雅昌首页
求购单(0) 消息
洪瑞生首页资讯资讯详细

【评论】瑞生的画

2015-10-27 09:52:35 来源:艺术家提供作者:王恤珠
A-A+

  我翻阅洪瑞生的画册,脑海中浮现出一个孜孜不倦的老画家在暑热中工作的情形,我佩服他对油画专业的精诚、毅力和执著。

  我和他相识是在1984年我来厦门大学美术系讲学时,当我知道我和他是中央美术学院油画系前后校友,倍感亲切。近年来,我居住厦门,与他常接触。瑞生是厦门大学艺术学院美术系教授,首任系主任,1964年毕业于中央美术学院吴作人工作室,深得吴作人先生、艾中信先生真传,在油画上长年耕耘,取得不菲的成绩。从1970年代末开始,利用手边可以接触到的为数不多的资料,用心地研究西方各艺术流派,并经过自己的消化,融汇在自己的艺术创作中。1998年他访问了法、德、意、荷及西班牙,看到众多西方油画大师的杰作;有意思的是,他同时在巴黎大宫看到了台北故宫博物院的我国历代名画展,使他在同一时空中能够直接对中、西方艺术去感受和比较,思绪更清晰。这在他近年的作品中,人们可以看出访欧的收获,他的画风也呈现调整和深化,在他追求油画中国化的道路上,有所收获和发展,令人高兴。

  他的两张脍炙人口的大幅油画创作,我都亲眼目睹。他坚持信奉他的恩师吴作人先生“为人生而艺术”的教导,注重自己的生活和文化积累,真诚执著,踏实地磨炼自己,“没有迎合一时风尚的取巧心理”(艾中信语),这在他2005年12月为厦门郑成功纪念馆创作的大型历史画《雄风——1662年郑成功收复台湾》(210cm x 450cm)上有明显的体现。2012年末他又为印尼XILALAHI CENTER峇达博物馆创作的大幅油画《最后的战将——峇达王率族人征战荷兰殖民者》上,有更进一步的发挥,在70多岁时独自完成230cm x 380cm这样一幅大画,是很不简单的。为完成这两幅大画,他各都花去一整年的时间;画第二幅作品时甚至病倒住院了。

  瑞生是出生于鼓浪屿的本土画家,他的油画题材多取材于闽南的渔村生活和厦门鼓浪屿的崎丽风光,由于他谙熟闽南的文化习俗,因此在扑捉和处理题材上有他独自的切入角度;又由于他在油画艺术上有不少他自己独特见解,因此他在艺术表达与深化方面有他自己独到手法和语言;所以,他的画蕴含浓浓的闽南韵味,旨意与格调颇为耐人寻味。他有意放松形象的轮廓线,从而使形象与背景溶于一体以达到画面的协调与装饰意味。画面色彩饱和而又含蓄,他的红色特别值得称道,庄重、丰富而不浮躁,与闽南的红土地、红砖厝、红庙宇、红家具等等——特别与闽南人的内心期盼——息息相关,在他的《冬日的鼓浪屿》《晨妆》《渔家客厅》《涨潮》等等作品中都鲜明地体现出这一艺术特色。

  瑞生在中国油画发展前途的思考上也是下了功夫的,他认为油画中国化不能理解为简单地把油画画成中国画(特别是舍弃色彩的艺术表现力);而应重点在于对中国画传统的美学法则的深入研究上,然后再转换到油画上来。这是一个多年来美术界一直在探索并有争议的学术课题,是需要几代油画家们不懈地努力工作才能成就的。我自己是主张油画家们不妨用中国的传统工具毛笔、宣纸去体会中外艺术手法上的不同,从而发展艺术的表现力,近百年来,中国不少油画大师们如徐悲鸿、吴作人、林风眠、刘海栗、吴冠中------都身体力行,率先垂范,他们都是在各自掌握精到的油画技巧外,又掌握了各有千秋的中国画技巧,兼容并蓄,相得益彰,或许这也是融合中西艺术之路径?

  画册选辑了百多幅作品,让我们从中看出瑞生五十多年的艺术轨迹和付出,我们期待他暮年更新,走向他心中那“水到渠成”的境界!

王恤珠  写于厦门

2013-12-31

  Ruisheng’s Paintings

  Wang Xuzhu

  When I flipped through the catalogue, I had a picture in my mind, of a tireless, experienced painter hard working in the heat. I admire his professionalism, perseverance and dedication to oil paintings.

