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国际艺术风向标人物——世界艺术名家冯海江专题报道

来源：网络转载浏览：2022-02-23 15:23:23

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International Art weathervane -- special report of world famous artist Feng Haijiang

冯海江,现北京兰亭书画院名誉院长、中国国画院院士，国际孔子学院客座教授。当代书画家杰出贡献奖获得者，中国艺术界专业拔尖人才称号获得者，中国名人书画委员会委员，中国国际艺术家协会高级会员，水墨画入选国际水墨大赛，先贤杯全国书画大赛获银奖。2009年举办个人画展。2012年举办个人画展。作品荣载《走进艺术大师》，《中国最具收藏潜力书画作品》,<< 推动中国的领军人物>>,<<国际艺术大师>>,<<世界艺术典范>>,<<引领中国的时代骄子>>,<<百年中国书画史1840--2015>>等。2013年评为“国学文化进万家年度人物”。

Feng Haijiang is currently the honorary president of Beijing Lanting Academy of Painting and Calligraphy, academician of the Chinese Academy of Chinese Painting, and visiting professor at the International Confucius Institute. Winner of the Outstanding Contribution Award for Contemporary Calligraphers and Painters, winner of the title of professional top-notch talent in the Chinese art circle, member of the Chinese Celebrity Painting and Calligraphy Committee, senior member of the China International Artists Association, ink painting was selected for the International Ink Painting Competition, and the Sages Cup National Painting and Calligraphy Competition won the silver award. In 2009, he held a solo exhibition. Held a solo exhibition in 2012. His works have been included in "Entering the Master of Art", "China's Most Collectable Painting and Calligraphy Works", << Leading Figures in Promoting China>>, <<International Art Masters>>, <<World Art Model>>, <<Leading China The Pride of the Times>>, <<Hundred Years of Chinese Painting and Calligraphy History 1840--2015>>, etc. In 2013, he was awarded the "Annual Person of Chinese Culture and Culture".

冯海江作品以中国人物画居多（也执笔西画）,尤以塑造现代美人著称画坛,被誉为"一宝一绝"。冯海江的现代美人图内函具有一种批判性,对古典美人"小脚女人"内函的批判,对当代美人图那种硬设的"美丽"和迎合男人文化那种所谓的"文人美女图"的批判,还对低俗与高雅的"美女图"进行哲理的批判,显示了作品的强大生命力和携永意义,为妇女(美女)文化真实的现代性作出了不可或缺的贡献,为中国美人图文化走向世界提供了一种可能。由于作品色彩一反传统,画出色彩阳光感,表达了另一种中国画中的色彩宣言,由于中西结合的技法创新,人物形象的客观和写实塑造,使作品具有了一种流派的可能,在学术上有着典范作用和带有史学价值。“将中国传统绘画推进了一步, 输入新的生命血液”.冯海江的作品既可挂于雅堂与寻常人家用以品赏,也可作一种派别祖始的艺术收藏品。

Most of Feng Haijiang's works are Chinese figure paintings (also writing Western paintings), and he is especially known in the art circle for shaping modern beauties, and is known as "one treasure and one must-have". Feng Haijiang's modern beauty pictures have a kind of criticism, criticizing the classical beauty "small-footed woman" inner letter, the imposing "beauty" of contemporary beauty pictures and the so-called "literati beauty pictures" that cater to men's culture. He also criticized the vulgar and elegant "beauty pictures" philosophically, showing the strong vitality and eternal significance of the works, making an indispensable contribution to the true modernity of women's (beauty) culture, and for the Chinese beauty Figure culture to the world provides a possibility. Because the color of the work is unconventional, it draws a sense of color and sunshine, and expresses another kind of color declaration in Chinese painting. Due to the technical innovation of combining Chinese and Western, and the objective and realistic shaping of the characters, the work has the possibility of a genre. Academically, it has an exemplary role and has historical value. "Traditional Chinese painting has been advanced a step, and new life blood has been injected." Feng Haijiang's works can be hung in Yatang and ordinary people for appreciation, and can also be used as an art collection for the ancestors of a school.

