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作者:汲平2012-06-25 11:08:47 来源:中国雕塑家网
学画数十年、由孩童的涂涂画画到考入美术学院、二十年后又辞去教职成为职业画家、走过了近五十年的艺术生涯。五十年当中，有近三十年的学习期和二十年的创作期。中国的油画近百年，大致可分为四代人、我应该属于笫四代画家。我们的前辈从西方古典油画起步后又受苏联油画的影响形成基础。三十年前中国的改革开放，使得我们有前所末有的广阔天地选择自已的艺术道路。经过长期的思考和探索、我二十多年前开始酝酿创作紫禁城糸列油画、从笫一幅作品宫门开始到现在已完成了三百多幅此类作品。这是非常漫长之路、其中的坎坷不言而喻。
概括说，我的紫禁城系列作品追求的是新古典主义风格，创作和理念是八个字：神圣庄严、唯美愉悦。神圣庄严是所有古典主义艺术的特点，而新古典主义就是将现代人的审美取向唯美愉悦加进去。关于新古典主义，从纽约百老汇上演了一千七百多场的《歌剧魅影》中得到一点启发：她的音乐既庄严、神圣，又具有现代人所喜爱的优美动听旋律，轻松愉悦。这种用现代人喜闻乐见的形成，去演绎过去的故事，就是我所追求的新古典主义。事实上，从作品风格和技巧上来分析,当代中国油画领域里称谓的“古典主义”或“新古典主义”的概念, 相对比较广义，笼统地、或综合包含了西方十八世纪之前的各种流派。他们在尊重学院派技术的同时，也探索如何注入民族性语言或现代美学意识和手法。。在我的油画艺术中融汇了古典和现代、写实和装饰、象征主义和超现实的浪漫主义的各种因素，体现了二十一世纪新兴文化的多元性，在国际艺坛上为中国当代艺术赢得一柱焦点聚光。
有人问我画紫禁城的动机是什么?
第一，紫禁城是迄今为止最能让世人接受的事实，这座金碧辉煌的皇宫承载着国运兴衰历史，距今已有600年的历史。这里面发生了许多显为人知的故事，虽然历经几百年的风风雨雨，这座沧桑而忧郁，古老而神秘的宫殿，依然在不断的向我们透漏着他的信息，吸引着无数的人们，去探索、思考。每一次身处其中，我都会有诸多的联想，那些红色的宫墙，金黄的琉璃瓦，仿佛化成炽热的火，闯入灵魂深处，灼烧着我的思想，带给我丰富的灵感！而且紫禁城具备油画的创作条件——营造一个真实的画面！画中的一切都有根据，故宫留下来的几万张的历史照片，保存完好的建筑群，陈列摆设、题扁、壁画，文字服装等等，都是历史的原貌，都是真实的。他是中国的宠儿，是受万人保护众人膜拜的圣地所在，历尽世雨沧桑的紫禁城已经在其经年的隐忍与威挺中，化为世人心中不可取代的神址！这一切，都构成了我创作的基本素材！它是我在绘画创作中，不可多得的宝贵财富！
第二，在全世界范围内，一提到中国人，他们就会想到清朝人的形象，虽然片面很具有特色，有不同于当下。世界趋于大同，具有中国特色的东西已经越来越少。我画紫禁城，就是要找回那些被遗失的民族性的精华，努力的找回一部分人的记忆。我爱紫禁城，是因为他积聚了中国特色的精华！掩盖不住的璀璨，激动人心！
第三，我画紫禁城，并不是想去刻画那些末代皇帝，慈禧太后、宫女妃嫔等。我画出的是一种民族精神，是一种不容遗忘的民族气节。我们看到的旧照片中的女人，都是一幅唯唯诺诺的样子，仿似惊弓之鸟，而男人，被世人称之“东亚病夫”“支那猪”，在他们的眼中，中国是个丑陋的民族！而事实上、中国人是一个具有几千年文明史的民族 、她有自己独特民族形象，我想通过我的作品来展示真正的中国人。
From doodling in childhood to become a student of Central Academy of Fine Arts, I have studied painting for more than a decade. After being a teacher for 20 years, later I quitted my job to become a professional artist. In my 50 years’ art life, I had spent 30 years for learning and 20 years for my painting creation. There are four generations of artists in nearly 100 years’ history of Chinese oil painting, among which I belong to the fourth generation. Originated from the western classic oil painting and influenced by the Russian oil paintings later, the Chinese oil painting artists started their art life. Later, the opening up and reform of China provided us an unprecedented space to choose our own art path. After long time consideration and exploration, I started my preparation for the series of Forbidden City 20 years ago. From the time I finished my first Forbidden City theme painting, the Palace Entrance, till now, I have finished over 300 oil paintings with the theme of the Forbidden City. This was a long period full of obstacles.
