何家英 He Jiaying
中國
China
何家英，1957年生於天津，原籍河北省任丘人。現為天津美術學院教授、當代工筆畫會常務理事、中國美術家協會理事、天津美術 家協會常務理事及國務院特殊津貼優秀專家。 自幼酷愛繪畫，1974年被抽調到天津市文化局創作室擔任美術創作，並同時向孫克綱、張德育和杜滋齡等導師學習中國畫。1977年 考入天津藝術學院繪畫系，1980年畢業並留校任教至今。何氏是當代中國畫壇嶄露頭角的傑出人物畫家，被譽為「最有希望和最有 代表性的年輕一代畫家」。人物清麗瑩潔；寫意人物也別創新意、含蓄、虛豁、自然大方及深具東方韻味。 作品先後在日本、韓國、印度、香港、澳門及中國各地展出，歷年來有大量作品獲得多項金獎和銀獎。出版有《何家英作品選》等 多本專集。 He Jiaying, born in 1957 in Tianjin, is a native of Renqiu, Hebei Province. He is now a professor in the Tianjin Fine Art Academy, council member of Contemporary Gongbi Painting Association, Chinese Artists Association and executive council member of its Tianjin Branch. He receives special allowance from the State Council for his outstanding expertise. His interest in painting started at his very young age. In 1974, he worked at the Creative Workship of Tianjin Cultural Bureau as an artist and took the opportunity to study from Sun Kegang, Zhang Deyu and Du Ziling. He was admitted to Tianjin Academy of Fine Art in 1977. After his graduation in 1980, he stayed and has served as a lecturer there till now. Being recognized as one of the most distinctive contemporary Chinese artists of figure painting, he has accommodated many artistic sources and perspectives, including Chinese, western, traditional and modern art schools. Many of his prized works have been exhibited in different occasions in China and overseas, including Japan, Korea, India, Hong Kong and Macau. His publications include “Selected Works of He Jiaying”, etc.
《秋冥》是其代表作，他著重在中西繪畫兩者之間的相通、契合和改革，尊重傳統而不束於舊範，問途城外而不流於追隨。他的創 作高揚寫實主義精神，注重對生命的體驗，以及心靈和人性的表現。其工筆人物畫刻劃細微、佈置謹重。
“Autumn” is one of his renowned art pieces. His Gongbi figures emphasize detailed description and adopt realism. His free-style brushstrokes are graceful and original, conveying senses of oriental charm. He also stresses on the expression of emotions and humanity, Thus he has contributed to the breakthrough on the development of Chinese figure painting.
P.36
人 物 畫 PORTRAITS
秋宴 Autumn 203×151cm 設色紙本 Ink and color on paper
王昌楷 Wang Chagnkai
中國
China
王昌楷，1940年生於河北定縣的詩書世家，自幼受酷愛繪畫。 他於1957年考入北京藝術學院預科，1960年升入學院本科，受教於吳冠中先生，專習油畫；1963年畢業後從事美術教育工作長達 15年；1978年調入全國總工會文工團，從事舞臺美術工作，並因隨團各地演出、拍攝之機，遍遊祖國美麗山川，為此後的油畫創作 打下良好基礎。在數十年艱苦的藝術實踐中，他一直不離不棄地跟隨吳冠中先生，並深受吳先生藝術理念的影響。為發展屬於中國 的油畫藝術體系，付出大量的汗水和努力，終於在八十年代建立了自己鮮明的藝術風格，並於九十年代進入藝術成熟期。 在歷年多次國內外的重要展覽中，他的作品都獲得藝術界和收藏界良好評價，作品並被中外藝術機構收藏及拍賣。出版有多本個人 藝術專集。 Wang Chagnkai, born in a literary family in Zhengding, Hebei Province in 1940. Wang developed his ardent love for art since his early childhood. In 1957 he was admitted to the preparatory class of Beijing Art Academy and furthered his study as an undergraduate in 1960. He majored in oil painting and was under the guidance of Mr Wu Guanzhong. Since graduation in 1963, he had engaged in the career of art education for 15 years. In 1978, he was transferred to the Literary Unit of the National Workers’ Union to take charge of the stage design. It provided a great opportunity for him to travel all over the magnificent country with the performance troupes, which laid a profound foundation for his future landscape painting creation. In several decades of arduous artistic endeavor, he has been following Mr Wu ceaselessly, and is deeply influenced by Mr Wu’s artistic philosophy. He has made painstaking efforts in pursuit of developing an oil painting system that uniquely belongs to China. Finally, he has successfully established his own distinctive style in 1980s, and came to maturity in 1990s. Wang’s works are highly acclaimed by art connoisseurs and collectors in many of his important exhibitions held at home and abroad throughout all these years, and are collected and auctioned by local and international art establishments. Various art albums of Wang have been published.
