胸中有天地 山川入画来 访画家界一刘伟
发布时间:2021-04-22 18:09:13
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画了半辈子泰山的刘伟，在读通了杜甫的《望岳》后才真正明白，陆俨少所提出的作画要“四分读书、三分写字、三分作画”是多么有道理。而《望岳》中的一句“岱宗夫如何？“让刘伟整整思考踌躇了好长时间。最后还是爱人的一句：你整天”岱宗夫如何，岱宗夫如何的，你就不能“刘伟夫如何？”一句话讓刘伟顿悟禅机：岱宗夫如何？杜甫问了一千多年，文人画家也写画了一千多年，我刘伟如何能画得与他们不一样？也就是我刘伟夫如何了。这不正是齐白石先生所说：“学我者生，似我者死”吗？
After reading Du Fu's Wangyue, Liu Wei, who has been painting Mount Tai for half of his life, really understood how reasonable Lu Yanshao's "reading, writing, and painting" is proposed by Lu Yanshao. And "Wang Yue" in a sentence: "how about Dai Zongfu? "Liu Wei hesitated for a long time. Last but not least, you can't "how about Liu Weifu?" In a word, let Liu Weidun understand Zen: how about Dai Zongfu? Du Fu asked for more than a thousand years, and literati painters have also written and painted for more than a thousand years. How can I, Liu Wei, paint differently from them? That's what happened to me, Liu Weifu. Isn't this exactly what Mr. Qi Baishi said: "those who learn from me live, and those like me die"?
After understanding the poem "Wangyue", the painting of Mount Tai has made Liu Wei's paintings more and more mature. During that period, Liu Wei's Taishan painting "taidai rising sun" won the landscape painting award held by China Artists Association. In the next few years, other works also won awards. It was the cultural cultivation in his chest that improved his painting skills, or the landscape in front of him that made him move his true feelings. Liu Wei is a little confused, but he knows that art creation needs inspiration.
Liu Wei, No. 1, was born in Jinan in 1966 and loved painting since childhood. He graduated from Shandong Academy of art and studied in the National Academy of painting. He is now a senior painter of Shandong painting academy, vice president of Shandong Taishan calligraphy and painting academy, executive vice president of Jinan Wendu calligraphy and painting academy, vice president of Jinan Lixia celebrity calligraphy and painting academy, and vice chairman of Jinan Chinese painting and oil painting Research Association.
Liu Wei, who grew up at the foot of Mount Tai, has been deeply nourished by Qilu culture. For many years, he has cultivated himself by "benevolence, righteousness, propriety, body, wisdom and faith", dealt with the world with "Tao following nature", and understood life with the mentality of "one flower, one world". His works are full of Confucianism, Buddhism and Taoism, dignified atmosphere has illusory intelligence, reality landscape has a kind of mystery to understand the world. When painting, he always reminds himself to have the world in his eyes and his self in his pen. He should draw his own personality.
His award-winning work, Mount Tai, does not pursue the privilege of being the only one of the five mountains, and does not show the abruptness of his peaks and the crags of strange rocks. The emphasis of the performance is to highlight the Confucian sense of humility and courtesy that Mount Tai is the first of the five mountains.
He said that Mount Tai is the home of the sage of Confucius. The mountains, rivers, plants and trees of Mount Tai are influenced and baptized by the thoughts of Confucius and Mencius. Therefore, various legends and more than 2500 pieces of inscriptions have been handed down. The basic spirit of Mount Tai culture is modesty. Not to have more than 2000 years of Title qualifications and proud of the world. Therefore, Liu Wei's paintings of Mount Tai have intentionally or unintentionally made the top of Mount Tai gentle and accessible. Even some mountain peaks are treated as figures with houses and activities, implying that the open mindedness of Mount Tai can accommodate guests from all over the world.
From the beginning of composition, the work has broken through the past pursuit of the relationship between point, line and surface, boldly using pen, leaving large pieces of blank and carefully using ink. Make the level of the picture prominent, vivid charm, cloud floating misty, more show the remote Taishan. The small bridge, the flowing water and the people in the mountains are full of peace and tranquility. In the distance, the rising sun in the East China Sea is coming to the world in bright red. At this time, Mount Tai seems very peaceful and quiet. Xie Jingyong, a member of China Artists Association and director of Shandong Artists Association, commented on Liu Wei's works: he could appreciate his meditation on the theories of his tutors and predecessors, his love for nature, his full travel of nature, and his endless changes in nature. He made a great breakthrough in getting rid of the shackles of ancient Chinese language. Pay attention to the relationship between the overall feeling and local interest and the macro control of the overall situation.
