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崔振宽

( 中国美术家协会会员 )

 崔振宽,陕西省长安人,1935年生,1960年毕业于西安美术学院。现为中国美术家协会会员,陕西美术家协会理事,陕西国画家专业画家。国家一级美术师。作品多次参加全国美展,出版有《崔振宽画集》、《崔振宽山水画集》数种。在《美术》、《画刊》、《荣宝斋》、《美术观察》等专业刊物多次发表作品、论文及评介文章。多幅作品被人民大会堂、中国美术馆、上海美术馆、广东美术馆成都现代艺术馆收藏。曾出访日本、美国、法国、德国,进行学术交流,举办画展。2002年先后在中国美术馆、上海美术馆、成都现代艺术馆、江苏省美术馆举办《气象苍茫———崔振宽山水画巡回展》,这是他艺术生涯中的一个里程碑。

  • 中文名崔振宽
  • 性别
  • 国籍中国
  • 民族汉族
  • 出生地陕西省长安
  • 职业画家
  • 协会中国美术家协会
  • 毕业院校西安美术学院
  • 代表作品《崔振宽画集》、《崔振宽山水画集》
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关于“黄宾虹课题”——崔振宽近作观后

中国美术网 09-17 浏览

崔振宽的近作令我激动,不是面对完美的激动,而是面对可能的激动。什么可能?沿着传统山水画的深层逻辑实现现代转型的可能性。在20世纪,这种可能性首先是由黄宾虹揭示的,因为我称之为黄宾虹课...
个人简介
崔振宽现场范画

 ​崔振宽,1935年7月1日生,陕西西安人。1960年毕业于西安美术学院国画系并留校任教。1962年任西安特种工艺美术厂工艺美术师。1983年任陕西国画院画家,现为该院一级美术师。中国美术家协会会员,美协陕西分会理事、艺委会委员,省文史研究馆诗词书画研究员。擅长山水画,喜以密线繁点表现大自然。、

 

作品《黄河赞歌》入选各省市自治区庆祝建党60周年美术作品选展,藏于中国美术馆;《喜迎春》选送丹麦展出;《春到陕北》入选第六届全国美展。其作品并为天津艺术博物馆等处收藏,陈列于人民大会堂。1988年在陕西举办个人画展,同年随省美术团访问日本。1989年《中国书画》发表作品及论文《过程与结果》。

 

1990年在台北隔山画馆举办个人画展,出版《崔振宽画集》。1991年论文《才力和毅力—罗平安的突破与升华》发表于《艺术界》(1991年第3期);香港《文汇报》两次整版发表作品及评论。1994年在中国美术馆举办个人画展。《霜林》、《秋塬》被中国美术馆收藏。《美术》、《中国画》、《国画家》、《东方书画》同时发表作品30幅及评论文章4篇。《阳关暮曛图》参加第8届全国美展优秀作品展。出版《崔振宽画集》。1995年在陕西美术馆举办个人画展,《文化艺术报》整版发表作品。在西安美术学院举办“崔振宽山水画邀请观摩展”,并举办大型学术演讲。1996年访问美国,参加《中国画传统与现代问题》国际学术研讨会。访问法国,并举办4人联展。1997年《书与画》发表作品7幅及论文《试谈山水画创作的心理机制》。在陕西国画院美术馆举办个人画展,《文化艺术报》整版发表作品及论文。9幅作品参加“陕西当代中国画展”在中国美术馆的展出。1998年《秋林》参加“当代山水画·油画风景展”,《焦墨山水》参加江苏画刊首届双年展;《秋塬》入编《中国现代美术全集》(山水卷);参加中国画研究院主办的“中国画创作研讨会”和观摩展。

艺术生涯

 1935年七月生于西安,祖籍陕西长安。 1960年毕业于西安美术学院国画系,留校执教。

 

1962年下放至西安特种工艺美术厂工作。

 

1977年六幅焦墨山水入编天津人民美术出版社出版的《山水画稿》。山水画《今日蜀道》由陕西人民出版社出版发行。

 

1979年为人民大会堂陕西厅画《秦岭宝成铁路》。十幅山水小品由天津市艺术博物馆收藏。

 

1981年调入陕西国画院任专职画家。《黄河赞歌》参加由文化部、中国美协主办的"各省、自治区庆祝建党六十周年美展",后由中国美术馆收藏。

 

