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  • 走向国际的华人艺术家——汪天寿!

    发布时间: 2020-11-03 23:32首页:主页 > 国内 > 阅读()

    为推进世界各国文化艺术的交流与多元发展,践行中国政府“一带一路”的倡议,诚邀来自世界各国的众多艺术家,旨在弘扬中华民族优秀的文化艺术与世界各国的优秀文化艺术,为当代优秀艺术家与艺术爱好者以及世界各国的艺术机构架起一座沟通的友谊桥梁,现特邀华人艺术家汪天寿先生为广大读者献上一部辉煌的艺术盛典。

    汪天寿字白云。共产党员。重庆市木耳镇人氏。出生于1940年3月7日。1969年毕业于四川大学电机工程系(原成都工学院)。1969年至71年在邛崃7854军垦农场劳动;1971年至1978年在武胜县农机厂工作。当过铸工、车工、钳工、锻工、机修工、电工,技术员。1978年至1983年在南充市电机厂工作,任设备科长、工程师、科研室主任。1983年调南充市顺庆区交通局工作,任总工程师、副局长。作者2000年退休后开始作画休闲。现为南充市美术家协会会员,中国国际书画艺术研究院终身书画家,教科文(中国)国际书画学会会员。中国高级书画家协会终身会员,中国国际艺术家协会顾问,中华文化研究院院士,全国名人书画艺术界联合会委员,中国炎皇艺术协会会员。中国国际现代艺术研究中心高级书画研究员,中国诗联书画院副院长兼书画专业特级研究员。中国名家画院院长。

    Wang Tianshou is a white cloud. communist. People's family in Muer Town, Chongqing. Born on March 7, 1940. He graduated from the Department of electrical engineering of Sichuan University (former Chengdu Institute of Technology) in 1969. From 1969 to 71, he worked in Qionglai 7854 military reclamation farm; from 1971 to 1978, he worked in wusheng agricultural machinery factory. Worked as a foundry, Turner, fitter, forge, mechanic, electrician, technician. From 1978 to 1983, he worked in Nanchong electric machinery factory as equipment section chief, engineer and director of scientific research office. In 1983, he was transferred to the Transportation Bureau of Shunqing District of Nanchong City as chief engineer and deputy director. After retiring in 2000, the author began painting for leisure. He is now a member of Nanchong Artists Association, a lifelong calligrapher and painter of China International Academy of calligraphy and painting, and a member of UNESCO (China) International Painting and Calligraphy Association. He is a lifelong member of China Senior calligraphers and Painters Association, a consultant of China International Artists Association, an academician of the Chinese Academy of culture, a member of the National Federation of famous calligraphers and painters, and a member of China Yanhuang Art Association. He is a senior researcher in calligraphy and painting of China International Modern Art Research Center, vice president of the painting and Calligraphy Academy of China Poetry Federation and a special researcher of calligraphy and painting. President of the Chinese Painting Academy.

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    作品入编《光辉历程》、《丰碑-艺术49-09》、《名家名作》、《和谐中华》、《书画英杰》、《世纪风》、《中国美术30年》、《中华名流》、《艺术人生》,《中国辉煌》、《中华英才》、《中国报道文化专刊》、《人一生要知道的中国艺术家》、《中国书画大辞典》、《中国当代艺术收藏指南》、《当代国粹名家》、《走近艺术大师》《民族魂》《中国文艺四十年》,《大中华颂》,《传承与超跃-当代艺坛典范人物》,《国际华人杰出艺术家》,《2015感动中国艺术人物》,《传世诗词三百首》,等书藉。个人作品选集入编《中华传世名家系列专集》《中国最具魅力艺术家专刊》丛书。

    His works have been included in brilliant journey, monument art 49-09, masterpieces, harmonious China, outstanding calligraphers and painters, century wind, 30 years of Chinese fine arts, Chinese celebrities and artistic life, "China's brilliance", "Chinese talents", "special issue of China's report on culture", "Chinese artists to know in one's life", "dictionary of Chinese calligraphy and painting", "collection guide of contemporary Chinese art", "contemporary Chinese quintessence masters", "approaching art masters", "national soul", "40 years of Chinese literature and art", "Ode to the Great China", "inheritance and Transcendence - model figures in Contemporary Art Circles", etc, "International outstanding Chinese artists", "2015 moving Chinese art figures", "300 poems handed down", etc. Selected works of his own have been included in the series of monographs of Chinese famous artists handed down from generation to generation and special issue of China's most charming artists.