Liu Wei's works infuse his understanding of contemporary teacher theory and the fusion of ancient painting style. For a period of time, Liu Wei made great efforts to study the characteristics of the masters of painting since the Ming and Qing Dynasties: the four kings of the literati painting school in the early Qing Dynasty had a great influence on Liu Wei. His works once pursued elegance and elegance, noble style, and dense and clear ink. After looking at Shi Tao's paintings, the composition is novel. Whether it is the clouds and smoke of Huangshan Mountain, the ink and wash of the south of the Yangtze River, or the cliffs, withered trees and jackdaws, or the distant, far-reaching and lofty scenery, all strive to create a novel layout and renovate the artistic conception. In particular, he is good at using the "interception method" to convey the depth of the scene to Liu Wei's impression. Later, when he looked at the works of Qi Baishi, Pan Tianshou, Xu Beihong and other masters, he felt that the space of painting had been blocked by his predecessors. At this time, Liu Wei began to feel confused, wandering, helpless and even impatient in his pursuit of art.
It was in the National Academy of painting and Fan Yang's study that made Liu Wei thoroughly enlightened: Mr. Fan Yang told Liu Wei: don't envy me, let alone imitate me. Envy is ignorance, imitation is suicide. Don't learn you to be me, but make me you. From then on, Liu Wei examined painting from a new perspective. Finally, teacher Fan Yang told Liu Wei: in the process of painting, you can learn from "seeing mountains as mountains and seeing water as water." Go to "looking at mountains is not mountains, seeing water is not water." Then to "look at mountains or mountains, look at water or water." Liu Wei was successful. The teaching of Zen always made Liu Wei continue to sketch and create in the process of landscape painting.
Over the years, Liu Wei's sketching footprints have covered half of China. Liu Wei's sketches have been visited by the clouds and mists of Huangshan, the coldness and beauty of Sanqing mountain, the water of Lijiang, the bamboo of Xiaoxiang, the temples of Yandang Mountain and the fish boat of Poyang Lake. A large number of sketching made Liu Wei's paintings get rid of the shackles of the ancient language, pay attention to the relationship between the overall feeling and local interest and macro control of the overall situation, and do not confine to the perfection of one stroke at a time. Since then, Liu Wei's works tend to mature and form their own style.
In addition to the majestic atmosphere of Mount Tai's series of works, Liu Wei's landscape sketches also have a sense of concentration between the scales. His "spring, summer, autumn, winter" four screens, the composition of rigorous, concise pen, not much coloring and four distinct seasons. "Tuan fan" is a work that he tried to use the ancient techniques to express the modern landscape. The winding ancient trees, surging springs, and the old people walking alone on the bridge clearly give people a sense of tranquility and tranquility. It makes people yearn for purifying the soul.
最被评论家关注的作品还应是《山东日出》。雄伟的山脉，蒼郁的青松，奔涌的溪水，喷薄的红日这些物象语言无不在激发观众对祖国山河的热爱和蓬勃向上的激情。
The most concerned work should be Shandong sunrise. Majestic mountains, lush green pines, rushing streams, gushing red sun, all of these physical language stimulate the audience's love for the motherland's mountains and rivers and vigorous passion.
There is a characteristic in reading Liu Wei's works. Every mountain has a trickle of clear water flowing from the depths of the mountains. Liu Wei explained that water is the foundation of life. The mountains are high and the water is long, and then the grass and trees flourish to give people vitality.
It is Liu Wei's character that he is as good as water and indifferent to the world. Looking at Liu Wei's landscape works, we can feel the benevolence of Confucianism, the ethereal spirit of Taoism and the Zen of Buddhism. These artistic conception comes from the influence of Qilu culture for thousands of years and the influence of Confucianism, Buddhism and Taoism on him. He wants to show the grandeur, benevolence, softness and implicitness of Chinese landscape from more aspects through his own brush. Liu Wei's heart is full of heaven and earth, and the mountains and rivers in his works also have aura.
郝连成采写于北京 2016年7月
Hao Liancheng wrote in Beijing in July 2016
