评论

众家评说卢禹舜 众家评说卢禹舜

来源:发布时间:2013-09-17

张晓凌: 禹舜的三个系列既表达了三个不同的人文向度, 也是其风格、图式探索过程中同中见异的三个方面。从历时性的角度, 可以大体勾勒出这样一个思想演进的轨迹:从《静观八荒》的澄怀味道, 到《唐人诗意》的古典精神与家园叙事, 再到《欧洲写生》的异域人文之美, 禹舜在数量庞大的作品中完成了一次神秘的精神轮回, 也同时完成了新山水风格体系的构建;从共时性的角度看, 这三个系列仍处于不断推进的状态中, 在精神上秘响旁通, 在语言上相互依存, 共同呈现出卢禹舜精力弥漫, 奢华丰富的创作状态。

Zhang Xiaoling: Yushun"s three series of paintings represent three different dimensions of his humanism, as well as three periods of his research on style and pattern. Chronologically we can see the evolution of his thoughts as follows. Firstly, observing the world with peaceful and unworldly mind, represented by his series painting "Jingguanbahuang (observing the universe in peace)". Secondly, classical spirit, narration and homeland dipiction, represented by his series painting "Tangrenshiyi (Poetic Tang people)". Thirdly, exotic beauty of humanism, represented by his series painting "Sketches of Europe". Through his large amount of paintings, he accomplished a mysterious transmigration of the soul, and formed his unique style of new landscape painting. Synchronously, on the other hand, the three series are still all in the process of development. They are closely related, and interdependent. Together, they present Lu Yushun"s vigorous creativity.

水天中:他的诗意图画有一个旋律对比, 那就是自然的庄严、神秘、优美和人事的短暂、倏忽和偶然。卢禹舜的山水画是在清醒地感知人的微渺之后对崇高永恒的自然的礼赞。但他的心境并不颓放, 他对人的精神价值并不持悲观主义态度。我们可以从他的山水画创作中感受到一种昂扬的人文精神。

Shui Tianzhong: Lu"s poetic paintings illustrate a contrast between the magnificence, mystery and beauty of nature and the evanescence and contingency of human life. His landscape paintings are hymns to the majestic and eternal nature, with a clear idea of the insignificance of human life. However, he is not being pessimistic or holding a negative view on the value of human spirit. We can feel an optimistic and inspiring humanism spirit in his landscape paintings.

邵大箴:他的山水画语言发前人之未发, 给人耳目一新的“陌生”感和某些神秘感, 构思缜密, 构图讲究, 成为20世纪晚期领风气之先的青年画家。近十多年来, 他在“用心感悟自然”的理念下, 笔墨语言更为纯熟、丰富, 更富有变化, 更具神韵, 也更注重格调在情趣, 兼有北方之苍茫宏大和南方的精致幽微。

Shao Dazhen: His landscape painting is something we have never seen before. They are fresh, unfamiliar and mysterious, and well structured, leading the trend of late 20th century landscape painting. For more than a decade, he has been painting with the ideology of "feeling the nature with your heart". Now his paintings are even more mature, expressive, changeable and natural, and emphasize more on style and taste, which, sometimes, is a combination of the grandness and magnificence of North China, and the exquisiteness and fineness of South China.

刘曦林:精神的表现, 哲理的隐喻, 都是形而上的物事, 他那对称的图式格局亦是这种理性思维的造型形式显现, 或者说是视觉秩序化的理性。但他又像所有艺术家那样具有感性思维。比如, 他那林木中的女人体和大结构中似是而非的人体符号, 恐怕都有他对人体之美的感性表现, 又有些天为阳、地为阴的隐喻。那么这图像就体现了他感性与理性折中、综合的思维特征。

Liu Xilin: Mental performance, philosophical metaphor, these are all metaphysical. Lu"s symmetrical pattern of schema is also evidence of his rational thinking pattern, or rational visual order. On the other hand, he also has perceptual thinking pattern, just like all artist do. The feminine body in the woods and the obscure symbol of human body in the painting structure can be seen as his perceptual depiction of the beauty of human body. More over it is to some degrees a metaphor of the sky being male and the earth being female. So we can see through his paintings that his thinking pattern is a combination of  perceptuality and rationallity.

 

郎绍君:卢禹舜无疑是水墨写生的高手……他的艺术才能和功夫, 在“欧洲写生”系列中得到了最集中的体现…… “欧洲写生”的画法与风格, 多以工笔勾画建筑与树木, 以写意处理墨韵与色彩, 把西画式再现与中国式表现融合为一, 既精严其形质, 以暗合欧洲的人文理性与科学精神;又纵放其情愫, 以抒发一个东方画家的诗情。

Lang Shaojun: Lu Yushun is undoubtedly a master of Chinese painting. His talents and skills are best demonstrated in his "scratches of Europe" series. These paintings depict buildings and trees in realistic detail, while the background and atmosphere are displayed in impressionistic style. He combined western painting and Chinese painting, strict with the form of the painting, following the western tradition of human rationality and scientific approach, but set free the spirit of the painting, so that it can express the poetic emotions of its oriental painter.

