王晋元作品

 王晋元(1939.2-2001.11)，河北乐亭人;1964年毕业于中央美术学院中国画系花鸟画科;擅中国画、以花鸟见长;王晋元师从李苦禅、郭味蕖、田世光等教授，是我国高等美术院校中国画分科教学第一届毕业生;毕业分配时，他主动放弃留在大都市的机会，选择到云南工作，后跟随他的岳父、著名植物学家蔡希陶经常穿行在热带雨林深处，观察和收集了大量的具有地方特色的动物、植物形象，并用毕生的精力挖掘表现蕴藏在这块神奇土地上的自然生命之美。

在近40年画云南的创作中，王晋元始终奉行着艺术来源于生活的原则，多年来他踏遍了云南的崇山峻岭，把对生活和生命的感悟、对自然和环境的亲和融化在自己的艺术创作之中。经过对笔墨、形象、图式、意境的反复琢磨和提炼，终于创造出自己独特的花鸟画新风格、新样式。

他创作的巨幅花鸟画，一改传统文人丛艳折枝、点景禽鸟的性灵小品式的闲情逸致，赋予西双版纳热带雨林自然景观雄壮而瑰丽的生命力。作品通过工笔与写意、没骨与勾描、水墨与重彩多种技法语言的综合运用，创造出繁茂、密织的雨林之美，画面呈现出大、满、壮、野、繁、密、奇、艳的特点。 

他的作品《舞龙蛇》获第六届全国美展铜奖，为中国美术馆收藏;《秋色苍苍》入选第七届全国美展;一些作品被送往联合国及亚、欧、澳洲、香港等多国和地区展出。

曾任云南省美协主席、文联副主席、云南画院院长、中国美术家协会中国画艺术委员会委员，中国画研究院院务委员，中国美术家协会理事，中国美术网第一届艺术委员会副主席，中国美术家协会理事，美协中国画艺委会委员、云南省画院院长，国家一级美术师等，国家级有突出贡献专家。

王晋元的作品多次参加全国美展并获奖，作品被中国美术馆、中国画研究院等机构收藏，应邀为人民大会堂、天安门城楼、中央军委、文化部等创作多幅巨幅作品。

作品有《井冈杜鹃红似火》、《猎》等，作品《舞龙蛇》获第六届全国美展铜牌奖。

出版有《王晋元画选》等。

著录《全国第二届花鸟画展览作品集》评委作品(中华国际出版社1999年12月出版)。

2001年，这位卓有成就的艺术家不幸英年早逝，时年62岁;2006年10月，王晋元艺术回顾暨捐赠作品展在中国美术馆开幕，展览由中国美术馆、中国美协、云南省委宣传部、云南省文化厅、云南省文联共同主办，共展出王晋元先生的125幅作品，在展览展出之际，王晋元先生的亲属向中国美术馆捐赠了其代表作45幅。

 艺术评价走近王晋元巨大的花鸟画，犹如置身于一片野芳幽谷之中，在他的神秘、丰饶与瑰丽的画面前，你感觉自己好像第一次被唤醒，变成林间一片草叶、一只飞鸟??

王晋元先生是我国现代花鸟画大家，虽然他于2001年就匆匆走完了他的艺术苦旅，但他长留给后人的赞颂自然生命的不朽佳作却永久感染着我们。

王晋元自幼喜爱美术。1959年王晋元高中毕业，因成绩优秀，被北京大学中文系、中央美术学院国画系同时录取。他选择了自己喜爱的美术专业。在中央美院师从李苦禅、郭味蕖、田世光等老师。三年级分科时，在郭味蕖先生的指导下，专攻花鸟画，并成为这位曾组建中央美院花鸟画科、为中国花鸟画推陈出新做出卓越贡献的著名画家的入室弟子。1964年毕业，他选择了去云南工作，从此在这块神奇而美丽的土地上开拓了一条花鸟画发展的新路。

王晋元一生都在画云南，云南独特的生态环境和多样的物种群落对王晋元来说无疑是一个创造的契机，也是一个考验。这里的自然景物、雪山草甸、大野山花为他提供了表现生命气象和心灵感悟的对象，使他有可能在前人笔墨表现的范围之外拓展一片新天地。他深谙“外师造化，中得心源”、“搜尽奇峰打草稿”的古训。