1983年12幅作品参加由陕西省文化厅主办的“陕西风光画展”,入编《陕西风光画选》。

 

1984年《春到陕北》参加第六届全国美展。

 

1985年四十余幅作品参加在中国美术馆展出的“陕西国画院作品展览”,《秋雨》由中国美术馆收藏。《喜迎春》在《美术》1985·5期及天津人民美术出版社编的《中国画新作选》发表。《册页二幅》在《中国画》发表。九幅作品参加由中国展览公司主办的赴丹麦、冰岛巡回展。十幅作品参加在广东画院举办的“陕西国画院作品展”,两幅作品由广州美院收藏。被吸收为中国美术家协会会员,当选美协陕西分会理事。

 

1986年参加由中国艺术研究院、中国画研究院、陕西美协、陕西国画院联办“陕西杨陵·中国画传统问题学术讨论会”,论文《中国画传统笔墨的现代价值》在《美术》1986·9期、《中国画》1986·3期、《造型艺术研究》1986·10期、《艺术界》1986·3期发表。作品二幅在《美术》1986·10期发表。

 

1987年被评为国家一级美术师。《塞上洪波》在<中国画>

 

1987·1期发表。九幅作品入编《陕西国画院作品选》。

 

1988年在陕西美术家画廊举办个人画展,展出作品五十余幅。同年与张振学、郭全忠、程征出访日本进行学术交流。

 

1989年《中国书画》发表作品五幅及论文《过程与结果》。

 

1990年在台北市隔山画馆举办个人画展,出版《崔振宽画集》,收入作品五十七幅。《艺术家》90·3期发表作品四幅及钱志强文章《妙悟与通神--谈崔振宽的山水画》。

 

1991年香港《文汇报》9月、11月两次整版刊登作品及杨云峰文章《根·在生命的沃野》。作品《西北风》发表于《美术》1991·3期。为《罗平安画集》撰文《才力和毅力--罗平安的突破与升华》。

 

1992年河西走廊采风归来创作作品数十幅。

 

1993年作品<祁连风雪>应邀参加“韩中美术家联展”(韩国)。

 

1994年在中国美术馆举办个人画展,展出作品四十余幅,并举行学术研讨会。《中国画》1994·3期刊载文章《美术批评家谈"崔振宽画展"》,发表作品14幅及钱志强文章 《笔涛墨海化心声--读崔振宽的画》。《美术》1994·4期发表作品5幅及张炬文章《笔墨情深》。《国画家》1994·10期发表作品3幅及郎绍君文章《笔墨、西北景观及其它--兼谈崔振宽的山水新作》。《人民日报》海外版及<中国日报>发表作品3幅。四幅作品入编河南美术出版社的《现代中国画史》。《阳关暮曛图》入选第八届全国美展优秀作品展。

 

1995年在陕西美术馆举办个人画展,展出作品四十余幅。在西安美术学院举办崔振宽山水画邀请观摩展,展出作品三十余幅,并举办大型学术讲座。

 

1996年应旅美画家吴毅先生邀请,与郎绍君、朱道平、王宁宇访问美国,参加"中国画传统与现代问题"国际学术研讨会,参观纽约、华盛顿、费城、普林斯顿、波斯顿、芝加哥等地艺术博物馆。与江文湛、陈国勇、傅嘉仪应邀访问法国,在拉瓦尔市博物馆举办“中国书画四人联展”,展出作品十余幅。参观巴黎、阿姆斯特丹等地艺术博物馆。

 

1997年《书与画》97·1期发表作品7幅论文《试谈山水画创作的心理机制》。在陕西国画院美术馆举办个人画展,展出作品二十余幅。9幅作品参加在中国美术馆及江苏美术馆展出的"陕西当代中国画展",7幅作品入编《陕西国画院作品选》。

 

1998年作品《秋林》应邀参加由文化部主办的"98中国国际美术年--当代中国山水画·油画风景展。作品《焦墨山水》应邀参加南京·加拿大世纪之星--中国艺术双年展,并由《江苏画刊》发表收藏。作品《秋塬》入选《中国现代美术全集》。河南美术出版社出版《长安十家·崔振宽画集》,收入作品15幅。1999年《旱塬》参加第九届全国美展。《焦墨山水》应邀参加中国美协主办的"跨世纪暨建国五十周年全国山水画大展"。

 

