如詩(shī) · 如畫(huà) —— 曲湘建油畫(huà)風(fēng)景展作品欣賞
曲湘建的風(fēng)景畫(huà)有三個(gè)特點(diǎn)。其一是造型能力很強(qiáng)，無(wú)論是仔細(xì)的刻畫(huà)還是大筆的概括，都是筆筆到位，形象準(zhǔn)確生動(dòng)。其二是對(duì)顏色的控制，他以自然的色調(diào)為基礎(chǔ)，同時(shí)有主觀的提煉，主客觀和諧統(tǒng)一，色調(diào)優(yōu)美，又不失創(chuàng)造的活力。其三是畫(huà)面的構(gòu)圖非常完整，強(qiáng)調(diào)視覺(jué)中心的主體作用，遠(yuǎn)近結(jié)合、虛實(shí)相間、層次分明。遠(yuǎn)景似登高遠(yuǎn)望，近景如身臨其境，頗有從荷蘭畫(huà)派到巴比松的自然主義氣派。
Quxiangjian's landscape paintings have three characteristics. One is that they have strong modeling ability. Whether they are carefully depicted or summarized, they are all in place with accurate and vivid images. The second is the control of color, which is based on the natural tone and has the subjective refinement. It is harmonious and unified between the subjective and the objective, with beautiful tone and creativity. Thirdly, the composition of the picture is very complete, emphasizing the main role of the visual center, the combination of far and near, the alternation of virtual and real, and the distinct hierarchy. Prospects seem to rise high and far, and near-sights are immersed in it. There are naturalistic styles ranging from Dutch painting to Babbason.
▲灰色的涅瓦河 布面油彩 60x80cm 2017
The Grey Neva River Oil on canvas 60×80cm 2017
古希臘哲學(xué)家柏拉圖說(shuō)過(guò)，藝術(shù)有三個(gè)要點(diǎn)，模仿、技術(shù)和理念，第三個(gè)他沒(méi)說(shuō)出來(lái)，因?yàn)樗囆g(shù)還沒(méi)有理念的支配，所以他要把藝術(shù)驅(qū)逐出他的理想國(guó)。反過(guò)來(lái)說(shuō)，如果藝術(shù)（模仿與技術(shù)）有了理念，那藝術(shù)就是完美的了。理念是看不見(jiàn)的，它超越視覺(jué)的表面，給藝術(shù)注入生命。曲湘建的作品正是與該觀念鑲嵌在一起。
An ancient Greek philosopher, said that art had three main points: imitation, technology and ideas. The third one he did not say, because art had not yet been dominated by ideas, so he wanted to expel art from his Republic. Conversely, if art (imitation and technology) has ideas, then art is perfect. Idea is invisible. It transcends the surface of vision and injects life into art. Qu Xiangjian's works are just embedded with this concept.
18世紀(jì)的時(shí)候，一個(gè)英國(guó)哲學(xué)家提出“如畫(huà)”的概念，風(fēng)景要“如畫(huà)”。風(fēng)景本身不是畫(huà)，對(duì)風(fēng)景的逼真模仿也不是畫(huà)，只有“如畫(huà)”才是畫(huà)。這個(gè)“畫(huà)”指的是理念、理想，只有賦予了理念，寄托了理想，被復(fù)制的自然才成為作為藝術(shù)的一幅畫(huà)。更重要的是，理念或理想不是作為工具運(yùn)用于作畫(huà)，而是將藝術(shù)活動(dòng)作為精神活動(dòng)，在藝術(shù)家的創(chuàng)作過(guò)程中，灌注到藝術(shù)作品中去的。
In the eighteenth century, an English philosopher put forward the concept of 'picturesque' in which scenery should be 'picturesque'. Landscape itself is not a picture, and the realistic imitation of the landscape is not a picture, only 'picturesque' is a picture. This 'painting' refers to ideas and ideals. Only by endowing ideas and placing ideals on them, can nature be reproduced as a painting of art. More importantly, ideas or ideals are not used as tools in painting, but as spiritual activities, which are perfused into artistic works in the process of artists'creation.
▲伊薩教堂的鐘聲 布面油彩 60x80cm 2015
Bells of Issa Church Oil on canvas 60×80cm 2015
▲恩河 布面油彩 80x60cm 2014
Kindness River Oil on canvas 80×60cm 2014
很多人都佩服曲湘建的技術(shù)，如此高超的技術(shù)造就如此動(dòng)人的風(fēng)景。技術(shù)確實(shí)是很重要的，畫(huà)什么像什么，不是光憑眼睛的觀察就能做到的，技術(shù)后面有觀念的支配。
Many people admire Quxiangjian's technology, so superb technology to create such a moving landscape. Technology is really very important. What is painted and what is painted can not be achieved by eye observation alone. There is an idea behind technology.
