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钱绍武

( 中国美术家协会会员 )

钱绍武,1928年生,江苏省无锡人,1947年考入国立北平艺专,1951年毕业于中央美术学院。1953年赴苏留学,1959年回国任中央美术学院雕塑系主任。为中国美术家协会会员、国家教委艺术教育委员会委员、全国城市雕塑艺术委员会委员、北京市人民政府专业顾问。擅长雕塑、绘画、书法。留苏毕业创作雕塑《大路歌》;《江丰头像》获第6届全国美展银质奖章;《李大钊纪念碑》建于河北省唐山市大钊公园。出版《素描与随想》、《素描人体选集》,并发表《赏心论》、《雕刻之美》、《亨利·摩尔方法初探》。现为中国国家画院雕塑院院长。
  • 中文名钱绍武
  • 性别
  • 国籍中国
  • 民族汉族
  • 出生地江苏无锡
  • 出生日期1928
  • 职业雕刻家,书法家
  • 协会中国美术家协会
  • 毕业院校中央美术学院
  • 代表作品《大路歌》《李大钊纪念碑》
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心法作画水墨淡彩 舒乙开启心灵之窗(作者:钱绍武)

中国美术网 09-18 浏览

舒乙画展定于2004年2月27日至3月3日在北京皇冠饭店国际艺苑美术馆内举行。共展出50幅彩墨国画。舒乙的画有以下五个特点:一、在技法上反传统;二、介于具象和表象之间;三、注重色彩和光线;四、带有文...
基本介绍

 中央美术学院教授、博导、学术委员会常设小组成员、首都规划委员会专家委员、中国工艺美术学会雕塑委员会会长、中国城雕全国艺委会常委、中国美术家协会雕塑委员会委员。曾任国家教委艺术教育委员会委员,北京市人民政府专业顾问。 钱绍武是我国当代著名的多才多艺的富于创造性的艺术家。他既有国学根基,又有西学修养,并得俄罗斯艺术之真传。

 

他在艺术理论方面有独到见解;在雕塑、书法、素描等领域均有杰出创造。他的雕塑作品大气磅礴,沉雄浑厚,诗意盎然,内涵深邃;他的素描、速写在社会上有很大影响;他的充满激情的有学养的"钱体"书法极有个性风采、别具一格,受到学界的高度评价。 钱绍武1928年4月生于江苏无锡赫赫有名的钱家大院。他的前辈:钱穆、钱基博、钱伟长、钱钟书,这些如雷贯耳的名字,早已高悬于中国文化与科技发展史的浩瀚星空。其父钱学熙是北京大学外语教授,英国文学专家。而作为钱家的晚辈,钱绍武却是这个“名门望族”中唯一的艺术家。

人物生平

 1928年,在产生过钱穆、钱基博、钱钟书等国学大师的无锡钱姓家族中,又诞生了一位艺术大家--钱绍武。家学的渊源,使钱绍武从9岁开始,便跟随家族中一个72岁的老姨公学习古文。老先生用考举人、秀才的那套办法来教钱绍武。老先生要钱绍武每天早上起来,跪在一个小垫子上,面前的桌子上摆着本书,老先生则坐在钱绍武旁边,手里拿个红筷子。老先生先教一段,9岁的小孩子弄不懂他教的那些古文,不一会儿就困了。于是老先生的红筷子就在他的头上打一下,然后再读。读完了下午就要背,背不出来不许睡觉,老先生也陪着他不睡觉,直到他背出来为止。这就是中国的非常特殊的教育方法,利用小孩记忆力好的特点,学习古诗古文完全不需要孩子弄懂,只要先背下来,背下来以后终生受用。钱绍武12岁时,《大学》、《中庸》、《论语》、<孟子>上下篇就完全可以背出来了,他还学了《诗经》,读了《孝经》。在他上中学以及后来学美术的时候,有一个外号,叫老夫子,因为他喜欢引经据典,因为他那时只会写古文,不会写现代语体的文章。甚至有人以为他写给父亲的信是他爷爷写给父亲的,因为行文太像老人写的了。

 

