他那大胆简括,重感受、抓整体,于抽象中见具象的特色,是艺术表现的可贵之处,是大有可为的。 —— 美术史论家 华夏 (1987) Liu Dezhou belongs to the most recent generation. He has created his own vision of mountain landscape, with bold and free forms painted in dripping black ink. —— KRANNERT ART MUSEUM (1988,美国) 刘德舟的山水画,大胆概括,以现代艺术的取其一点不及其余的精神特征,组成简练鲜明的构图,让山山水水直奔眼底,大笔挥洒,达到酣畅淋漓的效果。 —— 画家、美术评论家、散文家 郁风 (1989) Liu Dezhou’s paintings are based upon typical Chinese ink painting, but he created new style with the same materials, and developed Chinese ink painting. If there is an exhibition on the development and evolution of Chinese ink painting, Liu Dezhou’s paintings are representative in a sense. —— The Director of Zurich East Asia Art Museum (瑞士) 源于山水意象,却未必一定要回归到山水意象。这一未来指向有可能使他从山水出走,从而创造出一种新的境界。 这种简洁有力的宽笔大线我们在周韶华、贾浩义的作品中也能见到,但周韶华的宽笔大线多以侧锋为之,贾浩义则以大块面构成的方式,而唯刘德舟多用圆润的中锋。 —— 策展人、艺术批评家 贾方舟 (2010) There’s grand power in Liu Dezhou’s paintings and that is very refreshing. The ways of appreciating and creating in east and west are dissimilar, but people taste the spirit and spice in his paintings. There is matchless enjoyment to taste the spirit from those lines combination, interaction of thick and pale ink and the changes emerging from the ink and water on rice paper. His paintings enable us to understand more of China, and increase our love for China. In Chinese there’s a saying as ‘appealing to both refined and popular tastes’, I think Liu Dezhou’s paintings could be called ’appealing to east and west’. —— Daniel Zehnder (原瑞士驻华大使馆文化参赞) 中国美术家协会《美术》杂志执行主编尚辉在刘德舟作品研讨会上谈到20世纪80年代以来的中国画发展时,提出在视觉形式感、震撼力和审美追求上的多方面探索是一个重要路向,其认为这一路向的画家有吴冠中、姜宝林、老甲、张桂铭和刘德舟,并指出刘德舟的水墨具有其独特的艺术面貌。 北京画院原副院长吴休先生:“刘德舟艺术在众多山水画的各种形式、探索中是异军突起,有‘新’;有‘势’;有‘放’;‘致广大尽精微’的特点,非常难得。” 中国美术家协会原党组副书记、秘书长李中贵先生曾说“刘德舟的山水画对传统的中国山水画是一个突破。刘德舟是传统智慧、修为与现代思想的融合,他‘做人知足,做事知不足,做学问不知足’,具有大师的素质,有开宗立派的趋势!” 北京画院画家张仁芝先生的评价是:“刘德舟的艺术特色正是古人推崇的‘胆敢独造’。他有胆识,才能‘独造’,这一点在艺术创造上极为可贵。他‘独造’的艺术面貌在画坛上找不出来第二位。” 798艺术区管委会主任张国华:“刘德舟的艺术作品是中国画在国际化开拓上的新进展,也被广泛的认可,预祝他在798艺术区,在国际上有更大的成就!” 中国国家画院创作研究部副主任、国家一级美术师邢少臣对刘德舟的评论中是这样说的:“李可染先生说的‘可贵者胆,所要者魂’,在德舟的作品里都集中体现出来了。” 著名相声演员、民俗专家孟凡贵在观看画展时发表的一段话是:“我看到他的《雪》时,想到了,远处是小兴安岭的山坡和林子,再近一点的是雪,雪旁边是水,水旁边,我们趟出一条泥泞的路,那条路是一个‘人’字,寓意着我们人生的道路……我不知道他是怎么想的、怎么画的,我看见这幅画时就是这么想的。我站在画前许久,感动得眼泪差点下来,我想起我那个连队山坡下的那条小河,和那座小兴安岭的树林子……刘德舟的画给我的感受是一种心灵的震撼。” 刘德舟是创新派的艺术家,多年来一直追求大写意,以高度概括的手法,表现他心中的大山大水。他的画让你有想象的空间,去琢磨它,回味无穷。他把生活容纳为自己的艺术,自然景物在他灵魂深处得到一种融化后被表现出来。他的画里有粗矿,有凝重,也有一种弯弯曲曲的符号性的元素,感觉上则是一种博大,呈现在观众面前。 ——蒋志鑫 画家 刘德舟的大写意山水画很明确地把握住了山的雄伟气势和内在精神,画面的“张力感”不属西方式的“爆发性”张扬,他是完完全全从东方式的含蓄中呈现的一种大气,拥有东方的书卷气,于柔和中具有一种力度。 ——谢忝宋 马来西亚 艺术家 刘德舟的绘画风格很硬朗,感观上有如北疆的白山黑水,体现着一种男人的豪放。——颜珍 剧作家、画家
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新一代的画家 中国北京画院刘德舟(1953)属于最新一代的画家,他对山水风景画有自己独创的见解,大胆而自由地运用滴墨。 他的《燕山印象》(1987)仍然有风景画的线条,但是作为一幅大的泼墨来说这种线条已大为减少,而是将黑色的线条与点溅泼的淡墨和未着笔的白色的地带有组织地相结合起来。这幅作品表现了一种粗狂的风格,最低限度地运用写实因素就捕捉到了自然的力量。 《冬山》(1987)作品中心运用了大片白色区域地表示寒冷,在这片空白的区域之上,用爆发性的方式画出了乌黑的线条和轮廓,作品左边包括远去的山脉底部的峡谷都用有层次的泼墨描绘出来。所有这些加上围绕着黑色区域周围的各种色调,中央白色区域中溅泼的淡淡的墨点,同强有力的二度的中心主题相互照应。 —— KIYOHIKO MUNAKATA
