国际艺术风向标人物——世界艺术名家方金炉专题报道

International Art weathervane -- special report of world famous artist Fang Jinlu

 

 

方金炉，1944年生，浙江金华人，1967年毕业于浙江大学，就职于北京某研究所。科学家，红学家，国画家。中国国学学会副主席，《艺术人物》杂志社荣誉社长，中国文人研究院名誉院长，中国数字艺术馆馆长，中国艺术百科艺术总监，日本艺术家协会荣誉会长，檀香山艺术学院名誉院长，比利时皇家艺术院终身院士，瑞典皇家画院外籍终身院士等。

Fang Jinlu, born in 1944, Zhejiang Jinhua, graduated from Zhejiang University in 1967 and worked in a research institute in Beijing. Scientist, red scholar, Chinese painter. Vice Chairman of China Sinology Society, Honorary President of "Art People" magazine, Honorary President of Chinese Academy of Literati, Curator of China Digital Art Museum, Artistic Director of Chinese Art Encyclopedia, Honorary President of Japan Artists Association, Honorary President of Honolulu Academy of Arts , Lifetime Academician of the Royal Academy of Arts of Belgium, Foreign Lifetime Academician of the Royal Swedish Academy of Painting, etc.

 

金辉孔翠、彩焕丹华、仙荷凌波、紫英垂照（144cm×367cm)作于2014年

Jinhui Kongcui, Caihuan Danhua, Xianhe Lingbo, Ziying Vertical Photo (144cm×367cm) in 2014

 

创作有大量中国花鸟画和山水画优秀作品，格正气清，儒雅文静，学术底蕴厚实，个人风格鲜明；笔墨功底扎实，时代气息浓郁，在继承传统的基础上大胆创新，成就卓越， 贡献突出，感染力和影响力强大。

He has created a large number of excellent works of Chinese flower and bird paintings and landscape paintings, with uprightness, elegance and quietness, solid academic background, and distinctive personal style; solid brushwork skills, strong flavor of the times, bold innovations on the basis of inheriting traditions, outstanding achievements, outstanding contributions, and infectious Power and influence are strong.

 

绿野春晖(129cm×248cm)作于2013年

Green Field Chunhui (129cm×248cm) made in 2013

 

出版有《当代名家画集-方金炉》、《中国当代绘画名家-方金炉画集》等个人画集十多种；入典《中国人物志》、《中华人物大典》、《文联艺术大家》、《艺术百年-新中国十大巅峰艺术家》、《传世经典、大师风范》等数十种。

Published more than ten kinds of personal painting collections such as "Famous Contemporary Paintings - Fang Jinlu" and "Famous Contemporary Chinese Paintings - Fang Jinlu Paintings"; Dozens of "Top Ten Artists of New China", "Classic Handed Down, Master Style" and so on.

 

凝祥丽天招锦羽、集瑞福地放丹华（70cm×180cm)作于2020年

Ningxiang Litian recruits Jinyu and gathers Ruifudi to release Danhua (70cm×180cm) in 2020

 

获“国家文化艺术奖”，“中国艺术终身成就奖”、“中国艺术特别成就奖”、“中国文学艺术界学术奖”、：“中国文化学者奖”、“亚洲文化艺术奖”、“人类文明贡献奖文化艺术类金奖”、“联合国和平勋章“、“世界艺术金皇冠奖”、“世界最高艺术小金人奖”、“世界最高艺术殿堂奖”等。

Won the "National Culture and Art Award", "Chinese Art Lifetime Achievement Award", "Chinese Art Special Achievement Award", "Chinese Literature and Art Circle Academic Award", "Chinese Culture Scholar Award", "Asian Culture and Art Award", "Humanity Civilization Contribution Award Culture and Art Gold Award", "United Nations Medal of Peace", "World Art Golden Crown Award", "World's Highest Artistic Little Golden Man Award", "World's Highest Art Hall Award", etc.

