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? 艺术家简介 Artists
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徐家昌

??? 徐家昌,字纪乔,1942出生于上海。自幼喜欢绘画。1961年考入浙江美术学院(现为中国美术学院)中国画系花鸟画专业学习;师从潘天寿、吴茀之、诸楽三、陆维钊、陆抑非等名家,1966年毕业。1978年又入该院花鸟画研究生班,在诸楽三、陆抑非导师的指导下继续深造,毕业后又留校任教。其作品曾多次参加国内外展出、发表,并被各大博物馆,纪念馆及文化部对外联络局收藏。他出版有《国画起步》、《花鸟画技法》(合作)、《当代艺术家画库》;并被载入《中国当代美术家人名录》、《中国当代艺术家名人录》、《当代书画篆刻家辞典》等。现任杭州市美术家协会常务理事,西泠书画院特聘画师,浙江省中国花鸟画家协会副主席,杭州市西湖国画艺术研究院副院长,狗万被劫持_狗万玩的老哥_狗万博体育下载常务理事兼副秘书长,浙江文史研究馆馆员,中国美术学院教授、研究生导师。

? Xu Jiachang, alias Jiqiao, was born in 1942 in Shanghai. Since childhood he has been fond of painting. In 1961 he was admitted to Zhejiang Academy of Fine Arts (now China Academy of Fine Arts) and studied at the traditional Chinese painting department, majoring in flower-and-bird painting. Among his teachers were the famous artists Pan Tianshou, Wu Fuzi, Zhu Lesan, Lu Weizhao and Lu Yifei. In 1966 he graduated from the Academy. In 1978 he returned to the Academy as a postgraduate for advance studies under the instruction of Zhu Lesan and Lu Yifei. After graduation he became a member of the teaching staff of the Academy. His works have been many times exhibited at home and abroad and collected by museums and the foreign liaison office of Ministry of Culture. His publications include Elementary Traditional Chinese Painting, The Techniques of Flower-and-bird Painting (coauthor) and A Library of Contemporary Artists. He is listed in Who’s Who of Contemporary Chinese Artists and A Biographical Dictionary of Contemporary Painters, Calligraphers and Seal Cutters. Now he is managing director of Hangzhou Artists’ Association, special painter of Xiling Institute of Calligraphy and Painting, vice-president of Zhejiang Flower-and-bird Painters’ Association, vice-president of Hangzhou West Lake Research Institute of Chinese Painting Arts, managing director and secretary-general of West Lake International Artists Association, the member of Zhejiang Research Institute of Culture and History, the professor of China Academy of Art, and a graduate tutor.


???????????????????????????????????????????????????????? 徐家昌画集序
????????????????????????????????????????????????????????? 王伯敏

??? 画家徐家昌,上海人。所画入神,点染生趣。而其落笔用墨,正如其人,规矩方圆,合乎自然,于艺林之中,亦自成一家。
???? 艺术的要求,需要入乎规矩,却又不能被规矩所束缚,所谓“有法而又无法”,说的便是这个道理。徐家昌毕业于浙江没火速学院中国画系。1980年毕业于中国画系硕士研究班,故其筑基厚实,后留校任教。他曾从师于诸乐三,陆抑非先生,平日多有吸吴缶翁一路笔墨。而今可喜而又可贵者,家昌在此基础上,力求变化。
??? 变,是前进的动力。在绘画艺术上,如不求变,墨守成法,犹如死水一潭,既掀不起波涛,也养不活游鱼。变则通,可使死水成活水。活水有生气,生命需要活水。佛门和尚见到“放生池”中的活水,必合什曰“善哉!善哉”。是故理学家作诗,曾经云:“问渠那得清如许,为有源头活水来”。今读徐家昌之画,除了他那入规落格的作品之外,他的新作《秋实图》、《枯荷翠鸟》、《九曲暮色》、《白鹭》、《白石藤萝》等等,都具有开拓性的表现,并得新意。家昌的新意,或从章法布局,或从点染穿插来突破原来的一套程式。据他自己一再的说:“我要突破它”。“突破它”,这便是有为画家有勇气、有斗志的反映。家昌现在不仅这样说,而且付诸实践。见其所作《柿图》,画中形象,似叶非叶,落墨草草,似经意又不似经意,并敢用水色破浓墨,使制度时新。虽然画来还不是十二分精练,但足以表明他在“冲”,也足以表明他在自觉地朝着“巧变”的新路前进。正因为如此,家昌的近期花鸟画更显出他那浓郁的生活气息。
??? 说到“冲”,像吴缶翁当年何尝不在“冲”。吴缶翁所要“冲”的诗陈白阳,赵hui叔一路的规矩格式。正由于他能“冲”,而且大胆地“冲”,结果“冲”出了一个“海上吴昌硕画派”,并成为一代有创造性的大画家。后人学吴昌硕,固然有“跳出昌硕格局者”,但也有亦步亦趋,点划依样者。不过作为吴缶翁的直接传人,也出于对吴昌硕花卉流派的深入研究,这还说得过去,但在这之后,若仍然穿戴吴缶翁的衣冠,便成“结X昌硕”,自无出息可言。家昌之在今日,竟能引活水入池,水上波澜已见,所要颇得同僚赞许,也得到艺林众人的称善,故其作品,今年在国内外展出时,均获好评。
??? 论者曰:“家昌潜心求变,精勤不懈,为探索当代中国花鸟画的发展,作出了贡献”。一个画家,就是要为时代,为社会作出贡献。他的这种不懈努力是值得叫好的。际此他结集近年新作,选编一册出版,属余为序。余兴其相知,一切直言。品评艺术向无私,过分夸张,经不起时间考验;没有给以应有的评说,自有公正者补充。所以当我碰到这位为人朴实的画家,心中并无什么顾虑,欣然命笔,撰千言为之记。
乙亥金秋 木樨飘香时节于西湖南山三宜村。?????????