Bright Stars in a New Era Liu Dezhou(b.1953)belongs to the most recent generation. He has created his own vision of mountain landscape, with bold and free forms painted in dripping black ink. His Impression of Yan Mountain,1987(p.34), still bears the lineaments of landscape painting, but is severely reduced to a huge ink blotch, organically interrelated with black lines and dots, areas of thin ink wash, and unpainted white zones. A certain architectonic quality stabilizes this composition of wild forms. The power of nature is captured with a minimal use of narrative elements. Winter Mountains, 1987(p.35), uses a large square like white area at the center of the composition to express cold. Over this area stark, explosive forms are drawn with broad lines and blotches of jet black ink. Some naturalistic elements on the left side of this composition include receding mountain ranges, depicted by layers of ink wash, and a mountain gorge at the bottom. These, together with the variations of tone within the surrounding black area and thinly splashed and spotted ink over the central white zone, interact with the powerful two-dimensional central motif. ( KIYOHIKO MUNAKATA, KRANNERT ART MUSEUM )
刘德舟的极简山水 源远流长的中国山水画在上千年的发展过程中可谓高峰叠起,门派林立,绵延不绝。山水画自魏晋到唐代已是蔚为大观,不仅有吴道子一日画就嘉陵江三百里风光的“疏体”山水,有李思训的金碧山水,还有张璪与王维的水墨山水。五代与两宋更是大家辈出:荆、关、董、巨,刘、李、马、夏……到元明清,山水画演变成画坛主流,元四家、明四家、四僧、四王、金陵八家……可以说,元以来的中国画史,几乎成为一部以山水画为主导的历史,直到进入现代以后仍有黄宾虹、李可染这样山水大家出现。 面对山水画中的一座座高峰,当代山水画家还有没有可能找到自己的发展空间?回答是肯定的,但也是艰难的。他们或是回到传统,从传统中寻求新变的机制,进行创造性转化;或是从现代西方艺术中广泛汲取新的表现因素,改变山水画的原有面貌;或是贴近现实生活,将大山大水与风土人情相结合;或醉心于笔墨的横涂竖抹,或迷恋于山水的形式结构之美……而刘德舟在这众多的可能性中,选择了用粗笔大线,去实现他对山水的结构之美的重新创造。 当他放胆用大写的手法纵横于尺幅之间时,他发现,那正是他确立自己风格面貌的最好方式和最佳状态。他用这种方式从众多的山水画中一下子跳出来,构成他自己对山水的独特理解。这种独特性,不在于他是否还原了山水的原貌,而在于他凸显出山水的形式结构之美和笔墨之美。 书写性和结构感是构成刘德舟作品的两个重要特征。所谓“书写性”,并非指绘画中一般意义上的书法用笔,当刘德舟在他的山水画中将这种“书写性”放大到与画面尺幅不相协调的程度时,那种“书写”的气势方显出一种特有的品格。这种简洁有力的宽笔大线我们在周韶华、贾浩义的作品中也能见到,但周韶华的宽笔大线多以侧锋为之,贾浩义则以大块面构成的方式,而唯刘德舟多用圆润的中锋。 所以,他的山水是一种以线型为主体从而弱化皴、擦、染的极简山水;所谓“结构感”是他以有数的线条分割画面而形成的构成主义特征。这种“结构感”使他的艺术具有了更多的抽象因素,有朝着抽象的方向演化的迹象。 源于山水意象,却未必一定要回归到山水意象。这一未来指向有可能使他从山水出走,从而创造出一种新的境界。
Climaxes of development and variety of schools have emerged during almost a thousand years of history of the long-standing and glorious Chinese landscape painting. The Chinese landscape painting had been prosperously developing from the Wei and Jin Dynasties to the Tang Dynasty. There were Wu Daozi who painted the landscape of the Jialing River in one day in the “sparse style”, Li Sixun who added the colour of gold into his landscape paintings, and Zhang Zao and Wang Wei who applied the skills of washing painting to painting the beauty of the landscape. And even more masters of Chinese landscape paintings came forth in the Five Dynasties and the Song