​王学辉:画院的三大作用

第一，画院的作用。第一，培养和保护了一大批画家，因为我们的画家有的机遇很好，大学刚毕业或者小有成就的时候，画院就吸纳了他，为他今后的发展，奠定了非常好的条件，生活的条件和学习的条件。就像一个小苗子一样，但是有合适的环境才能茁壮成长，对这一点我是深有体会的，我们目睹很多画家，就是年轻时候的一个机遇，使他们几十年来在画院这么好的环境里面茁壮成长，最后取得自己的成就，为社会做出贡献，同时也成就了自己。

第二，继承传统。画院同时也为社会做出了很大的贡献。因为它有这么好的画院，画家就有好的心态和充足的时间，他们就可以继续研究、创作，歌颂我们这个时代。

第三，画院承担了国家和政府的一些重大项目。比如说十八大召开以后，我们画院也搞了一个画展，也做了报道等等。还有各种大的节庆活动，画院也扮演着重要角色，为一个省、一个地区做了杰出的贡献。我觉得这些工作就是画院应该做的事，其实也是对社会的担当。

画院与新型城市，不仅仅是我们圈内的人比较关注，从高层到企业家、民间、老百姓，对画院的画家或者说对美术越来越关注，越来越喜欢，我们画家的地位也在提高，我想大家也都有这样的感觉。

当然，画院也存在这样那样的问题，因为本身画院管理的一些原因，只要我们把这方面的原因找出，我们去努力，我们画院在为社会做贡献，为个人成就的发展和培养，我们也很享受，在我们国家有画院这个体制，我经常跟大家说，我们应该感谢国家、感谢共产党，给我们创造这么好的条件。

画家对社会起的作用越来越大，社会对我们画家群体也绝对化关注。画院这么一个集体，已经润物细无声的 融入城市生活的每一个角落，提升了城市生活的文化品格，提升了我们广大人民群众的生活质量，谢谢大家!

 云涌太行山水秀 笔舞墨彩泛华滋

王学辉山水画的艺术魅力。

观摩王学辉的山水画，首先让人感到的便是气势夺人。巍巍群山犹如苍龙横空出世，皑皑云涛犹如仙驹飞速驰骋。"意冥玄化，而物在灵符，不在耳目。故得于心，应于手，孤姿绝状，触毫而出，气交冲漠，与神为徒。"即谓此也。诚非真正"澄怀味象"者可信手拈来，挥毫写就。言其"含道映物"之作，非谬奖矣。

自然山水是一切生物赖以生存必备的物质基础，与人类生活有着极为密切的关系。从一开始大自然就与人类认识世界、改造世界、认识自我、改造自我的社会实践活动息息相关。在长期的社会实践过程中，山水与中国古代哲学，产生了一种双向交感、互相渗透的关系。从而，形成了"远取诸物、近取诸比"的极具中国特色的宇宙生成观念，体现了朴素的唯物主义思想。由此，以山水为主体的自然物质，又以其特点启发了哲人们对玄深微妙的大千世界的直观感悟。因而，完全有理由认为:中国古代哲学是以参证物质世界的基础上领悟并抽象出来的智慧结晶。建立在中国哲学特殊观照方式基础上的中国山水画，便顺理成章地建立了自己独特的审美原则，使山水登临之乐，超越了一般意义的游弋，它不仅是画家为创造审美形式而搜集感性素材的重要途径，更上升到通过与大自然的悟对，实现人生理想，探寻宇宙奥秘，阐明哲学观点，继而由此进入悟"道"的最高境界。唯其如是，不仅使得中国山水画在这种哲学观念基础上建立了独特的美学原则，更使得中国山水画具有了明显地区别于西方风景的、颇含深厚哲理意味的表现形式。从这个意义上来讲，中国的山水画家便不仅仅是在创造审美的"人文"对象，更是用"哲人"的头脑建构着蕴涵丰富哲理的"形而上学"。早在五代、北宋时期，中国山水画已经攀升到令人难以企及的峰巅，那种用心灵感悟自然，忘我的"殉道者"的精神体验，在中国美术史上成就了一个"山水画的时代"。众所周知，自明清以降中国山水画渐至衰退。人们往往将造成此种结果的原因，归咎于董其昌及其追随者。然而，早在明洪武时期，王履在以自己华山写生的真切感受所写的《重为华山图序》中提到，何以未成为董氏以及同道者的"他山之石"呢?王履所说的"吾师心，心师目，目师华山"，是北宋杰出的山水画家、山水画理论家郭熙"君子所以爱夫山水者，其旨安在?丘园养素，所常处也，泉石啸傲，所常乐也。

