摘要：文化是一个国家、一个民族的灵魂。文化兴国运兴，文化强民族强。没有高度的文化自信，没有文化的 繁荣兴盛，就没有中华民族的伟大复兴。文化更是一个民族的脊梁和灵魂，它铸造着 国家和民族的心灵和品格，一个民族有了文化自信，才能立于世界民族之林;人民有了信仰，国家才有力量，民族才有希望。而文化自信是促成这些目标的至关重要的因素。

Abstract: Culture is the soul of a country and a nation. Culture invigorates the country, and culture strengthens the nation. Without a high degree of cultural confidence, without the prosperity of culture, there will be no great rejuvenation of the Chinese nation. Culture is the backbone and soul of a nation. It casts the heart and character of a nation and a nation. Only with cultural confidence can a nation stand in the forest of nations in the world. Only when the people has faith can a country have strength and a nation have

 

 

吴训木1947年5月，出生于上海，他曾在大漠戈壁、天山腹地生活了17年，吆车人、牧羊人、筑路工的生活是他创作的源泉，那里广阔的原野，静逸的山岭、辽远的夜空，与自然相处的苦乐，都融入了他的灵魂。上个世纪80年代末，长达6年时间的徒步探险，他的足迹遍及云南、贵州、广西等边缘山区，捕捉和记录“正在被同化的民族，渐渐消亡的民族文化”。经历了几十年肉体的、思维的漂泊之后，常年的漫长的积蓄，经过多年思索和沉淀之后，创作的欲望油然而生。吴训木一个自认为“也许什么都不是”的画家，选择了以西方油画为载体的艺术手段, 用抽象表现主义的手法，抽象的艺术语言将意识中最为强烈的意象世界直接诉诸于画布之上，展现他所感知的真实世界。

吴训木的油画是抽象后,新具象的大手笔。他用泼彩法、滴彩等多样抽象主义的创作手法形成了他独特的中学为体、西学为用、传承文脉，确立独立风格的鲜明特征。是用中国传统思维的眼观，对油画气韵、神采、魂魄的一种探索。如果说西方的抽象作品是追求无意识的呈现，而吴训木的作品不仅用抽象的艺术语言表现自然和心灵的轨迹，更是思绪自然驰骋在画面的一种生命元素，呈现给我们的作品亦愈发纯粹。

吴训木的作品不同于同时代的抽象派画家，与那些学院派画家也是大异其趣。他的每一幅作品几乎都源于他对生活、生命的感悟。他的抽象作品随意而为，气势憾人有着强烈的视觉冲击，传递一种具有穿透力的情感信息，能在不同年龄段，不同情感下，感觉不同的思维，并与之交流。

吴训木他追求这样一种艺术境界——“能将人类全部苦难、欢悦与智慧融于一体，是自然的宗教，似乎缩短了个体生命到宇宙的距离。”他用抽象主义的手法，“怀着敬畏心，让色彩流淌于画布”。他力求将主观意识、绘画功力和技巧潜伏到无形，做到了精到的线条因对象而异，随感情起伏，由变化而鲜活、由灵动而取胜，自己都无法重复，经典的线条别人难以摹仿。“这极不简单”。中国摄影界泰斗简庆福先生看了他的作品后，感慨万分的说：“在世界上，我到的画廊很多了，像色彩运用的这样漂亮的，我还没什么看到。”“这些好的画都应该是放在博物馆的。”并以中国现代油画界三巨头的作品，与吴训木的作品作了比较，给了相当高的评价。“是一次艺术的享受。”。加拿大中华文化艺术总会永久荣誉会长张恒先生称赞他是用西方的艺术手段体现中国人的思想意识。

吴训木的绘画作品分为7个系列：远古童话、无声野性、牧人星空、天穹回音、卷转荒流、正面图景、黑洞深场。每一幅画都没有具体的题目，也鲜有文字加以阐释。“那样会左右观者的理解。”他说，“我希望我的作品不是让人一下子就能看懂、就喜欢，而是要一点点去理解、去接受。”  他的油画风格始终保持着一种凝重而隽永的境界，而且始终讲究油画自身的特性和味道，把油画作为颂扬自然的情感方式，自然走近了他更为自由的心灵世界，而画中的色彩和图形，即是他“自然之语”中最响亮的部分。你可能从他的一幅幅画作中听到某种回声，好像是历史记录的片段，好像是史诗中的某段篇章；你也可以在这些画作里发现一些故事，是远古时代的童话，蛮荒野地的狂喊，还是飘渺星空中的喃喃私语？ 在看似不经意间，心灵感到震颤，这种心灵震颤来自神秘、古老淳朴的地方；还是欲能在画面中不断幻化出一个又一个色彩绚丽，空灵飘渺的梦境和别样的世界来！