2000年在陕西美术馆举办“2000·崔振宽新作展”。《冬》入选《中国当代美术·1979-1999画集》。《老街》参加由文化部、中国画研究院主办的"中国画高级人才成果展"在中国美术馆展出。《中国画研究》2000年1期发表作品14幅及陈云岗文章《笔墨总关情--崔振宽作品刍论》。入编《中国美术年鉴·2000年卷》。《高原乐居》参加中国美协艺委会主办的“中华世纪之光中国画提名展”。与石英参加北京世纪艺术交流中心赴西欧美术考察团,参观巴黎、马塞、罗马、威尼斯、米兰、佛罗伦萨、梵谛冈、马德里等地艺术博物馆。

 

2001年作品十幅参加中国美协艺委会主办的“中国当代百家画扇精品展”,作品两幅参加中国美协主办“新世纪中国画名家邀请展”。作品十幅及陈孝信文章《真宰上诉天应泣·论崔振宽山水画新作》在《艺术界》2001·3-4双月刊发表。作品十幅及邵养德文章《古道西风--评崔振宽的山水画》在《艺术家》2001·6发表。作品一幅参加由中国美协、炎黄艺术馆主办的"情系西部·中国画邀请展。作品《秋塬》入选由文化部艺术司、中国美协、中国美术馆、中国画研究院共同主办的"百年中国画展,入编《百年中国画集1901-2000》。作品《家园》入选由文化部艺术司等单位主办的"全国画院双年展·首届中国画展,入编《全国画院双年展·首届中国画展作品集》。

作品鉴赏

 1997年崔振宽创作的《胡杨系列》发展了崔振宽在90年代中期饱满的构图方式,在这里超越形体与轮廓成为首要的结构因素,胡杨林的顽强的生命力与自然环境的恶劣,在茂密交织而又扭曲缠绕的点线交织中获得鲜明的表现。

1998年的《白鹿原系列》将乡村农舍的再现置于最低限度的简约表达,突出了自然环境的苍凉与粗犷,反映山峦与丛树的结构性线条与繁密的短线和不同深浅的皴点所叠压,在苦涩中呈现出蓬勃旺盛的生命活力。

 

1999年的《空谷系列》或以渴笔皴擦为主,或多层罩染为主,黑白的分布处理很好地整合了局部与整体的关系,局部用笔的生机活泼,并没有削弱而是加强了整体的构造性。

 

《渭北系列》更注重中近景的特写,一方面做减法,在画面上减弱了物体的形象描绘,拉平了轮廓的前后关系;另一方面做加法,增加了局部笔墨的厚度与整体力度。围绕画面的中心有一个较为明亮的团体结构,整体的明暗关系从属于这一核心,揖合朝向,各自有序。

 

《南疆系列》更是用笔老辣苍劲,具有塞尚绘画中的结构性力度。作于2000年的《陕北系列》则疏朗有序,从容不迫,在整体统一而局部各异的点线组织中见出一种沉静豁然的人生境界。

 

紫阳之五

 

从《紫阳系列》多变而又强劲的线型组织来看,崔振宽对于不同的题材和景物已经能够以变应变,不拘成法,超越物质性的层面而趋向心灵的自由抒发,达到随心所欲而不逾矩的笔墨意象。身处西部的长安,虽然少了许多当代流行艺术的信息,但心远世俗的尘嚣,崔振宽直面自然,吐纳生气,在意随笔走、笔由意行的创作过程中获得了常人所难以品味的审美快感,正如石涛所说,山水画家不应为世俗生活和外物所蒙蔽,“我则物随物蔽,尘随尘交,则心不劳,心不劳则有画矣”。

 

由崔振宽数十年的持续探索,进一步验证了中国画的创作特性,即不以一时一地的文化信息和变化不居的观念更替为动力,而是“吾道一以贯之”,以中国画的博大传统为资源,以持续的艺术语言的深化与革新为主因,寻找对当代人文精神的文化切入和独特表达。在这里,执著敬业的艺术态度和不懈的实践仍是深入中国画艺术堂奥的不二法门。

 

崔振宽的山水画也坚定了对中国画的发展信心,即它在新世纪对于整个人类的文化意义。1998年上海水墨双年展的活动在日本国家电视台NHK播出后,引起日本美术界的注意,来自日本的著名艺术家、评论家清水敏男等人的观点值得我们关注,他们认为:

 

