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黃云款<<神仙圖游魚(yú)>>
HuangYun style
【規(guī)格】長(zhǎng)：97Cm
[Specification] length: 97cm
寬：45.5cm
Width: 45.5cm
【類(lèi)別】：字畫(huà)
[category]: calligraphy and painting
【落款】：黃云款
[signature]: Huang Yunqian
【數(shù)量】：一幅
[quantity]: one
中國(guó)書(shū)畫(huà)藝術(shù)是中華優(yōu)秀傳統(tǒng)文化的核心精華。在建設(shè)社會(huì)主義文化強(qiáng)國(guó)的大背景下，繼承和發(fā)展中國(guó)傳統(tǒng)書(shū)畫(huà)藝術(shù)尤為重要。中國(guó)書(shū)畫(huà)藝術(shù)由于其固有的記載歷史過(guò)程的特質(zhì)和博大精深的藝術(shù)魅力，幾千年來(lái)深深地感染著人類(lèi) ，溫暖著人類(lèi)。
Chinese calligraphy and painting is the core of China's excellent traditional culture. In the context of building a strong socialist culture, it is particularly important to inherit and develop the traditional Chinese painting and calligraphy art. For thousands of years, Chinese painting and calligraphy art has deeply influenced and warmed human beings because of its inherent characteristics of recording historical process and profound artistic charm.
黃云原名黃祖江，廣東新會(huì)人。1931年9月出生于廣東恩平。擅長(zhǎng)國(guó)畫(huà)山水畫(huà)、壁畫(huà)，特點(diǎn)質(zhì)樸深厚、清新雅逸、裝飾性強(qiáng)，富有生活氣息，被譽(yù)為“北墨南韻”的畫(huà)家，五十年代便有雕塑、宣傳畫(huà)、漫畫(huà)、版畫(huà)等作品發(fā)表和參加省市及全國(guó)美展。1959年進(jìn)入中央工藝美術(shù)學(xué)院攻讀壁畫(huà)專業(yè)本科，1964年畢業(yè)留校任教。1972年應(yīng)約為《光明日?qǐng)?bào)》、《人民中國(guó)》等報(bào)刊撰寫(xiě)評(píng)論文章。1974年調(diào)回廣州美術(shù)工作室任國(guó)畫(huà)組組長(zhǎng)。1980年廣州中國(guó)畫(huà)會(huì)成立，選為副會(huì)長(zhǎng)。1982年廣州畫(huà)院成立，為畫(huà)院專業(yè)畫(huà)家，院務(wù)委員兼國(guó)畫(huà)組組長(zhǎng)。同時(shí)，在廣州美術(shù)學(xué)院兼教授。
Huang Yun, formerly known as Huang Zujiang, is from Xinhui, Guangdong Province. Born in September 1931 in Enping, Guangdong Province. He is good at traditional Chinese painting, landscape painting and mural painting, with simple and profound characteristics, fresh and elegant, strong decoration and rich life atmosphere. He is known as the painter of "northern ink and southern rhyme". In the 1950s, there were sculptures, posters, comics, prints and other works published and participated in provincial, municipal and national art exhibitions. In 1959, he entered the Central Academy of Arts and crafts to study mural, and in 1964, he graduated to stay in school. In 1972, he was invited to write review articles for Guangming Daily, people's China and other newspapers. In 1974, he was transferred back to Guangzhou Art Studio as the leader of the traditional Chinese painting group. In 1980, Guangzhou Chinese Painting Association was established and elected as vice president. In 1982, Guangzhou Academy of painting was established as a professional painter, academician and group leader of traditional Chinese painting. At the same time, he is also a professor in Guangzhou Academy of fine arts.
