汪占革
Since its bloom in Sui and Tang Dynasty, landscape painting was a pure aesthetic activity cutting off from vanity and fame. It was the externalization of the gratitude from the painter on the grand beauty of the sky and the earth, and also the presentation of the painters spirit and artistic pursuit. Zhang Hailong is an outstanding young painter good at landscape paintings. He has systematic training in art and studied in various professional fine art academies. He is also a diligent man. By combining the nature with spirits higher than nature, he created an inclusive art context containing mountains, deep gorges, falls, and rivers.
林語堂在論中國畫時精辟地闡述:“中國藝術的沖動源于山水?!鄙剿嬜运逄撇l興起,就是一種非功利的純美活動,是畫家對“天地大美”之恩、之情、之意的外化,是精神與藝術價值的體現。而今,文化日益多元、藝術表現和手法不斷多樣,但山水畫家以山水之形、求山水之魂歌詠仁山智水的理想情懷始終沒有改變。
張君海龍,一位優秀的青年山水畫家,有系統的教育經歷并進入多個專業美院深造,國畫技藝同步推進。他在題材方向上,結合個性情性主攻山水畫。曾因寄情于書法,書畫本同源,故所作山水,觸毫而生,得心應手,線條靈動,墨色交疊,鋪陳有序,令欣賞者贊嘆陶醉。美學家宗白華先生說:“意境是藝術家的獨創,是從他最深的“心源”和“造化”接觸時突然的領悟和震動中誕生的”。
中國畫非常注重“意”和“境”,尤其強調其審美形式中文化內涵的注入,并用筆墨形式加以表現。張君海龍是聰穎勤奮的,所作山水源于自然又高于自然。在多年的山水寫生與創作實踐中,已胸容自然萬象,在層巒疊嶂、幽谷深崖、瀑泉云溪,草木關情間流淌無限幽遠的“心源”。在讀海龍山水畫時,所體悟到的是“外師造化、中得心源”,“詩中有畫、畫中有詩”的深遠意境,這也是中國山水畫的至高審美標準。
隨著時代的發展、生活節奏的加快,中國畫的發展也進入了當代多元化語境中。筆墨當隨時代,如何在繼承中發展找到自我的方向定位,確立個性風格,至關重要。張君海龍正當有成之年,耐得寂寞,伏久者飛必高,我們期待著海龍接下來的升華與超越。
Zhang Hailong is national first-level artist, a member of China Artists Association, director of Qiqihar Calligraphy and Painting Academy, council of Farmer and Worker Party Central Calligraphy and Paintings Institute, and visiting scholar of China Art Research Institute.
張海龍,國家一級美術師,中國美術家協會會員,齊齊哈爾書畫院院長,農工黨中央書畫院理事,齊齊哈爾市政協委員,農工黨齊市前進書畫院院長,中國藝術研究院中國畫院訪問學者。