学员园地  >>  正文刘子龙的现代彩墨画
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曾陆红

刘子龙是以他的彩色蜡染画驰誉画坛的。1984年夏在中国美术馆中央大厅举办的“刘子龙蜡染绘画展”,轰动了北京城,彩色蜡染画也在社会上掀起了一股热潮。这次画展使人们认识了刘子龙的彩色蜡染画和他的艺术。

刘子龙的彩色蜡染画对中国传统蜡染进行了大胆的创新,他将中国民间传统蜡染的基本原理与现代染色技术相结合,把传统蜡染的兰白基调发展成多色调,传统蜡染仅限于棉织物上的使用,而刘子龙的彩色蜡染画可以在棉、毛、麻、丝、化纤、皮革等多类织物上广泛运用。他的彩色蜡染画是一种新的现代绘画艺术形式,不仅是实用美术品,且具有艺术上很高的欣赏价值。时任中央工艺美术学院院长的常沙娜说:“工艺技术上的突破,带来了艺术的创新……”。

刘子龙的彩色蜡染画的伟大意义在于他从中国传统美术中走去了一条民族艺术的创新之路。

由于刘子龙在蜡染艺术的成就与声誉,反而遮掩了他在其它艺术方面的成就。他是一位具有多方面才能的艺术家,在设计、图案、油画和彩墨画方面,都有相当高的造诣。

刘子龙从小热爱绘画,十多岁办起了《子龙画社》。年青时代的刘子龙走南闯北,寻师访友,自学成才。曾任唐山市彩色蜡染所所长、河北省彩色蜡染中心总工程师。1981年,39岁的刘子龙踏进了中央工艺美术学院的殿堂,成为大师张仃、袁运甫最喜爱的学生,也实现了他的夙愿——从事纯艺术创作。中央工艺美术学院的几年学习使他的艺术达到了一个新的境界。

刘子龙从事彩墨画创作,一直作为他个人艺术风格的探索,而绝少示之于众。其实,他的最早从事现代彩墨画创作的艺术家之一,他的现代彩墨画风格早在八十年代初业已形成。他曾一度迷恋西方现代派艺术,特别喜欢表现主义和抽象表现主义,他从传统水墨画中汲取或提炼表现现代特质的元素,一方面坚持了中国水墨所蕴含的文化属性,但未放弃水墨画具有代表性的工具和材料属性。当国内“八五”美术思潮风起云涌之际,尽管他不时地从事现代彩墨画的创作,但他更多的时间在国外。他多次被邀请在海外讲学和举办画展,没有投身于国内现代艺术思潮的风口浪尖,自然,也就没有人把他与中国现代彩墨画最早的实践者联系在一起,实属一件憾事。

在1984年夏中国美术馆的《刘子龙彩色蜡染壁挂展》上,我欣赏了刘子龙的艺术,而与他相识是在90年的中期。当第一次见到刘子龙本人时,便有了一见如故之感,仿佛神交已久。尽管他的年龄长我许多,但我们很快成为了无所不谈的忘年交,使我有机会多次与他交流,看他作画,对他的艺术有了一定的认识。

刘子龙是一位性情中人,热情、豪放、大气、真诚与宽厚,非常重感情。特别是朋友们的事儿,无论事业上的还是生活上的他都充满了热枕。

在艺术上,刘子龙是一位敢于探索、勇于实践,富有“创造精神”的画家。他把彩色蜡染画的科学实验用于彩墨画的创作之中。

刘子龙作彩墨画,画前一般都要做长时间的思考。他喜欢把纸张铺在地上或桌上,他时而围绕着空白的画纸来回走动或紧紧凝视,似要与画纸对话或交谈。当他将画笔举起的时候,便有一发不可收拾之感。一会儿大笔挥洒,一会儿细心勾勒。有时他伸动画纸,让水、墨和色随之流动,相互渗透,以求意想不到的偶发性效果。中国画的生宣与水墨具有渗化和沁润性,当水、墨、彩融合后便能产生因流动而形成一种韵律感和独特的语言形式。画到尽兴时,刘子龙有时未免有点手舞足蹈,达到了物我皆忘的境界。据他所说:作画之初,我并不知道要画什么,当笔和墨一接触到画纸,想要画的形象便开始在我的脑中出现,为了保持那种新鲜的感觉,促使我一口气将它画完。刘子龙作画的方法与张大千先生创作的泼墨法有点相似,也与美国的行动绘画有某种类同的地方。

刘子龙的彩墨画,激情始终贯穿于整个创作过程,许多作品是即兴地一气呵成的勃发之作。作品风格泼辣潇洒,落墨、用色大胆,其中,不乏精心构成和华滋厚重的可贵特色。有些作品在色彩和线条的表现方面,充满了强烈的笔意和感情色彩。他的彩墨画潇洒自如,有的浓艳、有的素雅,有的酣畅、有的沉厚,更多地表达了自己的意念与直觉,在感受生活的变异及新的文化信息时,寻觅到了一些切中现实的文化图像和符号。他对彩墨的宣泄和控制、形和线的斑驳藏露的艺术处理等方面,形成了有别于他人的品格,在水、墨、彩的深度层次、空间及冰纹机理效果处理上具有独特性。

