|
陳家泠，浙杭人，生于庚寅。少學(xué)國(guó)畫于浙美，受潘天壽啟蒙，崇“屋漏痕、折釵股、錐劃沙”之妙，致力古今交融，不懈探索。七十年代，師陸儼少，習(xí)山水書法，攻花鳥(niǎo)。八十年代，采古壁畫與洋水彩之技，精研再創(chuàng)，立新派。其風(fēng)格蘊(yùn)哲理，兼印象、抽象、表現(xiàn)之意，獨(dú)具今韻。 Chen Jialing, a native of Hangzhou, Zhejiang, was born in the year of the Gengyin. He studied Chinese painting at Zhejiang Academy of Fine Arts, influenced by Pan Tianshou, admiring the aesthetic essence of "roof leaks, hairpins, and punctuating sand" and dedicated himself to blending tradition with modernity, relentlessly exploring new techniques.In the 1970s, he studied under Lu Yanshao, learning landscape painting, calligraphy, and specializing in flowers and birds. In the 1980s, he drew from ancient Chinese mural techniques and Western watercolor, meticulously researching and innovating, establishing a new school of Chinese painting. His style, rich in philosophical insight, blends Impressionism, Abstract, and ism, uniquely embodying a contemporary flavor. 二十世紀(jì)七十年代畫壇崛起者，陳家泠尤為異數(shù)。初露鋒芒，已不輕年(較二十出頭即展者)，然其后十?dāng)?shù)年，創(chuàng)作敏銳，前衛(wèi)意識(shí)顯著，由技入道，大躍進(jìn)，個(gè)性風(fēng)貌自成。九十年代初，躋身滬上“現(xiàn)代水墨”畫派。 Among the rising artists of the 1970s, Chen Jialing stands out as an exceptional figure. When he first emerged, he was no longer young (compared to those who held solo exhibitions in their early twenties). However, in the following decade, his creations exhibited the sensitivity and avant-garde consciousness typical of the young. He made significant leaps from technique to concept, establishing a distinctive personal style. By the early 1990s, he had joined the ranks of the Shanghai "Modern Ink Painting" school.
觀陳公畫作，其“另類”處昭然若揭。八十年代后之作，雖承元、明、清題材，然描汀花水鳥(niǎo)、荷葉蔬果，其意自別。人多感其畫中清靜之氣，此與古來(lái)花鳥(niǎo)畫意境無(wú)異，然三兩荷花，或一花二鳥(niǎo)，或一鳥(niǎo)二花之畫面，含自覺(jué)構(gòu)成意識(shí)，獨(dú)屬陳公之妙。近代融“構(gòu)成”與傳統(tǒng)國(guó)畫者，首推潘天壽先生。倡以“構(gòu)成”剖析國(guó)畫內(nèi)在規(guī)律，發(fā)現(xiàn)之，復(fù)以“構(gòu)成”之言述之。本為教學(xué)便，然“構(gòu)成”遂與國(guó)畫創(chuàng)作血肉相連，難分難割，潘公自畫風(fēng)亦趨“構(gòu)成”。陳家泠承而發(fā)之，進(jìn)一籌于中國(guó)畫創(chuàng)作。 Viewing Chen Jialing’s works, his "unconventional" nature is evident. His post-1980s paintings, though derived from Yuan, Ming, and Qing subjects, differ significantly in their conception of waterside flowers, birds, lotus leaves, and vegetables. Many sense a serene tranquility in his paintings, akin to the traditional flower and bird painting aesthetic. Yet, the deliberate compositional awareness in his works—be it a few lotus flowers, one flower with two birds, or one bird with two flowers—is uniquely Chen's.The first to merge "composition" with traditional Chinese painting in modern times was Pan Tianshou. He proposed analyzing the internal principles of Chinese painting using "composition" theory and, upon discovering these principles, expressed them using the language of "composition." Originally intended for teaching convenience, this approach eventually bonded "composition" with Chinese painting creation, making them inseparable. Even Pan Tianshou's own style began to align with "composition." Chen Jialing developed and advanced this style further in Chinese painting creation. 陳公在浙美受訓(xùn)，除構(gòu)成外，尤重線條之練。美院訓(xùn)線，始工筆，漸寫意。陳公曰：“吾于'線’之解，尚可。”又言，由工筆轉(zhuǎn)寫意，乃首躍;由寫意進(jìn)自然，乃次躍。 