中国著名书画家-刘燕凌

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【名家简介】

刘燕凌,号大愚,了痛居士,凹凸斋主。本科学历。国家一级美术师;安徽省文史馆研究员;安徽医科大学医学美学研究所研究员;安徽省新华学院客座教授;安徽省美术家协会会员;安徽省书法家协会会员。现为中国艺术家学会理事;安徽省中国画学会理事;安徽省工商联企业家与艺术家联谊会副主席;安徽省李鸿章研究会副会长;安徽省萧龙士艺术研究会副会长;安徽省绿色书画院副院长。师承黄永厚、郭公达。主攻人物、山水,尤以戏剧人物见长。

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Liu Yanling (also known as Dayu, Ermito of Liaotong, and Chief of Brigands Aotu) is a National Class-A artist. He holds a Bachelor’s degree and is a researcher at the Anhui Research Institute of Culture and History as well as the Institute of Medical Aesthetics at Anhui Medical University. He is a visiting professor at Anhui Xinhua University, a member of Anhui Artists Association, and a member of the Calligraphers Association. He currently sits on the board of directors of the China Artists Association and the Anhui Chinese Painting Artists Association. He is also vice-chairman of Anhui Entrepreneurs and Artists Association of the Federation of Industry and Commerce, director of Anhui Li Hongzhang Research Institute, vice-director of Anhui Xiao Longshi Art Research Institute, and vice-president of Anhui Green Calligraphy and Painting Academy. He apprenticed with Huang Yonghou and Guo Gongda. He specializes in figures and landscape painting, and is particularly known for opera figures.

中国书画艺术家-刘燕凌6

描写绿林豪杰窦尔敦因与黄三太比武,被黄暗器打伤,一怒出走,在口外连环套落草。后访知太尉梁九公奉旨出口,行围射猎,骑有御赐骏马。窦亱入清营,盗马回山。黄三太之子黄天霸奉旨寻拿盗马之人,天霸以拜山为名,面见窦尔敦,探出了御马下落后,故意激怒窦尔敦至山下比武,诓使窦献出御马,自墜牢笼。此图正是黄天霸以拜山名,激怒窦尔敦,牵出御马一幕。

中国书画艺术家-刘燕凌7

叙述宋岳飞与金兀术会战於朱仙镇,兀术兵败,调取他的养子陆文龙前来助战,文龙善用双枪,连败宋军善使双锤的岳云等四员猛将。岳飞参将王佐知道陆文龙原是潞安州节度使陆登之子,乃献计诈降,自断左臂假降兀术,乘机会到陆文龙的乳娘,借说书为喻,打动陆文龙,陆觉醒后反攻金兵,重回故国。此图正是岳飞、岳云、严成方、何元庆、狄雷,大战陆文龙一幕。

中国书画艺术家-刘燕凌8

描写刘备用诸葛亮之计,火烧新野,大败曹兵后,曹操大怒,率领几十万人马进攻刘备;徐庶假意向曹操讨令前去劝降,与诸葛亮相见,暗告曹兵势大,劝刘备出走。此图正是徐庶见刘备,劝他出走的一幕。

传统文化“经典国粹”的弘扬路径

——观著名画家刘燕凌先生作品

事先看过著名画家刘燕凌先生作品的人们,大概都会有先入为主的印象,认为这些趣味十足的作品,其作者应该也是比较随意嘻哈的人吧。但是见过之后,却发现先前的想法是错着的,因为刘燕凌先生边幅严谨,言语严谨,做事严谨,是一个荣身而益世君子!毫无嘻哈状态。面对这样的反差,有一句描述他艺术功德的句子,发自内心的想表达出来——传统文化“经典国粹”的弘扬者!

中国书画艺术家-刘燕凌9

刘燕凌作品赏析

传统文化的精华太多,戏曲是其中的国粹。但是国粹归国粹,真正拿国粹当出戏的当代人士可能并不是非常多,国粹在国内被冷遇,在国际近乎是冰封的状态。是什么原因让国粹不能璀璨?这是画家刘燕凌先生的文化深思。经由思考答案有了:戏剧与当代人至少有50年的精神隔膜,与当代审美有巨大的代沟。只有把隔膜给破掉,把代沟给填平,让国粹从古旧的文化堆里洗脱出来,用新的艺术语言为国粹做一个时尚的包装,让当代人先看着非常新颖,然后想去亲近,也就理解了戏剧,珍爱上传统文化!

中国书画艺术家-刘燕凌10

刘燕凌作品赏析

于是他用超前的思路,来创作传统的京剧作品,弘扬国艺文化!他的想法,不仅仅是要消除当代中国人与戏剧的代沟和精神隔膜,一不做二不休,连外国人也带入进来,把外国人对国粹文化的理解盲区也给照亮了,创作既让中国人喜欢的戏剧人物画,同时这些戏剧人物画也要成为外国人能读懂的国际艺术符合!为了弘扬传统文化,他也是用尽心思,目标够宏大。

为了实现这个目标,他的作品又与国际主义绑在了一起,经过融合构思,实践与修正,最终把戏曲舞台人物费尽心思的创作出来,并且配带释文,让观者更明白其剧中表达的意思!如果看国际漫画比较多的人们,看过他的戏剧人物画,保证立马感觉新切!喜欢得不得了。于是他的舞台戏剧人物作品就火了。别的不说,就《梁山三女杰》这一幅作品,就可以成为弘扬传统文化的标志性作品之一,是代表作也是杰作。

