王辉为画家黄志洋写序<<守望艺术家园>>
2017-10-14 黄志洋
王辉
从事艺术须有恒定的目标，须以崇尚与追求真善美和人文理想作为精神支撑，并以毫不懈怠的实践积累搭建出属于自己的艺术家园。艺术家最终以取得名绩为社会逐渐承认，但艺术家却不以追求名利为根本目的。因此，艺术家的心境应如春水般娴静而充满情怀，其耐力应似山泉流淌终年不歇不止。
黄志洋是有阅历的，他曾有过与艺术不尽一致的事业轨迹。但他后来返回到他曾经憧憬的追求艺术的路径上，短短不过几年时间。这数年间，他在画作中透射出的对油画的热爱和执着，了解他的老师与同学是十分清楚的。这份来自大家的赞许和肯定，是缘自他把自己所热爱的油画艺术提高到了一个新的层面。
我大致是在他返回到寻求艺术作为精神栖息之地时与其在武夷山认识的。那时，“意象武夷——中德两国艺术家首次面对面互动创作”大型学术活动开始，小柯把从厦门赶来的他介绍给我。还没熟悉，他就楞楞地直直地说，王老师，让我在会务上做些什么吧？我明白，当时他想能够近距离接触来自国内外的这些著名画家。后来，他跟着被俞晓夫先生称为“风景收割机”的王克举，天天在他身边看他在武夷山写生巨幅油画，并帮着他做些准备及收拾工作……就这样，黄志洋一步踩在油画风景写生的正道上。在“意象武夷”之前，他与小柯一道参加了王琨兄《中国油画》主办的“中国油画人体风景研修班”，之后又考进王克举主持的“中国人民大学艺术学院首届油画创作硕士研究生班”。学业结束前后，仍然经常到武夷山与我等一同画画，或在厦门和张立平、赵九杰一同写生，抑或与昔日同学再次北上南下随着王克举在山东、安徽、河北等地满世界的去“收割风景”。去年秋天，武夷山再次聚集油画名家，今年春天王克举又来到武夷山写生，在省内众多到武夷山观摩学习并一起写生的青年油画家群体中，黄志洋是少不了的。当然这与他和武夷山闽北青年油画家们聚合热乎结成的缘分有关联。
黄志洋画画十分投入，有狠劲，这种狠劲当然与他守望艺术家园有关，似乎也与他的长相有关。不了解黄志洋，看到他会以为他是哪条黑道上的头，因为他有一副如果变脸后呈凶悍的模样：黑脸堂，光头，喝酒抽烟，笑起来有一股邪气。然而，我是真正从他的长相中深刻地认识到古人说“人不可貌相”这句话的道理的。当然，生发出这种感受还缘自我的好朋友——天津现代艺术学院的邓国源先生。其实，邓国源是真正的“爷们”，是心善之人。黄志洋亦如此，也是“爷们”，也是有善心的良民，他们都温情细腻。但凡从艺之人，内心都善良美好，都涌动着情感波澜。无疑，这种情感的投射物便是作为媒介的艺术作品。几年下来，黄志洋对世间的关注、对人生的热爱、对物象的情感都全都集中在风景的写生与创作上。
黄志洋常说“写生就是写生命。”此话有理。另有一说，写生过程有如狮子搏象。将黄志洋的话与“狮子搏象”结合着理解，就是写生作为艺术活动的内核意义，它是最为本质的。梵高的一生在写生中融进了心无旁骛的生命冲动，康丁斯基在持续的写生创造中寻找到维系其艺术体系的那条生命根脉，他们所具有的强悍威猛的生命力和坚决不二的主观意志终于搏倒了眼前庞大有形的自然物象，在艺术史的进程中书写了独特而永存的章节。与此相比较，那些仅停留为习作的写生当然就显得毫无意义也毫无价值了。
黄志洋说要出本画册，显然已有了相当的作品数量。而且这些作品都有了相当的“成色”，即有相当的含金量。在这些作品中，他的画面已有自己的语言表达方式，黄志洋他懂得吸收融会各家老师的优长之处，将谨严的画面构成、自由率性的运笔、浓重而美妙的运色结合得恰到好处。因此，我们看到，在他的作品中，这种率真之性和闲逸之趣使他的作品显得轻松和灵动，这是一个突出的特征，它无疑提升了作品的品质。
就艺术实践过程而言，它可以分作几个阶段。那么，这个阶段的黄志洋是否已经寻找到图式语言色彩等等与内在精神情性或思维理念表达的一致性？自身内在而可变的因素是否已经恒定？黄志洋显然已经实现了极为关键的艺术转身，但他不会停顿在这一层面上。我们在期望，在等待他艺术旅程的第二站。
谨为序。
2010年5月31日于榕城江南水都寓所
Art Community
Wang Hui
To be engaged in art requires a constant objective, and you must regard upholding and seeking the true, the good, and the beautiful and humanistic ideals as essential supports, as well as not at all slack off in the accumulated practice in the building of an art community. The artist ultimately regards acquiring fame as society’s gradual acknowledgment. However, the artist doesn’t regard the acquisition of wealth and fame essential objective. Consequently, like springtime water the artist’s mood should be gentle, refined and brimming with feeling, their endurance, like a mountain spring flowing year around without respite.