他的作品《老宅》清新明快，既發揮了油畫亮麗的色彩和三維空間的視覺效果，又融入中國畫講究的筆法之有效運用和不可修改之 難度，形成了有別於西方油畫的新的中國油畫技法，為中國繪畫藝術增添了屬於自己民族的新畫種。 Wang’s “Old house” is refreshingly lively and lucid. Not only do they bring the vividness of hues and the three dimensional visual impact of oil paintings into full play, but also incorporate the highly-effective manipulation of brushstrokes, as well as the irrevocable nature of Chinese painting into it. All of these are a brand new technique of Chinese oil painting, which is distinctively different from that of the West. He created a new genre of Chinese art, which only belongs to the Chinese nation.
P.138
山 水 畫 LANDSCAPE
老宅 Old house 96×178cm 設色紙本 Ink and color on paper
秦天柱 Qin Tianzhu
中國
China
秦天柱，1952年生，四川省成都市人。自學成才，擅畫寫意花鳥，提倡有感而發，寄情於畫。現為中國美術家協會會員、四川省美 協家協會理事、四川省文聯委員、四川省花鳥畫會副會長、四川省詩書畫院創研室主任、國家一級美術師。 秦天柱曾先後在四川成都、南京、北京、新加坡、香港、日本和台灣舉辦展覽及多次參加國內外重要聯展。作品曾獲四川省優秀文 藝作品獎、四川省美術作品展優秀獎、日本精選現代水墨畫美術展優秀獎和四川省國畫大展優秀獎。部分作品分別為中國美術館、 江蘇美術館、深圳博物館、日本福山城博物館、日本中川美術館、美國舊金山文化中心和泰國國王行宮《羅浮院》收藏。 Qin Tianzhu, born in 1952, is a native of Chengdu, Sichuan Province. Qin taught himself to be an artist. He is now a member of Chinese Artists Association and committee member of its Sichuan branch, executive member of Sichuan Literal Federation, vice-chairman of Sichuan Society of Flower-and-Bird Paintings, fellow of Sichuan Poetry, Calligraphy and Painting Institute. He is also rated national firstclass artist. Qin has held many solo and joint exhibitions in Chengdu, Nanjing, Beijing, Singapore, Hong Kong, Japan and Taiwan. His works has won many prizes at Sichuan Art Exhibition and Sichuan Chinese Paintings Exhibition. He also won the Prize of Merit at the Selected Contemporary Modern Ink and Wash Paintings Exhibition in Japan. Some of his works are collected by the Chinese National Art Gallery, Jiangsu Art Gallery, Shenzhen Museum and Art Gallery in Japan, Cultural Center of San Francisco and the Imperial Palace in Thailand.
作品《松鶴延年》簡潔明快、佈局精嚴、筆墨靈動、設色典雅、清新怡人。其作品題材甚廣，大至搏擊長空的雄鷹，小至草葉間的 昆蟲，無不灌注他對生活的熱愛和理想，形成格調高雅而鮮明的藝術風格，在當代中國花鳥畫界具有相當影響力。 Qin’s painting “Pine crane years” shows the exquisite composition and classic coloring, his works are succinct, lucid and lively. The themes of his works are broad, ranging from the large eagle in the vast sky to the little insect among the grass. He advocates expressing one’s personal feelings through his paintings and infusing them with his philosophies and passion for life. Qin has form a unique artistic style of elegance and vividness which has made great influence to the circle of Flower-and-Bird paintings in China.
P.246
花 鳥 畫 FLOWER AND BIRDS
松鶴延年 Pine crane years 179×96.5cm 設色紙本 Ink and color on paper
馮大中 Feng Dazhong
中國
China
馮大中，1949年生，遼寧省蓋縣人。現為中國美術家協會會員、中國工筆畫學會副會長、遼寧省本溪市文聯副主席及國家一級美術 師。15歲時拜遼東名士李笑如為師。其藝術道路主要靠自學發奮成家，專攻畫虎，兼研山水及其他。 他的作品曾在中國多處展出及獲獎無數。其中《初雪》獲全國青年美展二等獎；《早春》獲中國工筆畫首屆大展金獎；《艷陽》獲 評第八屆全國美展優秀作品。有十八件作品為中國美術館收藏。曾分別多次在日本、新加坡、台灣和香港等地舉辦展覽。出版有 《馮大中畫集》及《馮大中作品選》等多本作品專集。 Feng Dazhong, born in 1949, known as the Host of the Crouching Tiger Cottage, is a native of Gaixian, Liaoning Province. He is now a member of Chinese Artists Association, vice chairman of the Chinese Gongbi Painting Association, vice-chairman of the Liaoning Branch of the Benxi Municipal Cultural Federation and is rated national first-class artist.When he was 15, Feng learned from Li Xiaoru on painting of tigers. Apart from tigers, he also does landscape paintings. Feng’s works have been exhibitied in many places in China and have won many prizes. Among these, “Early Snow ” was awarded Second Prize in the National Show of Works by Young Artists; “Early Spring ” won Gold Medal in the 1st National Chinese Gongbi Painting Exhibition in 1988; “Brilliant Sunshine ” won the Distintive Prize in the 8th National Art Exhibition in 1994. In addition, eighteen of his works are in the collection of Chinese Art Gallery. His paintings have also been shown in his solo exhibitions and many other group shows in Japan, Singapore, Taiwan and Hong Kong. His published works include “Paintings of Feng Dazhong” and “Selected Works of Feng Dazhong”, etc.