一、以融合与拓展为主题,以中国传统的水墨形式体现现代人的精神活动,是中国这样一个文化古国所特有的。

 

二、在世界各地区持有特征的文化,在西方强势文化影响下,已渐趋单一,上海双年展聚集来自全世界的华人现代水墨艺术家,作品的展出与本身已构成一个行动--多元文化是必要的。

 

三、水墨艺术虽不能全部承担东方艺术复兴的重任,但水墨不仅是工具,而且是维系东方精神的一个组成部份,这显示了传统东方艺术企图在新时代复兴的一种活力。

 

四、中国水墨艺术的发展,将大大刺激日本与亚洲的艺术文化发展,亚洲的现代艺术发展离不开中国的原创精神。

English Introduction

 Born in Xi'an in July 1935, his ancestral home is Chang'an, Shaanxi Province. In 1960, he graduated from the Department of Traditional Chinese Painting of Xi'an Academy of Fine Arts and stayed at the school to teach.

In 1962, he was transferred to Xi'an Special Arts and Crafts Factory.

In 1977, six Jiao Mo landscape paintings were included in Tianjin People's Fine Arts Publishing House's Landscape Drawings. The landscape painting "Shu Road Today" was published by Shaanxi People's Publishing House.

In 1979, he painted "Qinling Baocheng Railway" for the Shaanxi Hall of the Great Hall of the People. Ten landscape sketches are collected by Tianjin Museum of Art.

In 1981, he was transferred to Shaanxi Academy of Traditional Chinese Painting as a full-time painter. "Yellow River Hymn" participated in the "Art Exhibition of the 60th Anniversary Celebrating the Party's Founding in All Provinces and Autonomous Regions" sponsored by the Ministry of Culture and China Aesthetic Association, which was later collected by the Chinese Art Museum.

In 1983, 12 works participated in the Shaanxi Landscape Painting Exhibition sponsored by the Shaanxi Provincial Culture Department and were included in the Selection of Shaanxi Landscape Paintings.

In 1984, Spring to Northern Shaanxi participated in the 6th National Art Exhibition.

In 1985, more than forty works participated in the exhibition of works of Shaanxi Academy of Traditional Chinese Painting at the Chinese Art Museum. The Autumn Rain is collected by the Chinese Art Museum. "Welcoming Spring" was published in "Art" No. 1985.5 and "Selection of New Works of Chinese Painting" edited by Tianjin People's Fine Arts Publishing House. "Two Pages" was published in "Chinese Painting". Nine works participated in the exhibition tour to Denmark and Iceland sponsored by China Exhibition Company. Ten paintings participated in the "Shaanxi Academy of Traditional Chinese Painting Works Exhibition" held in Guangdong Academy of Fine Arts, two of which were collected by Guangzhou Academy of Fine Arts. He was absorbed as a member of the Chinese Artists Association and elected a member of the Shaanxi Branch of the Association of Fine Arts.

In 1986, he participated in the "Symposium on Traditional Chinese Painting in Yangling, Shaanxi Province" co-sponsored by the Chinese Academy of Art, the Academy of Chinese Painting, the Shaanxi Association of Fine Arts and the Shaanxi Academy of Traditional Chinese Painting. The paper "The Present Value of Traditional Chinese Painting Brush and Ink" was published in Art 1986.9, Chinese Painting 1986.3, Plastic Arts Research 1986.10, and so on. "The Art World" was published in 1986.3. The two works were published in Art No. 10, 1986.

In 1987, he was awarded the first-class national artist. "Sai Shang Hongbo" in "Chinese Painting"

Issue No. 1, 1987. Nine works were included in Selected Works of Shaanxi Academy of Traditional Chinese Painting.

In 1988, he held a personal exhibition in Shaanxi Artists Gallery, exhibiting more than 50 works. In the same year, he visited Japan with Zhang Zhenxue, Guo Quanzhong and Cheng Zheng for academic exchanges.

In 1989, Chinese Painting and Calligraphy published five works and five papers, Processes and Results.

In 1990, he held a personal exhibition in Geshan Art Museum, Taipei City, and published Cui Zhenkuan's Paintings, which included 57 works. "Artist" issue 90.3 published four works and Qian Zhiqiang's article "Wonderful Enlightenment and Spirit - On Cui Zhenkuan's Landscape Paintings".