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    【天地山水】

    作者:汪天寿(原创)

    余60岁退休,以一生经历为资,写小说《平凡人生》以休闲。在电脑上学王码五笔,两年打字学会,小说也写了近百万字,于是在起点网上试发。上传到第十三回,传不上去了,显示“有非法字符”。可它又不指示那些字符是非法字符,修改困难。烦而不能畅神,乃弃之。转思作山水画休闲。于是遍搜古今山水画论画法读之。

    前贤山水画立论可师者,如宗炳的《山水画序》、荆浩的《笔法记》、王维的《山水决》、《山水论》,韩掘的《山水纯全集》、方薰的《静山居画论》、郑绩的《梦幻居画学简明》、董其昌的《画禅室随笔》、石涛的《画语录》等等,可以说是致广大尽精微了。立论之不偏不倚,画法明细可摸,颇便于学。。可是我们读了还是不会作画,何也?手艺也。手艺这东西,要么师承,要么自,均要时日。自需要有自己的方法。当我们老退才来作画,已有读万卷书行万里路之经历,气韵有资。而形象思维差,即“心中无画”。我们又没有时间和兴趣临摩古人来慢慢建立形象思维。如石涛的“一笔法”,固合于道之“一生二,二生三,三生万物”,但我们画上一笔,却不知二笔怎么画!

    于是我们想找一种方法,来弥补形象思维的不足。前人有郭恕洗绢留迹,张大千泼墨泼彩之法,皆为助形象思维之法。又山水画之法,以法自然为上。余于前人至而不到之处,寻得一法,乃命名为“泼笔画法”,其法法自然之造化,故名曰“天地山水”。

    天地山水者,法天地之造化,仿山川之形胜,造山水于纸上也。不是写生,也不是写尽群山打草稿,我们已没有时间和机会去写。是效法大自然造山水的方法。

    于是我们先来看看大自然是怎样造山水的:大自然“造山水”,非是“有意”的,而是“随意”的,“布郎式”的。想那混沌初开,一滴熔浆卷夹水气,翻滚澎湃,乌烟瘴气,循道旋转。途溶异滴若干,混夹裹持,无以名状。久之,气浆渐分,浆表凝壳,七孔而八窍,随红波而浮沉。又久之,方分天地。水气凝而尘埃混,沉降于沟壑,是为“尘封”。又久之,水澄而泥结,地窍如宫,日精月华,乃孕万物。又久之,天清而地浊,万物乃生。而又陨星频临,数瓜分而重组。于是天倾西北,地不满东南,山河江海初定。又频发地震,山崩而地裂,浆喷而乱凝。地窍频变,异峰突起,移山而倒海。又久之,方定。如此之造作,有谁事先而意定?正因其随意,故江山多娇,千姿百态。张大千悟此,作法泼墨泼彩,岂不‘随意’?大千泼墨泼彩,自成一格,却不曾‘泼笔’。于是余定法于‘泼笔’。又可谓之泼笔画。张大千泼墨泼彩,未曾泼笔,故曰前人至而未到。

    “泼笔”之法:用大斗笔,至颓,至岐。于是心运,定笔意,决画意,索欲成之状。默契造化,与道同机。握管而潜万象,挥毫而扫千里,虽闭目,亦无妨,倾刻而就。兴来为之,兴尽可成数十帖。

    继而于心平气和之际,静坐画室,身若无人之境,心处八荒之中,于是将画稿张挂于墙,对坐静观其态。取细笔追求江山之形胜。此两法,自由度大,频率高。开始会肘腕酸痛,笔重颤抖,不听使唤。坚持十年八年,则无肘无腕,无笔无墨,意到笔到,挥洒自如,随心所欲。唯有此时,才会真的感受到宗炳所说的作山水画:“余复何为哉,畅神而已。神之所畅,熟有先焉”。