▲邊城拉拉渡 布面油彩 80x80cm 2018
The Border City of Laladou Oil on canvas 80×80cm 2018
▲秋后的玉米秸 布面油彩 60x80cm 2015
Corn stalk after autumn Oil on canvas 60×80cm 2015
▲金沙江 布面油彩 100x80cm 2016
Jinsha River Oil on canvas 100×80cm 2016
▲三月的小溪 布面油彩 50x60cm 2019
A stream in March Oil on canvas 50×60cm 2019
“山不在高，有仙則名。水不在深，有龍則靈?！鼻娼ǖ娘L(fēng)景少有宏大敘事，他畫(huà)的都是一些平凡的小景，小河邊孤獨(dú)的樹(shù)影，阡陌處落寞的村莊，都被他如實(shí)地描繪出來(lái)。他確實(shí)畫(huà)得很逼真，色調(diào)接近自然，就像我們?cè)谧匀恢械母惺芤粯印５挠霉P卻是舒展和隨意，隨意之中，景物栩栩如生，樹(shù)的枝葉，水的倒影，房屋的質(zhì)感等等，都畫(huà)得像自然生成。如實(shí)不是目的，如實(shí)中充滿(mǎn)詩(shī)意，自然中寄托了情操，如實(shí)其實(shí)是如畫(huà)。這就是曲湘建的特點(diǎn)。
易英
中央美術(shù)學(xué)院教授
博士生導(dǎo)師
中國(guó)著名美術(shù)理論家
2019,3,3
'Mountains are not high, but fairies are named. Water is not deep, dragons are spiritual.' Qu Xiangjian's scenery is seldom grand narrative. He paints some ordinary small scenery, the lonely tree shadow by the riverside, and the lonely villages by the Qianmo are all depicted truthfully by him. He did paint very vividly, with tones close to nature, just as we feel in nature. But his pen is stretching and random, random, vivid scenery, branches and leaves of trees, water reflection, the texture of the house, etc., are all painted like natural generation. Truth is not an end. Truth is full of poetry. Nature places sentiment on it. Truth is actually picturesque. This is the characteristic of Quxiangjian.
Yi Ying
Professor, Central Academy of Fine Arts
Doctoral Supervisor
Famous Chinese Art Theorists
2019,3,3
部分參展作品欣賞
▲圣母升天大教堂 布面油彩 80x60cm 2018
Assumption Cathedral Oil on canvas 80×60cm 2018
▲雨后洞庭 布面油彩 80x60cm 2018
Dongting after rain Oil on canvas 80×60cm 2018
▲山間小水壩 布面油彩 60x50cm 2017
Small mountain dams Oil on canvas 60×50cm 2017
▲故居荷塘 布面油彩 120x90cm 2016
Lotus pond in former residence Oil on canvas 120×90cm 2016
▲水閘 布面油彩 80x60 cm 2014
Sluice Oil on canvas 80×60cm 2014
▲大理三塔 布面油彩 60x80cm 2015
Dali Three Pagodas Oil on canvas 60×80cm 2015
▲小溪 布面油彩 50x60cm 2010
Brook Oil on canvas 50×60cm 2010
▲晶瑩剔透的哈烏爾河 布面油彩 80x60cm 2014
Shining Hawuer River Oil on canvas 80×60cm 2014
▲香格里拉 布面油彩 100x80cm 2013
Shangri-La Oil on canvas 100×80cm 2013
▲靳江河 布面油彩 100x80cm 2014
The river of Jin Oil on canvas 100×80cm 2014
▲西藏曬佛節(jié) 布面油彩 100x80cm 2017
Tibet Sunning Buddha Festival Oil on canvas 100×80cm 2017
▲北方云影 布面油彩 50x60cm 2017
Clouds and Shadows in the North Oil on canvas 50×60cm 2017
▲洞庭小舟 布面油彩 60x80cm 2015
Dongting rowboat Oil on canvas 60×80cm 2015
▲桃花溪水 布面油彩 60x80cm 2013
Peach blossom stream Oil on canvas 60×80cm 2013
▲白色游艇 布面油彩 50x60cm 2017
White yacht Oil on canvas 50×60cm 2017
▲清河水鴨 布面油彩 50x60cm 2018
Qingshui River duck Oil on canvas 50×60cm 2018
▲村邊小溪 布面油彩 60x80cm 2013
Village brook Oil on canvas 60×80cm 2013
▲喝水的奶牛 布面油彩 80x60cm 2014
Drinking cows Oil on canvas 80×60cm 2014
▲茶峒渡口 布面油彩 80x60cm 2018
Cha Tong ferry crossing Oil on canvas 80×60cm 2018
▲小溪流過(guò)村莊 布面油彩 80x80 2013
A stream flows through the village Oil on canvas 80×80cm 2013
▲純溪 布面油彩 80x80cm 2017
Stream water Oil on canvas 80×80cm 2017
▲春田 布面油彩 100x80cm 2017
Springfield Oil on canvas 100×80cm 2017
▲矮寨 布面油彩 60x80cm 2018
Dwarf Village Oil on canvas 60×80cm 2018
▲江心島 布面油彩 60x60cm 2017
River Heart Island Oil on canvas 60×60cm 2017
▲拉托加湖 布面油彩 60x60cm 2017
La to Lake Oil on canvas 60×60cm 2017
▲復(fù)船濕地 布面油彩 80x80cm 2013
Reclamation wetland Oil on canvas 80×80cm 2013
1954 出生于湘潭市
1982 湖南師范大學(xué)美術(shù)系 學(xué)士
1984 中央美院油畫(huà)系研究生班
現(xiàn)任 湖南師大美術(shù)學(xué)院教授，博士生導(dǎo)師，中國(guó)美術(shù)家協(xié)會(huì)會(huì)員，北京中國(guó)寫(xiě)意油畫(huà)研究院理事，湖南省油畫(huà)學(xué)會(huì)常務(wù)副會(huì)長(zhǎng)，湖南省當(dāng)代油畫(huà)院院長(zhǎng)，中國(guó)南方油畫(huà)山水畫(huà)派成員，國(guó)家藝術(shù)基金評(píng)委。
曲湘建
寫(xiě)生中國(guó)主席團(tuán)成員：
執(zhí)行主席：李猛
常務(wù)主席：王墨
主 席：陳正帥、韓方春、潘江龍 、孫榕寧 、王學(xué)田、伊賢彬
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