大路歌

后来在北大做外语教授的父亲担心儿子被教成小古董,把他接到北京的家里教了三年英语。但是当他看到钱绍武晚上专心画画,竟不知蜡烛已经滴到手上,还是又把他送回了无锡。


学艺生涯

回到家乡后,钱绍武拜家乡名画家秦古柳学了三年的国画和古诗词。学艺是先从研墨开始的,老师就是想通过研墨来磨炼他学艺的耐心和细心。在秦先生那里,钱绍武开始了长达5年的诗书画的学习。先生教导他:只画画,将来也就是个画工,永远成不了家。中国的文化博大精深,诗书画是相通的,想学好中国画,必须先精通中国的文化。为此,秦先生还专门找了个老师,对钱绍武进行严格的古典诗词的教育。秦先生教钱绍武画画先从写书法开始,并且每天和他的弟子天南地北、海阔天空地聊,钱绍武浓厚扎实的中国文化功底就是这样被熏出来的。

 

1947年钱绍武18岁时从乡下回到北京,浪漫主义诗人雪莱、济慈等人的作品深深地吸引了他,他开始对西方的文学和艺术产生浓厚的兴趣。他在董希文班上旁听了半年后,拿着自己画的一个初中毕业证书来报考国立美专。考素描时,他差点把发下来当橡皮用的馒头给吃掉。由于他的数理化成绩都是零分,一些考官不同意录取他。当时美专的校长徐悲鸿为了说服别的考官接受钱绍武,对那些考官说:这些数理化我也不会。徐悲鸿看中的是钱绍武深厚的国学功底、出众的素描基础和流畅的英文能力,于是破格录取了他,并把他分到了雕塑系。

 

在和悲鸿先生学习时期,先生常教导他,学艺不要被艺术的技巧所迷惑。一次,钱绍武看到马奈的一张铜版速写,马奈的造型能力非常强,钱绍武很感兴趣,就学他的笔法和组合。悲鸿先生在钱绍武的后面看了之后说了句:“PetitTon”。是在告诫他不要学这些小趣味。这给了钱绍武非常大的震动和启发,使他明白了学艺必须要看清本质是什么,“修辞立其诚”,它的最根本的诚成为钱绍武后来从事艺术创作的一个基本方法,所有的艺术技巧,所有真正高明的、真正最动人的是真实不虚,是诚恳。技巧则是第二位的,技巧是由于“诚”产生的。

 

作品

 曾在中央美术学院陈列馆、天津市群众艺术馆举办个人书画雕塑作品展。留苏毕业创作雕塑《大路歌》为中国革命博物馆收藏;《杜甫像》为中国美术馆收藏 ;《江丰头像》获第6届全国美展银质奖章,为中国美术馆收藏;《李大钊纪念碑》建于河北省唐山市大钊公园。作品还有《李大钊纪念像》、《炎帝像》、《李清照像》、《黄胄像》、《严济慈像》、《石家庄烈士像》等。出版有《素描与随想》、《素描人体选集》,并发表有《赏心论》、《雕刻之美》、《亨利·摩尔方法初探》 等论文数十篇。

古典诗词

具有诗人气质的钱绍武先生,对中国古典诗词有着很深的造诣。随口而出的诗词名句,旁征博引的论道口才——深厚的文学底蕴使他的艺术创造不仅别具才情,而且充满了诗意。钱绍武先生为许多诗人、文人塑过像。这些诗人肖像中融会着钱绍武先生对诗人的命运、身世及社会背景和诗作的独特理解和切身感悟。他动用了材料、体量、造型等一切技术手段来表达他的这种理解,他所塑造的人物无不显示着独具神韵的精神内涵。

