在张复兴先生的绘画之中，将群山万壑有机的排列而无松散脱气的现象，是其一大特点。换句话说，他的画有一种强烈明快的音乐节奏。众所周知，中国山水画家在观察物象时，采用的是散点透视方法，这种方法不同于西画的焦点透视，在散点透视的过程中，画家一面走，一面看，将不同的时间、不同的地点看到的东西组合在一起，形成心象，化成墨象。这种散点透视的方法有不受时空限制的优势，但无庸讳言，也有罗列烦琐，彼此缺乏呼应，不能一气贯之的弊病，但是张复兴先生却将这个问题很好地解决了。这个解决方法的取得途径，就是得力于对宋画严谨的体悟。许多人对宋人之丘壑往往津津乐道，其实，宋画之精髓还是章法整齐、经营合理、虚实得当。古人将万象以一线妙织，如天女织锦似的浑化之理被他领悟，于是，他将古人的这种不传之秘演绎成自己的方法，那就是:将起伏的群山那些无穷无尽的层次人为的压缩，缩小空间感，将中景、近景、远景用简洁的几笔微妙地过度，将万象不留痕迹地溶化在一起，就避免了画面的散与碎。如果说，他的画是一个有机的整体，那么，这个整体的每一部分是独立的，而这个整体的各个局部又衔接的天衣无缝，这就叫匠心独运。这样做，有两大好处:〈一〉、增加了视觉冲击力和艺术感染力。由于画面中表现的是一个主题，所以，极能吸引人的视觉，这种整齐的画面给人以苍茫博大、气象峥嵘之感。〈二〉、由于是将各种物象有机地结合在一起，所以，画面又显得大而不空，厚实之中又内涵丰富。看他 的画如看沙场秋点兵，在排山倒海的大气势之中，有一个个威武雄壮的士兵，挽手昂首阔步、高歌猛进，不知有多少人马，那威势真个震撼人心。这是大手笔的运作方法，如果将他笔下的物象比作排列有序的战阵，那么，指挥这场战役的他，就是一位运筹帷幄的大将军。他的画，物象的有机结合，靠的是本体的内部联系，这种内在的联系表现为一种律动的韵致。而其中的高低起伏、长短快慢所形成的节奏，正是音乐的节奏。这种节奏，源于自然，得之于心，是在和谐的交响乐中产生的。这是一种无声的音乐。庄子说:"无声之中，独闻和焉。"对于这种无声的音乐之和，庄子进一步解释说:"得之于天，谓之天和，得之于人，谓之人和"。天和与人和的完美结合，就是天人合一。在张复兴先生的画中，这种天人合一的美，处处体现地淋漓尽致。我们不妨做一个实验，将他的任何一幅画，采撷其中一部分独立地看，所得到的同样是一幅完美的画。与原画相比，尽管尺幅大小不同，但美是一样的。这是什么原因呢?这是因为完美的艺术品，它的每一部分都是完美的。在物象之间相互穿插过程中，其理暗合于老子《道德经》之言:"高者抑之，下者举之，不足者补之"。这种辨证的思想统一在画面之中，具体表现在以下几个方面:1，他追求统治画面的凝练纯化语言和一 种只可意会不可言传的神秘力量，竭力将内美充塞画中，为画赋予一种精神的主题，这是立意，是他先追求画外的东西，先定画外之画和画外之意。他作画时，总是意在笔先，也就是说，不是先画画，而是先立意，是把思想从画外向画内推移。 这个过程是表达个人的寄托和心语，是个人请山川代言的含义。它是一种抽象的语言，有时，作者的情感通过山川来表达，山川不能诉诸于语言，必须由读者解读，这就涉及艺术理解问题。由于读者文化底蕴不同、思想境界不同，理解方式和结果也不尽相同。艺术理解的多层次性会使画面显得更加扑朔迷离。而这正是画面内美产生的主要原因。2，他追求绘画语言的丰富。如果说，绘画之中有一种神秘的力量是因为绘画语言内涵深刻的话，那么，绘画语言的丰富则是其外延的宽泛。这种宽泛的语言是靠什么来表现的呢?我们知道，电视、电脑能够全面地传播声音图象，是靠复杂的集成块来完成的。张复兴先生的画之所以有一股神秘的力量，也是靠这么一个复杂的集成块来传输的。显然，他绘画之中，那层层叠叠的物象就是他传输绘画语言的电路集成系统。庄子说，万窍都可以发出声音。张复兴先生的画也是这样，每一个物象都可以代表自己表达情感，他的画中，四季常青的植被中一股爽朗的清气，这是一种情感的表现方法，而被树林掩映的村寨之中有一种古朴之风，又是一种情感的表现方法。再望上看，又一个村寨，又一层植被……又是另外几种情感的表现方法。这种用相同物象表现主题并不是机械地罗列，而是有目的的、有节奏地安排在不同的地方表现。表现的东西越多，内容越丰富，趣味也越浓。张复兴先生的绘画就是通过这种繁纷复杂的物象来体现自己的情思，画中的物象是无限的，他的情思也是无限的。
Zhang Fuxing, born in 1946, is from Tianjin and his ancestral home is Shanxi. The department is the executive director of the Chinese Painting Society of the Ministry of Culture, the vice-president of the Chinese Landscape Painting Creation Institute of the Chinese Culture Exchange Center of the Ministry of Culture, the researcher of the Calligraphy and Painting