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程振国

( 中国美术家协会理事 )

 程振国 (1946.2~ )山东临朐人,号若痴,擅长中国画。师从粱树年、郭北峦、白雪石先生专攻山水画。 现为中国美术家协会理事,北京美术家协会副主席,北京市文联理事,北京美协艺委会委员、北京海淀书画院副院长。

人物关系
  • 中文名程振国
  • 性别
  • 国籍中国
  • 民族汉族
  • 出生地山东临朐
  • 出生日期1946.2
  • 职业国画师
  • 擅长中国画
  • 协会中国美术家协会
  • 主要成就获得中华杯中国画大赛佳作奖等
  • 代表作品《燕山路上所见》等
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程振国访谈录:砚边心境

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受访者:程振国访谈者:彭利铭前不久,我以《厚积薄发的力量》为题,写了一篇介绍程振国先生的文章,这是对振国先生山水画艺术有了更深层面的了解。许多圈外人士过去只知其画不知其人,今日有幸...
个人简介
走进著名山水画家程振国的艺术世界(共两集)

 程振国 (1946.2~ )山东临朐人,号若痴,擅长中国画。师从粱树年、郭北峦、白雪石先生专攻山水画。 现为中国美术家协会理事,北京美术家协会副主席,北京市文联理事,北京美协艺委会委员、北京海淀书画院副院长。作品《燕山路上所见》获中华杯中国画大赛佳作奖、《锦绣中华》(合作)由文化部组织香港回归周年巨幅山水、北京美协特邀为澳门政府创作巨幅国画《江山万里图》(合作)、在北京、美国、新加坡举办画展、出版个人专辑。作品《居于斯乐于斯》入选2004年首届中国美术家协会会员中国画精品展。

作品及获奖

 1997年为皇苑大酒店创作巨幅长城《燕山叠翠》。

1997年为外交部、驻美领事馆、驻蒙古大使馆、外交学会创作多幅作品。

1998年为北京市政府创作大幅)《漓江霁雨、《长城》、《黄山》、《湘西》等多幅作品。

1998年为庆祝香港回归一周年,文化部组织10位画家创作巨幅山水画,江泽民主席为此画题写“锦绣中华”,赠与香港特区政府。

1999年为迎接澳门回归,北京美协组织创作巨卷长江,江泽民主席为此卷题写《江山万里图》,赠澳门特区政府。创作此卷历时一年,担任创作委员会委员、主创人员,此卷获北京文学艺术奖。

1999年为中央军委八一大楼创作巨幅漓江,梁树年先生为此画题《漓江秀色》。

2002年与著名画家苗重安为京西宾馆中央会堂创作巨幅《西部春潮》。

2002年为京西宾馆创作巨幅三峡《江山揽胜图》。

2003年为人民大会堂创作《黔东风情》。

2004年北京文联、市美协组织创作巨幅《新北京盛景图》,获北京市美术优

秀奖。

2005年为人民大会堂河南厅创作长城《观奇燕山图》。

2005年为中国驻泰使馆创作巨幅长城《江山胜景图》。

2006年为中国驻埃及使馆创作巨幅《漓江胜境图》。

2006年为中南海国务院创作巨幅黄山《江山胜景图》。

2006年为中央军委八一大楼创作巨幅《壮丽山河图》。 

1990年中央新闻电影制版厂拍摄《青年画家国》,1996年中央电视台拍摄专题片《山水画家程振国》。出版有《程振国画集》等多部。

程振国艺术风格

 程振国用独特的艺术表现形式所体现的唯美、健康、愉悦的目的,最终是靠用笔墨书写来完成的。

 

用笔特征

他绘画中的点线面是在一定艺术构成的理念下,将书写中的骨法用笔化为中锋、侧锋、散锋等不同的书写方式,通过转折、顿挫、提按、轻重、缓急、拙巧、枯涩等一些优美的笔触穿插交错,编织成一个个有生命的物象,然后用富有情绪化的点线将艺术构思物化为墨象,进尔组合成一幅幅气韵生动的画面,这样,既表达了自己的人文情怀,又把自己绘画构成形态的思维法则支撑起来。他的画中,作为物象的支撑线显得圆润、厚重,如曲铁盘扭,显示出具有壮美的力度,散发出精神的光芒。而用于勾勒物象阴阳面的皴线则灵动多姿,或长或短、或粗或细、或伸展到一拓直下,或凝练成戛然而止。这些线条的力度、方向变化,是完全根据物象表现的要求,在形式与内容高度统一的情况下进行,无多余之笔,亦无不足之处。浑然天成,如风行水上,自然成纹(文)。这种用笔使画中山石的纹理皴得细腻复杂。既平添了画面的内涵和观赏的价值,又融入了自己丰富的情感。从技法上说,仪态万方的山石肌理和概括简洁的山石轮廓又形成了鲜明的对比,繁简相得益彰,不仅体现了用笔之妙,也增加了画的情趣。

