白云鄉(xiāng)：納群山于胸懷，灑巍然之筆墨 |
| 時(shí)間：2024-05-28 09:02:56 來(lái)源：邯鄲文化網(wǎng) 作者：苗君 瀏覽：
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白云鄉(xiāng)者，河北館陶人也，生于丙申(1956年)，卒業(yè)于壬戌河北師范美術(shù)，留校任教，今為美術(shù)研究所所長(zhǎng)，教授碩士生，享國(guó)務(wù)院特殊津貼。
Bai Yunxiang, a native of Guantao, Hebei, was born in the year of Bing Shen (1956). He graduated from Hebei Normal University's Art Department in the year of Ren Xu, stayed on to teach, and is now the director of the Art Research Institute, a professor, and a master's tutor. He enjoys a special allowance from the State Council.
白君之山水畫，脫古出新，妙于實(shí)驗(yàn)，離陳出新，粗筆焦墨，橫拖直拽，淺褐淺綠，水墨渲染，渾厚自然，胸中磅礴丘壑盡現(xiàn)。采眾家之長(zhǎng)，成一己之體，風(fēng)格獨(dú)具。其筆力遒勁，墨色節(jié)制，線條巧配，淡雅之彩點(diǎn)綴其中，筆墨輝映。白君好滿構(gòu)圖，畫面飽滿，以精力描山石之體面，展其裂痕縫隙，訴山石之滄桑，書民族之遭遇。山石堅(jiān)實(shí)，山氣流動(dòng)，白云飄蕩，樹木挺立，偶有居人，此皆生氣充盈之景，乃民族生生不息之所棲也。如是山水，畫中之丘壑，千古胸臆之寫照;筆墨之間，古今精華之傳承。白云鄉(xiāng)者，誠(chéng)藝壇奇才也。
白云鄉(xiāng)者，棲于太行之麓，所繪多寫此山。其畫風(fēng)厚重沉郁，平實(shí)雄渾。業(yè)界謂其畫，深受五代關(guān)仝、北宋范寬之風(fēng)。荊浩，水墨畫理之開山，白君亦受其理論之陶。白云鄉(xiāng)于大學(xué)肄業(yè)時(shí)，研荊浩《筆法記》，其中“求真說(shuō)”與“六要論”，簡(jiǎn)述山水“形”“質(zhì)”“神”“氣”之奧理。初學(xué)之際，白君專注筆墨，先求物象之形質(zhì)，后究神氣之妙出。師李明久，風(fēng)華正茂，示范古法，融入新意，白云鄉(xiāng)由是得悟“筆墨當(dāng)隨時(shí)代”之旨，遂立志終身履行水墨山水之道。
白云鄉(xiāng)于卒業(yè)之年，筆墨已臻大成，遂敢參展全國(guó)，所作《銅墻鐵壁》《太行壯歌》皆入選并獲殊榮，因而自信益增。每歲攜門生寫生太行，云鄉(xiāng)于斯山之識(shí)益深，然對(duì)己作之狀愈不滿。嘗試諸技，終日長(zhǎng)吁，思何以畫語(yǔ)達(dá)胸中淤積之情。思慮再三，復(fù)從荊浩之理汲其精髓，遂于筆墨之間，創(chuàng)一新境。
Bai's landscape paintings are innovative and experimental, breaking away from traditional patterns. He uses coarse brushes and scorched ink, dragging horizontally and vertically, blending light brown and green with ink washes to create a thick, natural look, revealing the grandeur of his inner landscape. He draws on the strengths of various schools to create his own unique style. His brushwork is vigorous, ink colors are restrained, lines are skillfully matched, and light colors embellish the work, making the ink shine. Bai favors full compositions, filling the canvas with energy, depicting the body and surface of the mountains, revealing their cracks and fissures, narrating their ancient history, and recording the fate of the nation. Solid mountains, flowing mountain air, drifting clouds, and standing trees, occasionally with dwellings, present a lively scene, the habitat of a thriving nation. Such landscapes, with their depicted hills and valleys, reflect the eternal heart of humanity; the brush and ink carry the essence of ancient and modern wisdom. Bai Yunxiang is truly a remarkable talent in the art world.
Bai Yunxiang resides at the foot of the Taihang Mountains, often painting this very range. His style is heavy, somber, simple, and majestic. The art community believes his work is greatly influenced by Guan Tong of the Five Dynasties and Fan Kuan of the Northern Song. Jing Hao, a pioneer of ink painting theory, also significantly impacted Bai's work. During his university years, Bai studied Jing Hao's "Notes on Brushwork," which outlines the principles of "truth-seeking" and the "six essentials," explaining the essence of shape, quality, spirit, and energy in landscapes. In his early studies, Bai focused on mastering brush and ink, first grasping the shape and quality of objects, then exploring the subtleties of spirit and energy. His teacher, Li Mingjiu, a young and talented artist, demonstrated traditional techniques infused with modern ideas. Through this, Bai realized the principle of "brush and ink should follow the times," dedicating himself to the lifelong pursuit of ink landscapes.
