and investigation in the United States.


  1987年,王沂东参加了哈弗纳在纽约哈默画廊组织的“中国当代油画大展”、加里弗尼亚Santa Ana市的“中国现实主义油画家作品展”,其作品使西方收藏者吃惊于“最传统的西方绘画技法,在中国能被掌握到如此高的程度”。同年9月,王沂东在美国哈夫纳画廊举办个展时,其写实主义画风得到更过的赞誉,“合众国际社”对其《酱豆腐》评论说:“写实主义大师王沂东画的这一只碟子,逼真的好像能从桌子上拿起来一样”。王沂东由此体会:西方丢掉了太多的传统,所以感到写实作品的可贵。面对写实主义画风在国内同样被冷落,他认为,写实主义的生命力永远不可能终结。


    1987, Wang Yidong attended harvard, hammer galleries in New York organization "in Chinese contemporary oil painting exhibition", California Santa Ana city, "the Chinese realistic oil painters exhibition", his works make western collectors surprised "the traditional western painting techniques, in China can be mastered to such a high degree". In September the same year, Wang Yidong hough, gallery exhibitions in the United States, its realism painting get more praise, "upi" for its preserved bean curd commented: "master of realism Wang Yidong painted this dish, lifelike like to pick it up from the table". Wang Yidong from this experience: western lost too many traditions, so feel the value of realistic work. Facing the realism painting style also left out at home, he thinks, the vitality of realism can never end.


  王沂东不仅获得西方艺术评论家的青睐,且以不菲的价格在国内油画市场捷足先登。1994年其《春风》在中国嘉德成交价11万元,1998年《新娘》在香港佳士得成交价69.7万元。继2004年其《山喜鹊》在北京翰海以93.5万元成交后,王沂东成为油画市场多次高价纪录的改写者。2005年,他是中国写实画派在拍卖市场崛起的标志,与靳尚谊、忻东旺、艾轩、陈丹青等写实画家一起,屡现价格高潮,其《沂蒙娃》在中国嘉德春拍以132万元成交,新作《深山里的太阳》年底在中国嘉德以506万元成交。2006年,除新作《我心中的远方》在北京翰海以671万元成交外,《新娘》、《醉新郎》、《初雪》等18件作品,成交价超过百万元。2007年,王沂东作品价格继续飙升,除5月底《纯真年代》在北京保利以935万元创出新高外,8月已有《沂河水》、《新娘》、《家书》等11件,成交价超过百万元。

 

    Wang Yidong not only get the favour of the western art critic, and with high price in the domestic market of oil painting. In 1994, the "spring" in China price 110000 yuan, the bride at Christie's in Hong Kong in 1998 fetched $697000. The magpies since 2004, the "mountain" in Beijing HanHai after clinching a deal, with 935000 yuan Wang Yidong rewriting in the oil painting market many times, and the price is record. In 2005, he is a sign that the rise of the Chinese realistic painting in the auction market, and JinShangYi, XinDongWang, ai, such as Chen realistic painter, now price to orgasm, the "river bank Mongolia child" in the spring of Chinese clinch a deal for 1.32 million yuan, new China by the end of the mountains of the sun to clinch a deal of $5.06 million. In 2006, in addition to the new "far away in my heart" in Beijing HanHai clinch a deal for $6.71 million, "the bride", "drunken groom", "snow" and so on 18 pieces, sold more than one million yuan. In 2007, Wang Yidong prices continue to soar, in addition to the end of may "age of innocence" in Beijing's poly record with 9.35 million yuan, in August has been "YiHe water", "bride" and "letter" 11, sold more than one million yuan.


  经营者认为,写实油画价格的激增,因为符合中国大多数观众的审美情趣,“更容易看得懂”。王沂东则认为,这不仅是写实作品有良好的情感交流平台,还在于“下很大功夫,来不得半点虚假”的实力。王沂东所称的“实力”,既包括画家的经历、情感、思想,也包括复杂的技术含量、严谨的造型手段。2004年10月,王沂东和艾轩、杨飞云等成立了实力派油画家联盟“北京写实画派”,其立意是建立正常的美术标准和基础。《纯真年代》、《山喜雀》、《冬天里的阳光》三幅作品,随即在“北京写实画派第一届油画年展”上隆重登场。2005年,陈逸飞等人的加盟,“北京写实画派”扩展为“中国写实画派”,在2006年举办的两届“中国写实画派年展”上,王沂东的《深山里的太阳》、《唢呐闹春》、《心愿》、《沂河边上》、《我心中的远方》等,大放异彩。

 

    realistic work has the good communication platform, is "false" under a lot of work, shall be of strength. Wang Yidong calls the "power", includes the artist's experiences, feelings, thoughts, and also including the modelling of complex technology, rigorous methods. In October 2004, Wang Yidong and ai, fei-yun Yang founded a great painter alliance "realistic painting" in Beijing, its conception is the basis and establish normal art standards. And magpie "age of innocence", "mountain", "sunshine in the winter" three works, then in the first oil painting exhibition "Beijing realistic painting" on. In 2005, Chen and others to join in, "Beijing realistic painting" extended to "the Chinese realistic painting", two terms in 2006 "the Chinese realistic painting exhibition", Wang Yidong "mountains of the sun", "suona make spring", "desire", "YiHe side", "the far away in my heart" and so on, to shine.

 

 


  在中国写实油画群体凝聚力和震撼力不断扩大的同时,王沂东的吸引力一路“水涨船高”,应该没有太多悬念。


    Realistic oil painting in China group cohesion and powerful growing at the same time, Wang Yidong appeal all the way "things", should do not have too much suspense.


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