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何水法

( 中国美术家协会会员 )

 何水法1946年8月生于杭州,1980年毕业于中国美术学院中国画系花鸟画研究生班,现为中国美术家协会会员,中国商业联合会艺术市场联盟副主席。何水法先后在日本、马来西亚等国家和北京、上海、山东等地举办大型个人画展。出版有《何水法花鸟画集》、《当代最具升值潜力的画家·何水法》等二十余部。何水法曾对两宋的花鸟画作过精深的研究,因此,他的工笔花鸟结构严谨,用笔圆润自如,设色典雅秀逸,写意则受青藤、八大之影响,因而所作写意花鸟气旺神畅,笔墨华滋,浑然天成,厚实灵动,相映成趣。

  • 中文名何水法
  • 性别
  • 国籍中国
  • 民族汉族
  • 出生地浙江杭州
  • 出生日期1946年8月
  • 职业艺术 画家
  • 协会中国美术家协会会员
  • 毕业院校中国美术学院
  • 主要成就 出版有《何水法花鸟画集》等。
  • 代表作品《凌寒怒放》;《春菜图》;《翠蔓凌霄》;《灼灼红芳》
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面对大师——何水法访谈(作者:许宏泉)

中国美术网 09-18 浏览

何水法:我是美院没念。1978年直接考研究生,中国美院第一届研究生。也是文革以后中国美院第一届研究生,导师是陆抑非先生。何水法:我走上艺术道路的是受齐白石的影响。(19)50年代的时候,到处都是齐白石...
人物简介

 1946年8月生于杭州,1980年毕业于中国美术学院中国画系花鸟画研究生班。 现为中国美术家协会会员,中国商业联合会艺术市场联盟副主席,文化部中国艺术研究院研究生院客座教授,文化部中国艺术研究院中国美术创作院研究员,中国美术家协会浙江创作中心常务副主任,浙江省花鸟画家协会副主席,西泠印社社员,浙江画院艺委会委员,福建省画院名誉院长、福州画院名誉院长,浙江省民建书画院名誉院长,杭州师范学院美术学院名誉院长,国家一级美术师,享受国务院特殊津贴专家。

 

先后在日本、马来西亚等国家和北京、上海、山东等地举办大型个人画展。出版有《何水法花鸟画集》、《当代最具升值潜力的画家·何水法》等二十余部。何水法曾对两宋的花鸟画作过精深的研究,因此,他的工笔花鸟结构严谨,用笔圆润自如,设色典雅秀逸,写意则受青藤、八大之影响,因而所作写意花鸟气旺神畅,笔墨华滋,浑然天成,厚实灵动,相映成趣。

作品介绍

 《凌寒怒放》、《春菜图》、《翠蔓凌霄》、《灼灼红芳》曾入选由文化部、中国美协主办的第六、七、八、十届全国美展;《一串红》、《迎春》、《海棠花》入选全国第一、二、三届花鸟画展;《凌霄》入选全国首届中国画展;《海疆利剑密如麻》 入选全军美展;《凌霄》入选当代中国画展;《万枝铁干映春红》入选百年中国画展;《灼灼红芳》入选首届北京国际双年展等。并先后在日本(1991)、马来西亚(1992)、印度尼西亚、德国(1999)等国家和北京(1993)、上海(1995)、山东、南京(1996)、广州(1997)、菏泽(2002)、沈阳、济南(2001)、福州(2002)、兰州、成都、杭州(2003)、无锡、杭州(2005)、北京(2006)举办大型个人画展。何水法作品被中国美术馆、中国画研究院、中央军委、北京人民大会堂、中南海紫光阁、勤政殿、怀仁堂、钓鱼台国宾馆和毛泽东纪念堂及美国亚洲艺术博物馆、日本国际美协、澳洲东方艺术家协会所收藏。

 

何水法曾对两宋的花鸟画作过精深的研究,因此,他的工笔花鸟结构严谨,用笔圆润自如,设色典雅秀逸,写意则受青藤、八大之影响,因而所作写意花鸟 气旺神畅,笔墨华滋,浑然天成,厚实灵动,相映成趣。