为此，他充分利用这造化之助，一头扑进西双版纳热带雨林，奔走在滇西雪域草原，留连于乌蒙金沙的崖壁湍流，带回一本本速写和一摞摞画稿，并一次次被自然生态的神奇所感动。

在长期亲和自然、贴近社会的实践中，王晋元找到了取之不尽、用之不竭的创作素材。但另一方面，选择了云南也就意味着选择了一个前无古人的新课题。这里的草木植物有着特有的形态和风貌，它们的生长规律、结构特征在中国画的传统中找不到现成的图式和表现方法，走自己的路面对的是有别于前人的自然环境：相互寄生、缠绕、攀援、交织的藤蔓枝干，苔藓地衣，树石林水，各种各样的雨林植被物种，如此多样、奇特与丰富，要完成从自然感受到笔墨程式的创造、从生活形象到艺术形象的提升谈何容易！而通过花鸟景物的描绘寄寓心灵家园，构建生命原乡，呼唤生态和谐的情感意识才是他创作的真正的本质和使命。因此，他认为热爱生活才能发掘出生活与自然中蕴藏的美，但还要对自然加以分析研究，才能对生活把握得更准、更深。

为了表现丛林满、密、繁、艳的自然特征，他深入到繁花如瀑、青藤飞舞、苔封藓绣的密林幽谷，通过反复实践和推敲，总结出“全景截取”的创作方法，大胆突破了传统文人的折枝花鸟画的趣味，以完整的情节、开阔的意境全景式表现五彩斑斓、气象万千的自然生命的世界。这一方法的应用事实证明是成功的，在作品《井冈杜鹃红》、《春满雨林》、《秋色苍苍》、《雨林风采》中，花鸟画的单体描绘被一片郁郁葱葱的生物群落所代替。山花植被密密层层，主体层面、群落层面、山石层面交相辉映，交织成一个立体而丰富的生态景观，创造性地展示出繁茂、满密的雨林之美。相对传统写意花鸟画追求的简、淡、雅、逸，王晋元的这种大场面、全景截取式的创造开辟了一种花鸟画的新境界，总体呈现出气势大、境界宽、内蕴深的现代审美格调和气度。

王晋元创作上取得的成功来之不易，有过创作经验的画家都知道，如此繁复多样的物象处理在一张画中，极易杂乱、糊涂。王晋元的画偏取其密，并且还要密中更密、密中造疏。昔黄宾虹作山水不惮至密，然后于疏处得其内美的方法对王晋元来说应该心领神会。愈满、愈密愈有感觉，脉络清明，繁而不乱，充分体现出对形象、用笔、空间结构超强的把握能力。特别在形象的处理上，不同类属的植物花草若要个性鲜明又能有机和谐地组织在一起绝非易事，正是通过类化的方法对不同的形象和笔法进行归纳、提炼和抽象，再把同一类物象按照生长规律和画面需要统一调度、整合，才有效地统摄住全局，又避免了含糊与散乱。

在用笔上，他的画一扫常见的粗率、焦躁、寡淡之病，落笔有先后，勾染有法度，虽然巨石岩处笔墨峥嵘跌宕，花枝招展处不乏沉静安和，但一静一动均遵循严格的作画程序和用笔的内在规律，所以他的画才有浓艳又深厚的味道。当然画面结构体势如果把握不好，仍然难逃一乱，这方面可以见到王晋元对现代构成元素的吸收，恰当运用分割、块面线、黑白灰的对比，以及各种直与弧、纵与横的构成关系，使空间有了落实，也为他的画面增加了几分平中之险、正中之奇的趣味。

在实践跨形式、跨技法的综合语言样式上，王晋元也迈出了重要一步，取得了令人瞩目的成就。王晋元扎实而全面的技法基础使他有能力实践导师郭味蕖先生提出的“山水与花鸟相结合、工笔与写意相结合、泼墨与重彩相结合” 的花鸟画主张，并以此形成他绘画风格的一个显著特征。这一点体现在他的作品中，在《绿谷》、《绝壁千寻一涧花》中可以看到，花卉和环境处理得水乳交融，具有山水性质的素材与山花野卉处于同等地位，山石水口成为风景的一部分，共同营造出整体的空间意象和幽深蓊郁的氛围。工笔勾填与泼墨写意结合是他融合不同技法语言的另一表现，像《野山春》、《神山之寿》等作品，它们多以“双勾”表现植物细部结构，重彩点染，以“没骨”画出作为提神之笔的主体花卉，通过泼墨或写意笔法造局布势。各种手法的自由调动、综合运用达到了多样统一、对比和谐的交响效果，大大强化了作品的表现力。这一点没有极高的艺术造诣，是不可能做到的。

王晋元先生将毕生之力献给了花鸟画的发展事业，他卓有成效的实践让我们看到了花鸟画发展的希望。

 Art evaluation approached Wang Jinyuan's giant flower-and-bird paintings as if you were in a wild valley. Before his mysterious, rich and magnificent pictures, you felt as if you had been awakened for the first time and turned into a blade of grass and a bird in the woods?

Mr. Wang Jinyuan is a master of modern flower-and-bird painting in China. Although he hurried through his painful journey of art in 2001, his immortal masterpiece of praise for natural life which he left to future generations has infected us permanently.

