中国艺术家海外媒体展播——冯涛

Overseas media exhibition of Chinese artists -Feng Tao

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

 

冯 涛   泰山画院（政府）艺术鉴赏委员会副主任。中国文化艺术发展促进会会员，山东孔子美术馆副馆长，太行山美术馆特聘画家，文化月刋特别推荐当代值得关注的艺术家，擅用生宣纸画工写结合花鸟画。

Feng Tao, Deputy Director of the Art Appreciation Committee of Tai Shan Painting Academy (government) . He is a member of the Association for the promotion of Chinese culture and art development. He is the Deputy Director of the Confucius Museum of Art in Taihang Mountains. He is also a special painter of the museum.

 

 

 

 

凝神入境  推陈出新

——冯涛中国画艺术赏析

文/徐阳

中国传统工笔花鸟以构图、设色、意境为主要元素来传递天地自然之心的审美享受，同时，也将植根于中国人精神世界的“体察万物”、“澄怀观象”的诉求表现的淋漓尽致。工笔花鸟画作为中国传统绘画的代表门类之一，在唐末五代前后技法已趋于成熟，绵延千年而传承至今。时至当下，在越来越开放的艺术语境下，伴随着花鸟画的不断发展与完善，如何继承传统精髓又不拘泥于陈法，如何吸收外来艺术的精华又不为之所同化，是每一个艺术家在创作中都无法回避的问题。

画家冯涛，在中国传统的工笔花鸟创作中“闯”出了一条新路，他以写意笔法与工笔相结合的方式，去追随中国画尚意的精神。冯涛对艺术创作是执着的，他扎实的造型功底来自于对大自然中不同的时节、不同的区域的花鸟树木的形态与色泽的写生经验，这体现出他的勤奋与努力。但如何避免表现纯客观的自然主义？如何追求比自然物象更动人的表述方式？则依靠的是他个人艺术才情的高低。众所周知，传统的工笔花鸟画以严谨的造型著称，绘画者基本都按照自然界中景物本身的形态规律描绘，构图、造型、勾线、设色，一步一步的完成，以严谨、精致为特色，在风格上与写意画法有很大的不同，相对来说趋向于写实。冯涛作为一位兢兢业业并对艺术有至高追求的工笔画家，深知如果只是以娴熟的技法对自然事物做出客观的陈述，就会使画面中的花鸟变的迟纯，刻板且没有灵气，这将导致中国传统艺术的一大特质——写意性的减弱。显然，这并不是冯涛想要的结果，他追求的不仅仅是技艺的精湛，而是带有哲学思辨性质的境界，这或许需要一种变草的勇气。在当下的语境下，让工笔花鸟画实现吐故纳新，才是这个古老的艺术门类融入当代、焕发出新的活力的正确出路。

冯涛选择打破以熟宣画工笔的传统，他这种看似“离经叛道”的做法，实则是一种“险中求新”的创造。说它“险”，是因为以生宣画工笔对画家本人的要求十分苛刻，在实际的绘画过程中，墨不好控制，稍有不慎容易洇染，形同败笔，所以要以极其深厚的绘画功力去控制画面，通过勾画、层层渲染晕色等丰富的绘画技巧，才能获得满意的视觉效果；说它“新”，是因为冯涛将“工”、“写”的结合建立在生宣所特有的可浸透持性之上，以工笔完成画面主体之后再因需而为地以写意笔法勾染出花技、山石、莲叶等物象，打破了工笔画略显呆板的格调。观看他的花鸟作品，画面中的主题形象以工笔纤细流畅的细线勾勒去呈现，或将鸟儿刻画地飞动灵活，小乌的头、眼、嘴、脚爪、翅膀、尾羽、胸毛等用线的刚柔曲直都十分到位；或将花朵描绘的娇嫩欲滴，花瓣、花蕊、技叶等走笔的轻重缓急都入木三分，仿佛有一种微风吹拂旳摇曳动态。以精妙的工笔主体形象吸引视线，再以看似散淡的笔墨挥洒出旁的元素，这种实与虚的映衬将两种看似背道而驰的用笔方式，调和出丹青韵味与笔墨情趣在“收”、“放”中相得益彰的效果，松动与精致的交相辉映让画面有灵性的“活”了起来，营造出了一种，时而朦胧婉约，时而空灵清幽，时而缤纷绮绕的意境。

在冯涛的作品中，你能够体会到一种与自然对话的快感，这种灵性更体现在他对设色的把握上，他远追宋画的法度，把尊重客观的基础上根据自己对事物的感觉，选择最能表达心中之象的色调，使色彩符合个人情感的表达，营造出一种画外之境，弦外之音的情与境交融的艺术境界，使人豁然开朗，心情愉悦。与此同时，从冯涛的花鸟画中，我们可以读到来自于中国传统思想文化的沃土之中的意境之美。在创作之余，他热爱收藏，从古老文化艺术中也汲取了提高个人审美品位与艺术修养的养料，传统文化的浸染使得在他的作品中看不到一丝狂躁之气，而是一种充满智慧的高雅之境。他的自然观是一个“和”的宇宙世界，在艺术的观念上也脱离不了“和”的哲学观念，因此，冯涛在经营画面的时候不是刻意地对个别事物形色的模仿，而是在立足整体关系之“和”来构建画面理想之“境”。这是一位画家智慧，也是才情的体现。