 

出版有《何水法花鸟画集》、《何水法作品》、《何水法牡丹》、《何水法画花》、《当代艺术家画库——何水法》、《百杰画家——何水法》《水墨状态——何水法》、《工笔荷花技法》、《流霞斋谈艺录》、《何水法——跨世纪杰出中国画家作品集》、《走进画家——何水法》、《何水法国画解析》、《中国写意花鸟画技法》(含CD—ROM光盘)、《何水法——四季花语》、《中国画精品系列丛书——何水法工笔花鸟画》、《当代最具升值潜力的画家·何水法》等二十余部。

风格特点

 扎根传统、基础全面,是何水法先生取得成功的重要原因。他早年曾画得很多,也画得很“杂”,水彩、水粉、水墨、彩墨、书法、篆刻。山水、花鸟、人物,临摹、写生、创作,可谓“十八般武艺”,样样齐全。20岁后慢慢地他走进中国画领域,先画工笔,后来又转向大写意。他曾对两宋的花鸟画作过精深的研究,由工入写,工写融通。画意笔时,自能胸有成竹,笔无妄下,豪放中不失精微。在强调整体气势的同时,何水法注重某些细部的精到。对此,陆俨少先生盛赞何水法由工入写“因此而放笔直扫,拓为意笔,可医近世无根少蒂之病。”陆老之言,朴素平实地点明了何水法大写意花鸟画之成功的妙谛。就艺术风格而言,其作品充满了豪气、大气,不管是小幅,还是丈六巨制,都有着一股强烈的视觉冲击力,令人过目难忘。

 

大胆用色、精心用色、大胆用水、妙于用水,是何水法先生写意花鸟的一大特色。何水法先生突破了世代相传的“水墨为上”、“以素为贵” 的清规戒律。何水法先生用色比较丰富,他用色在单纯中求不单纯,达到单纯而不单调的丰富的艺术效果。他喜用亮丽的颜色,常集敷染、点染、烘托、泼彩于一体,他深知画面的雅俗不在用色而在用笔,以色代墨,深谙色即是墨、墨即是色的原理。用墨的笔致来用色,打破古人色墨相碍的樊篱,使色不碍墨、墨不碍色,浑然苍茫,虽明丽鲜艳而不失于浮俗,沉厚稳重而不流于郁滞。同时他还借助泼水起到笼罩画面作用,使画面墨沉淋漓,韵致生动。作画时他准确地把握住水与墨、水与色以及画面水分之干湿和运笔速度快慢之关系,从而出现水墨交融、色墨辉映的神妙境界。

 

何水法作品中的最大优势,就是他对于时代精神的理解。在中国花鸟画界,长久不衰的画家如齐白石吴昌硕任伯年王雪涛,而且就是历经再长的时间,他们依旧是不衰的,原因是什么?画风,他们的画所表现出来的是一种生气活力与欣欣向荣的气象,或大气、或雄浑,充满了朝气,所以他们的画会受到广大收藏者的喜欢。何水法的画最大的特点就是具有时代审美的共性,他的画笔墨酣畅淋漓、劲健大气,用色绚烂但不俗气,色墨交融,表现出一种蓬勃的朝气与盎然的生气。

个人荣誉

 何水法先生被中国美协多次特聘为全国性画展评审委员。

 

何水法作品被中国美协编入<中国当代美术家> (全国100位画家)CD-ROM光盘(1996)。

 

被中国文联、中国美协评为“中国画坛百杰”(1997)、“中国百杰画家”(1999)。

 

被中国艺术研究院、黄宾虹国际学术研讨会暨系列展览组织委员会授予“2004·黄宾虹奖”(2004)。

相关评价

 花鸟精神 ——简评何水法的画

 

何水法是当代中国画坛上引人注目的花鸟画家。他底蕴丰厚,气度爽朗;既有正统的学养功夫,又有可贵的秉赋胸襟,加之他勤勉善思,能尊重前辈们的成就,并坚持从现代生活中发掘灵感悟性,终于在他研究生毕业之后不到20年的努力中,形成了自己的个性面貌,以雄强的笔墨风格,独特的花鸟精神,反映出这个时代所铸就的一代新风。

