范扬

 范扬,1955年1月生于香港,祖籍江苏南通市。曾任南京师范大学美术学院院长、教授、博士生导师。现为中国国家画院国画院副院长,兼任南京书画院院长,中国艺术研究院中国画院研究员,文化部优秀专家,享受国务院特殊津贴。

  • 中文名范扬
  • 性别
  • 国籍中国
  • 民族汉族
  • 祖籍江苏南通市
  • 出生地香港
  • 出生日期1955年1月
  • 职业画家
  • 毕业院校南京师范大学美术系
  • 主要成就中国画《支前》获全国美展铜奖
  • 代表作品《周恩来同志诞辰100周年》纪念邮票范扬、时卫平合作
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范扬访谈

中国美术网 09-18 浏览

被采访人:范扬(当代中国画名家)  采访者:王慧  时 间:2007年元月3日  当代中国画坛,可谓千家竞秀,在这繁花锦绣当中,有一位拙朴粗犷、长于将人物画置于山水当中,作品造化天成、舒...
中国国家画院国画院副院长

 范扬,1955年1月生于香港,祖籍江苏南通市。曾任南京师范大学美术学院院长、教授、博士生导师。现为中国国家画院副院长。华夏艺术网已经为其开设名家专题。

画家范扬作品多次参加海内外各级大型展览,多家专业刊物作为专题介绍。作品《支前》,《苦麓烟峦》等为中国美术馆,江苏省美术馆等展馆收藏。中国画《支前》获第六届全国美展铜奖。

擅长中国画,工写兼备。

工笔重彩《唐人诗意》组画,设色精当,温润蕴藉。山水画作风淳厚,笔法沉雄,水墨华滋。多作实景写生,外师造化,中得心源,绘事画境,更上层楼。偶作花鸟,师法青藤、白阳,清新俊逸,不让前贤。指导国家画院“范扬工作室”学员的专业培训和学术研究,遍历名山大川,搜尽奇峰,积稿盈囊,归来创作,成果颇丰。

画家范扬设计有《太湖》特种邮票、《周恩来同志诞生100周年》纪念邮票、《普陀秀色》特种邮票。出版印行有《水浒人物全图》,《范扬画集》等。


经历

范扬属羊,性格和顺,心地实在,读书时是好学生,做事时也随遇随缘。广交游,多朋友,画友中口碑不错。

范扬出身诗文书画世家,不乏才情。一般说来,世家子弟往往聪明有余,沉稳不足,可以顿悟,不耐渐修,范扬却是能够立定精神,扎牢根基,含英咀华,厚积薄发。上大学前,范扬在老家南通的工艺美术研究所工作。研究民间刺绣和剪纸。当时,海内外诸多名家如庞薰琴、吴冠中等 到研究所讲学,启发学术,提携后进,范扬获益良多。工艺研究所前身是沈寿女红传习所,其刺绣精品为当时一绝、研究所的剪纸、灯彩、风筝、扎染都很精彩。民间艺术朴素自然、磊落大方而又生机勃勃,范扬耳濡目染,好之学之。体会不少,确实直接影响到其后来的审美取向。


育人经历

范扬一直是非常受学术界关注的画家。各种美术专业刊物纷纷对他进行专题介绍,许多美术批评家也给予他高度评价。显然,他的艺术创作已经得到了广泛的认同。 范扬在南京师范大学美术系,从教师到讲师、教授、院长,从书画爱好者到当代实力派画家,范扬一步一个脚印的走来,走得自然而从容。

范扬在绘画上涉猎的范围很广,山水、花鸟、人物他都擅长,而且工笔、写意,创作、小品都画得精彩。他不愿墨守成规,喜欢尝试各种风格、各种画法。九十年代初期,他迷恋工笔人物画,作品多取材于唐人诗意,纯用传统手法,单线平涂,勾勒渲染。画面色调古艳纯净,结构精巧谨严,呈现出一派清新明丽气象,既给人愉悦身心的审美感受,又十分耐人品味。


性情

范扬性情中有一种难得的自信,他把画画作为最重要的事情,而且自信是可以做个大画家的。宋元以后有影响的大家多是山水画家,于是范扬也画起了山水,而且一发不可收拾。中国自古讲究天人合一的哲学观,的确,山水可居、可游,更能体现画家的真性情,展现画家的文思修养。

范扬的山水画同样有着深厚的传统根基。综观他的作品,不乏吴镇王蒙的茂密深邃,更具赵孟辅、董其昌的沉稳雍容,可贵之处在于,范扬食古能化。他的山水画取法传统,却又不同于一家一派,有着鲜明的自家风貌。

范扬非常讲究状态,他作画时气定神闲,从从容容,犹如良将排兵布阵。他下笔前并非成竹在胸,而是任由情绪的驱使,放笔直取,以率意的笔线勾勒点染,铺排出大的格局框架。而后,根据胸中意想笔笔生发,一遍遍、一层层不厌其烦地积墨、积色,使画面逐渐厚重沉着起来。那些看似随意的点线,最终都被他统率到了整体的形象结构之中,形成了颇具韵律感、节奏感的笔墨符号,呈现出充满内蕴的动感。而这种动感绝无躁动和张扬,却分明透出宇宙洪荒般的山野气象,激荡着观者的心。

