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“舟游墨构”——刘德舟大写意山水画

(2010-11-02 15:11:41)
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刘德舟

山水画

水墨

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画家

艺术

余秋雨

卢沉

启功

北京画院

锣鼓巷

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分类: 艺术评论-风格赏析
舟游墨构
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        “舟游墨构”——刘德舟大写意山水画奇特,出人意料的震撼!刘德舟的墨色世界是一种美的高度提纯和心灵净化。他个性鲜明的形象语言,大气磅礴的笔墨风格,具有咄咄逼人的视觉力量,触动心魂、予人启迪。透过刘德舟的艺术视野,我们的思想无限畅游,浑身充溢着一股坦荡的气质、刚正的力量和坚毅的勇气。恰如余秋雨先生说的:“艺术,是人之为人的一种素质,是人们在误会与烦躁中进行美好沟通的一种可能,是人类为使自身免于陷入浅薄功利而发出的一次次提醒。”我们读刘德舟的绘画作品,趣在意会,乐在神交,是绝去俗烦、返朴归真的高品位享受。

        刘德舟的大写意山水是思维逻辑上的解放,他以天真豁达的心性构筑画面,用墨泼、皴、滴、破皆始于灵感的一气呵成。他的灵魂如勇士般在宣纸上驰骋,每一笔都在谱写着传奇。这种创作状态,恰恰突破了现有语言,顺理成章地成功创造了属于自己独特的艺术风格。在多年的艺术探索中,他一直坚持自己的形象语言。他游遍祖国名山大川,更被一些不知名、荒凉的野山所吸引,寻找易被错过的角度,从一些不起眼的山石中捕捉住自然的韵律,迸发出创作的灵感。他专爱早晚观山,舍去旁枝末节着眼于整体结构,将瞬间中的真实形象在饱满的光影中凝聚为永恒。最终凭借着对美的敏锐直觉,大胆地夸张变形,创造出生动而凝炼,意蕴雄浑的百态山石,成为他面向世界独一无二的标志,并在中国山水画坛中独树一帜。卢沉先生曾在其水墨画论中写到:“最打动人的是有形状的东西。所以历史上凡在造型上有突破的人,就显得非常突出。”然而,想要在造型上创造自己的语言风格远比练就笔墨功夫难,正如启功先生说的:“用笔何如结构难”。刘德舟在造型上酝酿的这份个人信念,必将使其艺术作品在历史的长河中留下不可磨灭的一笔。

        刘德舟的作品具有一种挑战的眼神。一方面,是对狭隘性,固化审美的挑战。他认为艺术的创新过程是在交付给观众自由想象的同时引导其适应崭新的审美,他不断把黑白分解重构,挖掘另类视角,体验新的视觉刺激。一方面,是对主观动机实现完满平衡的挑战。他认为纯粹的理性或感性都是单薄的,视野中既存在“合理的” 也存在“不合理的”,应在画中适当加入矛盾的、突崛的、断裂的元素,给画面一点挫力,才是健全的圆融之美。他的这种审美观也是中国古典哲学思想、以及禅道精神在现代人身上的一种延续。

“舟游墨构”——刘德舟大写意山水画        刘德舟幼年的启蒙老师是齐白石之子齐良已,从20世纪60年代,他居住在锣鼓巷的雨儿胡同,也就是北京画院的旧址,当时一起居住的几乎都是画家,如吴休、张仁芝、王文芳、马泉、周思聪、韦江凡等。刘德舟就在这样一个艺术氛围浓郁的环境中成长,70年代跟关松房、溥松窗学习传统技法,后常得张仁芝指点。从77 年正式进入北京画院就职,成为资料室负责人,饱览古今名家的真迹,揣摩前人作品的精髓,为后来的创作开阔了眼界,奠定了扎实的传统基础。80年代中国历经重大变革,同时也造就了刘德舟艺术风格的形成,和创作方向的确立。

        他的笔墨入古而不乖于古,出新而不跟时髦的风。在他的画中我们看到的是传统墨色韵味、笔法技巧与现代抽象手段、表现形式的自然融合。达到这样和谐的境界,不仅依赖于他坚实精湛的功力,更决定于他深厚的乡土文化根基,和历史延续性的时代审美方式。他就像他笔下的山头顽石,土生土长的民族自豪感和自强精神深入骨髓。他拓展的是一条宽广崭新的中国水墨道路,其作品正在以不同凡响之势,走向世界,被更多的人喜爱。





“舟游墨构”——刘德舟大写意山水画

Shaping of Ink


        Unique and unexpected thrilling! Liu Dezhou’s ink world is a highly purification of beauty and soul.

