龙瑞

( 中国美术家协会会员 )

龙瑞,1946年生于成都,长在北京。笔名大龙、蜀人。1966年毕业于北京工艺美术学校,之后从事工艺美术设计10余年。1981年毕业于中央美术学院中国画系山水画研究生班,受教于山水画大师李可染先生;毕业后于中国美术家协会工作,1985年调中国画研究院为专职画家,曾为该院业务处副处长,副研究员。2001年任中国艺术研究院美术研究所所长;2003年,改任中国画研究院院长;2006年,中国画研究院更名中国国家画院,龙瑞任院长。现为全国政协委员、中国国家画院名誉院长、国家一级美术师、中国美术家协会中国画艺术委员会主任、中国国际书画艺术研究会会长、文化部高级职称评委会美术组主任、国家有突出贡献中青年专家。

  • 中文名龙瑞
  • 别名笔名大龙、蜀人
  • 性别
  • 国籍中国
  • 民族汉族
  • 祖籍四川成都
  • 出生地成都
  • 出生日期1946年
  • 职业画家
  • 毕业院校北京工艺美术学校、中央美术学院
  • 代表作品《山乡农校》;《幽燕秋趣》;《龙瑞水墨画集》;《秋天的收获-龙瑞山水画专辑》等。
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沈威峰花鸟画的笔墨神韵——龙瑞访谈

中国美术网 09-18 浏览

时间:2003年11月30日  地点:北京采访对象:中国画研究院院长龙瑞采访者:苏州广播电视总台记者缪军采访内容:记者:中国画是“讲笔墨”的,虽然沈威峰的画里有一点西画的东西,但终究还是讲...
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个人简介

龙瑞(1946.8-)笔名大龙、蜀人。四川成都人。1966年毕业于北京工艺美术学校,之后从事工艺美术设计10余年。
1979年考入中央美术学院中国画系山水画研究生班,毕业后于中国美术家协会工作,
1981年参加“第六届全国美展”,作品《山乡农校》获优秀奖。
1985年调中国画研究院为专职画家,曾为该院业务处副处长,副研究员。
中国美术家协会会员,东方美术交流学会理事擅长山水画。
现为中国画研究院院长,中国画研究院一级美术师,中国美术协会中国画艺术委员会委员,国家有突出贡献中青年专家。
作品《山乡农校》入选第六届全国美展优秀作品展,《幽燕秋趣》入选第二次东方美术交流学会展,《山上有棵小树》获1988年北京国际水墨画大展大奖。其作品曾多次参加出国展出。1988年于美国纽约赫夫纳画廊举办个展。出版有《龙瑞水墨画集》、《秋天的收获-龙瑞山水画专辑》。

人物经历

1986年赴香港参加“东方美术交流学会画展”,作品为包玉刚先生收藏。
1987年参加日本“现代水墨画美术展”获优秀奖。
1987年,於中国国家画院组织“中国画研究会”。
1987年,於中国国家画院举办“中国山水画展”。
1987年於美国纽约赫夫纳画廊举办“龙瑞水墨画展”,并获美国俄克拉赫马州荣誉市民证书。
1988年赴法国巴黎联合国教科文组织总部举办由中国文化部组织的“现代中国画展”。
1989年於台湾举办“龙瑞水墨画展”。
1990年随中国画家代表团赴泰国参加“中国当代美术家十五人展”。
1991年赴韩国汉城国家艺术殿堂举办“中国画代表作家展”。
1992年应曼德国际登纳基金会邀请,赴德国柏林皇宫举办“中国现代水墨展”。
1993年赴台湾台中美术馆参加“现代水墨画展”及学术研讨会,送展作品为台中美术馆收藏。
1994年-1995年策划并参加“张力的实验——表现性水墨画展”。
1996年为纪念中国红军长征胜利六十周年,组织全国知名山水画家赴井冈山写生,创作并举办“井冈山大型山水画展”,於北京、南昌、珠海等地巡展。
1996年——1997年两次访问意大利及西班牙,并举办“现代中国画展”。
1997年参加“新文人画展”。
1998年参加“河山画会第四国展”,“98中国山水画展”,“当代中国山水画·油画风景展”。
1999年参加“世纪末中国画著名画家二十一人画展”。
2000年 参加“锦绣中华万里行——漓江篇画展”。2001年参加“锦绣中华万里行——太行篇画展”,参加“聚集西部”画展。
2002年参加“二OO二年全国中国画展”。
2003年参加“北京国际双年展”,“第二届全国中国画展”。
2011年2月任中国山水画创作院院长。

