朱宣咸(1927年浙江——2002年重庆),中国画画家、木刻版画家、漫画家与美术活动家。20世纪40年代初起从事中国画与中国新兴木刻版画,半个多世纪来,创作了大量中国画、版画、漫画、插画、水粉画、水彩画、连环画等作品,并被中国美术馆及各地美术馆、博物馆等收藏;被《中国年鉴》,《中国百年版画》等大型文献收录;从1946年到2002年多次入选国内外一系列重要展览,发表作品数千次,艺术风格被《人民日报》等主要媒体专题评论;出版有《朱宣咸作品选》,《朱宣咸花鸟画选辑》,《朱宣咸木刻版画集》,《朱宣咸风景木刻版画选辑》,《朱宣咸漫画》,《艺术常青——美术家朱宣咸》等;由文化、新闻、出版等六单位联合主办了“朱宣咸从艺五十五年画展”;生平被载入《中国美术辞典》等国家级辞书

首页/Home Page - 作品选/Selected Works-木刻版画/Woodcuts

\

朱宣咸版画《山乡夏夜》
1958年
 
Summer Night in the Mountain Area
By Zhu Xuanxian

Woodcut, In Chongqing City, China, 1958
NO.W-064

 
        在那个对政治性题材极为热衷的时代,朱宣咸似乎对纯粹的抒情性内容更感兴趣,他的大多数作品都沉浸在对自然美的体味与依恋之中。如1958年《山乡夏夜》的宁馨与静谧,1960年《榕湖滴翠》浓荫密布的惬意与闲适,而《山乡春早》(1961年)的清新,《秋郊傍晚》(1962年)是夕照归鸦的恬然。
 
        其实,这那本是个“大跃进”、“大炼钢铁”、“人民公社”的火红得近乎疯狂的年代,又是“三年灾害”的灾难时代,但朱宣咸那从小对美的追求,对艺术自身的痴迷,在此时亦显现出了他不同时流、匠心独具、颇为鲜明的艺术个性。
 
In the age when people were crazy about the political themes, Zhu Xuanxian seemed to be more interested in pure lyric themes, and most of his works showed deep concern and cleavage with the natural beauty, such as the tranquility an d peace in Summer Night in the Mountain Area (1958), the satisfaction and leisure in the thick woods of The Banyan Lake in Dripping Green (1960), the freshness in Early Spring in Countryside (1961), and the contentedness of crows backing home at sunset in Autumn Evening in Suburb (1962).
 
In that age of political movements prevailing throughout the nation, and the period of “3-year disasters” in China, Zhu Xunxian showed his distinct vivid artistic personality which had originated from his pursuit of beauty and his fondness of pure art since his childhood.