In 1991, the Hong Kong Wen Hui Bao published two full editions of its works in September and November, and Yang Yunfeng's article "Roots in the Field of Life". The work Northwest Wind was published in Art 1991.3. Write "Talent and Perseverance - Luo Ping's Breakthrough and Sublimation" for "Luo Ping'an Painting Collection".

In 1992, dozens of works were created in Hexi Corridor.

In 1993, Qilian Wind and Snow was invited to participate in the joint exhibition of Korean and Chinese artists (Korea).

In 1994, a personal painting exhibition was held in the China Museum of Art. More than forty paintings were exhibited and academic seminars were held. The Chinese Painting magazine published an article "Art Critics Talking about Cui Zhenkuan's Painting Exhibition" in March 1994. It published 14 works and Qian Zhiqiang's article "The Heart of the Sea of Brush and Ink--Reading Cui Zhenkuan's Painting". "Fine Arts" published 5 works in 1994.4 and Zhang torch's article "Deep Pen and Ink Feelings". "Chinese Painter" published three works in issue 1994.10 and Lang Shaojun's article "Pen and ink, northwest landscape and other - also on Cui Zhenkuan's new landscape works". Three works were published in the overseas edition of People's Daily and China Daily. Four works were included in the History of Modern Chinese Painting by Henan Fine Arts Publishing House. "Yangguan Twilight Picture" was selected as the outstanding works exhibition of the 8th National Art Exhibition.

In 1995, a personal painting exhibition was held in Shaanxi Art Museum, with more than 40 paintings on display. In Xi'an Academy of Fine Arts, an invitation exhibition of Cui Zhenkuan's landscape paintings was held. More than 30 works were exhibited, and a large-scale academic lecture was held.

In 1996, at the invitation of Mr. Wu Yi, a travelling artist, he visited the United States with Lang Shaojun, Zhu Daoping and Wang Ningyu, participated in the International Symposium on "Traditional and Modern Problems of Chinese Painting", and visited art museums in New York, Washington, Philadelphia, Princeton, Boston and Chicago. At the invitation of Jiang Wenzhan, Chen Guoyong and Fu Jiayi, he visited France and held a joint exhibition of Chinese painting and calligraphy in the Museum of Laval, exhibiting more than ten works. Visit art museums in Paris and Amsterdam.

In 1997, "Book and Painting" 97.1 published seven papers "On the Psychological Mechanism of Landscape Painting Creation". In the Art Museum of Shaanxi Academy of Traditional Chinese Painting, a personal exhibition was held with more than 20 works on display. Nine of the works participated in the "Shaanxi Contemporary Chinese Painting Exhibition" exhibited at the China Art Museum and Jiangsu Art Museum, and seven of them were included in the "Selected Works of Shaanxi Academy of Traditional Chinese Painting".

The 1998 work "Autumn Forest" was invited to participate in the "98 China International Year of Fine Arts - Contemporary Chinese Landscape Painting and Oil Painting Landscape Exhibition" sponsored by the Ministry of Culture. Jiao Mo Landscape was invited to participate in Nanjing Canadian Century Star-China Art Biennale and was published and collected by Jiangsu Painting Magazine. The work "Qiuyuan" was selected as "Complete Works of Modern Chinese Art". Henan Fine Arts Publishing House publishes "Chang'an Ten Cui Zhenkuan Paintings Collection", which receives 15 works. In 1999, Dryland participated in the 9th National Art Exhibition. Jiao Mo Landscape was invited to participate in the National Landscape Painting Exhibition of the Fiftieth Anniversary of the Founding of the People's Republic of China.

In 2000, Cui Zhenkuan's New Works Exhibition was held in Shaanxi Art Museum. Winter was selected in the Collection of Contemporary Chinese Art, 1979-1999. "Old Street" was exhibited in the Chinese Art Museum at the "Exhibition of Advanced Talents in Chinese Painting" sponsored by the Ministry of Culture and the Academy of Chinese Painting. "Research on Chinese Painting" published 14 works in the 1st issue of 2000 and Chen Yungang's article "General Relation between Pen and Ink--On Cui Zhenkuan's Works". He was included in the Yearbook of Chinese Fine Arts, Volume 2000. "Happy Plain Residence" participated in the "Chinese Painting Nomination Exhibition of the Light of the Chinese Century" sponsored by the Arts Committee of the Chinese Artistic Association. Participated in the Beijing Century Art Exchange Center's Western European and American Art Mission, visited Paris, Marseille, Rome, Venice, Milan, Florence, the Vatican, Madrid and other art museums.