PREFACE?????????????

? Xu Jiachang is a painter born in Shanghai. The paintings he did are always superb and appealing. His brushwork betraying his character is of a natural style and this has made him a distinctive artist.
? An artist should paint on principle but should not be fettered by the established principles. It is a common saying that “in art there are canons and there aren’t any canons”. A graduate from the traditional Chinese painting department of Zhejiang Academy of Fine Arts, Xu Jiangchang completed his postgraduate course for Master’s degree in 1980 and then became a teacher of the Academy. He once worked with Zhu Lesan and Lu Yifei and has followed Wu Changshuo’s style for years. It is commendable that he is not satisfied with what he has mastered. He has been striving for something new.
? The development of art depends on artist’s originality. In pictorial art, if the artist sticks to old techniques without bringing forth new ideas, his art will be lifeless as a pool of stagnant water with neither waves nor fish. Originality makes water flow. Flowing water is full of vitality and life needs flowing water. So a Buddhist monk will put his palms together exclaiming, “That’s fine free of fine!”, whenever he sees the flowing water in “the pool fro the fish free of captive”. A verse by an idealist philosopher goes like this,“ If you enquire why the pool is limpid, it is because of the flowing water coming from its source.” I found that, with the exception of some conventionally done paintings, Xu Jiachang’s recent works such as Hawthron and Bird, lonely Lotus Pond, Jiu Qu at Dusk, Egret, and Chinese Wistaria and Rock were all executed with new ideas. This can be seen in his unconventional composition and arrangements in these paintings. He said once and again, “I want to break through the old paintings.” This shows the artist’s courage and fighting will and facts have proved that he has been earnestly practicing what he has advocated. Have a look at the work Persimmon and you will find that the leaves are between likeness and unlikeness, and you may wonder whether the images done in a sketchy way were executed elaborately or carelessly. His another innovation is to shade dark ink color with water. Of course, his new technique and style is but an attempt and there is still much to be desired, but as an artist with lofty ideals, he is, after all, blazing new trails. As a result, his recent flower-and-bird pieces have got a rich flavor of life.
? As to breakthrough, Master Wu Changshuo was a pioneer who dared to break through the established patterns of Chen Baiyang and Zhao Huishu. His bold innovation has led to the birth of the “Wu Changshuo’s school of painting in Shanghai” and made himself a great originative artist of the time. Among Wu Changshuo’s flowers are whose who do not adhere to his painters, but there are also those who just mechanically imitate his style and copy his strokes and dots. It is not altogether inexcusable for Wu Changshuo’s successors to make a thorough study of his style of flower painting. But it is not promising for an artist to stick to “an immutable and frozen Changshuo”.? Now Jiangchang has been praise in art circles for his daring to “draw flowing water into pool and stir up waves” and his works recently exhibited at home and abroad have been well received.
? A critic once remarked, “Jiachang as a diligent researcher and innovator has made contributions to the development of the Chinese flower-and-bird painting of today.” An artist’s duty is to make contributions to the times and society. Xu Jiangchang’s unremitting efforts to innovate is worthy of praise. On the publication of this collection of paintings by him, I am very pleased to write a preface to it. Xu Jiachang is an honest artist and I have spoken my mind freely without any inhibitions. In art criticism we should give an objective appraisal of an artist’s work. Words of fulsome praise won’t stand the test of time. More pertinent omments on Jiachang’s art, I suppose, remain to be made by other critics.
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??????????????????????????????????? Wang Bomin
??????????????????????????????????? South Hill, Weat Lake
??????????????????????????????????? Autumn, 1995


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