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眉山先贤集丨“东方梵高”——石鲁(下)

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1974年,施禄画在红树常熟红家。

被誉为新中国成立以来首个“最重要”的个人艺术展,是由中国美术家协会和美国协会陕西分会于1979年联合举办的石画展。展览展出230多件代表作品Shilu在不同时期。这是Shilu去世前的第一次也是唯一的个人展览。他受到好评,在国内外引起轰动。

在上个世纪中叶,石璐被称为中国画的传奇。自20世纪30年代以来,石路离开了富裕家庭的温床,前往革命的延安圣地寻找梦想。他强烈的个性和英雄气氛渗透了他的艺术生活。施璐的生活充满曲折,生活的起伏让人叹息,但他的生活总是充满活力和姿态,他的绘画道路充满了强烈的抵抗精神。他不屈不挠的探索为中国画艺术开辟了一个新的高度,被誉为中国现代艺术史上“罕见的文化英雄”。

为革命工作的艺术家

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施璐。

在被改名为“石路”之前,冯亚珍是一位与新文化运动一起成长的“新青年”。 1934年,在15岁时,他不愿留在家里的温床里。他决定离开家去寻求艺术。为了让他体会到生活的艰辛,母亲故意给了他一点纠缠。后来,他根本没有向他支付生活费,所以他可以撤退。

在学校的日子里,冯亚珍的生活非常紧张,他的艺术世界非常丰富。他沉浸在绘画世界中,那些历史高贵高贵的画家已经成为他的榜样。不仅如此,在学校里,冯亚珍认为中国正在发生巨大变化,新知识和新思想不断传播。他痴迷于阅读鲁迅和其他新文学作家的作品,接受书中的精神洗礼。渴望追求新生活。有一次,林伯渠在学校的讲话点燃了冯亚珍的革命热情,延安成了他理想的圣地。

这时,这家人为冯亚珍安排婚姻,并招募他回家继承家族生意。在没有多次拒绝安排婚姻的情况下,冯亚珍终于勇于突破家庭的束缚,追求自由的生活。 1939年,冯亚珍从家里拿走了学费,买了一辆旧自行车,开始了新的旅程。两个月后,他带着满满的血汗来到延安。

抗日战争时期的延安是最令人向往和充满活力的地方。来自全国各地的年轻人充满了革命的理想,匆匆来到这里。冯亚珍在这里呼吸了新的气氛。他有一种死木和春天的感觉。年轻的生命爆发出前所未有的活力和热情。他开始成为一个热情,开朗,活跃的抗日青年。冯亚珍意识到新生活正在翻开新的一页。他想告别昨天,改变自己的名字,这个名字属于他20岁以后的未来岁月。他想到了他最钦佩的两个人。石涛和鲁迅,一个新名字诞生了。

道路是一步一步的,并且持续存在。

During this period, Shilu’s life was very difficult. At this time, he received a letter from his mother and a remittance, telling him that he was not used to it in Yan’an. He could take it as a toll to go home. He really didn’t want to go back. You can also ask someone to find a job for him in Xi'an. However, Shi Lu has already strengthened his conviction in his heart. He did not remember the past and stayed in Yan'an to be an "artist working for the revolution."

In the days of Yan'an

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In 1961, colleagues from the Xi'an Art Association's Chinese Painting Studio were in Shilu's studio (left from Kang Shizhen, Li Yusheng, Shi Lu, Ye Jian, Xiu Jun).

Shilu’s life in Yan’an was undoubtedly difficult, but he did not care. Yan’an’s everything made him extremely excited. He went to the North Shaanxi Public College and the Northwest Cultural and Art Corps for education and creation. In the Cultural and Art Troupe, Shi Lu served as the head of the art team, designing the stage background, props and other content. No matter how busy he was, he did not relax and practice basic skills. During that time, Shi Lu worked during the day, and at night he painted a kerosene lamp to draw a comic strip. The woodcut prints reflected the scene of life and the revolutionary spirit. He always had a small book at his body. When he was a little idle, he concentrated on painting. Since then, Shi Lu has long insisted on sketching and diligence, which laid the foundation for his great success in art.

