水墨丹青寄鄉情

三江紅

闊別家鄉十多年的女藝術家古儀帶著這幾年來創作的一百幅作品，來杭州舉辦大型個人畫展。

古儀（原名勵國儀），是著名國畫大師潘天壽的兒媳，中央美術學院院長潘公凱的夫人。她少年時代與潘公凱同時求學于浙江美術學院附中，附中生活開始了她對藝術之夢的探索和追求。盡管因“文革”她的求學生涯充滿著艱辛和挫折，但是回憶起附中生活，她仍十分愉快地說：“雖然那時沒有很多可看的畫冊，我們仍從學校圖書館找出前蘇聯列賓、蘇里科夫的畫冊，進行翻拍，裝訂成冊供自己學習。圖片是用潘公凱手工制作的放大機放的，放得十分清晰，比照相館里放得還好。 ”“文革”結束后，古儀在出版社任美術編輯，創作了大量的兒童連環畫和書籍插圖，其中有些作品在瑞士、法國、伊朗等國獲獎。

1985年，古儀調入杭州畫院開始了專職繪畫創作，她的藝術才能得以充分地展示。1996年，她被任命為杭州畫院副院長。在畫院中，她潛心于深層的藝術風格探索與追求，在深度研習中國傳統工筆繪畫的同時，多方面吸取寫意水墨畫的墨色、意境以及西方現代藝術中的構成、色彩和畫面處理要素，力圖使傳統的工筆畫更厚實、更富新意，具有更強的藝術表現力。

工筆與寫意的深度融合，東方意蘊與西式技法的完美聯結，加之古儀所具有的獨特視角，以及她為女性藝術創作所作的積極努力，使古儀在國際繪畫舞臺上有著屬于自己的獨特地位。二十余年間，她的作品在美國、法國、新加坡、奧地利等國家多次展出，并在國內及日本、法國、美國多次獲獎。法國藝評家莫阿氏 ·埃維農曾寫信贊揚：“非常賞識您的細膩而充滿詩意的作品，這次評選，雖然您獲得的

是第二名，但我們還組織了另外的一個完整的純學術價值的評委團，評選您的作品榮獲一等獎。 ”前世界銀行行長詹姆斯·沃爾芬森也寫信贊揚古儀的作品。她還多次受邀作為中國女藝術家的代表，參加各種國際藝術交流活動，將中國女性繪畫的優秀成果呈現給世界。國內甚少舉辦畫展、行事低調的古儀，早已是享譽世界的國際知名女藝術家。

豐富的國際藝術交流活動，進一步拓展了古儀的視野，啟發她創作題材的多樣化，鼓舞著她大膽進行各種藝術探索，使其作品在典雅的東方詩意中呈現出國際化現代審美特征。

2003年因丈夫潘公凱調往北京工作，她隨夫赴京，移居在中央美術學院附近。得益于中央美術學院濃厚的藝術學術氛圍，她經常去中央美院藝術館和圖書館觀看欣賞藝術作品，同時還結識了北京及來自全國各地的藝術家。雖然這里存在著畫風的地域性、文化、習俗的差異，但是她以敏感的悟性，博覽眾家，求同存異，拓寬了自己的創作天地。著名理論

古儀作品：左為《芭蕉碧玉》，右為《品茶圖》。 Two paintings by Li Guoyi

家水天中先生對古儀的作品有著不菲的評價：“古儀的水墨人物畫是對一系列藝術問題的回答。她采取了多方采擷而為我所用的聰明辦法，來解決‘時代性與‘民族性的問題。與當代主流人物畫不同——不以場面的沖擊力和人物神態的矛盾吸引人；與‘新文人畫不同——不以飄逸筆墨和偽托古人取勝。她筆下的女性形象優雅大度而不忸怩作態，閑適寧靜而充滿活力，現代人生情致和古典文化韻味在她的作品里相

古儀水鄉系列作品之一

This painting by Li Guoyi portrays Jiangnan.

