2002年始，大壶从抽象绘画的高峰回归文人画创作，这是他深思熟虑之后的决定，他对文人画的创作现状表示忧虑，他觉得有责任为文人画在当代语境中的地位与作为做些事，这些真知灼见可以从他《文汇报》的专栏文章中可以看到。他的文人画作品有着浓厚的传统气息与强烈的现代意识。水晕墨章、骨法用笔、得之象外等等，传统国画所有的笔墨法度、气韵精神在他的画中都有，但绝不是那种一成不变、墨守成规的有。大壶的文人画之所以有一种不可多得的独特面貌，在于他用现代抽象绘画的研究和创作中所获得的观念与技术大跨度地发展了、创新了它们。——徐建融（上海大学美术学院教授，美术批评家）

Since 2002, Da Hu returned to literati painting creation from its abstract painting peak period, it was his thoughtful decision, he expressed concern of Chinese literati painting creation status, he was obligated to make action for the literati paintings in the contemporary context and status, his insights can be seen in his column which reported in “ Wen Hui Newspaper" . His painting appears a deep literary tradition with a strong modern consciousness. The traditional Chinese painting quality can be found in his artwork such as the ink-wash painting essence and techniques, the strength of ‘Bone’ style brushwork, the spirit and atmosphere. His painting is s not that kind of rigid, legalistic which beyond conventional method etc. Da Hu’s Literati paintings have a rare unique appearance, he innovated and developed his paintings with the ideas and techniques from the modern abstract painting research.

——Xu Jianrong(Professor of Fine Arts College of Shanghai University, Art Critic)

 

大壶以写随笔式美术评论闻名于国内艺术圈，还有着挥之不去的文学情结。二十岁左右时写过诗，写过小说，编过报纸，现在依然保持日日看书作文的习惯，整个是一种文人的状态。所以，他所绘之画与所作之文，均是有感而发，流露出的是真情实感。人们说的笔墨法度，在大壶的作品中都有。但并不墨守成规，而是有着一种自己对传统的见解。   ——张桂铭（画家，原刘海粟美术馆馆长）

Da Hu is well-known for his essay-style art critiques in China art society, with his literature hobby. He’s written poems and novels, edited newspapers, and still maintaining the habit of daily reading and writing, he is an indeed literati. Therefore, what he painted, what he written is emotional with his true feeling expression. The traditional water ink painting essence and traditional literati painting spirit is in his artworks but not rigid, he has his own insight on the tradition.

——Zhang Guiming （Artist, The former curator of Liu Haishu Art Museum）

 

 

 

大壶的中国画作品不同于通常形式的中国画，既与当代环境契合，又充分发挥了水墨的韵味。——王劼音（艺术家）

Da Hu’s Chinese painting is different from the Chinese painting usual formality, it fits the contemporary environment, either expressing the charm of water ink.

——Wang Jieyin (Artist)

 

大壶可以说是当代中国水墨画界的一个现象，他在宣纸上以线条和色彩取胜的文人画作品有效地沟通了中西方艺术语言。他还是一位有着强烈使命感的艺术家，在作画之余撰写大量杂文和评论，笔锋犀利通达，是他学术观点的实践和延续。这种当代意识与他在20世纪八九十年代研究西方近现代绘画的经历密切相关。再次回到文人画之后，对西方哲学和艺术观念的扬弃与借鉴，使他的文人画作品焕发出一种当代品质。他没有将回归停留在具象的图式层面，而是直逼传统背后深厚的哲学意蕴，从失落的东方精神中，寻找与自我心灵的契合点。重返传统的价值在于对自己身份的重新认可，使他的作品处处透露出东方文化的气质，总能感受到一股儒雅的文人情怀。大壶从看似已经不合时宜的传统水墨中挖掘出属于自己的图式，致力于文人画当代性的探索，这正是21世纪文人画变革的切入点。  ——潘力 （上海大学美术学院教授，评论家）

Da Hu can be a phenomenon of contemporary Chinese ink painting field, his literati painting features with lines sketch and water colors on rice paper which communicate effectively with Western art. He is also an artist with a strong sense of duty, apart from his art work, he is also a very productive essay writer and art critics, his view is sharp and  understandable which is a practice and continuation of his academic view. This is due to his academic study experience on contemporary and modern Western painting in the 1980s and 1990s. he returned to literati painting study after the western academic study, the Western philosophy and the concept of western art has enriched to his literati paintings with contemporary quality. He didn’t return to stay in the figurative schema level, but further exploration to the deep philosophical implication which beneath the tradition, he’s searching his spiritual root from the lost oriental spirit. Return to the traditional values ​​which is the re-approval to his identity, his works reveals Oriental culture and grace which reflected the soul of literati. The traditional ink paintings seemly outdated but Da Hu excavated it refined to his own, he is dedicated to the exploration of contemporary literati painting, which is the starting point for the innovation of literati painting in the 21st century.