Academy of the Central Library of Culture and History, the painter of the Chinese Friends Painting Academy, the specially appointed Professor of the School of Calligraphy and Painting Arts of Beijing Humanities University, the consultant of the Guangxi Art Association, the honor Research librarian, member of China Artists Association, first-class artist.
Characteristic of Calligraphy and Painting
In Mr. Zhang Fuxing's paintings, the organic arrangement of mountains and valleys without loose degassing is one of his major characteristics. In other words, his paintings have a strong and lively musical rhythm. As we all know, Chinese landscape painters use scatter point perspective method when observing objects. This method is different from the focus perspective of Western painting. In the process of scatter point perspective, the painter, while walking and looking, combines the things he sees at different times and places to form a mental image and turn them into ink images. This scatter point perspective method has the advantage of not being limited by time and space, but it is undeniable that it has the disadvantage of listing trivial, lacking mutual echo and not consistent. But Mr. Zhang Fuxing has solved this problem well. The way to achieve this solution is to gain a rigorous understanding of Song paintings. Many people are fond of talking about the hills of the Song people. In fact, the essence of Song paintings is that they have neat rules, reasonable management and proper falsehood. The ancients comprehended the mystery of the ancients by knitting everything in a delicate way, such as the weaving brocade of heavenly women. So he deduced the mystery of the ancients into his own way: to artificially compress the endless layers of rolling mountains, to reduce the sense of space, and to pass through the mid-range, near-range and long-range with a few succinct and subtle strokes. Degree, melting all phenomena together without leaving traces, avoids the scattering and fragmentation of the picture. If his painting is an organic whole, then every part of the whole is independent, and the parts of the whole are seamless, which is called ingenuity.