1980年的青铜雕塑《杜甫像》,是钱绍武在“文革”结束之后的第一个作品,“杜甫”与“大路歌”表现出来的那种挣扎和向上的力量,以及强调造型的艺术手法有着明显的不同。这里显示了作者对生活感受的一种变化。经历了“文革”,当他再去读这位古人的作品时,就更能够体会到“朱门酒肉臭,路有冻死骨”的那种感觉了。杜甫的双眼很茫然,睁得很大,满是恐怖,表情忧郁,这是知识分子在这种情况下的一种心态,某种程度上,也是作者自己的心态。1986年他用不锈钢为李白纪念碑立像,刻画出了投河自杀前绝望的李白。1986年他用红色大理石创作了《闻一多先生纪念像》,使人一下子就想到了闻一多先生的“红烛”精神。1993年创作的《张继·枫桥夜泊》中将寒山寺旁诗人张继的忧郁的意态表露无遗;在北京的大观园内收藏了很多知名画家描绘的曹雪芹,但是1995年钱绍武先生的雕刻却与众不同,一块浑然一体的大石头,所有地方都是模糊的,是含混的,只有眼睛里的一点点泪光透露了欲哭无泪的沧桑之感。1999年他创作的《冰心像》,参照的是冰心早年留学美国时的一幅照片,汉白玉的质地,显示出冰心清秀高雅的仪态和冰清玉洁的气质。

音乐感受

在钱绍武先生众多的雕塑作品中,瞎子阿炳是他自己最喜欢的作品之一。钱绍武曾与阿炳有过一段特殊机缘。钱绍武从1岁到7岁与阿炳同住在一个大院,钱绍武的祖母是眼科大夫,阿炳是个穷叫花子,好心的祖母经常免费给他治眼睛。钱绍武看见过阿炳的眼睛。正因为见过,所以塑造起来就很难。他方方的脸特别瘦,那眼睛完全腐烂了。1991年前,钱绍武曾经做过一个阿炳像,但是他始终觉得没有抓住阿炳的灵魂。两年后,他对阿炳像做了修改,阿炳的背影成为塑像的正面,阿炳的面部也变得非常模糊。

为了着力表现出一个受磨难的音乐家的感觉,钱先生干脆不刻画他的脸,而用他那种受尽折磨,在凄风苦雨中沿着大街小巷拉琴的姿态,发出对凄惨命运的控诉。阿炳在小胡同里边走边拉琴。因为眼瞎他必须要贴着墙走。这墙又是无锡特有的那种小街小巷里腐蚀得很厉害的破旧墙壁,还有那种石板路,把时代的氛围、窄小且具有压迫感的空间强调了出来。头顶上一盏昏暗的路灯照下来,一个影子贴在墙上走,那是非常失意的一个背影。艺术家的创作源自真正的印象,作品的表达也非常传神。

代表作

钱绍武对每个作品都有自己的理解。1991年他为唐山市的大钊公园雕刻李大钊像,当时他接到的设计方案是雕塑一个手持书卷的3米高的李大钊坐像,但是钱绍武最后完成的作品,仅头部就3米多高,整个雕塑是由两块巨大的花岗岩组成。他所以这样做,是从照片中发现,李大钊的脸特别的方正,所有的照片很少有侧面的,都是正襟危坐,发型都理成平头。他又读了大钊先生的《守常文集》,特别是看到鲁迅先生对大钊先生的形容,一个纯朴、稳重的形象构思基本上就形成了。于是推翻了手持书卷的那种方案,特别强调他铁肩担道义,妙手著文章的气势,他的肩膀被夸张了,并且那宽阔的铁肩凝固成了永恒的瞬间。借鉴了天安门城楼的样式,一横一竖的两块大石头,象征着李大钊先生是中国革命的伟大基石。胸像背后衬着绿色的油松,视觉效果非常强烈。

钱绍武先生认为塑像是不断咀嚼别人的灵魂,然后通过对别人人生的感悟、体会和同情,来把这个人一生最重要的一瞬间给表现出来。

 

Introduction in English

 Basic introduction

 

Professor of the Central Academy of Fine Arts, Doctor, member of the Standing Group of the Academic Committee, expert member of the Capital Planning Committee, chairman of the Sculpture Committee of the Chinese Academy of Arts and Crafts, member of the Standing Committee of the National Arts Committee of China City Sculpture and member of the Sculpture Committee of the Chinese Artists Association. He was a member of the Art Education Committee of the State Education Commission and a professional consultant of the Beijing Municipal People's Government. Qian Shaowu is a well-known versatile and creative artist in contemporary China. He has not only the foundation of traditional Chinese culture, but also the cultivation of Western culture, and he has obtained the true biography of Russian art.

