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日期:2020-01-01编辑作者:艺术家介绍

  Heart Sounds from A Loner

  To discuss the arts of female painters, we should remain an objective observation and expression, which is quite difficult. For so long our society and the art system has been formed some fairly stable view to the arts for women, these views have affected our observations and judgments on women artists. In order to subvert these traditional male-centered unconsciousness, the U.S. well-known feminist art-historian Linda?Nochlin trying to establish a kind of nature of womens creativity in the visual expression pattern, while destroying the hypostasis advocated the reductive, the eternal female style, which often works fine in central images of works or the meticulous use of color, etc., as the basis for its claims. Thus, in a social specific historical period of gender differences, women artists may be directed to certain specific direction.  For Li Rongzhi, to talk about the feminist art-historical perspective seems to be too extravagant. She is not a woman painter who starts with theory and history first, and then enters the painting. Painting for her is a completely heartfelt love. She has a harmonious and happy family and she has sufficient time and fortunate opportunity to be able to get the appropriate advice from those famous teachers of Mural Department of the Central Academy of Fine Arts. From classical Tempera technique to contemporary art lecture, her advanced studies at the Central Academy of Fine Arts, opened her eyesight and improved her visual taste. Importantly, as to tireless in the hundreds of pieces of work creation, she access to the happiness that the others are hard to replace, which is a life of self-realization, a sense of substantial and confident.  However, when I saw the works of Li Rongzhi still slightly surprised. It seems that she did not have much impact of suffering college art education system. On the contrary, her art has distinct naive painter features, such as spontaneity, aboriginality and simplicity. For many talented college artists, these artistic qualities is very difficult to achieve, while Li Rongzhi, it seems that is not difficult, she naturally would have these qualities. I am reminded of an encounter, in a dinner, there is a Ms. drink a large glass of white wine just like drinking water, neighbors told me that she did not feel alcohol and has a natural immunity.  Take a look at Li Rongzhis portraits, I would think of Chinese painting in the early 20th century. Predecessors went to overseas countries, to seriously learn the art of Western oil painting. But after they got home, they put the plane of traditional Chinese painting into the screen, began the process of Chinese-Western oil painting. Like Li Yishis painting Palace Girl, has a very strong temperament of Chinese art, as well as Yan Wenliangs Kitchen, is full of smelling of straw in Suzhou countryside. And Li Rongzhis painting, it has such simplicity. You can try to find some of local style less accurateness, but the smell of simplicity is everywhere. Li Rongzhis works do not pursue high light and strong three-dimensional feeling, though oil painting they are, theres matt gouache feel, this thanks to her study of classical Tempera murals.  Li Rongzhis portrait compositions are quite simple, there are not many descriptions of the environment and details, her painting Home Woman and a Small White Dog is not only the pure color and composition, but also the simple characters. The Lute Girl has been elongated shape is very holistic, intended Lin Fengmians painting style, while shapes have the meaning of Modigliani in painting some peoples eyes. Perhaps because of my education in art history, in her paintings of these simple, I always can see some of the flavor of past masters. For example, The Female Body Lying Down is a more primitive nature of the high, highlighting the line factors in the overall gray tone to maintain the subtle changes of color is not just flat painted. The Four Naked on the Lawn of The River like Paul Cezannes Bathing Woman, composition means that exudes the free creative ideas.  Characters in Li Rongzhis pen, both portraits and whole body paintings are positive facade of the image, indomitable, stretch the full frame. This positive center of the composition, with the simple plane of the 20th century modernist art, such as the early 20th century oil painter, Wang Yuezhi depicts three Taiwanese women in the Descendants of Taiwan, even though it is a picture of a plane but sublime. Intentionally or unintentionally, Li Rongzhi makes these characters become the Bible-style and classic portrait of a typical style, to collect them from the contemporary contexts of social life out, moved into an art space transcend the historical time and space. Can also say that Li Rongzhis mural painting benefits from the overall feeling, and closer to the plane of the Egyptian wall paintings.  In the description of the many flowers and still life works, Li Rongzhi gets rid of the portrait to her shape constraints. As the display of the still life and all kinds of flowers have a longer period of time to observe, the works seems more relaxed, more calm on the colors and more free expression to her experience of life. Li Rongzhi described two types of flowers. The first category is Peach Blossom and the Orioles, this kind of work is very easy to engender a doubt, is this China painting painted with oil painting materials? Line elements and peace painted color blend so harmonious. Li Rongzhi flowers and still life compositions are also mostly the main center, flat-degree viewing angle. In the painting theres Lily Green Apple, the artist shows a keen sense of the contour line, online analytical regions and the subtle control of color. Red Carpet Girl reflects the artists sense of active composition, such as Matisses paintings, have a strong taste of the plane.  Another type of flowers and still life played down the line factor, paint on the paper, directly expressed the color impression of the immediate thing. Such as works like A Cockscomb of Chicken, with freedom of expression implications, and full of zest for life. Wild Lily, line relaxed and coherent, she expressed the ordinary still life with a limited color. Not to pursue too many colors, so that Li Rongzhi avoids mixed color control. In the display still life, she never intentionally put density and white, high and low scattered so-called beauty of the composition, it seems that any angle, any method that placed a painting. Blue and White Porcelain Pot, jars of different sizes laid out evenly on the desktop, very different from college common still-life display way, she focuses on the performance of the glass and white porcelain vessels, experience the subtle color changes which is difficult to draw.  Li Rongzhis landscapes painting a very loose comparison and a little clumsy, you can not see the common mode of landscape composition. It not only shows the extraordinary scenery of Beijing suburbs, the Great Wall and villages under the sunset, but also the landscape in Anhui, farmers in the fields. Framing naturally, composition stable, depicting pairs of eyes have seen the overall impression of landscape. Li Rongzhi is not so much to consider conditions for the expression of color in the landscape, but rather the expression of the inherent color, and rarely express delicately the complexity level outside the light. She depicts paradise is where the ideal scenery, there is a general simplicity of childrens paintings, and some scenery with the flavor of Chinese ink painting.  In general, Li Rongzhis painting is not universal, but coming from individuals within a particular aesthetic tastes and the pursuit of a special type. Li Rongzhis painting, gives us the type of the aesthetic feelings different from college painting, but also provides us with space for reflection. An important problem is, how to treat those differences between not well-trained simple painter and highly skilled college painter? From the perspective of visual culture, Li Rongzhi art, reflects the contradiction between a spontaneous observation ,description of human ways and College observation , describe way, restored a direct observation of the eye can see and the expression of Naive nature. These qualities and potential, are they sleeping in many peoples hearts and how we will go to wake it? What kind of value and effect it is in the development of contemporary art?

