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从沈周到肖谷

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从沈周到肖谷

What I think, feel and act during the creating process

今晚开什么码最新资料,Dongzhuang Drawings: From Shen Zhou to Xiao Gu

特准特马资料四不像,These days I try to search the information of Shen Zhou and Dongzhuang Drawings via internet, but it didnt go through well. Therefore I turn to the chronicle of Shen Zhou and Wu Kuan and try to find some clue. But the lack of Shen Zhous information was unexpected. Among all the chronicles, the most accurate and detailed version is the one written by Mr. Cheng Zhenghong. He collected more than 170 sources of information, and seriously made a research on the life of Shen Zhou. Almost all of the recent publications on Shen Zhou had taken this book as the basis and reference. However, the information of Dongzhuang Drawings could not be found in the book.

《东庄图》之全真馆 160x190cm 布面摄影

During the creating process of Bei Gang (North Harbor), one of my art piece made in Xinjiang was selected to attend the Oil Painting Exhibition organized by China Oil Painting Society. It was my fourth time to attend the exhibition organized by the society in the recent two years.

香港特马资料免费大全,As an artist, Xiao Gu is always diligent at his art, and Dongzhuang Drawings proves it again. The artist threw his heart and soul into the art pieces, spending several years in researching and exploring the best way to represent the collection. The accomplished pieces reveal his perseveration and devotion to art. For him, Dongzhuang stands for a spiritual symbol, which reflects his pursuit and embodies the desire of connecting with the nature. Shen Zhou once wrote a poem for his friend Wu Kuan, and extended his admiration and appreciation to him. He said that the scenery of Dongzhuang was more than marvelous, but Wu Kuans intelligence and talent was much more precious. I believe this poem also explains Xiao Gus feeling for Shen Zhou. As an old friend of Xiao Gu, I witnessed the development of the piece from an idea. In my understanding, Xiao Gu and Shen Zhou are spiritually connected and Dongzhuang Drawings series forms a bridge between them, providing a crossing-time conversation. Therefore I can imagine that one day in somewhere, Shen Zhou and Xiaogu are walking in the aisle of Dongzhuang, talking so happily that 500 years between them means nothing.

香港特马资料免费大全 1

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Actually it is very easy for me to be obsessed with my interests. When I was young, reading was my only hobby. I spent lots of time reading various subjects, including philosophy, management, history, astronomy, music, etc. So I spent my youth in reading with the times of opening-up.

Each of the 24 pictures affords a different view of Dongzhuang. Shen Zhous exquisite craftsmanship went beyond the real scenery and created a peaceful paradise. Shen Zhous artistic style switched from tender to tough in his old age, and this collection witnessed this change. As Dong Wenmin wrote in the preface of Dongzhuang Drawings, Shen Zhou is proficient in all the painting skills of Yuan and Song Dynasty. His distinctive choice of scenery and perfect command of skills provides a miniature of Dongzhuang. Undoubtedly this collection is one of the best of Shen Zhous pieces in his late life.

一天,偶遇东京古籍出版社王兴康先生,聊到选题,说起太古木刻之后又谈到了南陈版刻及版本赏识。那风流倜傥遇竟让自家身不由己地留意于古籍版刻及版本来了。不自觉地对宋元武周版本大起兴趣,越发是对曹魏版本及壁画情有惟牵,于是藏书大增,7个月不到,家中超级大的书橱竟也累累叠叠。昏昏然恰似少年岁月。

坎井之蛙者如自己,长期以来只知玉田生而未闻《东庄图》,直到四年前某日,在肖谷专门的职业室,赫然见到被她用摄影重新演绎的《东庄图》,不由雅观,震动莫名!令自身既远瞻玉田生艺术的意象高远、绝尘超逸,更感佩肖谷大作的现身新意、迁想妙得。越数月,又与肖谷、周永才诸友相偕,先专诚赴姑苏以朝圣之心拜候会见沈启南墓地,继又至金陵幸运在克利夫兰博物馆拜读白石翁《东庄图》真迹。当博物院研究职员从仓库捧出这件镇馆之宝徐徐举行,卒然间认为心里茅塞顿开,就如回到三百余年前吴地,亲炙石田先生的謦欬手教。以此为肇端,遂开首了自个儿研讨吴门画派一代宗师沈石田艺术堂奥及其隐逸人格的远足,并也想藉此为肖谷创作类别油画《东庄图》的煌煌巨制敲打边鼓,助长声势,以壮声势。

