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【评论】《敖雪画册》——刘国松序

2014-10-15 11:06:30 来源:艺术家提供作者:刘国松 
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  在七十年代,香港中文大学校外进修部举办了三届现代水墨画文凭课程班。在众多的学员中,陈成球是一个缺乏传统国画技法及概念的初学者,只有少许的西方美术学识,但仍孜孜不息,勤奋力学;正因为他对水墨画没有成见,才可不拘技法,不墨守成规。到了毕业成绩公布时,他竟成为表现最佳的学生之一。

  从我习画者众,而能够坚持推动现代水墨画的,有很多已在艺术界有了一定的成就,甚至在国际上已小有名气者。在他们摸索自己的创作历程中,有先有后,有快有慢;有一些在生活的洗刷中消退了,有一些在创作中迷失了。而陈成球有好一段时间,没有体会出我的教学与创作理念,东画西画,摇摆不定;没有目标,也无坚持,故而失去方向,一度精神甚为低沉;幸好他仍不气馁,探索并未停步,仍然争取参加每一次展出的机会。

  这次,陈成球在师友的鼓励下,十年后,毅然举办他的第二次个展,其创作标题是[.]

  []:以滴墨为主,在于表现『艺行者,游于艺,游于天地之间』的探索精神。

  []:他在绘画雪景中,尝试运用新的表现技法,创建有别于传统的新风格、新形式。

  雪境在中国古画中是一种常见的题材,如南唐赵干「江行初雪」、宋李成「群峰霁雪」、范宽「雪山萧寺」、许道宁「雪景」、元曹知白「群峰雪霁」、明王谔「瑞雪凝冬」、张宏「琳宫晴雪」、刘原起「灵岩雪积」与清黄鼎「群峰雪霁」等作品;正如清邹一桂所说的:「绘雪者不能绘其清」,总觉得他们的作品中缺少些甚么;所以我辈还有很大的空间施展,有义务去补足他们的缺失和不足。陈成球最近有了目标,有了方向;愿他继续努力,达到更高的境界。听说他终于决心由工作中抽身出来,全心全意投身于艺术创作工作。这种破釜沈舟的决定,是值得鼓励及赞许的,其将来的成就也是可以预期的。

  这次他得到香港文化事务处的赞助所举行的[.----陈成球现代水墨画展]是他的第二次个展;现特为文推许,希望社会人士给予应有的支持。

  

  刘国松

  Liu Kuo-sung

  200010

  Preface

  In the seventies, I organized the ‘Modern Chinese Ink Painting Diploma Course’ for three years at the Extramural Studies Department of the Chinese University of Hong Kong. CHAN Shing-kau was one of my students then. When he started learning modern Chinese ink painting, he had only a limited knowledge in Western art but none in Chinese art. However, he demonstrated great intelligence and industry on exploring modern Chinese ink painting and became one of the best students at graduation.

  Many of the students inspired by me had certain accomplishments in the art field because they kept on advocating modern Chinese ink painting; some of them are well known today. As a matter of fact, some went forward quickly and got close to success but some lost their way or gave up. CHAN was the latter one who nearly lost his way in the past few years. Fortunately, he kept joining art exhibitions and striding forward now.

  Being encouraged by me and his friends, he is going to hold a solo art exhibition entitled “Roam and Snow” by the end of the year. He uses dripping ink to show that; “the one who paints always roams in art and nature”, he also develops new techniques and ideas in his modern Chinese ink painting.

  Snow scenery can easily be found in traditional Chinese painting for it is a common theme. For instance: ”First Snow on the River” by Chao Gan of the South Tang Dynasty, “Clearing after Snow in Mountain peaks” by Li Cheng, “A Desolate Temple in SnowyMountains” by Fan Kuan, “Landscape in Snow” by Dao-ning of the Song Dynasty, “Clearing after Snow in Mountain Peaks” by Cao Zhi-bai of the Yuan Dynasty, “Timely Snow in Deep Winter” by Wang E, “Gorgeous Palace in Snow” by Chang Hung, “Spiritual Crags Covered with Snow” by Liu Yuan-qi of the Ming Dynasty, “Clearing after Snow in Mountain Peaks” by Huang Ding of the Qing Dynasty. Zhou Yi-gui of the Ching Dynasty once said, “the one who paints the snow can scarcely grasp its clearness.” There is still room for improvement in painting snow scenery and it should be developed. Recently, CHAN has a clear objective to start a journey on this theme. Besides, he is going to retire from his business, and will devote every effort to painting. The one who burns his bridge should be highly appreciated; I am sure that his achievement is predictable.

  Being supported by the Leisure and Cultural Services Department, CHAN is well prepared for his second solo exhibition. I sincerely hope that he will achieve a prosperous future and win the admiration of all.

  Liu Kuo-sung

  October, 2000

  Translated by Yeung Kwok-fan, Margaret

 


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