有“世界第一大画家”之称的张大千先生说：“画家自身便是上帝，有创造万物的特权”，“一个艺术家最需要的，就是自由。”中国画人物画中，历来的传统是工笔和写意。“工”，一名“细笔”，指画法工细的画风，描绘形象精细入微，一丝不苟。“写意”，一名“粗笔”，指画法简率的画风，要求删繁就简，以精炼概括的笔墨来表现出对象的意态神韵。冯海江在中国人物画的探索中，在传统的基础上创新，创造性地将写实主义技术种植在中国画人物画精神上。精神上的写实成了他中国画人物画的发挥手段。所以他的中国画现代美人图不一定有标准的绝伦的面孔，乍看都是街上走过来的那种被泛口的美女。画这样的美女好象他有种使命感，那就是在艺术升华中求实。并不是女人都可以是美丽的，但那种精神上的情态只要是真的实在的，就是可以美人的。如西方文化中対漂亮和美丽理解是不同的，美丽是缷下外在的包裹的实在。只要实在了，怎么样态都是美的。那些虚拟的艺术升华的泛滥化的形式，在海江美人图这里好象都被海江的美人图的“白雪公主” 磁在周围，跳着小矮人的狂欢写意舞蹈，并在海江的艳丽的色彩照映下，舞蹈溶进了高潮，一个可能被艺术史学上典范化的高潮。

Mr. Zhang Daqian, known as "the world's largest painter", said: "The painter himself is God and has the privilege to create all things", "What an artist needs most is freedom." In Chinese figure painting, the traditional tradition is fine brushwork and freehand. "Gong", a "fine brush", refers to the fine-grained style of painting, the depiction of images is meticulous and meticulous. "Freehand brushwork", a term for "thick brush", refers to the style of painting with simplicity and simplicity. In the exploration of Chinese figure painting, Feng Haijiang innovated on the basis of tradition, and creatively planted the realism technique in the spirit of Chinese figure painting. Spiritual realism has become his means of exerting his Chinese figure painting. Therefore, his paintings of modern beauties in Chinese paintings do not necessarily have standard and unsurpassed faces. At first glance, they are all the kind of beauties who have been talked about on the street. Painting such beauties seems to have a sense of mission, which is to seek truth in the sublimation of art. Not all women can be beautiful, but as long as the mental state is real, it can be beautiful. For example, in Western culture, the understanding of beauty and beauty are different, and beauty is the reality of the outer package. As long as it's real, it's beautiful no matter what. Those virtual forms of artistic sublimation and flooding seem to be surrounded by the "Snow White" of Haijiang Beauty, dancing the carnival freehand dance of dwarfs, and taking pictures in the gorgeous colors of Haijiang. Under the screening, the dance dissolves into a climax, a climax that may be canonized in art historiography.

中国画的美人图的国家形象，从来都是以遥远的古风情怀向世界讲述，并以此为国粹。海江塑造的现代美人图的国家形象，关联的不再是沉鱼落雁，羞花闭月的风月，陡然从几百年的緾足女人跺跺情态跨进了张扬人性不藏的坦然，并以世界女人文化最先遣的步伐，诉说女人的中国形象。

这个形象可以看到现代性中的自我意识，可以看到被传统意识拖缠与现代意识的创立挣脫。

中国画美人图行列，都以滿足男人受用的心态着力宣染美貌和骄揉，是乎女人的美就是视力揉搓的快意，并以此框定美人图的惊鸿价值。海江的美人塑造，有的确有男人一样辉宏的雄性，在山顶上可以《会心一笑我为峰》。

海江的这种气派的中国画美人图，让中国画美人图有了更多的想象力和发展空间，招唤着中国精灵向世界试着迈步。

The national image of the beauty picture in Chinese painting has always been told to the world with a distant ancient style, and this is the quintessence of the country. The national image of the modern beauty map created by Haijiang is no longer related to sinking fish and falling geese, and the wind and moon of shameful flowers and closed months. It has suddenly stepped from the stomping and stomping attitude of a woman who has been stunned for hundreds of years to the calmness of publicizing human nature and not hiding it. The most pioneering step in culture tells the Chinese image of women.

In this image, we can see the self-consciousness in modernity, and we can see the entanglement of traditional consciousness and the creation of modern consciousness to break free.