    山水以形媚道,仁者乐山,智者乐水。故后之善事,应全依古人法则。继而可按王维之《画决》:坐观其态,观气象,辨清浊。定宾主之朝揖,列群峰之威仪。

    有路处则林木,岸绝处则古渡,水断处则烟树,水阔处则征帆,林密处居舍。临岩古木,根断而缠藤;临流石岸,欹奇而水痕。东西南北,宛尔目前;春夏秋冬,生于笔下。初铺水际,忌为浮泛之山;次布路歧,莫作连绵之道。主峰最宜高耸,客山须是奔趋。

    村庄著数树以成林,枝须抱体;山崖合一水而瀑泻,泉不乱流。渡口只宜寂寂,人行须是疏疏。泛舟楫之桥梁,且宜高耸;著渔人之钓艇,低乃无妨。悬崖险峻之间,好安怪木;峭壁巉岩之处,莫可通途。远岫与云容交接,遥天共水色交光。

    路接危时,栈道可安于此。平地楼台,偏宜高柳映人家;名山寺观,雅称奇杉衬楼阁。手亲笔砚之馀,有时游戏三昧。岁月遥永,颇探幽微。如此者,古意幽然。

    林幽处,可修别墅,远山间,时现高楼。渡口处,桥已架通,平湖上,飞行客轮。桥梁下,时见快艇,林泉边,多是游船。但见深山藏古寺,唯有佳景游人多。画者,文化也。宜有时代的记录,与时而俱进。

    当此之时,身在其中,心在其中,意在其中,游山玩水在其中,神之所畅在其中。无笔无墨,随心所欲,随意而为。是则山川之秀,世界上虽然没有这个地方,看是却觉真有这个地方,可视,可游,可居。合天地之造化,全文化之宗旨,故可为一法,自谓之“泼笔画法”,其形如自然山水,故称“天地山水”画。

    山水画有法,无定法。无难易,无多寡。嘉陵山水,李思训期月而成,吴道子一夕而就,同臻其妙,不以难易别也。李范笔墨稠密,王米笔墨疏落,各极其趣,不以多寡论也。画法之妙,人各意会而造其境,故无定法也。

    有画法而无画理非也,有画理而无画趣亦非也。画无定法,物有常理。物理有常,而其动静变化,机趣有方。出之于笔,乃臻神妙。泼笔画法合天地造化随意自然之理,有可为万水千山之趣,是可“成法”。

    凡画之作,功夫到处,处处是法。功成以后,但觉一片化机,是为极致。然不从煊烂,而得此平淡天成者,未之有也。画之要,在其妙。妙无则,乃人类共性美的感觉是也。中国画,博大精深,一法一格。三十六皴,一十八描,任其一,亦或自创,均不失为一格;各臻其妙,均不失为上品。画可无定法,不可无法。无法则无格。无格则难臻其妙。

    中国画古有六要:一曰气。气者,随形运笔,取象无惑。二曰韵。韵者,隐露立形,备仪不俗。三曰思。思者,顿挫取要,凝想物宜。四曰景。景者,制度时用,搜妙创奇。五曰笔。笔者,虽依法则,运用变通,不质不华,如飞如动。六曰墨。墨者,高低晕淡,品别浅深,文彩自然,似非用笔。”有此六法者,神之又神也。而六法得施,须归“一法”。即自己所能之法。没有自己的画法,纵晓六法,而不知所云也。

    画事之道,贵乎“意在笔先”。“意”者,笔之意也。笔之意,乃品格取韵而已。意欲奇幻,笔率形颠;意欲苍老,笔重而劲;意欲淋漓,笔爽流利;意欲雄厚,笔园气足;意欲清逸,笔简而轻。笔意欲何为,先须概定。泼笔布稿,须先有个“布局”大意。这“大意”是很容易事先想好的。有了大意,则有了意在笔先。以后造景构物,有成稿的“导引”,更是轻松愉快。就像“导游小姐”带你游山玩水,纵有千笔万笔,也只当千崖万壑,偿心而悦目,任意而畅怀,是神游山水于纸上也。作画,畅神而已。正是:人到老年万事休,情与山水自相融。造化本生于自然,回归自然乐无穷。