  -- The Ramble of Mr. Jin Yides Art Education and Creation

  (风度翩翩State of Qatar三十年记念

  (I) A Memory of Thirty Years

  那是壹玖柒柒年的夏末秋初,湖畔的蝉鸣还没有退尽,热稠稠的暑褥伴着新学期的惊诧,让学校漾着生机勃勃层令人心情浮荡的激情。新教室的门口,走来一个人先生,微笑地为大家上课。语调不高,浓厚的卢布尔雅那口音,从回忆派讲到后印象主义,从壁画的真相讲到线的呈现。这个剧情对于一班从无产阶级文化大革时局动隐患与零乱中走出来、情思中同期荡漾着读书问艺的来者勿拒与无产阶级文化大革命局动无政坛革命的不介怀余绪的妙龄,显得特别新鲜。那位名师正是金一德学生。那意气风发幕过去已近五十年,却依旧镌刻在本人的心扉。当大家在纪念中淘洗学术经历、从那边确认思谋和承袭的渊流之时,都会意识那生龙活虎幕叠映在激昂财富的深处。

  It was in the late summer and early autumn of 1979 when the cicada singing was not faded away at the lake bank, with the very strong summer heat, the campus was poppled with some exciting passion and accompanied with the curiosity of a new term. A teacher came to the door of our new classroom, and then he started his lecture with smiles. His sound of voice was not high, and in a very strong Shaoxing accent, he made a lecture from impressionism to postimpressionism and from the nature of line drawing to the representation of lines. For the youth of the whole class who came out from the disaster and chaos of the Cultural Revolution and who were filled with the enthusiasm for study and the loose sentiment left from the Cultural Revolution non-government revolution, such contents were particularly fresh. The teacher was right Mr. Jin Yide. Thirty years have been passed since that scene, but it is still engraved in my heart. When we wash off the academic experience from memories and from which we determine our thought and the lineage source, we can find this scene is overlaid in the deep spiritual resource.

