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【评论】陈逸鸣:画为心境

2011-11-10 10:20:22 来源:《陈逸鸣画集》作者:范迪安
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  范迪安

  中国美协副主席

  中国美术馆馆长

  陈逸鸣先生在上海美术馆举办大型个展,美术界及同仁们都为他感到高兴。在中国当代画坛,他是为人所知的著名画家,同仁们从不同的渠道、在许多艺术活动以及媒体传播中都经常能看到他的行踪和作品,但是,由于他长期旅居海外,对他艺术的历程和艺术的全貌,大家还缺乏了解。他的胞兄是陈逸飞先生,他们兄弟俩一起成长,有许多共同的艺术经历,很多艺术活动他们也在一起参加。作为新中国以来具有代表性的艺术名家,陈逸飞的艺术成就已是众所周知,而相比而言,陈逸鸣则为人们了解得少一些,也可看出陈逸鸣先生的艺术行事

  是十分低调而踏实的,他为逸飞先生的活动作了许多支持,特别是在逸飞先生英年早逝之后,为整理和传播陈逸飞艺术做了大量工作,与此同时,他也以充沛的热情投入艺术创作,在艺术探索中不断地积累。这次他的画册出版,让我们看到了他在不同时期的足迹,也感受到他整体的艺术面貌。

  陈逸鸣艺术历程的最大特点是长期在不同的文化背景下穿梭探索。中国的改革开放为一代艺术家放开视域、与国际交流提供了新的契机,陈逸鸣属于国门打开之后最早走向世界的中国画家之一,在这个旅程中,他一方面怀着了解西方艺术文化的愿望,前往西方艺术的中心纽约访学求艺,补充新知,另一方面也带去自己初露风格的作品,开展交流,形成对话。这样的历程对于他来说是幸运的,因为他有机会直接获得广泛的借鉴与交流,但也是富有挑战性的,因为走向海外就意味着在中外文化的碰撞中生存与探索,这不是一般意义上的碰撞,而

  是思想观念、文化价值取向到形式语言表达全方位的碰撞。他在文化对接和艺术语境的转换中获得丰富的营养,既有困惑,又有兴奋和刺激,更有不断清醒和明确的文化意识与自我意识。在此过程中,他反省和思考了西方文化与本土的关联,在文化情感的归属上,他紧紧依靠母体文化的支持,用自己的作品赢得了西方画坛的关注,并且最终回到本土进行创作。因此,了解他的经历之后,我们看他的画就不仅只观其风格,而是能够体察到这一代艺术家的精神境遇和情感的旅程。

  陈逸鸣在年轻时代的学画之初,就显示了良好的艺术禀赋,早期的素描作品体现出他观察物象的敏锐和提炼形象的水平,尤其在塑造形象时追求朴素大方的品质。在色彩作品中,则可以看到他善于运用色调营构画面意境的能力。他出国后受到西方经典名家的启发,在造型上更加注重概括性与表现力,这一时期的素描变得更加注重感性,造型粗犷简约,在线条的运用和光影的渲染中透露出一种大家的手笔。值得注意的是,陈逸鸣在1980年代早期就开始尝试运用综合媒介进行创作和风景写生,一批作品画得自由舒放,用笔用色都淋漓尽致,这在当时是艺术观念革新和追求现代审美趣味的表现,也留下他超越传统和突破自我的印记。

  陈逸鸣幸运地得到了通过画廊走向西方艺术市场的机会,这使他的艺术较早进入国际收藏的视野,也获得传播的影响。在中国本土的艺术市场还远未建立、中国与国际的艺术交流渠道还远未拓宽的时代,他和一批中国艺术家受到西方艺术市场的关注和赞许,其意义不仅是商业的成功,也有文化上的建树,他们在赢得市场的同时,也为中国艺术特别是现代中国油画的国际交流赢得了荣誉。人们都知道,市场的成功不一定代表艺术上的优秀,但在成熟的西方艺术市场中,没有质量和个性的艺术也不可能赢得市场。陈逸鸣对此的认识是清醒的,他的艺术追求在于表现自己的感受,表达自己的情怀,在语言上不断接近心手相应的境界,完善自己的艺术世界。许多年来,他朝着这样的目标潜心探索,不急功近利,从他的作品中可以看到他沉潜的追求,稳定的方向和自然而然的风格变化,这种心境已化为画面中浓郁而沉着的色调、笔调和意境。这也就是他的个性的体现。