    艺术的发展是多元的,不是一元的。不像科学技术,先进的淘汰落后的。艺术的发展是叠加式的,多元的。中国画的发展也是如此。国画的画法并不是“经历过简单-复杂-单纯发展变化的历史过程。”而是有简单、复杂、单纯多样性的发展过程。也并不是“完成了致广大、尽精微的各种画法系统的探索,最后又回到画法自身单纯讲究与纯净化的追求。”而是完成了致广大、尽精微的各种画法系统的探索,又产生了对画法自身的单纯讲究与纯净化的追求。不是“从工匠画发展到画家画又发展到文人画,”而是有了工匠画,又发展了画家画,又发展了文人画。各种风格的画,相互没有可比性,也不可能相互复盖。由于作画是画家个性的自我述求,故前人达到的高度,后人很难超越,是故名画流传千古。

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    [Landscape of heaven and earth]

    Author: Wang Tianshou (original)

    I retired at the age of 60 and wrote the novel ordinary life for leisure. In computer school Wang Ma five strokes, two years typing society, the novel also wrote nearly a million words, so in the starting point of the online trial. Upload to the thirteenth time, can not be transmitted, the display "illegal characters.". However, it does not indicate that those characters are illegal characters, so it is difficult to modify them. If you can't get rid of it, you should abandon it. Turn to landscape painting for leisure. Therefore, he searched the ancient and modern landscape painting theory and read it.

    For example, Zong Bing's preface to landscape painting, Jing Hao's brushwork, Wang Wei's Shan Shui Jue and Shan Shui Lun, Han Zhe's Shan Shui Chun Quan Ji, Fang Xun's Jing Shan Ju Hua Lun, Zheng Ji's Wang Ji's dream residence painting, Dong Qichang's painting Zen chamber essays, Shi Tao's painting quotations and so on, can be said to have made great efforts. The argument is impartial, the details of the painting can be touched, quite easy to learn.. But we still can't draw after reading. What's the art. It takes time either to learn from others or to learn from others. Self study needs its own method. When we were old enough to come to painting, we had already read thousands of books and traveled thousands of miles. We were talented. But the image thinking is poor, that is, "there is no painting in the heart". We don't have the time and interest to learn how to think in images. For example, Shi Tao's "one stroke technique" is fixed in the Tao's "life two, two to three, three to all things", but we do not know how to draw two strokes!

    So we want to find a way to make up for the lack of image thinking. Guo Shu washed the silk and left traces, and Zhang Daqian splashed ink and color, which were all methods to help image thinking. In addition, the method of landscape painting is based on nature. He found a method which was named "splash brush painting method" where his predecessors could not find it. His method is the natural creation, so it is called "heaven and earth landscape".

    The landscape of heaven and earth is the creation of heaven and earth. It imitates the shape of mountains and rivers, and creates mountains and rivers on paper. It's not sketching from life, nor is it a draft of mountains. We have no time and opportunity to write. It is a method of imitating nature to create mountains and rivers. It is a method of imitating nature to create mountains and rivers.