Dynasty--Jing, Guan, Dong, Ju, Liu, Li, Ma, Xia and so on. And when it came to the Yuan, Ming and Qing Dynasties, landscape painting became the mainstream of the painting world; the four masters in the Yuan Dynasty, the four masters in the Ming Dynasty, the four monks, the four Wangs and the eight masters of Jinling were the representative painters. It can be said that since the Yuan Dynasty, China's history of painting had been led by Chinese landscape painting. And there still have been masters like Huang Binhong and Li Keran known to the world in the modern times. Having reached its peaks so many times for so long, is there any more space for further development left for today's landscape painters? Yes, there is, but it is difficult. They may seek inspiration and innovations from the traditional style to create something new, or they may absorb the ways of expression in modern Western art to change the original look of the Chinese landscape painting, or they may put the landscape and people's life together in one painting in order to get close to real life. They may either be infatuated with lines or get fascinated by structures. And out of the numerous possibilities, Liu Dezhou chooses to recreate the beauty of the structures of the landscape with thick lines. Though the usual painting skill of landscape serves the traditional aesthetic standard well, it is still seen as the stereotype of landscape painting. Liu can not find his own artistic individuality and value of existence through painting such kind of work. However, when he boldly applies thick lines to painting the landscape, he discovers that it is the best way and perfect condition to establish his own style. He then all at once gets rid of all the stereotypes and forms his own distinctive understanding of Chinese landscape painting. It does not matter if he restores the original appearance of the landscape. His unique understanding enables him to present the beauty of the structure of the landscape and his delicate skill of painting. Though he abandons the techniques of brush texturing as the traditional way of painting the landscape, he does not give up on the original spirit of expressing his aesthetic ideal and feelings as a painter by landscape painting. The vigour of the brush stroke and the dimensional structure of the composition are the two significant characteristics of Liu Dezhou's works. This kind of vigorous brush stroke does not commonly apply in calligraphy or painting. And when the lines are seemingly too thickened to fit the scale of the paper, this kind of vigorous brush stroke presents itself with idiosyncratic effect. The neat and powerful painting style can also be seen in Zhou Shaohua and Jia Haoyi's works. However, Zhou tends to make his writing brush lean a little at the end of a stroke, and Jia prefers to piece large parts of the landscape