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姜玉春先生作品欣赏

2019-12-06陈进轩

世界知识画报·艺术视界 2019年11期
关键词:山水画境界中国画

陈进轩

Chinese paintings are created from the dialogue between human and the Spirit. One can experience the mysterious yet natural sensation from appreciating Jiang Yuchuns artworks. There are persistence, resilience, and freedom in Jiangs artworks. He extracted abstract meanings from the visual images and delivered his aesthetic tastes beyond shapes. Jiang has practiced painting for decades. He has achieved a lot through practicing various skills of painting. The essence of Chinese painting is to go beyond the object and oneself. It is the Zen and the unity of human and nature which generations of Chinese people pursue and one can experience that in Jiangs artworks.

我一直信奉着一种关于中国画的命题,即中国画是人神共语的产物。神是大道,神是大觉,神是心中的一方天地。画家借笔墨画符,符即神语,语着山语着水,山就是神了,水就是神了,于是画家就成了山成了水。神是心之境,境是神之心;境无造而自设,心不言而大篇。山人水人一体了,山便突兀,水便妩媚;山呐喊无声作浑然天成嶙峋状,水呢喃有息化婵柔六昧通灵窃。搁笔伫立,或舞之蹈之,或投怀送抱,或闭窗趣步,或掏胸一抛。大有大无之中,那山那水以神眼看你,你看那山那水以神眼勾连,双神合一妙,偃息中便有了圆觉之境。

品读姜玉春先生画作,品读出执着,品读出坚韧,品读出洒脱,品读出性情,品读出圆融,品读出静穆,品读出逸致。他在勾山皴石中施以小象,他于散水点染里略加意气,使“道、理、性”均在山水面前顿悟圆觉,以终成情性。他以山为乐,以水为知,以空为悟,以远为觉。他把视图审美超以象外,从而使言外之意、弦外之音、韵外之致的美学意蕴发挥到极致。他让品读人在不着一语的整体情境中知觉物我合一,知觉象于无形,知觉大音稀声,知觉大巧若拙。这是慧的境界,这是通的境界,这是灵的境界,这是汇聚了“慧、通、灵”的神的境界。进而推演郭熙之“三远说”,则“高远”形涩,“深远”形拙,“平远”形怠。何以乎?实为由“三远说”架设的空间构成于大象有谬也。

姜玉春先生修墨数十载,全通有无,已达大成,是他慧根使然,非仗赤橙黄绿青蓝紫勾勒图象者所能及。虚实、浓淡、大小、留白、守墨等构图法则,已离他渐行渐远;画家为之探求并遵守的奇、绝、巧、妙的构思本领,已于他通身一体。于是就有了他笔下的线、点、墨之大聚,勾、皴、染之融汇,致使山水随心,心到山水悦。

形无常形,墨无常墨。毋庸置疑,山水情怀更多的是人文世俗的超越,它的所立之境,千百年来不过是四个字:超越物我。正因为有了这一东方式的禅境体验,山水之形才是禅的顿悟之美,山水之觉才是人神共通的体验之美。人在山水面前,求索的是动与静的互置关系,是点墨人的角色转换,从而完成中国人最古远最崇尚最神往的永恒命题:天人合一。天人合一合的是什么?合的是今即昔,昔即今;合的是灭亦生,生亦灭;合的是有为无之形,无为有之体。所有的虚实刚柔都是其表,犹如大漠太丰富了湮于大白,终归只有一个禅可以了然。见山是山,见水是水;见山不是山,见水不是水;见山又是山,见水又是水。是与非是,非是又是,焉知不是大是哉!画山乎?画水乎?画禅也。

形而上谓之道,形而下谓之器。古今画家之为大能者,至才尽方知形而下易求,形而上难逮,意象之要尽被浮躁掠去。浑沌沌以表为荣,飘飘然唯物是物,夸尽李白方遒气,却掩王维枝叶神。骚目的是红绿青紫,滑落的是我禅我心。禅谓何?抱朴一真也。心谓何?大千一隙也。洞悉一真一隙,灵山何须石砌?通晓抱朴大千,安用媚俗彩笔?弛神只随山水去,春语秋啼自作声。大笔块垒随他起,只留残叶独写情。情是画者魂魄,魂魄萦绕,壁峭石嵘,固守的是心境,落寞的是空灵。何谓彻悟?何谓顿悟?悟在神領处,落彩画卷中。是为大家也!

缘于喜好之故,写作之余倒也品读过几人几作,其间常有感于当今泼墨者,不昧中国画审美之本者大有人在。窃以为抽象无非是舍形而写神,具象不过是形的再现,焉知绝对的或孤立的思维,必定会遁入失衡与偏执,这也是当今少壮派画家极易峰谷腾挪的缘由。回顾昔日,从顾恺之的以形写神,迁想妙得,及宗炳的应目会心,澄怀味像,再到吴道子的嘉陵江山水一线墨;从王维的诗画互融,云林逸气,及石涛的山川迹化,以至齐白石的似与不似,哪个不是与神共语?哪个不是我像非他像?如果说这些都可以俱往矣,那么,除却自心山水之外,还有能假借的吗?

走了的是该走,留下的是该留,一如姜玉春先生的山水画。

Jiang Yuchun was born in Henan Province. He served as a member of China ArtistsAssociation, member of China Hue Art Association, member of Henan ArtistsAssociation, and national first class artist. Jiang Yuchun has practiced oil painting in his young age, and then started his creations in landscape painting. He excelled in figure painting and mountain-and-water painting. His artworks had unique artistic conception and were able to convey sincere feelings from reality.

姜玉春,号丑石,三绿斋主,出生于河南滑县。中国美术家协会会员,中国工笔画学会会员,河南省美术家协会会员,国家一级美术师。

姜玉春年轻时曾致力于油画创作,后攻中国画,擅长人物及山水画。其技法兼收北派之雄、南派之秀,反复锤炼,所作山水画,致力于借景诉情,融主客观于一体,有着独特的艺术意境,重视在客观实际中汲取真情实感,从而抒发自己的真实感受。

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