那之间,笔者上网查阅了关于玉田生及《东庄图》的资料,可能因玉田生的解说的话语来自某几位行家及有关《东庄图》史料的缺少,不可能精晓到更加的多的事物,于是本人又对沈石田、吴宽的年谱认真了四起,但沈石田的年谱之少之简明是出乎作者意料的,从手上几本有关中夏族民共和国职员年谱中查记载玉田生的动静是如此的:最先的是清初钱谦益的《石田先滋事略》,然后是壹玖肆壹年三月世界书摊出版的《齐国四美术师》内有温肇桐先生编写的仅八千字的《沈启南先生年表》,再然后是郑秉珊先生于一九五八年编的《白石翁年表》,中华民国间好象还应该有丁念先先生编的《白石翁作画年表初藳》。当然,最完好的是1994年问世的陈正宏先生在1983年至1989年攻读交大古籍所的中原古典文献学专门的职业余大学学生学位时期写的约30万字的《沈启南年谱》。能够说是玉田生逝世后近500年来最佳翔实的资料,陈正宏先生研讨了现存的沈启南诗文别集,查阅了历代公私书目及任何质感(包罗国外资料)近170种中关于玉田生的内容,经过排比考辩、探颐索隐,纂成此谱。而那二日出版的有关沈石田的图书,基本是以陈正宏先生的《白石翁年谱》为遵照的。但从上述的各样有关沈石田的年谱中,就是找不到关于《东庄图》这么重大作品的文章年份音讯。而本身却想知道这事,因为自个儿在画《东庄图》的尽早,便起初了关于《东庄图》考略的行事,那实质上是所谓大家的办事,可本人却迷恋了起来。好象吃了鸡蛋,就一定要精晓生蛋的母鸡是什么样体统的。

十二景本《东庄图》,从庄内外望东城画起,沿公园路线,移步换景,生机勃勃景意气风发图,至庄内最终完工的知乐亭止,风景多变,观之不尽,画在东庄国内,又在东庄境外。画面妙在作者思致清宕,不拘泥于真山实景,画出了三个清逸平和、悠然自乐的花园。此图为沈启南中年今后粗沈中的粗笔细描,笔墨圆转含蓄,变化丰硕,寄寓深刻。沈启南用湿笔涂染,画出江南水乡和公园的河港菱汉、亭榭山石。正如董文敏在《东庄图》题跋中所云:出入宋元,如意自在,地点既奇绝,笔法复纵宕 是沈启南中早先时期创作中之精品。

混乱中遇一小孩他妈,恰如漆黑中生龙活虎炳烛光,于是放下书本,投奔了美好,几番绵绵情意,几番风花雪月,圣光深处无梦魇。故书中这小颜如玉便化成一团青烟随风而去。

Five hundred years passed, and Xiao Gus unique oil painting series Dongzhuang Drawings came to existence. Back to the early Southern Dynasties, copying and learning from the traditional masterpieces has been regarded as an important method. But what Xiao Gu did is not simply to copy or to inherit. He uses his unique two-and-a-half-dimension art language and represents a brand new Dongzhuang with oil painting. He shows us a vivid example of making the past serve the present and the foreign serve China. Its an innovative continuation of traditional Chinese art.