从他的用笔中可见他经过了长期的锤炼,找到了一种超越一般想象力的形式语言,从而把需要表达内容向完美性接近。他在谈到自己

用笔的体会时说:“——在视觉审美形式中,线是强调物象形态轮廓的必要手段,其后是强化物体内的层次,根据物体形态的变化组织线条或左或右纵或横,强调它的体积感、空间感、节奏感。中国画的线并非漫无目的地组合与排列,它不但承载着自然形态的重新组合与重新认识,亦饱含画家丰富想象力和情感的注入,充分体现‘骨法用笔、应物象形’内涵的感染力。”(见程振国文《山水画创作析谈》)由此语可见,他的用笔不是信手捻来,而是在一定的法度之下的自由挥洒。

程振国的绘画中所体现的质感得力于用笔,而画面墨气淋漓、温润华滋则得力于用水用墨。

 

用墨特征

在绘画过程中,他根据物象审美的不同取向,分别使用蘸墨、破墨、积墨、泼墨诸方法,使浓淡干湿呈现不同的形态、力度、气势,受绘画过程中的情绪所牵动,但又为理法而约束。使神采生于笔下,洋溢于画面。从而达到图画江山,愉人心目的目的。他用墨没有固定的程式,全凭对表现对象的感性把握,这种把握是抽象的。正如他自己认为的那样:“使画中的形象不同于大自然的形象,……用墨的浓淡干湿焦,营造出符合视觉的气氛,实际是运用抽象的过程来完成的。”(见程振国文《山水画创作析谈》)。

 

折叠艺术特征

程振国的绘画艺术成就斐然,为画坛所瞩目。悬挂于人民大会堂、中央办公厅、京西宾馆、中央电视台、国务院、中央军委八一大楼以及中国驻外使馆的多幅代表国家艺术形象的巨制,中外读者好评如潮,既显示了他非凡的艺术才华、代表着他绘画的艺术地位,也为国家争光、显示了中华绘画艺术这一古老的历史文化所迸射的无穷魅力。

程振国绘画艺术成就的取得,首先得益于他对传统的深刻理解和继承。

他不仅醉心于传统,并且对传统有着与众不同的理解。他认为“传统应该成为艺术创作的动力。” “艺术向传统回归,不是倒退,它是一种前进、一种发展。所以,中国画不是不求变,更不是食古不化,它的变化从不以否定自己的传统为代价,”这种声音,代表了当代人对传统的正确认识。代表了弘扬民族精神的一种志气。正因为有如此远见,他对传统下足功夫,几十年如一日,孜孜以求,千方百计地从传统中汲取营养,在传统中和古人对话,寻求启迪自己的艺术语言。所以,他的画虽然独具面目,但却不偏离中国传统文化的大道。是在传统老树的根脉上茁壮成长起来的新枝,是传统的精神和个性化的创造竞相迸发的结果。

程振国虽重传统,但同时主张从其他民族优秀文化中汲取精华。他正视目前多种文化相互激荡、多元化艺术形式共存下的文化碰撞,在确立符合自身发展的法则规律与当代人环境共融的观念下,寻找一个新的整合点。因此,他的画接纳了外来的元素并将其化解为自己的语言,丰富了自己的绘画程式和表现手法。

程振国在自己的艺术创作中,一手伸向传统的同时,一手伸向了生活,他用师造化的生活体验,来不断地纯化和提炼自己的笔墨语言。他认为 “对前人的认识研究只停滞在画迹方面是狭隘的,必须从中过度到深入意识中探求其思维方式,所派生出如何用现代人的意识思考符合当今时代的艺术语言。……站在这一高度再认识大自然,理解大自然,从中可以感悟到无穷无尽的富有灵性的图式。”他正是在走进大自然的过程中,才看到了祖国的大好河山或雄浑旷达,或恬淡静穆,或劲峭奇峻,或空灵缥缈。在对自然呈现的审美形式中,从中体会到造化之意和境,细心揣摩其中蕴含的文化内涵,思索着如何用中国画特有的笔墨表现形式将其淋漓尽致的表现。

