去年十月在中国美术馆举办了我的首次个人画展,引起了美术理论界及同行和观众的浓厚兴趣。其原因我想是来自我那十数幅主题性花鸟画创作。 这些作品都是企图体现我自己的艺术主张的,如“大花鸟精神”、“创立新程式”、“你的野草是我的花园”等。 “大花鸟精神”主要讲中国花鸟画在其精神性方面反映的深度和广度,其创作本旨并不在于表现花鸟本身,更重要的是画家把花和鸟这些自然形态作为抒发和表达人的意愿的媒体和语汇。通过富有情感和生命的自然形态的组合,来表露画家对自然界和社会的体察认识,来反映社会情调和气氛。因此我把表现大自然赋予生命的坚韧力定为自己的创作使命,审美情趣不在于一花一叶的真实具体,重点放在塑造浑然和谐的生命整体,追求生命的精神和气质,蓬勃向上的山野之气和生生不息的精神。 用传统的折枝花卉很难表现出这种感觉。那种形式太简单,又多是表现一己私情,演不出时代的大戏。古代花鸟画虽然也有不少主题性创作,但照搬传统的样式就会陈旧老套,缺少新时代 Last October, I organized my first solo exhibition at the China Art Museum, arousing great interest from art theory circles, colleagues and audiences. The reason I think it is from my dozen of thematic paintings of bird and flower creation. These works are all attempts to embody my own artistic ideas, such as “Big Bird Spirit”, “Creating New Programs”, “Your Wild Grass Is My Garden” and so on. The spirit of the Great Bird focuses on the depth and breadth of Chinese bird and flower painting in terms of its spirituality. The purpose of its creation is not to show the birds and birds themselves. More importantly, the painter takes the natural forms of flowers and birds as the expression and expression of human will The media and vocabulary. Through the combination of natural forms rich in emotion and life, we can reveal the artist’s understanding of nature and society to reflect the social atmosphere and atmosphere. Therefore, I regard the tenacity of expressing nature as life as my own creative mission. Aesthetic taste does not lie in the reality of one flower and one leaf. The emphasis is on shaping the harmonious and harmonious whole of life, in pursuit of the spirit and temperament of life, and vigorous Mountain gas and endless spirit. It is hard to show this feeling with the traditional foliage flowers. That form is too simple, but also more to show their own personal feelings, can not play the era of drama. Although there are many ancient bird and flower painting thematic creation, but copying the traditional style will be old fashioned, the lack of a new era