The ranks of Chinese painting beauty pictures all satisfy the mentality of men's use and focus on promoting beauty and arrogance. It is because the beauty of women is the pleasure of rubbing eyesight, and this frames the stunning value of beauty pictures. Haijiang's beauties are shaped, and there are indeed men who are as brilliant as men. On the top of the mountain, you can "smile with me as a peak".

Haijiang's style of Chinese painting beauty pictures gives more imagination and development space for Chinese painting beauty pictures, and invites Chinese elves to try to step forward to the world.

我们的中国画人物画，从古到今基本上是屏蔽色彩的功用，限制色彩发挥向西画那样的多向度。所以开放改革至今中国画人物画色彩激烈的探索后仍始终步覆蹒跚，象林凤眠先生以突击队的精神牵领色彩在中国画人物画领域里打天下，致力于中西融合，可如今仍不能“茁壮成长”。所以我们感叹中国画人物画没色彩时，又不免有几幅艳丽作品没有让我们忘记“林凤眠式” 还存在。这种不死不活的状况在我看来是没有真汲取西式画的营养，我们的中国画有了些色彩，甚至象黄永玉先生的色彩都没有一个灵魂的东西，那就是色彩的阳光感缺失。冯海江的中国画现代美人图，在这一方面给了我们榜样性的典范，一种可以真正意义上的中国画色彩宣言。

同时，海江现代美人图的创新，穿越着或正在穿越西方的现代性，他的现代美人图超越东西方二元文化对立。在西式和中式的技法上另辟蹊径，走前人没有走过的路，在中国画上画着西画，中西结合没有刻板，也没有故意，一切都那么天然趣成出神入化，我们从那一张张不用线的脸上看到了造型的准确和高难度技法。海江以不同以往的绘画方法塑造着中国画人物画民族性格的新品质，世界着并民族着，构建了一个新的民族式样。这个式样具有中国画美术史价值的式样。

Our Chinese figure paintings have basically shielded the function of color from ancient times to the present, limiting the multi-dimensionality of color to the western painting. Therefore, since the opening and reform of the country, after the intense exploration of the color of Chinese figure painting, it is still staggering. As Mr. Lin Fengmian leads the color in the field of Chinese figure painting with the spirit of the commando, he is committed to the integration of Chinese and Western paintings, but he still cannot "grow vigorously." ". Therefore, when we lament the lack of color in Chinese figure paintings, there are inevitably a few gorgeous works that do not make us forget that the "Lin Fengmian style" still exists. In my opinion, this kind of immortality does not really absorb the nourishment of Western-style painting. Our Chinese painting has some color, even like Mr. Huang Yongyu's color, which does not have a soul, that is, the lack of sunshine in color. Feng Haijiang's painting of modern beauty in Chinese painting gives us an exemplary model in this respect, a kind of declaration of color in Chinese painting that can be truly meaningful.

At the same time, the innovation of Haijiang's modern beauty painting has passed through or is passing through the modernity of the West. His modern beauty painting transcends the dualistic cultural opposition between the East and the West. In the Western-style and Chinese-style techniques, we take a different approach, take the road that no one has gone before, and paint Western paintings on Chinese paintings. The combination of Chinese and Western is not rigid or intentional. Everything is so natural and interesting. His face saw the precise and difficult techniques of modeling. Haijiang used different painting methods to shape the new quality of the national character of Chinese figure painting. This style has the value of Chinese painting art history.

例如他创作的《长禽流云去无声会心一笑我为峰》这幅作品，画中的她支起柔软的脸庞，用柔软去想象世界崇高中的去无声中的我为峰。她笑着告诉我们，用不着屈原式的硬度，一切皆象长禽流云去无声一样怱怱走过，那正是我们。在人类中她们是另一式高度，她没有雄居天下那种山高我为峰，有着离我不道的天然之峰。

这正是女人的生命价值。一个没有被物化的美人，静静地向着我们形而上的微笑，现代美人不需要蒙拉丽莎，坐着笑着都不是固化凝神的规序，她嘴角没有神秘，轻轻地放口或许在明丽的空气中会大笑而歌，啊风啊，你轻轻地吹，云啊你慢慢地走。如此的神逸，又如此的清淡，一如儒一如道。

