作品信息
艺术家：黄永玉
作品名：瞻仰
质 地：设色纸本
尺 寸：66×64.5cm
编 号：0514
估 价：150000~180000
成交价：未成交
黄永玉 瞻仰 匡时香港2017秋季拍卖会 现当代书画专场 作品号：0514 2017-10-02 15:00
黄永玉：独辟蹊径 于新水墨艺术中实现自觉与个性
二十世纪对于中国来说是一个风云剧变、日新月异的时期，伴随着西方思潮的涌入，无数惊才艳绝之人士自发要求从内部革新中国文艺。在艺术界，涌现了一批具有实践和探索精神的青年：林风眠、徐悲鸿、赵无极等他们勇敢的举起“革新”的大旗，誓要让陈旧的中国画从程序化的泥淖里脱胎换骨，重获新生，而黄永玉，正是推动中国现代水墨发展的主力军中的一员。
黄永玉早年喜欢漫画家张乐平的作品，漫画这一艺术表现方式在少年的心中种下了一颗种子，使得这位艺术家由始至终都偏爱线条这一形式。后又在五十年代学习了传统木板水印技术。张氏漫画和木刻刀法深深影响了他对线条的展现和组织，同时又继承了中国艺术中书法性用笔的传统。在《杜甫诗意图》这幅人物画里，人物的衣纹被粗粗勾画，以柔中带刚的弧形线条为主，从容自由，明确爽利。几笔飞白是速度的证明，而曲笔的流变婉转是节奏在纸上的显现，急缓痕迹一览无余。人物造型生动简单，颇有一种漫画式的意味。人物粗率简略的五官和双颊鼻头的红晕更添一抹诙谐之感。黄永玉除了拿线条来界定造型轮廓，还用它来组织画面疏密。树枝被画家用有粗有细的线条铺满在画纸上，乱中有序的排布恰恰体现了画家的功力。红色的小花盛开在无数的枝桠上，正是一幅《春消息》。在画纸上，画家实现了线的运动与躯体变化和内心情绪的流动融为一体。五十年代，李可染的写生活动使黄永玉认同在写生中直接进行风景画创作这一模式。在写生基础上，加入常日积累的目识心记的功夫，从中提炼精华，以自己的主观精神自由抒发来表现的创作方法使黄永玉的风景画里粗豪与精细并存。《云谷寺》一画中，便可见寥寥几划宽笔便大刀阔斧的涮刷出了山之粗貌，右下树丛却得小笔点墨，与堂堂大山相得益彰。
黄永玉坚持创造自己的水墨画，但这与当时人们习惯的传统国画样式不符，使得他和他的艺术遭受非议。但他依旧坚持自己的艺术主张，在迷茫和孤独中探寻中国画的改良方法。时间证明，黄永玉是现代水墨中不可或缺的一位人物。
HUANG YONGYU： REALIZING SELF-CONSCIOUSNESS AND INDIVIDUALITY IN NEW INK ART WITH UNIQUE INGENUITY
In the 20th century， drastic changes and improvements were happening all over China. With Western ideological trends flooding into China， countless elite artists claimed spontaneously to renovate internally Chinese literature and art. At that time， a multitude of young artists with the spirit of practice and exploration sprang up： Lin Fengmian， Xu Beihong， Zhao Wuji， etc.， who were courageous enough to raise the flag of “renovation”， vowed to disengage the outdated Chinese painting from preset formulas and to remold it thoroughly for a new look， wherein， Huang Yongyu was just one member of the main force propelling Chinese modern ink painting forward.
His early love of Zhang Leping’s comic works has succeeded in planting a seed of the artistic expression of comics in his mind when he was a teenager， no wonder he loves using lines as a form of expression throughout his art practice. Later he studied the traditional technique of wood-cut print in the 1950s. His style of stretching and organizing lines has been deeply influenced by Zhang Leping’s comics and the wood-carving techniques， and is also in succession of the tradition of calligraphic strokes in Chinese art. In Huang Yongyu’s figure painting named “Drinking Companions” ， he roughly sketches the figures’ clothing texture primarily with curved lines that appear to be soft but firm inside and are gentle， unrestrained， clear and neat. Several broken strokes with streaks of untouched ground （a calligraphic technique called “Fei Bai” in Chinese） are the proof of speed while the tendency and variation of curvy strokes are the manifestation of rhythms on paper， where a clear sight of traces of fast or slow strokes has been formed. His depiction of vivid and simple figures reveals a sense of comics. And a rough and sketchy depiction of the faces together with a blush on the cheeks and the noses even adorn the work with a sense of humor. Huang Yongyu uses lines to organize the density of drawings other than to define outlines of modelling. The drawing paper is overspread with branches of thick and thin lines， and the well-organized layout， appearing to be in chaos， exactly reflects the painter’s skills and abilities. Red flowers are in full bloom on numerous branches， such is the picture of “Spring”. On drawing papers， Huang Yongyu realizes an integration of the movement of lines and the flow of physical changes together with the fluctuation of emotions. In the1950s， Li Keran’s sketching activities prompt Huang Yongyu to directly create landscape paintings from sketching. Boldness and exquisiteness coexist in his landscape paintings because he presents his creative methods by freely expressing his own spirit， and this method is a combination of fundamental sketching and the long-accumulated skill of seeing with eyes and learning by heart. In the painting of “Yun Gu Temple”， a rough outline of mountains is depicted by a few broad strokes decisively， while the trees at the bottom right are stippled with narrow strokes， so the two types of strokes bring out the best in each other.
