宋涤

宋涤:中央工艺美术学院教授、清华大学美术学院教授。擅长中国画。

  • 中文名宋涤
  • 别名建公
  • 性别
  • 国籍中国
  • 民族汉族
  • 祖籍山东烟台
  • 出生地山东省烟台市牟平区
  • 出生日期1945年
  • 职业画家
  • 毕业院校中央工艺美术学院
相关作品更多
人物简介

笔名建公,
 1945年出生于今山东省烟台市牟平区,自幼在北京读书。 1968年毕业于中央工艺美术学院,清华大学美术学院教授。著名画家,开创了一代中国画的写实主义新风。
1960年投师李苦禅许麟庐先生,学习写意花鸟。1963年考入北京艺术学院美术系,学习工笔花鸟、人物。1964年转入中央工艺美术学院,学习了素描、水彩、图案、装饰美术及室内设计等课程。1968年于中央工艺美术学院毕业。1970年至1980年在北京香山风景区工作,其间画了大量水墨和色彩风景写生;并得到李可染、张仃和白雪石先生的指导。1980年调中央工笔美术学院任教。1983年定级为中央工艺美术学院讲师。
1988年晋升为中央工艺美术学院副教授。1992年晋升为中央工艺美术学院教授。1995年举家移居新加坡。
1999年回国,现居北京,任清华大学美术学院教授。