“笔厚墨沉”,是范扬山水画所具有的最重要的审美特质。他至今还记得,小时候学写毛笔字时,外婆告诉他,用笔要厚,用墨要浓,这关系到一个人以后的福泽。后来他学山水,取法宋元,却正好是雄浑沉稳的路子。他的水墨山水笔法凝重,中锋用笔,笔笔到位,落落大方。其笔墨点线行笔自然而自由,笔路盘旋起伏,既以朴拙的形式塑造出了胸中意象,又最大限度地保持了笔墨自身独有的审美魅力。

 

风格

笔墨当随时代。范扬的山水画注重心灵意象的抒写,但绝没有脱离对客观自然山水的认识和感受,也没有做传统笔墨程式的简单组合。他不断从大自然中获取新的审美感受,使自己的艺术创作永葆生命活力。他走出书斋,去皖南、西藏等地写生,直接体验自然给予的启迪。 在大自然中体察造化之妙,探寻真山真水的内在精神。在走入自然的过程中,范扬的确升华出了更多的艺术感悟,画,画得更加沉郁厚重了,表现形式上却更加自由、放松、洒脱,逐渐形成了更具自己时代特征的笔墨程式。

从范扬作品《皖南小电灌站》、《皖南山乡》等一批作品中,我们可以进一步感受到画家对笔墨程式的革新意图。画面逐步走向了线与色的单纯结合,画中的笔调韵味,既有深厚的传统绘画底蕴,更有作者对于现代精神气质的一种新体会。作品中的景致平常,具有写生的意味。画面施以青绿设色,以表达眼前所见的真实景象。在笔墨的运用上, 挥洒自由,率性抒写,任胸中勃然之气自由驰骋,浓淡青翠随意写去,自然而合乎规矩法度,令人耳目一新。

范扬的认识是清晰的, 作为立足发扬传统精神和笔墨表现性的画家,范扬取得了骄人的成绩。而作为一位探索型画家,他的独特性同样是不可取代的。谁能想到,明天,他又会以怎样的面貌,带给人们新的振奋和欣喜呢!

 

艺术思想

 我说中国画柳暗花明

 中国画坛不平稳。

 

先是李小山说中国画穷途末路。

 

一石激起千层浪,老画家们也吃了一惊。细想想,大约拿不出什么有力的证据能说明中国画比以往茁壮强大,所以有点张口结舌。好不容易,找到黄秋园的画儿,力捧之,夸奖之,追封为中央美院教授头衔。老一辈人也是好心,不屑与小字辈争执是非,只是婉转地告诉青年人,不以规矩,不能成方圆,少年壮志不言愁,总不如天凉好个秋。年轻一代,少年气盛,不听老人言,不买这个账,他们自有说法。君不见楚骚、汉赋、唐诗、宋词曾当如何?今日也进了故纸堆。京剧两百年,算离得近的,艺术之高明,自不待说;影响之广泛,上至帝后,下到黎民,宫中乡里,海内海外,辉煌绚烂之

极矣。待到新式话剧一出,而后再有电影、电视,京剧便冷落了,也成了要保护抢救之珍稀文化了。想想确实不服气,多少工夫下下去,多少精神提上来,行当作派,水袖台步,曾赢得满堂彩。到头来却不及歌星们摇头晃脑、把着话筒、伸胳膊踢腿,赚得痴男痴女神魂颠倒。时至今日,四大名旦不及四大天王,盖叫天不如成龙了。这有点像老画家,吮墨耕砚,舞弄一辈子,你说他这玩意儿过时了,岂不气煞。 后来,又有名家说,中国画笔墨等于零,捅了马蜂窝,讨论又开始了。

 

我们走多远 当下中国画才能走多远

吴冠中先生从来都是“语不惊人死不休”。国家有画院由来已久,汉代就有了国家养画家的记载,后来画《韩熙载夜宴图》的顾闳中也是国家养的画家。在西方,米开朗基罗、达芬奇等都是教廷供养的画家。这些国家养的画家我认为都是真正的大师。我们国家富足,传统文化又这么了不起,养几个画家有什么不好呢。我想说:我身处画院,不是要去做那种会生蛋的母鸡,我要做为实现中华民族伟大复兴而唱的一只雄鸡,听“雄鸡一唱,东方白”。这也是画院里画家共同的心声。1959年,国家要成立画院,这是周总理提出来的。周总理有眼光,他对于中华文化和文化传承的认识,恐怕要比一般人要深刻得多。

画院在当代美术领域是一个不可或缺的力量,许多优秀的画家都在画院,凭什么张三李四一说话,画院就不办了?上一个世纪是学院主导了中国画的走向,21世纪画院应承担起这个责任。学院是教学机构,画院是创作研究机构,我们的主要任务是光复中华文化。关于吴冠中先生的言论我有三点意见:一、画院应该办,二、画院里的画家要作“雄鸡”,三、周总理提出办画院,我们听他的。中国这么大,文化上更需要立定精神。国画现状呈现出多元,但我觉得还是应该有一个方向或主导,这个任务,画院要承担。

 