 

何水法的花鸟画不仅题材广博、手法娴熟、语汇丰富、气象雄浑,而且能从西方绘画中学习其所长,在色彩处理上选择了绚烂而从容的多种处理方式,集敷染、点染、烘托、泼彩于一体,造成了强烈的视觉冲击。他善大写意画法与工笔画法,在兼工带写中达到了独臻善境的能力。在古往今来的画家中,像他这种在两端极度的法则中游刃有余、双善兼美的画家也是不多见的。看他的作品,给人一种气爽从容的感受,又多一份秀润隽永的回味,既给人一种内在的精神鼓舞,又满足了一种心灵的审美享受,古人在论花鸟画时,更注重花鸟画的精神境界,而时人常忽视这一特征,过多地纠缠于形色状貌之上。何水法能不薄今人之时尚,且直指古人精义,更为难能可贵。因此,人们赞赏他的花鸟画,是有道理的。愿水法保持良好的势态,为开创新世纪的中国画新风继续努力。

 

——《光明日报》1998年01月29日

 

徜徉在传统与现代之间 ――读何水法写意花鸟画

 

何水法的写意花鸟画,总体来说,风骨遒劲、笔墨酣畅、生机勃勃、雍容大度,显示出一位当代画家在传统与现代之间的创造性选择。何水法新作花鸟,乃真大写意,画面之中删繁就简,几组意象简洁生动,点、线、色、墨配置恰当,疏密分布得体,浓淡对应和谐,致使作品不论尺寸大小,都因此具有气扬而柔飞的特点。

 

性灵派画家多在作品中表达一种豁然贯通的兴奋、活跃的心理与一触即发的敏感。何水法正是这一 类型的画家,每每作画,便激情冲动,浮想联翩,并能将其迅捷地捕捉于笔端。颇有“兴采笔落如风雨”的气度。显然,画家在这里是靠了内在的灵性,每每提笔便有灵感降临,此时,在一笔一墨,一点一线。一花一叶中表现出的真性与个性往往类似“天赖”般的自 然天成的功夫,它蕴含着灵动、随意、自然、意趣等, 因此,何水法花鸟画则别具意趣,耐人寻味,而毫无“摹古”之僵化与苍白。

 

传统的花鸟画讲究点、线、色、墨的“逸气”、“品 格”,现代花鸟画似乎更侧重于“情”的张扬,在“情”的张扬中,点、线、色、墨的韵律节奏生机活力,折射出的是画家的精神状态。“气聚而神动”,何水法正是把一种生命的豪气注入笔墨之中,使物质的笔墨转换为"神韵"的活力。因而同是一叶一花,他的作品便现出苍翠欲滴、娇艳抚媚的特点。一种不同于古人的艺术内涵便溢荡画面;而画家善于用墨、用水、用色的优势,又使 其笔中有墨、墨中有笔,干湿浓淡、相得益彰;其中,性灵般的笔、墨、点、线便显得灵动,机巧、智慧,有起伏,有跳跃,有节律。服务于一种富于生机的境界。

 

这样的作品,以灵性用笔。毫无经营之感。顺其自然、伸缩有序、开阖聚散。使满幅色墨有情有意,润泽韵秀,十分动人,给人以清新爽朗般的现代美感,而不似古人花鸟画中的哀怨、伤感之作的颓废情调。

 

何水法秉性豪放旷达,故大写意花鸟是他直抒胸臆最好的媒介,作为优秀的花鸟画家,何水法并未一任性情驱使,恣肆放纵笔墨,而是分寸有度,收放得体,使画面既弥漫着淋漓之气,又体现一种精湛的文化品位;细察他的作品,可以发现他小心谨慎地区别着写意挥洒与粗野空泛的界限,审慎地区别着含蓄与含糊的界限,简练与简单的界限,等等,事实上,这是一种微妙的区别,由此可以见出画家的不同凡响的眼光与精湛的技艺,也见出了艺术境界的高下与优劣;正是基于这种把握,他衔接了传统与现代,使自己的花鸟画创作,别开生面,富于新意,譬如:色――浓淡相宜,葱宠润郁,墨―― 苍润淋漓,酣畅凝练,线――流动转折、气采飞扬、点 ―― 恰到好处、精致典雅。它们的综合与合理分布,使作品的神韵、张力都得到最好的展现。