together in his paintings. And in most of his painting, Liu puts the strength in the centre of every brush stroke. Therefore, Liu Dezhou's simplistic style of landscape painting is basically based on lines. The dimensional structure of composition means that the painting parts are distinguished and separated by lines, which shows some touch of structuralism. This characteristic gives Liu's paintings the manner of abstraction to some extent. Paint the landscape, but not necessarily portray it exactly the way it is. The idea may offer Liu new inspiration to create an original type of painting. ( Jia Fangzhou )
Shaping of Ink Unique and unexpected thrilling! Liu Dezhou’s ink world is a highly purification of beauty and soul. |
刘德舟是位杰出的画家,在众多山水画中,他独特的风格非常突出。中国画讲气韵、恰到好处,他用笔的功夫力量,一看就很打动人。他的水墨大写意很有气势,一些我们民族最宝贵的精神品质都在画里有所体现。 ——廖开明 版画家、评论家 中国美术馆画廊原主任 现代性的笔墨
刘德舟的山水画对传统的中国山水画是一个突破。
刘德舟的山水气象 刘德舟的作品有一种浑厚和博大的气势充满其中,并在这种气势中流动悠然的韵致,回响着淡淡而优雅的乐声。这种气势,这种韵致,这种乐声,也正是大自然山林木的真实性格。同时也成为了画家的胸怀和心性。画家用粗重的线条描绘山石,墨色浓重、饱满、润泽,传统山水画中习用的皴法、点法、染法,被简化和省略,造成一种极其简明的黑白对比效果。其大块的染法和偶尔使用的色彩,更使画面增加了一种幽邃和静穆的气氛。 古人云:“胸中丘壑,纸上云烟。”刘德舟的作品也正是由其胸中丘壑成就了其画面上的山水气象。在这条路上,我们期待他走得更远。
超以象外 理论家努力在理清当代绘画中的种种关联,又做出详细的划分,例如新水墨中又有辟出来的“都市水墨”、“实验水墨”和“抽象水墨”,新抽象绘画其实也可以被列入“抽象水墨”的版块,相对于具象而言,抽象绘画一直都是单独成科的。如刘德舟的《青云》、《逍遥图》等作品,当代新抽象作品以非再现、非意象抒情、非形式审美为诉求,在笔歌墨舞中开垦出一片精神天地。对于抽象水墨的赏析,是仁者见仁智者见智的过程,没有任何一个具体的概念可以限定我们怎么去解读抽象绘画,见仁见智全在于观者内心的意念。 北京画院艺委会副主任、美术评论家王志纯:“从黄宾虹、李可染、傅抱石,到周韶华、贾浩义等,在山水画向现代性发展、演变的大背景中,刘德舟的艺术面貌也是很独特的,值得我们专门去研究。” 美术评论家、画家聂昌硕:“刘德舟的画典型地证明了绘画与音乐的相通,古典音乐着重的韵律,现代音乐着重的节奏,都在他画中。他以线条组成旋律,大块黑白的节奏极其响亮,粗、细线,大、小色块,大、小点都使画面产生了强烈的节奏感,这是他的一大特点。”
北大荒知青收藏界委员会主任、评论家何志云:"刘德舟的画让我凛然一惊,在他的画中我看不到中国画的柔弱、缠绵、无病生吟,他笔下的大团墨块,和信手留白,在每一幅画中构成了巨大的冲突,这种冲突中透着无以名状的张力。置身于画前会有种鼓凸感,一种迫进挤压着我们的神经。他为人谦和,颇具古君子之风,笔下却是大开大合,以笔墨一书胸中之快,无所顾忌地开出一番生机,颇有活气。” 中国国家画院创作研究部副主任、国家一级美术师邢少臣:"细细品读刘德舟的作品,正像李可染先生说的‘可贵者胆,所要者魂’,在德舟的作品里都集中体现出来了。他之所以有‘胆’,因他是有底蕴的。他有传承,有借鉴,有开拓。他的传承可上溯到清初四僧,有八大山人、髡残的东西,特别是八大,他借鉴了很多,对北京老一代名家吴镜汀、溥松窗、关松房等老先生,也都有所继承。他的借鉴还有现代的东西,比如让我感受到的,欧洲著名大家米罗的一些东西。"
刘德舟用粗矿大气的笔墨表现的高山大川和雪景,对比很强烈,笔墨淋漓。他用墨线和大墨块,形成了他鲜明独特的语言样式,很有思想,很有造诣,是一位笔头功夫很厉害,且很有个性的艺术家。—— 现代工笔画院院长 王天胜 刘德舟的山水画跟传统的山水画拉开了距离,他既有继承又有创新。他的特点是简练,突出线的作用。艺术讲究‘以少胜多’,过去中国美术理论家王朝闻先生在他的《以一当十》中说“艺术要简练,简练不是简单”,能以寥寥几笔就表现出山的气势和整个景深,刘德舟的画是很不简单的。他形成了自己独特的风格,一看作品就知道是刘德舟的,不是其他人共有的艺术特征,而是刘德舟独有的艺术创造。他在艺术追求上已经取得了丰硕的成果。 刘德舟用浓笔大墨的新手法去解构传统图式,很大气,很强烈。他的一些带有实景性的作品也很概括,强烈的黑白关系给人耳目一新的感觉。 刘徳舟探索水墨的现代性,靠近抽象,挥写恣纵,是参展作品的特色。可以看出,他对水墨的迷离缥缈有浓厚的兴致和敏锐的感受力。 他是个富有创新精神的画家。他的山水画形象鲜明、强悍有力。 刘德舟不愧为当代山水画的大手笔,读他的画作就像欣赏一首首意韵悠长、恬淡宁静的抒情诗,给人振奋,给人力量,给人遐思,他的山水画在强调笔墨的同时,在创作形式上又融进了一种新的、独特的表现形式。作品中用大块的墨和浓重的点、线为构成要素,以现代意识和平面构成的审美理念,赋予山水画新的构成要素,读后使人耳目一新。 第一眼见到他的画作时就彷如走进了另一个世界,那是一个宁静而安详的生活,是一个美好的大自然风景,亦是多少人梦寐以求的。 刘德舟深厚地继承了家学,他的父亲刘同丰是北京画院一位老画师,传统功力非常深厚,在画院很有名望,可惜在文化大革命期间遭到了不白之冤,病故。刘德舟虽然是子继父业进入北京画院,但他具有强烈的创新意识,不满足于走前人走过的路,在开创自己新风的同时,充分发挥了中国笔墨的特殊神韵,这一点极为难得。在北京画院,我认为他是创新方面的领军人物。
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