This kind of day is just ten years. This period of time is the most memorable and dazzling time in Shilu’s life. The yellow land in northern Shaanxi has also become the most fertile ground in his life. Whether it is the Yan'an cave dwelling, the plateau thick soil, the Pingchuan land, the Yellow River rapids, it provides him with an artistic source, which makes his art form a unique and charming color.

After the founding of New China, Shi Lu focused on Chinese painting research, and the art industry is booming. He successively served as the president of the Northwest Pictorial Society and the deputy director of the Northwest Association of Artists. He could have lived a comfortable and comfortable life, but he decided to step out of the office, break through the barriers built by the conference and documents, and move toward the early days of the founding of New China. The fiery life of a living dragon.

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石路画。

是的,生活在召唤Shilu,他需要从生活中寻找灵感和材料。自1950年以来,石路先后在青海藏族居住区,陕南,甘肃等地勾画。经过近10年的艰苦努力,他穿越了深林和古老的森林,穿越了沙漠戈壁,并在岛上行走。旅程数万英里。从未停止过坚定的步伐。

虽然施璐坚持素描和创作,但在从事水墨画的探索工作时,他的艺术天才得到了前所未有的冲击。除了对中国绘画的深入研究外,他还在新的绘画,油画和版画方面做出了惊人的创作。这个符号是《古长城外》诞生于1954年。这幅画中的女主角是他在甘肃收集时遇到的女乡镇领导人卓玛。在那之后,Shilu从未停止学习和探索中国画。在20世纪50年代末和60年代初期,Shilu的绘画创作突然发生了变化。他创作了一系列结合自然与人性的作品,使自然魅力和人文精神得到了渗透。他独特的创作使得描绘黄土高原的技艺独树一帜,填补了各种风景画的盲点,特别是《转战陕北》将中国画提升到了一个新的水平。

在逆境中坚持不懈

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Shilu肖像。

施璐在中国画中的不断创新赢得了广泛的认可,一群西安画家自发地来到他学习。在石路的指导下,他们的作品清新而不受约束,主要表现了陕北的风俗习惯。 1961年,这些西安画家的作品在北京展出,突然使画作震动,立即被称为“长安画派”。

Shilu has a profound foundation of Chinese traditional culture and has a passion for innovation in Chinese painting. He has continuously explored and put forward the creative concept of “stretching the tradition with one hand and extending to life”, focusing on discovering creative inspiration in life. Look for innovative resources. Gradually, Shilu uses tradition and life as its wings. From the harmony of expressing reality to the contradiction between man and reality, artistic language has been described in detail to the realm of “wild, strange, chaotic, black” and has the essence of sublimation. significance.

In the 1970s, because of the special relationship of the times, Shi Lu experienced two times of madness, and was close to death. But even so, he did not give up painting, did not give up the pursuit of art. Shi Lu, who has been ill for a long time at home, has a slightly better body, but it is still very bad. He was troubled by the disease, and he had to take a small stool when he went out to see the exhibition. When he was tired, he sat down and rested. Later, he even had to support his son. Under such circumstances, Shi Lu is most concerned about, and most can not let go of the brush in his hand.

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Shi Lu in the disease.

During this period, Shi Lu's exploration of Chinese painting was more profound and his understanding was more profound. His artistic style was also more refined. His creative concept also changed from social ideal to individual spirit, and strived for the harmonious unity of people and painting. At this time, Shi Lu, life is constantly depleted, but in the art of painting, it shows a vitality, showing a tenacious vitality. His golden stone cracking brushwork formed a special "Shilu logo." As the saying goes, "I don't ask for style but the style is self-evident." Huashan, like a giant in Shilu's pen, stands in full picture, not only painting is a spiritual symbol, but also pushes the art of painting to a higher level. It seems that "Shi Lu is Huashan, Huashan is Shi Lu." Fully shows his tenacious vitality and unyielding personality charm.

xx可以说,无论情况如何,石路都不会停留在漫长的艺术之路上。绘画是从心中诞生的,如此炽热的心,已经燃烧到了生命的尽头。 1982年8月25日,施禄去世了。在他去世前,他断断续续地说:“我有很多东西需要写,有很多东西要画,还有很多事要做。”当我走的时候,我还记得我手中的画笔。这样一个“文化英雄”留下了一丝遗憾。他未完成的事业是后来者继承的。每个人都尊重他并钦佩他。在墨水和纸张中,他传递了石碌的英雄气氛。

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