艺术年表

1955年1月27日(农历正月初四)画家范扬出生于香港铜锣湾圣保罗医院。

1961年画家范扬就读于南通师范学校第二附属小学。祖母缪镜心为该校校长。

1968年画家范扬就读于南通市第三初级中学。

1970年画家范扬就读于南通中学,该校是江苏省重点中学,曾培养出如国画家范曾、数学家杨乐等出类拔萃的专家学者。

1972年10月画家范扬参加工作,在南通市工艺美术研究所任美工,学画、学民间工艺、学剪纸,画刺绣画稿。学友有林晓、许平、徐艺乙、卜元、冷冰川等。

1976年画家范扬出版连环画《桑弘羊舌战群儒》(安徽人民出版社)。

1977年恢复高考,画家范扬考入南京师范学院美术系。

1978年2月画家范扬入学南京师范学院美术系。受教于秦宣夫、徐明华、尉天池、杨健候等先生。入学时系主任为秦宣夫先生。

1982年画家范扬与潘金玲女士结婚。潘金玲,1959年8月18日生,江苏南通如东人,与范扬是大学同班同学,现任南京师范大学美术学院副教授,硕士生导师。

1982年画家范扬任南京师范学院美术系助教。

1984年画家范扬作工笔人物画《支前》。生子范立。

1985年2月画家范扬作工笔人物画《草垛》参加南京师范学院美术系教师作品展。年内,中国画《支前》参加第6届全国美术作品展览,获铜质奖。该作品为中国美术馆收藏。

1986年画家范扬加入中国美术家协会。

1987年画家范扬任南京师范学院美术系讲师。创作水墨人物画《崇拜》、《沐浴》。

1988年画家范扬任南京师范学院美术系副教授。出版白描画册《水浒人物全图》,母亲镇以和作序(江苏美术出版社)。

1990年画家范扬作《绿色丛林》组画,共4件。

1992年画家范扬作《浅绛山水》等作品。

1993年画家范扬作《墨蛙碧荷图》、《瓦雀冬青图》等花鸟画作品。

1994年画家范扬作工笔重彩《唐诗组画·王昌龄诗意》,共10件。

1995年画家范扬作浅绛山水《过香积寺》、《山色苍润》。是年7月20日,国家邮政局发行了范扬绘制设计的《太湖》特种邮票(5枚,小型张1枚)。首发式在无锡太湖饭店举行。

1996年画家范扬作《春牛图》、《山中习静》、《秋江独钓》、《蜀葵》、《萱花》等作品。

1997年画家范扬任南京师范学院美术系教授。赴皖南歙县、黟县一带写生,归而作《皖南写生组画》,该创作活动延续至2000年。同年,作人物画《农夫农妇》。并作有《紫玉》等一批花鸟画。 [11] 

1998年3月5日国家信息产业部在淮安举行《周恩来同志诞辰100周年》纪念邮票(全套4枚)首发式,范扬、时卫平合作。7月,画家范扬任南京师范大学美术系主任。是年10月,参加汉城“中韩画家联展”。

1999年南京师范大学美术系改建成美术学院,画家范扬任院长。6月3日,范扬设计绘制的《普陀秀色》特种邮票(全套6枚)首发式在浙江舟山市举行。10月,参加德国路德维希市“中国画七家联展”。

2000年画家范扬任美术学博士生导师。作《雁荡山色》、《孺子牛》、皖南系列《皖南小电灌站》、《石梁飞瀑》等作品。并作大型人物画《农夫与耕牛》。1月,参加“成都世纪之门艺术大展”。5月,参加上海“新中国画大展”。参加江苏省文化厅组织的写生团,赴西藏写生。作大型人物画《望果节的游行队伍》。

2001年画家范扬作《葛稚川移居图》、《敬亭山》、《浅绛山水》、《雪山行旅》、《疏林高士》及《红梅鸣禽图》、《鸡冠花》等花鸟作品。5月,参加中国美术馆“水墨本色画展”。7月,参加大连艺术博览会“国际中国画年展”。8月,参加上海美术馆“新院体四人展”。8月,参加澳门“江苏画家10人展”。10月,参加北京“百年中国画大展”。12月,参加“成都双年展”。

2002年画家范扬作山水画《林泉高致》、《雪景山水》、《松带六朝声》、《雪山行旅》、《坐看云起》,人物画《钟进士》、《阿罗汉图》。作巴黎写生组画:《巴黎塞纳河》、《从埃菲尔铁塔远眺》、《市民休闲广场》、《夜景步行街》等作品。10月,参加“江苏优秀作品晋京10人展”(由全国政协举办)。12月,参加“深圳双年展”。12月,参加北京中华世纪坛“当代艺术风骨50家展”。 [11] 

2003年画家范扬作《独坐看黄庭》、《江流天地外》、《江南雨后山》、《琅琊山写生》、《丘壑自然之理》、《让泉在山亭前流过》、《我家墨法我家山》、《溪响松声》等山水画,《沧浪之水》等人物画,以及《白芙蓉》等花鸟画。

2004年画家范扬作人物画《但对青山》、《献寿图》等作品。是年赴青岛崂山写生,作《崂山多甘泉》、《崂山观海》、《崂山坐忘潭》等系列作品。赴大运河写生,作《瓜洲古渡》、《扬州个园》等系列作品。

2005年画家范扬赴内蒙古写生,作《阿斯哈图石林》、《美岱召晨曦》、《热水镇写生》等系列作品。8月,范扬及金玲赴埃及、肯尼亚写生。同年10月调文化部中国画研究院任山水画研究室主任。10月,应法国GalerieCathay画廊邀请,与龙瑞院长同行赴法参加在巴黎举行的“中国山水精神—当代经典山水画家邀请展。”