 

从何水法的花鸟画创作中,我们看到他的艺术之路是以传统与现代作为起飞的两翼的。在何水法看来,传统并未因历史的前进而暗淡,其精华也并未因此而灰飞湮灭,倒是在创造者手中可以化腐朽为神奇,使有限变为无限;而立足于传统与现代之间,有可能使艺术中许多的不可能最终成为可能,使人充分体验到情感的欢畅与智慧的奇诡;可见,优秀作品的诞生是传统与现代共同作用的结果。

 

何水法正是选定了这条道路,开始了自己的不倦求索,并使自己的艺术获得了独特魅力与美感的,它因而形成了画家花鸟画艺术的一大特色。他始终以水、墨、线、点、色,在有意无意之间,若离若即之中营造着一种清丽的境界与氛围,满纸洋溢着含蓄、朗润、温磐的书卷气与文化意蕴;因此,这样的花鸟画,己经超越了“花鸟画”自身的定位,它承担了一种精神内容,寄寓了文化新生的魂灵。

 

地老天荒,美人迟暮,艺术只有不断继往开来,才会日日新、月月新,才不会陷入“穷途末路”的困境,而作为当代花鸟画成就卓著的画家何水法先生,是牢牢把握了这一点的,他的心灵始终在传统与现代之间悸动,同时,也使他艺术自身的魅力得到一次次的深化和升值。

 

——《文艺报》1999-1-26第三版

English Introduction

 Born in Hangzhou in August 1946, he graduated from the Graduate School of Flower and Bird Painting, Department of Chinese Painting, China Academy of Fine Arts in 1980. Now he is a member of China Artists Association, Vice-Chairman of Art Market Alliance of China Commercial Federation, Visiting Professor of Graduate School of China Art Academy of Ministry of Culture, Research Fellow of China Art Academy of China Art Academy of Ministry of Culture, Executive Vice-Director of Zhejiang Creation Center of China Artists Association, Vice-Chairman of Zhejiang Flower and Bird Painters Association. Chairman, member of Xiling Yin Society, member of the Arts Committee of Zhejiang Painting Academy, honorary Dean of Fujian Painting Academy, Fuzhou Painting Academy, honorary Dean of Zhejiang Civil Construction Painting Academy, honorary Dean of Hangzhou Normal College Fine Arts Academy and national first-level artists, enjoy the special allowance experts of the State Council.

Large-scale individual exhibitions have been held in Japan, Malaysia and Beijing, Shanghai and Shandong. He Shuifa Flowers and Birds Painting Collection and He Shuifa, the most potential contemporary painter for appreciation, have been published in more than 20 books. He Shuifa had made a profound study of flower-and-bird paintings in the Song Dynasty. Therefore, his fine brushwork of flower-and-bird paintings is rigorous in structure, smooth in brush, elegant in color and elegant in elegance. His freehand brushwork is influenced by ivy vines and eight major paintings. Therefore, his freehand brushwork of flower-and-bird paintings is full of vigor and vigor, full of natural beauty, solid and vivid, reflecting each other interestingly.