 

风格孤高傲尘外、烟波万里一江秋(136cm×68cm)作于2012年

The style is arrogant and arrogant outside the dust, the smoke waves thousands of miles and a river in autumn (136cm×68cm) made in 2012

 

享有“文化艺术学术博士”、“中国影响力人物”、“新中国文化的创造者和奠基人”、“中国当代十大文化学者”、“中国艺术十大巨头”、“国家形象大使”、“人类文明贡献人物”、“世界教科文杰出文化人物”、“联合国文艺宣传大使”、“联合国文化大使”、“世界十大影响力艺术家”、“世界杰出艺术家”等荣誉称号。

He has been awarded as "Academic Doctor of Culture and Art", "Chinese Influential Figure", "Creator and Founder of New Chinese Culture", "Top Ten Contemporary Chinese Cultural Scholars", "Top Ten Giants of Chinese Art", "National Image Ambassador", "Contributors to Human Civilization", "Outstanding Cultural Figures in World Education, Science and Culture", "UN Ambassador of Literature and Art", "UN Cultural Ambassador", "Top Ten Influential Artists in the World", "Outstanding Artists in the World" and other honorary titles.

 

 

 

云开雪峰出江澄水色清（97cm×268cm)作于2014年

Yunkai Xuefeng Out of Jiangcheng Water Color Clear (97cm×268cm) made in 2014

 

高原静湖景更美(68cm×136cm)作于2011年

Plateau quiet lake view is more beautiful (68cm×136cm) in 2011

 

江村幽境清和、溪山方其朗润（97cm×180cm)作于2019年

Jiangcun's secluded environment is peaceful, and Xishan Fangqilangrun (97cm×180cm) was created in 2019

 

芦花映月迷清影、江水含秋点素辉（97cm×180cm)作于2013年

Reed Flowers Reflecting the Moon, Fans of Qingying, and Autumn Spots in the River Water (97cm×180cm), made in 2013

 

江村清夏图（69cm×68cm)作于2011年

Jiangcun Qingxia Map (69cm×68cm) made in 2011

 

秋影（70cm×69cm)作于2015年

Autumn Shadow (70cm×69cm) made in 2015

 

生来骨格傲风烟、枝头灵鼠乐其间（68cm×68cm)作于2006年

Born to be arrogant and arrogant, while the spirit mouse on the branch is happy (68cm×68cm), made in 2006

 

江韵（68cm×68cm)作于2020年

Jiang Yun (68cm×68cm) made in 2020

 

快乐的家园（68cm×68cm)作于2020年

Happy Home (68cm×68cm) made in 2020

 

农皇惊味、汉帝异珍(138cm×70cm)作于2019年

Nong Huang Jingwei, Han Emperor Yizhen (138cm×70cm) made in 2019

 

一夜春雨后,翠色靓万山(138cm×69cm)作于2011年

After a night of spring rain, the beautiful green mountains (138cm×69cm) was painted in 2011

 

朱砂变相玉精神、月底衣裳舞太真（138cm×69cm)作于2008年

Cinnabar in disguise as jade spirit, Clothes Dance Taizhen at the end of the month (138cm×69cm) in 2008

 

绿云紫霞、珠璧交辉（138cm×70cm)作于2015年

Green Clouds, Purple Clouds, Pearls and Bis (138cm×70cm) made in 2015

 

枝蔓叶繁纷、嫣红姿不群；磐石托根发、身自致青云(138cm×69cm）作于2014年

The branches and vines are numerous, and the bright red appearance is not grouped; the rock supports the root hair, and the body creates the blue cloud (138cm×69cm) in 2014

 

十分春色（180cm×97cm）作于2013年

Very Spring (180cm×97cm) made in 2013

 

萌秋霜、傲冬雪、沐春雨、迎暑风、致有辉煌（180cm×97cm)作于2012年

Adorable Autumn Frost, Ao Dongxue, Mu Chunyu, Braving the Summer Wind, and Brilliant (180cm×97cm) made in 2012

 

灵妙清雅 色墨共生

尼玛泽仁

 

我和方金炉先生虽交往不长，但他的花鸟画给我留下了深刻的印象。

对于当代中国花鸟画的发展，方金炉可以称得上是一位卓有成效的探索者，并且是一位取得相当成就的艺术家。他的家乡江浙地区在中国花鸟画的发展史上，从宋代起，历经元、明、清，江浙一直是非常关键的地区，无论是古老的浙派，还是后来的金陵画派，一直到近代的吴昌硕等，都出现在这一地区。于是，这块得天独厚的土地汇聚了各种分散的流派和风格，储存了非常丰富的花鸟画资源。方金炉在其绘画探索中作出了可贵的贡献。他的成功表现在两方面：一方面，他不遗余力地展开了对绘画语言的研究、深入和纯化，并形成了自己独特的风格。他用色彩专注的还是用笔，以笔运色。这就不同于有些所谓的“创新”者，革了笔墨的命，只是用色“涂”，只是“敷”色。由此可以看出，他的画面上非凡的色彩气象与这种认识是相辅相成的。另一方面，他的作品中大气、干净，直指笔墨。他总是非常自觉地把对花鸟形色的感受转化成笔墨形态，这样他就具备了一位画家对于语汇自觉的优秀素质。如果没有这种自觉性，就谈不上是一位优秀的花鸟画家，也谈不上用笔来表达中国文化的精神和当代中国人的气质。