  金一德老师是中华夏族民共和国美院壁画系的老教师。在她的随身,集中显示了这种尊重艺术语言修辞和理论思索的格调,这种品质是美术大学古板谱系中的主要承接。上述的那后生可畏幕,并不仅仅是过去难忘的想起,对于回想来说,她的含义更留意内部描述的某种学术的振奋,某种关于技术的可以预知与不可见的背景和系统的问询。这种精气神儿的问询精雕细琢,她源自于林风眠先生那一代人的以艺术拯救国民性的飞流直下八千尺的学识激情,源自于那之后一代代先师将绘画艺术正是职业来开展长久研讨的沉稳的顾名思义精气神儿。

  Mr. Jin Yide is an old professor of the Oil Painting Department China Academy of Fine Arts. What has intensively revealed on him is the quality that shows respect to artistic language rhetoric and the thinking on theories and that has been a significant lineage of the tradition of China Academy of Fine Arts. The said scene is not an unforgettable retrospect of the past only; as for the memory, furthermore, its significance lies in the spirit of some academy in the narration and the inquiry on the visible and invisible background and venation of some techniques. The inquiry of such spirit is of long standing, is originated from the surgent cultural passion to Rescue the national character by art from Mr. Lin Fengmian generation and originated from the dignified professional dedication that one and another generations of ancestors treated fine arts as an exclusive academy to have long-term research since then.

  60年份初,金先生在马上文化部起头的România专家博巴钻探望上班者中读书,后来又出任倪贻德先生的教师。在那个时候全国一统的苏派写实摄影的背景之下,博巴和倪贻德的画风都带着表现主义的接济,持续地付与金一德先生以深远的震慑。特别是他们以线为主的表现格局,穿越了阴暗法的观视形式,拆解了照相式的形制习于旧贯,直指事物本质的拆解解析和款式锤练的可能。那么些不仅仅宏大地加深了金先生对造型的守旧,同有时候又加之他黄金年代种来自视觉表明本身的解析精气神儿,进而在美术高校代代承袭的学风底子之上,重塑着某种建院之初就蔚然造成的、紧扣视觉本体的思忖性表现的特质。

  In early 1960s, Mr. Jin studied at the Romanian Expert Borba Research Class sponsored by Ministry of Culture then, and later he acted as an assistant teacher of Mr. Ni Yide. Under the background of the united Soviet partys realism painting nationwide, the styles of Borba and Ni Yide had the trend of expressionism which kept producing deep impacts on Mr. Jin Yide. Esp. their expression approach highlighted by lines has passes through the viewing manner of the gloom method, dismantled the sculpt habit of photo taking type and directly targets at the analysis on the nature of things and the possibility of shape hammering. All these have not only greatly deepened Mr. Jins ideas on sculpt, but have also endued him with a kind of spirit that is originated from the analysis on the visual senses expression of an object itself, and then furthermore, based on the academic style passed down by generations and generations in China Academy of Fine Arts, they re-shape some thought expression particularity that has become common since the early period the of academy establishment and that keeps to the thing-in-itself from visual sense.

  (二卡塔尔金一德的灯的亮光

  (II) The Lamplight of Jin Yide

  从1978年到1976年,金先生出任大家班的名师。从他的身上,大家浓烈地体会到了敏于思忖、关怀视觉本体难题的派头。1978年秋,全国第贰遍水墨画座谈会在美术高校召开,金先生作了对改革机制现行反革命油画教学的片段眼光的阐述,第一回向全国各艺术学校系统介绍了博巴的版画教学,引起非常大的关切。这种关切的熏陶如故涉嫌到全院的雕塑练习。在美术大学林立的摄影架旁,金先生他们当年的壁画小说照片成了供给的参照,成了那几个渴望走出明暗水墨画、举行最先的深入分析与表现探究的同室们的参照。

  Mr. Jin acted as the tutor for our class from 1979 to 1980. We have deeply sensed from him the temperament that is sensitive in thinking and that shows concern to the thing-in-itself from visual sense. In the autumn of 1979, the National Second Line Drawing Symposium was held at China Academy of Fine Arts at which Mr. Jin made a speech Some Opinions on Reforming The Existing Line Drawing Teaching, gave a systematic introduction of Borbas line drawing teaching to all art colleges nationwide for the first time and aroused great concern as a result; furthermore, the influences of such concern even spread to the line drawing exercise all over the academy. Mr. Jins line drawing works became a requisite reference beside the high-rise line drawing racks in the academy and became the reference for those students who yearned for walking out the light and shade line drawing, and made the earliest analysis and explorations on the expression.