渔樵隐逸，所常适也。猿鹤飞鸣，所常亲也。尘嚣缰锁，此人情所常厌也。烟霞仙圣，此人情所常愿而不得见也。"是此一论的最精辟的注脚。非澄彻襟怀、亲身体验与自然悟对的心路历程者难得其万一也。此即是哲学中所讲的"感性--知性--理性"的思维逻辑程序。从某种意义上来讲，这也便是"澄怀观道"与"澄怀味象"的必由之路，用独具匠心的艺术手段进行创作的精神，从而使得其作品突显于当代山水画之林，毫无愧色。王学辉山水画的最大特色是大气磅礴，寓秀逸于恢宏之中，表现了气势夺人，雄中见秀的伟岸雄健之美。所谓气势夺人，系指画面的章法特立、体势开张，令赏之者领略到了自然山水之壮美;所谓雄中见秀，系指其造景奇特、笔墨鲜活，令赏之者与作者心会神交，随其意境引领，目移景异、情寓化境，进入犹如明代园林艺术家计成所说的"虽由人作，宛自天开"的园林造景追求的"自然"之境。其笔底"丘壑"真乃其"胸中丘壑"，是他心灵与自然亲和的物化形态，是他神来之笔妙造的产物--第二自然。他的画无论巨章大轴抑或尺幅小品，都彰显出一种观后令人顿觉对大自然敬意有加、胸怀因此豁然开朗的心情，绝无因玩弄笔墨技巧而削弱山水神韵之弊。他善于在诸多相近或相同的物象中选取表现对象，在统一中寻求变化，并以如同特写镜头的方式集中刻画其中最精彩的部分。画中景物相近而并不雷同，统一而变化莫测，于理性的秩序中体现了感性的"迁想妙得"，"因借无由，触情便是"，即此是也。

王学辉山水画另一特色是善于表现云山奇观。他山水画中的云不再用传统的"吹"法，却时而皴擦时而晕染，"虚妙实为"，表现出云山有可视之"象"而无可触之"型"，千变万化难以捉摸的"动态"美。王学辉笔下的太行云山自不同于它山，它不是"概念的山水"。他不但画出了太行山体量状貌，更表现出了太行山"精神蕴涵"的本质特征。看他的画，不仅能让人感受到太行山千百亿年以来巍然挺立雄宏壮伟，虽无媚人秀色，却有劲健丰骨的独特魅力，更能从画中领略到，千百亿年来在这块土地上休养生息的人们与这块热土水乳交融、休戚与共的真挚情怀。王学辉山水画的又一特色是，他的生花妙笔，具有化"腐朽"为神奇的绝妙功能。他以锡崖沟为素材的一张名为《春满太行》的山水，没有刻意于表现锡崖沟众所周知的闭塞、贫嵴与荒凉，使人产生难以言传的苦涩和郁闷;而是描绘了一个繁花掩映、静谧莫测、仿佛人间仙境般的山坳里，镶嵌着一个美丽的山庄。村下瀑布犹如白练直垂、飞珠溅玉，却似锡崖沟人的娓娓诉说，道出了饱受封闭之苦的沧桑;与此同时也道出了勤劳的锡崖沟人对美好未来的憧憬和期盼。既成的事实已经证明，锡崖沟人从不坐等苍天赐福，他们不但有与命运抗争的信心和勇气，他们也已经有过战胜恶劣环境的艰难经历，并积累了丰富的经验。"如画"的美景近在咫尺，他们的愿望指日可待，不久的将来定能美梦成真，诚可谓披图幽对，坐究四荒，不违天励之藂，非应无人之野。峰岫峣嶷，云林森渺，圣贤映于绝代，万趣融其神思。以八尺整张的立构巨制，表现这样的景色，言其为小品，委实不妥。以此大轴抒此情怀，称为"佳构"，言非过矣。

