藝術(shù)中國(guó)2021關(guān)注
2021-06-01 23:54大圖模式
「藝術(shù)中國(guó)」從心所欲、兔起鶻落——魏廣君畫(huà)竹暨篆刻作品品鑒
大圖模式翰墨中國(guó)2018
發(fā)布時(shí)間: 05-0717:17
大圖模式「藝術(shù)中國(guó)」
從心所欲、兔起鶻落——魏廣君畫(huà)竹暨篆刻作品品鑒"Art China" From the Heart, Rabbits and Flies-Appreciation of Wei Guangjun's Painting Bamboo and Seal Cutting Works
大圖模式魏廣君 ▏Wei Guangjun1964年生，河南信陽(yáng)人?，F(xiàn)為中國(guó)國(guó)家畫(huà)院書(shū)法篆刻所所長(zhǎng)、一級(jí)美術(shù)師，中國(guó)藝術(shù)研究院文學(xué)藝術(shù)創(chuàng)作院研究員，中國(guó)美術(shù)家協(xié)會(huì)會(huì)員，中國(guó)書(shū)法家協(xié)會(huì)會(huì)員。Wei Guangjun ▏Wei GuangjunBorn in 1964, from Xinyang, Henan. He is currently the director of the Calligraphy and Seal Cutting Institute of the National Academy of Painting, a first-class artist, a researcher at the Chinese Academy of Art, a member of the Chinese Artists Association, and a member of the Chinese Calligraphers Association.
大圖模式竹，自古以來(lái)受到了異乎尋常的特殊禮遇。在文人士大夫心目中，竹內(nèi)外具美，而且能與自己所追求的儒家道德比況。大約九、十世紀(jì)間，文人們開(kāi)始以墨竹來(lái)托物寓興，寄托情思，既表達(dá)自己的一些曲隱的思想，也使欣賞竹顯得十分容易。人們可以在自己的書(shū)齋裏也能欣賞到竹子的爽爽英姿，提供了一條極為便捷的途徑，可以不受時(shí)空的限制，較為自由地實(shí)現(xiàn)竹的存在價(jià)值。於是，文人們?cè)谥竦挠^賞上所開(kāi)掘出來(lái)的文化價(jià)值，已經(jīng)很廣泛地為中國(guó)社會(huì)所接受了。Bamboo has received an unusual and special courtesy since ancient times. In the minds of literati and doctors, bamboo is beautiful inside and outside, and can be compared with the Confucian morality he pursued. Around the ninth and tenth centuries, literati began to use ink bamboo to enshrine objects and sentiments, not only expressing some of their thoughts, but also making it very easy to appreciate bamboo. People can also appreciate the refreshing and heroic appearance of bamboo in their study, which provides an extremely convenient way to realize the value of bamboo freely without being restricted by time and space. As a result, the cultural value discovered by the literati in viewing bamboo has been widely accepted by Chinese society.
北宋文同對(duì)自己以墨畫(huà)竹的技藝十分得意，自視甚高，建有“墨君堂”，為後世畫(huà)竹提供了一個(gè)粉本和精神的楷模。元代，墨竹成了文人抒情達(dá)性的媒介，倪瓚一語(yǔ)中的：“余之竹聊以寫(xiě)胸中逸氣耳，豈復(fù)較其似與非，葉之繁與疏、枝之斜與直哉?；驂T抹久之，它人視以為麻為蘆，仆亦不能強(qiáng)辯為竹，者沒(méi)奈覽者何，但不知以中視為何物耳?！鼻宕嵺齐?yún)：“終日作字作畫(huà)，不得休息，便要罵人；三日不動(dòng)筆，又想一幅紙來(lái)，以舒其沈悶之氣，此亦吾曹之賤相也。”鄭燮以自嘲的口吻道出了文人花鳥(niǎo)畫(huà)的真諦，逸筆草草，以舒“沈悶之氣”，才是真感情、真藝術(shù)。因此其中的深刻內(nèi)涵，也只有惺惺相惜的文人知己才能領(lǐng)略其“妙處”，而今魏廣君與之產(chǎn)生了共鳴。In the Northern Song Dynasty, Wentong was very proud of his skill in painting bamboo with ink and regarded himself very high. He built the "Mojun Hall", which provided a model and spiritual model for later generations to paint bamboo. In the Yuan Dynasty, Mozhu became a lyrical medium for literati. In Ni Zan’s words: "Yu Zhizhu talked about the eccentricity of the chest and the ears. How could it be compared to the likes and the wrongs. The leaves are complex and sparse, and the branches are oblique. And Naozai. Or if it is smeared for a long time, people regard hemp as reeds, and servants cannot argue that it is bamboo. Those who have no choice but to see what ears are.” Zheng Xieyun of the Qing Dynasty: “It’s not allowed to write and paint all day long. When you rest, you have to curse; you don’t write for three days, and you want a piece of paper to soothe its dullness. This is also the cheapness of Cao." Zheng Xie expressed the true meaning of literati flower and bird painting in a self-deprecating tone. It is true feelings and true art to relax the "dullness" with leisurely brushwork. Therefore, the profound connotation can only be appreciated by the confidant of literati who can appreciate its "wonderfulness", and now Wei Guangjun resonates with it.