  We met in 1984, when I came to give lectures at the Fine Arts Department of Xiamen University. I felt quite at home when I knew that he was also an alumnus of the Central Academy of Fine Arts. In recent years, I lived in Xiamen and had regular contact with him. Ruisheng is a Professor of Fine Arts Department of the Art Institute of Xiamen University, the first Dean of the Department. He graduated from Wu Zuoren Studio of the Central Academy of Fine Arts in 1964 and gained true skills passed on from Mr. Wu Zuoren and Mr. Ai Zhongxin. He worked on oil paintings for many years and achieved huge success. From the late 1970s, he made use of the few materials available to study Western art schools and integrated them in his own artistic creations. In 1998 he visited France, Germany, Italy, the Netherlands and Spain, to see many masterpieces of Western painting. Interestingly, he also saw the Taipei Palace Museum exhibition of ancient Chinese paintings at the Grand Palais in Paris, so that at the same time and space he was able to experience and compare Chinese and Western art in a clear manner. His recent works show the reward from his visit to Europe, with adjusted and deepened style. It’s pleasing to see his reward and development in his pursuit of Chinese paintings.

  I have seen both of his two popular large scale oil paintings. He insisted in believing in the teachings from his mentor Mr. Wu Zuoren, "Art for Life," focusing on his own life and cultural experience, sincere dedication, and steadfast self-tempering. “There was no trace of intention to cater to fashion,” said Ai Zhongxin.  This shows evidently on his large-scale painting “Glory – Zheng Chenggong reclaiming Taiwan in 1662” (100cm x 450 cm), created for Xiamen Zheng Chenggong Memorial Hall in December 2005. It shows even further in another large-scale oil painting “The Last Warrior – Bayan King Leading the Aboriginals to Fight against the Duitch Colonists” for the Xilalahi Centre Museum in Indonesia (230cm x 380cm). It was not an easy job to finish such a large 230cm x 380cm painting alone in his seventies. He spent over a year each to finish these two paintings and was even hospitalized when was painting the second one.

  Ruisheng is a local painter born in Gulangyu. His painting subjects are usually based on the fishing village life in Southern Fujian and the beautiful scenery in Gulangyu, Xiamen. He is able to capture and process the themes from his own perspective, due to his familiarity with the cultural practices in Southern Fujian. He has lots of unique insights in terms of oil paintings, and therefore he has his own unique techniques and language of artistic expression. His paintings contain a thick flavor of Southern Fujian, with interesting purpose and style. He relaxes the painting contour to dissolve the subject and the background into one scene so as to achieve the coordination and decorative means. The paintings have rich yet subtle color saturation. His red is especially commendable: solemn, rich but not impetuous. This is closely related to the red earth, red brick houses, red temples, red furniture, etc. in Southern Fujian, especially the people’s anticipations. These features are clearly shown in his works “Gulangyu in Winter,” “Morning Makeup,” “Fisherman’s Living Room,” “Rising Tide,” etc.

  Ruisheng makes efforts to think about the future of Chinese oil paintings. He believes that the sinicization of oil painting cannot be understood simply as painting in a Chinese way (especially the abandoning of the artistic expression of colors), but should be focused on the in-depth study of the traditional aesthetic principles of Chinese paintings and then the application to the oil paintings. This has been a much explored and controversial subject in fine arts for many years and it requires several generations of painters to work tirelessly to achieve. Personally I advocate painters to use Chinese traditional tools, such as brush and rice paper to experience the different approaches of Chinese and foreign art so as to develop the artistic expression. In the past century, many Chinese painting masters such as Xu Beihong, Wu Zuoren, Lin Fengmian, Liu Haisu, and Wu Guanzhong have all personally set an example. Not only did they all grasp the subtlety of oil painting skills, but they also possessed Chinese painting skills, which had their own advantages. These skills coexist and complement each other, and could this be the path to the fusion of Chinese and Western art?

  This painting catalogue contains over a hundred pieces of artwork and we can see Ruisheng’s artistic trail and efforts in over 50 years. We look forward to his renewal in twilight years, walking into the realm of “everything falling into place naturally!”

  Wang Xuzhu in Xiamen

  December 31st, 2013

  Wang Chu-shirt written in Xiamen

  2013-12-31

返回顶部
关于我们产品介绍人才招聘雅昌动态联系我们网站地图版权说明免责声明隐私权保护友情链接雅昌集团专家顾问法律顾问
关闭
微官网二维码

洪瑞生

扫一扫上面的二维码图形
就可以关注我的手机官网

分享到: