韩书力：从传统到当代

2017-10-11澳雯AoWen张海鹰ZhangHaiying

艺术交流 2017年2期

文澳雯 Ao Wen 译张海鹰 Zhang Haiying

韩书力：从传统到当代

Mr. Han Shuli:From Traditional to Contemporary Art

文澳雯 Ao Wen 译张海鹰 Zhang Haiying

为推动中国传统文化艺术发展，促进澳门与西藏两地的文化艺术交流，活跃澳门文化气氛，让更多的澳门人认识和感受中国西藏绘画艺术作品的魅力，由澳门基金会、西藏文联、西藏美协主办，澳门美术协会、澳门西藏文化促进会协办，澳门特区政府文化局、澳门艺术博物馆支持的“韩书力西藏绘画展（澳门）”于4月5日至4月30日在澳门回归贺礼陈列馆展览厅举办。本次展览展出韩书力精选画作逾50幅，让人们品味西藏从传统到当代、从神本主义到人本主义的完整文化链条，体会画家传承、创新、发展的文化理念。

澳门中联办副主任薛晓峰，外交部驻澳特派员公署政策研究室主任冉波，澳门基金会行政委员会主席吴志良，西藏自治区常委宣传部副部长、西藏文联副主席张晓峰，澳门文化局副局长杨子健，澳门日报社总经理温能汉，艺博馆馆长陈浩星，澳门美术协会会长黎鹰，澳门西藏文化促进会会长陆曦及展览作者韩书力出席开幕式。

韩书力的布面重彩画从藏族唐卡绘画中借鉴了材料和文化符号，内容上不再是对藏传佛教艺术的简单借用，而是融入了中原地区文人画的创作理念。他的织锦剪贴作品是用从历史的角落拾得丝织旧物再加工，将汉文化从历史层面对接到西藏的宗教和世俗生活。他的“黑底子”水墨画虽用汉地传统绘画的材料，却吸取了藏族寺院布置的神秘气息和藏族黑底壁画的表现手法，以“黑白颠倒”的方式呈现水墨，形成了独特的“韩氏黑画”，享誉中外。他的作品主题多着眼于社会的正面教化和启发，更着重于布道和劝善，独具一格。

韩书力是西藏当代美术的领军人物，每每提及自己的创作时，却总不忘感谢纯朴、善良的藏族同胞和博大精深的藏文化，他受益于西藏这片土地的濡染，也用艺术传承反哺这片土地。多年来韩书力在西藏文联、西藏美协和西藏美术院等担任领导工作，致力发掘和培养创作人才，并主持“百幅唐卡工程”，繁荣西藏当代美术界，同时帮助西藏当代美术走出西藏，走出国门，与世界交流对话。

韩书力致辞Han Shuli Delivered Address

拂暑（设色纸本）韩书力Fan by Han Shuli

To promote traditional Chinese culture, boost art exchanges between Macao and Tibet, introduce the glamour of Tibetan painting to Macao people and invigorate local cultural atmosphere, the ‘Macao Exhibition of Tibetan Paintings by Han Shuli’was held from April 5th to 30th at the Handover Gifts Museum of Macao.It was sponsored by Macao Foundation, Tibetan Federation of Literary and Art Circles and Tibetan Artists Association, organized by Macao Artist Society and Macao Association for the Advancement of Tibetan Culture,with support from Culture Department of Macao SAR Government and Macao Art Museum. There were over 50 pieces of select artworks by Mr.HAN, providing Macao audience an opportunity to appreciate both an overall heritage of Tibetan culture from the traditional artworks to the contemporary ones, and to understand the artist’s cultural concepts for inheritance, creation and further development.

Participants at the launching ceremony included dignitaries from Liaison Office of the Central People’s Government in Macao, Office of the Commissioner of the Foreign Ministry in Macao, Macao Foundation,Publicity Department of Chinese Communist Party in the Tibet Autonomous Region, Tibetan Federation of Literary and Art Circles,Macao Daily News, Macao Art Museum, Macao Artist Society, and Macao Association for the Advancement of Tibetan Culture.

Mr. Han’s artworks were based upon multiple materials and presented different features. His heavy-color paintings on cloth took lessons both in terms of fabric and cultural symbols from Tibetan Thangka, i.e., Tibetan Buddhism scroll paintings, yet also went quite beyond simple takeover of Tibetan Buddhism arts. Creative ideas from the scholarly paintings in Mandarin area were also imbued. His brocade barbola artworks, i.e., silk clip arts were made from renewed second-hand silk fabrics which were gathered as if from some corners of history. It looked like a historical connation of Mandarin culture with religious and secular lives in Tibet. His ink wash paintings in ‘Black Background’ style used the same materials as for traditional Chinese paintings, yet absorbed the mystic accent in Tibetan temples, and took on expression techniques of Tibetan blackbackground frescoes. It presented ink wash pictures in reversed black and white colors and thus created the so-called ‘Han’s black paintings’which is now well-known at home and abroad. The themes of Mr. Han’s artworks were also unique for their penchant for positive education and enlightenment in society, and furthermore, for preaching of beneficence.

Mr. Han is now a leading figure in contemporary Tibetan fine arts. Every time he spoke of his creative artworks, he never forgot to express gratitude for the kind and honest Tibetan people as well as the profound and excellent Tibetan culture. Benefiting from the artistic cultivation in Tibet, he reciprocated with artistic inheritance. For many years, Mr. Han took on leading posts at Tibetan Federation of Literary and Art Circles,Tibetan Artists Association and Tibetan Academy of Arts. He made steady efforts to identify and cultivate artistic talents. He organized the ‘Hundred Thangka Project’. He helped to boost the development of contemporary Tibetan fine arts, and at the same time, brought the artworks out of Tibet and out of China for worldwide exchanges and dialogues.

韩书力

Resume of Han Shuli

1948年生于北京，1969年毕业于中央美术学院附中，1982年毕业于中央美术学院研究生班，上世纪80年代初，他的研究生毕业创作连环画《邦锦美朵》让他在画坛崭露头角。他以传统工笔重彩技法结合现代艺术的各种机理，并融合远古彩陶纹、汉画像和藏族图腾符号，以此表现藏族的民间故事《邦锦美朵》，可谓天衣无缝、恰到好处，为他此后的艺术创作奠定了基调。

Han shuli has born in 1948 in Beijing. Graduated from the postgraduate class of China Central Academy of Fine Arts in 1982. His graduation work, the comic book ofBangjinmeiduowon him a position in the fine arts circle. He combined traditional fine brushwork and heavy-color painting techniques with various models of modern arts, imbued symbols over ancient colored potteries, Mandarin portraits and Tibetan totems, and thus presented the Tibetan folk story ofBangjinmeiduoin a well-balanced and perfect manner. There came the basic tones for his artistic creations afterwards.