    So let's first look at how nature creates landscapes: nature "creates landscapes" not intentionally, but at will and "brownstone.". Think of the chaos in the beginning, a drop of molten slurry rolled with water vapor, rolling and surging, smoky, rotating along the road. There are a few different drops in the solution, which are mixed and held together. For a long time, the gas slurry gradually separated, the surface of the slurry solidified, seven holes and eight orifices, floating and sinking with the red wave. After a long time, we can divide heaven and earth. Water and gas condensation and dust mixing, settling in the gully, is "dust". For a long time, the water is clear and the mud is formed. The earth's orifices are like palaces. The sun's essence and the moon's brilliance are pregnant with all things. For a long time, the sky is clear and the earth is turbid. Everything is born. And meteorites are frequent, divided and reorganized. Therefore, the sky tilts to the northwest, the earth is not satisfied with the southeast, and the mountains and rivers are initially determined. And frequent earthquakes, landslides and ground fissures, slurry spray and coagulation. The earth orifices change frequently, with different peaks protruding, shifting mountains and falling into the sea. After a long time, it will be decided. Who decided in advance for such an artifact? Because of its randomness, the rivers and mountains are more delicate and varied. When Zhang Daqian realized this, he did not splash ink and paint at will. Daqian splashed ink and color in his own style, but he did not "splash pen". Therefore, Yu's method is to "splash pen". It can also be described as a splash of strokes. Zhang Daqian splashed ink and color, but did not splash pen, so it is said that predecessors arrived but did not arrive. The method of "splashing pen" is to use big pen, to be dispirited and dispirited. So the heart movement, determine the brushwork, determine the painting, the shape of the desire. The tacit understanding of nature is the same as Tao. Grasp the tube and dive into all things, wave a hair and sweep thousands of miles, although closed eyes, but also no harm, tilt the moment. If you want to do it, you can make dozens of posts. Then, when he was calm and calm, he sat in the studio and felt as if he was in a state of desolation. So he hung the painting on the wall and sat in front of him. Take a fine pen to pursue the shape of the mountains and rivers. These two methods have large degree of freedom and high frequency. At first, my elbow and wrist ache, my pen trembled heavily, and I didn't listen. Adhere to ten years and eight years, no elbow, no wrist, no pen, no ink, to the pen, free and easy, arbitrary. Only at this time, can we really feel what Zong Bing said about landscape painting: "what is Yu Fu? It's just a free spirit. God's smooth, familiar how first. Mountains and rivers are beautiful in shape. The benevolent enjoy the mountain and the wise enjoy the water. Therefore, the good deeds of later generations should follow the ancient laws. Then according to Wang Weizhi's painting decision: sit and watch its state, observe the weather, and distinguish the turbid. The court of the host and guest is fixed, and the majesty of the mountains is listed.

    Where there is a road, there are trees; where there is no bank, there is an ancient ferry; where there is a water break, there are smoke trees; where the water is wide, sail; and where the forest is dense, there are dwellings. The ancient trees near the rock have broken roots and twined vines; on the Bank of flowing stones, there are strange and water marks. In the East, West, North and south, Wan Er is at present; in spring, summer, autumn and winter, he was born in his writing. When the water is first paved, it should be avoided to be a floating mountain; when the road is uneven, do not make a continuous road. The main peak should be towering, and the guest mountain should be running. The village has several trees to form a forest, and the branches should hold the body; the cliffs merge into one water and the waterfall falls, and the spring does not flow disorderly. The ferry should be quiet and the pedestrian should be sparse. The bridge for boating should be high, while the fishing boat for fishermen should be low. Among the precipitous cliffs, there is a strange wood; where the cliffs are craggy, there is no way out. Yuanxiu and Yunrong hand in hand, distant days total water color cross light. When the road is in danger, the plank road can be safe here. It is suitable for high willows to reflect people's homes on flat ground; it is also known as Qishan lined Pavilion in famous mountain temples. When I write inkstone by myself, I sometimes play tricks. The years are long and long. In this way, the ancient meaning is quiet. Forest secluded place, can repair villa, distant mountain, when now tall buildings. Ferry, bridge has been erected, Pinghu, flying passenger ships. Under the bridge, from time to time, you can see the speedboat, beside the forest and spring, most of which are pleasure boats. But see deep mountain Tibetan temple, only beautiful scenery, visitors. The painter, the culture also. There should be a record of the times and keep pace with the times. When this is the time, the body is in it, the heart is in it, the intention is to visit the mountains and rivers, and the God is in it. No pen, no ink, do as you like. It is a show of mountains and rivers. Although there is no such place in the world, it can be seen, traveled and inhabited. Combining the nature of heaven and earth and the purpose of the whole culture, it can be regarded as one method, which is called "splashing brush painting method". Its shape is like natural landscape, so it is called "landscape painting of heaven and earth". There is a law in landscape painting, but there is no fixed method. No difficulty, no amount. Jialing mountains and waters are formed by Li sixun's period of the moon, and Wu Daozi's one night and one night, both of them are wonderful. It is not difficult to separate them from each other. Li Fan's brush and ink are dense, while Wang Mi's brush and ink are sparse. Each of them is extremely interesting, not to say how much. The art of painting is so wonderful that people can create their own environment according to their own ideas, so there is no fixed method. It's not true that there is painting method without painting theory, and it is also not true that there is painting theory without painting interest. There is no fixed method in painting, but things have common sense. Physics is constant, and its dynamic and static changes are interesting. Out of the pen, it's wonderful. The method of splashing strokes is in line with the natural principle of nature, which can be used for thousands of rivers and mountains.

