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

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关于朱澄艺术的评论选

Selected Comments on Zhu Cheng’s Works

 

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 画展点评
 

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世界艺林之中,吾国画形式可谓永恒。其因甚嘹;从来不变。究其终旨,惟法道矣,因“天不变,道亦不变”,天地久长,故画道不衰。本初河图洛书、武丁俾形,缙魏晋胜流、宋元盛鼎、明清精纯,已固若金汤,虽后世式微,然海内诸家,难出窠臼,可鉴艺踪趋一、法门不二矣。

 

适今风波浩荡、花树萧森、天道燔然。危机呼声潮起,故实陈调演毕。吾国画道至此始真正有变。观新潮诸雄,或借西法、或擅水墨、各择其径,盛景空前,似呈危机后之兴盛状。其曲直真伪,权且勿论,有一理彰明 :式微之因,在欲盛则衰、欲统却乱。勃兴之道,在乱而治、散而群。然笔墨乃心性所钟,画道为文化所司,况传统之精华糟粕、本具一身、潜移默化、血混筋缠、盘根错节、未可明辩。其堂奥自在形式内容之外。故虽有时髦形式,未必创新。虽持传统手法,未心守旧。当今画坛,亦多见变幻形式、鲜见探计精魂者。

 

学棣朱澄,及冠未几,课书之余,潜心绘史。性乖悖、思不群、无意撷新、志在觅旧。观其所作,乃觉有才思血气,感具旧瓶新酒、化腐为奇之功。其格在逸神妙能之外曰荒诞品。尤在反省传统、涉及颇深。《仿任颐三友图》活脱勾出大一统机制与共性灵魂。《仿韩滉文苑图》树、石、人皆化为一体,为吾邦文化人即自然、自然即人之真写照。《仿韩熙载夜宴图》变萧管为枪械,造惊诧于平和。它如溶??未来派入《步辇图》、揉隆尔瓦多.达利入《后宫佳丽图》、《可乐宫妓图》、孤老金农打台球等属,皆得衣钵法乳、且在嘻笑怒骂之间。考西洋绘史,传统变革之际多感性裂变,尝有杜桑以溺器入展者,荒诞之际,令艺事绝处逢生。荒诞其物,启蔽蒙之心扉,引人生之大叹,具情理之殊用,然自古以来,为吾邦民性所匮缺。今朱澄所为,不啻变革画道,实为文化之深沉反思也。

 

爱能舍已谓之忠,言不避讳谓之诚。忠诚见诸书艺者,今世寡矣!朱澄少年当之,吾欣甚,是为序。

 

己已正月十九于川美寓所

(原题为《朱澄画序》,写于1989年2月24日,
本文作者为四川美院教授)

 

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案例说明

王 林


八五美术至今已30年。四川美术学院当年自选作品展以“展品不拘内容和形式”,“不展课堂作业”,“自我审查、自己装潢、自己布置”为展览方法,从1985年至1989年共举办了12届学生自选作品展和3次以上教师自选作品展。其中亦包括师生个展。

 

朱澄个展是1989年2月23日至3月4日在四川美院美术陈列馆(今“重庆当代美术馆”)举办双个展中的个人展览。现有展览作品均出自该展,是一个封存至今,完整保持当年原貌的展览。

 

置四川美术学院、重庆当代美术馆、四川明天文化艺术投资管理公司联合主办《自选方式——四川美术学院1985—1989自选作品展回顾与文献展》和在湖北美术馆举办全国“八五美术史实考据”论坛之际,以朱澄当年个展作为案例,可以管中窥豹,清楚地看到当年四川美院与八五美术的关系。

 

历史始终需要史实的考据与考证,此亦是美术史书写的前提。

 

2015年11月22日

  (原标题为:《“八五美术”史实考据案例展 · 朱澄个展 · 2015湖北美术馆论坛案例展前言:案例说明》,

本文作者为四川美院教授 )

 

Preface in 1989

By Mu Qun

(Professor of History and Theory of Art, 

Sichuan Fine Arts Institute)

 

In the world of art, the style of traditional Chinese paintings has never changed for various reasons. Way of nature is the principle that “Way will change not if Nature does not”. Thus the Way of painting keeps booming for the nature lives forever. Art developed in such a historical way from Map of the Yellow River and Book of Luo River in the ancient times, initial formation in Wuding Period and prevalence in Wei and Jin Dynasties, to prosperity in Song and Yuan Dynasties and impregnability in Ming and Qing Dynasties. Even though it declined in the following decades, artists all over China followed the stereotypes. Hence, it is seen that the art pursues nothing but the specificity.