  经过多年的反复推敲,陈逸鸣的绘画自然而然地走向两个代表性的主题系列。其一可以称为“港湾系列”,这个系列使他的绘画在母题对象上与陈逸飞的“江南水乡”拉开了距离。他在一段时期内执著于描绘福建惠安地区的海湾景色,那些带有纯真和清新气质的渔民姑娘、开阔的海滩、柔和的波浪以及阳光下的海水,仿佛映照出一出出美丽动人的南国海洋家园的故事,也使陈逸鸣的现实主义风格绘画蒙上一层浪漫的想象。他既继承了现实主义风景的写实技法,又在对“外光”身临其境的体验下,贯注自己的情绪和对自然的陶醉,他笔下的“港湾”浮现出浓厚的生命机趣和空气质量感。在这一系列作品中,宁静的渔船和渔民的劳动姿影始终是绘画的主体,在情感上体现出他追求朴素、平静的生活取向,以开阔和疏朗的视域构筑其心灵的宁静居所,色彩和笔调都有很强的绘画性。他的另一个系列则是与陈逸飞相近的古装女性肖像,借用他的一幅作品《金丝鸟》的名称,这个系列可以称为“金丝鸟系列”,其观察点转向闺阁中的女子以及她们与周围环境的和谐美。如果说陈逸飞同样主题的作品表现的是女性的风华岁月,那么陈逸鸣则在这个系列中更在意她们孤芳自赏的倩影和情绪的微妙流露,在古典美的意境中注入了深切的人性关怀。此外,陈逸鸣比较巧妙地利用了人物所处的古典环境、院落居舍和服饰道具所营造的怀旧感,让人远离现实的纷乱,进入娴静的精神居所,在古典美的意境中注入深切的人性关怀。这两个系列,一个以风景为主,一个以人物为主,恰好构成两种关于自然生命的表达,也是他在本土文化和西方文化两个空间穿行的文化心境的自然体现,而他的油画风格也正是在他不断地从现实中抽离、在不断澄明自我心境的过程中得以建构和完善。

  陈逸鸣正处在艺术创造的盛期,他在深化自己艺术思考的同时继续拓宽油画的表现力,在近期的作品中,一种更加注重表现性的语言正在凸显出来,在人物的造型中注入了更为强烈的形式感,笔调和笔意也更加明确。衷心祝愿他的画展取得圆满成功!

  Chen Yi Ming: Paintings Demonstrate Mental State

  Fan Di An

  Deputy Chairman, China Artists Association

  Curator, National Art Museum of China

  It is with great pleasure in the art circle that Mr Chen Yi Ming will hold grand solo exhibition in Shanghai Art Museum. In China’s contemporary art circle, he is such a well-known artist that the artists or artistic enthusiasts are able to experience and appreciate his artworks through variant channels, many art events and media promotion. However, due to the fact that he has always been living abroad, most of us lack the knowledge of what his art experience and outlook are. He grows with his late elder brother, Chen Yi Fei who shared a good many common art experiences with him and both of them collectively attended many art events. As the most representative prestigious artist since the establishment of the People’s Republic of China, Chen Yi Fei’s art achievements are known to all, however, Chen Yi Ming comparatively remains less well-known to the public, and it can be concluded that Chen Yi Ming’s art practice and style remain low-profile and earnest. He has been offering many supports to the events of Chen Yi Fei featuring workingon collecting and promoting Chen Yi Fei’s artworks especially in the wake of his elder brother’s death. Meanwhile, Chen Yi Ming has continuously been engaged in art creation with great enthusiasm and accumulating experience with the art exploration. The publishing of his painting album shows us his art track in different periods and a whole picture of his art outlook.

  The most distinct feature of Chen Yi Ming’s art experience is presented by continuous exploration and trial against different cultural backgrounds for a long period. China’s reform and opening-up provided the artists of that era the new opportunities to broaden vision and interact with international art circle, among whom Chen Yi Ming was one of those Chinese artists that went outside to learn world art trend. In such an art journey, on one hand, he went abroad to New York, western art center, to learn advanced art knowledge as well as techniques with the strong desire for learning western art culture, on the other hand, he took his early artworks featuring distinct style, conducted mutual exchange and formed dialogue. Such experiences seemed fortunate for him, for he had unrivalled opportunities to directly obtain extensive reference and communication, however, they were also challenging as going abroad to experience world art meant the survival and exploration in the clash of Chinese and foreign cultures which wasn’t the clash in general sense, but the allround clash in ideal and belief, culture and value orientation and form language. He gained rich nutrition in cultural joint and the transformation of artistic context, which seemed puzzling, but exciting and stimulating, even presented continual awakening and exact cultural awareness and self-consciousness. In this course, he reflected on and thought over the correlation between western and local culture. Regarding the belonging of cultural sentiment, with the support of local culture, he obtained the attention of western art circle by means of his artworks and eventually returned to his homeland to go on with his art creation. Therefore, after gaining a basic knowledge of his experiences, what we can observe is not only his art style, but the spiritual mentality and emotional journey of the artists of his generation.