Ling Han Full Blooming, Spring Vegetable Map, Cui Man Ling Xiao and Burning Red Fang were selected in the 6th, 7th, 8th and 10th National Art Exhibition sponsored by the Ministry of Culture and China Association of Arts; A String of Red, Yingchun and Begonia Flowers were selected in the 1st, 2nd and 3rd National Flowers and Birds Painting Exhibition; Ling Xiao was selected in the 1st China National Flowers and Birds Painting Exhibition. Painting Exhibition; "The Swords of the Sea Are Dense Like Ma" was selected into the Army Art Exhibition; "The Sky" was selected into the Contemporary Chinese Painting Exhibition; "Ten Thousands of Iron Stems Reflect Spring Red" was selected into the Centennial Chinese Painting Exhibition; "Burning Red Fang" was selected into the first Beijing International Biennial Exhibition. And successively in Japan (1991), Malaysia (1992), Indonesia, Germany (1999) and Beijing (1993), Shanghai (1995), Shandong, Nanjing (1996), Guangzhou (1997), Heze (2002), Shenyang, Jinan (2001), Fuzhou (2002), Lanzhou, Chengdu, Hangzhou (2003), Wuxi, and so on. Hangzhou (2005) and Beijing (2006) hold large-scale individual painting exhibitions. He Shuifa's works are collected by the Chinese Art Museum, the Academy of Chinese Painting, the Central Military Commission, the Great Hall of the People in Beijing, the Ziguang Pavilion in the Central South China Sea, the Diligence Hall, Huairen Hall, Diaoyutai State Guest House and Mao Zedong Memorial Hall, the Asian Art Museum of the United States, the Japan International Association of Artists and the Australian Oriental Artists Association.

He Shuifa had made a profound study of flower-and-bird paintings in the Song Dynasty. Therefore, his fine brushwork of flower-and-bird paintings is rigorous in structure, smooth in brush, elegant in color and elegant in elegance. His freehand brushwork is influenced by ivy vines and eight major paintings. Therefore, his freehand brushwork of flower-and-bird paintings is full of vigor and vigor, full of natural beauty, solid and vivid, reflecting each other interestingly.

He Shui Fa Flowers and Birds Painting Collection, He Shui Fa Works, He Shui Fa Peony, He Shui Fa Painting Flowers, Contemporary Artist Painting Gallery - He Shui Fa, Baijie Painter - He Shui Fa, Water Ink State - He Shui Fa, Meticulous Brush Lotus Techniques, Liu Xia Zhai Talking about Art Record, He Shui Fa—— Trans-century Outstanding Chinese Painters Works Collection, Into Painter-He Shui Fa, He Shui French Painting Analysis, Chinese Freehand Flower and Bird Painting Techniques (including CD-ROM CD), He Shui Fa-Four Seasons Flower Language, Series of Excellent Chinese Painting Books-He Shui Meticulous Brush Flower and Bird Painting, Contemporary Most Potential for Appreciation Painter He Shui Fa and more than twenty other works.

He Shuifa's success is due to his deep roots in tradition and comprehensive foundation. In his early years, he painted a lot, but also very "miscellaneous", watercolor, powder, ink, color ink, calligraphy, seal carving. Landscape, flowers and birds, characters, copying, sketching, creation, can be described as "eighteen kinds of martial arts", all kinds are complete. After 20 years of age, he slowly entered the field of Chinese painting, first painting meticulous brushwork, then turning to freehand brushwork. He had made a profound study of flower and bird paintings in the Song Dynasty. He wrote from work to work, and his works were well integrated. When drawing freehand brushes, one can make a success of one's own mind, and the brush is free from arrogance, without losing its subtlety in boldness. While emphasizing the overall momentum, He Shuifa pays attention to some details. In this regard, Mr. Lu Lishao praised He Shui-fa's writing from the beginning of his career. "Therefore, he put on a straight sweep and rubbed it into a meaningful pen, which can cure the disease without roots and pedicles in modern times." Lu Lao's words, plain and plain point out the essence of the success of He Shuifa freehand flower and bird painting. As far as artistic style is concerned, his works are full of heroism and atmosphere. Whether they are small pieces or six giant works, they have a strong visual impact, which is unforgettable.