Upon graduation, Bai Yunxiang had already mastered brush and ink techniques and boldly participated in national exhibitions. His works "Copper Walls and Iron Walls" and "The Heroic Song of Taihang" were selected and awarded, greatly boosting his confidence. Annually, he led students to sketch in the Taihang Mountains, deepening his understanding of the range but growing increasingly dissatisfied with his creations. He experimented with various techniques, often sighing, pondering how to express the accumulated feelings within his heart through painting. After much contemplation, he drew inspiration from Jing Hao's theories, making significant breakthroughs in his brush and ink techniques.
白云鄉(xiāng)好滿幅構(gòu)圖，筆墨之妙，勾、皴、擦、染、點(diǎn)并施。用筆或中鋒，或側(cè)鋒，或拖，或逆，色破墨，墨破色，色墨交融，筆墨合一。惜墨如金，幾無(wú)虛耗，墨多則多用，墨少則少施，落筆無(wú)敗。一筆之下，山石之形體、虛實(shí)、線條、筆觸，墨色之干濕濃淡，皆在協(xié)調(diào)對(duì)比之中。構(gòu)圖罕有預(yù)設(shè)，唯物象熟稔于心，落筆如山崩，隨機(jī)而發(fā)，筆筆生輝。
秋季太行，動(dòng)白云鄉(xiāng)心。山巖嵯峨，林染猩黃，水寒山瘦，秋風(fēng)颯然。云鄉(xiāng)以新視觀大山，頂峰黑巖直上，指天為界;長(zhǎng)坡衰草披披，風(fēng)動(dòng)如織。曠野之風(fēng)，掠草梢而過，或如萬(wàn)馬奔騰，或如細(xì)絲抽縷。云鄉(xiāng)感歲月回響，歷史長(zhǎng)音，若洪波激蕩于心。秋日長(zhǎng)坡，較之峭拔高山，少險(xiǎn)峻，多厚實(shí)，空靈而恬靜。其景攝人心魄，內(nèi)蘊(yùn)張力，令人神往。
白云鄉(xiāng)妙創(chuàng)筆墨，獨(dú)具一格，意減線之成分，破勾皴之界，側(cè)鋒積墨，重疊反復(fù)，直至蒼茫深郁。其致力團(tuán)塊之感，體積之勢(shì)，務(wù)求山石之肌理與面貌畢現(xiàn)。白君之筆墨，雖含現(xiàn)代之意，然傳統(tǒng)淵源深厚。其藝踐行，詮釋石濤“筆墨當(dāng)隨時(shí)代”之旨，成繁簡(jiǎn)中之統(tǒng)一，跌宕中之均衡，起伏中之渾然，變化中之大和。此和諧，乃東方文化之精髓也。
Bai Yunxiang prefers full compositions, skillfully integrating outlining, texture strokes, rubbing, washing, and dotting. He uses the brush in various ways—center, side, dragging, and reverse—creating harmony between color and ink, with each enhancing the other. He is economical with ink, rarely washing his brush, making the most of the ink on it, avoiding wasted strokes. Each stroke captures the structure, form, light and shadow, lines, and brushwork of the mountains, with the ink's dryness and wetness, density, and lightness all perfectly balanced. He rarely plans compositions beforehand, relying on his deep understanding of the subjects to guide his spontaneous and powerful brushwork.
The autumnal Taihang Mountains moved Bai Yunxiang deeply. The rugged rocks, the crimson and yellow forests, the cold waters, and the lean mountains, with the autumn wind rustling, provided a fresh perspective. The black rocks at the mountain tops pointed to the sky, and the long slopes were covered with withered grass. The wild wind swept over the grass tips, sometimes like a thousand galloping horses, sometimes as fine as drawn silk. Bai felt the echoes of history and the timeless resonance, like mighty waves stirring his heart. Compared to the steep peaks, the autumn slopes, though less dramatic, were more substantial, serene, and peaceful, conveying a profound stillness and inner strength.
Bai Yunxiang innovatively developed a unique brush and ink language, consciously reducing the use of lines, breaking the boundaries of outlines and texture strokes, using side brushes and layered ink to achieve a deep, rich effect. He focused on the sense of mass and volume, faithfully representing the surface texture and form of the mountains. While his brush and ink language has a modern sensibility, it is deeply rooted in tradition. His artistic practice gives a contemporary interpretation to Shi Tao's principle that "brush and ink should follow the times," achieving unity in complexity, balance in movement, and harmony in variation. This harmony embodies the essence of Eastern culture.
責(zé)任編輯：苗君
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