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2021博鳌中国传统文化高峰论坛——艺术家代表徐建君(图)

2021-10-17 13:38    文章来源:楮墨艺术    

【前言】
2021年是我国“两个一百年”奋斗目标的历史交汇期,也是全面开启 社会主义现代化国家建设新征程的重要机遇期,更是推进文化强国建设高 质量发展的关键期。国家“十四五”发展规划和2035年远景目标纲要指出,要加强优秀文化作品生产传播,健全现代文化产业体系,提升公共文化服务水平。为深入贯彻落实文化强国建设战略目标,加快推进国内外文化产业交流发展,中国传统文化促进会定于2021年10月17日至20日在海南博鳌亚洲论坛国际会议中心组织召开“2021博鳌中国传统文化高峰论坛”。
本届论坛以“弘扬传统文化、赋能时代发展、引领文化潮流”为宗旨,以宣传推广中华优秀传统文化为目标,探索中华文化创新发展新思路,致力于向世界展示中华文化五千年的历史传承、弘扬新时期中华文化的时代内涵、传播创造性转化及创新性发展的思路愿景。本届论坛由开幕式、全体大会、展览展示、主旨论坛、专项活动等内容组成,多维度展示中华文化新时代优秀成果。
博鳌中国传统文化高峰论坛时间
2021年10月17日 —— 20日
博鳌中国传统文化高峰论坛地点
海南·博鳌亚洲论坛国际会议中心
|指导单位|
故宫博物院
|主办单位|
中国传统文化促进会
《艺术家代表 —— 徐建君新闻报道》

徐建君个人艺术照片

《徐建君诗书画印作品选》


徐建君,轩辕后裔,浙派国画传承人,字道陀,号北斗砚主。现系艺术国际联合会主席、中国美术家协会会员,俄罗斯皇家艺术科学院院士、京华印社常务理事、东方中国画艺术研究院院长,他上世纪六十年代出生于浙江诸暨的一绘画世家,从小看老一辈艺术家挥毫泼墨,耳濡目染,潜移默化,后被朱豹卿先生收为入室弟子,闻先生说道,开悟后创立玄宗画派,作品诗、书、画、印互为融通,是当下中国文人画的领军人物。他专攻书画,所作诗文简约俏逸,寄托高远,书法上主张帖学和金石学融合,擅长水墨大写意,其篆刻汲取南北流派,印风雄浑苍莽,极具现代感。他综合诗书画印,在理论研究和创作实践中取精用宏,形成了自己独特的艺术风格。从传统的写意画来看,文人画追求意境,不为格法所囿,着墨不多,却又富于变化,大都诗书画印配合出现,讲究书法趣味。     

Xu Jianjun, descendant of Xuanyuan, inheritor of traditional Chinese painting of Zhejiang school, with the word Daotuo, and the master of Beidou inkstone. He is currently the chairman of the International Federation of Art, a member of the Chinese Artists Association, an academician of the Royal Academy of Arts of Russia, an executive director of the Jinghua Printing Press, and the dean of the Oriental Chinese Painting Art Institute. Seeing the older generation of artists splattering ink, they were impressed by their eyes and subtle, and they were later accepted by Mr. Zhu Baoqing as a disciple. Mr. Wen said that after enlightenment, he founded the Xuanzong Painting School, and his works are poetry, calligraphy, painting, and printing. Leading figure in literati painting. He specializes in calligraphy and calligraphy, and his poems are simple and elegant, with lofty sustenance. In calligraphy, he advocates the integration of calligraphy and engraving. He is good at freehand brushwork. He integrated poetry, calligraphy, painting and printing, and used the best in theoretical research and creative practice to form his own unique artistic style. From the perspective of traditional freehand painting, literati painting pursues the artistic conception, is not limited by the style, and does not have much ink, but it is full of changes. Most of the poetry, calligraphy, and seals appear together, paying attention to the taste of calligraphy.

其书画以骨法用笔为内质,以书写为法则,落笔见豪放的个性,恩师朱豹卿先生看了徐建君的《逍遥游》作品后说:徐建君画,简约而充实有潘老这股气勢,并为《徐介君金石书画集》题写“冀北空群”四字。徐建君他提出中国画艺术的本质就是点、线、块为基本组成单位,万物是由点、线,块组成,点、线、块的内质决定艺术境界的高底,可谓:取精用宏,匠心独具!

His paintings and calligraphy are based on bone technique and pen as the internal quality, and writing is the rule. When you write, you can see the bold personality. After reading Xu Jianjun's "Xiaoyaoyou" work, his teacher Zhu Baoqing said: Xu Jianjun's paintings are simple and full with the spirit of Pan Lao. Shi, and inscribed the four characters "Jibei Kongqun" for "Xu Jiejun Jinshi Calligraphy and Painting Collection". Xu Jianjun proposed that the essence of Chinese painting art is that dots, lines, and blocks are the basic units. Everything is composed of points, lines, and blocks. The inner quality of points, lines, and blocks determines the high level of the artistic realm. Unique ingenuity!