艺术之创造,本源于生活,他对自然状物的观察,由于站在了一个不同常人的视角,寻找到了一个更符合人性化的元素,因此从中得到感悟自然存在的造化之美。他在师法自然中,培养了个人的情感,在和自然的对话中,觉得山川那种博大气象和浩然胸襟,正是替自己代言,而自己也有一种为山川代言的强烈责任感。经过一番追求和探索,将自己魂牵梦绕的自然之美化为高于自然的笔墨之象,并从中感悟到造化之理。进而将这种感悟引伸到风格的确立,使之成为一种厚积薄发的自然流露,成为一种水到渠成、自然而然的结果。

程振国在对绘画艺术的探索中不仅表现在吃透传统、师法造化方面,而且注重在画外下功夫,从绘画的姊妹艺术中汲取营养,他努力寻求诗词、书法、戏曲等对绘画意境、造型、线条的节奏的影响作用,不仅从理论上加以思考和探索,而且不断地从实际中加以揣摩。他在题跋中常有这种心得体会,读之可知他探索程度之深、探索范围之广。例如,他关于诗和绘画关系的论述,便有许多联珠妙语。如 “诗是运用抽象的文字所代表的意,经过起、承、转、合、平仄、韵律的有机组合来塑意象;绘画是运用笔墨塑造形态的图式来达到目的”。“二者俱有‘幽情远思,如睹异境’之功用。”由此可见,他把诗的写作技法和绘画的书写技法进行了对比、总结并找到二者相通之处,这种做法,在当今画坛尚不多见。他绘画以无穷之趣,营造胸中之丘壑。作品意境诗意盎然、耐人寻味,原本得力于此。而他绘画笔墨节奏的美妙,应是受音律的影响和启迪吧。

English Introduction

 

 Cheng Zhenguo (1946.2 ~) is a Linqu native in Shandong Province. He is an idiot and good at Chinese painting. Mr. Liang Shunian, Mr. Guo Beilun and Mr. Baixueshi specialize in landscape painting. He is currently the director of the Chinese Artists Association, the vice-chairman of the Beijing Artists Association, the director of the Beijing Municipal Literary Association, the member of the Arts Committee of the Beijing Artists Association, and the vice-president of the Beijing Haidian Academy of Calligraphy and Painting. The work "Seeing on Yanshan Road" won the award of the China Cup Chinese Painting Competition and "Splendid China" (Cooperation). The Ministry of Culture organized a huge landscape for the anniversary of Hong Kong's return. The Beijing Association of Fine Arts invited the Macao Government to create a huge Chinese painting "Jiangshan Wanli Tu" (Cooperation), hold exhibitions in Beijing, the United States and Singapore, and publish personal albums. The work "Living in Slays" was selected for the first Chinese Painting Exhibition of 2004, which is a member of the Chinese Artists Association.

In 1997, he created a giant Great Wall "Yanshan Pinnacle" for Huangyuan Hotel.

In 1997, he created many works for the Ministry of Foreign Affairs, the Consulate in the United States, the Embassy in Mongolia and the Society of Foreign Affairs.

In 1998, he created a large number of works for the Beijing Municipal Government, such as Lijiang River Rain, Great Wall, Huangshan, Xiangxi and so on.

In 1998, in celebration of the first anniversary of Hong Kong's return, the Ministry of Culture organized 10 painters to create giant landscapes. President Jiang Zemin inscribed the painting "Splendid China" and presented it to the HKSAR Government.

In 1999, in order to welcome the return of Macau, the Beijing Association of Fine Arts created a huge volume of the Yangtze River, for which President Jiang Zemin wrote "Jiangshan Wanli Tu" and presented it to the Macau SAR Government. It took one year to create this volume. He served as a member of the Creation Committee and a principal creator. This volume won the Beijing Literature and Art Award.

In 1999, he created a huge Lijiang River for the eighty-first building of the Central Military Commission, for which Mr. Liang Shunian painted the title "The Beautiful Lijiang River".