艺术介绍

汉司马相如《上林赋》云:务在独乐,不顾众庶世之俊杰,皆有其独。佛家之独觉,惟自悟道。道家之独觉,自悟玄理。吾兄宋涤于书画之门,独成一格,如其品性,特立独行,恃才孤行。其独秀于画坛,若梁惠王之独乐,凡人难与共赏。 —美术理论家、画家 陈履生
荣宝斋的展厅比往日多了几许热闹,著名彩墨画家宋涤花鸟画展在此开幕。没有过多的宣传,没有过多的仪式,来看画展的都是宋涤的好友及其艺术的拥趸。这倒也像是宋涤一贯的作风。 花鸟画展随处可见,但宋涤的画里更能让人感觉到温馨与阳光。这与宋涤擅长的以色彩为主调的彩墨画法不无关系。正是这种独特的“宋氏画法”,奠定了宋涤在艺术界应有的地位。然而,艺术造诣颇高的宋涤,在美术界也是个传奇式的神秘人物,他既没有加入美协,当然就从未参加过全国美展,更是很少接受媒体采访,然而宋涤的名字却在业内愈来愈引人注目。
人民日报出版社刚出版了《自信是大师的性格——画家宋涤》一书, 曾经有国家高层领导人评价宋涤的画是开宗立派。这是对宋涤艺术的极大肯定。看过宋涤作品的人会有这样的感慨,“站在宋涤的作品前,你仿佛身临其境,思绪万千。听沧海波涛汹涌,看九寨飞瀑如林,观黄山云海松涛;信步长城脚下,摆渡漓江水上;仰视华山险峻,沐浴三峡云雨;这里吞吐古今,融聚中外,把茫茫世界、浩浩自然、坦坦人生,归趣入画。宋涤的作品足以引起观众的震撼。”
宋涤是在中西融合大潮流中成长起来的画家,他坚信中西融合能为中国画的振兴开辟广阔的前景,也深谙“洋为中用”的道理。其对色彩的把握源于对西方绘画的借鉴。他以复合色直接入画,不仅吸收了西洋画法,同时赋予了国画传统精神。当他把油画似的风景画到薄薄的宣纸上时,连西方画家也目瞪口呆。
由于宋涤的独创,他的作品被定义为“中国现代写实主义彩墨风景画”。评论界说他“正默默地进行着一场中国山水画的革命”。说是“革命”一点不为过。宋涤笑称:“传统中国画有两个体系,水墨画和工笔重彩画。自宋涤形成系统风格后,中国画就增加了一个体系,那就是彩墨画。”历史上前人也画色彩,但多用装饰色,表现不出物象微妙的色彩冷暖变化,远没有宋涤画的饱满。作品中时间空间的变化需要借助色彩变化来表现,而传统的中国画根本表现不出来。因此,宋涤对于彩墨画的贡献无疑具有开宗立派的意义。 清华大学教授宋涤先生以自己独具面貌的写实性绘画为时人瞩目。近日,记者前往他在北京昌平富泉花园的画室进行了一次较为深入的采访。记者:宋老师,听说您最近写了一篇很长的文章,纵谈中国画创作方向,颇具反响 。请问您的基本看法是什么? 宋涤:我坚持两点:中国画一要写实,在写实的路子上,当代的艺术家们还远远没有做够文章;二是要大力发展我们的彩墨画。
记者:请您具体谈谈。
宋涤:尽管南宋出现了以 梁楷为代表的简笔,或称减笔、写意水墨人物画法,元、明、清画家也曾创造了不同的勾描技法,但我国代代相传的画作均存在造型能力弱、人物形象个性不强的现象。就其写实能力,较之处在我国明代中后期发展起来的欧洲文艺复兴时期的油画,显然缺乏感染力和震撼力。
翻开世界美术发展史,人们会发现,世界各民族的先民在从事绘画的进化过程中,从绘画的形式、内容,到使用的媒介物,都有着惊人的相似之处,几乎是同步发展的,那就是由简单的图案向图案式的装饰性绘画进化。进入公元前后,随着社会的进步才逐渐出现了西方的油画和东方以中国为代表的(工笔重彩画和水墨画)两大绘画体系。即使这样,它们的表现形式同样是由装饰性绘画向写实性绘画转化,或称由表现二维空间向表现三维空间转化。从唐代 张萱李公麟的人物画作品来看,其造型能力和表现形式的完美性同样高于同时代其它民族的水平。遗憾的是,唐代以后,乃至清代一千多年的时间里,中国人物画似乎变化不大。清末绘画大师任伯年的人物画造型能力和表现形式较前人均有突破。我十分赞赏他的一幅人物画《高邕之像》,他以出神入化的线条勾勒出人物的身形动态,十分生动。但其面部刻画仍稍嫌不足,与其衣物潇洒、果敢的线条相比,显得十分柔弱。这说明画家在面部形象深入刻画上仍有差距。
民国年间出现的革新领袖人物 徐悲鸿和他的学生 蒋兆和,深入生活,开创了近代人物画写实新风。蒋兆和先生40岁前后创作的巨作《流民图》,可以说是中国人物画前无古人、具有震撼力的里程碑式作品。但此作品表现光影过强,显得素描味太重。
记者:当代不少知名画家如 范曾都是蒋兆和先生的学生。
宋涤:是的, 卢沉周思聪也都是。蒋先生后来身体欠佳,未见先生有高于《医生》水准的作品,但他培养了一批当代中国优秀的人物画家。我曾见蒋先生40岁时画的一幅《医生》肖像,细部刻画入微,医生着装的中式棉袄,画家用墨块塑造成形,甚至表现出了丝绸面料的质感,非常精彩!