陈传席:卢禹舜的画, 线条并不粗浑, 而是细秀的, 他是北人, 但画却有南相。南画又是简约空灵的, 而卢禹舜的画却并不简约, 他画得充实而丰满, 这一方面, 又是北相, 但充实丰满的笔墨并不粗浑, 又有南韵。所以说他的画能集南北之长, 有南画之骨, 而有北画之形, 有北画之气而有南画之韵, 这是卢禹舜绘画的特色。

Chen Chuanxi: Lu Yushun"s paintings are refined instead of rough. He is from North China, but his paintings resemble those from South China in some aspects. However, South China paintings are generally brief and concise, but Lu"s are not. Lu"s paintings are rich and expressive, which is actually a characteristic of North China paintings, meanwhile his strokes are fine, which is a characteristic of South China paintings. To sum up, his paintings acquire the merit of both North China painting and South China painting, with northern outline but southern structure, southern beauty but northern spirit. This is a unique characteristic of Lu Yushun"s painting.

刘龙庭:画家大胆地将现代人的思维植入了传统绘画之中, 营造出新的样式与新的意境。另外, 在“唐人诗意·田园系列”中, 画家也有许多的首创, 他将农家田园中生产的蔬菜、瓜果、萝卜等植入山水林木之间, 无疑也是大胆的尝试, 给观者、欣赏者以耳目一新的惊喜, 同时也给美术史家提供了崭新的研究课题。

Liu Longting: Lu Yushun daringly implant modern ideas into traditional painting, creating new styles and new forms. In his "Poetic Tang People, countryside" series, he is also very creative and presents the vegetables growing in the countryside garden among landscapes of hills, woods, and rivers. They surprise us, and delight us, and provide a new subject of research for Art historians.

王镛:从20世纪80年代后期至今, 他不仅在东北黑龙江山水画创作领域开垦拓荒, 陆续创作了“静观八荒”系列, 而且逐渐从东北走向全国和世界, 相继创作了“唐人诗意”系列和“域外写生”系列, 拓展了中国山水画的意境和笔墨语言, 特别是拓宽了老庄哲学与山水精神之间联系的通道, 形成了自己个性鲜明的艺术风格——“禹舜山水”。

Wang Yong: from the late 1980s till now, he has been pioneering in the scope of Heilongjiang landscape painting, turning out the "Jingguanbahuang (observing the universe in peace)" series, and gradually he has become well known nationwide and worldwide, and painted another two series, "Tangrenshiyi (Poetic Tang people)" and "Sketches abroad". He expanded the scope and skill of Chinese landscape painting, as well as the connection between Lao Tze’s and Zhuang Tze’s philosophy and the spirit of landscape painting, forming his distinctive artistic style-- Yushun landscape.

陈绶祥:纵观他近作的变化, 画幅大抵广阔、意象深远、色彩单纯而沉着, 依然布满着各种细碎符号的神秘组合, 明显有着求新求变的探索, 从视觉联想上, 也更易于与当代对宇宙与神秘星空, 大地与广博海洋相关联, 颇有对当代地球人对广袤宇宙探索意识的启迪。

Chen Shouxiang: his recent works are mostly vast and with deep meanings, homogeneous and heavy colors, and full of mysterious groups of small symbols, like his earlier paintings. Apparently he is seeking for some change and innovation. Visually, they are more closely related to the universe, the starry sky, the earth and the vast ocean. In these works he seems to be trying to evoke the consciousness of modern human that they should explore the vast universe.

王仲:如果要用一句话来概括卢禹舜的艺术, 我个人认为, 他是中国当代山水画界一位很有哲思的抒情诗人。卢禹舜虽是一位很有中国传统哲学和各种中国传统文化修养的画家, 但他并不在画中言说哲学与文化(那是哲学家和文化学者的事), 他在画面上还是靠用真情实意创作出来的艺术形象来说话。

Wang Zhong: Personally I think Lu Yushun is, in a word, a lyricist full of philosophical thoughts, in the circle of contemporary landscape painting in China. But although he is quite learned in terms of traditional Chinese philosophy and various traditional Chinese cultures, he does not elaborate them in his paintings, for that is the job of philosophers and scholars of culture. He paints with genuine feelings and emotions, and let the artistic images speak for themselves.

孙克:山水画坛早年曾出现过李可染等大师, 但现在毋庸讳言对于传统的突破还缺乏主将式或真正开宗立派的大师, 虽然有许多敢于追求、勇于探索的中坚型画家在辛勤努力, 但对于山水画的大突破似乎还暂阙如, 卢禹舜的崛起和卢禹舜现象的出现是非常令人瞩目的。

Sun Ke: In the field of landscape painting, we used to have some masters like Li Keran in the earlier period. But presently, we have to admit that we still need a real master who can break through the constraint of traditions and create a new era. There are many prominent painters who are daring and exploring industriously, but no significant breakthrough happens yet to landscape painting. However, the rise of Lu Yushun and his achievements are very eye catching.