Huang Zhiyang had such an experience, he once made mistakes and had an inconsistent career path. But he later returned to his once long pursued artist route, a mere period of a few years. That period, his painting transmitted a deep love and obsession with oils, his understanding of his teachers and colleagues was extremely clear. This originated from everyone’s praise and approval, which caused himself to have his personal love for the art of oil painting to be lifted to higher level.
I met him when he returned to Wuyi Mountain where he sought artistic inspiration. The “First China-Germany Artistic Cooperation Conference” had started, Xiao Ke quickly brought him from Xiamen to introduce me to him. We weren’t yet familiar, but with much earnestness he directly spoke to me, saying “Teacher Wang, what can I do here at the conference?” I understood, at that time he wanted to position him self near well known artists from here and abroad. Later, he follows Mr. Yu Xiao Fu, everyday he was by his side on Wuyi Mountain while he painted large oil canvases, helping him prepare and tidying up after him. It was this way that Huang Zhiyang first learned the correct way to do oil landscapes. Before the Wuyi Imagery conference, he and Xiao Ke together participated in Wang Kunxiong sponsored “Advanced Research Class on Chinese Oil Paintings of the Human Form and Landscapes”, after which he was admitted into Chairman Wang Kejun’s “China’s People’s University in Beijing’s College of Art’s as a first session master’s student studying oil painting. Around the time when his studies were finished, he still frequently returned to Wuyi Mountain to paint with me or sketch with Zhang Liping and Zhao Jiujie. Or else, he and his classmates along with Wang Keju would travel north and south going to places like Shandong, Anhui, and Hebei etc…traveling the whole of China capturing landscapes on canvas. Last fall, world famous oil painters again gathered at Wuyi Mountain, and this Spring Wang Keju went to Wuyi Mountain to paint. Many onlookers from Fujian who came to appreciate the artwork mixed in with the young artists painting, Huang Zhiyang has been indispensable for all of these activities. Certainly, his involvement with Wuyi Mountain youth oil painting excursions and his destiny are related.
Huang Zhiyang is extremely devoted to painting, and fiercely energetic about it. This ferocious energy is obviously related to his looking after the Artist’s Community. It seems his appearance is also related. If you didn’t know Huang Zhiyang you would think he was the leader of some secret society/gang, because he has the appearance of someone who could suddenly turn hostile: dark complexion, bald head, drinks liquor and smokes cigarettes, and his laugh has a sinister quality. Even so, I genuinely think from his appearance one can deeply understand the reasoning behind what the ancients said about not judging a book by its cover. Of course, I have developed this type of feeling from my personal friend—Tianjin School of Modern Art Mr. Deng Guoyuan. In fact, Deng Guoyuan is a genuine “Yemen”, he is a real kind hearted person. Huang Zhiyang is like this, he is also an “Yeman”, he is a also a benevolent and kind person, and both are warm-hearted and refined. In all cases, artistic people, their hearts are decent and happy, all have turbulent waves of emotion, all are exquisitely sentimental. Undoubtedly, this type of projected feeling really is regarded as vehicle for artistic work. In the past few years, Huang Zhiyang creates his art and landscape painting from his love and emotion for life and world.
Huang Zhiyang says that painting is merely painting life. This is true. One could also say that the painting process is like wrestling a lion. Combine the two to comprehend the crucial meaning of the artists activity, its purest essense. Van Gogh’s paintings from nature blended with single minded life impulse, Kandinsky in his painting output pursued coherent art system life origin. They possess a valiant and intrepid life force and determined subjective will to ultimately wrestle with the large tangible natural beings before our eyes, they have written unique and eternal chapters in the course of art history. With this comparison, these merely remain for practicing painting obviously appear to have no meaning and also no value.
Huang Zhiyang said he wanted to publish a book of art, obviously he already has as a considerable number of works. Not to mention these works all have considerable quality. Among these works, his paintings already bare his personal representative language. Huang Zhiyang understands to assimilate each master’s excellent aspects. Will precise composition, freely wield his brush, perfectly blending dense and beautiful color. Therefore, we see in his work, this kind of sincerity and leisurely fun that makes his work appear light and clever. This is an outstanding characteristic. It undoubtedly has elevated the works quality.
In regards to the practice of art, it can be divided into several stages. That is, is it not so that in this period Huang Zhiyang pursued figure, language, hue, etc, and intrinsic spiritual quality or thought idea expressed with continuity. Huang Zhiyang apparently accomplished a certain level of art, but he won’t be stuck on this level. We expect and look forward to his next station of art journey.
Only for preface.
31ST MAY 2010
Add : Room A503, No 294. Hu Bin Nan Rd, Xiamen
免责声明：以上信息为瀚望号发布，不代表瀚望艺术网观点。
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