从王学辉山水画中能感受到一种理性的、笔墨严谨的秩序美。他的画绝无因追求笔墨酣畅，肆意泼洒，至使作品难以卒读的轻率之美。这与某些表面看来似乎是作者"饱蘸激情"所至，实则是装腔作势、故作姿态借以吓人，令观者一看便觉空空如也，不但无需正视，也不屑于顾的"作品"有着天壤之别。他的画笔墨严谨，体现了一种秀逸之美，有笔笔见物之韵，而无谨毛失貌之嫌。这不正是千百年来中国画家孜孜以求渴望达到的"写"的境界吗?王学辉的山水画不拘泥于传统山水画或金碧青绿、或水墨浅降的既有形式，而是将诸多表现方法有机地融合，创造出时而勾勒山石骨架敷以青赭，时而水运墨彰施以石色的表现方法。特别是他用水墨立型，青绿轻染的"小青绿"山水，于淡雅中透溢出无限生机，在朴素中显现着辉煌魅力，引人入胜、留人驻足，读来妙趣无穷，回味不尽。

 学术方向主要在行政法与行政诉讼法，公开出版学术专著8部，教材及工具书14部，发表学术论文近40多篇，其中，中文核心期刊20篇。有8项学术论文及著作获得省部、校级科研成果奖励。

 曾获得西南政法大学"优秀教师"、"优秀共产党员"光荣称号;获得西南政法大学首届青年教师讲课技能比赛优秀奖;并连续两届(2000-2001学年、2001-2002学年)获得西南政法大学教学科研业绩突出津贴。

 Wang Xuehui: Three Functions of the Academy of Painting

First, the role of art academies. Firstly, a large number of painters have been trained and protected because our painters have good opportunities. When they graduated from university or made small achievements, the Academy absorbed him and laid a very good condition for his future development, living conditions and learning conditions. Like a young seedling, but only in the right environment can it thrive. I have a deep understanding of this. We have witnessed many painters, who were an opportunity in their youth to thrive in such a good environment as the painting academy for decades, and finally achieve their own achievements and make contributions to society. At the same time, he has made himself successful.

Second, inherit the tradition. At the same time, the academy has made great contributions to the society. Because it has such a good art academy, painters have a good mentality and enough time, they can continue to study, create, praise our times.

Thirdly, the Academy undertook some important projects of the state and the government. For example, after the 18th National Congress, our painting academy has also held an exhibition of paintings, and made reports and so on. There are also various large festival activities, the Academy of Painting also plays an important role, for a province, a region has made outstanding contributions. I think these jobs are what the art academy should do, and in fact, they are also the responsibility of the society.

Painting academies and new cities are not only concerned by the people in our circle, but also by the artists, entrepreneurs, people and ordinary people, who pay more and more attention to and like the art. Our status as painters is also improving. I think you all have the same feeling.

Of course, there are also such and such problems in the art academy, because there are some reasons for the management of the art academy itself. As long as we find out the reasons for this, we will work hard. Our art academy contributes to the society and develops and cultivates personal achievements. We also enjoy it very much. In our country, there is an art academy system, which I often follow. The family said that we should thank the country and the Communist Party for creating such good conditions for us.

Painters are playing a more and more important role in society, and society also pays absolute attention to our group of painters. Painting academy as a collective, has moistened things silently into every corner of urban life, enhance the cultural character of urban life, improve the quality of life of our broad masses of people, thank you!

Yunyong Taihang Landscape Beautiful Pen Dance Ink Flourishing

The artistic charm of Wang Xuehui's landscape painting.

Looking at Wang Xuehui's landscape paintings, the first thing that makes people feel is that it is imposing. The lofty mountains are like dragons coming into the world, and the clouds are like fairies galloping at full speed. "The mind is mysterious, and the object is in the spiritual charm, not in the eyes and ears. Therefore, the heart, should be in the hands, solitary posture, touch the slightest, Qi conflicting desert, and God as an apprentice. "That's what it means. Those who are not really "Chenghuai Taste Image" can write with confidence. It is not a fallacious reward to say that his works contain Taoist reflections.

