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端木祥功~钢笔点式画法

Duanmu Xianggong  pen point drawing method



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Chinese art star/editor/happy





       端木祥功  男  1964年1月出生于南京,国家一级美术师,江苏省美术家协会会员,九三学社江苏画院会员,江苏省华侨书画院理事,中华宗教书画协会副主席,美国书画艺术研究院南京院副院长兼秘书长,美国国会议员表彰为美中文化交流做出了杰出的贡献,国际联盟书画家协会江苏省分会主席,江苏省美术家协会第4次新人美术作品展览,作品(启命维新---金陵丹青大师群像)获一等奖,作品(启命维新---金陵丹青大师群像)被江苏省国画院收藏,作品(宋文治先生)素描肖像被宋文治艺术馆收藏,作品(大师群像)被南京市太平天国历史博物馆收藏,作品被邮政部发行邮票和明信片,版画作品被电信部门采用电话卡充值卡画面,并向全国发行以美丽中国为主题的纪念邮册,作品《等》获得第二届世界华侨华人美术书法展“佳作奖”,油画作品(克林顿与希拉里)被北美画派收藏。


      DuanMuXiangGong Man was born in nanjing in January 1964, the national level artists, jiangsu artists association, member of the jiusan society jiangsu art academies, member of jiangsu overseas Chinese academy director, the Chinese religious painting and calligraphy association, vice chairman of the American academy of painting and calligraphy art nanjing institute vice President and secretary general, the U.S. congress recognition made outstanding contribution to the cultural exchange, International union chairman painter-calligrapher association branch of jiangsu province, jiangsu province artist association 4th new art exhibition, works (rev vitality - jinling master painters group) won the first prize, works (rev vitality - jinling master painters group) is in jiangsu province of the collection, works (Mr) Song Wenzhi sketch portrait was Song Wenzhi museum collections, His works (group portraits of masters) have been collected by Nanjing Taiping Heavenly Kingdom History Museum, his works have been issued stamps and postcards by the Postal Department, and his prints have been used by the telecommunication department for phone card recharging card pictures, and commemorative stamp albums with the theme of Beautiful China have been issued to the whole country. His work "Etc" won the "Best Work Award" of the second World Overseas Chinese Art Calligraphy Exhibition, and his oil paintings (Clinton and Hillary) were collected by north American painting school.








作者:吴起秀


    端木祥功是富有才華和創新精神的中年畫家,近年來因作品多次獲獎並被眾多機構收藏而在畫壇嶄露頭角。

    他的油畫語言樸實,不追求色彩的絢麗多姿,也不刻意描繪人與物象的表面張揚,而是注重觀察生活,感受人性和物性的內在真實,進而以質樸的筆調表現由內到外的形態和精神之美。這就大大開拓了他與眾不同的畫境視野和廣深的審美思考。他多以灰色調或黑白映襯的色調營構畫面,用平民生活的真實來創造藝術形象,如勤勞善良的《母親》,在河邊若有所思的少女(《等》),打穀場上擊鼓唱歌,樂而忘憂的婦女(《目腦豐收節》)和修建寺廟、席地休憩的《藏民》,均以樸實的線條和色塊,真實的人性形象,厚實的情境蘊意,向讀者展開一幅幅質樸生動的民族風情畫卷,散發出原生態、原住民的純樸之美。這種看似平淡,內蘊深厚的畫境,是畫家堅持返璞歸真之藝術理念和體用中西之創作方法,長期深入生活,采風寫生的藝術成果。這些觀察寫真,沒有停留在表像的怪異獵奇,而是對內在精神進行體驗提煉,並依此積累豐厚的創造和思想力量,構建其樸實真實和厚實的繪畫風貌。

    端木為人厚道實在,訥於言而敏於行。有了奇思妙想,不是先說,而是先做。這使他的藝術創作,能在不斷琢磨學習和勤奮實踐中漸入佳境。他善畫人物,尤擅觀察人的精神和性格神態,傾心在藝術形象中表現個性情感。這在他的《鄉村組畫》、《少數民族組畫》、《大師群像》中,均有不同時空背景下的生動展現。

    人類有喜新厭舊的一面,也有厭新懷舊的另一面。尤其對“失去的美好”多有刻骨銘心的懷念。在市場大潮變革萬千世界的同時,也帶來千萬人信仰和情感的變革。人們從拆遷的喧囂和建設的熱浪中,從糠籮跳進米籮,從農村走進城市之後,驀然回首,開始思考在得到美好的同時,又永遠失去了哪些美好。端木感受到這種反思的脈搏。在《牧歸》中,他描繪了飛鳥投林,牛羊歸圈的山林村莊,自然恬靜,一派“不知有漢,無論魏晉”的田園畫境,寄寓著身居鬧市的民眾對生存環境的追思和憂慮。