彭德:他的画暗合了经典现象学标榜的“本质直观”, 即现象与本质合一:画面表现的是本质, 却又是直观的形象。他的《静观八荒》、《八荒通神》等作品试图表现“永恒的苍茫, 永恒的四野八荒和梦幻般的犷邈与深邃的情怀”, 这种情怀也是对现代化进程中生态失衡的反思。

Peng De: Lu"s paintings coincide with the idea of classic phenomenology that the appearance and the essence should be the same. His paintings depict both the essence and the directviewing image. His works like "Jingguanbahuang (observing the universe in peace)"and "Bahuangtongshen (observing the universe to see the spirit)" try to convey "eternal vastness, eternal universe, the fantastic space, and profound feelings of human". They are also a reflection on why we have caused ecology unbalance in the process of modernization.

 

王鲁湘:这批经验世界的域外写生提供了理解卢禹舜绘画能力和精神视野的全新角度, 这是一个既在过去, 又在未来, 同时也在当下的艺术家, 但不管他的灵魂栖居何处何时, 都是在寻找一份美丽的宁静和安详。

Wang Luxiang: Lu Yushun"s sketches abroad have amazed the whole world. They provide a new prospect for us to appreciate Lu"s painting skills and understand his spiritual vision. He is an artist that lives in the past, in the future, and at present as well. No matter where in space or in time his spirit inhabits, it is undoubtedly searching for peace and tranquility.

张颐武:卢禹舜不仅仅是一个以笔墨悟生命和自然的画家, 他还是一个以哲学思考为中心展开他的独特世界的哲人, 对于卢禹舜来说, 他的墨迹本身就是一种生命的“踪迹”, 这种“踪迹”如同人类的语言那样充满着复杂和微妙的张力, 而在这种复杂的张力之中, “新自然”和“新人文”的形象通过笔墨呈现在我们的面前, 让我们感受全球化时代的中国人对于自然和人的新的理解。

Zhang Yiwu: Lu Yushun is not only a painter, experiencing life and nature with his paintbrush, but also a philosopher, centering his unique world on philosophical thoughts. To Lu, his paint strokes are like the path of his life. They are expressive and complicated just like human language. Through these paintings we can see the Chinese people"s new understanding of nature and human beings in this era of globalization.

杭间:卢禹舜的绘画有三大系列:八荒、唐人诗意和写生, 这三者在笔墨上保持了一致性——使画家的整体特征比较鲜明, 而在表现重点上又各有分工。“八荒”系列可以看作是核心, 卢禹舜所有作品中体现的通彻天地、理性布局和对景物的写实态度, 在这个系列中都能得到或多或少的体现;而“诗意图”, 则是因为中国绘画和诗文的近亲关系, 视觉艺术非常容易通过这种跨学科来寻求自身的变化。

Hang Jian: Lu Yushun"s paintings fall in three series, "Bahuang (universe)" "Tangrenshiyi (Poetic Tang people)" and "Sketches". Their integrity in painting skills makes the painter"s overall style apparent. But they differ in themes. "Bahuang (universe)" series is the core, illustrating Lu Yushun"s features of connecting the earth to the sky, rational layout of the painting, and realistic attitude towards landscape. His poetic paintings, illustrate the close relation of Chinese painting and poetry. This method of seeking change through interaction with other forms of art is common for visual arts.

 

尚辉:卢禹舜用超现实时空构建的山水画, 正是后现代社会这种高科技文明带来的视觉体验。他的《云水观道》、《静观八荒》等系列作品, 试图在拆散自然时空的框架之后予以幻觉性的重组与拼接, 虽然画面的局部形象是具象的, 但当它们被拼组为整体的视觉图像时, 表达的却是一个非现实的时空境阈, 由此体现了山水画对当代视觉形式、人类潜意识和心理空间的探索。

Shang Hui: Lu Yushun structures his landscape paintings in surrealistic time and space, which is exactly the visual experience brought to us by the time of science and technology civilization. His paintings like "Yunshuiguandao (drifting clouds, river and the road)""Jingguanbahuang (observing the universe in peace)" try to take parts of the nature out of space and time, and rearrange them in an illusionary way. Although all the parts are concrete, when they are mosaiced together, they present an unrealistic time and space, which shows Lu"s exploration of landscape painting in relation with contemporary visual form, human subconsciousness and psychology.

郑工:卢禹舜的绘画以太阴之境环抱元气, 在混沌之中寻找自己艺术的立足点, 故其绘画的象征性很强, 布满符号, 意旨模糊, 体现着他那独有的天地观, 即由生命阐发开来的宇宙意识所表现的大化山水。与北宋的范宽等人一样, 他追求崇高, 而与其不同的是, 他创造了属于东北山水的“八荒”系列, 从而在图式语言及笔墨系统上确立了自己在中国当代山水画史中的地位。

Zheng Gong: Lu Yushun"s paintings depict northern landscape centered by vitality, as though this is where he seeks his own artistic stand. These paintings are very symbolic, full if symbols with obscure meaning. They reflect the painter"s unique concept of heaven and earth, which is generalized landscape on the basis of cosmic consciousness, deriving from life itself. Like Fan Kuan and other painters in the Northern Song Dynasty, Lu pursues nobility, but he further creates his unique "Bahuang (universe)" series, which is the only one of its kind in Northeast China. Therefore, with his patterns and painting skills, he established his position as an important painter of contemporary Chinese landscape painting.