Bold use of color, meticulous use of color, bold use of water, wonderful use of water, Mr. He Shuifa freehand flower and bird is a major feature. Mr. He Shuifa broke through the rules and regulations of "ink is the first" and "plain is the most precious" passed down from generation to generation. Mr. He Shuifa uses colors more abundantly. He uses colors not only to seek simplicity, but also to achieve rich artistic effects of simplicity rather than monotony. He likes to use bright colors. He often combines dressing, dotting, foiling and splashing. He knows that the elegance and vulgarity of the picture is not to use color but to use pen instead of ink. He knows the principle that color is ink and ink is color. Use ink pen to use color, break the barrier of ancient color and ink, so that color does not hinder ink, ink does not hinder color, indistinct and vast, although bright and bright but not lost in vulgarity, calm and steady but not flow in depression. At the same time, he also played a role of shrouding the picture by splashing water, making the picture vivid and vivid. When painting, he accurately grasps the relationship between water and ink, water and color, and the relationship between the wetness and dryness of water in the picture and the speed of brush delivery, thus creating a magical realm of ink-water blending and color-ink reflecting.

The greatest advantage of He Shuifa's works is his understanding of the spirit of the times. In the field of Chinese flower and bird painting, long-lasting painters such as Qi Baishi, Wu Changshuo, Ren Bonian, Wang Xuetao, and even after a long time, they are still not fading. What is the reason? Painting style, their paintings show a vibrant and thriving atmosphere, or atmosphere, or vigorous, full of vitality, so their paintings will be loved by the majority of collectors. He Shui-fa's paintings are characterized by the common aesthetic features of the times. His brushes and ink are smooth and vigorous, with brilliant but not vulgar colors. The combination of colors and ink shows a vigorous vitality and vitality.

Mr. He Shuifa has been specially appointed as a member of the National Painting Exhibition Review Committee by the China Association of Fine Arts for many times.

He Shuifa's works were compiled into CD-ROM disc of "Contemporary Chinese Artists" (100 painters in China) by the Chinese Art Association (1996).

By the Chinese Federation of Arts and the Chinese Association of Arts as "Chinese Painting Baijie" (1997), the "Chinese Painter Baijie" (1999).

He was awarded the "2004 Huang Binhong Award" by the Chinese Academy of Art, Huang Binhong International Symposium and Organizing Committee of Exhibitions Series (2004).

The Spirit of Flowers and Birds: A Brief Comment on He Shuifa's Painting

He Shuifa is a remarkable flower and bird painter in contemporary Chinese painting circle. He has a rich foundation and a bright demeanor; he has not only the orthodox learning and martial arts, but also the precious talent and mind, coupled with his diligence and thinking, can respect the achievements of his predecessors, and insist on exploring inspiration from modern life. Finally, in his efforts less than 20 years after graduation, he has formed his own personality, with a strong personality. The style of pen and ink and the unique spirit of flowers and birds reflect the new trend of the generation created in this era.

He Shui-fa's flower-and-bird paintings not only have a wide range of subjects, skillful techniques, rich vocabulary and vigorous weather, but also can learn from western paintings. He Shui-fa's flower-and-bird paintings have chosen a variety of brilliant and calm treatment methods in color processing, which integrates application, spot-dyeing, foil-up and splash-coloring, thus causing a strong visual impact. He is good at freehand brushwork and meticulous brushwork, and achieves the ability to achieve good conditions in part-time work. Among the painters of all ages, it is rare to see such painters as him who have more than one edge in the extreme law of both ends, and who are both good and beautiful. Looking at his works gives us a relaxed and relaxed feeling, as well as a delicate and meaningful aftertaste, which not only gives us a kind of inner spiritual inspiration, but also satisfies a kind of spiritual aesthetic enjoyment. When discussing flower-and-bird painting, the ancients paid more attention to the spiritual realm of flower-and-bird painting, while people often overlooked this feature and entangled too much in various forms and features. Above. He Shui Fa is not only the fashion of modern people, but also the essence of the ancients, which is more valuable. Therefore, it is reasonable for people to appreciate his flower and bird paintings. I hope that the water law will maintain a good state and continue to strive for a new style of Chinese painting in the new century.

—— Guangming Daily 29 January 1998

Wandering between Tradition and Modernity-Reading He Shui-fa Freehand Flower and Bird Paintings

He Shuifa's freehand flower-and-bird paintings, on the whole, show a contemporary painter's creative choice between tradition and modern. He Shuifa's new flower-and-bird painting is a true freehand brushwork, in which the pictures are simplified and complicated. Several groups of images are concise and vivid. Points, lines, colors and ink are arranged appropriately, densely and appropriately distributed, and the intensity corresponds to harmony. As a result, the works, regardless of size, are characterized by vigor and gentleness.