作品《七九河開》風格嚴謹典雅、豪放灑脫，具有鮮明的特色。他筆下的虎突破了傳統程式化的表現方式，以人文精神賦予老虎真 情性。在威猛與柔靜之間，整體氣勢與精微表現，達到形神合一的境界，創造出一種細而不膩、工而不匠、雅俗共賞的獨特風格。 他並被冠上「天下第一虎」的美譽。而其山水畫則以自然為師，結合自已的情感，使畫境雄渾野逸、蒼潤博大，突破了過往山水畫 的表現模式。 The painting, “Melting snow ”are mighty in appearance and powerful in mood. They display his full integration of vigorous strokes and gentle touch with assimilation of grandeur and details. His masterful paintings of tiger have not only impressed plentiful audience but also won him the name of “The Number One Tiger in the World”. As a breakthrough on this painting category since the Ming and Qing dynasties, his delineation of the wild animal is bold, all filled with his personal touch and running spirit.
P.348
動 物 畫 A N I MA L S
七九河開 Melting snow 188×123cm 設色紙本 Ink and color on paper
劉國松 Liu Guosong
台灣
Taiwan
劉國松，1932年，祖籍山東青州，自1949年移居到台灣，身兼畫家、美術教育家、藝術評論家等多重身份。1956年畢業於師大美 術系，隨即發起創立五月畫會，掀起現代藝術運動，終身以建立中國繪畫新傳統為己任，倡導「中國畫現代化」，在中華民國戒嚴 時期提倡革命性的繪畫理論，與徐復觀先生的《現代畫論戰》在當時社會上激起一陣波瀾。 1970年代劉國松應聘香港大學藝術系執教，將現代水墨的風氣帶到了香港。1983年代，他的個展首次在北京中國美術館舉行，殊異 的風格，此後巡迴各省展覽，引發迴響，成為影響中國當代水墨創作重要的藝術家。劉國松是作品被大英博物館、北京故宮博物院 及美、德、義、瑞士、澳洲等80餘個國家的美術館收藏。 劉國松近年來走訪各地，以學術演講的方式，激勵學畫之人。更進將各種新的水墨技法，透過錄影、文字等方式向學畫之人分享， 讓水墨藝術的後起之秀得以一窺奧秘，近來藝術學者多稱劉國松為「現代水墨之父」。 Liu Guosong, born in 1932, native of Qingzhou, Shandong, Liu Kuo-sung was born in Bangbu, Anhui, in 1932. Liu moved to Taiwan from mainland China in 1949. In 1956, Liu graduated from the Fine Arts Department of the National Taiwan Normal University, in which he studied both traditional brush-and-ink and western-style painting techniques. As one of the co-founders of the Taiwan's Wuyue Huahui Fifth Moon Group in 1957, Liu Kuo-sung sought a new approach to art, which was inspired by both traditional Chinese painting. By the mid-1960s, Liu gradually developed his own personal pictorial formulae, in which he combines ink painting with collage and applies ink and color on special paper. In 1971, he moved to Hong Kong to teach at the Chinese University of Hong Kong, where he would remain for the next twenty years. He was also a visiting professor at the University of Iowa in 1975 and a visiting artist at the Iowa and Illinois Art Councel in 1980. In 1981, he was invited by the Chinese Painting Research Institute to visit Beijing, a visit that was followed in 1983 by an exhibition at the National Art Museum of China and an extensive exhibition in 18 cities around the country.
《雪綱山痕皆自然》實驗了水墨的不同可能性，劉國松從媒材開始作為第一步，技法是在紙張上墨後，撕去紙筋留下白線的「抽筋 剝皮皴」，而為了達成理想的效果，甚至因此發明了「劉國松紙」。後來在參觀九寨溝後，又以建築用的描圖紙，利用其不吸水的 特性，發展九寨溝系列絢爛迷人的水面波光，同樣為觀者驚豔。 The painting “Snowing mark” shows his artistic exploration, developing such intriguing techniques as shuituo (water rubbing) and zimo (steeped ink). Liu was inspired by the Apollo 8 space mission, he developed his space series in the late 1960s. As an artist and an art educator, Liu Kuo-sung enjoys widespread fame and influence in China. He inspires young generations of Chinese artists to explore new creative directions —especially the monumental landscape painting style of the Northern Song period (960–1126) and the xieyi style of the Southern Song period (1129–1279)—as well as modern styles and techniques, such as Abstract Expressionism.
P.464
現 代 水 墨 畫 MODERN INK ART
雪綱山痕皆自然 Snowing mark 184×93cm 設色紙本 Ink and color on paper