作品风格

龙瑞的山水,最初师承李可染梁树年等,重视写生,但他一开始就喜欢有力的笔线色皴,而不特钟情于反复的渲染。20世纪80年代后期,他多次赴欧美考察艺术,观念有所变化,决定“跳出形的束缚”,创作了一批强调构成的作品,从而拉开了与写实山水的距离,突出了视觉张力,成为革新山水画的代表之一。20世纪90年代以来,他在渐向传统,追求气韵、味道。回归式求变的过程中,笔力益发自由雄健,阳刚浑融之气笼罩画面,个性面貌、传统意趣和现代感,也愈加明晰而统一了。
龙瑞生于成都,求学于北京,南人北相。南北兼综的素质在他的绘画艺术中灿然可睹:气象博大而笔式精妙,丘壑高大绵长而点景生动怡人,能将燕赵慷慨悲歌之气与吴越小桥流水人家冶为一炉,亦能将黔蜀山野气象同市井都市红尘勾兑一壶。笔墨中正苍厚,却不乏风流蕴藉,格局大开大阖,过渡却微妙精细。

龙瑞的底子是工艺美术设计,因此他对构成、设计的抽象意识比一般中国画家要敏感。在那大谈“绘画性”的年月里,“构成”一词变得时髦起来,而人们对“构成”的理解又都偏重于平面几何,于是不管是油画,还是传统的中国水墨,大家在平面上都“构成”起来,各种僵直的几何形状把画面中的有机物象切割成大大小小的条条框框。龙瑞未能免俗,他的工艺设计底子这时候也派上了用场。但这么弄了几年后,他发现用毛笔和水墨画几何简直有些莫名其妙,“气韵不够”,龙瑞用4个字温和地结束了这场游戏

人物评价

龙瑞不是一个偏执之才,而是一个具有中和之质的整合型画家。从他80年代出道以来的种种表现可以清楚地看到他身上兼容并蓄的气质。他可以是相当前卫的“张力的实验——表现性水墨展”的重要成员,也可以是坚守传统笔墨趣味的“新文人画”网罗的对象,还可以是观念与语言都平实中正的“河山画会”的中坚。似乎谁也不想漏掉他,他也不想同谁过不去。当主旋律画展或纪念性场合需要他的作品时,他可以画出气势磅礴的锦绣中华,为祖国河山立传的凛然正气不让前贤。当游戏笔墨的小兄弟让他表现些轻松愉快的边缘人生情调时,他那蜀人的诙谐幽默也能派上用场。当前卫画家们痛心疾首于水墨画在观念和语言上滞后于世界潮流时,他也深感责任在肩,于是策划于密室,揭壁于展厅。
龙瑞不是一个满足现状、吃老本的人,他有着活跃的思想,悟性高、能力强、眼界开阔。用评论家郎绍君的话说:龙瑞是为数不多,极有希望取得突破性成就的画家。因为他走过了一段曲折与反复的路程,对东西方艺术的整体有更明晰的认识,且更加自觉和成熟。作为有实力的画家,龙瑞通过有目共睹的创作成就,无言地阐述着自己的思想主张和价值取向。当临中国画发展需要在深刻反思中重整旗鼓的特殊历史情境,他的艺术追求尤其提示了一种颇有表率意义的实践方式。

English Introduction

Long Rui (1946.8 -) under the name of the dragon, Shu people. Chengdu Sichuan people. 1966 graduated from Beijing arts and crafts school, after more than 10 years of art and design.
In 1979 he was admitted to the Chinese Painting Department of China Central Academy of Fine Arts, and graduated from the Chinese Artists Association after graduation,
1981 to participate in "the Sixth National Art Exhibition", "Shan school" works of excellence award.
1985 Chinese Painting Institute of painting as a full-time painter, was deputy director of the hospital business, associate researcher.
Member of China Artists Association, director of Oriental Art Exchange Association is good at landscape painting.
Now the director of the Research Institute of China Institute of Chinese painting painting, first class artist, member of Art Committee China Chinese Painting Art Association, the national young experts with outstanding contributions.
Works of "Shan" Aggie selected the sixth national excellent works exhibition, "Yan autumn fun" selected second Society for oriental art exchange exhibition, "the mountains are tree" won the 1988 Beijing international ink painting exhibition award. His works have repeatedly participated in the exhibition abroad. 1988 held a solo exhibition in Hefner Gallery, New York. The publication of "ink painting", "Long Rui autumn harvest - Longrui landscape painting album".
1986 went to Hongkong to participate in the Oriental art exchange exhibition, works for Mr. Bao Yugang collection.
1987 to participate in Japan's modern ink painting art exhibition won the award.
In 1987, China National Academy organization "Chinese painting research association".
In 1987, China held the "National Academy of China landscape painting".
1987 in New York, Hefner Gallery held "Long Rui ink painting exhibition," and received the honorary citizenship certificate.
1988 to Paris, France, UNESCO headquarters organized by the Chinese Ministry of culture, "modern Chinese painting exhibition".
1989 held in Taiwan dragon ink painting exhibition".
1990 with the Chinese painter delegation to Thailand to participate in Contemporary Chinese Artists Exhibition fifteen".
1991 to the National Palace of art held in Seoul, China painting representative writers exhibition".
Mandela international Adenauer foundation in 1992 should be invited to go to Germany, Berlin palace held China modern ink painting exhibition".
In 1993, he went to Taichung Art Museum in Taiwan to participate in "Modern Ink Painting Exhibition" and academic seminar.
Planning and participating in "tension experiment" in 1994 -1995 -- performance ink painting exhibition".
China in 1996 to commemorate the sixty anniversary of the victory of the long march of the Red Army, the organization of the well-known landscape painter in Jinggangshan painting creation, and hold the "Jinggangshan large landscape painting exhibition" in Beijing, Nanchang, Zhuhai and other places.
1996 - two visit to Italy and Spain in 1997, and held "modern Chinese painting exhibition".
1997 to participate in the new literati exhibition".
1998 to participate in "Heshan fourth painting exhibition", "98 China landscape painting exhibition", "contemporary China landscape painting & oil painting exhibition".
1999 to participate in the end of the 20th century Chinese painting famous painter twenty-one exhibition".
2000 to participate in the splendid China Wanli - Lijiang painting exhibition". 2001 to participate in the "beautiful China Tour - Taihang Article Exhibition", "gathering in Western art exhibition.
2002 to participate in the two OO National Exhibition of China in two years".
2003 to participate in the "Beijing International Biennale", "the second national art exhibition China".
February 2011 any Chinese Academy of landscape painting dean.