        His distinctive language of image and tremendous momentum of using pen and ink, bear aggressive visual power, penetrate into people’s heart and soul and are very enlightening. Through Liu Dezhou’s art vision, we are filled with magnanimous candor, upright power and firm courage while our thoughts could travel to infinity. Just as Mr. Yu Qiuyu’s saying,”Art is one kind of quality to prove one human. It’s a possibility for people to conduct beautiful communication among misunderstanding and irritation. It’s a repeating warning of human beings to avoid falling into superficial utility.” When reading Liu Dezhou’s paintings, we find the interest and happiness of sharing same insight and being connected spiritually. This is a high level enjoyment of recovering our original simplicity and abandoning secularity.

        “舟游墨构”——刘德舟大写意山水画Liu De’zhou’s splashed ink landscapes is the liberation of thinking logic. He arranges the composition of paintings through his simple and generous character, and always accomplishes painting at a stretch on inspiration through techniques of splashing, texture strokes, dropping and haboku.
        His spirit is like a riding warrior on glutinous rice paper, and each of his strokes is turning over a new leaf of his story. This state of creation breaks through the existed language, and naturally forms the unique art style of his own. He insisted on his image language during his many years’ art exploration. He visited nearly all the famous landscape of China, but was more attracted by some unknown and rural wild mountains. When he looked for angles that could easily be missed, and caught the natural rhythms of humble mountains and rocks, his found the source of inspiration.

        He loves to observe mountains in mornings and evenings during which time he could abandon minor details but concentrate on the overall structure, and then put the momentary image in ink showing perpetual light and shadow. With acute instinct for art, fearless exaggeration and deformation, he created vivid and yet condensed, powerful mountains and rocks, and this becomes the very unique symbol of his when he faces towards the world.

        “舟游墨构”——刘德舟大写意山水画Mr. Lu Chen once wrote in his ink painting view that “The most moving thing is the thing that has shape. So he whoever makes breakthrough in shaping in history will be outstanding.” But it is far more difficult to create one’s own language style on shaping than to gain techniques and skills of ink painting. This is just as Mr. Qi Gong said, “There is nothing more difficult than composition when painting.” Liu Dezhou’s personal faith in shaping will definitely leave unforgettable mark in history for his art works.

        Liu Dezhou’s works are also challenging. On the one hand, it’s the challenge against parochiality and solidified aesthetic appreciation. In his view, the process of art renovation is to guide audience to adjust to new aesthetic appreciation while providing them free imagination. He constantly decomposes and rebuilds black and white, and excavates a special angle of view, thus experiences new visual stimulation. On another hand, it’s the challenge against perfect balancing realized by subjective motive. He thinks that pure rationality and irrationality are both flimsy. There should be “reasonable” and also “unreasonable” in view which means that paradoxical, protuberant or cracked elements should be added into the painting, in that way bringing contradictory strength into it, thus forms the healthy and complete beauty. His aesthetic opinion speaks also the continuation of Chinese classic philosophy and Zen spirit on modern people.

        “舟游墨构”——刘德舟大写意山水画Liu Dezhou’s first teacher when he’s young is the son of Qi Baishi, Qi Liangyi. He lived in Yu’er Hutong of Nanluoguxiang which was the former site of the Beijing Fine Art Academy with many artists, like Wu Xiu, Zhang Renzhi, Wang Wenfang, Ma Quan, Zhou Sicong, Wei Jiangfan and so on. Liu Dezhou grew up in this environment of strong art atmosphere. He learned traditional techniques with Guan Songfang, Pu Songchuang in 1970s, and then was directed by Zhang Renzhi. He entered Beijing Fine Art Academy in 1977 to be the person responsible for the reference room. This provides him the opportunity to read famous artists’ works and learn the essence of predecessors’ artworks and this enables him to open horizon and lay firm foundation for his achievement of traditional art. China experienced dramatic renovation in 1980s, and at the same time Liu Dezhou’s artistic style and creation orientation were formed.

        “舟游墨构”——刘德舟大写意山水画His ink painting follows the ancient theme, innovative and yet against the vogue. We could detect the natural fusion of traditional ink aroma and techniques with modern abstract method and manifestation. To achieve this does not only rely on his brilliant force and skill, but more on his profound root in the folk culture, as well as the modern aesthetic appreciation with history continuation. He’s just like the hard rock on mountain under his pen, the sense of national pride and self reliance are deep in his soul. What he’s exploring is a broad and brand-new way of Chinese ink painting, on which he is walking towards the world with his out-of-the-ordinary works that are loved by more and more people.

Bai Shen
2010

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