    在《老人與花》中,畫家通過一位苗族老婦苦等情郎到老的淒美形象,表現底層民眾對真情的執著守望,傾注了無限悲憫的人性關懷。在其成名作《啟命維新——金陵丹青大師群像》中,畫家取捨簡練,通過光影、黑白、濃淡的豐富變化,創造出各具風采的大師形象。把慈祥、深邃、滄桑、孤傲的各家個性精神,統一在真實、厚實的藝術情境之中,對讀者是深沉的追思和敬仰,對畫家則昇華為勵志追慕的精神動力。

    中國傳統美學以自然為美,講求“丹漆不文,白玉不雕”(孔子語)。西方美學提倡以真實為美,認為“在藝術中,能表現真實性格的作品,才算是美好的”(羅丹語)。

端木以自然和生活為師,感受時代真實,思考生命悲歡,用屬於自己的繪畫語言表現真善美。這種有真實性格的藝術追求,應該是成果可賀,前景可期。



Written by: Wu Qixiu


    Duanmu Xianggong is a talented and innovative middle-aged painter. In recent years, his works have won many awards and been collected by many institutions and he has emerged in the painting world.

    His oil painting language is simple. He does not pursue gorgeous colors, nor does he deliberately depict the surface of people and objects, but pays attention to observe life, feel the inner truth of human nature and physical nature, and then express the beauty of form and spirit from inside to outside with simple style. This greatly expanded his distinctive vision of painting and aesthetic thinking. Him more in gray or black and white tonal constructed images, set off to create art with civilian life of the real image, such as diligent and kind of "mother", a thoughtful girl (etc) in the river, on the threshing floor drum singing, music and lotus women (MuNao harvest festival) and built temples, sees the tibetans have a rest, with simple lines and colors, Real human image, thick situation implication, to readers unfold a simple and vivid ethnic style picture scroll, exudes the original ecology, the simple beauty of the indigenous people. This seemingly plain and profound painting environment is the artistic result of the painter's adhering to the artistic concept of returning to nature and using the creative methods of both China and the West. These observational portraits do not stay in the weird and curious appearance, but experience and refine the inner spirit, and accumulate rich creative and ideological power based on this, to build its simple and real and thick painting style.

    Duanmu is kind and honest, slow in speech and quick in action. When you have an idea, don't say it first, but do it first. This enabled his artistic creation to be gradually improved through continuous study and diligent practice. He is good at painting characters, especially good at observing people's spirit and personality demeanor, inclined to express individual emotions in artistic images. This is vividly shown in his Series of Village Paintings, Series of Ethnic Minorities and Group Portraits of Masters under different time and space backgrounds.

    There is a side of human being that likes new things, and there is a side that hates new things and nostalgic things. Especially for "lost beauty" more engraved on my heart. While the tide of the market changes the world, it also brings about changes in the beliefs and feelings of millions of people. After moving from rice basket to rice basket and from the countryside to the city amid the clamor of demolition and the heat wave of construction, one suddenly looks back and starts to think about what beauty has been gained and lost forever. Duanmu felt the pulse of this reflection. In "Returning to Pasture", he described the peaceful nature of mountains and villages where birds flock to the forest and cattle and sheep flock to the enclosure. It was a pastoral landscape of "not knowing the han dynasty, whether wei or Jin Dynasty", which reflected the people living in the busy city's thoughts and worries about their living environment.

    In "The Old Man and The Flower", the painter, through a sad and beautiful image of an old Miao woman waiting for her lover to be old, shows the bottom people's persistent watch for the truth, poured into infinite compassionate human concern. In his famous work "Enlightenment: Group Portraits of Danqing Masters in Jinling", the painter chose to be concise and created the images of masters with different styles through rich changes of light and shadow, black and white, and shade. To unify the individual spirits of each family, which are kind, profound, vicissitudes of life and lonely and proud, in a real and solid artistic context, is a deep reflection and admiration for readers, and sublimates into a spiritual power of encouragement and admiration for painters.

    Chinese traditional aesthetics takes nature as beauty and emphasizes "Dan lacquer is not wen, white jade is not carved" (Confucius said). Western aesthetics advocates the beauty of truth, believing that "in art, works that can show the real character are considered beautiful" (Rodin's words).

    Duanmu took nature and life as his teacher, felt the reality of The Times, thought about the joys and sorrows of life, and expressed the truth, goodness and beauty with his own painting language. Such artistic pursuit with real character should be fruitful and promising.


































































































































































































































































































































































































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