他画里的人物形象完全是东方式的国际范,这得动不少脑筋,才会有这种文化融合的成果!他用中国的水墨色彩,把三个女人画成了一台代言戏剧文化的大戏!先抓住了人们的眼球,再是触动了人们内心,越看越有意思,这太有意思了,引不住就去看他的其他戏剧人的作品,这种东方文化的饵料做得太精致!太有诱惑力。

中国书画艺术家-刘燕凌11

刘燕凌作品赏析

刘燕凌先生用自己的经典作品,弘扬传统国粹文化的路径选对了,并且走得相当有震撼力,让他在文化界拥有了功名闻达的影响力。这种影响力的价值在于:我们不缺少富有魅力的传统文化,只是我们需要像刘燕凌这样,用智慧和实力为传统文化在国际舞台发光发亮,找到出彩的通道!他找到了,并且还影响了许多人的文化思维方式。

与其说他是一位画家,不如说他是一位文化活动家。但是还得返回来说,他的确是一位专业功夫相当精湛的画家,山水、花鸟作得亦好,浓墨重彩浑厚华滋,传统技法相当娴熟,还介入了油画的光影效果和透视法度,空间感和体积感与旧样式的中国画绝对是两种面目,也被嵌入了可以在国际艺术空间引人仰观的国际范儿。让人物、花鸟、山水都走国际路线,所以他及他的作品,都摆脱了旧文人画的小雅束缚,挣脱了枷索,实现了涅槃——中国画百年未见之大变局,正从他的腕下揭开风起云涌的征程,一场传统文化弘扬于国际的大戏已经上演!

著名书画评论家 林智贤

中国书画艺术家-刘燕凌13


刘燕凌作品赏析

中国书画艺术家-刘燕凌14


刘燕凌作品赏析

中国书画艺术家-刘燕凌15

刘燕凌作品赏析

中国书画艺术家-刘燕凌16


刘燕凌作品赏析

中国书画艺术家-刘燕凌17


刘燕凌作品赏析

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《易》
刘燕凌作品赏析

Promoting the “Quintessence” of Traditional Culture: Comments on Famous Painter Liu Yanling’s Works

Those who have seen Liu Yanling’s works may have a first impression that the artist is not a very serious person. However, the first impression is wrong. He turns out to be a well-groomed, polite, and industrious person. He is a real gentleman. This contrast makes me want to use a phrase to describe his artistic achievement—a promotor of the quintessence of traditional culture!

There are a lot of quintessential elements in Chinese traditional culture. Chinese opera is one of them. However, few contemporary Chinese people take quintessential national culture seriously. Domestically, it gets short shrift. Internationally, it’s nearly frozen. What prevents traditional Chinese culture from shining? This is a question that has preoccupied the painter Liu Yanling. He found the answer after deep reflection: the opera has been estranged from contemporary Chinese people’s minds for at least 50 years, and there’s a huge gap between the opera and the contemporary aesthetic. Therefore, to break the estrangement, to bridge the gap, we have to release national culture from archaic culture, use a new art language to present it in a trendy way, and give a refreshing surprise to contemporary Chinese people that will make them want to approach it, know about it and hence fall in love with traditional culture.

So, he uses a proactive approach to revisit the traditional Beijing Opera and to promote Chinese artistic culture. His idea is not only to remove the gap and spiritual estrangement between contemporary Chinese people and the opera, but also to inspire foreigners, to illuminate their blind spots in the understanding of Chinese national culture. In other words, he wants to create paintings of opera figures that appeal to the Chinese and that can be understood by foreigners at the same time. With this ambition in mind, he has taken great pains to promote traditional culture.

To achieve this goal, his works take an internationalist approach. By integrating different ideas, they eventually deliver what the opera figures painstakingly present after experimentations and revisions. Admirers of his works can understand the meaning of the play thanks to the translation provided. International comic art fans will immediately find affinity in his opera figure paintings and love them. That’s why his opera figure works have been a hit. The Three Heroines in Liang Shan, for example, can be an iconic work that promotes traditional culture. Not only iconic, it is also a masterpiece.

The figures in his paintings are of international style with an oriental touch. Great pains have been taken to achieve this cultural fusion. He uses Chinese ink and wash to depict three women as if they represent the opera culture. As soon as they catch your eye, they hit a nerve. The more you admire it, the more interesting you’ll find it, and the more you’ll be drawn to check out his other works. The attraction of oriental culture is so delicate and thus so seductive.

Liu Yanling has found a compelling way to use his classic works to promote traditional culture, which makes him a significant influencer in the cultural sphere. His influence has great value; we don't lack appealing traditional culture, but we need artists like Liu Yanling who use intelligence and talent to find a way for our traditional culture to shine in the international arena. He has found it and influenced many people’s way of thinking about culture.

He is a cultural activist and not just a painter—although he is indeed a skilled painter. In landscape or flower-and-bird painting, his colourful strokes make a masterly application of traditional techniques, complemented by light and shade effects as well as perspective inspired by oil painting. The sense of depth he has created is distinct from old-style Chinese painting. An admirable international touch is also embedded in his works. By making characters, birds and flowers, and landscapes international, he and his works do away with traditional delicacy, break the rules and attain rebirth. Changes that we have not seen for a century in Chinese traditional painting are coming alive under his brush. The world is now tuning in to the beautiful opera that is

traditional Chinese culture.
Lin Zhixian, renowned Chinese painting and calligraphy critic