In 2001, ten works participated in the "Exhibition of Chinese Contemporary Hundred Painting Fans" sponsored by the Arts Committee of the Chinese Association of Fine Arts, and two works participated in the "Invitation Exhibition of Chinese Painters in the New Century" sponsored by the Chinese Association of Fine Arts. Ten pieces of works and Chen Xiaoxin's article "On Cui Zhenkuan's New Landscape Painting on Zhenzai's Appeal for Heaven's Weeping" were published in the bimonthly issue of "Art Circle" from March to April 2001. Ten paintings and Shao Yangde's article "The West Wind of Ancient Road--Comments on Cui Zhenkuan's Landscape Paintings" were published in "Artist" on June 2001. One of the works participated in the "Invitation Exhibition of Western Chinese Paintings of Love" sponsored by the Chinese Art Association and Yanhuang Art Museum. The work "Qiuyuan" was selected as the "Centennial Chinese Painting Exhibition" co-sponsored by the Art Department of the Ministry of Culture, the Chinese Art Association, the Chinese Art Museum and the Academy of Chinese Painting. It was included in the "Centennial Chinese Painting Collection 1901-2000". The work "Home" was selected as the "National Painting Academy Biennial Exhibition - First Chinese Painting Exhibition" sponsored by the Art Department of the Ministry of Culture and other units, and was included in the "National Painting Academy Biennial Exhibition - First Chinese Painting Exhibition Works Collection".

Cui Zhenkuan was born on July 1, 1935 in Xi'an, Shaanxi Province. He graduated from the Department of Traditional Chinese Painting of Xi'an Academy of Fine Arts in 1960 and remained in the school for teaching. In 1962, he was a craftsman of Xi'an Special Arts and Crafts Factory. He was a painter of Shaanxi Academy of Traditional Chinese Painting in 1983 and is now a first-class artist of the Academy. Member of China Artists Association, member of Shaanxi Branch of AA, member of Arts Committee, and researcher of poetry, calligraphy and painting in Provincial Research Museum of Culture and History. He is good at landscape painting and likes to express nature with dense lines and numerous points. ,

The work "Yellow River Hymn" was selected for the exhibition of art works celebrating the 60th anniversary of the founding of the Party in provinces, municipalities and autonomous regions, which was hidden in the Chinese Art Museum; the work "Welcoming Spring" was selected for Danish exhibition; and the work "Spring to Northern Shaanxi" was selected for the 6th National Art Exhibition. His works are also collected by Tianjin Museum of Art and displayed in the Great Hall of the People. In 1988, he held a personal painting exhibition in Shaanxi Province and visited Japan with the provincial art troupe in the same year. In 1989, Chinese Painting and Calligraphy published works and papers Processes and Results.

In 1990, he held a personal exhibition in Geshan Museum of Painting in Taipei and published Cui Zhenkuan's Collection of Paintings. In 1991, the paper "Talent and Perseverance - The Breakthrough and Sublimation of Luo Ping" was published in "The Art Circle" (No. 3, 1991); and Hong Kong Wen Hui Bao published two full-page works and comments. In 1994, a personal painting exhibition was held in the Chinese Art Museum. Frost Forest and Autumn Plateau are collected by the Chinese Art Museum. "Fine Arts", "Chinese Painting", "Chinese Painter", "Oriental Calligraphy and Painting" also published 30 works and 4 commentary articles. "Yangguan Twilight Picture" participated in the 8th National Art Exhibition Excellent Works Exhibition. Publishing Cui Zhenkuan's Paintings. In 1995, an exhibition of personal paintings was held in Shaanxi Art Museum, and the works were published in the whole edition of Cultural and Art Daily. In Xi'an Academy of Fine Arts, "Cui Zhenkuan Invited View Exhibition of Landscape Paintings" was held, and a large-scale academic lecture was held. In 1996, he visited the United States and participated in the International Symposium on Traditional and Modern Problems of Chinese Painting. He visited France and held a four-person joint exhibition. In 1997, "Book and Painting" published seven works and the paper "On the Psychological Mechanism of Landscape Painting Creation". In Shaanxi Academy of Traditional Chinese Painting Art Museum, a personal painting exhibition was held, and the whole edition of Cultural and Art Daily published works and papers. Nine works were exhibited at the Shaanxi Contemporary Chinese Painting Exhibition in the Chinese Art Museum. In 1998, Qiulin participated in "Contemporary Landscape Painting and Oil Painting Landscape Exhibition", "Jiao Mo Landscape" participated in the first biennial exhibition of Jiangsu Painting Journal; "Qiuyuan" was compiled into "Complete Collection of Modern Chinese Art" (Landscape Volume); and participated in "Symposium on Chinese Painting Creation" and observation exhibition sponsored by the Chinese Painting Research Institute.