记者:当今艺术市场最为火热的莫过于 黄胄先生。您对他的作品如何看?宋涤:新中国成立后,除了蒋兆和,对当代人物画颇有影响力的画家就是黄胄先生。他以速写线条入画,十分生动,创作了不少有分量的作品,但线条不够洗练,因此精品传世不多。记者:在世界已成为地球村的形势下,世界各民族的文化艺术相互交融渗透也是必然的。此时,应如何保持中国画的特色?
宋涤:自元代以后,尤其是清代后期至今,大多数名家均喜用生宣纸作画,最近又发现一些年轻画家在生宣纸上画工笔重彩。可见人们对生宣纸的性能和潜在的表现力有了进一步认识。在科学技术高度发达的今天,各种新的绘画媒介物品种繁多。我想,生宣纸这个国宝将会愈来愈显示出其作为中华民族国粹绘画主要媒介物的价值。1987年,我在日本首次举办个展时曾对人讲过,中国特有的生宣纸、毛笔和墨是神奇的绘画材料和工具。即使你刻意地写实,其效果依然是一种艺术的真实,这就是我如此眷恋水墨画的原因。科学家不断地探索大自然的奥秘,为了造福人类。艺术家则应不断发掘它的美感。我的理想就是在这张薄薄的生宣纸上,把对大自然的感受和理解缜密表现出来,奉献给观众。我不懈地努力着,我期待着中国画能成为世界语言。
记者:显然,您是一个坚持写实性绘画的人!宋涤:是的。我认为具有个人风格的写实性绘画永远是人类绘画艺术的最高标准。基于这种理念,几十年来我不敢怠懈,勤奋地工作着。我把生宣纸当作油画布来用,努力在生宣纸上寻觅着、探索着、创造着,并时时用自己的作品与文艺复兴以后西方 写实派大师相比较。我相信在生宣纸上运用色、墨同样能表现出物象的质感、空间感、阳光感和时空变化来。同时我也确信这是一条中国画创新并走向新的辉煌的道路。
记者:对绘画作品,不同观众生发出的看法往往有很大差别。宋涤:这是很自然的事。问题是有些专家们往往会带有自己“专业”上的偏见。这种偏见历史上中外都有,可以说是司空见惯。不过有一点很清楚,在中国,像徐悲鸿、蒋兆和、 林风眠李可染石鲁这些革新派画家,都是在保守派的贬斥声中日益强大起来的,并在绘画史中产生着深远的影响。
记者:不少人认为中西绘画在视觉效果上存在较大差异?宋涤:其实都是那些人的有意夸大。他们一厢情愿地认为国画表现的应是内敛的、含蓄的;西画表现的则是表象的、张扬的。其实即使有这种视觉效果上的差异,也不是东、西方不同种族人类的视网膜造成的,不是人们对自然界物象美感的鉴别能力造成的,虽然与绘画媒介物有一定的关系,但主要还是与画家的表现能力有关。某些主张恢复传统的人,实质上是主张抱残守缺。他们不懂得随着社会的进步与发展,人们对艺术层面的认识和需求也会不断变化和提高。传统不是固定不变的模式与法则,它要不断地变化和发展,只有在变化和发展后传统才能具有生命力,才能随着社会的进步得到延续和充实。就“笔墨”而言,现存前人的“笔墨”形式是前人在面对特定的物象进行艺术实践中总结出来的。今天的画家则应面对新题材、新事物、新内容创造出新的“笔墨”形式。在我看来,只有那些似是而非、“指鹿为马”、“皇帝新衣”式的所谓“抽象派”或“文人写意画”作品,观众才会找不出毛病来。因为观众看不出他们在画什么,表现什么,其实连作者本人大概也说不清楚。 记者:有些专家、教授和权威人物眼下宣传的都是“文人写意画”,您怎么看?宋涤:不瞒你说,我坚信它永远不会成为中国画的主流。因为在我眼里
记者:那您觉得哪种画更适合艺术专业人士?宋涤:我倡导“彩墨画”。
记者:这个词似乎很专业,请您解释一下。宋涤:所谓的“彩墨画”,是在生宣纸上突出色彩的表现能力,在水墨画中大面积地引进色彩,使色彩成为画面的主调。专业画家还是要搞中国的写实性绘画。我认为中国的写实性绘画比西方油画有更大的发展空间,因为中国写实性绘画远远没有画够,历代名家并没有把写实推向极致,写实的表现形式也有广阔的发挥空间。我赞赏彩墨艺术,那种特立独行的、勇于探索敢于创造的“彩墨”写实会给人们以启发。“彩墨”是一个新课题,是一个难题,同时又是一个“创新”的突破口。通过致力于“彩墨绘画”同仁们的努力,“彩墨画”必将成为一个具有时代精神的新画派,为中华民族的精神文明作出贡献。
记者:如此来看,“彩墨”创作可谓任重道远!宋涤:是啊。我喜欢拿“彩墨画”与西方写实大师的油画相比较。我们即使找出了差距,内心却增添了几分骄傲,骄傲的是中国新一代“彩墨”画家正在打开中西方绘画在视觉效果上的壁垒,在民族特有的绘画媒介物—薄薄的生宣纸上演绎着色彩写实的神话。这个神话足以让西方观众倾倒,令西方画家瞠目。有人说艺术“只有是民族的才是世界的”。我赞同。但我要说,艺术只有是世界的,才是民族的。
记者:您的说法正好相反。宋涤:其实并不矛盾,民族的东西只有被全世界认可才能扬我中华民族之威!真正的艺术家永远是独立思考的,永远是独往独来的。我相信彩墨艺术必将会为弘扬中华文化作出应有的贡献。我希望中国的当代画家能够尊重艺术规律,坚持绘画艺术健康的方向,为后代留下具有审美价值的艺术作品。