STARDOM名家風采

得益彰。在形式處理上，她善于運用含蓄節制的色與墨，營造出明朗而蘊藉的精神境界……古儀使多樣藝術因素協調并存，形成一種優美古雅而又具時代精神的藝術氣質。 ”

“我喜歡寫意畫的靈動、多變、奔放，亦喜歡工筆畫的淡淡的細膩的渲染手法，在尋求二者相融合的過程中，最重要的是在藝術語言應用上的統一。我在創作中力求做到這二者統一的完美。 ”古儀如是說。她的這次名為“古意新儀——古儀繪畫作品展”匯集了近六年來創作的精品國畫，包括懷舊、女性、少數民族、花鳥畫、水墨拼貼等系列。畫家在傳統人物畫的基礎上，將中國寫意畫的水墨韻味融入工筆作品，展現了融合工筆精細寫實及水墨渲染滲化的獨特面貌。

在展覽的開幕式上，畫家古儀的親朋好友、同事、粉絲團等三百多人濟濟一堂。古儀身著一襲乳白色的套裝，手捧家人和友人送上的玫瑰，笑容可掬地和來賓們邊喝茶邊談藝。古儀說：“這次展覽就是回家來看看，向家鄉人民作一個匯報?！?/p>

古儀對杭州有著很深的情結。1964年，她懷著美好藝術理想，離滬來杭，在西湖邊的中國美院附中讀書學畫，從此與杭州這座美麗的城市結下了不解的緣分。

作為成長于上海又在杭州浸潤多年的江南女子，古儀的作品多以女性為表現對象，筆下的人物或清新細膩，或端莊典雅，或帶著幾分神秘氣息，在一顰一笑之際、一靜一動之間，生動地顯露江南女子的溫婉。即便是她在創作中借鑒西方現代繪畫構成及技法的創新畫作，也掩蓋不住作品中散發的傳統東方氣質和江南韻味。

古儀帶來的大多是近些年在北京創作的作品，但流露出來的卻是江南的風情，江南的情結深植于其心里。她是江南的，更是杭州的，無論她走到哪里，她的根都在這里。

Artist Holds Solo Show in Hangzhou

By San Jianghong

Gu Yi， a female artist who is away from Hangzhou for more than ten years， is back. She is now holding a solo show

in Hangzhou with over one hundred paintings created in the past six years.

Gu Yi is the name Li Guoyi uses for her art activities. She is wife of Pan Gongkai， the son of Pan Tianshou and president of the Central Academy of Art. She studied at the middle school affili-ated to the Zhejiang Academy of Fine Arts， the predecessor of the present-day China Academy of Art in Hangzhou， where she met Pan Gongkai. The life at the middle school was characterized by hardships and upheaval as it was ravaged by the Cultural Revolution （1966-1976） but she managed to find fun. Few art books were avail-able in these years， but she remembers photographing collections of masterpieces of the Soviet Union artists such as Ilya Yefimovich Re-pin and Alexander Surikov and making enlarged copies on a device manually made by Pan Gongkai. It produced better photos than those by photo shops. After the Cul-tural Revolution was finally over in 1976， she worked as an art editor for a publishing house in Hangzhou. She also

created quite a few picture

books for children and did some illustrations. Some of her books for children won awards in Sweden， France and Iran.

In 1986 she became a full-time artist at Hangzhou Institute of Art and in 1996 she became the vice president of the institute. The full-time job enabled her to pursue her own style. During this period， she firmly established herself as an artist who explored the depths and widths of the traditional Chinese painting， styles， and colors. She also looked into the western arts for inspiration. As the result， her elaborate-styled painting breaks new grounds. Her artworks were displayed in America， France， Singapore， Austria， and Japan. And she won many awards and honors.

In 2003， her husband was appointed the president of the Central Academy of Fine Arts and the couple moved to Beijing. The new life in Beijing has greatly broadened her horizons as libraries and galleries are easily accessible and artists from different provinces are legion. She has improved a great deal.

Her figure painting in traditional Chinese ink an-swers an important question： how do modern artists of traditional Chinese painting create figure paintings that express and balance modernity and nationality at the same time？ She does not paint historic events in mainstream styles. She does not depict historic mo-ments and figures in modern history. Nor does she go back to ancient times and depict ancient events. She focuses on images of women graceful without pre-tenses， serene and ebullient. In her works， sentiments of a modern life commingle well with classic grace.

Gu Yi explains her style this way： “I like the agility， changeability， and ebullience of the freehand style. I also love the elaborate style that glorifies poetic de-tails. I seek to combine the two in my work.”

The opening ceremony of her solo painting show in Hangzhou was attended by over three hundred guests， including her family members， friends， colleagues and fans. Dressed in milky white and holding a bundle of roses， she smiled and chatted with guests. The artist said， “This exhibition is my report to my hometown people.”

She considers Hangzhou as her hometown， though she is from Shanghai. In 1964， she came to Hangzhou and started her art student education. Her life became intricately entangled with the local people and the West Lake of Hangzhou.

Though most of the exhibits were created in Bei-

jing， they reflect a personality of Jiangnan， arguably

the most amazing noun in Chinese that describes the natural beauty， prosperity， peace， culture and history in the south of the Yangtze River delta. No matter where she goes， she considers herself a native of Jiangnan.