然，畫(huà)竹難，畫(huà)墨竹更難！墨竹畫(huà)，要求畫(huà)家對(duì)於每一竿竹及每片葉子都必須有清楚的交待，從近景的深色葉到遠(yuǎn)景的淡色葉皆需要清楚的描繪，幹與葉的平衡、虛與實(shí)之間的關(guān)系都以明確的筆法交待，除了這些技術(shù)問(wèn)題外，還必須了解竹的生長(zhǎng)過(guò)程，以表現(xiàn)出竹所獨(dú)具的那種旺盛的堅(jiān)韌不屈的生命力。因此，要畫(huà)出一幅好的墨竹畫(huà)，畫(huà)家必須同時(shí)具備高超的技巧與修養(yǎng)才能完成。文人畫(huà)興起後，墨竹畫(huà)被廣泛地用於“書(shū)畫(huà)同源”之實(shí)踐，尤其是竹子光滑優(yōu)雅的主幹與像劍一樣的竹葉最適合畫(huà)家墨筆的揮毫，畫(huà)竹重要的是能感到非常接近於書(shū)法的藝術(shù)境界。顯然，這便是墨竹畫(huà)發(fā)展的技術(shù)支撐。It is true that painting bamboo is difficult, and painting ink bamboo is even more difficult! Ink bamboo painting requires the artist to have a clear explanation for each bamboo and each leaf. From the dark leaves in the close range to the light-colored leaves in the distant view, they all need to be clearly depicted. The balance between stem and leaf, and the relationship between virtual and real The relationship is explained in a clear brushwork. In addition to these technical issues, it is also necessary to understand the growth process of bamboo to show the strong and unyielding vitality unique to bamboo. Therefore, in order to draw a good ink bamboo painting, the artist must have both superb skills and accomplishment. After the rise of literati painting, ink bamboo painting was widely used in the practice of "calligraphy and calligraphy from the same source", especially the smooth and elegant bamboo stem and sword-like bamboo leaves are most suitable for the painter's brush strokes. The important thing about painting bamboo is to feel Very close to the artistic realm of calligraphy. Obviously, this is the technical support for the development of ink bamboo painting.
以書(shū)法的技巧作畫(huà)是文人畫(huà)的基本原理之一，其中尤以墨竹的畫(huà)法與書(shū)法技巧最為接近?！缎彤?huà)譜》卷二十“墨竹敘論”曰：繪事之求形似，舍丹青朱黃鉛粉則失之，是豈知畫(huà)之貴乎有筆，不在夫丹青朱黃鉛粉之工也。故有以淡墨揮掃，整整斜斜，不專(zhuān)於形似而獨(dú)得於象外者，往往不出於畫(huà)史而多出於詞人墨卿之所作，蓋胸中所得，固已吞雲(yún)夢(mèng)之八九，而文章翰墨形容所不逮，故一寄於毫楮，則拂雲(yún)而高寒，傲雪而玉立，與夫招月吟風(fēng)之狀，雖執(zhí)熱，使人亟挾纊也。Painting with the technique of calligraphy is one of the basic principles of literati painting. Among them, the painting technique of Mozhu is the closest to the technique of calligraphy. "Xuanhe Picture
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