艺界评论

中央美院教授、中国美术家协会理论委员会主任邵大箴:
王国维在《人间词话》中说:“大家之作,其言情也必沁人心脾,其写景也必豁人耳目。其词脱口而出无一娇柔装束之态。以其所见者真,所知者深也。”这里说的是词。画,何尝不是如此。宋涤的创作正在进入这一境界,而他正值生命创作的旺盛期,他的未来是不可限量的。(邵大箴1991年语)
国家博物馆副馆长、著名艺术理论家、画家陈履生:“汉司马相如《上林赋》云:务在独乐,不顾众庶世之俊杰,皆有其独。佛家之独觉,惟自悟道。道家之独觉,自悟玄理。吾兄宋涤于书画之门,独成一格,如其品性,特立独行,恃才孤行。其独秀于画坛,若梁惠王之独乐,凡人难与共赏。”
中国收藏家协会咨询鉴定专家委员会秘书长刘建业与宋涤从未谋面,但当看到他的作品后给出了这样的评价:

宋涤的作品是中西艺术融合的大典型。站在他的作品面前你会感到震撼,因为谁也想象不到,会有人在宣纸上展现出西方油画的效果。那深邃的层次,鲜明的光感,轩昂的气势,绚丽多变的色彩,令你目不暇接。读宋涤的作品,第一印象就是,这是洋为中用的典型,这是在西洋画法中注入中国传统精神的范例。这是超越时代、改变时代的革命。可以毫不夸张地说,宋涤用发展了的传统技巧,表现了传统绘画根本无法表现的风采。
人们把宋涤的作品称为“中国现代完美主义彩墨风景画”。按照宋涤本人的说法则是“自宋涤形成系统风格后,中国画就增加了一个体系,那就是彩墨画”。这都是恰如其分的评价。从这个角度讲,宋涤是当代画界最大胆也是最成功的革命者。宋涤的创作精神,已经为世界绘画开辟了一条新的道路。宋涤在传承和发扬上,都是当代屈指可数的代表人物。
 

画展及画集

1986年1月赴德国,在波恩、汉堡、慕尼黑等六城市举办巡回各展。
1987年2月赴日本,在广岛县文化艺术中心举办各展,并出版《宋涤画集》。
1988年1月赴香港,参加“中国书画家代表团联展”。
1989年8月在日本山梨县县立美术馆举办各展,并出版《现代中国画的旗手-宋涤》。
1990年4月赴台湾省台北市吸引力画廊举办各展,并出版《宋涤彩墨画集》。
1991年8月赴瑞士,在达沃斯举办各展。
1991年8月赴列支敦士顿国,举办各展。
1991年9月赴日本,在福山市中川美术馆举办各展。
1991年10月赴日本,在东京西武池袋店艺术广场画廊举办个展并出版《中国绘画的诗情-宋涤新作集》
1991年11月赴新加坡,在美丽华大酒店举办个展。
1992年1月在日本所泽市西武画廊举办个展。
1992年9月参加日本读者新闻社举办的“中日名家三十八人联合巡回展”。
1992年10月赴韩国汉城,参加“中韩画家二十人联展”。
1993年12月赴日本大阪,在宋涤画廊举办个展。
1994年12月赴香港,参加“中央工艺美术学院绘画教师作品展”。
1995年5月出版《宋涤绘画近作-1994》。
1996年2月赴香港,在香港大会堂举办各展。
1996年3月赴新加坡,在乌节坊举办“宋涤王莹联展”。
1997年4月赴日本大阪,在宋涤画廊举办个展。
1998年11月赴香港,在香港大会堂举办“彩墨传情-宋涤近作展”,并出版《宋涤彩墨近作集》。
1999年10月赴日本大阪,在阪急百货店举办各展。并出版《宋涤新作集》。
2001年5月出版《宋涤现代山水画集》。

