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古玩城2021精品推荐第二期:何仁诰老师的作品《雪山飞瀑》《墨荷图》

字畏之、号老拙。中国美术家协会会员、湖南省美术家协会理事,国家一级美术师;中国书法家协会湖南会员;中南林业科技大学客座教授;九三学社中央画院画家;大风堂张大千国际艺术研究会实行会长;华夏城乡学问书画研究院常务副院长。曾就读于中央美术学院研究生班,清华大学美术学院美术理论高研班;北京凤凰岭书院二期书画学精英班;中国国家画院龙瑞、范扬导师工作室画家。

The word is afraid and the number is old and clumsy. Member of China Artists Association, director of Hunan Artists Association, national first-class artist; Hunan member of China Calligrapher Association; Visiting professor of Central South University of forestry science and technology; Painter of the central Painting Academy of the Jiusan Society; Zhang Daqian, executive president of the International Art Research Association; Executive vice president of Huaxia urban and rural culture calligraphy and Painting Research Institute. He studied in the graduate class of the Central Academy of fine arts and the advanced research class of art theory of the Academy of fine arts of Tsinghua University; Elite class of calligraphy and painting, phase II, FengHuangLing academy, Beijing; Long Rui, Fan Yang tutor studio painter of the National Academy of painting of China.

 

早年曾受业于宋文治、关山月、郭绍纲、曾晓浒诸先生。。多年来从事中国画的理论研究与实践。致力于历史与现代、东方与西方、民间与庙堂、学问纵横比较与思考。作品风格多变, 水墨写意、青绿重彩,均得心应手 ,追求正大阳刚,气势恢宏之气象,潜心于中国山水画表现的新形式.。

In his early years, he worked in Song Wenzhi, Guan Shanyue, Guo Shaogang and Zeng Xiaohu.. He has been engaged in the theoretical research and practice of Chinese painting for many years. It is committed to the vertical and horizontal comparison and thinking of history and modernity, East and West, folk and temples, and culture. The style of his works is changeable. He is comfortable with ink freehand brushwork and green and heavy color. He pursues the atmosphere of righteousness, masculinity and grandeur, and devotes himself to the new form of expression of Chinese landscape painting.

 

近年来, 取法乎上,在故纸堆中寻求传统中国画笔墨精髓及精神内涵。深研从宋、元、五代之古贤,尤崇元四家之王黄鹤、黄公望。明清之唐寅、仇英、文征明,龚半千、髡残、石涛、王原祁诸家。融南北宗,博采众长,厚积薄发, 作品时而恣肆放纵,时而书卷内敛。注重画外功的个人修为,读万卷书:以经史子集为圭臬,历日课读,手不释卷。趋步于技进乎道、大道至简之格调;行万里路:饱游沃览,澄怀味象、呼啸山林、烟云供养之状态。使画面呈现古拙朴素幽深之意境,蕴涵其儒家之厚重,道家之清虚,释家之空灵之大美。乃是业内公认颇具学术价值和创作实力的中国画艺术家。

In recent years, he has adopted the best method and sought the essence and spiritual connotation of traditional Chinese brush and ink in the pile of old papers. Deeply study the ancient sages of the song, yuan and Five Dynasties, especially Huang He and Huang Gongwang, the kings of the four families of the Yuan Dynasty. Tang Yin, Qiu Ying, Wen Zhengming, Gong banqian, Kun can, Shi Tao and Wang Yuanqi in the Ming and Qing Dynasties. It integrates the north and South sects, draws on the strengths of others, accumulates a lot, and works are sometimes wanton and indulgent, and sometimes introverted. Pay attention to the personal cultivation of painting external skills and read thousands of books: Based on the sub collection of classics and history, read in calendar classes without putting down the books. Step by step in the style of technology, road, Avenue and simplicity; Travel thousands of miles: full tour, fertile view, Chenghuai taste image, Wuthering mountain forest, smoke and cloud support. The painting presents an ancient, simple and profound artistic conception, which contains the massiness of Confucianism, the emptiness of Taoism and the great beauty of Buddhism. He is a recognized Chinese painting artist with considerable academic value and creative strength in the industry.