Natural landscape is the essential material basis for all living creatures to survive, and it has a very close relationship with human life. From the very beginning, nature has been closely related to the social practice of human beings in recognizing the world, transforming the world, recognizing themselves and transforming themselves. In the long process of social practice, landscape and ancient Chinese philosophy have produced a two-way sympathetic and mutual penetration relationship. Thus, the concept of "taking things from afar and taking analogies from near" has been formed with Chinese characteristics, which embodies the simple materialism. As a result, the natural substances with mountains and rivers as the main body inspired philosophers'intuitive perception of the profound and subtle world. Therefore, there is every reason to think that ancient Chinese philosophy is the crystallization of wisdom which is comprehended and abstracted on the basis of referring to the material world. Chinese landscape painting, which is based on the special way of looking at Chinese philosophy, has established its own unique aesthetic principles in a logical way, making the pleasure of landscapes beyond the general sense of traveling. It is not only an important way for artists to collect emotional materials for the creation of aesthetic forms, but also to enhance their understanding of nature. Yes, to realize the ideal of life, to explore the mystery of the universe, to clarify the philosophical point of view, and then to enter the highest realm of understanding "Tao". Only in this way, Chinese landscape painting not only establishes a unique aesthetic principle on the basis of this philosophical concept, but also makes Chinese landscape painting have a manifestation of profound philosophical significance which is distinct from western landscape. In this sense, Chinese landscape painters are not only creating aesthetic "humanistic" objects, but also using the "philosopher" mind to construct "metaphysics" with rich philosophy. As early as the Five Dynasties and the Northern Song Dynasty, Chinese landscape painting has climbed to an unparalleled peak. The spiritual experience of "martyrs" who perceived nature with their hearts and forgot themselves has achieved an "era of landscape painting" in the history of Chinese art. As we all know, Chinese landscape painting has been declining since Ming and Qing Dynasties. People often blame Dong Qichang and his followers for this result. However, as early as in the Hongwu period of the Ming Dynasty, Wang Lu mentioned in the preface to Huashan Painting, which he wrote with his true feelings of Huashan sketching, why did he not become the "stone of other mountains" of Dong's family and his colleagues? What Wang Lu said was "my teacher's heart, mind, eye, eye teacher Huashan". Guo Xi, an outstanding landscape painter and theorist of the Northern Song Dynasty, was "Jun". Therefore, the purpose of the people who love the mountains and rivers is to have quality in hills and gardens, where they often live, where the springs and rocks are roaring and arrogant, and where they often enjoy themselves.

Fishing and woodcutting are often suitable for reclusion. Apes and cranes fly, and they often kiss each other. This human relationship is often weary of the clamorous rein. Yanxia Xiansheng, this sentiment is often willing but not visible. "It is the most incisive footnote to this theory. It is rare for a person who is not clear-minded, experienced and naturally realized. This is the logical thinking procedure of "perception - intellectuality - rationality" in philosophy. In a sense, this is also the only way to "Chenghuai Guandao" and "Chenghuai Taste Image". The creative spirit with unique artistic means makes his works stand out in the forest of contemporary landscape painting, without shame. The greatest feature of Wang Xuehui's landscape painting is that it is magnificent and magnificent. It embodies the magnificent beauty of the magnificent shore and the magnificent beauty of the magnificent shore. The so-called momentum, refers to the picture of the Zhangfa special, physical opening, so that the appreciation of the magnificent natural landscape; the so-called male see the beautiful, refers to its unique scenery, vivid ink, so that the appreciation of the author and the heart, with its artistic conception guide, eye-to-eye, emotional embody the state of mind, into the Ming Dynasty landscape artists as planned. The "natural" realm pursued by gardening landscaping is "created by human beings, just like open from heaven". His "Qiu Qi" in the bottom of his pen is really his "Qiu Qi in the chest". It is the materialized form of the affinity between his soul and nature, and the product of his ingenious creation by God - the second nature. His paintings, no matter the big chapter, the big axis or the small pieces, show a sudden and open-minded feeling of respect for Nature after viewing, and never weaken the charm of mountains and waters by playing with brush and ink skills. He is good at choosing the object of expression in many similar or identical images, seeking change in unity, and focusing on the most wonderful part in the way of close-up. The scenery in the painting is similar but not identical, unified and unpredictable, which embodies the sensibility of "imagination is wonderful" in the rational order, "because there is no reason, touch is", that is, it is also.