某十13日,作者在书斋里的角落里,不上心看见本人与长辈顾起潜先生的合照,突觉顾先生已在三十年前便留下大器晚成部《吴国版刻图录》,而大家后辈只是在其阴影中打转转,须臾时,生龙活虎种痛心之情油但是升。许久经久不衰随后待这种悲情散尽时,却对明史,尤其对万历神宗却有了生机勃勃种独特的直系。于是,在已经购买了《明史》的底子上,又购得了《两朝宪章录》、《两京遗编》、《大明会典》、《名山藏》、《国朝轶事》、《明遗民汇辑》、《世庙余闻录》、《定陵注略》、《大美素佳儿(Friso卡塔尔国(Nutrilon)统志》、《一统路程图记》,加上家中本来就有的《士商类要》、《万历坻钞》,《中中原人民共和国历史地图册》等,凡有关北宋之书相继挤入已十分拥堵的书橱,面临那拥挤的书橱,作者备感本人滑的太远太危殆,购书成了外般无语的回头蝇。近日本身面临那拥挤的书橱,有的时候拾贰分光阴虚度地想自身出持续成绩也罢,也许委屈那黄金年代橱好书,只可恨无意中养肥了书蠹无数,那厢事,向何人述说。

从明季以降低到步向七十生龙活虎世纪,时间过去了全方位三百多年,近来又有了肖谷的油画种类小说《东庄图》。南朝Sheikh六法中就有传移模写之说,即对金钱观宏构的模写、临摹和继承。但肖谷更进一层,他用其优越的二度半语汇,运用丰盛的思绪、肌理和等级次序,清淡微妙的色调,在大幅的镜头上远交近攻、龙蛇飞动,既有活泼运笔的韵致,又有远大的色彩铺陈,在一次遍的改进和镜头色彩的调治中,最后用壁画变体画的花样,创作出全新含义上的《东庄图》。其圣旨并不在倾覆和超越,而介于转变和创办。其间既有持续,又有成立,是风姿洒脱种持续中的创制。

Later my interests shifted from ancient carvings to Ming Dynasty art, and I continuously bought a great deal of related books. Sometimes faced with the bookshelf full of various books, I feel a little worried. It seems I am addicted to buying books but dont really have interests in books themselves. In the end, I wish I wouldnt waste so many good books!

《东庄图》之完胜桥 160x190cm 布面油画

《东庄图》之北港

从纯粹方式的角度来看,肖谷的《东庄图》无疑创设了意气风发种归于他谐和的变现方法;而相对于守旧杰出,又可窥见他仍保留着沈启南原文中的意象和韵味。肖谷的《东庄图》或可给人的启示是:运用油画丰硕的展现力和本性化的追究成果,将金钱观形式注入新的活力,付与今世文化精气神儿,便有追寻到新的方式观念和表明情势的恐怕。对于二个美学家而言,因而也认证了在大器晚成种成熟的艺术风格中,通过对文化的深层通晓和天性化美术语言的创建性创建,便有十分的大可能率做到对于守旧非凡的再度调换,即古典守旧向今世摄影的体制和语言的转变,以致在知识层面上古典主义向今世性的成立性调换。

But as an artist, I expect to know the exact age of the Dongzhuang Drawings, thus I started to research on this topic. Generally speaking, this research should be done by the academics, but I was obsessed with it out of my curiosity.

In terms of art form, Xiao Gus pieces undoubtedly represent his own way of expression. However, we can still see some of Shen Zhous spirit in his works. He endeavors to bring new vigor and vitality into classic oil painting and make it possible to find new art concept and expression. His success proves the possibility for an artist to accomplish the double-conversion of traditional culture. One is the switch of painting pattern and art language, the other is the switch from classicalism into modernism.