 

著述出版近一百多万字的艺术批评及学术研究文字。其中有《中国山水画色彩运用探微》、《溢墨泛彩没骨山水之经营》、《中国水墨画与玄学》、《论丹青精神》、《中国水墨写意与西画抽象的比较》、《戏说墨分五色》、《二十世纪末名存实亡的传统中国画》、《当今湖湘艺坛谁主沉浮?》诸文。作品多次入选全国、全省重要展览和赛事,艺事载入数十种籍典。作品被国际、国内学术权威机构如博物馆、美术馆等收藏。

He has written and published more than 1 million words of art criticism and academic research. Among them are the exploration of the color application of Chinese landscape painting, the management of ink spilling and color boneless landscape, Chinese ink painting and metaphysics, on the spirit of Danqing, the comparison between Chinese freehand brushwork and Western painting abstraction, joking that ink is divided into five colors, traditional Chinese painting that survived at the end of the 20th century, and who is in charge of the ups and downs of Huxiang art world today Zhu Wen. His works have been selected into national and provincial important exhibitions and competitions for many times, and art events have been recorded in dozens of books. His works have been collected by international and domestic academic authorities, such as museums and art galleries.

 

他的山水画具有深厚的学术传统,风格雄浑博大,意境高远宏壮。《秋水共长天一色》,色彩绚烂,具象和抽象之间,山峦·湖水,长天·云彩融于一体。《天籁》《弘道图》,以红色为主彩,层层叠高,具有宋代郭熙《林泉高致》中所说的“高远”之大境界,画面彰显宏壮的宇宙意识,给人以天风浪浪,海山苍苍之感。《壁立千仞》,用直线条画出边缘,似钢板错落排列,层层树立的平板一样的山体,辅以皴擦,壁立千丈,大块面几何性构成刚健的山体,创造出一种全新的山水画形式。《清气满太虚》,吸取四王皴法,融入龚贤,石涛的墨韵,创造出浑厚华滋,圆润清醇的山水图式。由此可见,何仁诰在传统和现代两极用力颇深。

His landscape painting has a profound academic tradition, vigorous and broad style, lofty and magnificent artistic conception《 The autumn water is a long sky with one color. The color is gorgeous. Between concrete and abstract, mountains, lakes and clouds are integrated《 The sound of nature and the painting of Hongdao are mainly colored in red and stacked high layer by layer, which has the great realm of "lofty" as mentioned in Guo Xi's "Lin Quan Gao Zhi" in the Song Dynasty. The picture shows the magnificent cosmic consciousness and gives people a sense of heaven, wind and waves, and the sea and mountains《 Standing on a thousand feet, the edge is drawn with straight lines, which is like a flat mountain set up by layers of steel plates, supplemented by Cun wipe, the wall stands thousands of feet, and the large surface geometry forms a strong mountain, creating a new form of landscape painting《 Qingqi fills Taixu ", which absorbs the four kings' texturing method and integrates the ink rhyme of Gong Xian and Shi Tao to create a rich, mellow and mellow landscape pattern. It can be seen that he rengao made great efforts at both the traditional and modern poles.

 

其长年不断的研习和创作,更使他能够对中国山水画理论和技法博观而约取,既汲取传统中的精华,又不拘泥于固有的程式和套路,在对传统学问的揣摩领会中,逐渐形成了独具一格的既古朴厚重又具有现代气息的山水画笔墨风格。

His constant learning and creation has enabled him to draw on the theories and techniques of China's landscape painting, drawing on the essence of tradition and not sticking to the inherent formula and routine. In the understanding of traditional culture, he gradually formed a unique style of landscape painting which is simple and thick and modern.

 

何仁诰的山水画令我感到震撼的是其背后呈现的生命格局。不论是画的江南,还是塞北,都有一种向死而生的精神旨归,都包含着充沛的生活气韵和活力。我比较喜欢具有穿透时空,也穿透表象,充满生命张力的艺术品。艺术在这个意义上与生命的气象直接相连,并且表现生命的大美与大气。中国画讲究气韵生动。我想这其中更多的是指向绘画所表达的天地万物生命的气象,气格和气量。何仁诰先生正是在这个层面进行绘画创作的,他的绘画是对生命气象的充沛表达。

What shocked me about he rengao's landscape painting was the life pattern behind it. Whether it is the south of the Yangtze River or the north of the Great Wall, there is a spiritual purpose of living to death, which contains abundant life charm and vitality. I prefer works of art that penetrate time and space, also penetrate the appearance and are full of life tension. In this sense, art is directly connected with the weather of life, and expresses the great beauty and atmosphere of life. Chinese painting stresses charm and vividness. I think this is more to point to the weather, Qi and volume of life of heaven and earth expressed by painting. It is at this level that Mr. He rengao carries out his painting creation. His painting is a full expression of life atmosphere.

 

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