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评张桂铭7

雅昌艺术网专稿 2010.10.25

  张桂铭花鸟画的出现,标志着中国绘画的现代性开始由幕后走向台前。他给当代美术评论带来了新的评述方式和难以摆脱的困惑,因为他的绘画断然拒绝了绘画的代表性,还原了绘画的本体精神,他的绘画在某种程度上就是他心灵世界里的一种美的迹象。中国传统的花鸟画是在托物言志的固有理念下走到今天的,花鸟画之所以得到大家的喜欢,在审美的境界里被看成最能体现人类性情的艺术,是因为它并不是具有独立品格的艺术,它的本体意义还没有得到确立。真正的艺术绝对不是某种工具,他和人类的任何活动都是可以相互参照的。绘画的现代意义是绘画本体美的精神体现。

                          ——康征

  The emergence of Zhang Guiming’s flower-bird painting marks the beginning of the modernity of Chinese paintings to step into the front stage from behind the scenes. He brings a new criticism method as well as a difficult to the current painting criticism, because his paintings definitely reject the representative of painting and restore the spirits of the paintings themselves. His painting to some extent reflects the beauty of his heart. Traditional Chinese flower-bird paintings come all the way to today with the concept of expressing the emotions through the objects. The reason why flower-bird paintings are loved by people is that it is viewed as the art that can most reflect human beings’ feelings in the aesthetic realm, and because it is a kind of art without independent character, that is the meaning of the image itself has not been defined. The real art is definitely not a tool, and it can become a cross-referencing of human activities. The modern significance of the painting is the embodiment of the beauty of the painting itself.

  古人云:“道法自然”。张桂铭将自己对自然的热爱和感受以最真实的面目在画面上表达出来,日渐贴近了心灵的自由和艺术的自由,亦接近了艺术创作的真谛。他用深厚的艺术素养和敏锐的艺术感觉将形象的变化与中国画用笔结合起来,在形色的自由之中始终恪守着中国绘画的基本精神。在人们强烈期待变化的在绘画界普遍的观望与期待的当下,他的艺术从某种程度上给了我们一种信心。

                         ——许宏泉

  The ancients said: “The essence is consistent with the nature.” Zhang Guiming earnestly expresses his love for nature in his paintings, gradually getting close to the freedom of heart and the freedom of art, also close to the true meaning of artistic creation. With his profound artistic accomplishment and keen sense of art, Zhang Guiming uses his pen to combine the changes of images with Chinese painting, and he always adheres to the fundamental spirit of Chinese paintings in color and shape. In the painting world today that is full of strong expectation of changes, Zhang Guiming’s art is giving us to some extent a kind of confidence.

  他的画,不论人物还是花鸟,不论大帧还是小幅,不论惨淡经营还是率尔立就,都由极其单纯简明的形式语言构成。几根或粗或细、或枯或涨、或断或续的墨线条,往往不见墨色的浓淡变化;几块或轻或重、或文或野、或聚或散的嵌宝色,往往只用简单的平涂方式;至于构思、构图上的正侧隐现、主从开合、虚实呼应等等通用手段,则更少为其所用,而往往以一种横向铺排、随意并置的装饰意味,建构自己似真似幻、诡谲奇瑰的特殊意境。舍弃常人所习用的中间语汇和过渡层次,将极为简约和互不关涉的不同级性因素置于一炉而加以升温,从平面中求空间,从荒率处求工整,从简洁处求强烈,从不完备、不近情理处求完整和情意理趣……

                         ——卢辅圣

  His paintings, whether of figures or flowers and birds, whether large or of small frame, whether takes his pains or produces very easily, all consists of very simple form of language, Several lines, either thick or thin, either dull or rising, either broken or continuing, we cant not see the changes of shades. A few pieces of mosaic colors, coarse or fine, together or diverse all use simple coloring. As for the design and plan, he prefers to adopt a horizontal molding and casual decoration, building his own and home decoration, construct his special poetic imagery real or fantastic. He gives up the conventional intermediate-level vocabulary and transition, and puts the simple elements not from the related levels together and then heats them up. He searches for space from the plane, seeks the neatness from frankness and rashness, intensiveness from simpleness, and also he seeks feelings and fun from uncompleteness and unreasonaleness……

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