Generally speaking, my Forbidden City Series is of the style of neoclassicism with the creation concept of magnificence, sacredness, aesthetics and visual pleasure. Magnificence and sacredness are the characteristics of all works of the classicism, while the neoclassicism brings the modern people’s preference of visual pleasure to it. Concerning the neoclassicism, I was enlightened by The Phantom of the Opera, an opera that performed for more than 1700 times in Broadway of New York. The music of this opera is both magnificent and sacred while at the same time, it also has the modern melodies that are well accepted. The interpretation of the past through the modern way is actually what I understand for neoclassicism. In fact, if analyzed through the style and skills of the paintings, the definition of classicism or neoclassicism in the Chinese oil painting field is very broad. They actually include various school styles before 18th century of western paintings. On the basis of following the school techniques and skills, the Chinese classicism or neoclassicism also has its own national characteristics and modern aesthetics. In my works, I combine various elements like classic and modern, realistic and decoration, symbolism and surrealistic romanticism, which all together reflect the culture diversity of 21st century and attract the international attention of the Chinese modern art.
First of all, as a palace of more than 600 years history, the Forbidden City, which reflects China’s rise and decline, is one of the most famous Chinese symbols. There are many stories of the Forbidden City that are rarely known. Although the Forbidden City experienced hundred of years’ history, this ancient and mysterious palace today still keeps revealing the new information to attract people’s exploration and thinking. Every time I visit the Forbidden City, I always have a lot of thoughts. The red wall and the golden glazed tiles seem like the fire burning in my soul and bring me new inspirations. Besides, the Forbidden City also provides the perfect condition – the real scene- for the oil painting creation. Everything in this scene has history. More than 10,000 historical photos, well-protected buildings, the displays, plaques, frescos and costumes, etc are all the original things. The Forbidden City is the symbol of China as well as the sacred place for Chinese. After witnessing Chinese history for centuries, the Forbidden City has become an unsubstitutable sacred palace for Chinese people. All these things become my creation materials. They are the precious fortune for my art life.
Second, whenever mention the Chinese people in the global scope, the foreigners will immediately have the image of Qing dynasty people in mind. It is true that the people in Qing dynasty are of great characteristics, however, they are very different from the modern Chinese. Now with the globalization of the whole world, the Chinese characteristics become less and less. The reason why I choose Forbidden City as my main subject is because I want to bring the memory back through the rediscovery of the missing national essence. I have such a great affection for the Forbidden City. It accumulates the essence of China and inspires people all the time.
Third, I don’t depict the emperors, e mpress Cixi, maids or emperor’s concubines intentionally when I depict the Forbidden City. What I want to show is the national spirit. The women in the old photos of the Forbidden City are obsequious, while the men in the photos are called “sick man of East Asia”. At that time, the Chinese nationality is ugly in most foreigners’ eyes, but in fact Chinese nationality has thousands of years’ civilization and its own unique image. I want to show a real China and Chinese people through my works.
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