 

He has original views on art theory, and has made outstanding creations in sculpture, calligraphy, sketch and other fields. His sculpture works are magnificent, vigorous, poetic and profound; his sketches and sketches have a great impact on society; his passionate and learned "Qian Ti" calligraphy is highly praised by the academic circles because of its unique personality and style. Qian Shaowu was born in Hehe, Wuxi, Jiangsu Province, in April 1928. His predecessors: Qian Mu, Qian Jibo, Qian Weichang and Qian Zhongshu, whose names, like Lei Guan'er, have long been suspended in the vast sky of the history of Chinese culture and science and technology. His father Qian Xuexi is a professor of foreign languages at Peking University and an expert in English literature. As the younger generation of the Qian family, Qian Shaowu is the only artist in this "famous family".

 

Paul Mauriat's History

 

In 1928, Qian Shaowu, a great artist, was born in the family of Qian surname in Wuxi, which produced Qian Mu, Qian Jibo and Qian Zhongshu. The origin of family learning made Qian Shaowu follow a 72-year-old aunt and uncle in his family to learn ancient Chinese from the age of 9. Old Mr. Qian Shaowu was taught by the way of examining and examining talented people. The old man asked Qian Shaowu to get up every morning and kneel on a small mat. There was a book on the table in front of him. The old man sat next to Qian Shaowu, holding a red chopstick in his hand. The old gentleman taught a lesson first. The nine-year-old child could not understand the ancient texts he taught, and soon became sleepy. So the old man hit his red chopsticks on his head and read them again. After reading it in the afternoon, he must recite it. If he can't recite it, he can't sleep. The old gentleman will accompany him to stay awake until he recites it. This is a very special method of education in China. Using the characteristics of children's good memory, learning ancient poetry and prose does not need children to understand at all, as long as they recite it first, and then use it for life. When Qian Shaowu was 12 years old, he could recite the first and last chapters of "University", "The Golden Mean", "Analects of Confucius", "Mencius". He also learned the Book of Songs and read the Book of Filial Piety. When he was in middle school and later in art, he had a nickname, Lao Fu Zi, because he liked to quote classics, because he could only write ancient Chinese, not modern style articles. Some even thought that his letter to his father was written by his grandfather, because it was written like an old man.

Song Of The Broad Road

 

Afterwards, his father, who was a foreign language professor at Peking University, worried that his son would be taught as a small antique, took him to his home in Beijing to teach English for three years. But when he saw Qian Shaowu concentrating on painting at night, he did not know that the candle had dripped into his hands, or sent him back to Wuxi.

 

Academic career

 

After returning home, Qian Shaowubai's famous painter Qin Guliu studied Chinese painting and ancient poetry for three years. Learning art begins with grinding ink. The teacher wants to hone his patience and meticulousness in learning art by grinding ink. In Mr. Qin's place, Qian Shaowu began his five-year study of poetry, calligraphy and painting. Mr. Zhang taught him that painting alone would be a painter in the future and never make a home. Chinese culture is extensive and profound. Poetry, calligraphy and painting are interlinked. If you want to learn Chinese painting well, you must first master Chinese culture. For this reason, Mr. Qin also found a teacher to teach Qian Shaowu strict classical poetry. Mr. Qin taught Qian Shaowu how to draw first by writing calligraphy and chatting with his disciples everyday. Qian Shaowu's strong and solid foundation of Chinese culture was fumigated in this way.

 

When Qian Shaowu returned to Beijing from the countryside at the age of 18 in 1947, the works of the Romantic poets Shelley and Keats deeply attracted him, and he began to have a strong interest in western literature and art. After six months of listening in to Dong Xiwen's class, he applied for the National College of Fine Arts with a junior high school diploma he had drawn. When examining sketches, he almost ate the steamed bread that was sent down as rubber. Because of his zero marks in mathematics, physics and chemistry, some examiners disagreed with his admission. At that time, Xu Beihong, the principal of American College, in order to persuade other examiners to accept Qian Shaowu, said to those examiners, "I can't do these math, physics and chemistry either." Xu Beihong was interested in Qian Shaowu's profound knowledge of Chinese traditional culture, outstanding sketch foundation and fluent English ability, so he was admitted and assigned to the sculpture department.