  Chen Yi Ming showed brilliant talent in art when he started to learn art creation, for his early sketch works presented his acuteness in observing objects and splendid level in abstracting image, especially pursuing simple quality while portraying image. His unparalleled capability of presenting artistic conception by means of utilizing color tone was demonstrated in his color paintings. Inspired by western classical artists after going abroad, he paid more attention to generality and expressiveness in modeling and the sketch works in this period were featured by more perception and rough, concise quality in modeling, presenting the skillful technique in terms of the utilization of lines and the application of shadows. Notably, it is in the early 1980s that Chen Yi Ming attempted to conduct creation and landscape sketch by utilizing synthetic medium, thus creating a variety of artworks with free and cozy style, whose strokes and colors were incisively and fully presented. At that time, such practice not only served as the innovation on artistic concept and demonstration of pursuing contemporary beauty, but left behind the signet of surmounting tradition and realizing self-breakthrough.Fortunately, Chen Yi Ming gained the opportunity to enter western art market through the channel of establishing partnership with overseas gallery, which enabled his artworks to enter international art collection circle early and realize positive promotion. In the era when China’s art market hadn’t been established and the channel of art exchange between China and international art circle hadn’t been broadened, the fact that he, together with a group of Chinese artists, was paid attention to and recognized by western art market didn’t simply mean the success in business, but the achievements in culture. As they obtained the market recognition, they also gained great honor for the international exchange between Chinese art, especially contemporary Chinese oil painting, and international art circle. It is known to all that the success in market doesn’t necessarily represent the excellence in art, nevertheless, in well-developed western art market, it is impossible to obtain market recognition without distinct and high-quality art. In terms of such fact, Chen Yi Ming has always been remaining conscious and his artistic pursuit focuses on expressing his own feelings, extending his real emotions, constantly approaching the state of ideal rapport as well as interaction between heart and hands and perfecting his art world. Over the decades,based on such goal, he has always been engaged in his art creation without seeking quick success or instant benefits, which can be presented as a style change of continual pursuit, stable direction and natural quality. Such mental state has been transformed to rich and steady color tone, writing style and artistic conception, which also serve as the demonstration of his personality.

  After repeated revision and deliberation for many years, Chen Yi Ming’s paintings have naturally gone into two representative theme series. One can be called ‘Harbor’ series which enables his paintings to differ from Chen Yi Fei’s ‘Jiangnan Water Town’ series in matrix object. He was dedicated to portraying the harbor scenery of Huian Region, Fujian Province in a specific period featuring the picture of pure and refreshing fishing girls, expansive beaches, gentle waves and sea water in the sun as if they make up a certain beautiful and vivid stories concerning the ocean hometown of southern country, all of which add romantic imagination to Chen Yi Ming’s paintings characterized by realism. He not only inherited the realistic painting technique of scenery, but also concentrated on his own emotion and eagerness for nature with the personal experience of surroundings, therefore the ‘harbor’ in his artworks presents energetic vitality and perfect air experience. In this painting series, peaceful fishing boats and the working posture of fishermen serve as the main part of the paintings, which emotionally shows his pursuit for simple and peaceful life, the intention to compose tranquil mental residence by means of expansive and cozy horizon, the color and writing style are definitely portrayed.

  Another of his series, similar to Chen Yi Fei’s female image in ancient costume, is called ‘Canary’ series whose focus transforms to the female in the boudoir and the harmony in their surroundings. While Chen Yi Fei’s artworks with the same theme present feminine elapsed years, in ‘Canary’ series Chen Yi Ming paid more attention to the beautiful images of those ladies who are indulged in selfadmiration and their subtle expression of emotion and injected in-depth humanity into the context of classical beauty. What’s more,Chen Yi Ming skillfully made use of the classical surroundings around the characters, courtyards and nostalgic feelings presented by costumes, which isolated humans from the chaos of the reality and led them to tranquil spiritual residence by injecting humanity into the context of classical beauty. Regarding these two series, one focuses on landscape while the other highlights human figure, both of which coincidentally constitute two types of expression concerning natural life as well as a certain natural expression of his mental state with the continual experience of oriental and western culture. In particular, the style of his oil paintings is established and improved in the course of constant isolation from reality and clarifying self-mental state.

  Chen Yi Ming is at the peak of his art creation, and he is continuing furthering the expressiveness of oil painting while deeply conceiving his art creation. In his latest artworks, a type of form language more highlighting expressiveness is being presented and more attention are being paid to the formation of character modeling with more explicit writing style and conception. I sincerely wish his solo exhibition every success!

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