  1977年孟夏,由金先生指引,大家前往甘南温岭的渤海镇写生。80年间初的石塘,朴实而漾着活力,石头垒成的屋宇贴着山崖,就像从石上生长出来,层层叠叠,浑然风流倜傥体。那完全的样子中有所后生可畏种原始的诗意。但此刻大家正陷在某种写实美术的色光摹拟手法之中,成天里躲在街角路口,重复着前人的现存的写生构图,却对近年来石塘的这种自由生发的结构性的诗意马耳东风。

  In the early summer of 1980, we went to Shitang Town, Wenling at eastern Zhejiang to draw from nature led by Mr. Jin. At that time, Shitang Town was unadorned but filled with vigor, houses built by stones were close to cliffs and they seemed to have grown out from stones, tier upon tier and formed a unified entity. There was a kind of natural poetic conception in the overall sculpt. Being restricted in some color tone imitation technique of realistic painting then, however, we just hid ourselves at street corners and road crossings all day, repeated the existing life drawing composition from ancestors, and just turned deaf ears to the naturally existing poetic conception that produced freely at Shitang.

  金先生看得清清楚楚,也未多说,带了大家出海,从海船上回望临海独立的石塘,用张望来唤起我们被现有的色光构图框住了的视觉心得,让我们从海天辽阔的视线中体会全部观视的主意。那件事后,我们又去了龙虎山。终南山岭从而伟拔,竟让大家手中现存的苏派写生方法束然无策。金先生又带着大家月上游峰,在夜色迷蒙中阅读山岭的完好诗意。金先生的意趣是要让大家从现存的西方写生方法中申明出去,用流行乐光卓然特立的韵味来展开大家团结互助的视觉。这晚上,金先生还同大家说起了潘天寿、黄宾虹等先生。在及时执着的西洋画求新的追索中,那些讲话只是轻飘舒缓大家心神一定的自律,大家并未有能够忽然直见中炎黄子孙民共和国景致的当然诗意。记得此时金先生画了两张油画速写,满山中灰,构着黑线,浑浑然借使石墙石壁,浓重得很。远处的瀑布,是从回忆中抓将而来,在即时,直让大家觉出新奇。

  Mr. Jin was well aware of this, but didnt say much; instead, he brought us to go to the sea, asked us to look back the soaring Shitang on the seagoing vessel, and awakened us the visual sense through the lookout that had been restricted by our existing color tone composition so as to make us sense the overall viewing method in the visual field of the vast sea and sky. After that, we also went to Yandang Mountain which is more soaring and made us at our wits end with the existing Su Party life drawing method. Then, Mr. Jin brought us to have sightseeing from peaks in the moonlight and appreciate the overall poetic conception of hills in the misty night view. His purpose was to relieve us from the existing western life drawing approaches and unseal our own visual sense with the particular style of Chinese landscape instead. That night, Mr. Jin mentioned painting masters Pan Tianshou and Huang Binhong etc. to us. When we persisted in the pursuit and exploration on western painting innovation, such of his words only relieved us slightly from the solidified restrictions in our heart, and actually we failed to suddenly get aware of the natural poetic conception existing in Chinas landscape. I remember that Mr. Jin had two pieces of oil life drawing which were covered by dark green mountains, outlined with black lines and looked integrated with intensive stone walls. While the distant waterfall in the painting seemed to be grasped from memories and just made us feel novel and astonishing.

  在我们的影像中,金先生向来皆以好学不倦,诲人不惓。大家上学上碰着怎么样问题,假设想博得激发,大都会去找他,他总能在您的主张中,寻找生机勃勃部分值得确定的东西。那个时候的第风姿洒脱专业室由王流秋先生挂帅,但主要的先生却是金先生和徐君萱先生。个中金先生最是超计生,日常用热语激赏学子的冲劲和独见。后来我们留在学园产生青少年教授,金先生特别日常与我们谈谈学术难点。同有时候,金先生又是油画系中笔头最为勤俭持家的教育工作者。他写倪贻德先生,写胡善馀先生,写林风眠先生,并把大家中标地带到了前辈的精气神儿世界中。从80年份到90年份末美术大学搬迁,金先生的工作室都在水墨画系三楼的小亭子间。亭子间有个平台,正对当下全校教学区与行政区的要冲。每一日夜幕,亭子间的电灯的光都亮着,逢年节也未中止。后来,大家把那坚宁死不屈的大器晚成幕称为金一德的电灯的光。那电灯的光照射着金先生教导有方的身材,也闪烁着高校代代继承的居敬守业的饱满。

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