In doing so, there are two major benefits: First, it increases the visual impact and artistic appeal. Because the picture shows a theme, so it is very attractive to the visual, this neat picture gives people a vast, meteorological sense of excellence. Second, because it combines all kinds of objects and images organically, the picture is large but not empty, and rich in connotation. Looking at his paintings is like looking at the autumn soldiers in the sandy fields. In the overwhelming momentum, there are a number of powerful soldiers, walking hand in hand, singing and marching forward, I do not know how many people, the power is really impressive. This is a big-handed method of operation. If his images are compared to orderly battlefields, then he who commands the battle is a great general who plans the battle. The organic combination of his paintings and images relies on the internal connection of the noumenon, which shows a rhythmic charm. And the rhythm formed by the fluctuation of height and length is the rhythm of music. This rhythm, derived from nature and derived from the heart, is produced in a harmonious symphony. It's a kind of silent music. Chuang Tzu said, "In silence, one hears and one hears. Zhuangzi further explained that the sum of such silent music is derived from the heaven, from the heaven, from the people, from the people and from the people. The perfect combination of heaven and man is the unity of heaven and man. In Mr. Zhang Fuxing's paintings, the beauty of the unity of man and nature is vividly reflected everywhere. We might as well do an experiment to pick up any of his paintings and look at some of them independently. The result is also a perfect painting. Compared with the original painting, although the size is different, the beauty is the same. What's the reason? It's because of perfect works of art. Every part of it is perfect. In the process of interpenetration between objects and images, its rationale is implicit in Lao Tzu's Tao Te Jing's saying: "The higher or the lower, the less, the less". This dialectical thought is unified in the picture, which is embodied in the following aspects: 1. He pursues the concise and purified language of the dominant picture and a mysterious power that can only be imagined but can not be expressed. He endeavors to fill the painting with internal beauty and endow it with a spiritual theme. This is his intention, that is, he first pursues the things outside the picture, and first decides. Outside painting and meaning. When he paints, he always intends to draw first. That is to say, he does not draw first, but first intends to move his thoughts from outside to inside. This process is the expression of personal sustenance and heartfelt language, is the meaning of personal endorsement of mountains and rivers. It is an abstract language. Sometimes, the author's emotions are expressed through mountains and rivers. The mountains and rivers can not resort to language, but must be interpreted by readers. This involves the problem of artistic understanding. Because readers have different cultural connotations and different ideological realms, they have different ways of understanding and results. The multi-level nature of artistic understanding will make the picture more complicated and confusing. This is the main reason for the beauty in the picture. 2. He pursues the richness of painting language. If there is a mysterious power in painting because of the profound connotation of painting language, then the richness of painting language is its broad extension. What is the performance of this broad language? We know that TV and computer can transmit sound and image in an all-round way, which is accomplished by complex integrated blocks. The mysterious power of Mr. Zhang Fuxing's paintings is also transmitted by such a complex integrated block. Obviously, in his paintings, the overlapping images are his integrated circuit system which transmits the painting language. Zhuangzi said that all knowledges can make a sound. The same is true of Mr. Zhang Fuxing's paintings. Every object can express his emotion. In his paintings, there is a bright and fresh air in the evergreen vegetation all the year round. This is a way of expressing emotion. There is a simple wind in the villages covered by the trees, and it is also a way of expressing emotion. Looking up again, another village, another layer of vegetation... There are several other ways of expressing emotions. This kind of representation of themes with the same images is not a mechanical listing, but a purposeful and rhythmic arrangement in different places. The more things they express, the richer they are and the more interesting they are. Mr. Zhang Fuxing's paintings reflect his feelings through such complicated images. The images in his paintings are infinite, and his feelings are infinite.
In the composition, the appropriateness of emptiness and reality is another remarkable feature of Zhang Fuxing's painting. This characteristic is embodied in the following aspects: (1) In the whole picture, the local emphasis on blank space is contrasted with the large area of image processing, so as to break the reality, but in reality there is a void. The positive side of the image is firm and sparse, but the negative side of the image is relatively empty. On the basis of the outline, the image is rubbed with ink, dotted with lice and rendered. The purpose of doing so is not only to make the image have a sense of space, three-dimensional sense, but also to make the image simple and textural. (2) In the local void, it is not void, but a few touches with a blurred pen to make it look like clouds, water, grass and trees. It is Lao Tzu's saying that everything is like, or nothing is like, as for what or not, the observer himself judges, infers and guesses on the basis of similar phenomena, which is precisely what Lao Tzu said: "There are images, trances and things in them. "In trance, the image