2006年3月5日至3月13日画家范扬随中国美术家协会旅游联谊中心组织的写生团去印度采风写生。一行18人,刘大为先生带队。4月17日至4月26日,赴巴中写生。5月,作为“龙瑞工作室”副导师,率学员去北京平谷县写生。5月28日至6月1日,与龙瑞院长带队的研究院一行19人前往浙江杭州,参加“钱塘自古繁华—全国著名画家画杭州”写生活动,并专程瞻仰了黄宾虹叶浅予先生故居。作品《天凉好秋图》参加“2006美丽乳山全国中国画名家邀请展”,中国美术家协会主办。8月,为钓鱼台国宾馆作《采芝深山里》、《菩提本无树》、《说禅图》、《仰听松风》、《松溪高逸》等作品。9月,中国画研究院开办“范扬工作室”,9月9日,开学典礼在紫玉饭店举行。10月9日至15日,率工作室学员一行20人,去太行山石板岩、洪谷山一带写生,作《太行写生》图稿。10月18日,随研究院写生团赴四川青城山、海螺沟、四姑娘山一带写生。11月,《范扬画集》由四川美术出版社出版。12月14日,中国画研究院更名为中国国家画院,庆典在钓鱼台国宾馆举行。范扬任中国国家画院山水画研究室主任。是年伊始,以麻纸作山水画,画风为之一变。作《采芝深山里》、《独坐幽篁里》、《清溪放艇》、《坐茂树以终日》等作品。12月下旬,作大型人物画《印度元素》。

2007年元月画家范扬参加中国美术家协会中国画艺术委员会举办的“水墨雄风—当代中国画家作品展”“水墨风神—中国青年国画家作品邀请展”、“引领中国美术—范扬、梁占岩、张凡、范治斌中国画展”。画展于元月3日在炎黄艺术馆开幕。同时参展画家有:崔振宽、李宝林、贾浩义、朱松发。2月4日至7日,作品《枝隐罗汉》、《深山对弈》参加“水墨威海—第二回当代中国画名家学术邀请展”。4月,率国家画院范扬工作室学员及随行人员约40人赴湘西黔东南写生,得稿37件。7月,赴武夷山写生,得稿7件。9月,随吴长江带队的中国美术家代表团访问俄罗斯。11月,赴京郊房山五渡写生。

2008年3月画家范扬由北京工艺美术出版社出版《激扬江山2006~2007中国国家画院范扬工作室教学文献集》。4月,率范扬工作室学员及随行人员约40人赴皖南写生,得稿28件。7月,“又见皖南──2008中国国家画院范扬工作室写生集”由北京工艺美术出版社出版。9月,随国家画院采风团赴贵州写生。9月,赴银川,参加“庆祝宁夏回族自治区成立50周年全国画院邀请展”。9月,随国家画院采风团赴山西写生,得稿10件。10月26日,南京澄怀美术馆开馆暨范扬画展开幕。 [11] 

2010年范扬曾来德程云仲陈曦书画联展7月4日在无锡举行;第三回“写生范扬”中国画作品观摩展活动于2010年7月24日上午十点在北京凤凰岭美术馆隆重召开;画家范扬作品参加“澄怀雅集·逍遥游名家邀请展”;吴冠南、范扬、周京新中国画展在杭州举行。

2011年5月画家范扬作品参加“盛世水墨相约金陵”中国画展;《不同凡响——范扬、范治斌中国画作品展》在中国美术馆开幕;著名画家范扬先生将携15位弟子,于2011年月18日在南京市江东北路111号诸子艺术馆举办华润置地·诸子2011“水流花开——范扬师生联展”。

中国美术馆将于2011年5月29日至6月6日举办《不同凡响——范扬、范治斌中国画作品展》,共展出中国国家画院国画院副院长范扬和任教于北京师范大学艺术与传媒学院的国画家范治斌的作品百余幅。

范扬擅长中国画,工写兼备。人物画代表作《支前》入藏中国美术馆,工笔重彩《唐人诗意》组画,设色精美,温润蕴藉。山水画作风淳厚,笔法沉雄,水墨华滋。多作山水写生,外师造化,中得心源,偶作花鸟,师师法青藤、白阳,清新俊逸,风格独特。

2012年7月12日至14日中国国家画院范扬工作室2011届高研班学员在刚参加完国家画院结业展后于北京北郊九华山庄召开了年会,从回顾过去到展望未来。

一年的学习使所有学员都获得了长足的进步,不但山水画专业创作水平得到了提升,同时,借助国家画院与范扬导师这样的平台产生了更为广泛的社会影响,以历史的眼光看,一年的学习必然会成为很多学员的人生转折。

在会上来自全国各地二十多位画家把盏叙谊,把笔挥毫,书画寄情,其乐融融。对学习生活的总结,使画家们更加清醒地认识了自身的特色与问题,理清未来的发展思路发展规划,从而把结业变成一个新的出发点,开始一个新的征程。此次年会还讨论以历届优秀画家为对象成立画会,使画家们进一步增进感情,相携共进,“贴近文脉,正本清源,大美为真,为祖国山川写照。”

与会人员名单;刘文哲·杨军·马飞·孙承平·王根茂·傅峰远·石强仙·陈寒峰·赵杰·程鹏·闫景阳·陈良宗·倪金宝·汪洋·周明赋·张学斌·张金戈·马丽。

艺术精神

 范扬先生的画最能体现中国画学精神,盖因范画正是在形而上之精神气象上着力;在画格与人格上去俗亲雅;在道技兼修上更重悟道。且不论其家学禀赋之渊源、才情格致之养成,技能修为之历练,但观其画作,行家里手莫不动容叹为惊愕。其画气象沉雄而不板滞、活脱而无浮滑、流动而无轻邃、华滋而无妍媚,真是一个迥出天机、若骤若驰、斡流旋转的心象世界。

 