牛克诚:卢禹舜事实上是通过回归中国文化怀抱, 把东北地域山水, 纳入到中国的艺术精神体系之中。他曾经想通过一种形而上的认识和理解, 把山水画的境界, 尽可能放开到更为广阔的宇宙洪荒之中, 从而获得大气派、大风格、大美感。因此, 他对宋元山水的汲取, 并不是表面化的抄袭, 而是精神层面的领悟。

Niu Kecheng: Through returning to Chinese culture, Lu Yushun makes Northeast China landscape painting part of Chinese artistic spiritual system. He has tried to put landscape painting to the vast universe through metaphysical understanding and recognition, in order to obtain a style of grandness, uniqueness and beauty. Therefore we can see his referring to landscape paintings of Song and Yuan Dynasties is not some superficial plagiarization, but a resonance on the spiritual level.

徐虹:在他画中, 那些看似洪荒时期的“无人”世界和充满活泼生命的“有人”世界结合一起, 形成大对比和大反差。如卢禹舜描绘宇宙和人间关系的系列作品《天地大美•心驰神往•笔随墨顺》等, 将“天、地、人”三境界共置于一个画面。画中的三段场景是比喻和象征性的, 表现“道”作为自行运行的存在, 从人类的理想、从道德境界等显现“道”的含义。

Xu Hong: His paintings combine the seemingly prehistoric world without life and the world full of life and vitality, achieving strong contrast. His series paintings demonstrating the relation between universe and human world, including "The Grand Beauty of Heaven and Earth" "Longing" "the brush moves naturally", put heaven, earth, human three levels in one picture. The three parts are metaphorical and symbolic, making "Dao" a free existence, thus demonstrating the meaning of Dao through human ideal and moral level.

曹意强:其作品不论是丈二巨制, 还是尺幅小景, 都能够在瞬间吸引观者的视线, 进而触动其心灵。究其原因, 关键在于他能够在画面中构筑一个独立自主、气象万千的至臻境界。这一境界的大小与画面尺幅无关, 而只系于作者的艺术智慧与勤奋实践。

Cao Yiqiang: Lu"s paintings, large or small in size, can attract the attention of viewers at the first sight, and touch their heart. The secret lies in his ability to create an independent and spectacular world in his paintings. His artistic intelligence and diligent practice transcend the boundary of the paper or canvas.

林木:卢禹舜这种对山水画意境的追求及其全新山水画图式的创造, 是对中国山水画意境传统的一个本质性回归。在中国山水画意境传统大趋势中断五百年以后, 卢禹舜山水画这种回归, 在当代山水画史上有其重要的意义。

Lin Mu: Lu Yushun"s pursuit of artistic conception in landscape painting and his innovation in the pattern of landscape painting is a return to the tradition of Chinese landscape painting conception. After the loss of such conception for five centuries, his return is very crucial in the history of contemporary landscape painting.

何西来:这一类作品(“八荒”系列)带有很强的视觉冲击力, 无论在构图、设色、意象符号的运用、画面节奏的掌握, 还是在主体情感的注入、晕染, 以及总体审美的效果上, 都在很大程度上突破了中国传统山水画的格局与法式, 也不与当代在作者之前或同时的任何一位山水画家雷同。

He Xilai: these of Lu"s works ("Bahuang" series) possess strong visual impact. They are greatly a breakthrough of the traditional Chinese landscape painting in terms of structuring, coloring, application of symbols, rhythm, emotion input, shadowing, and the overall aesthetic effect. No artist, contemporary or of earlier times, has ever painted landscape like Lu does.

金元浦:禹舜的八荒系列, 在无中开拓。回首中国画历史, 尚无卢禹舜这种“混沌”描述的绘画摹本。卢禹舜在他的《八荒通神》、《道非云水、云水观道》、《月印万川》、《天地大美 心驰神往 笔遂墨顺》、《天有风云物有神》一系列作品中大开大合, 既彰显出迥异他人、富于新的人文内涵的“禹舜风格”, 也可以从中捕捉到他在艺术创作体验中达到的“审美的混沌”的新境界。

Jin Yuanpu: Yushun"s "Bahuang" series is of a totally original style. Throughout the history of Chinese paintings, we have never seen anything like his works. In his series of paintings including "Bahuangtongshen (observing the universe to see the spirit)" "Daofeiyunshui (The road alongside river and clouds)" "Yunshuiguandao (drifting clouds, river and the road)" "Yueyinwanchuan (The moon casting its shadow on mountains)" "The Grand Beauty of Heaven and Earth" "Longing" "The brush moves naturally" "Winds and clouds up in the sky, divine nature down on earth", he fully illustrated his unique humanistic "Yushun" style, as well as his aesthetic level of observing the world with peaceful and unworldly mind.

