绘画魔方

    在中国近代绘画史上，黄瓜园里的南京艺术学院，无疑是气吞荒韵、开宗列派的一座大山。刘海粟、谢海燕诸位先贤在传统绘画上的掘进及对现代美术教育的拓荒，正与徐悲鸿、潘天寿、林风眠诸老的辉煌作为，共同成就了百年中国的绘画气象。这是中国绘画形态与内质寻求现代审美的世纪涅槃。纵观百年绘史，凡有建树者，无不出其左右。

    顾伟玺的幸运是在他艺术的求索之初，便如一粒种子坠于黄瓜园肥沃的土壤里，绘画根茎里的养分充足且正大。他首先在书法上下很大工夫，讲究线条的遒劲，这是南派绘画的一贯路数。在行笔运势上，于徐渭的恣肆放达和陈淳的静穆从容间左右开合。在物象和构图的选择以及墨色的渲染上，他循蹈前辙，常有朱耷、齐璜、潘天寿、刘海粟诸位大师的影子重叠，这足以窥出伟玺心气的高傲和骨质的雄壮。

    伟玺的画上屡见长跋，或抒情言志，或纪游感悟，或道书画规律，这是大画家的做派，这是绘者情纵千里，笔写胸壑的自然流露。绘画本是一项综合的技道修为，这里除了笔墨的锤炼外，文学、音律、眼界、哲思均是大画家成功的养分。伟玺深知其中的奥妙和险峻，自觉在创作中抱璞怀玉，追摹高远。仅从他花鸟画中即可看出，他以江南的几只野凫反复构图，佐以紫藤、葫芦、秋瓜、危石等，如同魔方，翻滚出不同的审美块面。这种创作方式，并非简单的重复，自古至今常在老道者手中进出，如八大的鸟、李可染的牛、齐白石的虾、徐悲鸿的马、潘天寿的鸬鹚、李苦禅的鹰。看似孤物，而在大画家手中无疑是笔墨和意趣的魔方，借此抒情达意，千变万化，妙趣横生。如同一轮明月，千古相似，月月不同。

    伟玺善作巨幅大画，此乃气壮之举。他苦临《张迁碑》、《石门颂》等书法经典，遍游三山五岳，久居江南，数上黄山。因工作动迁，先后在南京、上海、广西钻研、执教美术，这些跨地域的迁徙，足以张弛作者的心性和气量，足以在眼界和思辨上积累作者的慧性和聪明。

    伟玺年近五旬，习书研绘已愈三十余载，正值秋熟季节。他先后主持学术期刊的编撰和美院学科的引领，对新金陵画派、海上画派、新安画派和漓江画派都曾身心浸染，其中奥妙，独有见识。或许上苍眷顾，伟玺膝下两子，在他伏案以长毫漫写藤草野凫之际，不谙世事的顽皮幼子往往在案边捣蛋，此时伟玺侧目一笑，继续挥毫，此为大美妙境耳。

    注：本文作者为新华日报《艺坛》主编，江苏省美术家协会理论委员会委员，江苏报协文化艺术委员会副主任。

 

    Wei Changjian

    In the modern Chinese painting history, Nanjing University of the Arts in Cucumber Garden, it is undoubtedly a huge mountain of wild charm. The scholars of the past, such as Liu Haisu, Xie Haiyan and so on, have made great advancements on the Chinese traditional paintings and development on the modern art education, along with the glorious achievements of Xu Beihong, Pan Tianshou, Lin Fengmian. All the achievements have combined to contribute to the Old Chinese Painting Atmosphere. This can be called the Century Nirvana of modern aesthetic between Chinese Painting forms and essence. Throughout hundreds of years’ painting history, those who have made a contribution to painting are all the same.

    Gu Weixi’s luck lies in the fact that in the beginning of his art seeking, he was like a seed growing in the fertile soil of Cucumber Garden, with his painting root and stem nutrient adequate and plenty. As the same as the method of southern painting, firstly he made a great effort on his calligraphy which focus on bold strokes of the brush. On painting style, Yu Xuwei’s random and wildness made a contrary to Chun Chen’s sole and calm. On the choice of the image and composition, as well as the ink color applied to a painting, Gu followed the method of scholars of the past. And in his paintings, we can see the trace of Zhu Da, Ji Huang, Pan Tianshou, Liu Haisu. All these can be an evidence of Weixi’s prideful ambition and imposing bone quality.

    Weixi’s paintings are characterized by expressing emotion and desire, recording travel inspiration, telling calligraphy and painting rule. It is a natural revelation of rich emotion and thoughts. Painting was a comprehensive cultivation of Technology and Tao. Besides the cultivation of the pen and ink, literature, temperament, horizon, philosophic theories are all nutrients of the success of the great painters. Xi Wei is well aware of its mystery and difficult, and spontaneously applies pure things as well as exaggerated things. From his flowers and birds paintings, we can see his repeat composition on the basis of several wild ducks, together with Chinese wistaria, cucurbit flute, melon in the autumn, collapse rock which is like Magic Cube that can make different aesthetic block surface. Such painting style is not just the simple repetition and is often applied by the experienced scholars, for example, Da Ba’s bird, Li Keran’s cow, Chi Baishi’s shrimp, Xu Beihong’s horse, Pan Tianshou’s cormorant, Li Kuchan’s eagle. It seems like isolated things, but actually it is the Magic Cube of pen and ink and interest and charm in the eyes of painters, which can express their emotion and desire, and are ever-changing and full of wit and humor. They are just like a moon, which are the same through the ages, but different in the month.

    Weixi is good at drawing giant painting, which is an action full of magnificence. He facsimiled the painting classic, such as Zhang Qian Bei, Ode to Shimen and so on, travelled high mountains, long lived in Jiangnan region and climbed Mountain Huangshan. Due to the reason of career moves, he successively studied and taught art in Nanjing, Shanghai, and Guangxi. The migration across the region is enough to broaden the temperament and tolerance of the painter, also is enough to accumulate his intelligence and wisdom. 

    Weixi was near 50 years old, and he studied painting for more than 30 years, which equals to mature season. He successively hosted the editing of academic journals and led Academy of science, and was deeply impregnated in the New jinling painting, Shanghai School, scholar painting and Lijiang painting. And he has unique insights on the secret. Maybe due to God’s bless, Weixi had two sons in his later life. The scene is wonderful: When he bent over his desk to paint rattan and wild ducks, his young children would make trouble to him, and he smiled and continued to paint.

    Remark: The author is the chief editor of "Art Forum" from Xinhua Daily, member of Jiangsu Artists Association Theory Council, deputy director of Jiangsu Newspaper Association Cultural Art Council.