Spiritual painters often express a sudden and penetrating excitement, active psychology and hair-triggering sensitivity in their works. He Shui-fa is a painter of this type. Every time he paints, he is passionate, imaginative and can quickly capture it at the end of his pen. There is a spirit of "writing like wind and rain". Obviously, the painter here relies on the inner spirituality, every pen will be inspired to come, at this time, in a stroke of ink, a bit of a line. The authenticity and individuality shown in one flower and one leaf are often similar to the natural skill of "Tianlai". It contains agility, casualness, nature and interest. Therefore, He Shuifa's flower-and-bird painting is interesting and interesting, without the rigidity and paleness of "imitating the ancients".

Traditional flower-and-bird paintings emphasize the "leisure" and "character" of points, lines, colors and ink. Modern flower-and-bird paintings seem to focus more on the publicity of "emotion". In the publicity of "emotion", the rhythm and rhythm of points, lines, colors and ink are vigorous, reflecting the painter's spiritual state. He Shui-fa injected a kind of life's heroism into his pen and ink, and transformed the material pen and ink into the vitality of "verve". As a result, his works are green and charming. An artistic connotation different from the ancients spills over the picture; while the painter is good at using ink, water and color, and makes his pen have ink, ink have pen, dry and wet thick, complement each other; among them, the spiritual pen, ink, dot and line appear agile, smart, wise, fluctuant, jumping, rhythmic. Serve a vibrant realm.

Such works are written with spirituality. There is no sense of business. Let nature take its course, expand orderly, open and close, gather and disperse. Make the full color ink sentimental, moist and charming, very moving, giving people a fresh and refreshing modern aesthetic feeling, rather than the decadent sentiment of the ancient flower and bird paintings.

He Shuifa is bold and open-minded, so freehand flowers and birds are the best medium for him to express his mind directly. As an excellent flower and bird painter, He Shuifa does not indulge in brush and ink arbitrarily, but is meticulous and appropriate, which not only makes the picture full of incisive spirit, but also reflects a kind of exquisite cultural taste. It can be found that he carefully distinguishes freehand brushwork from rough and empty boundaries, prudent areas from implicit and vague boundaries, concise and simple boundaries, etc. In fact, this is a subtle distinction, from which we can see the painter's extraordinary vision and exquisite skills, as well as the artistic realm. It is precisely based on this grasp that he joined tradition and modernity to make his flower-and-bird painting creation fresh and innovative, such as: color-appropriate, lush and lush, ink-vivid, smooth and concise, line-flowing turning point, vigorous and elegant point-just right, exquisite classic. Elegant. Their synthesis and rational distribution make the works show the best charm and tension.

From the creation of He Shuifa's flower and bird paintings, we can see that his artistic road takes off with tradition and modernity. In the view of Ho Shui Fa, tradition did not fade because of historical progress, and its essence did not fly away in oblivion. Instead, it could turn corruption into magic in the creators' hands and make the finite change to infinity. And based on tradition and modernity, it is possible that many of the arts can not be finally possible, so that people can fully experience love. The joy of feeling and the strange wisdom can be seen that the birth of excellent works is the result of the interaction of tradition and modern.

He Shuifa chose this road, began his tireless quest, and made his art acquire unique charm and aesthetic feeling, which formed a major feature of the painter's flower-and-bird painting art. He always uses water, ink, line, dot and color to create a beautiful realm and atmosphere between intent and unconsciousness, full of implicit, Langrun and warm scroll atmosphere and cultural implication; therefore, such flower-and-bird painting has gone beyond its own positioning, and it undertakes a spirit. Rong embodies the soul of the new culture.

As a painter with outstanding achievements in contemporary flower and bird paintings, Mr. He Shuifa firmly grasps this point. His heart is always throbbing between tradition and modernity. His artistic charm has been deepened and appreciated again and again.

—— The Third Edition of Literature and Art Newspaper 1999-1-26

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