范迪安先生所论:“范扬在两个世纪之交这几年里似乎得到了神助,以爆发出来的强劲之力将自己的画境大大地做了提升,在他的作品面前,可以真切地感受到他作画之际‘情驰神纵、超逸优游’的状态。就笔墨的意态而言,他浓笔酣墨,落在幅上皆成‘文章’,显示出解衣磐礴的畅快,达到了通权达变的火候。就描绘的内容而言,他打通了山水、人物、花鸟原有门类界限,只要面对自然,便能‘临事制宜,从意适便’,信手拈来皆得理法,在散乱的节脉中荡起形象的生机。”观其画、识其性而知其人。因为中国画学,实为人学。人学是中国古代文化的核心,而传统的审美实际上又是对自我人格的欣赏。人的胸襟、品藻决定画的格调气象。古人有“人品既已高矣,气韵不得不高;气韵既已高矣,生动不得不至”之说,故读书修品成为传统画家终生之修为。当然人之天性各有不同,或刚或柔,关键在于得正气而不染乎邪病也。

 

范扬作画虽无古人“突然绝叫三五声”之狂,却有“笔所未到气已吞”之慨,他落笔率意,不假思索,笔笔相生,息息不绝,纵横涂抹,生趣滔滔。笔下山川云水,如浩荡洪流滚滚而至,驰骋自如,令人惊慑。其气概又如冲陈之骁将,奔突如风,气雄万夫。诚如古人描写“得道者”作画的神情:“当夫运思落笔,时觉心手间有勃勃欲发之势,便是机神初到之候,更能迎机而导,愈引而愈长,心花怒放,笔态横生,出我腕下,恍若天工,触我毫端,天作妙绪。前者之所未有,后此之所以难期,一旦得之,笔以意发,意以发笔,笔意相发之机,即作者亦不自知所以然。”

 

范画的又一大特点是沉雄浑茫的画面,极富韵律感和动流气息。如果说中国画是“心迹”的外化,范扬正是一个将活跃的神思、豪放之情怀、心智的直觉无挂碍地挥写出来的人。他不役于形,不弊于物,不止于闻见,而是大其心体天下万物,烛天理明万象而无所隐遁也。如刘勰所言:“夫神思方运,万涂竟萌……登山则情满于山,观海则意溢于海,我才之多少,将与风云而并驱矣。”又如董玄宰论:“画之道,可谓宇宙在手者,眼前无非生机。”这样写出的画自然有着活泼的生命,“故可周流一切,贯通一切,生化一切,大用一切,风动蛇行,鸢飞鱼跃,乌黑鸪白,及一切生生化化,无处不是道体流行,天道自然。”

 

范扬先生的画,境界在于精神气象;深厚在于学植修养;风格在于天性禀赋;文脉在于中国文化精神。在今之中国画坛,他不仅是个性风格最强烈的,又是充满自信与最具自由精神的;是气韵与骨法兼得的;因而也是最能全面体现中国绘画精神的。

画展动态

 “物以神聚——范扬国画展”中国美术馆开幕

“物以神聚——范扬国画展”将于中国美术馆开幕,将展出当代著名画家范扬国画作品约160幅,内容涵盖范扬的写生作品、人物画、花鸟画和“世事绘”系列创作。

范扬,1955年1月生于香港,祖籍江苏南通市。曾任南京师范大学美术学院院长、教授、博士生导师,现为中国国家画院国画院副院长,兼任南京书画院院长,中国艺术研究院中国画院研究员,文化部优秀专家,享受国务院特殊津贴。

自1984年创作的大幅主题性作品《支前》获第六届全国美展铜奖并为中国美术馆收藏开始,范扬就以开阔的思想观念和不断探索的艺术精神活跃于画坛。其作品多次参加海内外各类学术展览,出版有《水浒人物全图》、《写生范扬》、《范扬画集》等多种画册,设计有《太湖》、《普陀秀色》等特种邮票。他在中国画创作上涉猎的范围很广,山水、花鸟、人物皆长,写意、工笔、书法跨界贯通,并且喜欢尝试新的题材和形式语言,是当代中国画坛开拓创新的一位重要代表。

本次展览将展出范扬的优秀作品,展出作品题材丰富,形式多样,涉及人物画、山水画、花鸟画和“世事绘”等多个类型的作品,集中展现范扬绘画作品中“物以神聚”的艺术特征。其中大部分山水画作品,在画风上继承了宋元时期“大山大水”的传统,既幽远深邃,又沉稳雍容,达到了“笔厚墨浓”的美学境界。范扬指出,中国画的创作重在“传神”,要善于捕捉和表现物象的“神态”,并借此传达具有当代文化理想的精气神。

据范扬透露,此次展览最新的作品是“世事绘”系列,该系列作品结合了他自身的游历观感和时事新闻,场景活泼生动,人物形象诙谐风趣,既展现出了当代世界和现实生活中的事件和人物,也实验性地延展了中国画的表现语言。

范扬表示,这次画展是对自己将近十年的的创作做的一次小结,他希望通过这么一个阶段性、总结性的展览,全面展示他在中国绘画意识领域中的研究心得和体会。他说:“其实一个真正的画家,就要做到既能让懂得艺术的人体会到作品的精妙,又能让老百姓听得懂、看得懂。我希望自己做一个‘人民性’的画家,这也是我办这个展览的宗旨。”

中国美术馆馆长范迪安高度赞赏范扬在绘画上的造诣,他表示,范扬的胸襟开阔,才情超迈,其国画作品视角新颖,落落大方,既体现出一种从融通到转化的学术智慧,又在笔墨语言上自成鲜明的“范氏体格”,焕发出生机蓬勃的时代气象,表现出开拓进取的时代文化精神。