Huang Yongyu’s adherence to creating his own ink paintings that were inconsistent with the traditional Chinese painting styles at that time， brought himself and his artistic works a lot of criticism. Even so， perplexed and lonely， he has been insisted on his own artistic ideas and searching for the methods to renovate Chinese painting. Time has proved that Huang Yongyu is an indispensable figure in modern ink painting.
二十世纪对于中国来说是一个风云剧变、日新月异的时期，伴随着西方思潮的涌入，无数惊才艳绝之人士自发要求从内部革新中国文艺。在艺术界，涌现了一批具有实践和探索精神的青年：林风眠、徐悲鸿、赵无极等他们勇敢的举起“革新”的大旗，誓要让陈旧的中国画从程序化的泥淖里脱胎换骨，重获新生，而黄永玉，正是推动中国现代水墨发展的主力军中的一员。
黄永玉早年喜欢漫画家张乐平的作品，漫画这一艺术表现方式在少年的心中种下了一颗种子，使得这位艺术家由始至终都偏爱线条这一形式。后又在五十年代学习了传统木板水印技术。张氏漫画和木刻刀法深深影响了他对线条的展现和组织，同时又继承了中国艺术中书法性用笔的传统。在《杜甫诗意图》这幅人物画里，人物的衣纹被粗粗勾画，以柔中带刚的弧形线条为主，从容自由，明确爽利。几笔飞白是速度的证明，而曲笔的流变婉转是节奏在纸上的显现，急缓痕迹一览无余。人物造型生动简单，颇有一种漫画式的意味。人物粗率简略的五官和双颊鼻头的红晕更添一抹诙谐之感。黄永玉除了拿线条来界定造型轮廓，还用它来组织画面疏密。树枝被画家用有粗有细的线条铺满在画纸上，乱中有序的排布恰恰体现了画家的功力。红色的小花盛开在无数的枝桠上，正是一幅《春消息》。在画纸上，画家实现了线的运动与躯体变化和内心情绪的流动融为一体。五十年代，李可染的写生活动使黄永玉认同在写生中直接进行风景画创作这一模式。在写生基础上，加入常日积累的目识心记的功夫，从中提炼精华，以自己的主观精神自由抒发来表现的创作方法使黄永玉的风景画里粗豪与精细并存。《云谷寺》一画中，便可见寥寥几划宽笔便大刀阔斧的涮刷出了山之粗貌，右下树丛却得小笔点墨，与堂堂大山相得益彰。
黄永玉坚持创造自己的水墨画，但这与当时人们习惯的传统国画样式不符，使得他和他的艺术遭受非议。但他依旧坚持自己的艺术主张，在迷茫和孤独中探寻中国画的改良方法。时间证明，黄永玉是现代水墨中不可或缺的一位人物。
HUANG YONGYU： REALIZING SELF-CONSCIOUSNESS AND INDIVIDUALITY IN NEW INK ART WITH UNIQUE INGENUITY
In the 20th century， drastic changes and improvements were happening all over China. With Western ideological trends flooding into China， countless elite artists claimed spontaneously to renovate internally Chinese literature and art. At that time， a multitude of young artists with the spirit of practice and exploration sprang up： Lin Fengmian， Xu Beihong， Zhao Wuji， etc.， who were courageous enough to raise the flag of “renovation”， vowed to disengage the outdated Chinese painting from preset formulas and to remold it thoroughly for a new look， wherein， Huang Yongyu was just one member of the main force propelling Chinese modern ink painting forward.
His early love of Zhang Leping’s comic works has succeeded in planting a seed of the artistic expression of comics in his mind when he was a teenager， no wonder he loves using lines as a form of expression throughout his art practice. Later he studied the traditional technique of wood-cut print in the 1950s. His style of stretching and organizing lines has been deeply influenced by Zhang Leping’s comics and the wood-carving techniques， and is also in succession of the tradition of calligraphic strokes in Chinese art. In Huang Yongyu’s figure painting named “Drinking Companions” ， he roughly sketches the figures’ clothing texture primarily with curved lines that appear to be soft but firm inside and are gentle， unrestrained， clear and neat. Several broken strokes with streaks of untouched ground （a calligraphic technique called “Fei Bai” in Chinese） are the proof of speed while the tendency and variation of curvy strokes are the manifestation of rhythms on paper， where a clear sight of traces of fast or slow strokes has been formed. His depiction of vivid and simple figures reveals a sense of comics. And a rough and sketchy depiction of the faces together with a blush on the cheeks and the noses even adorn the work with a sense of humor. Huang Yongyu uses lines to organize the density of drawings other than to define outlines of modelling. The drawing paper is overspread with branches of thick and thin lines， and the well-organized layout， appearing to be in chaos， exactly reflects the painter’s skills and abilities. Red flowers are in full bloom on numerous branches， such is the picture of “Spring”. On drawing papers， Huang Yongyu realizes an integration of the movement of lines and the flow of physical changes together with the fluctuation of emotions. In the1950s， Li Keran’s sketching activities prompt Huang Yongyu to directly create landscape paintings from sketching. Boldness and exquisiteness coexist in his landscape paintings because he presents his creative methods by freely expressing his own spirit， and this method is a combination of fundamental sketching and the long-accumulated skill of seeing with eyes and learning by heart. In the painting of “Yun Gu Temple”， a rough outline of mountains is depicted by a few broad strokes decisively， while the trees at the bottom right are stippled with narrow strokes， so the two types of strokes bring out the best in each other.
Huang Yongyu’s adherence to creating his own ink paintings that were inconsistent with the traditional Chinese painting styles at that time， brought himself and his artistic works a lot of criticism. Even so， perplexed and lonely， he has been insisted on his own artistic ideas and searching for the methods to renovate Chinese painting. Time has proved that Huang Yongyu is an indispensable figure in modern ink painting.