In 2002, Miao Chong'an, a famous painter, created a huge painting "Spring Tide in the West" for the central hall of Jingxi Hotel.

In 2002, he created a huge picture of the Three Gorges for the Beijing West Hotel.

In 2003, he created Qiandong Style for the Great Hall of the People.

In 2004, Beijing Literary Federation and Municipal Art Association organized the creation of a huge "New Beijing Prosperous Scenery" and won the Beijing Fine Arts Excellence.

Show award.

In 2005, he created the Great Wall "Wonderful Yanshan Map" for Henan Hall of the Great Hall of the People.

In 2005, he created a huge picture of the Great Wall for the Chinese Embassy in Thailand.

In 2006, he created a huge "Lijiang River Scenic Spot Map" for the Chinese Embassy in Egypt.

In 2006, the State Council of the South China Sea created a huge Huangshan "Jiangshan Scenic Spot".

In 2006, he created a magnificent picture of mountains and rivers for the eighty-first building of the Central Military Commission.

In 1990, the Central News Film Printing Factory filmed The Country of Young Painters, and in 1996, CCTV filmed the special film "Landscape Painter Cheng Zhenguo". He has published many works such as Cheng Zhenguo Painting Collection.

Cheng Zhenguo's aesthetic, healthy and pleasant purpose embodied in his unique artistic expression is finally accomplished by writing in ink.

Pen features

The point, line and surface in his paintings are based on the idea of a certain artistic composition, which transforms the skeletal techniques in writing into different writing styles such as center, side and scattered front, interlacing and interlacing with some beautiful strokes such as turning point, setback, pressing point, weight, urgency, clumsiness and astringency, and weaving them into a living image, and then weaving them into a living image. With emotional dots and lines, artistic conception is materialized into ink images, and Jiner combines them into vivid pictures. In this way, he not only expresses his humanistic feelings, but also supports the thinking principles of his painting formation. In his paintings, as the supporting line of the object, it appears round and thick, such as the twisting of a curved iron plate, showing a magnificent strength, emitting a spiritual light. The chainsaw lines used to delineate the Yin and Yang faces of objects are flexible, long or short, thick or thin, or stretched to a straight line, or condensed to a sudden stop. The changes in strength and direction of these lines are carried out in a highly unified form and content, in accordance with the requirements of the representation of objects and images, without redundancy or shortcomings. Natural, such as popular water, naturally into lines (text). This kind of brush makes the texture of Zhongshan Stone delicate and complex. It not only adds the connotation of the picture and the value of appreciation, but also integrates its rich emotions. From the technical point of view, the graceful texture and concise outline of mountains and stones have formed a sharp contrast. Complexity and simplicity complement each other, which not only reflects the wonderful use of brushes, but also increases the interest of painting.

It can be seen from his pen that after a long period of tempering, he has found a formal language beyond the general imagination, thus approaching the perfection of the content to be expressed. He was talking about himself.

In the form of visual aesthetics, the line is the necessary means to emphasize the contour of the image form, and then to strengthen the level of the object. According to the change of the object form, the line or left or right vertical or horizontal is organized, emphasizing its sense of volume, space and rhythm. The lines in Chinese painting are not aimlessly combined and arranged. They not only carry the recombination and Re-recognition of the natural form, but also contain the rich imagination and emotional input of the painter, fully embodying the appeal of the connotation of "using pen in bone method, responding to object and image". (See Cheng Zhenguo Wen's Landscape Painting Creation Commentary). It can be seen from this that his pen is not twisted by his hands, but freely sprinkled under certain laws.

In Cheng Zhenguo's paintings, the texture is reflected in the use of brushes, while the ink in the picture is vivid and moist.

Ink features

In the process of painting, according to the different orientations of the aesthetics of objects and images, he used the methods of dipping ink, breaking ink, accumulating ink and splashing ink to make the wet and dry show different shapes, strength and momentum, which are influenced by the emotions in the process of painting, but also restricted by the laws. Make the spirit born in the pen, full of pictures. So as to achieve the purpose of drawing rivers and mountains and pleasing people's minds. He used ink without a fixed program, relying solely on the perceptual grasp of the object of expression, which is abstract. As he himself thought, "Make the image in the painting different from the image of nature,... The use of ink to create a strong, dry and wet char, in line with the visual atmosphere, in fact, the use of abstract processes to complete. (See Cheng Zhenguo Wen's An Analysis of Landscape Painting Creation).