Chen Jialing's training at the Zhejiang Academy of Fine Arts emphasized line practice alongside composition. The Academy's training in lines begins with meticulous work and gradually progresses to expressive styles. Chen remarked, "My understanding of 'lines' was adequate." He further stated that transitioning from meticulous to expressive lines marked his first leap, while moving from expressive to natural lines signified his second leap. 陳家泠之用筆，頗為圈內(nèi)所重。初見(jiàn)其作，或生奇想，斑駁線條，透明墨塊，令人嘆為觀止。陳公自言，其畫皆用筆，技法多樣，所謂“走、守、漏、透”。走者，水色自流;守者，流而守之;漏者，上色透紙;透者，兩紙相透。陳公謂其技不深?yuàn)W，任其自然，人皆能為，然“適可而止”以組織漫漶之色，乃其成功所在。 Chen Jialing's brushwork is highly regarded within art circles. Upon first encountering his works, one might be intrigued by the mottled, fantastic lines and the transparent ink blocks. Chen himself stated that all his paintings are done with the brush, but the techniques vary, described as "walking, guarding, leaking, and penetrating." Walking allows water and color to flow naturally; guarding stops the flow at a certain point; leaking lets the color seep through the paper to the layer below; penetrating involves two sheets of paper or two layers of backing paper interacting. Chen believes his techniques are not profound, and while anyone can let things take their natural course, his success lies in skillfully organizing the diffused colors with "just the right touch."
數(shù)十載，陳家泠以敏銳感知與深厚功力，探宣紙、色彩、筆墨、造型間，尋古畫之時(shí)代，弘民族之性，求國(guó)際之美。其創(chuàng)作成“清、靜、和、美，真、氣、靈、變”之美學(xué)品格。其藝簡(jiǎn)、新、靈、虛、飄、巧，富現(xiàn)代感，系傳統(tǒng)臍帶。 For decades, Chen Jialing, with his keen perception and profound skill, has explored the realms of Xuan paper, colors, brushwork, and forms, seeking the contemporary essence of ancient Chinese painting, promoting its national character, and pursuing international beauty. His creations embody the aesthetic qualities of "clarity, tranquility, harmony, beauty, truth, vitality, spirit, and transformation." His art is simple, innovative, agile, ethereal, elegant, and skillful, rich in modernity and connected to tradition. 陳公水墨花鳥(niǎo)，巨細(xì)皆具抽象，不失具象。細(xì)節(jié)編織于淡墨交錯(cuò)之韻律，呈美不盡之變化。觀如江南花窗透荷塘，浴超時(shí)空靈光;又如超凡清氣，潤(rùn)嬌美生機(jī)。其畫荷、蕉、竹、蘭、楓、楊、葵，無(wú)論何物，淡墨窯變，皆簡(jiǎn)清。其荷花，簡(jiǎn)靜和美，生機(jī)流動(dòng)，獨(dú)特之美，攝人心目，潤(rùn)人心田，實(shí)為當(dāng)代海派中堅(jiān)。 Chen's ink and wash paintings of flowers and birds, whether large or small, incorporate abstract elements without losing figurative details. These details are woven into the rhythm of intersecting light ink lines, presenting an endless variety of beauty. Viewing them is like looking through Jiangnan flower windows at lotus ponds bathed in the cosmic light beyond time and space; it is like experiencing a transcendent purity that nourishes delicate life. Whether he paints lotuses, plantains, bamboo, orchids, maples, poplars, or hollyhocks, his work—whether in light ink or kiln-transformed colors—is always simple and fresh. His lotus flowers, with their simplicity, tranquility, harmony, and dynamic vitality, offer a unique beauty that captivates the viewer's eye and nourishes the soul, making him a true pillar of contemporary Haipai art. 責(zé)任編輯：苗君 誠(chéng)邀四海之內(nèi)，卷繪千秋風(fēng)雅。 往期精選： 田黎明：樸素風(fēng)雅類高士，當(dāng)代精神貫筆出 馮遠(yuǎn)：幽邃高遠(yuǎn)覓冷思，品察萬(wàn)類融西東 |
|
|
來(lái)自： 中書國(guó)畫 > 《書畫藝術(shù)》