English Introduction

The construction of public,
Born in 1945 in Muping District of Shandong city in Yantai province today, I study in Beijing. 1968 graduated from Central Technology Academy of Fine Arts, Tsinghua University, Professor of Academy of Fine Arts. The famous painter, to create a generation of Chinese painting realism of fresh air.
In 1960, Mr. Xu Linlu Li Kuchan Doushi, learning freehand. 1963 admitted to the Fine Arts Department of Beijing Academy of art, learning meticulous flowers and birds, characters. 1964 transferred to the central technology Academy of Fine Arts, learning sketch, watercolor, patterns, decorative art and interior design courses. 1968 graduated from Central Technology Academy of Fine Arts. From 1970 to 1980 in Beijing Xiangshan scenic area work, during which painted a large number of ink and color landscape sketch; and Li Keran, Mr. Zhang Ding and Bai Xueshi guidance. 1980 tune central meticulous Academy of Fine Arts teaching. 1983 grading for central process Academy of Fine Arts lecturer.
1988 promoted to associate professor of Central Technology Academy of Fine Arts. 1992 promoted to central process Academy of Fine Arts professor. In 1995 his family moved to singapore.
1999 returned home, now resides in Beijing, Academy of Fine Arts professor at Tsinghua University.

Han Sima Xiangru "Shanglin Fu" cloud service: in the world of music alone, regardless of the ordinary heroes, there are only. The only Buddhist sense, but since the enlightenment. The Taoist only feel, oneself mystery. My brother in the painting of the song from the door, into a single cell, such as character, personal independence of conduct, Shicai orphan. The show in the painting, if the lianghuiwang of dule, mortal and difficult to enjoy. - art theorist, painter Chen Lvsheng
Rongbaozhai hall than in the past many more lively, famous painter ink flower and bird painting in this opening song di. Not too much publicity, not too much ceremony, come to the show are friends and fans of the art song di. This is also like song polyester consistent style. Flower and bird paintings can be seen everywhere, but song's paintings can make people feel warm and sunshine. This good song polyester on color tone color ink painting are not unrelated. It is this unique "the painting" laid the song polyester in the art world status. However, the high artistic attainments of Song Di, the mysterious figure is a legend in art style, he did not join the association, of course, has never participated in the national art exhibition, is rarely interviewed by the media, but the song name is polyester in the industry is more noticeable.
People's daily press has published the "confidence is the master of the character" a book artist Song Di, once the country's top leaders of the Song Dynasty painting is the evaluation of di Leekpai kaizong. This is a great affirmation of song's art. Read the Song Di works of people will have such feeling, "stand in the Song Di before work, if you personally on the scene, a myriad of thoughts. Listen to the roaring waves, see waterfalls Jiuzhai forest, Mount Huangshan sea pines; walking at the foot of the Great Wall, the Lijiang River water from Huashan ferry; steep, bathed in Three Gorges cloud; here together at home and abroad, and throughput, the vast world, the vast natural, tantan life, return art. Song polyester works enough to cause the audience shock."
The song is in the fusion of Chinese and Western trend of polyester and grow up in the painter, he believes that Western integration can open up broad prospects for the revitalization of Chinese painting, is also well versed in "foreign things serve China". Its grasp of color originates from the reference of Western painting. He composite color painting, not only absorbed the western painting, while giving the spirit of traditional Chinese painting. When he took the painting like scenery to the thin paper, even the western artists were terrified.
Because the original song Di, his works have been defined as "Chinese modern realism color ink landscape painting". Comment said he is quietly "a China landscape painting revolution". It is not too much to say "revolution". Song Di joked: "there are two traditional China painting system, ink painting and painting. Since the Song Dynasty formed a system of polyester style, China painting adds a system, that is the color ink painting." The history of front also painted colors, but more decorative color, and can not show the image color changes subtle, far from the full Dihua song. Works in the change of time and space need to use color changes to performance, and traditional Chinese painting simply do not show. Therefore, Song Di Leekpai Kaizong undoubtedly has significance for the contribution of color painting. Tsinghua University professor Song Di with his unique realistic painting attention. Recently, the reporter went to him for a more in-depth interview in Beijing Changping Fuquanhuayuan studio. Reporter: Mr. Song, I heard that you recently wrote a long article, on the China painting direction, a response. What is your basic opinion? Song Di: I insist on two points: China to draw a realistic, in the realistic way, contemporary artists are far from enough to do this; the two is to develop our color painting.
Reporter: please talk about specific.
Song Di: Although southernsong Dynasty Jane pen represented by Liang Kai, or by pen, ink figure painting of freehand brushwork, yuan, Ming and Qing painter has created a sketch of our technique is different, but there are other paintings be handed down from age to age, weak character personality is not strong phenomenon. On its realism ability, than in the late Ming Dynasty developed the European Renaissance oil painting, obviously lack of infection and shock.
Turn over the history of the world of art, people will find that the evolutionary process of the ancestors of the world in painting, from the form and content of painting, the medium is used, there are striking similarities between, almost synchronous development, that is by a simple pattern to the pattern style of decorative painting evolution. Before and after entering the A.D., with the progress of society, Western painting and Oriental represented by China (heavy brushwork and ink painting) two painting systems. Even so, their expressions are transformed from decorative painting to realistic painting, or from two-dimensional space to three-dimensional space. From the Tang Dynasty Zhang Xuan and the figure painting works of Li Gonglin, its modeling ability and form of perfection is also higher than the level of other nationalities. Unfortunately, after the Tang Dynasty, and even more than one thousand years of the Qing Dynasty, Chinese characters seem to change little. Figure painting modeling ability and form in the late Qing Dynasty painting master Ren is a breakthrough in the per capita. I appreciate his paintings "like" He Yong, to reach the acme of perfection lines sketched out form dynamic characters, very vivid. But the facial features is still insufficient compared with their clothing chic, bold lines, looks very weak. This shows that the artist in the face image in-depth characterizationDuring the Republic of China, the reform leader Xu Beihong and his student, Jiang Zhaohe, went deep into life and created a new realistic style of modern figure painting. Mr. Jiang Zhaohe is 40 years old before and after the masterpiece "homeless people", can be said to be China figure painting, with no predecessors with powerful milepost type work. But this work performance light shadow too strong, appear sketch taste too heavy.