 

During his study with Mr. Beihong, he often taught him not to be confused by art skills. Once, Qian Shaowu saw a copperplate sketch of Manet. Manet's styling ability was very strong. Qian Shaowu was very interested in learning his brushwork and composition. After looking behind Qian Shaowu, Mr. Beihong said, "PetitTon". He was warning him not to learn these little things. This gave Qian Shaowu a tremendous shock and inspiration, and made him understand that learning art must see the essence of what is, "rhetoric to establish its sincerity", its most fundamental sincerity became Qian Shaowu later engaged in artistic creation of a basic method, all artistic skills, all really smart, really touching is true, is true. Sincerity. Skills are the second. Skills come from sincerity.

 

In the exhibition hall of the Central Academy of Fine Arts and the Tianjin Museum of Mass Art, he held exhibitions of personal calligraphy, painting and sculpture works. Graduation sculpture "Dalu Song" is collected by the Chinese Revolutionary Museum; "Du Fu Image" is collected by the Chinese Art Museum; "Jiangfeng Portrait" won the silver medal of the 6th National Art Exhibition and is collected by the Chinese Art Museum; "Li Dazhao Monument" was built in the Dazhao Park of Tangshan City, Hebei Province. His works include "Li Dazhao Memorial Statue", "Yandi Statue", "Li Qing Photo", "Huang Duan Statue", "Yan Kezi Statue", "Shijiazhuang Martyr Statue" and so on. He has published Sketches and Random Thoughts, Selected Sketches of Human Body, and has published dozens of papers such as "Appreciation Theory", "The Beauty of Sculpture" and "Preliminary Exploration of Henry Moore's Method".

 

classical poetry

 

Mr. Qian Shaowu, a poet, has profound attainments in Chinese classical poetry. Poetry nouns and phrases come out casually, and eloquence is quoted by others. His artistic creation is full of poetry as well as unique talent because of his profound literary connotations. Mr. Qian Shaowu has made statues for many poets and scholars. The portraits of these poets reflect Mr. Qian Shaowu's unique understanding of the poet's destiny, life experience, social background and poetry. He used all kinds of technical means, such as material, volume and shape, to express his understanding. All the characters he created showed unique spiritual connotation.

 

The bronze sculpture Du Fu Statue in 1980 is Qian Shaowu's first work after the end of the Cultural Revolution. The struggle and upward power shown by Du Fu and Dalu Song, as well as the artistic technique of emphasizing modelling, are obviously different. This shows a change in the author's feelings about life. After the "Cultural Revolution", when he went to read the works of the ancients again, he could feel the feeling of "Zhumen wine smells bad and the road is frozen to death". Du Fu's eyes were blank, wide-open, full of terror and melancholy expression, which was a kind of mentality of intellectuals in this situation, and to some extent, the author's own mentality. In 1986, he used stainless steel to erect a statue of Li Bai's monument, depicting the desperate Li Bai before committing suicide in a river. In 1986, he created the Monument of Mr. Wen Yiduo with red marble, which reminds people of Mr. Wen Yiduo's spirit of "red candle". The poem Zhang Ji's melancholy mood is fully expressed in Zhang Ji Fengqiao Night Boat, created in 1993; Cao Xueqin, depicted by many famous painters, is collected in the Grand View Garden of Beijing, but Mr. Qian Shaowu's sculpture in 1995 is different. A big stone in one entirety is blurred everywhere. Ambiguous, only a little tear in the eyes reveals the vicissitudes of life without tears. In 1999, Bing Xin Picture was created by Bing Xin, referring to a photograph of Bing Xin when he studied in the United States in his early years. The texture of Han Baiyu shows Bing Xin's elegant and elegant demeanor and pure and clean temperament.

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