当《麦山》成熟后,作者即步入《北港》的著述。

这种重新转变,不止来源于肖谷对于现代雕塑语言的心手相应明白和立下志愿修改,更有赖于他对本民族文化精气神儿和审美意蕴的无比眷恋和凶猛情怀。也正因为这么,对于肖谷来讲,雕塑语言便成为她在形成这种创建性转变时的意气风发种花招的置换,语言自己也经过别具后生可畏种灵性,它们在镜头上所展现的材质仿佛能够使您动手到生龙活虎种饱满,生龙活虎种知识。这种精气神和学识必定将都归于中炎黄子孙民共和国。

从成婚至膝下有小女时期,时购杂书多本,但无雅兴细品,那个时候虽在雕塑创作化了众多武术,且又形成了高端高校油画专门的学业的学业,但与阅读实无有多大牵连。

肖谷的《东庄图》,在保留白石翁原来的作品真诚质朴和澹然自逸的蕴意同不平日候,更对已然成为历史古板优越的白石翁的《东庄图》进行再疏解,在通过低度凝炼后使其涵义被持续延伸与外拓,使其旺盛得到升高,在现世新的美学低度搜索到借助和总结,为今天的公众再度组织和修筑起东庄的另种审美场景的 有意味的款式,将人们从七百多年前的东庄置换来另三个视觉空间,在今世诗意和审美中搜寻到了新的归宿,在现世认为的主动意象中拿到新的视觉空间,从而引起并调动大家审美意识与之发生相互影响,生发出大器晚成种充满韩德明、美妙无穷的审美经验,进而完成了对于中黄炎子孙民共和国守旧文化精气神儿的今世转变。

Bei Gang

For a long time, I only know the famous artist Shen Zhou but I never heard of his Dongzhuang Drawings. Until two years ago, I found Xiao Gus oil painted Dongzhuang Drawings series and I was greatly surprised by Shen Zhous extraordinary artistic conception and Xiao Gus innovation. A few months later, I went with Xiao Gu and Chen Qiang to visit Shen Zhous cemetery in Suzhou and was honored to see the original piece of Dongzhuang Drawings in Nanjing Art Museum. That visit formed a start of my research on Master Shen Zhous art value and his hermit ideology. Meanwhile I hope that this research could assist Xiao Gus art plan more or less.

那时候期,有风流洒脱幅小编二〇一八年八月在湖南画的生龙活虎幅写生创作入选了由中国摄影学会主办的《摄影写生创作汇报展览》,那是本人近二年第八次到位中华夏族民共和国雕塑学会主持的展览。

肖谷创作平素严酷缜密 厚积薄发,本次作《东庄图》更是夜以继昼、化尽心血,在做了汪洋应用钻探考据的最早希图之后起先动笔,其间又几经反复,不断探究调节,积数年之力方始达于后日之功。在早就造成的那一个文章背后,凝聚着她原原本本的辛勤心力。在肖谷的心迹中,东庄决定成为生机勃勃种饱满表示,而他笔下的东庄,更含有着他的精粹和格调,被付与了与这种优秀和灵魂相切合的审美风范和风格,具备风流倜傥种投身自然、不碍于物的随便精气神儿。那让自家想起沈石田为化平生基友吴宽所作《吴文定公送行图》的自题诗为君二十一日画一山,为君十一日画一水。欲持灵秀拟君才,坐觉江山为之鄙。崎而不动衍且长,唯君之心差可比。肖谷至于白石翁,也流下了差可比拟的情丝,此诗亦当可移作肖谷对白石翁的写照。作为肖谷的老朋友,笔者亲眼目睹了他从观念酝酿到动笔创作的全经过。以笔者之见,肖谷与沈石田的心是相通的,而《东庄图》则是创设在他们中间的后生可畏座桥梁,也可视作是他俩之间的一次超过时间和空间的对话。于是,在本人前面就像是现身了这么的情景 在东庄盘亘波折的朱缨小径,肖谷和沈启南正正官而行,款步走来 夕阳的余晖透过绿叶婆娑的树隙洒满他俩的时装,他们尽情地每每接谈,三百多年的悠悠岁月,已在不经意间被她们抛在身后