从不被承认到声名鹊起，吴训木走过了不平凡的创作之路，但他始终宠辱不惊，淡淡地表示，“画家最终还是靠作品说话。”

Wu Xunmu was born in Shanghai in May 1947. He had lived in the desert Gobi and the hinterland of the Tianshan Mountains for 17 years. The life of a wagon man, a shepherd and a road builder was the source of his creation. The vast wilderness there, the quiet mountains, the distant night sky, and the joys and sorrows of getting along with nature all merged into his soul. In the late 1980s, he spent six years on foot expeditions throughout the marginal mountains of Yunnan, Guizhou and Guangxi to capture and record "the ethnic assimilation and the gradual disappearance of ethnic culture." After decades of physical and mental wandering, years of long savings, after years of thinking and precipitation, the desire to create arises spontaneously. Wu Xunmu, a painter who thought that "maybe nothing", chose Western oil painting as the carrier of artistic means, using abstract expressionism and abstract artistic language, the most intense image world in consciousness is directly appealed to the canvas, showing the real world he perceives. Wu Xunmu's oil painting is a new concrete painting after abstraction. He used various abstract creation techniques such as splash color method and drop color to form his unique style of middle school and Western learning, inherit the context, and establish the distinct characteristics of independent style. It is a kind of exploration to the charm, spirit and soul of oil painting with the eye view of traditional Chinese thinking. If Western abstract works pursue the presentation of the unconscious, Wu Xunmu's works not only use abstract artistic language to express nature and the track of the soul, but also a life element in which thoughts naturally run in the picture, and the works presented to us are more and more pure. Wu Xunmu's works are different from those of contemporary abstract painters, and are also very different from those of academic painters. Almost every one of his works comes from his perception of life and life. His abstract works are casual, imposing and have a strong visual impact, conveying a kind of penetrating emotional information, and can feel different thoughts and communicate with them at different ages and under different emotions. Wu Xunmu pursued an artistic realm that "can integrate all human suffering, joy and wisdom into one, a natural religion that seems to shorten the distance of individual life to the universe." With an abstract approach, he "let the colors flow through the canvas with awe." He strives to make his subjective consciousness, painting skills and skills invisible, so that the fine lines vary from object to object, rise and fall with emotion, and are fresh and vivid by change, and win by agility, which can not be repeated by himself, and the classic lines are difficult for others to imitate. "It's extremely difficult." After seeing his works, Mr. Jian Qingfu, a leading Chinese photographer, said with emotion: "In the world, I have been to a lot of galleries, such as the use of color is so beautiful, I have not seen." "All these good paintings belong in museums." Compared with the works of Wu Xunmu, the author gives a very high evaluation. "It was an artistic experience." . Mr. Zhang Heng, the permanent honorary president of the Canadian Association of Chinese Culture and Arts, praised him for using Western artistic means to reflect Chinese ideology. Wu Xunmu's paintings are divided into seven series: ancient fairy tales, silent wild, shepherd starry sky, echoes in the sky, rolling wilderness, positive images, black hole deep field. Each picture has no specific title and few words to explain it. "That shapes the viewer's understanding." He said, "I hope that my works are not easy for people to understand and like, but to understand and accept little by little." His oil painting style always maintains a dignified and meaningful realm, and always pays attention to the characteristics and taste of oil painting itself, and regards oil painting as an emotional way to praise nature, nature approaches his more free spiritual world, and the colors and graphics in the painting are the loudest part of his "natural language". You may hear echoes in one of his paintings, as if they were fragments of historical record, as if they were passages from an epic poem; You can also find some stories in these paintings, is it the fairy tale of ancient times, the wild cry, or the murmur of the sky? Seemingly inadvertently, the heart feels a tremor, this spiritual tremor from the mysterious, ancient and simple... Place; Still want to be able to continuously transform one after another colorful, ethereal dreams and other worlds in the picture... ! Never being recognized to fame, Wu Xunmu has walked an extraordinary path of creation, but he has always been humbled and not surprised, lightly said, "the painter ultimately depends on the work to speak."

 

 

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