刘子龙的彩墨画经历了从写意到抽象得过程,他的大部分的彩墨画应当归于抽象画的范畴,属于表现主义或装饰画派的画风。仔细品来,他的彩墨画,有些表现了对人生的思考、对人类生与死、对生命兴衰荣枯的思虑,;有些表达了理想与现实的矛盾冲突,表现了他对爱恋与怨恨的感觉与感受。有些则仅仅是形式上对彩墨材料美感的探索,找寻墨、彩、线条等自身的韵律美,追求画面的形式与构成。刘子龙彩墨画的艺术魅力,来自于他对生活的理解,来自他对个性的彰显,也来自于他的艺术形式自身的美感和形式所表现出来的生命意味。

就材料而言,刘子龙的彩墨画既使用中国画的生熟宣纸,也使用高丽纸。既用中国画的毛笔,也使用排笔。色彩有中国画颜料,也有水粉和丙烯等。

水天中先生说:“刘子龙的作品从形式上看,具有浓厚的东方绘画的风味,如形体的坚实塑造和大胆分解,色彩的整体统一和强烈对比,以及某种神秘,惶惑的精神状态等等。……

刘子龙是一个在中国文化土壤中成长起来的艺术家,这不在他是否继承了传统绘画的形式和章法,而是保持着中国人审视自然和人生的宁静目光,即使在营造孤寂与悲哀,也有一种苍茫独适的气概,这种东方式的激动中,并未丧失节制与和谐的心态,刘子龙是一个具有现代创造精神的中国艺术家。”

张大千先生说过“一个能将西画长处融化到国画里来,看起来完全是国画的神韵,不留丝毫西画外貌,这定要有绝顶的天才和非常勤奋的用功,才能有此成就,稍一不慎,便入魔道”。

刘子龙的彩墨画显然揉入了一些西方现代艺术的样式和风格,但依然保持着浓厚的东方绘画的风味,看起来完全是中国画的神韵。刘子龙就是这样一位富有天赋、创造力与勤奋的艺术家。

刘子龙部分代表作品

《莲池回源》(纸本.蜡质.油彩)50x50cm 2011

《珍珠珊瑚》(纸本.蜡质.油彩)2010

《119姐妹》(蜡染画.纸)1984

Modern Ink and Color Painting of Liu Zilong

By Zeng Luhong

Liu Zilong is known by the art circles by his color batik painting. “Liu Zilong Batik Painting Exhibition” held in the Central Hall of National Art Museum of China in the summer of 1984 makes a sensation in Beijing and makes color batik painting sweep over China. This art exhibition brings the color batik painting and art of Liu Zilong to the public.

In his color batik painting, Liu Zilong performs brave innovation against traditional Chinese batik dyeing. He integrates the fundamental principle of traditional Chinese folk batik dyeing with modern dyeing technique and expands the blue and white tunes of traditional batik dyeing into multiple tunes. Traditional batik dyeing is limited to cotton fabric, while Liu Zilong’s color batik painting is applicable to cotton, wool, linen, silk, chemical fiber, leather and other fabric. His color batik painting represents an artistic technique of modern painting and not only serves as practical artwork but also provides high appreciation value. “The breakthrough of process engineering brings artistic innovation,” says Chang Shana, the then dean of Central Academy of Art and Design.

The great significance of Liu Zilong’s color batik painting lies in that he carves out an innovation road for folk art from traditional Chinese art.

The achievements and reputation of Liu Zilong in batik painting conceals his achievements in other art fields. As a versatile artist, he has become quite accomplished in design, pattern, oil painting and ink and color painting fields.

Liu Zilong has loved painting ever since he was a child and established Zilong Painting Club when he was in his teens. When he was young, Liu Zilong traveled around for learning and making friends and became well-educated through self-study. He has served as the director of Tangshan Color Batik Institute and general engineer of Hebei Color Batik Center. In 1981, when he was 39, Liu Zilong stepped into the Central Academy of Art and Design, became the most favorite student of masters Zhang Ding and Yuan Yunfu, and realized his long-cherished dream – engaging in pure artistic creation. Liu Zilong has reached a new artistic level after years of study in the Central Academy of Art and Design.