高天民:卢禹舜是一位富有才情和理想的画家。……他依着这种灵性智慧不仅营造出一个以天地大美为特质的融通的精神世界, 而且始终追寻着一种以回溯本源为旨归的理想的人文境界。他所提出并努力践行的“八荒通神”的思想, 是对中国传统美学思想的继承与发扬, 并赋予传统山水画精神以新的涵义。

Gao Tianmin: Lu Yushun is an artist full of artistic talent and lofty ideal. With his artistic intelligence he creates a spiritual world of natural beauty, and keeps pursuing a humanism level that aims at returning to the origin. The concept of "observing the universe to see the spirit", which he brought forth and keeps practising, inherits and carries forward the traditional Chinese aesthetic ideology, and endows the traditional landscape painting with new meaning.

舒士俊:卢禹舜的山水往往纵写旷野, 横绘巨壑。他以点画构成来谋局布阵, 又擅将岚雾染成氤氲幻变之“青纱帐”, 来深蕴其阵势。其勾皴见其山水精严格法、骨骼之刚韧苍劲;而其铺染与渍染, 则显暝色天光之浑沦幽微, 从混沌朦胧中幻见山川之气象眉目, 与山水肌肤之丰腴柔润、韵致灵幻。

Shu Shijun: Lu Yushun"s landscape paintings usually depict the field and ravine. He structures with spots, and excels in depicting mountain fog as green lace curtain. His mountains are strong and unyielding, while his lighting and shadowing shows the sunlight, the mist, and other elements, perfectly complementing the mountain and properly adding some softness to the whole painting.

陈池瑜:卢禹舜还结合现代宇宙观和太空观及宗教意识, 来体悟天体宇宙的宏大无边, 描述太空的宽广无比和空间的神秘深邃。他用立轴和横幅的形式, 创作了《八荒通神》、《天地大美》、《坐究四荒》、《神静通八荒》系列作品。这组作品, 以全新的空间构图和语言形式, 表现天地宇宙的洪荒无际之大美, 作品具有苍莽、宏壮、神秘、深邃、幽远的视觉效果, 可谓天风浪浪、海山苍苍, 极具唐代司空图《诗品》中所说的“雄浑”风格。

Chen Chiyu: Lu also introduces modern cosmological, spatiographical and religious concepts into his paintings, to experience the vastness of the universe and celestial objects and to depict the immensity and mystery of the universe. His paintings like "Bahuangtongshen (observing the universe to see the spirit)" "The Grand Beauty of Heaven and Earth" "Contemplating on the wilderness" "The spirit in the wilderness", in vertical scroll or horizontal layout, show the immensity of heaven and earth with innovating structure and pattern, creating a visual effect of boundlessness, magnificence, mystery, profoundness and depth, perfectly matching the style of "virility" expounded in "Poetry Criticism" by Sikong Tu of the Tang Dynasty.

徐涟:在他的艺术创作中, 传统的笔墨意味, 现代的观念与手法, 二者如此和谐地统一在同一个画面当中, 这也使得他的画作能够符合当代审美需求——画面的丰富性, 使得他的每一件作品都包含着大量的信息, 绝非一目了然的简单物象;模糊性与不确定性, 大量象征性的文化符号的使用, 使得画面传达出不确定性的多重含义。

Xu Lian: Lu"s artist creation is a harmonious combination of traditional ink brush conception and modern concept and skills. Therefore his paintings meet contemporary aesthetic demands like diversity and uncertainty. For diversity, Lu"s paintings all contain large amount of information, none of them is merely a superficial display of images. For uncertainty, Lu"s paintings apply large amounts of metaphoric cultural symbols, thus conveying multiple meaning with uncertainty and vagueness.

李公明:(卢禹舜的山水画创作认识)“我努力在感悟自然的过程中, 建立自己的图式结构、水墨符号体系和建立自己的山水理念。”……这种认识既是对中国艺术伟大传统的继承, 同时也有自己的自觉意识;他的“天地大美”系列正是这种自觉意识的艺术实践。

Li Gongming: quoting Lu"s original words when he talked about his recognition in landscape painting, he "tried to create his own structure, symbolism and concept of landscape painting when exploring the nature". This recognition contains both inheriting the tradition of Chinese art, and innovation of his own. His series painting of "The Grand Beauty of Heaven and Earth" is exactly the practice of such recognition.

齐凤阁:《八荒通神》系列作品以对物象的主观化处理, 与对布局的精心设计及超大场景的营造, 使其视觉形态与众不同, 并以强大的视觉冲击力给人以心灵震颤。这种图式在中国绘画史中很难找到, 不仅与同样崇高博大的范宽的山水画构图有别, 而且与同样表现北国景观的北大荒版画的范式不同。

Qi Fengge: "Bahuangtongshen (observing the universe to see the spirit)" series painting achieves strong visual impact through subjective reproduction of images, careful structuring and creating unique visual form. Such paintings are rarely seen in Chinese painting history, they differ in structure from those of Fan Kuan"s works, though both are all vast and profound. They also differ in style from those block prints depicting the same landscape of northeastern China.

胡东放:如果我们仔细读卢禹舜的那些绘画, 会发现:在卢禹舜那具有中国古典传统、融汇某些西方形式质料、联合诸多通感要素的各种组合里, 地方特色的原质性元素都是构成他艺术的独特风貌中形式和内涵的一个很难被忽视的部分。

Hu Dongfang: If we closely examine the paintings of Lu Yushun, we will find that in his complex combination of different elements including Chinese tradition, western texture, and various synaesthesia elements, local characteristics can never be ignored as a component of his unique artistic style and intension.