Nowadays, the whole world of art is turbulent filled with voices of crisis, which marks the end of stereotypes. Since then, the Way of traditional Chinese painting really starts to change. Looking at those so called modern artists, some of them learn the ways of western painting, while others excel in black and white painting. It appears to be an exceptionally great occasion because of various painting skills, which seems prosperous after the crisis. Leaving alone the question about true or false prosperity, there is one thing I know clearly: things decline when they are supposed to be prosperous; chaoses happen when something is going to be unified. That is why art declines. The principle of prosperity is to govern in disorder and unite in dispersion. However, it is so hard to definite the art, because the painting is a mirror of mind and the way is a reflection of culture, besides, the essence and dross of tradition are integrated and mixed, gradually have an impact on artists. The thoughts of works are excluded from the form and content, and nothing is newly born even though the so called modern styles are adopted. However, artists who stick to traditional skills are not old guards. In present art circle, most artists try seeking for new styles, but few for further exploration of traditional skills.

My young colleague, ZC, who studies hard on History of art when he finishes teaching tasks, is odd in character, unique in thinking, and concentrates in exploring the traditional paintings rather than finding new things. When I saw his paintings, I realize his paintings are combined with vigor and wisdom, which let me feel refreshing. He, who is well versed in the study of traditional paintings, thinks that paintings without grace and liveliness are not good at all. His The Three People which is an impression of The Three Friends by Ren Yi outlines the system of great unification and spirit of common souls. The Fossilization in the Art Salon, an impression of Art Salon by Han Huang, with a combination of trees, stones and scholars, reveals one essences of our culture, namely, an integration of human and nature. In his An Upset Night in Han’s Mansion, an impression of Han Zaixi’s Night Feast by Gu Hongzhong, he changes the instrument into a rifle, which arouses astonishment from peace. He embodies futurism into the Visual Effect, inspired from Emperor in Procession, and Naturalistic Surrealism of Salvador Dail into Beauties in the Inner Palace and Maids of Honour and Coca Cola, as well as A Man. All the mentioned works above inherit the legacies easily by him in daily life. When I was studying the history of western art, I learned that there are always perceptual disintegrations in the transformation of traditional painting. Once someone, bearing the western modern art, showed a night-stool painting in art exhibition leading art to surviving in crisis, even though a bit of absurdity. The absurd things give a ray of light to the blind hearts, make people sigh for lives, and have different purposes in sense, which is a short in the minds of Chinese people since ancient times. Today, what ZC is doing is not only to reform the Way of painting but to arouse the deep introspection toward culture.

Loyalty is to love without selfishness, while sincerity is to talk without lies. At present, we can hardly see loyalty and sincerity from one’s art works. However, I can see this from ZC's works at his young age. This is really a great comfort to me, thus I wrote this for him.

In Sichuan Fine Arts Institute, 

Chongqing City, China

February, 1989


 

Case Instruction in 2015 

By Wang Lin 

(Professor of Sichuan Fine Arts Institute)

 

The 85 New Wave’s Art has been lasting for 30 years. The self-selected works exhibitions including twelve ones of students, more than three ones of teachers and some teacher or student’s solo exhibitions from 1985 to 1989 , were once held with the requirements for “the works with the full resources of expression” and “does not show class exercises”, and the principles of “self-accreditation, self-decoration and self-layout” by students.

Zhu Cheng Solo Exhibition, one of the dual exhibition, was held in Sichuan Fine Arts Institute Display Hall (Chongqing Contemporary Art Museum) from Feb. 23 to Mar. 3 ,1989, which the presently exhibited works come from and is perfectly preserved as it was in that year.

At the time when the exhibition,“Self-Selected Way—The Retrospective and Documenta SCFAI Self -Selected Works Exhibitions from 1985 to 1989”, is jointly sponsored by Sichuan Fine Arts Institute, Chongqing Contemporary Art Museum and Sichuan Tomorrow Culture Art Investment Management Company, and the forum,“The Textual Research into Historical Facts of 1985’s Art”, is held by Hubei Art Museum, ZhuCheng Solo Exhibition in 1989 can be regarded as a case that conspicuously offers a glimpse into the close relationship between Sichuan Fine Arts Institute and the 85 New Wave’s Art.

History all along needs the textual research and verification of historical facts, which is the premise of writing art history.

 

In Sichuan Fine Arts Institute, 

Chongqing City, China

November 22, 2015