    Every painting works, Kung Fu everywhere, everywhere is law. After success, but feel a piece of chemical machine, is the ultimate. But not from Xuan rotten, and get this insipid natural, there is no it also. The essence of painting lies in its beauty. Wonderful is the feeling of human common beauty. Chinese painting, broad and profound, one method, one style. Thirty six chaps, eighteen deions, either learning one of them or creating them by ourselves, can be regarded as one style; each of them is excellent. There is no fixed method for painting. If you can't, you can't. It is difficult to achieve perfection without qualification. In ancient times, Chinese painting has six Essentials: first, Qi. Qi, with the shape of the pen, take the image without doubt. Second, rhyme. Rhyme, hidden dew standing form, ready instrument is not vulgar. Third, thinking. If you think about it, you should take it in frustration, but you should concentrate on it. Fourth, scenery. Scenery, the system of time to use, search wonderful and create novelty. The fifth is pen. The author, although in accordance with the law, the use of flexibility, not quality is not Hua, such as flying. Six is ink. Ink, high and low halo light, grade shallow deep, the color of the text is natural, it seems not to use pen Those who have these six dharmas are also gods. If the six methods can be applied, they should belong to "one method". It's what you can do. Without his own painting method, he knows the six methods, but he doesn't know what to say.

    The way of painting matters is that "the intention is prior to writing". "Meaning" is the meaning of pen. The meaning of the pen is just the rhyme of character. The author thinks that the writing style is fantastic, and the pen is heavy and strong; the intention is incisive and fluent; the intention is strong, and the pen garden is full; the intention is pure and elegant, and the pen is simple and light. What is the meaning of a brush must be determined first. To put pen to paper, we must first have a general idea of "layout". It's easy to think about the general idea in advance. If you have a general idea, then you have an idea in advance. In the future, there is a draft of the "guide", which is more relaxed and pleasant. Just like "Miss tour guide" taking you on a tour of mountains and rivers, even if there are thousands of strokes, you can only treat them as thousands of cliffs and gullies. You can enjoy your heart and eyes, and you can enjoy yourself freely. You can enjoy the scenery on paper. Painting is just a matter of mind. It is: when people get old, everything stops, and feelings and mountains and rivers blend together. Nature is born in nature and returns to nature with infinite happiness.

    The development of art is pluralistic, not unitary. Unlike science and technology, the advanced ones eliminate the backward ones. The development of art is superimposed and diversified. The same is true of the development of Chinese painting. The painting method of traditional Chinese painting is not "experienced a simple, complex, simple historical process of development and change." It has a simple, complex, simple and diverse development process. It is not "to complete the exploration of various painting systems to the vast and subtle, and finally return to the pursuit of simple attention and pure purification of painting itself." Instead, it has completed the exploration of various painting systems to the vast and subtle, and produced the pursuit of simple attention and pure purification of painting itself. It is not "from craftsman's painting to painter's painting and then to literati's painting", but with craftsman's painting, painter's painting and literati's painting are developed. There is no comparability between different styles of paintings, and it is impossible to cover each other. Because painting is the artist's personality self-expression, it is difficult for later generations to surpass the height reached by the predecessors, which is why the famous painting has been handed down for thousands of years.

    (作品17)

    (作品18)

    (作品19)

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