不同的时代召唤着具有时代特色的精神文化艺术，在开辟艺术创作的新境界、新形一式、新语言的探索、创新道路上，一代又一代的艺术家们为攀登艺术的高峰耗尽了毕生的精力。艺术家冯涛在新的绘画技法细演变上已经迈出了扎实的一步，未来，他也必将能在弘扬民族艺术精粹的道路上取得更大的成就。

Feng Tao's appreciation of the art of Chinese painting by Xu Yang. The traditional Chinese fine brushwork of flowers and birds uses composition, color and artistic conception as its main elements to convey the aesthetic enjoyment of nature, will also be rooted in the Chinese spiritual world, “To observe everything”, “Clear mind observation” of the performance of the appeal incisively and vividly. As one of the representative categories of Chinese traditional painting, fine brushwork flower-and-bird painting has become mature in the late Tang Dynasty and the Five Dynasties. Nowadays, in an increasingly open artistic context, with the continuous development and improvement of flower-and-bird painting, how to inherit the essence of tradition and not stick to the old methods, how to absorb the essence of foreign art and not assimilate it, is every artist in the creation can not avoid the problem.

Painter Feng Tao, in the traditional Chinese flower and bird painting“Chuang” out of a new way, he combines freehand brushwork and fine brushwork, to follow the spirit of Chinese painting. Feng Tao is persistent in art creation. His solid modeling skills come from his experience of painting the shapes and colors of flowers, birds and trees in different seasons and regions of nature. But how to avoid the performance of pure objective naturalism? How to pursue a more moving way of expression than natural images? Depends on his personal level of artistic talent. As we all know, the traditional fine brushwork flower-and-bird painting is well-known for its strict modeling. The painters basically follow the shape law of the natural scenery itself to describe, and complete the composition, modeling, line drawing and color setting step by step, with rigorous, delicate as a feature, in style and freehand brushwork has a great difference, relatively tend to realism. Feng Tao, as a meticulous meticulous painter with the highest pursuit of art, knows that if he only makes an objective statement of natural things with skillful techniques, the flowers and birds in his paintings will become late and pure, rigid and devoid of spiritual aura, this will lead to one of the characteristics of traditional Chinese art-the weakening of freehand brushwork. Obviously, this is not the result Feng Tao wants, he is not only the pursuit of superb skills, but with the nature of philosophical speculation realm, which may require a grass-turning courage. In the current context, let the fine brushwork flower-and-bird painting to achieve the new, is the ancient art category into the contemporary, a new vitality of the right way out.

Feng Tao chose to break the tradition of skillful painting and propaganda, his seemingly“Deviant” approach, in fact, is a“Dangerous new” creation. It was“Dangerous” because the artist was very strict with the painting brush. In the actual painting process, the ink was not easy to control, a little careless easy to get blotchy, like a failure, therefore, to control the picture with extremely profound painting skills, through sketching, layer-by-layer rendering shading and other rich painting skills, to obtain satisfactory visual effects; said it“New”, because Feng Tao's combination of“Work” and“Writing” is based on the unique penetrability of Shengxuan, after finishing the main body of the picture with fine brushwork, he used freehand brushwork to touch up the images of flowers, rocks, lotus leaves and so on, breaking the slightly dull style of fine brushwork painting. Look at his works of flowers and birds, the theme image in the picture is drawn with fine and smooth lines to show, or the birds are depicted to fly flexibly, the head, eyes, mouth, paws, wings, tail feathers, chest hair, etc. of the small acorn are very straight and flexible with the line; or the flowers painted tender, petals, stamens, leaves and other priorities of the pen are into the wood three points, as if there is a breeze blowing the swaying dynamic. Drawing the eye with the exquisite subject image of fine brushwork, and then sprinkling the elements beside it with the seemingly scattered ink, this kind of contrast between real and imaginary sets off two seemingly opposite ways of using pen, the blending of the charm of painting and the taste of ink in the“Close” and“Put” complement each other, the combination of the loose and delicate let the picture have a spiritual“Live” up, creating a kind of, sometimes dim graceful, sometimes ethereal quiet, sometimes colorful around the artistic conception.

In Feng Tao's works, you can experience the pleasure of a dialogue with nature. This kind of spirituality is more reflected in his mastery of color-setting. He pursued the method of song painting from afar, on the basis of respect for objectivity and according to one's own feelings about things, one chooses the tones that best express the image in one's heart, making the colors conform to the expression of one's emotions and creating a kind of out-of-painting realm, the artistic realm of blending emotion and context makes people suddenly enlightened and happy. At the same time, from Feng Tao's flower-and-bird paintings, we can read from the fertile soil of traditional Chinese culture in the beauty of artistic conception. In addition to his creation, he loved to collect, and also absorbed the nourishment of improving his aesthetic taste and artistic accomplishment from the ancient culture and art, but a kind of elegant state full of wisdom. His view of nature is a“And” universe, in the concept of art can not be separated from the“And” philosophical concept, therefore, feng Tao in the operation of the screen is not deliberately to individual things in various forms of imitation, but based on the overall relationship of“And” to build an ideal screen“Realm. This is a painter's wisdom, but also the expression of talent.

The different times call for the spiritual culture and art with the characteristics of the times, on the way of exploring and innovating the new realm, new form and new language of art creation, generations of artists have dedicated their lives to climbing the heights of art. Feng Tao, an artist, has taken a solid step in the evolution of new painting techniques. In the future, he will also be able to make greater achievements on the road of carrying forward the essence of national art.