Characteristics of Folding Art

Cheng Zhenguo's artistic achievements are remarkable and have attracted the attention of the painting circle. Hanging in the Great Hall of the People, the Central Office, the Beijing West Hotel, CCTV, the State Council, the 81st Building of the Central Military Commission and the embassies of China abroad, the Chinese and foreign readers have received a lot of praise, which not only shows his extraordinary artistic talent, represents the artistic status of his paintings, but also for the country. To win glory shows the infinite charm of Chinese painting art, an ancient historical culture.

Cheng Zhenguo's achievements in painting art are first of all due to his profound understanding and inheritance of tradition.

He is not only addicted to tradition, but also has a unique understanding of tradition. He believed that "tradition should be the motive force of artistic creation". "The return of art to tradition is not a retrogression, but a progress and development. Therefore, Chinese painting is not unchanged, nor unchanged, its change never at the expense of denying its own tradition. "This voice represents the correct understanding of the tradition of contemporary people. It represents a kind of ambition to carry forward the national spirit. It is because of such foresight that he has devoted himself to tradition for decades, striving diligently to absorb nutrition from tradition, to dialogue with the ancients in tradition, and to seek inspiration for his artistic language. Therefore, although his paintings are unique, they do not deviate from the main road of Chinese traditional culture. It is a new branch that thrives on the root vein of the traditional old tree, and it is the result of the traditional spirit and individualized creation.

Although Cheng Zhenguo emphasizes tradition, he advocates to extract the cream from other cultures. He faced up to the cultural collision under the coexistence of multi-cultures and multi-artistic forms, and found a new integration point under the concept of harmony between the law of self-development and contemporary human environment. Therefore, his paintings take in foreign elements and decompose them into their own language, enriching their own painting programs and techniques of expression.

In his artistic creation, Cheng Zhenguo extended his hand to tradition and life. He used his teacher-made life experience to constantly purify and refine his pen and ink language. He believed that "the study of previous knowledge is only limited in the aspect of paintings. We must explore the way of thinking from the excessive to the deep consciousness, and derive how to use modern people's consciousness to think in accordance with the artistic language of today's era." Standing at this altitude, we can understand nature again, and from it we can realize endless spiritual schemas. It was in the process of entering nature that he saw the great rivers and mountains of his motherland, either magnificent and broad-minded, or quiet, or steep and steep, or ethereal. In the aesthetic form of natural presentation, we can experience the artistic conception and mood of creation, carefully understand the cultural connotation contained in it, and think about how to express it vividly and vividly with the unique brush and ink form of Chinese painting.

The creation of art originates from life. His observation of natural objects finds a more humane element from a different angle of view, from which he gains a sense of the beauty of nature. In the course of learning from nature, he cultivated his personal feelings. In the dialogue with nature, he felt that the magnificent image and magnificent mind of mountains and rivers spoke for himself, and he also had a strong sense of responsibility to speak for mountains and rivers. After a period of pursuit and exploration, the beautification of nature, which is haunted by one's own soul, is transformed into an image of pen and ink higher than nature, from which one can realize the reason of creation. Then, this kind of feeling is extended to the establishment of style, making it a natural outpouring of thick accumulation and thin hair, and a natural result.

Cheng Zhenguo's exploration of painting art is not only reflected in his thorough understanding of tradition and mastery of art, but also in his efforts to draw nourishment from the sister art of painting. He strives to seek the influence of poetry, calligraphy and opera on the artistic conception, shape and rhythm of painting. He not only considers it theoretically. And explore, and constantly speculate from the reality. He often has this kind of experience in inscriptions and postscripts. Reading it, we can see that he explores deeply and extensively. For example, his exposition of the relationship between poetry and painting has many interesting words. For example, "Poetry is the use of abstract words to represent the meaning, through the organic combination of beginning, inheritance, transformation, harmony, level, rhythm to shape the image; painting is the use of ink to shape the shape of the schema to achieve its purpose". "Both of them have the function of `loving and distant thoughts, such as seeing a foreign land'." It can be seen from this that he compares the writing techniques of poetry and painting and finds the similarities between them, which is seldom seen in today's painting world. He paints with infinite interest to create a hill in his chest. The artistic conception of the works is full of poetry and intriguing, originally due to this. The rhythm of his paintings should be influenced and enlightened by the rhythm.

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