Liu Zilong only takes the creation of ink and color painting as the exploration for personal artistic style and rarely shows his artworks to the public. In practice, he is one of the earliest artists engaged in modern ink and color painting and has developed personal style of modern ink and color painting in 1980s. He had fascinated in Western modernism, in particular, expressionism and abstract expressionism. He draws or abstracts elements from traditional ink and wash for expressing modern characteristics. He insists on cultural attribute contained in Chinese ink and wash on the one hand but never gives up the representative tools and material attributes. When the ’85 New Wave Art Movement was popular in China, he frequently went abroad though he created modern ink and color painting from time to time. He has been invited to give lectures and hold painting exhibitions outside of China more than once. As a result of not throwing himself into the wave crest of through trends of art, Liu Zilong is not deemed as the earliest practitioner of modern ink and color painting in China, which is really a great pity.

In the summer of 1984, I appreciated his art from Liu Zilong Color Batik Hanging Exhibition and met him in the mid 1990s. I felt he was my old friend when I met him for the first time in person. We became good friends soon despite of great difference in age. Therefore I have opportunities to communicate with him, watch him painting, and recognize his art to certain extent.

Liu Zilong is a person with real feelings. He is passionate, unconstrained, generous, sincere and merciful, and values emotion a lot. He is always willing to help friends, in career or life.

Artistically, Liu Zilong is a creative painter, who is brave in exploration and practice and applies scientific experiment of color batik painting to the creation of ink and color painting.

Generally, Liu Zilong would think over for long time before creating ink and color painting. He prefers to lay the paper on floor or desk, walks around or fixes his eyes on the blank paper from time to time as if he would initiate a dialogue or talk with the paper. It goes smoothly and continuously when he takes the brush, for a while, he brushes quickly, and for another while, he stretches carefully. Sometimes, he moves the paper to enable the flowing and mutual penetration of water, ink and colors and seek unpredictable casual effect. The raw Xuan paper of Chinese painting is penetrative and infiltrated to water and ink so that a kind of sense of rhythm and unique language form is created by flowing when water, ink and color is mixed.

If he enjoys himself to the full during painting, Liu Zilong can’t help dancing occasionally as if forgetting everything. I have no idea what to draw in the beginning; when the brush touches the paper, the image I wanted occurs to my mind immediately, and I draw it continuously to maintain the fresh sense, he says. The method of painting adopted by Liu Zilong is similar to the splash-ink method created by Mr. Zhang Daqian and also resembles American action painting to a certain extent.

Passion runs through the creation course of Liu Zilong’s ink and color painting. Some works are created impromptu. His works have handsome style, bold ink and color application, elaborate composition and other precious characteristics. Some works are full of charm of stroke and emotional coloring in terms of color and line expression. Featuring free style, his ink and color paintings are bright, or elegant, or splendid or profound, focus on the expression of his ideas and intuitions, and find certain cultural images and symbols hitting the reality at the time of experiencing the variation of life and new cultural information. He develops a distinctive character by virtue of rendering and control of ink and color, artistic processing of mottled and exposed/concealed shapes and lines, and others, and takes a unique way for the processing of water, ink, depth of color, spatial and icy veins.

Experiencing a process from freehand brushwork to abstract, most of Liu Zilong’s ink and color paintings fall into the scope of abstract painting and can be included into expressionism or decorative style. Carefully appreciating his ink and color paintings, you can find his reflection on life, worries about life & death and ups & downs, expression of conflict between ideal and reality, and feeling of love and hate. Some of his works are only for exploring aesthetic feeling of ink and color materials, seeking the rhythm of ink, color, and lines among others, and pursuing the form and composition of picture. The artistic charm of his ink and color paintings is from his understanding of life, from his highlighting of personality, and also from the meaning of life expressed by the inherent aesthetic feeling and form of artistic pattern.

With regard to materials, Liu Zilong uses raw and sized Xuan paper of Chinese painting and also Korea dak paper. He uses brush and broad brush, pigment for Chinese painting and also soaked bean-noodle pigment, propylene and others.

It is commented by Mr. Shui Tianzhong that “from the perspective of form, Liu Zilong’s works embodies strong flavor of oriental painting such as solid modeling and bold decomposition of form, unification and strong contrast of colors, secret or confused mental state, and others… Liu Zilong is an artist growing up from the local cultural soil of China as judged from his constant Chinese style peaceful insight of nature and life instead of whether he inherits the form and rules of traditional painting”; he keeps unique mettle even during the creation of loneliness and sadness. He never loses the mood of control and harmony in oriental style sensation. Liu Zilong is a modern Chinese artist with creative spirit.

 “It requires remarkable gifts and extraordinary efforts to introduce advantages of Western painting into Chinese painting and present the verve of Chinese painting without any trace of Western painting; any negligence may lead to wrong direction,” Mr. Zhang Daqian said.

Though integrating certain forms and styles of modern Western arts, the ink and color painting of Liu Zilong keeps strong flavor of oriental painting and shows the verve of Chinese painting. Liu Zilong is exactly a talented, creative and diligent.
 

102600 北京市大兴区林校南路5号
中央文化管理干部学院 艺术学院
电话:69268701(传真)