Cui Zhenkuan's Poplar Series in 1997 developed Cui Zhenkuan's full composition in the mid-1990s, where transcending form and contour becomes the primary structural factor. The stubborn vitality of Populus euphratica forest and the harsh natural environment are clearly reflected in the dense intertwined and twisted dots and lines.

White Deer Plains II

173 x 130 cm 1998

The 1998 White Deer Plain Series put the reproduction of rural farmhouses in a minimal and concise expression, highlighting the desolation and ruggedness of the natural environment, reflecting the overlapping pressure of the structural lines of mountains and bushes with dense short lines and different shallow points, and showing vigorous vitality in bitterness.

The 1999 Canyon Series is mainly composed of thirsty brush rubbing or multi-layer covering dyeing. The distribution of black and white well integrates the relationship between the local and the whole. The vitality of the local pen does not weaken but strengthens the structure of the whole.

Weibei Series pays more attention to close-range features. On the one hand, subtraction weakens the image description of the object and flattens the relationship between the front and back of the contour. On the other hand, addition increases the thickness and overall strength of the local ink. There is a brighter group structure around the center of the picture. The overall relationship between light and shade is subordinate to this core. They are oriented and orderly.

The Southern Xinjiang Series is more vigorous and old, with the structural strength of Cezanne's paintings. The Northern Shaanxi Series, written in 2000, is lax, orderly and unhurried, showing a calm and unabated realm of life in a unified and partially different point-line organization.

Ziyang V

193 x 140 cm 2000

Judging from the changeable and powerful linear organization of Ziyang Series, Cui Zhenkuan has been able to express his mind freely in different subjects and scenery with changeable strain, unconstrained law and beyond the material level, so as to achieve the image of pen and ink as he likes and does not overstep the rules. Although Chang'an is located in the west, it lacks much information about contemporary pop art, but it is far from secular. Cui Zhenkuan is facing nature directly and breathing angry. He cares about walking freely and freely, and gains aesthetic pleasure which is difficult for ordinary people to appreciate. As Shi Tao said, landscape painters should not be secular life and external objects. To be deceived, "I conceal things with objects, dust with dust, then the heart is not tired, the heart is not tired, then there are paintings."

Cui Zhenkuan's decades of continuous exploration further validates the creative characteristics of Chinese painting, that is, not to take the change of cultural information and changing concepts from one place to another as the driving force, but to find the right one, with the broad tradition of Chinese painting as the resource and the deepening and innovation of the continuous artistic language as the main reason. Cultural entry and unique expression of contemporary humanistic spirit. Here, persistent and dedicated artistic attitude and unremitting practice are still the only way to penetrate into the profound art of Chinese painting.

Cui Zhenkuan's landscape painting also strengthens his confidence in the development of Chinese painting, that is, its cultural significance to the whole mankind in the new century. After the 1998 Shanghai Ink Biennale was broadcasted on NHK, the national television station of Japan, it attracted the attention of Japanese art circles. The views of famous artists and critics from Japan, such as Shimizu Min, deserve our attention. They believe that:

First, with the theme of integration and expansion, and with the traditional Chinese ink and wash form to reflect the spiritual activities of modern people, it is unique to such an ancient cultural country as China.

Second, cultures with characteristics in different regions of the world have become more and more unitary under the influence of strong Western cultures. The Shanghai Biennale gathers modern Chinese ink and wash artists from all over the world. The exhibition of works and itself constitute an action - multiculturalism is necessary.

3. Although ink and wash art can not fully undertake the task of the revival of Oriental art, it is not only a tool, but also an integral part of maintaining Oriental spirit, which shows the vitality of traditional Oriental Art in the new era.

4. The development of Chinese ink and wash art will greatly stimulate the development of art and culture in Japan and Asia. The development of modern art in Asia can not be separated from the spirit of originality in China.

 

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