万新华:这些作品洋溢着一种超凡脱俗而又与山林泉石和谐相处的情调, 独具古雅的文化韵味。可见, 在唐人诗意画中, 卢禹舜的山水精神性定位表现出画家在传统文化与现代文明之间的综合把握能力, 以及将审美主题向现实层面推进所作出的努力。无疑, 他在对传统文化精神的反思与传统笔墨的整合中, 焕发出独特的艺术神采和积极的社会价值。

Wan Xinhua: These painting of his have a classically elegant cultural appeal, which is unworldly and in harmony with nature at the same time. We can see Lu Yushun"s effort in balancing between traditional culture and modern civilization, as well as putting his Aesthetic theme towards the reality in his positioning of landscape painting in his series "Poetic Tang people". His unparalleled artistic achievement and positive effect in the introspection of traditional culture and integrating traditional painting skills is doubtless.

 

徐恩存:他以自己的智慧、创意和求索精神独创了前无古人的山水文本, 他的作品从初始的“山水大地”日渐升华为“人文大地”, 从赏心悦目提升到“乡愁呼唤”, 从“一方水土一方情”提升到“精神原乡”, 这是一个循序渐进与逐步提升转换的过程, 是心灵的提升, 也是审美境界的提升。

Xu Encun; With his own intelligence, creativity and innovative spirit, Lu Yushun presents the world his unique landscape paintings, which evolves from mere landscape to humanistic landscape, from merely pleasing to nostalgia-evoking, from local to universal. This evolution happens gradually and progressively, which is accompanied by the maturity of mind and enhancement of aesthetic level.

黄宗贤:卢禹舜绘画的三大超越、三重境界不单是对中国传统人文精神的一种刻意追溯、一种文化责任下的价值取向, 而是自我心性的自然流溢, 是中国艺术血脉的自然跳动。故在其作品的整一性、完美性、视觉性中, 并无雕琢之迹、故作之痕。

Huang Zongxian: Lu Yushun"s artistic achievements and accomplishments are not only a result of seeking traditional Chinese humanism or value orientation backed up by some cultural responsibility, they are also natural reveal of the artist"s disposition, and natural outcome of Chinese art evolution. That"s why the integrity, perfection and visual pleasure of Lu"s painting is never spoiled by artificial traces.

 

付京生:卢禹舜先生的作品, 乃是使艺术创作真正回归人文本体, 使得人们一旦参与艺术创作或欣赏, 即是生活于以德修身、明心见性乃至“为文化所化”的生命体验之中, 使得人的“性”、“情”、“命”, 能在性灵化的绘画空间拓展出的文化长河之中得到文化生命之水的源源不断的给养、浇灌, 并由此会使人的生命气息越来越清新旺健, 或是, 越来越壮阔磅礴。

Fu Jingsheng: Lu Yushun"s works reorient artistic creation to the humanistic object, which means, once someone is involved in the creation or appreciation of artwork, his or her life is enhanced by morality and culture. His or her disposition, sentiment and life will be nourished by culture, which is derived from the spirit of painting, so that he or he can live more healthily and vigorously.

梅墨生:与其说, 他的诗意画是具体再现唐代诗人的吟哦生活故事, 不如说, 他的诗意画是抽象表现种种诗意气氛。画面上的时空是被色调弥漫的, 同时也是被色彩遮盖的, 有一种历史的悠久意象迷离在画面上, 观者总不能透彻地看到所要“看”到的内容, 就如《蒙娜丽莎》的笑, 给人惊异与追问。

Mei Mosheng: Lu Yushun"s poetic paintings are abstract manifestation of poetic atmosphere rather than concrete representations of the life of Tang-Dynasty poets. Time and space of the paintings are always penetrated with colors and hidden by colors, as if there is a mist formed by long history on the painting, preventing you from seeing clearly. Just like the smile of the famous Mona Lisa, evoking viewers" amazement and curiosity.

 

陈鸿彝:言为心声, 画为意象。卢君之画, 情意外泄之象也。“大象无形”, 无形而赋之以形。

Chen Hongyi: One"s words reflect one"s thinking, one"s paintings reflect one"s image. Mr. Lu"s paintings reveal that he is affectionate and emotional. Profound image has no concrete forms, according to Chinese philosopher Lao Tzu. Yet Mr. Lu manages to convey profound image with his paintings, which is amazing.

张桐瑀:卢禹舜的山水画是倾向于“无我之境”的营造, 他把自我化为了自然的一部分, 以自然中之我、以万物中之我静观宇宙、静观八荒、静观万物, 此时的画家没有了现实社会的功利之念, 宇宙自然与自我, 贯通一气, 似乎进入到了“禅定”境界。                        

Zhang Tongyu: Lu Yushun"s landscape painting tends to create a conception without the concept of "self". He considers himself a part of nature, and observes the universe, the creatures and the wilderness with peaceful mind, thus deserting the worldly concept of wealth and fame, integrates himself into nature and universe, achieving a state that resembles Dhyana in Buddhism.

