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亚洲书画界十大新闻人物——何晓虎
来源: | 作者:pmt70da0b | 发布时间: 2024-06-14 | 91 次浏览 | 分享到:

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何晓虎,1970年生于四川省自贡市,自幼习画, 1989 年考入中央工艺美术学院(现清华大学美术学院),师从名家,在校期间,多幅作品获学院收藏, 1993 年毕业获学士学位,1997年获得壁画研究生同等学位。现为中国艺术研究院研究生院博士生导师,美国The ART door基金签约画家,中国美协会员,中国书画研究院常务副院长,四川省博物院特聘画家,中国对外文化艺术交流协会理事,香港国际画院常务理事、客座教授,一级美术师,世界华人艺术家协会山水分会主任,中华诗词协会理事,中国国学研究会理事,中华国学文化艺术大使,清华大学美术学院客座教授,中央美术学院客座教授,四川美术学院客座教授,北京工业大学客座教授。在中国当代彩墨画和水墨画领域深有建树,创新和发展了中国传统泼墨泼彩和工笔画的优点,结合当代元素及西方油画光影色彩独创出艳丽、明快融冠中西的彩墨荷花和山水画系列作品,被喻为自黄永玉、袁运甫两位大师之后又一位“彩墨荷花之王”。独立绘制完成多项大型政府工程,数十幅作品被国内外美术馆、基金会和政府机构收藏。



 

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论当代水墨图式的演变与程式


当代艺术作品的产生受到艺术家生活的时代和工作环境的影响,艺术家在进行创作时会将自己的生活和工作经历融入到自己的艺术作品中,这就是艺术来源于生活而又高于生活的原因。艺术创作并非孤立的,他是艺术家情感和生活以及对当代社会的情绪表达。


水墨作为一种中国文化的隐喻或象征,其价值体系在于它提供了一套对世界的认知理念及其相对应的笔墨程式。



 

就当代传播形式而言,图形比语言更直觉更生动和更容易产生强烈的记忆。在全球化的今天,时间与空间比过去任何一个时代都来得更加的迅速与复杂。然而,一个成熟的艺术作品所具有的当代属性则会在它存在的时代中独具特性,傲然于众,获得自己的价值。就每一个成功的艺术家而言,你仔细研究,他的艺术表达语言技法和作品题材非常具有图形的个性——我们称之为辨识度。这就是每个艺术家毕生追求的方向。


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水墨作为中国文化强大母体之单元,它是由生存在这片土地上多民族的“和而不同”的多元文化基因孕育而成的国家形象,而不是简单同构在血缘基础上的纯粹图腾。水墨语言图式是一个在漫长的历史、经济、社会、政治、宗教、民俗心理所积淀下来的精神贵族。自唐宋以来,历朝历代均会出现跨越历史,照亮星程的大艺术家。水墨是中国文化记忆的最精彩的载体之一,到明清时代又是一个水墨艺术的高峰。我正是在反复阅读历史的基础上,偶然发现了明代大画家陈洪绶所画的太湖石与荷花的图式,我经过大量的对比研究,灵光一现,新的创作图式出现了。结合我已经连续创作了十几年的彩墨荷花,我的《太湖石与荷花》系列诞生了。


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 太湖石系列作品,是源于唐高宗末年,683年-690年武则天作为唐中宗、唐睿宗的皇太后临朝称制,后自立为武周皇帝(690年-705年),民间传说武则天欲改朝换代,文武大臣皆不服,说要女人当皇帝,除非石头开花,恰好当时有人向朝庭报告,在太湖发现有荷花从石洞中穿出开花,这是千年不遇的吉兆。又应念了文武大臣的谚语,武则天遂就改朝换代,建立大周,自有史以来古今第一女皇帝。从此太湖石就更加成为一种文人士大夫和贵族的文赏之物,备加推崇,一至到今天。《水浒传》就是由太湖石引出来的故事。我从这个典故中发掘出太湖石系列,将这千年一遇的吉兆用图像表现出来。让大家感受到艺术的魅力。画面工笔和写意相接合,传统和当代的对比,给人强烈的视觉冲击力,观后令人赏心悦目,回味无穷。这就是当代的水墨语言创作出的水墨图式。



 

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当代水墨作为一种在新语境下的知识体系,它的传播是在西方文化语境的差异化中显现的东方神韵,这是一个延续千年的文脉。 中国水墨的存在决定于它有一个传承有序的完美的产业链,其纸、笔、墨、砚、金石刻印之独特物语,呈现出了水墨文化的永恒力量。只有心灵的真实,才是水墨的真实。我曾经用水墨创作山水、人物、花鸟各类题材绵延三十多年,作品不计其数。然而透过时间和空间的转换,最终在人类艺术长河中存在的就是——《太湖石与荷花》。