Wang Jinyuan loved art since childhood. In 1959, Wang Jinyuan graduated from high school and was admitted to both the Chinese Department of Peking University and the Department of Traditional Chinese Painting of the Central Academy of Fine Arts. He chose his favorite art major. In the Central Academy of Fine Arts, he was taught by Li Kuchan, Guo Weigu and Tian Shiguang. In the third grade, under the guidance of Mr. Guo Weigan, he specialized in flower-and-bird painting and became a disciple of the famous painter who once established the Flower-and-Bird Painting Department of the Central Academy of Fine Arts and made outstanding contributions to Chinese flower-and-bird painting. After graduating in 1964, he chose to work in Yunnan, and since then he has opened up a new road for the development of flower and bird painting in this magical and beautiful land.

Wang Jinyuan painted Yunnan all his life. Yunnan's unique ecological environment and diverse species communities are undoubtedly a creative opportunity and a test for Wang Jinyuan. The natural scenery, the snow mountain meadow, and Ono Yamahana provide him with the objects of life and soul, so that he can expand a new world beyond the scope of his predecessors' ink and wash. He is well versed in the ancient precepts of "making things by outside teachers, gaining inspiration from them" and "searching all the odd peaks for drafts".

To this end, he made full use of the help of this creation, plunged into the Xishuangbanna tropical rainforest, ran in the snow grassland of Western Yunnan, remained in the cliff turbulence of Wumeng Jinsha, brought back a sketch book and a stack of drawings, and was moved by the magic of natural ecology one after another.

In the long-term practice of being close to nature and society, Wang Jinyuan found inexhaustible and inexhaustible creative materials. On the other hand, choosing Yunnan means choosing a new subject that has never been studied before. Herbs and plants here have their unique shape and style. Their growth laws and structural characteristics can not be found in the traditional Chinese painting patterns and methods of expression. To walk on their own road is different from the natural environment of predecessors: parasitic, winding, climbing, interweaving vine trunks, moss lichens, tree and stone forests. Water, a variety of rain forest vegetation species, so diverse, peculiar and rich, it is not easy to complete the creation of pen and ink program from the natural sense, from the image of life to the promotion of artistic image! The real essence and mission of his creation is to depict the flower and bird scenery, to reside in his soul home, to construct the original place of life, and to call for the emotional consciousness of ecological harmony. Therefore, he believes that only by loving life can we discover the beauty contained in life and nature, but we also need to analyze and study nature so as to grasp life more accurately and deeply.

In order to show the natural characteristics of the full, dense, complex and gorgeous jungle, he went deep into the dense forest valley with flowers such as waterfalls, Ivy flying and moss embroidery. Through repeated practice and deliberation, he summed up the creative method of "panoramic interception", boldly broke through the interest of the traditional scholar's broken flower and bird painting, with a complete plot and an open artistic conception. Panoramic expression of the colorful, meteorological world of natural life. The application of this method has proved to be successful. In the works Jinggang Rhododendron Red, Spring Man Rainforest, Autumn Pale and Rainforest Elegance, the single description of flower and bird painting is replaced by a lush biological community. The dense layer of mountain flower vegetation, the main layer, the community layer and the rock layer are interwoven into a three-dimensional and rich ecological landscape, which creatively shows the beauty of lush and dense rainforest. Compared with the traditional freehand flower-and-bird painting pursuit of simplicity, lightness, elegance and ease, Wang Jinyuan's creation of this grand scene and panoramic interception opens up a new realm of flower-and-bird painting, which generally presents a modern aesthetic style and temperament with great momentum, broad realm and profound implication.

The success of Wang Jinyuan's creation is hard to come by. Painters with creative experience all know that it is easy to be confused and confused when dealing with such complex and diverse images in a painting. Wang Jinyuan's paintings tend to be dense and denser. In the past, Huang Binhong was unscrupulous in making mountains and rivers, and then he should understand the method of getting the inner beauty of them in a sparse way for Wang Jinyuan. The fuller, the more dense, the more sensible, the clearer the vein, the more complicated but not disorderly, which fully reflects the super-strong grasp of image, pen and spatial structure. Especially in image processing, it is not easy for plants and plants of different genera to have distinct personality and organically and harmoniously organize together. It is precisely through the classification method that different images and brushwork are summarized, refined and abstracted, and then the same kind of objects are unified dispatched and integrated according to the growth law and picture needs. Effectively control the overall situation, and avoid ambiguity and confusion.

In the use of pens, his paintings sweep away the common problems of roughness, impatience and indifference. His brushes have successively been painted with grammar. Although the brushes and ink in Stonehenge are falling and falling, and there is no lack of calmness and calmness in the exhibition of flowers and branches, however, they all follow strict drawing procedures and the inherent law of the brush, so his paintings are full of luster and deep flavor. Avenue. Of course, if the picture structure is not well grasped, it is still difficult to escape chaos. In this respect, we can see Wang Jinyuan's absorption of modern elements, the proper use of segmentation, block lines, black-white-grey contrast, and various straight lines.