方金炉在研习绘画的历程中，他继承了那种从生活中获取生动艺术感受的优良传统，同时，他也从同辈画家中汲取了一些当代艺术思维，包括从一些当代艺术传媒中汲取合适的构成元素，更重要的是，他能用一个当代人的感受，通过笔墨的方式和中国绘画的认知方式和法度，去体现中国艺术的精神。借助笔墨，他用中国画的方法来整理杂乱无章的对象，形成了自己的艺术风格。在当代中国花鸟画中，像他这样能够全面以笔墨处理布局、处理对接受当代西方艺术以后的空间体量的感受，而又能够完全体现一个中国人的艺术感受，我见得还不多。毫无疑问，他的探索是成功的，他自觉的认识是更加难能可贵的。

一个画家有文气当然是重要的，但是更重要的是，一个画家需要发扬时代的绘画精神，是既要走向世界，又要发展中华民族的优秀文化。我们不能仅仅借助于学习西方的技术和艺术来走向世界，我们更应该把高妙的中国文化，通过我们自身的感受与认识，把它发展到一个当代的高水平上来，方金炉在这方面做出了重要的贡献，我祝他取得更大的成功。

2016年1月

 

Ingenious and elegant, color and ink coexist

Nima Zeren

Although my relationship with Mr. Fang Jinlu is not long, his flower and bird paintings have left a deep impression on me.

Fang Jinlu can be regarded as a fruitful explorer and an accomplished artist for the development of contemporary Chinese flower and bird painting. His hometown, Jiangsu and Zhejiang, has been a key area in the history of Chinese flower and bird painting since the Song Dynasty, through the Yuan, Ming, and Qing Dynasties. Whether it is the ancient Zhejiang school, or the later Jinling school, to the modern Wu Changshuo etc., all appear in this area. As a result, this unique land brings together various scattered schools and styles, and stores a very rich resource of flower and bird painting. Fang Jinlu made a valuable contribution in his exploration of painting. His success is manifested in two aspects: on the one hand, he spared no effort to study, deepen and purify the language of painting, and formed his own unique style. He still uses the pen to focus on color, and uses the pen to move the color. This is different from some so-called "innovators" who have changed the life of pen and ink, just "painting" with color, just "applying" color. From this, it can be seen that the extraordinary color weather in his pictures is complementary to this understanding. On the other hand, his works are atmospheric, clean, and straight to the pen and ink. He always consciously transformed his feelings about flowers and birds into the form of brush and ink, so that he has the excellent quality of being a painter conscious of vocabulary. Without this kind of self-awareness, there would be no way to be an excellent flower and bird painter, nor to use the pen to express the spirit of Chinese culture and the temperament of contemporary Chinese people.

During Fang Jinlu's study of painting, he inherited the fine tradition of obtaining vivid artistic feelings from life. At the same time, he also learned some contemporary artistic thinking from the painters of the same generation, including the appropriate composition from some contemporary art media. Elements, and more importantly, he can use the feelings of a contemporary person to reflect the spirit of Chinese art through the way of brush and ink and the cognitive methods and methods of Chinese painting. With the help of pen and ink, he used the method of Chinese painting to organize the disorganized objects and formed his own artistic style. In contemporary Chinese flower-and-bird paintings, I have not seen many people who can comprehensively handle the layout with brush and ink, handle the feeling of the space after accepting contemporary Western art, and fully reflect the artistic feeling of a Chinese person. There is no doubt that his exploration was successful, and his conscious understanding is even more valuable.

Of course, it is important for a painter to be literate, but more importantly, a painter needs to carry forward the painting spirit of the times, not only to go to the world, but also to develop the excellent culture of the Chinese nation. We can't go to the world only by learning Western technology and art, we should develop the wonderful Chinese culture to a contemporary high level through our own feelings and understanding. Important contribution and I wish him even greater success.

January 2016