Reporter: Contemporary many well-known painters such as the students are Mr. Jiang Zhaohe.
Song: Yes, Lu Shen, Zhou Sicong are also. Mr. Jiang later poor health, no sir higher than the "doctor" level works, but he developed a number of contemporary Chinese outstanding figure painter. I have seen a "doctor" at the age of 40, Mr. Jiang portrait, Chinese doctor dress details fleshes out the details, jacket, painter ink block shape, and even showed a silk fabric texture, very exciting!
Reporter: today's hottest art market than Mr. Huang Zhou. What do you think of his works? Song man: after the founding of new China, in addition to Jiang Zhaohe, contemporary figure painting influential painter is Mr. Huang Zhou. His sketch line painting, very vivid, created a lot of important works, but the line is not so much succinct, fine handed down. Reporter: in the world has become a global village situation, the world's cultural and artistic integration of each nation penetration is inevitable. At this point, how to maintain the characteristics of Chinese painting?
Song Di: since the Yuan Dynasty, especially in the late Qing Dynasty so far, most artists are fond of Xuan paper painting, recently found that some young artists painting meticulous in the raw rice paper. The people on the performance of rice paper and the potential performance of a further understanding. In the highly developed science and technology today, a variety of new painting media varieties. I think, the national rice paper will be more and more shows as the main medium of Chinese national essence of the value of painting. In 1987, I held the first exhibition in Japan spoke, Chinese unique raw paper, brush and ink is the magical painting materials and tools. Even if you deliberately realistically, the effect is still an artistic reality, which is why I so attached to ink painting. Scientists constantly explore the mysteries of nature for the benefit of mankind. Artists should constantly explore its beauty. My ideal is in the thin piece of rice paper, the nature of the feeling and understanding of meticulous performance, dedication to the audience. I am tireless efforts, I look forward to Chinese painting can become a world language.
Reporter: obviously, you are a person who insists on realistic painting! Song Di: yes. I think the realistic painting with personal style is the highest standard of human painting. Based on this concept, for decades, I dare not lazy, hard work. I put the rice paper as a canvas cloth, hard in the raw rice paper, looking for exploring, creating, and always with Renaissance works and their Western realist masters compared. I believe in the use of color ink on rice paper, also can show the texture images, the sense of space, the sun and a sense of temporal and spatial variation. At the same time I am convinced that this is a Chinese painting innovation and towards a new brilliant road.
Reporter: painting works, different views issued by the audience often have great difference. Song: This is a very natural thing. The problem is that some experts tend to have their own "professional" bias. This bias in history both at home and abroad, can be said to be commonplace. But one thing is clear, in China, like Xu Beihong, Jiang Zhaohe, Lin Fengmian, Li Keran, Shi Lu, the reformist painter, are conservatives denounce the sound of growing up, and in the history of painting has a profound influence.
Reporter: many people think that Chinese and Western painting in the visual effect there is a big difference? Song: in fact, are those who deliberately exaggerated. They are wishful thinking that traditional Chinese painting performance should be restrained, subtle; the performance of Western painting is superficial and assertive. In fact, even if there are differences in the visual effects on the East and West, nor the different races of mankind retina caused, not by people the ability to identify the nature of the object of beauty, although there is a certain relationship with the painting medium, but mainly with the artist's performance can force. Some people advocate the restoration of the traditional, is essentially that be an anachronism. They do not know with the progress and development of society, people's understanding and needs of the art level will continue to change and improve. Tradition is not a fixed pattern and law, it must constantly change and development, only after the change and development of the traditional ability to have vitality, can be continued and enriched with the progress of society. The "ink", the previous "ink" form is summed up previous art practice in the face of specific objects in the. Today's painters should be faced with new themes, new things, new content to create a new "ink" form. In my opinion, the only plausible, "something else", "the emperor's new clothes" of the so-called "abstract" or "literati painting" works, the audience will not find fault. Because the audience can not see what they are painting, what performance, in fact, even the author himself probably do not know. Reporter: some experts, professors and authority figures are now propaganda "literati freehand painting", how do you see? Song Di: as a matter of fact, I believe it will never become the mainstream of Chinese painting. Because in my eyesReporter: which kind of painting do you think is more suitable for art professionals? Song Di: I advocate "color painting".
Reporter: this word seems very professional, please explain. Song Di: the so-called "color ink painting", is a prominent color in the rice paper on the performance, in the introduction of color ink painting in a large area, make the color become picture tone. Professional painter or to engage in Chinese realistic painting. I think Chinese realistic painting have more space than western paintings, because Chinese realistic painting painting is far from enough, masters did not take to the extreme form of realism, realism has broad space to play. I appreciate Chinese art, the kind of personal independence of conduct and the courage to explore the courage to create a "realistic color" will inspire people to. "Color" is a new topic, is a problem, but also is a breakthrough of "innovation". By focusing on the "ink painting" efforts of colleagues, "color ink painting" will become a new school with the spirit of the times, make a contribution to the Chinese nation's spiritual civilization.
Reporter: so, "color" is a long way to go before creation! Song Di: Yes ah. I love to take "color ink painting" and Western realistic oil painting masters compared. Even if we find out the gap, but the heart adds a bit of pride and pride is a new generation of "Chinese color ink painter is open in Western painting in the visual effects on the barriers in the painting medium - nation unique thin rice paper interpretation of the myth of realistic color. This myth is enough to make western audiences to Western artists were dumping. Some people say that art is only the national is the world". I agree with you。 But I say, art is only the world, is the national.
Reporter: you say exactly the opposite. Song: in fact, not contradictory, ethnic things only recognized by the world in order to raise the prestige of my Chinese nation! The true artist is always independent thinking, is always completely independent. I believe that Chinese art will contribute to the promotion of Chinese culture. I hope that contemporary Chinese artists can respect the laws of art, adhere to the healthy direction of painting art, leaving future generations with aesthetic value of works of art.

