中华艺术人物何家英「中国最具影响力艺术家」

互联网 2023-02-28 14:54:25

今天神州网小怡分享中华艺术人物何家英「中国最具影响力艺术家」一文，希望对您有帮助。

何家英入选全球当代最具影响力艺术家

He Jiaying was selected as the most influential contemporary artist in the world

何家英，1957年出生于天津，自幼喜爱画画，1977年考入天津美术学院绘画系学习国画，1980年毕业后留校任教。曾任第九、第十、第十一届全国政协委员;现任中国美协副主席、当代工笔画协会副会长、中国艺术研究院博士生导师、工笔画研究院院长。曾获国家“有突出贡献的中青年专家”、中国文联“德艺双馨文艺工作者”、中宣部“四个一批”文艺人才等荣誉。擅长当代工笔人物画创作。代表作品有《山地》、《十九秋》、《米脂的婆姨》、《酸葡萄》、《魂系马嵬》、《秋冥》、《朝*露*桑》、《舞之憩》、《杨开慧》等。

He Jiaying, born in Tianjin in 1957, loved painting since childhood. In 1977, he was admitted to the painting department of Tianjin Academy of fine arts to study traditional Chinese painting. After graduating in 1980, he stayed in school to teach. He was a member of the 9th, 10th and 11th CPPCC National Committee; He is currently the vice president of China Artists Association, the vice president of Contemporary Meticulous Painting Association, the doctoral supervisor of China Academy of art and the president of Meticulous Painting Research Institute. He has won the honors of "young and middle-aged experts with outstanding contributions" of the state, the "literary and artistic workers with both virtue and art" of the China Federation of literary and art circles, and the "four groups" of literary and artistic talents of the Central Propaganda Department. Good at Contemporary Meticulous figure painting creation. Representative works include mountain, the 19th autumn, Mizhi's aunt, sour grapes, soul Mawei, Qiuming, morning dew mulberry, dance rest, Yang Kaihui, etc.

十九秋 110x170cm 绢本设色 1984年

Autumn 19 110x170cm color on silk 1984

论及当代中国美术，就无法绕开何家英这个名字，这已是美术界的共识。工笔画艺术是中国绘画早期的主流形式，达到了中国绘画的巅峰。自唐宋到新中国，历经千年的进阶，而何家英正是当下这个“时代阶梯”的前足者。无论是从工笔画，还是写意画，何家英都有着重要的历史意义——他既对中国艺术的大传统就行了回归性的本质认识和总结，又完成了中国画从古典形态向现代形态的转型，以独特的建树引导了具有中国方式的现代化演变。他的人物画创作，已成为了中国工笔画的典型范式与重要代表。

When it comes to contemporary Chinese art, we can't bypass the name he Jiaying, which is the consensus of the art circle. Meticulous painting art is the mainstream form of Chinese painting in the early stage, reaching the peak of Chinese painting. From the Tang and Song Dynasties to new China, it has gone through thousands of years of advancement, and he Jiaying is the forerunner of this "ladder of the times". Whether from fine brushwork or freehand brushwork, he Jiaying has important historical significance - he not only has a regressive understanding and summary of the great tradition of Chinese art, but also completed the transformation of Chinese painting from classical form to modern form, and guided the modern evolution of Chinese way with his unique achievements. His figure painting creation has become a typical paradigm and important representative of Chinese meticulous painting.

米脂的婆姨 230x80cm 绢本设色 1985年

Aunt of rice Fat 230x80cm Color on Silk 1985

他透过中西方绘画表象的对立，而注重于绘画本质，发现了中西方绘画语言的共通原理与根本规律，使两者融合成为了一种浑然天成的自然状态，自由地运用其中所长，并立足于中国画的本体语言，对中国画的现代性展开了创造性的构建，使传统工笔绘画焕发出了新的生机，也在国际上得到了广泛关注。因此，何家英的艺术创作，是融“工笔”之精微、贯“水墨”之疏朗，兼写实与意象、凝厚与清雅，呈现了诗性、真切、悠远的情怀——精微处毫发毕现，疏朗处墨趣横生。何家英深谙中国文化特有的“诗性语言”，以天赋的敏锐才资，在绘画中注入了深厚的人文情怀，不仅摒弃了所谓传统写意画的文人习气，更超越了当下“现实主义”的束缚。

Through the opposition between the appearance of Chinese and Western painting, he paid attention to the essence of painting, found the common principles and fundamental laws of Chinese and Western painting language, integrated them into a natural state, freely used their strengths, and based on the original language of Chinese painting, launched a creative construction of the Modernity of Chinese painting, which made the traditional meticulous painting glow with new vitality, It has also received extensive international attention. Therefore, he Jiaying's artistic creation is a combination of the subtlety of "fine brushwork" and the sparseness of "ink painting", as well as realism and image, condensing thickness and elegance, presenting a poetic, true and distant feeling - the subtlety can be seen without a hair, and the sparseness of ink is full of interest. He Jiaying is well versed in the unique "poetic language" of Chinese culture. With her talent and keen talent, he has injected deep humanistic feelings into her painting. She has not only abandoned the so-called literati habit of traditional freehand painting, but also transcended the constraints of current "realism".