于显达:人类社会是一个功利社会, 如何去掉私欲, 净化灵魂, 达到人与人, 人与社会, 人与自然和谐共处无私无欲的境界, 只有站在宇宙的高度来觉解人生的意义才能达到, 这正是禹舜山水对人生终极关怀的意义。

Yu Xianda: Human society is a worldly place where we all pursue material gain. Only by standing at the height of the universe can we realize the true meaning of life, thus deserting our selfish desires, purifying our soul, and live in harmony with nature and other people. That is the ultimate concern of life embedded in Yushun"s landscape paintings.

于海东:艺术一旦达到自我绽放的境界, 精神自然会升华成充满感召力的生命形象, 为此他一心潜行, 通过与自然和历史的真情交换, 得以在大爱中创造大美。

Yu Haidong: when one"s artistic achievement reaches its blossom, the artist"s ideas will turn into inspiring images effortlessly. To achieve this, Lu paid with sweat and self-cultivation, interacted wholeheartedly with nature and history, creating great beauty with great love.

张熙恩:他将欧罗巴的静谧与神秘呈现出来, 但又裹挟着一种表象平淡、内在辽阔的豁达心境, 体现出一种“宁静致远”的心态。

Zhang Xi"en: He perfectly presents the tranquility and mystery of Europe, and at the same time conveys his own state of mind, which is quite outside, and generous and opened-up inside, conveying his thoughts that "still water runs deep".

周国梁:作品给人似曾相识的文化吸引和前所未有的审美体验, 所展现的情境人人心中有, 人人笔下无, 轻松地跨跃了艺术的国界和文化的藩篱, 不着一字尽得风流, 具有直指人心的力量。

Zhou Guoliang: Lu Yushun"s paintings provide familiar cultural attractiveness and unprecedented aesthetic experience. Everyone has similar experience of the emotions he conveys, yet nobody is capable of conveying them like he does. He easily surmounted the obstacles of culture and nationality, and touched every viewer"s mind without even uttering a word.

陈明:他将水彩和水墨的技法相融合, 创造出兼跨中西绘画的艺术效果, 水墨画的用线与水彩画的渲染, 中国画的墨与西洋画的色彩, 竟然在这一刻不露痕迹地交融在一起。

Chen Ming: He combines the skills of watercolor painting and Chinese ink painting, creating an artistic effect that has the merits of both Chinese and Western painting. Line drawing of Chinese ink painting and shadowing of watercolor painting, ink of Chinese painting and color of Western painting, all blend together in his paintings harmoniously.

周艺文:“八荒通神”是中国画的当代意义的突破, 更是饱含了禹舜先生温暖、神秘、诗化的新人文艺术理想。

Zhou Yiwen: "Bahuangtongshen (observing the universe to see the spirit)" is a breakthrough of the significance of contemporary Chinese painting. It is also an ideal of new humanistic art, with Yushun"s warm, mysterious and poetic trait.

 

初中海:卢禹舜先生的山水, 是对中国传统绘画一种超越式的构建而走向逍遥的心灵艺术, 一种寓心于景的“人格山水”, 一种笔墨体验与心境体验的完美契合, 一种意象与境界的的高度统一。

Chu Zhonghai: The landscape paintings of Mr. Lu Yushun is a form of mental art, based on and surpassed Chinese traditional painting to reach freedom. It is a form of personified landscape, endowed with the emotions and thoughts of the painter. It is also a perfect combination of painting experience and mental experience, as well as an integrity of image and aesthetic level。

梁劲泰:在卢禹舜先生的山水画中, 我们可以看到阴阳之道的表现, 在《神静通八荒》、《八荒通神》、《坐究四方》等作品中, 大气磅礴, 表现了混沌开、阴阳分的状态, 描绘的正是《周易》中的“在天成象, 在地成形, 变化见矣。

Liang Jintai: In Mr. Lu Yushun"s landscape paintings, we can see the movement of Yin and Yang. His "The spirit in the wilderness" "Bahuangtongshen(observing the universe to see the spirit)" "Contemplating on the wilderness" etc. majestically display the scene of Pangu separating the sky from the earth, or as is described in "Book of Changes", "In the heavens there are the figures there completed, and on the earth there are the bodies there formed. Corresponding to them were the changes and transformations exhibited."

陈渌:他的山水画始终追摹着人与自然的和谐关系, 并且通过形而上的认识和理解, 把山水画的境界尽可能地放到更悠远更纯净的宇宙洪荒之中, 从而获得大气派、大风格、大境界、大美感。

Chen Lu: Lu Yushun"s landscape paintings try to depict the harmonious relation between human and nature, and to put landscape painting to the vast universe through metaphysical understanding and recognition, in order to obtain a style of grandness, uniqueness and beauty.

董雷:相较以往, 《天地大美》的画面气势依然庄严宏大, 然于细节处更精美含蓄, 既有北方山水之高远雄浑, 又得南方山水之氤氲缠绵, 气象、境界均更进一步。

Dong Lei: In comparison, "The Grand Beauty of Heaven and Earth" is still majestic and vast in general, but the details are more delicate and subtle, combining the virility of North China landscape and the delicacy of South China landscape, representing an advancement of Lu"s artistic skills.