中国国家画院副院长、中国美术家协会理事张江舟肯定了范扬在绘画艺术领域中的成就和地位。他说:“范扬的作品既体现了他深厚的传统文化功底,又展现了鲜活的当代气质,这种创作方式很难被模仿、超越。可以毫无争议地说,他是非常具有学术启示意义和学术价值的画家。”

评价

 范扬属羊,性格和顺,心地实在,读书时是好学生,做事时也随遇随缘。广交游,多朋友,画友中口碑不错。

范扬出身诗文书画世家,不乏才情。一般说来,世家子弟往往聪明有余,沉稳不足,可以顿悟,不耐渐修,范扬却是能够立定精神,扎牢根基,含英咀华,厚积薄发。上大学前,范扬在老家南通的工艺美术研究所工作。研究民间刺绣和剪纸。当时,海内外诸多名家如庞薰琴、吴冠中等 到研究所讲学,启发学术,提携后进,范扬获益良多。

 

Introduction in English

 Fan Yang, born in Hong Kong in January 1955, was born in Nantong, Jiangsu Province. He was the dean, professor and doctoral supervisor of the Academy of Fine Arts of Nanjing Normal University. Now he is the vice-president of the Chinese Painting Academy of the National Academy of Painting of China. He is also the president of the Nanjing Academy of Painting and Calligraphy. He is a researcher of the Chinese Painting Academy of the Chinese Academy of Art and an outstanding expert of the Ministry of Culture. He enjoys the special allowance of the State Council.

 

Vice President of Chinese Painting Academy of China National Academy of Painting

 

Fan Yang, born in Hong Kong in January 1955, was born in Nantong, Jiangsu Province. He was the dean, professor and doctoral supervisor of the Academy of Fine Arts of Nanjing Normal University. He is now Vice President of the National Academy of Painting of China. Huaxia Art Network has set up a special topic for its famous artists.

 

Fan Yang's paintings have participated in large-scale exhibitions at various levels at home and abroad, and many professional journals have been used as special presentations. The works "Zhiqian" and "Bitterfoot Yanluan" are collected by China Art Museum and Jiangsu Art Museum. The Chinese painting Zhiqian won the bronze prize of the 6th National Art Exhibition.

 

He is good at Chinese painting and has both work and writing skills.

 

Painting with Meticulous Brushwork and heavy color "Tang Poetry" is well-designed and gentle. Landscape painting style honest, strong brushwork, Chinese ink. More realistic scenery sketches, outside teachers, the source of inspiration, painting scene, more upstairs. Occasionally as flowers and birds, learn from the wisteria, Baiyang, fresh and handsome, not let the former sages. Guiding the professional training and academic research of the students of Fan Yang Studio of the National Academy of Painting, traveling through famous mountains and rivers, searching all the odd peaks, accumulating many manuscripts and returning to create, yielding fruitful results.

 

Fan Yang, an artist, has designed special stamps for Taihu Lake, the 100th Anniversary of Comrade Zhou Enlai's Birth, and Putuo's Beauty. Publishing and publishing of "Water Margin Character Full Picture" and "Fan Yang Painting Collection" and so on.

 

experience

 

Fan Yang is a sheep, with a gentle personality and a sincere heart. He is a good student when he studies, and when he does things, he also meets his predestination. Extensive friendship, many friends, good reputation among painters.

 

Fan Yang was born in a family of poetry, literature and painting, and he had many talents. Generally speaking, the descendants of the family are often smart, unstable, insightful and impatient, but Fan Yang is able to establish his spirit, firmly rooted, with Yingzuihua, thick and thin hair. Before going to university, Fan Yang worked in the Institute of Arts and Crafts in Nantong, his hometown. Research on folk embroidery and paper-cut. At that time, many famous scholars at home and abroad, such as Pang Xunqin and Wu Guanzhong, gave lectures at the institute, inspired academics, promoted progress, and Fan Yang benefited a lot. Shenshou Nuhong Institute was the predecessor of the Institute of Technology. Its embroidery products were excellent at that time. The paper-cut, lighting, kite and tie-dyeing of the Institute were wonderful. Folk art is simple, natural, generous and vigorous. Fan Yang is a good scholar. It has a lot of experience, which has a direct impact on its later aesthetic orientation.

Educational Experience

 

Fan Yang has always been a very concerned painter in the academic circles. Various art journals have made special presentations on him, and many art critics have also given him high praise. Obviously, his artistic creation has been widely recognized. Fan Yang, in the Department of Fine Arts of Nanjing Normal University, from teachers to lecturers, professors and deans, from calligraphy and painting enthusiasts to contemporary powerful painters, stepped forward step by step and walked naturally and calmly.

 

Fan Yang dabbles in a wide range of paintings. He is good at landscapes, flowers and birds, and figures. He is also good at fine brushwork, freehand brushwork, creation and sketches. He is unwilling to stick to conventions, and likes to try all kinds of styles and paintings. In the early 1990s, he was fascinated by meticulous figure painting. Most of his works were based on the poetry of the Tang Dynasty. He used traditional techniques, single-line plain painting and rendering. The color of the picture is ancient, beautiful and pure, and its structure is exquisite and precise. It presents a fresh and beautiful atmosphere, which not only gives people a pleasant aesthetic feeling of body and mind, but also is very tasteful.