近年來(lái)，黃云在深入體悟前人審美精神的同時(shí)，他能勤于思考不僅在創(chuàng)作中傳承中國(guó)畫(huà)的藝術(shù)精神，同時(shí)又能不囿于前輩的筆墨圖式，他的作品不是表象上對(duì)古人的簡(jiǎn)單摹仿，而是極力表現(xiàn)對(duì)大自然的超越——既是物質(zhì)的，也是精神的，更是個(gè)體生命意形式的外化。賞讀黃云的作品，即可感受到傳統(tǒng)水墨的無(wú)窮魅力，又能探尋到他在融燴中西，執(zhí)著創(chuàng)新方面所作出的不懈努力。他能把在作品中流露的細(xì)膩情感融入到大自然的微妙流轉(zhuǎn)之中，隨物宛轉(zhuǎn)，與心徘徊，通過(guò)其筆下的形象，營(yíng)造出精神棲息的港灣，表述著凈化心靈的人文關(guān)懷。在筆墨語(yǔ)言的運(yùn)用中，他以古拙的書(shū)法用筆入畫(huà)，遒勁厚重，蒼老雄健;用色古艷清新，艷而不俗;色墨對(duì)比強(qiáng)烈，極具視覺(jué)沖擊力和感染力。作品樸素生動(dòng)，意趣盎然，洋溢著濃郁的生活氣息和現(xiàn)代審美情趣。
In recent years, when Huang Yun deeply understood the aesthetic spirit of his predecessors, he was diligent in thinking about not only inheriting the artistic spirit of Chinese painting in his creation, but also not limited to the brush and ink patterns of his predecessors. His works are not a simple imitation of the ancients on the surface, but a strong expression of the transcendence of the great nature -- both material and spiritual, but also the externalization of the form of individual life 。 Appreciating Huang Yun's works, you can feel the infinite charm of traditional Chinese ink and find out his unremitting efforts in blending Chinese and Western ink, and in persisting in innovation. He can integrate the delicate feelings revealed in his works into the subtle flow of nature, and wander with the heart as the things change. Through his images, he can create a harbor for spiritual habitat and express the humanistic care of purifying the soul. In the use of brush and ink language, he used the ancient calligraphy brush to draw, which is strong and thick, vigorous and old; the color is ancient and fresh, gorgeous and not vulgar; the contrast between color and ink is strong, with strong visual impact and appeal. The works are simple and vivid, full of interest, full of rich life atmosphere and modern aesthetic taste.
這幅<<神仙圖游魚(yú)>>能夠感受到一種不溫不火、淡泊深遠(yuǎn)的清雅之氣，能夠體悟到一種不激不厲、和諧融通的靜美之氣，能夠收獲到一種不燥不枯、神采飛揚(yáng)的俊朗之氣。工筆畫(huà)造型準(zhǔn)確，設(shè)色逼真，描寫(xiě)生動(dòng)細(xì)膩，而寫(xiě)意畫(huà)則取其神韻，筆簡(jiǎn)意賅，野逸豪放，他的自如揮灑，氣息足、趣意多、神采逸、骨力硬，把骨力巧隱于淡泊之中，把俊逸巧隱于樸拙之中，把恣意巧隱于法度之中，古樸卻不失剛健，靈秀卻不失渾厚，端莊卻不失俊逸，雄強(qiáng)卻不失文靜。能從他的動(dòng)情書(shū)寫(xiě)中品讀出率真灑脫的情懷。其價(jià)值和未來(lái)的升值空間更是無(wú)法估量！
In this picture, you can feel a kind of calm and elegant air that is not warm, not fiery and far-reaching, a kind of calm and beautiful air that is not harsh, harmonious and harmonious, and a kind of handsome air that is not dry, not dry and not dry. Fine brushwork is accurate in modeling, lifelike in color, vivid and delicate in description, while freehand brushwork takes its verve. The brushwork is simple and comprehensive, wild and unrestrained. It is easy to swing, full of breath, interesting and meaningful, elegant and hard in bone. It conceals its bone in indifference, its beauty in simplicity and simplicity, and its wanton skill in law. It is simple but vigorous, smart but thick, dignified but not weak Lose handsome, strong but not quiet. Can read the frank and free feelings from his emotional writing. Its value and future appreciation space are immeasurable!
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For more details, contact Zhang Zong 15010550039