The Central Academy of fine arts professor, China Artists Association of committee director Shao Dazhen:
Wang Guowei in the "human words" said: "we make, the romance will be the scenery will be excluded the eyes and ears gladdening the heart and refreshing the mind. He blurted out without a feminine attire of the state. To see who their true, know deep." Here is the word. Painting, how it is not the case. Song Di creation are entering the realm of life, and he was the creation of a strong period, his future is limitless. (Shao Dazhen 1991)
Deputy director of the National Museum, the famous art theorist and painter Chen Lvsheng Sima Xiangru: "Han" Shanglin Fu "cloud service: in the world of music alone, regardless of the ordinary heroes, there are only. The only Buddhist sense, but since the enlightenment. The Taoist only feel, oneself mystery. My brother in the painting of the song from the door, into a single cell, such as character, personal independence of conduct, Shicai orphan. The show in the painting, if the lianghuiwang of dule, mortal and difficult to enjoy."
Chinese collectors association expert advisory committee secretary general Liu Jianye and Song Di never met, but when he saw his work after this evaluation is given:
Song's works are the typical fusion of Chinese and Western art. Standing in front of his works you will feel shocked, because who can not imagine, someone will show the effect of Western oil painting on rice paper. The deep level, bright light, Xuanang momentum, gorgeous and varied colors make you dazzle. Read Song Di's works, the first impression is that this is a typical foreign, which is injected into the China traditional spirit in Western painting in the sample. This is beyond the times, change the era of revolution. It is no exaggeration to say that the development of the traditional skills of song Diyong, the performance of the traditional painting style cannot show.
The song is called "Chinese polyester works of modern ink painting of perfectionism". According to my song Di saying is "since the Song Dynasty formed a system of polyester style, Chinese painting adds a system, that is the color ink painting". This is the appropriate evaluation. From this perspective, the song is the most bold contemporary painting from the most successful revolutionaries. Song's creative spirit has opened up a new path for world painting. Song polyester in the inheritance and development, are contemporary representatives of a handful.