 

Disposition

 

Fan Yang has a rare self-confidence in his temperament. He regards painting as the most important thing, and he is confident that he can be a great painter. Since the Song and Yuan Dynasties, most of the influential painters were landscape painters, so Fan Yang also painted landscape, and it was irremediable. Since ancient times, China pays attention to the philosophy of harmony between man and nature. Indeed, landscape can be inhabited and traveled, which can better reflect the true nature of the painter and show his literary and ideological accomplishment.

 

Fan Yang's landscape painting also has a deep traditional foundation. Looking at his works, there are many dense and profound works of Wuzhen and Wang Meng, and the calm and graceful works of Zhao Mengfu and Dong Qichang. What is valuable is that Fan Yang's food is ancient. His landscape painting tradition, but different from one school, has a distinct style of his own.

 

Fan Yang is very state-conscious. When he paints, he is calm and leisurely, just like a good general. Before he wrote, he was not driven by emotion. He put it straight and straightforward, drew dots with Frank lines and laid out a large framework. Then, according to the intention of the pen in the chest, the ink and color accumulated over and over again, layer by layer, so that the picture gradually becomes thick and calm. Those seemingly random dots and lines were eventually led by him into the overall image structure, forming a sense of rhythm, rhythm of the pen and ink symbols, showing a full of intrinsic dynamic. This kind of movement is never restless and publicized, but it clearly reveals the cosmic wild mountain weather, stirring the viewer's heart.

 

"Thick ink" is the most important aesthetic characteristic of Fan Yang's landscape painting. He still remembers that when he learned to write brush characters when he was a child, his grandmother told him to use the brush thicker and ink thicker, which is related to a person's future Fuze. Later, he studied landscape and took the Song and Yuan Dynasties as his method, but it happened to be a vigorous and steady way. His ink and landscape brushwork is dignified, the center uses his pen, the pen is in place, and the style is generous. His brush and ink dots and lines are natural and free, and the brush path is circling and undulating, which not only creates the image in the chest in a simple form, but also maintains the unique aesthetic charm of the brush and ink itself to the greatest extent.

 

style

 

Pen and ink should keep pace with the times. Fan Yang's landscape painting pays attention to the expression of spiritual imagery, but it is never divorced from the understanding and feeling of the objective natural landscape, nor does it make a simple combination of traditional pen and ink. He constantly obtains new aesthetic feelings from nature and keeps his artistic creation alive. He stepped out of his study and went to Southern Anhui and Tibet to sketch and directly experience the Enlightenment of nature. To appreciate the beauty of nature and explore the inner spirit of real mountains and rivers. In the process of entering nature, Fan Yang has indeed sublimated more artistic perception, painting, painting more melancholy and heavy, but in the form of expression, it is more free, relaxed and free, gradually forming a pen and ink program with its own characteristics of the times.

 

From Fan Yang's works, such as Small Electricity Irrigation Station in Southern Anhui and Mountain Township in Southern Anhui, we can further feel the artist's innovative intention to pen and ink. The picture has gradually moved towards the simple combination of line and color. The style and charm of the brush in the painting have not only profound traditional painting background, but also a new experience of the author's modern spiritual temperament. The scenery in the works is ordinary and has the meaning of sketching. The picture is painted green and blue to express the real scene before us. In the use of pen and ink, freely and freely, freely expressing, letting the vigor of the mind gallop freely, and freely writing thick and light green, which naturally conforms to the rules and regulations, is refreshing.

 

Fan Yang's understanding is clear. As a painter based on carrying forward traditional spirit and expressive brush and ink, Fan Yang has made remarkable achievements. As an exploratory painter, his uniqueness is also irreplaceable. Who can imagine how he will bring people new excitement and joy tomorrow?

Artistic Thought

 

I said that Chinese painting is dark and bright

 

The Chinese painting world is not stable.

 

First, Li Xiaoshan said that Chinese painting is doomed.

 

A stone stirred up a thousand waves, and the old painter was surprised. On reflection, there is probably no strong evidence that Chinese painting is stronger than before, so it is a bit tongue-tied. It was not easy to find Huang Qiuyuan's paintings, praise them, and pursue the title of Professor of the Central Academy of Fine Arts. The older generation is also kind-hearted and disdains disputes with the younger generation, but gently tells the younger generation that it is better to have a cool autumn than to have a square circle without rules and ambitions. The younger generation, young and vigorous, do not listen to the elderly, do not buy this account, they have their own views. How about Chu Sao, Han Fu, Tang Poetry and Song Ci? Today I'm in the old pile of paper. Two hundred years of Peking Opera, which is close to each other, is artistically brilliant, needless to say; its influence is extensive, from the emperor to the emperor, to the people of Limin, the villages in the palace, overseas and domestic, and brilliant.

 

That's great. When a new type of drama comes out, and then there are movies and TV, Peking Opera will be left out and become a rare culture to protect and rescue. Think about how much time it takes to get down, how much spirit it takes to get up, how much action it takes, and how many steps it takes to win the house. In the end, the singers shake their heads, hold the microphone, stretch their arms and kick their legs, and earn the crazy man and the goddess. Today, the four great celebrities are inferior to the four great heavenly kings and Jackie Chan is inferior to them. It's a bit like an old painter, who sucks ink and plows inkstones and dances all his life. Don't you say that he's outdated? Later, another famous artist said that the Chinese brush and ink equaled zero, stabbing the honeycomb, and the discussion began again.

 

How far can we go in Chinese painting today?