is led to abstraction, which adds a sense of obscurity of either or neither to the picture, thus triggering a kind of poetic imagination. (3) It is also a kind of creation to show the reality by ink contrast. Through the contrast of light and shade in ink, the space of the picture is extended and broadened. Ink has the function of swelling, while color has the function of shrinking. Corresponding to the two, the interface in the painting naturally expands as soon as it receives and releases. (4) The combination of motion and silence not only enhances the flexibility of the picture, breaks the tranquility, but also increases the contrast between reality and fiction. This method of breaking the stillness with movement and making the virtual and the real is the artisan's expression of desiring the real and opposing the virtual. It plays a three-in-one role. First of all, it represents a thick mountain range, showing the mood of mountains and mountains. It does not adopt the modern popular method of repeated ink accumulation, but the method of showing clouds and water from the opposite side. Where there are clouds, the mountains are abrupt and steep. The ancients said, "The mountain wants to be high, but it does not come out high. It is high to lock its waist with smoke and clouds." "The ancients'words are not deceptive, but in his works, besides showing the mountain's height, there is another layer of magnificent meaning to show the mountain. This is a creation on the basis of his predecessors. Comparing the descriptions of clouds and mists in his paintings with those of his predecessors, it can be seen that the ancients painted mountains mostly with ink chaff. It's thick, but at the intersection of clouds and mountains, it uses sparse lines to show that it is covered by clouds and fog. In his paintings, Zhongshan Style is mostly at the junction of clouds and mountains, dyed dark with thick ink. That is to say, the ancients expressed clouds, exerted themselves at the top of the mountain, Mr. Zhang Fuxing expressed clouds, exerted themselves at the foot of the mountain. This method, which was contrary to the way of the ancients, has achieved unexpected results. The contrast between cloud and mountain is very strong. The empty cloud sets off the simple and majestic mountain situation more magnificent, so that a great gas comes on the face. Secondly, he likes to use clouds to set off the atmosphere in the lower right corner of the painting. He tends to stretch the picture on the left. Obviously, although the stretched picture appears in a small place on the left, it will still make the left too crowded. At this time, he cleverly used a mountain stream to break through its jam. Motion and imagination appear at the same time, which is not the full embodiment of the author's ingenuity, then, where does the author's ingenuity embody? This is the last important question we want to discuss. That's how he draws the speed and sound of water. The clear and clear water flowing down from the distance gives people a refreshing and pleasant feeling. Looking up at this winding mountain stream, it will wash the dirt in your chest clean, close your eyes, like a cool water coming on your face, and you can't help wiping the droplets splashing on your face. If you are a romantic person, you will blurt out the poetry of the ancients. Maybe it is "flying down three thousand feet, suspected that the Milky Way falls nine days", maybe it is "not allowed to run a stream in a thousand mountains", or it is "clear in mountains and springs, muddy out of mountains and springs" and so on. In short, we believe that different people will have different feelings, as to what kind of meaning is his original intention, we do not know. Structurally, he uses streams to break down the reality, to make the two sides of the picture harmonious and proportionate, and to increase the texture of the mountains with streams. The most important thing is to express his feelings with streams. Isn't this the result of Gu Kai's "imagination wonderful"?
His works were selected in the eighth, ninth, tenth and eleventh national art exhibitions, and won awards in more than ten national art exhibitions. He was awarded the Eighth Art Exhibition Award, the Ninth Art Exhibition Excellent Works Award and the Gold Award of the World Chinese Painting and Calligraphy Exhibition. He was awarded the Bronze Drum Award, the highest prize for literary and artistic creation of the Guangxi Autonomous Region Government, twice, and was awarded the outstanding contribution expert of Guangxi. In 2005, the National Science and Technology Award Office awarded the honor of "Excellent People's Artists". In addition, he was selected as a painter in the "Centennial Exhibition of Chinese Painting" from 1990 to 2000. He was one of the influential artists in the academic activities such as "Brilliant China, Wanlixing", "Colorful Ink Realm", and won the Huang Binhong Academic Award in 2004. The work once carried Shen VI and Shen VII in space. He has painted large-scale landscape paintings for important institutions and places of the Party and the state. He has created large-scale landscape paintings for Chunhuazhai, Diligence Hall, Conference Room 3 of the State Council, Beidaihe Conference Building of the Central Committee of the Communist Party of China, Jingxi Hotel, Zhongxuan Department, Zhongtuan Department, Old Cadre Activity Center of the State Council on Wanshou Road, Jingfeng Hotel, etc. To create layout paintings for foreign embassies and consulates of the Ministry of Foreign Affairs, large-scale landscape paintings for Chinese embassies in the United States, and large-scale landscape paintings for the National Library. His works include Zhang Fuxing's Freehand Landscape Painting Art, Zhang Fuxing's Ancient Masters'Works by Contemporary Chinese Painters, etc. His main works include "A stream of cold water comes out of autumn water" and "Autumn High in Dong Township".