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【评论】《南方油画名家:邵增虎风景油画集》序言一

2012-05-16 10:59:22 来源:《南方油画名家:邵增虎风景油画集》作者:
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  邵增虎先生曾经是一名军人,军人自有一股阳刚之气,其画作也多壮美。近十多年来,邵增虎先生的绘画重心转移到了风景画领域,风景题材的选择似乎更适合他挣脱某些绘画形式的束缚而达至“从心所欲”的境界。其作色彩较之以前更多地突破了具象之形的藩篱,从而获得了更大的自由空间,也更加璀璨生辉。面对这些风景之作,人们常常情不自禁来揣摩他作画的状态与过程,甚至产生一股拿起画刀来堆叠色彩的冲动。那金灿灿的秋之放牧、回归自然的天真野趣令人无限向往。

  回溯到上个世纪七十年代末,邵增虎先生大胆突破了“文革”或之前的文艺创作“禁区”, 以灰暗低调的色彩、厚重写实的技巧创作了《农机专家之死》,作品以直面人生、揭露社会阴暗面的全新姿态反思“文革”历史、批判现实。《哀思如潮》、《在延安的日子》、《上士的队伍》等作品几乎都是从“小”处着眼来表达出他对时代的见证与人生的审思态度,这些作品之名平淡如水,但画里画外蕴含深意。他坚持以“小中见大”为切入点,不去刻意渲染大场面,从一个平凡而又能生发出新意的个人视角来构思画面,从而打动观者的心灵。

  或许在邵增虎先生看来,较之大场面、宏观叙事,对微观的、特殊世界的发现,更是画家的天职所在,而作品的独特性,也常常显现于此。这种猜测源于他的风景油画创作,他似乎偏爱画那些来源于生活又高于生活的“小景”,如《酣睡的猫咪》、《耕秋》、《斜阳》等作品充满着脉脉温情或诗意,这些司空见惯之景与物经过他的加工、组合与提炼,就能小中见出大美。

  自然风景多姿多彩的样态,从山川、树林、溪流,一直到石头、木头、牛群等等在邵增虎先生的画刀之下,都得到了成系列的开掘。除了这些属于自然的部分,他的风景油画,更蕴含着纯粹的绘画形式语言如抽象的几何结构与色彩元素等内容的探索,在《石魂》、《圆木》、《桦之骚》、《老朽之美》等诸多作品中可以窥见端倪。如果截取其中的某些局部来观察,层层堆叠而成的油画肌理与冷暖并置的色块所独具的抽象艺术之美,足以让人心潮澎湃与折服;甚至有些画面中的物象也难以辨别,渐退居次要地位,一并让位于纯粹的点、线、面与色块之间的对抗与融合。邵增虎先生在这些风景作品中或繁复铺陈、或惜墨如金的探索,自成一家,浑厚壮美,又不乏些许浪漫情调与乡野之趣。

  只言片语,粗浅之至,道不尽邵增虎先生长达半个多世纪的艺术探索;但我们希望通过这次展览的组织与画册的编撰、出版等工作,引发艺术界和社会进一步关注邵增虎先生独具个性的绘画艺术,并表达我们对邵增虎先生的敬意!

  艺海堂美术馆

  2012. 2

  Preface No.1

  Mr. Shao Zenghu used to serve in the army. As an officer, he is essentially masculine in his nature; consequently his paintings usually reveal beauty of the sublime. In recent ten-plus years, Mr. Shao Zenghu has shifted his art creation to landscape painting. The selection of landscape seems to enable him to break down the barrier of the modeling of object, thus his palette becomes more brilliant by gaining much freedom. Faced with such paintings, people usually can not help speculating his painting steps, and even improvising their own landscapes with palette knife because the pasture in autumn and the wildness returning to nature trigger their yearnings for the carefree, leisure lifestyle.

  Looking back to the end of seventies of the 20th century, Mr. Shao Zenghu ventured into the unexplored field of literature and art creation during and before "the Cultural Revolution". He depicted Death of the Agricultural Machinery Expert with low-key, dark tone and thick realistic skills from the perspective of reflection on the history of "the Cultural Revolution" and Criticism of reality by revealing the unfavorable side of society. Mr. Shao Zenghu also expressed his thoughts for life and witness of history from a lesser vision in his works such as Mourn the Death of Chairman Mao, Days in Yan'an, Sergeant and His Cattle, etc. The titles of these works are as plain as water, but with deep connotation. So these works extending a new horizon from the trivial motif have also found echoes among the beholders.

  Mr. Shao Zenghu probably holds the point that it is artists’ obligation to find the significance of the neglected subject or a common sight instead of the macro-narrative and grand theme, as the originality of works is usually expressed through individual’s vision. The speculation is based on his landscape paintings of trivial motif, for example, Sleeping Cat, Plowing in Autumn, and Sunset, etc. These images of paintings are usually seen around us, but Mr. Shao Zenghu has expressed the tender feelings, poetic charm and philosophy among them by planning, refining them with his eyes of art.

  The natural scenery that varies from mountains, forest, streams and rivers to stones, wooden and cattle has been systematically depicted by Mr. Shao Zenghu. Besides the presentation of nature, these landscape paintings also contain formal languages of abstract geometric shape or composition and color elements. For example, people can find art exploration of form in his works Stone Soul, Logs, Variety of Birch and Beauty of the Senile. What’s more, people are firmly convinced of the refined beauty of abstract art and usually feel thrilled at the thick texture of his oil paintings and color patches juxtaposed by cold and warm pigments if looking at the pictorial part of these works. Even the images of subject are hard to identify and relegated to a secondary position as the harmony between point, line and surface occupies a dominant position. There are explorations of multi-layers color juxtaposition or covering, or the scrupulous application of the finishing touch or critical color patches in Shao's works that sustain his own style, the sublime with somewhat of romance and wildness.

  The above simple words can not explain Mr. Shao Zenghu’s art exploration which has lasted for more than half century, while we hope to attract the attention of art circle and society on his art and pay a tribute to him by organizing the exhibition and editing the collection of his landscape paintings.

  Yihaitang Art Museum

  In February, 2012

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