Longrui landscape, originally modeled after Li Keran, Liang Shunian and so on, pay attention to painting, but he began to love the powerful pen line color without special fondness for chapped, repeated rendering. In late 1980s, he repeatedly went to Europe and the United States of art, the concept of change, decided to "jump out of shape bound", created a number of works on, and started with the realistic landscape distance, highlighting the visual tension, become one of the representative of the landscape painting innovation. Since 1990s, he gradually to the tradition, the pursuit of spirit and taste. The process of regression change, more vigorous strokes free, masculine fusion gas shrouded picture, personality features, traditional charm and modern, but also more clear and unified.
Long Rui was born in Chengdu, studying in Beijing, South north. North and South and the comprehensive quality in his paintings can see: broad and bright weather pen is exquisite, long and tall mountain scenery vivid and pleasant, the Qi and Wu Yue Yanzhao kangkaibeige flyfox as a furnace smelting, can also be Guizhou and Sichuan mountain weather with a pot of red hook against the city street. The ink is pale thick, yet graceful but not showy doors wide open, the pattern of the transition, but subtle.
Long Rui is the basis of Arts and crafts design, so his composition, design Abstract consciousness than ordinary Chinese painters to be sensitive. Talk about "in the painting" years, "" the word became fashionable, and people to "constitute" understanding and emphasis on the plane geometry, so whether it is painting or traditional China ink, everyone in the plane "composition", all kinds of rigid geometry cut organic the images in the picture into large and small restrictions and fetters. Long Rui all his craft design foundation at this time also come in handy. But so get a few years later, he found that the brush and ink painting geometry simply some rather baffling "Qiyun enough", Long Rui with 4 words gently to the end of the game
Long Rui is not a paranoid, but a neutral quality of the integration of the painter. From a variety of performance since his debut in 80s can clearly see him fully inclusive and equitable temperament. He can be quite an important member of avant-garde "tension experiment: expressive ink painting exhibition", also is to stick to the traditional pen and ink taste "new literati painting" net objects, can also be a concept and language level is the "landscape painting" backbone. Nobody seemed to want to miss him, and he didn't want to be with anyone. When the main melody or Exhibition Commemorative occasions his work, he could draw the splendid China for a biography of great momentum, the motherland of the awe inspiring righteousness not to let people. When the little brother playing words make him appear more relaxed mood of life on the edge, he the Shu people humor can also come in handy. The current health of artists with deep hatred and resentment to the ink and wash painting in the concept and language behind the trend of the world, he also feel the responsibility on their shoulders, and planning in the private room, exposing the wall in the exhibition hall.
Long Rui is not a satisfied, rest on our laurels, he had an active thought, savvy and strong ability, broaden their horizons. In the words of critic Lang Shaojun: Long Rui is one of the few artists who is very hopeful to achieve a breakthrough. Because he has gone through a tortuous and repeated journey, the eastern and Western art as a whole have a clearer understanding, and more conscious and mature. As a powerful painter, Long Rui through the obvious achievements of creation, wordless exposition of their own ideas and values. When the development of China painting need special historical situation rallied in the profound reflection of his artistic pursuit especially suggests a quite practical example way.

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