——Pan Li(Professor of Fine Arts College of Shanghai University, Critic)

 

大壶先生的作品不拘泥一山一水，一草一木的刻实描写，而是注重文化内涵的诗意发阐，真情实感的自然流露。

——万峻池（海派美术馆馆长，著名收藏家）

Mr. Da Hu’s artwork is not rigidly stick to the solid description of a mountain, water, plants and trees, but rather focus on the poetic illustrates of the cultural connotation, the natural expression of true feelings.

——Wan Junchi (Curator of Haipai Museum, Art Collector)

 

大壶的作品出自古法却又不拘泥于古法，题材虽以传统体裁为内容，但画面却明显的透露出了一种与众不同的个人特征与现代气息，这种个人特征与现代气息就是既敬慕于传统又完全彰显个人性情，以及融汇当下开放时代艺术气息的感受。这与他九十年代以来对当代国际绘画的研习是分不开的，当代绘画的视觉经验，力度气场正在被他有效地植入到文人画里来。——吴晨荣（东华大学教授，学者）

Da Hu’s artworks succeed traditional painting but not rigidly adhere to the traditional method, although his paintings mainly is the traditional genre of content, but his painting obviously revealed a distinctive personal characteristics and modern atmosphere which is the worship to the tradition either highlights his personal character, and integrate the feeling of contemporary art in the open era. It is inseparable from his study and practice of contemporary international painting in 90s, the visual experience of contemporary painting, the strength and the spirit is being effectively implanted into his literati painting.

——Wu Chenrong （ Professor of Dong Hua University, Scholar）

 

大壶先生是一个深悟书画之道，善以笔墨营造意境、表达情感的杰出艺术家，作品可简括八字：清静幽远，禅机无限。
其文人画作品笔墨轻松自然，一勾一画一点一线均似在有意无意之间，苍茫中透出灵动。他用墨淡雅沉着，用笔干练精到，以勾、点、渍、抺为主，含骨于内，无刀斫斧劈之痕，点、线、面的组合中注重观赏者的视觉差异和自动补偿功能，故而创作出的所有景物、人物与内容均呈现一派清静幽远气象，意趣平淡隽永，气息高古典雅，简约中深寓浑厚，洒脱中凝聚质朴，稚拙中显现灵秀，意境寂寂而杳远，可体味而难以言传矣。 ——葛本山（美术批评家）

Da Hu is a distinguished artist with deep insight on literati painting, he’s good at create the artistic conception and imagery and express emotion with brush and ink, his artwork described as: graceful, secluded，unlimited enlightenment of Buddhism.

     His literati painting expressed naturally, one stroke, one draw, one dot, one line were intentionally revealing the intelligent movement in the vast universe naturally. His artwork is elegant and graceful with subtlety and sophisticated brush writing skill which mainly on strokes, dots, stains, sweeping movements, which contains the strength, but no stiff marks remains, the visual integration with the dot, the line, the surface has been considered of the viewer's visual differences and visual compensation, the scenes, the characters and the contents of his paintings are vivaciously exude serene and timeless charming with classical elegance sense, pleasingly simple but allegoric, philosophical but unsophisticated, unadorned original with delicately graceful imagery. Its beauty is only to be appreciated but unspeakable.

 

直到看到了大壶的文人画，顿然感觉中国文人画的真正创新已经蠢蠢欲动，而一阵心喜。大壶的作品与苏轼的绘画理论相得益彰，更可贵的是他的东西较之古人更多了一份活泼与生动，这是文人画里前所未有的突破，单单就这么一点或许是很多人几辈子都无法超越了的。他的书法与画里的笔触完美的融合在了一起，那种特有的散点乱衬法不管在他的山水里，还是花草里，无疑是生机昂然的象征，有种不死精神充实着画面，团结起了画面里的气场，看似跳跃了的干，湿，浓，淡之间又不乏缺少老道的粗犷与拙笨，正像是傅山先生所说的宁拙毋巧，宁丑毋媚了。——湛然（艺术家）

Until I watched Da Hu’s literati paintings, I was pleasant and burst with the perspective that innovation of Chinese literati painting was already in place, The artworks of Da Hu is benefit associating to Su Shi, the more valuable point is his artworks more lively and vivid compares with ancients, this is an unprecedented breakthrough among the Chinese literati painting, that maybe no one could beyond him. His calligraphy and painting strokes perfect blend together, that unique scatter lining feature in the landscape painting is no doubt an exuberant symbolization, a kind of immortal spiritual enrichment of the visual appearance in unity. A vivid dry or wet, thick or light inks painted seems roughly and clumsy but indeed sophisticated, just as Mr. Fu Shan said rather clumsy but not cunning, rather original/real but not flattering.

——Zhan Ran （Artist）

作者：艺术家自助官网