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【评论】浅识绘画无意识状态下形成的义理

——记南海岩先生当下绘画艺术的小意

2015-08-06 15:58:46 来源:艺术家提供作者:李洪伟
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  南海岩先生是当代彩墨写实人物的开创者。他的绘画以彩墨写实写意为主,强化了视觉色彩的认识和笔墨语言,以一种独特的绘画语言方式响誉艺林。前些日子他创作了一幅《金色的原野》,在艺术界反响很大,但传来了阵阵唏嘘声,这种声音是疑惑?还是否定?抑或是惊叹?大概是各有不同。

  这幅作品整体色调以墨、金黄、红色为主,表现的是休憩、闲逸劳作的场面,前景是一个逗孩子玩耍的中年妇女,中景是老人接过母亲手中的婴儿,表现慈爱的情景,背景是丰收劳作的场面,整体创作内容以金秋时节劳动的场面为基础,表现社会仁爱、仁慈、闲逸、安静、祥和与祖国繁荣昌盛同在的大主题,此画面内容充盈、主题鲜明、对比强烈,画面和谐,让人感觉到了中国艺术语言一问一答的表现形式,其内容没有肢解任何片段,微微的型体变化反而增加了创作者的精神内涵和文学素养,超出了形之外的艺术语言意义。但有人认为画中的前景人物形象有些大了,与中景和远景不协调,让人感觉不舒服,这几个不同形象不应该出现在同一画面,由此我有几点看法:

  一点、海岩先生是写实人物画家,早在99年就已入选九届美展荣获铜奖了,这个型不准的问题在创作期间早就应该看出来,为什么他不提出这个问题?还踏踏实实去画呢?我想只有一点就是他把这幅作品当成创作了,在找寻一种新的形式美或新的绘画语言。

  二点、是因为他无意为之,天津美术学院的于小冬教授曾阐释过变形与形变的问题。他说“变形是有意为之,形变是无意为之。形变问题里的内容充满了感情色彩,只有在创作提升品质的时候才会形成”。海岩先生的作品就是形变的问题,是在无意识状态下形成的心灵迹象。

  三点、通篇作品气韵不减,整体协调、呼应有秩,实则精雕细琢,虚则惜墨如金,粗处大刀阔斧,细处密不透风,没有任何懈怠,是一幅精心创作的作品,符合南先生的人性人格。

  四点、激情创作是构成画家每幅画最基本的前提。驾驭的能力,创作的渴望,心性的追求,表现的纠结等等是决定艺术家的生命状态和创造态度的,但这种状态实现于画中可能是抽象的更不可能上升为规律,当情感在心里涌动时急于找到的是一种符合内心的表现形式,这种形式是受外界的真实映像,反射到心灵受到的某种同步的碰撞而形成的语言流露,归根结底是心灵与现实的碰撞,它带有随机性和不定性,是符合内心形式不可重复的一种绘画语言。

  海岩先生就是在这种情况下来面对画面的,此幅作品线条 神俊有力,展示出了南先生对书法的认识程度。作品中人物形象温和、慈善、宁静、自然,体现了南先生来源于生活高于生活“形而上”的美学理念,展示了南先生对大雅文化的一种心态,心存敬畏。有敬畏心才能去虔诚的创作,有至尊、沐浴、焚香、静坐的美学观念,最重要的是思想纯正,总之所有的文化积淀都能从画面中体现出来。“言为心声、书为心画”这是名理,孔子曰“《诗》三百,一言以蔽之,曰‘思无邪’”这是孔子在《论语》中评价《诗经》的一句话,这也可用来评价南先生的作品,他的绘画作品也是“无邪”,没有任何私心杂念,绘画内容传递给我们的是欢快的、祥和的、友爱的、和谐的、美好的,给人一种积极向上的力量,呼唤团结,呼唤生命,传递出了当下文化的一种正能量。

  明代的陈老莲,当代的石虎石齐,西方的毕加索、马蒂斯、雷诺阿、波洛克等,都是完成了一种形式美来符合自己的心性语言,我们能说他们不会画写实人物吗?不会把造型画准吗?不是,他们是在传递一种人性人格的心灵迹象,这是发自心底的声音,是精神世界的一种遨游,是超越造型之外的一种神思,所以好艺术是心性的表达,是无意识状态下形成的,是“独立之精神,自由之思想”(陈寅恪语)的放纵,是“道法自然,天人合一”的表白。

 

The Brief Talk on the Painting Theory When Under the State of Unconsciousness

The Theory of Nan Haiyan on the Contemporary art

  Nan Haiyan is the inaugurator of contemporary color ink of realistic figure. His painting is mainly about the reality and it emphasizes on visual power and the importance of brush and ink ,building his prestige by this unique method. Recently, he has painted The Gold Field which received a great number of echoes among artists, among which there are different of reactions, such as doubt, rejection and surprise.

  The work was painted mainly in ink, gold and red, showing us the easiness of farmer’s life. In the front, a middle- age woman is playing with a kid, behind them is an elder who is preparing to take the baby over the mother, which give us a sense of love. The background is based on the scene of harvest in the autumn. The painting is telling us some key elements, that is the love, kindness, silence and prosperity with the extraordinary skill in layout and contrast, which presents the special Chinese language of question and answer. Many people bear the doubt on the exaggerated figure in the foreground that the woman is too big compared with others in the painting. For this, I’d like to express my points of view:

  First, Nan Haiyan is a realistic artist who won the third prize of the 9th art exhibition in 1999. At that time, why the problems like this didn’t appear? I think he was painting in a routine way but now he would like to do creative works and seek a path to a new form of art and language.

  Second, he didn’t intend to do that. Mr. Yu Xiaodong, the professor of Tianjin Academy of Art has raised the problem of twist and transformation. They are two different concepts, the former is intended and the latter is unintended. The transformation is full of emotion and would happen when the painter’s work is being much improved. The works of Nan Haiyan has the characteristics of transformation which is the result of the unconsciousness.

  Third, there is no weakness in the painting, all the details, no matter small or big, are delicately arranged which constituted a harmony and orderliness. The works not only show the genius but also the characteristic of the painter.

  Forth, the eagerness for the innovation is the prerequisite of painting. There are some elements that decide the painting life and innovation of the painter, for example, the skills, and the eagerness for innovation, the sprite and the entanglement. However, these elements cannot be found easily it always transformed into abstracts form so that it could not be used as a rule. The emotion is so strong that it must find a way to transform into art language. But the way is not simple but the chemistry reaction between the heart and the reality, which is random and cannot be copied.

  Mr. Nan Haiyan just painting under this circumstance, therefore, the lines is full of power, which also shows his understanding of Chinese Calligraphy. The figures in this painting are kind, plain, silent and at their ease, which reveal the painter’s love and respect for the nature. Only the respect could drive people to explore the aesthetics, innovation and values. The saying the language and handwriting are the represents of our heart is totally right. The Confucius has said that the theme of Shi, the ancient Chinese books, is innocence. The word could also be used to describe the works of Nan Haiyan. In his painting, it conveys happiness, harmony, beauty, vibrancy and the spirit which could give us positive energy.

  Artists like Chen Laolian( Ming dynasty), Shi Hu, Shi Qi, Picasso, Matisse, Renoir and Pollock, express their art though the beauty of form. Could we summary that they could not paint realistic figures? Of course not, they are conveying a spirit, a voice from the bottom of the heart, a spiritual exploration, which is beyond the command of the form. Therefore, the extraordinary art is the expression of unconscious spirit.

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