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台灣佛光山----嘉義會館劉西藏風景油畫展

34已有 1803 次阅读  2014-05-08 09:42   标签西藏 

台灣佛光山

嘉義會館劉西藏風景油畫展

Taiwan Foguanshan Jiayi Lyceum Exhibition ofLandscapes Oil Paintings of Xizang Liu

主辦單位:台湾佛光山嘉義會館

             湖南省美术家协会

日期:2014.5.8-5.16

時間:11:00-20:00

簡歷

劉西藏,教授、藝術家。

196911月出生,自幼在西藏生活學習。

1991年畢業於中央美術學院,始終堅定地從事著藝術教育和藝術創作事業。

Professerzhaohui liu, pseudonym Xizang Liu, is an artist, who was born innovember1969and grew up in Tibet. Aftergraduation from China Central Academy of Fine Arts in 1991,he has kept on art education and fine arts creation since then.

意評

心靈的風景

薛亞軍

   高山青,澗水藍,阿里山的姑娘美如水,阿里山的少年壯如山。這是美麗的台灣島帶給大陸人的最初也最美好的印象。無疑,與走馬觀花的遊客相比,劉西藏是幸福的。他不僅有時間“身所盤桓,目所绸缭”于阿里山、日月潭的優美精緻,還能“以形寫形,以色貌色”地與台灣島進行深入的對話。

世音勿观  布面油画

此 岸  布面油画


若诸有情  布面油画  

      歌德曾說,藝術家與自然有雙重關係:他既是自然的主宰,又是自然的奴隸。他是自然的奴隸,因為他必須用人世間的材料來進行工作,才能使人理解;同時他又是自然的主宰,因為他使這個人世間的材料服從他的較高意旨,並且為這種較高的意旨服務。因而,台灣島也是幸運的。

見枯榮  布面油画

寂  布面油画

破 顏  布面油画

     在被“圖像轉向”、“視覺轉向”弄得暈頭轉向的中國油畫界,對藝術家來說,能堅持寫生創作已經成爲了一種態度,一種避免失去感悟生活機會的抵抗方式。劉西藏的創作實踐也證明,只有走向生活,與自然對話,才能調度和激發起創作的靈感與激情。在劉西藏的創作過程中,注重的是對自然的觀察與提煉,將畫面的形式構成與自然景物有機結合起來,以期達到“應目會心”。所以,劉西藏的作品已經呈現出較為完整的語言結構關係。

須彌仞利  布面油画


無量巧拙  布面油画


共持香華  布面油画

       劉西藏通過自己特別的語言符號,表現出心中的自然。“他將語言簡化成若干圓狀、方狀、條狀的塊狀,很有濃縮的力度感。”(鄧平祥語)他的作品在寫生和創作之間,形成了自己獨到的表現方法,或者可以說他找到了通往自然同時也充分表達心靈的道路。

視‧覺  布面油画


淨念相繼  布面油画


將是長流  布面油画

         隨著年齡的增長,劉西藏日益認同中國哲學,雖然用油畫創作,但創作理念還是“外師造化,中得心源”。所以在他多年創作中,他總是避開流行的圖式和庸常的景物,與最樸素的自然景物進行心靈的交流,同時又感悟生活,讚美生命。這也許是能感動讀者的原因吧。

扇味禪風  布面油画


眾 生  布面油画


空 明  布面油画

   劉西藏自幼生活在西藏,西藏的神秘和對精神的追求,養成了畫家重要的心靈和精神資源,從某種意義上說,劉西藏的寫生創作,也是對這種珍貴資源的不斷回溯,尤其是在這個精神被物化的時代,這種藝術所提示的精神就更加難能可貴。

風 光  布面油画


久遠劫來  布面油画


法 喜  布面油画
       當劉西藏離開美麗的台灣,回到家鄉,再次欣賞這些作品時,一定會有和宗炳一樣“閒居理氣,拂觴鳴琴,披圖幽對,坐究四荒,不違天勵之藂,獨應無人之野。峰岫嶢嶷,雲林森眇”的超功利的審美愉悅。當他再憶台灣時,就可以“畫象佈色,構茲雲領”來暢神了。

于法不說  布面油画


禪 悅  布面油画

The Scenery ofHeart

Yajun Xue

The mountain is green and the creek isclean. Girls are beautiful as water and boys are strong as Ali Mountain.It is the first and best image aboutTaiwanfor mainlanders.Undoubtedly, Mr. Liu xizang is happier than those sight-seeing visitors becausehe got not only enough time to appreciate the exquisite natural scenery of Ali Mountainand Sun-moon Lake,but also the opportunity to make a deep communication withTaiwanisland.

Goethe once said that the artist has atwofold relationship to nature; he is at once her master and her slave. He isher slave in that he must work with ordinary means, so as to be understood, buther master in that he subjects these ordinary means to his higher purpose,making them subservient to them. So, in this way, we can say,Taiwanis luckytoo.

For Chinese oil painting sector, which haslost its own mind by the conception such as “picture orientation”, “visualorientation”, the sketch creation has become an attitude, a resistance way toavoid the loss of inspiration of life. Mr. Liu xizang’s artistic creativepractice proved that the artistic inspiration and passion come only from theclose to life, the deep communication with nature. The important part in hiswork is the observation and purifying of nature, the dynamic integration ofpicture and nature scene with the purpose to unfold what in his heart to theappreciator. We can say that there is a complete relation of artistic languageand structure in Mr. Liu’s works.

Mr. Liu xizang applies his own speciallanguage symbol to present the nature in his heart. Mr.Deng pingxiang (famouspainter inChina)said that Mr.Liu simplified the language into roundness, square, strip and othergeometric patterns with concentrated strength feeling. Between sketch andartistic creation, he found his own way of expression, in other words, he foundthe path to nature as well as to fully demonstrate his heart.

With the growth of age, Mr. Liu Xizangturns to Chinese philosophy. Although he uses oil painting, he still insists onthe classical Chinese artistic creative ideals: Learn outward from nature, getinward from heart. This is why he always avoids the fashion schematism andcommon scene in his creative practice. At the same time he works hard to makehis soul communication with very simple and natural scene, to have theperception of life, to appreciate the great of life. Perhaps this is the reasonwhy readers are all affected by his works.

Mr. Liu xizang has been living inTibetsince hewas young. The mystery and the spirit pursuing is an important spirit resourcefor a painter. In a sense, Mr. Liu’s sketch creation is a recalling for suchresource which is more estimable in this time when spirit has been continuallymaterialized.

When Mr. Liu xizang leavesTaiwanback tohis hometown and appreciates these works again, he will get the aestheticpleasure beyond utilitarianism as ZongBing (famous painter in Song Dynasty)said: living in seclusion, regulating one’s own mind, drinking, playing lyre, sittingalong to appreciate painting, to appreciate the beauty of nature and great ofnature.

When Mr. Liu Xizang missesTaiwan, he canuse his painting brush to reappear his memory.

與臺灣藝術家陳政宏先生合影画


與臺灣佛光山釋慧開大師合影




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