婚后,择暇翻看家庭相当少的那多少个藏书,三日忽见一小黄纸从书中飘而下,抬起大器晚成看:春读书,秋读书,春秋读书,读春秋。不禁忍俊不禁。

玉田生《东庄图》是为其生平笃友吴宽的私家庄园东庄所绘。沈启南生平不仕,遁迹出世,坚决守护着隐逸人格的纯粹性;而吴宽则以其敏锐的才智和博大的知识,积极入世,追求修身、齐家、治国、平天下的功名工作。三个人的人生理想和身价旨归迥然不相同,但那并不影响她们的情逾骨肉,成为亲切至交。沈石田曾前后绘制过四次分别为十八景和三十三景《东庄图》册页文章,此中,东庄十五景本见于斐景福《壮陶阁书法和绘画录》著录,作于弘治十三年丙申秋月(1502年),时年沈石田七十贰周岁,当属其老年之作,八年后吴宽谢世,该图册即不知所踪。东庄五十一景本哪一天所绘说法不意气风发,而据肖谷初始考证,充任于沈礼拜八十至六十岁左右之壮年时(1477-1487年)。由于屡经递藏,在明末时即已不见了二幅,现成《东城》、《振衣冈》、《大败桥》、《续古堂》、《拙修庵》、《耕息轩》、《朱缨径》、《全真馆》、《知乐亭》等五十风流罗曼蒂克幅。所缺二幅,经肖谷实地考量,并结成大多历史文献求证,认为应是《桃花池》、《瓜圃》和《桂坞》。

自家是便于痴迷的,所以本身也尽大概促使自个儿走单一路径,以便最大限度地留住自身一块空间,一块空心灵的空中。

甲戌新禧于沪上系云书屋

Then I met my wife, and start to gradually giving up reading. After I had my daughter, I would buy some books from time to time, but I had already lost my deep interests in readings.

Xiao Gus Dongzhuang Drawings not only contains the sincere and plain style of Shen Zhou, but also reinterpreted the classic masterpiece. It forms an extension of the contents and the spirit of the original Dongzhuang Drawings, switching the traditional Dongzhuang to a brand new visual space. Xiao Gus works successfully arouse the interaction of the viewer and provide a wonderful appreciation experience, thus applying the traditional Chinese cultural spirit to the contemporary context.

自家光棍时,薪水独自占领,不用交与爸妈,且吃、住在单位,故其余花费甚少,唯以涉猎和买书为乐。那时候,刚冲出八十,书乱读,读乱书。所睹,辄尾随先睹者。恰时期转换,时风骤变,杂芜之潮,媚世之言,令人头晕目眩。于是,时而读管理学,时而读管理,时而读政治,时而读历史,时而读诗词,时而读天文,时而看艺术,时而听音乐,时而又读民俗志异、道释士儒,一时看得昏头昏脑,梦魇纷飞,不可自拔,整日呆呆地的,这几年纪又是特别刚开放的一代。

This double-conversion doesnt only come out of Xiao Gus skills and innovation, but also comes from his great love to his national culture and art. As a result, we can read a culture and spirit out of the oil painting language he uses.

Dongzhuang Drawings series were painted by Shen Zhou for his lifetime friend Wu Kuan, whos the owner of Dongzhuang. Shen Zhou never started his political career in his life and stuck to his hermit philosophy. Wu Kuan, on the other hand, was pursuing successful official career with his intelligence and extensive knowledge. However, the sharply different ambition and identity didnt affect the firm friendship between this two. As history shows, Shen Zhou has painted two collections Dongzhuang Drawings (12 paintings and 24 paintings) and gave them to Wu Kuan as a gift. The collection that contained 12 paintings was made in 1502, at which time Shen Zhou was 75 years old. Two years later, Wu Kuan died and this collection disappeared from then. It hasnt been confirmed of when the 24 paintings series were created. But according to Xiao Gus research, it may be created during the time of 1477-1487, when Shen Zhou was 60 years old. Because of the several ownership changes, 3 of the series were lost and only 21 are left. Xiao Gu combined his on-the-spot investigation and many historical documentation, believing that the lost three should be Tao Hua Chi, Gua Pu and Gui Wu.

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