西泠饶宗颐先生多年前就强调国家要特别重视家世家学渊源之家族家庭的保护和传承,江南艺术之家,当代徐海彬、徐建君、、徐卿云诗礼書画传家一门三代入编《中华人物大典》堪称佳话。唐张彦远《历代名画记》云:“自古善画者,莫非衣冠贵冑、逸士高人,振妙一时,传芳千祀,非闾阎鄙贱之所能为也”        他的作品风格冷隽超逸、雄浑苍茫,笔墨酣畅淋漓,大气磅礴、不拘一格,其桀骜不驯、狂放不羁的个性在作品中得到了深刻的展现。2O14年被中央文选出版社《一代书画大师》选为封面人物,为俄罗斯大使馆《纪念世界反法西斯胜利七十周年作品展》题字,其作品被中国邮政入编《时代先锋》《文化中国 时代榜样》出版邮册全球发行。参加中外友好协会主办的“圣彼得堡中俄名家作品展”,获金奖并在皇家艺 术科学研究院作重要讲话。“海峽两岸书画作品展”上他被聘为两岸文化交流大使,2013英国倫敦艺术奥运获写意画大师金奖,文化部青藤画派非遗传承人。

Mr. Xiling Rao Zongyi emphasized many years ago that the country should pay special attention to the protection and inheritance of the family family. "Characters" can be called a good story. Tang Zhang Yanyuan’s "Famous Paintings in Past Dynasties" says: "A good painter since ancient times, is it not a well-dressed, elegant person, who is invigorated for a time, passes on the beauty of thousands of sacrifices, and it is not what Lu and Yan can do." His work style is cold and juan. Super-easy, majestic and boundless, pen and ink, majestic and eclectic, its unruly and unruly personality is deeply displayed in the works. In 2O14, he was selected as the cover character by the Central Literary Selection Publishing House "A Generation of Calligraphy and Painting Masters", and was the inion of the "Exhibition of Works Commemorating the 70th Anniversary of the Victory of World Anti-Fascism" by the Russian Embassy. His works were included in the compilation of "The Pioneer of the Times" and "The Era of Cultural China" by China Post. The "Model" publication stamp is distributed worldwide. Participated in the "St. Petersburg Sino-Russian Masters' Works Exhibition" hosted by the China-Foreign Friendship Association, won the gold medal and made an important speech at the Royal Academy of Arts and Sciences. He was hired as an ambassador for cross-strait cultural exchanges at the "Cross-Strait Painting and Calligraphy Exhibition". In 2013, he won the gold medal of the freehand drawing master at the London Art Olympics, and the non-genetic inheritor of the Qingteng School of the Ministry of Culture. 

萧散出情 简远由心

一一徐建君之写意花鸟画

There is true love between natural and unrestrained,and Follow his heart。
一一The freehand brushwork flower-and-bird painting of Xu Jianjun

清李重华《贞一斋诗话》:“善写意者,意动而其神跃然欲来,意尽而其神渺然无际,此默而成之,存乎其人矣。”中国花鸟画自青藤白阳行大写意之风后,辈有来者,然而真正能够有所成者都有着与众不同的心性与情感。“意动”由心中一念而起,此一念必有不同常人之“感”才能成此独有之“意”,由“意”驱笔行墨,于纸素之上行不得不行,止不得不止。这是写意画创作的真正状态因此写意花鸟对于创作者有很高的要求,简率的笔墨并不是简单轻易之举。笔墨对于“意”呈现的充分有效性关系到作品的最后成功,因此笔墨的功力是一个极为重要的要求,是创作成功的必要保障。而作品的最终要求是“神”,“神”跃然纸上,则所绘物之形态表象已为其次,重要的是以神形物,超然形外。物之“神”与作者之“神”合一。

Li Chonghua, who lived in the Qing Dynasty, recorded in his book Zhen Yi Zhai Shi Hua: "Those who are good at freehand brushwork are motivated and their spirit is eager to come, and their spirit is lost when their intention is exhausted. This silence is formed and exists in their people." Chinese flower-and-bird painting has come after the style of freehand brushwork of Qingteng Baiyang, but those who can really achieve something have a unique mind and emotion. "Conation" starts from a thought in the heart, which must have a "feeling" different from that of ordinary people in order to become this unique "meaning", and the "meaning" drives the pen and ink, which can not be done on the paper, but can not be stopped. This is the real state of freehand brushwork creation, so freehand brushwork flowers and birds for the creator has a high demand, simple brush and ink is not a simple and easy move. The full effectiveness of pen and ink for the presentation of "meaning" is related to the final success of the work, so the ability of pen and ink is an extremely important requirement and a necessary guarantee for the success of creation. The ultimate requirement of the work is "Spirit", "Spirit" on the paper, then the form of the object painted has been secondary, the important thing is to form the object with God, detached from the form. The "Spirit" of the object and the "Spirit" of the author are fixed.