Another feature of Wang Xuehui's landscape paintings is that he is good at expressing the wonders of Yunshan Mountain. The clouds in his landscape paintings no longer use the traditional "blowing" method, but sometimes rub and dizzy, "fantastic and real acts", showing that the clouds and mountains have visible "image" but untouchable "type", and the ever-changing and elusive "dynamic" beauty. Taihang Yunshan in Wang Xuehui's works is different from other mountains. It is not a "concept landscape". He not only painted the shape and shape of Taihang Mountain, but also showed the essential characteristics of "spiritual implication" of Taihang Mountain. Looking at his paintings, we can not only feel the majesty and grandeur of Taihang Mountain since tens of billions of years, but also the unique charm of strong and strong bones. We can also appreciate from the paintings the sincere feelings of people who have been resting on this land for tens of billions of years and who have mingled with this hot land. Another feature of Wang Xuehui's landscape painting is that his brilliant brushwork has the wonderful function of transforming "decay" into magic. A landscape named "Spring Man Taihang" based on Xiyagou did not deliberately express the well-known blockade, poor ridge and desolation of Xiyagou, which caused unspeakable bitterness and depression. Instead, it depicted a beautiful mountain nested in a depression with numerous flowers, tranquil and unpredictable, as if it were a fairyland on earth. Zhuang. The waterfall under the village is like white practice, falling pearls and splashing jade, but it is like the eloquence of Xiyagou people, telling the vicissitudes of suffering from closure; at the same time, it also shows the diligent Xiyagou people's vision and expectation for a better future. The established facts have proved that Xiyagou people never wait for heaven's blessing. They not only have the confidence and courage to fight against fate, but also have had the hard experience to overcome the harsh environment and accumulated rich experience. The "picturesque" scenery is close at hand, and their wishes are just around the corner. In the near future, their dreams will come true. It is true that they are sitting in the four wastes, not against the inspiration of heaven, and should not be in the wilderness of nobody. Peaks and headlands, clouds and forests, sages and sages reflected in the last generation, all interesting blend their thoughts. It is inappropriate to present such scenery in a giant eight-foot-long structure as a sketch. To express this feeling on this axis is called "Jia Jia Jia", which is not enough.

From Wang Xuehui's landscape paintings, we can feel a rational and precise beauty of order. His paintings never pursue the beauty of carelessness, which makes the works difficult to read. This is quite different from some works that seem to be the author's "passionate" on the surface, but are actually poses and pretentious gestures to frighten people and make the viewer feel empty at first sight, not only without facing up to them, but also disdain them. His brush and ink are rigorous, reflecting a kind of elegant beauty, with the rhyme of the brush to see things, and without the suspicion of carelessness and loss of appearance. Is this not the realm of "writing" that Chinese painters have been striving for for for thousands of years? Wang Xuehui's landscape painting is not confined to the existing forms of traditional landscape painting, golden green, or ink-wash shallow descent, but integrates many ways of expression to create skeleton skeletons of mountains and stones, which are sometimes painted with blue ochre, and sometimes with ink-wash transportation. The expression of stone color. Especially, he uses ink-and-wash style, green and light dyed "small green" landscape, which permeates infinite vitality in elegance and shows brilliant charm in simplicity. It is fascinating, attractive, and interesting to read, and has endless aftertaste.

The academic direction is mainly in administrative law and administrative procedure law, publishing 8 academic monographs, 14 textbooks and tools, and publishing more than 40 academic papers, including 20 core journals in Chinese. Eight academic papers and works have been awarded scientific research achievements at provincial and school levels.

He has won the honorary title of "Excellent Teacher" and "Excellent Communist Party Member" of Southwest University of Politics and Law, the first Excellent Competition of Young Teachers'Teaching Skills of Southwest University of Politics and Law, and two successive academic years (2000-2001 and 2001-2002) of Southwest University of Politics and Law.