 

Mr. Wu Guanzhong has always been "breathtaking". The state has a painting academy for a long time, the Han Dynasty has a record of the state-supported painters, and later painted "Han Xizai Banquet Picture" Gu Yongzhong is also a state-supported painter. In the West, Michelangelo and Leonardo Da Vinci were painters supported by the Holy See. The painters raised in these countries are, I think, real masters. Our country is rich and our traditional culture is so great. What's wrong with raising a few painters? I want to say: I am in an art academy. I am not going to be a hen who lays eggs. I am going to be a cock who sings for the great rejuvenation of the Chinese nation. I want to listen to the "cock sings, Oriental white". This is also the common aspiration of the painters in the academy. In 1959, the state set up an art academy, which was proposed by Premier Zhou. Premier Zhou has a vision, and his understanding of Chinese culture and cultural heritage is probably much deeper than that of ordinary people.

 

Painting academies are an indispensable force in the field of contemporary art. Many excellent painters are in the academy. Why does Zhang Sanli Siyi talk and the Academy stop? In the last century, the Academy led the trend of Chinese painting, and in the 21st century, the academy should shoulder this responsibility. College is a teaching institution, and Painting Academy is a creative research institution. Our main task is to restore Chinese culture. I have three opinions on Mr. Wu Guanzhong's remarks: first, the painting academy should be run; second, the painters in the painting academy should make "cocks". Third, Premier Zhou proposed to run the painting academy. We listen to him. China is so big that it needs to be determined in culture. The present situation of traditional Chinese painting shows pluralism, but I think there should still be a direction or a leading role. The painting academy should undertake this task.

Artistic Spirit

 

Mr. Fan Yang's paintings can best embody the spirit of Chinese painting. Gain Fan's paintings focus on the Metaphysical Spiritual meteorology; they are vulgar and elegant in the style and personality; and they have a greater understanding of Taoism in the concurrent cultivation of Taoism and technology. Regardless of the origin of his family's educational endowment, the cultivation of his talent and personality, and the training of his skills, he is amazed at his paintings. His paintings are magnificent but not rigid, lively but not slippery, flowing but not light, Huazi and not beautiful. They are really a world of mind and image which is full of natural opportunity, if suddenly, and good offices.

 

Mr. Fan Dian said: "Fan Yang seems to have been assisted by God in the past few years at the turn of the two centuries. He has greatly improved his painting situation with the powerful force of explosion. In front of his works, we can truly feel the state of"exhilaration and leisure"when he paints. As far as the mood of pen and ink is concerned, his strong pen and ink are all "articles" on the whole, which shows that the pan of unloading clothes is smooth and has reached the temperament of accessibility and change. As far as the content of the description is concerned, he has broken through the boundaries of the original categories of landscapes, figures, flowers and birds. As long as he is faced with nature, he can "take measures to deal with matters in a timely and convenient manner". He can use reasonable methods to create a vivid image in the chaotic rhythm. Look at his paintings, know his nature and know his people. Because Chinese painting is really learning. Anthropology is the core of ancient Chinese culture, and traditional aesthetics is actually the appreciation of self-personality. People's mind and taste of algae determine the style and atmosphere of the painting. The ancients said that "the character is already high, the charm has to be high; the charm is already high, and the vividness has to come." Therefore, the study and cultivation has become the lifelong cultivation of traditional painters. Of course, human nature is different, or rigid or soft, the key is to be upright and not infected with evil diseases.

 

Although Fan Yang's paintings are not as mad as the ancients'sudden "three or five tones", they have the feeling that "the pen has swallowed up its breath before its arrival." His brushwork is frank, thoughtless, interesting and interesting. The mountains, rivers, clouds and waters in his works, such as the vast torrents rolling in, galloping freely, are frightening. Its momentum is like that of a general who rushes to Chen, rushes to a sudden and powerful position. As the ancients described the expression of "the person who got the Tao" painting: "When the husband thought about writing, he felt that there was a vigorous tendency in his mind, that is, when the spirit first arrived, he could be more opportunistic and guide, the longer and longer he was led, his heart blossomed, and his writing style sprang up. He appeared under my wrist like a workman, touching my hair, and making a wonderful mood in heaven. The former is not what it is, and the reason why it is difficult is that once it is obtained, the author does not know why the pen is intended to be written, or when the pen is intended to be written, or when the pen is intended to be written, or when the pen is intended to be written, or when the pen is intended to be delivered.

 

Another major feature of Fan Painting is its vigorous and ambiguous picture, which is full of rhythm and flowing breath. If Chinese painting is the externalization of "mind trace", Fan Yang is a person who writes out the active mind, bold and unconstrained feelings and mental intuition without any hindrance. He does not serve the form, does not harm things, not only hears, but also hearts and minds of all things, candles and heavens are clear and there is no hiding. As Liu Xie said, "The God of husband thinks of the way things go, and everything goes wrong." Mountaineering is full of mountains, watching the sea means overflowing the sea. How many talents I have will be driven by the wind and clouds." Another example is Dong Xuanzai's theory: "The way of painting is that the universe is in hand, and there is nothing but vitality in front of us." This painting naturally has a lively life, "so it can circulate everything, run through everything, biochemical everything, make great use of everything, wind snake, kite flying fish leap, black duck white, and all biochemical life, everywhere Tao is popular, Tiandao is natural."

 

Mr. Fan Yang's paintings are spiritual; profound in learning and cultivation; natural endowment in style; and cultural context in the spirit of Chinese culture. In today's Chinese painting circle, he is not only the strongest individual style, but also full of self-confidence and the most free spirit; he has both charm and bone method; therefore, he is also the most able to fully reflect the spirit of Chinese painting.

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