大写意花鸟画明以后有扬州八怪诸家,清末民初有海上诸家,各自有所建树。二十世纪有吴昌硕、齐白石、潘天寿以写意花鸟名世。其后吴、潘影响着江浙花鸟画的发展,而齐则对以北京为中心的北方花鸟画发展起着极为重要的作用。徐建君的写意花鸟画受到老师朱豹卿的熏染,在笔墨形态及审美意味上与这三家有所不同,显现了明显的个人特色,以风神之萧散与笔墨之简远为特征。吴、齐、潘三家的成功均与各自援用书法成就相关。吴昌硕以秦《石鼓文》为突破口,齐白石用心于魏碑与汉碑,潘天寿多临写甲骨文、金文汉碑。三家都以用笔厚重、刚毅、凝练为总体特征,显示了大写意花鸟的情势与力量。
After the Ming Dynasty, there were eight masters of freehand flower-and-bird painting in Yangzhou, and at the end of the Qing Dynasty and the beginning of the Republic of China, there were masters of maritime painting, each of which had its own achievements. In the 20th century, Wu Changshuo, Qi Baishi and Pan Tianshou were famous for their freehand flowers and birds. Later, Wu and Pan influenced the development of flower and bird painting in Jiangsu and Zhejiang provinces, while Qi played an extremely important role in the development of flower and bird painting in the north centered on Beijing. Influenced by his teacher Zhu Baoqing, Xu Jianjun's freehand flower-and-bird paintings are different from these three in the form of brush and ink and aesthetic meaning, showing obvious personal characteristics, characterized by the scattered wind and the simple brush and ink. The success of Wu, Qi and Pan is related to their respective achievements in calligraphy. Wu Changshuo took the Stone Drum Inion of the Qin Dynasty as a breakthrough, Qi Baishi devoted himself to the Wei and Han Steles, and Pan Tianshou wrote oracle bone inions and bronze inions on Han Steles. The overall characteristics of the three schools are thick, resolute and concise, showing the situation and strength of freehand flowers and birds. Xu Jianjun's freehand flower-and-bird painting inherits the strict requirements of the former sages for the quality of brush and ink, but it does not highlight the brush and ink itself, and the combination of brush and ink and mind is more in Xiao San Jian yuan. Nowadays, freehand flower-and-bird painters learn from Wu, Qi and Pan and go astray by exaggerating their brush and ink characteristics, thinking that freehand brushwork is the display of brush and ink, but lacks the inherent charm of brush and ink. More painters think that freehand brushwork is to "freely" dance with brush and ink at will, totally ignoring the strict requirements

inherent in the simplicity of freehand brushwork.

徐建君的写意花鸟画继承了前贤对于笔墨的质量的严格要求,但是并没有将笔墨自身凸显出来,笔墨与心意相合,更在在萧散简远之中。时下写意花鸟画家学习吴、齐、潘三位大家而走入误区的是将他们的笔墨特征夸张化运用,以为大写意就是笔墨的布陈,而缺乏笔墨内在的意韵。更有画家以为写意就是随意地“自由”舞弄笔墨,全然不顾写意画简率之下内在的严格要求。徐建君的画以意为高,意在象外,因此不会对物象作过多的雕琢,同时以意涵情,情在意的统摄之下,不恣肆,而自有其深处。其笔墨萧散故无滞浊,简远离于繁杂。无论花卉、虫鸟都有一种逸致,这种逸致是其人离于俗地的必然表现。面对其画,一种拙趣溢于纸外。宋姜夔说:“雕刻伤气,敷衍露骨。若鄙而不精巧,是不雕刻之过;拙而无委曲,是不敷衍之过。”徐建君的创作注重心性的直现,不是求悦于人的迎合,因此呈现了一种独立的人格,这在当下是极为可贵的。

Xu Jianjun's paintings are based on meaning, meaning outside the image, so they do not make too much carving of the image, at the same time, they contain feelings with meaning, under the control of meaning, they are not wanton, but have their own depth. His pen and ink are scattered, so there is no stagnation and turbidity, and simplicity is far away from complexity. No matter flowers, insects or birds, they all have a kind of leisure, which is the inevitable manifestation of their departure from the secular world. In the face of his paintings, a kind of clumsy interest overflows beyond the paper. Song Jiang Kui said: "Carving hurts the spirit, perfunctory and explicit.". It is not the fault of carving to be contemptible but not delicate; "It is not perfunctory to be clumsy without grievance." Xu Jianjun's creation pays attention to the direct expression of mind, not the catering to people, so it presents an independent personality, which is extremely valuable at present.

Zha Lv wrote in Yanyuan

9,6,2011

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