遥想有多少豪士登临山顶挺风而立，她不，她优雅的坐下，用自我意识和守望，用空灵的眼波说，我为峰是可以坐下坐下，也许这是另一种女性哲学。

海江在营造这些因素时，把笔墨语言都使用得不一般。一片云，一座山，都不使用传统皴、擦，为了使山厚重雄浑，有人取名说是“及时皴” 新技皴法。西式体量又中式创皴。最突出的是使用色彩来塑造山顶那种明丽如正阳而又凉爽的空气，红与兰的对比充分达到了这样的效果。如果色彩减弱就达不到这个空气的饱和度。题材的现代性表达，决定了皴法新创立和色彩的明艳。也突显了海江的独特自具风格，画风和气派均别有一番天地。

For example, in his work "Long Bird Flowing Clouds Go Silent, Smile I Am the Peak", in the painting she holds up a soft face, and uses her softness to imagine the sublime world in which the silent me is the peak. She smiled and told us that without the hardness of Qu Yuan's style, everything hurried past like a long bird's cloud going silently, and that was us. Among human beings, they are a different kind of height. She does not have the kind of mountain that is the highest in the world, and has a natural peak that is out of my way.

This is the value of a woman's life. A beauty who is not materialized quietly smiles at us metaphysically. Modern beauty does not need Mona Lisa. Sitting and laughing is not a fixed order. She has no mystery at the corners of her mouth. The air will laugh and sing, ah wind, you blow gently, cloud ah, you walk slowly. So pine, yet so light, just like Confucianism and Taoism.

Thinking back to how many Hours stood on the top of the mountain, she didn't, she sat down gracefully, with self-awareness and watch, with ethereal eyes, I said that for the peak, you can sit down, maybe this is another female philosophy.

When Haijiang created these factors, he used the language of brush and ink unusually. A cloud, a mountain, do not use the traditional chapping, rubbing, in order to make the mountain thick and powerful, some people named it "timely chapping" new techniques. Western-style body and Chinese-style scar. The most prominent is the use of color to shape the bright and cool air on the top of the mountain. The contrast of red and blue fully achieves this effect. If the color is weakened, the saturation of this air cannot be achieved. The modern expression of the subject matter determines the new creation of the slap and the bright colors. It also highlights the unique style of Haijiang, which is unique in style and style.

冯海江现受聘于北京京华兰亭书画院任名誉院长，任中国国画院院士，国际孔子学院客座教授，当代书画杰出贡献奖获得者，中国艺术界拨尖人才称号获得者，全国名人书画会委员，中国国际艺朮家协会高级会员。作品荣载《走进艺术大师》《中国最具收藏潜力书画作品》<<推动中国的领军人物>><<百年中国书画史1840__2015.>><<国际艺术大师>>。一九九二年作品《大自然的恩赐》入选加拿大多伦多枫叶奖国际水墨画大赛，先贤杯全国书画大赛获银奖。作品多有私人收藏。二00九年春节，与山水、花鸟画家杨瑞华举办母子画展，获得群众和业內人士高度评价，对冯海江的中国现代美人图，称“其艺术价值之高，称中国人物画的一绝和一宝”。

海江是前行者，后面涌动着路人。

Feng Haijiang is currently employed as honorary dean of Beijing Jinghua Lanting Painting and Calligraphy Academy, academician of Chinese Academy of Chinese Painting, visiting professor of International Confucius Institute, winner of Outstanding Contribution Award for Contemporary Painting and Calligraphy, winner of Top Talent in Chinese Art Circle, and member of National Celebrity Painting and Calligraphy Association , senior member of China International Artists Association. The works are listed in "Entering the Master of Art", "China's Most Collectable Painting and Calligraphy Works" <<The Leading Figure in Promoting China>><<Hundred Years of Chinese Painting and Calligraphy History 1840__2015.>><<International Art Master>>. In 1992, his work "Blessings of Nature" was selected for the Toronto Maple Leaf Award International Ink Painting Competition, and the Sages Cup National Painting and Calligraphy Competition won the Silver Award. Most of the works are in private collections. In the Spring Festival of 2009, he held a mother-son painting exhibition with Yang Ruihua, a landscape and flower-and-bird painter, which was highly praised by the masses and industry insiders. He said Feng Haijiang's portrait of modern Chinese beauties, "its artistic value is high, and it is called a unique and harmonious figure painting in China. A treasure".

Haijiang is the forerunner, and passers-by are surging behind.