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西方的未来主义者们主张艺术是抛弃传统的前卫。而东方的当代水墨注重的却是从传统中走来并超越自我。水墨尚道,书画同源。当代水墨要向纵深发展,须得以书法功底为基石提升笔墨表现的力度,水墨是修炼的艺术。


当代水墨以东方人特有的思维模式为起点,使我们通过水墨得以理性与冥想,并使人成为全面发展的人,从而找寻人与自然的新的和谐,表现出禅意之景,我自幼练习书法,在最近几年的创作中将书法《金刚经》与太湖石荷花系列融为一体,创作出充满禅意画境的新系列,将最当代的水墨语言表达出了最传统笔墨的意趣,所以水墨语言是无敌的,禅境为家让当代水墨有了回家的路。


以直觉观照的沉思,在水墨的凝练与含蓄中体验人生,表现与自悟,打破山水画、人物画、花鸟画、中画、西画的界限,同构具象与抽象的视觉语言,贯之以时代精神之气场,使自我精神的独立表达成为一种可能,水墨虽已发展千年,而却在各个时代都会出现高峰,我们都想成为那几个站上峰顶的人并为之而献上毕生的努力。


今天,当代水墨重意轻技的迷茫在于对书法精神的非解而妄用,当代的艺术家要更加深入的研习书法方可得到时代得垂青。中国水墨是世界上独一无二的艺术。然而,水墨的演化却是人与自我意识个性发展的演变。


今天,当代水墨对宇宙时空的构建,突破视觉领域对抽象、动感、透明、凹凸、漂移、黑与白、色与光、爆裂与收敛等元素,让艺术与心灵对话,通过更加广泛的大众媒体而传播。



 

人类的文化终将被科技的发展而同构。生命有限,而唯有艺术可以永恒。


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 He Xiaohu, born in Zigong City, Sichuan Province in 1970, studied painting from a young age. In 1989, he was admitted to the Central Academy of Arts and Crafts (now the Academy of Fine Arts at Tsinghua University) and studied under renowned artists. During his time at school, many of his works were collected by the academy. He graduated with a bachelor's degree in 1993 and obtained the same degree as a graduate student in murals in 1997. I am currently a doctoral supervisor at the Graduate School of the Chinese Academy of Art, a contracted painter at The ART door Foundation in the United States, a member of the Chinese Artists Association, Executive Vice President of the Chinese Academy of Calligraphy and Painting, a special invited painter at the Sichuan Provincial Museum, a member of the China Association for Cultural and Art Exchange with Foreign Countries, a standing member and visiting professor of the Hong Kong International Painting Academy, a first-class artist, director of the Landscape Branch of the World Chinese Artists Association, a member of the Chinese Poetry Association, a member of the Chinese National Studies Research Association, an ambassador for Chinese National Studies, a visiting professor at the School of Fine Arts at Tsinghua University, a visiting professor at the Central Academy of Fine Arts, a visiting professor at the Sichuan Academy of Fine Arts, and a visiting professor at Beijing Institute of Technology. In the field of contemporary Chinese ink painting and water painting, he has made great achievements, innovated and developed the advantages of traditional Chinese splashing and meticulous painting, combined with contemporary elements and Western oil painting light and shadow colors, and created a series of colorful and lively ink lotus and landscape paintings that blend the East and the West. He is known as another "king of colorful ink lotus" after the two masters Huang Yongyu and Yuan Yunfu. Independently completed multiple large-scale government projects, and dozens of works have been collected by domestic and foreign art museums, foundations, and government agencies.


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 On the Evolution and Programming of Contemporary Ink Painting Patterns


The emergence of contemporary art works is influenced by the era and work environment in which artists live. When creating, artists will integrate their own life and work experiences into their art works. This is why art originates from life and is higher than life. Art creation is not isolated, it is the artist's expression of emotions, life, and contemporary society.


As a metaphor or symbol of Chinese culture, the value system of ink painting lies in its provision of a set of cognitive concepts for the world and its corresponding brush and ink programs.


In terms of contemporary forms of communication, graphics are more intuitive, vivid, and easier to generate strong memories than language. In today's globalized world, time and space have become more rapid and complex than any previous era. However, the contemporary attributes of a mature work of art will be unique in its era of existence, standing out and gaining its own value. For every successful artist, upon careful study, their artistic expression language and techniques, as well as their subject matter, possess a highly graphic personality - what we call discernment. This is the direction that every artist pursues throughout their life.