常欣:他发展了中国传统画史中一向不为史家所重的“染”, 走向了主观心象的表达和内心情感的抒发, 其画中的物象几欲不能辨识, 而在视觉形象的丰富朴茂方面, 则达到了一个苍茫寥廓的“心象山水”。

Chang Xin: He improved the technique of shadowing, which is never paid much attention to in the history of traditional Chinese painting. He turns to paint what he sees with his mind and express his emotions. The objects in his paintings are hardly recognizable, but in terms of visual effect, he presents a vague, subjective landscape.

冯晏:画面铺开的西方美术中所延伸的强烈色彩以及对空间观念的理解, 同时采用西方哲学分析式精细思维方法, 把东方水墨的丝绸纹理揉入其中, 在一个画面中, 宽阔和精致和谐互补, 恢弘而深刻。

Feng Yan: Lu"s paintings inherit the heavy colors and space concept of western painting. At the same time, he introduces the silky texture of oriental ink painting with the precise western philosophical and analytic thinking method. Vastness and delicacy complement each other in his painting in a majestic and impressive way.

孟艳琴:“天地大美 心驰神往 笔随墨顺”系列作品在表现手法上也默契了艺术家心灵的感悟, 用一系列对比性极强的表现语言使天地大美的深邃、包纳与心灵理想的灵动、自由的境界形成对比。

Meng Yanqin: In his series works of "The Grand Beauty of Heaven and Earth" "Longing" "the brush moves naturally", the expression method and the artist"s inspiration are in perfect harmony. He contrasted the grand beauty, profoundness, tolerance of nature, and the agility, freedom, perfection of mind. The expressions he applies also contrasted greatly.

王跃奎:卢禹舜第一次解放了中国画色彩的自由, 直接用色造型, 实现了色彩自身的完美组合和丰富变化, 而线墨却成了恰到好处的点缀。

Wang Yuekui: Lu Yushun sets free the color of Chinese painting in an unprecedented way. He paints with color, making good use of colors" various changes and combinations. Ink lines, on the other hand, become appropriate ornaments.

王春雨:他把通过“返复”过程而悟得、体验到的天地“大美”以这样的形式语言展示出来, 他把人、自然、社会和宇宙的本然以这样的图示呈现出来, 这是他的一切与自然同化、消融于自然后的深邃的、玄妙之境。

Wang Chunyu: he expresses the grand beauty of heaven and earth he has experienced in such a way that, he also displays the original look of human, nature, society and universe at the same time. This is the profound and mysterious aesthetic level he achieves by integrating himself into nature.

王龙:  走近禹舜先生的画作, 有一种行云流水般的畅快之感, 感觉在流动的笔触中间闪烁着画家对人生, 对艺术, 对大千世界智慧的感受与把握。

Wang Long: Yushun"s painting gives you a pleasant feeling of floating clouds and flowing water. In the traces of his flying painting brush sparkles his intelligent understanding and reflection of life, art and the world.

芦海娇:八荒通神系列作品中大多隐隐地出现了人体的形象, 这样用上部一方印、左下与右下角各用一方印时正好体现了《三字经》中“三才者, 天地人”的奥理, 也借此表达其追求“天人合一”的艺术境界。

Lu Haijiao: In many paintings of his series "Bahuangtongshen (observing the universe to see the spirit)", we can find vague images of human body. When the painting carries three seals in the upper part, left lower corner and right lower corner respectively, it coincides with the concept "The three forces, are heaven, earth and man." in "three character primer", expressing the artist"s ideal of achieving harmony between human and nature as well.

王秀薇:《静观八方》系列绘画以独特的视觉冲击力, 给观画者以视觉的惊异和对崇高刚健的力量之美的向往, 整幅画无处不充盈浸满了这种震撼人心的力量, 令人观之如顿觉大自然的雄伟壮阔。

Wang Xiuwei: His series painting "observing the nature in peace" is of unique visual impact, amazing the viewers and evoking their desire for the beauty of majestic power. The paintings are filled with this impressive power, making viewers feel the magnificence of nature.

金新:卢禹舜的山水中有三种比较突出的意象:爱欲、酒和禅。其中, “爱欲”的意象主要以人体为主, 辅之以鸟兽虫鱼。而“酒”和“禅”的意象, 则或取自生活, 或以标志性的点景人物的形式出现。三者都指向人的“自然”真性,指向人在自然中返还的原初的自在性。所谓人文, 首先是有“人”, 之后才有“文”, “人”是前提和基础。卢禹舜的山水中 “人”和“文”的视点兼而有之。

 Jin Xin: There are three kinds of prominent images in Lu Yushun"s landscape painting, lust, wine and zen. Lust mostly appears in form of human body, sometimes also in forms of or supplemented by animals. Wine and zen, on the other hand, appear in forms of daily life scenes or iconic decorative figures. All the three images point at human instinct, displaying the freedom human enjoys in natural environment. "Humanism" starts with human, so human can be seen as the premise and foundation of humanism. In Lu"s landscape painting, we can find both human viewpoint and humanistic viewpoint.

 


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