January 1986 to Germany, in Bonn, Hamburg, Munich and other six cities held tour exhibition.
Go to Japan in February 1987, the exhibition held in the Hiroshima County Cultural Arts Center, and published the "song from album".
In January 1988 he went to Hongkong, to participate in the "painting and calligraphy exhibition China delegation".
In August 1989 Japan Yamanashi County Museum held the exhibition, and published the "modern painting China bearer - Song Di".
In April 1990 in Taiwan city of Taipei province attraction Gallery at each exhibition, and published the "song of polyester color ink painting".
August 1991 to Switzerland, held in Davos exhibition.
In August 1991 went to the exhibition held in Liechtenstein.
Go to Japan in September 1991, the exhibition held in Fushan City Nakagawa museum.
Go to Japan in October 1991, held an exhibition in Tokyo art gallery and the Seibu Ikebukuro store square "Chinese publishing painting poetry collection" new song - polyester
November 1991 went to Singapore, held a solo exhibition at the beautiful hotel.
In January 1992 Japan suozeshi, Seibu gallery.
September 1992 to participate in the Japan reader news agency held the Sino Japanese joint tour of thirty-eight famous".
South Korea in October 1992 to Seoul, in South Korea. Twenty exhibition".
December 1993 to Osaka, Japan, held a solo exhibition in the song polyester gallery.
December 1994 went to Hongkong to participate in the central process Academy of Fine Arts painting teacher exhibition".
In May 1995 published the "Song Di -1994" paintings.
February 1996 to Hongkong, held in Hongkong City Hall exhibition.
In March 1996 went to Singapore, "Song Di Wang Ying exhibition held in orchard square".
April 1997 to Osaka, Japan, held a solo exhibition in the song polyester gallery.
In November 1998 in Hongkong, held a "teaser - Song Di's Color Ink Exhibition" at the Hongkong city hall, and published the "Song Di collection" ink works.
October 1999 went to Japan to Osaka, the exhibition held in the Hankyu Department store. And published "Song polyester new set".
In May 2001 published the "song from the modern landscape painting".

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