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Ink painting, as a powerful unit of Chinese culture, is a national image nurtured by the diverse cultural genes of multiple ethnic groups living on this land, rather than a pure totem based on blood ties. The pattern of ink and wash language is a spiritual aristocrat accumulated over a long history, economy, society, politics, religion, and folk psychology. Since the Tang and Song dynasties, there have been great artists who have transcended history and illuminated the world. Ink painting is one of the most splendid carriers of Chinese cultural memory, and it was also a peak of ink painting art during the Ming and Qing dynasties. It was on the basis of repeated reading of history that I stumbled upon the pattern of the Taihu Lake Lake stone and lotus painted by Chen Hongshou, a great painter of the Ming Dynasty. After a lot of comparative studies, I found a new creative pattern. In combination with the colorful ink lotus I have created for more than ten years, my the Taihu Lake Lake Stone and Lotus series was born.



 

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 The series of the Taihu Lake Lake stone works originated from the late years of Emperor Gaozong of the Tang Dynasty. From 683 to 690, Empress Wu Zetian was called the empress dowager of Emperor Zhongzong and Emperor Ruizong of the Tang Dynasty, and later established herself as Emperor Wu Zhou (690-705). According to folk legends, Empress Wu Zetian wanted to change the dynasty, but the ministers of literature and military were not satisfied. They said that women should be emperors unless the stones blossomed. At that time, someone reported to the court that lotus flowers were found in the Taihu Lake Lake and blossomed out of the cave, which was a good omen for thousands of years. After reciting the proverb of the Minister of Civil and Military Affairs, Empress Wu Zetian changed her dynasty and established the Great Zhou, the first female emperor in ancient and modern history. Since then, the Taihu Lake Lake Stone has become a kind of cultural reward for literati, doctors and nobles, which is highly respected today. "Outlaws of the Marsh" is a story led by the Taihu Lake Lake Stone. I excavated the the Taihu Lake Lake stone series from this allusion, and expressed the auspicious omen once in a thousand years with images. Let everyone feel the charm of art. The combination of meticulous brushwork and freehand brushwork, as well as the contrast between traditional and contemporary styles, creates a strong visual impact that is pleasing to the eye and leaves a lasting impression. This is the ink painting pattern created by contemporary ink language.



 

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Contemporary ink painting, as a knowledge system in a new context, its dissemination is the Eastern charm manifested in the differentiation of Western cultural contexts, which is a millennium long cultural context. The existence of Chinese ink painting is determined by its perfect industrial chain of orderly inheritance. The unique stories of paper, pen, ink, inkstone, and inscriptions on gold and stone present the eternal power of ink culture. Only the truth of the soul is the truth of ink painting. I have used ink and wash to create various themes such as landscapes, characters, flowers and birds for over thirty years, with countless works. However, through the transformation of time and space, what ultimately exists in the long river of human art is the Taihu Lake Lake Stone and Lotus.



 

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 Western futurists advocate that art is avant-garde in abandoning tradition. However, contemporary ink painting in the East focuses on walking from tradition and transcending oneself. Ink painting and calligraphy share the same origin. In order for contemporary ink painting to develop in depth, it is necessary to use calligraphy skills as the cornerstone to enhance the intensity of brush and ink expression. Ink painting is an art of cultivation.



 


 

 


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 Contemporary ink painting starts from the unique thinking mode of oriental people, which enables us to be rational and meditative through ink painting, and make people become fully developed people, so as to find a new harmony between man and nature, and show the vision of Zen. I practiced calligraphy since I was young. In my creation in recent years, I integrated the calligraphy "Diamond Sutra" with the the Taihu Lake Lake stone lotus series, and created a new series full of Zen paintings. The most contemporary ink language expresses the most traditional interest of ink painting. Therefore, ink language is invincible. The Zen realm is home for contemporary ink painting, and it has a way to go home.



 

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 Through intuitive contemplation, experiencing life through the conciseness and subtlety of ink and wash, expressing and self-awareness, breaking the boundaries of landscape painting, figure painting, flower and bird painting, Chinese painting, and Western painting, constructing concrete and abstract visual language, and combining it with the spirit of the times, making independent expression of one's own spirit possible. Although ink and wash has developed for thousands of years, it will reach its peak in various eras. We all want to become those who stand at the peak and dedicate our lives to it.


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 Today, the confusion of contemporary ink painting lies in the misunderstanding and misuse of the spirit of calligraphy. Contemporary artists need to delve deeper into calligraphy in order to gain the favor of the times. Chinese ink painting is a unique art in the world. However, the evolution of ink painting is the evolution of human and self-awareness personality development.


Today, contemporary ink painting breaks through the visual realm of abstraction, dynamism, transparency, concavity and convexity, drift, black and white, color and light, explosion and convergence in the construction of space and time, allowing art and the soul to converse and spread through a wider range of mass media.


Human culture will eventually be isomorphized by the development of technology. Life is limited, but only art can be eternal.



 

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