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尹石--江南一竹 隽永遒劲


盛世丹青书画网 2016-10-05

尹石 Yin Shi(笔名:南鄉子)1953年12月生于洪泽湖畔現为中国美术家协会理事,江苏省美术家协会顾问(原副主席、秘书长),中国画协会理事,国家一级美术师,南京印社副社长,南京大学、东南大学和江苏大学兼职教授,江苏省文化艺术研究院特聘研究员,江苏钟山书画研究院名誉院长。

在当今中国画坛,上世纪五六十年代出生一辈是中流砥柱,尹石正是其中一员。尹石幼时受江南洪泽湖万顷碧波滋养,萌发了对书画篆刻及古典文学的兴趣。后虽从军、学医,但始终不辍艺术之理想,终於卸甲寄情书画。六十年代末,尹石的绘画直接师承画家王板哉,王板哉又早年於北平国立艺专师从齐白石、黄宾虹诸先生,长於写意,尤擅花鸟草虫,其作品简约大气、水墨淋漓。尹石也从老师处受益匪浅,学习继承了其绘画主旨,又兼习扬州诸家和现代各派,並通过自己的感受、努力加以发展和光大,终於自成一家。

尹石最善墨竹、紫藤、鹰等题材,有『江南一竹』美誉。『竹』是传统文人画的经典题材,初为视觉之艺术,后成为文人士夫惯常的描绘对象,因此成为特定阶层道德情操、人格品格的精神象征。画竹在明末清初尚『奇』风中一变,不再满足於符号化的文化和道德象征,进而影响到清代中期扬州画派诸家,故称『八怪』,形成个性化的艺术面貌。尹石笔下之竹,亦可从此逻辑推演。一方面,尹石的竹画继承了前辈画家基本的艺术和品格追求,於视觉中追求高尚情操、修养及个性;另一方面,由於社会的发展,艺术自身的变化,尹石的竹画又不仅仅停留在『墨戏』上,更增添了对艺术自身的追求。画中之竹在雋永和遒劲中找到结合点,具有极强的韧性,这种韧性不仅是物理上、视觉上、心理上的,也是文化上和性格上的。

书画同源,是中国画的基本艺术规律之一,元人赵孟頫款题『石如飞白木如籀,写竹还须八法通』说明了这一点。『八法』乃『永字』八画,是书法中的基本元素,恰巧尹石长於画竹,兼擅书法篆刻,在二者间找到了一个结合点。在这个结合点中,『写意』是重要的统摄,这不仅体现在技法层面,也体现在精神层面。中国画的意境,亦可理解为『写意』之『境界』。写意画,入门容易,但在掌握基本技法后,比拚的卻是见识和思想,尽管它们並不直接被表现在画面上,但无时无刻不影响着作品的高度和深度。尹石並不是一位仅仅注重画面视觉的画家,在文史方面,亦有造诣,不少论文、诗词、散文见诸报纸杂誌,这为他绘画的持续拓展和深化,奠定了基础。

而且,尹石並不固守书斋,他对艺术的热爱也不仅体现在自己的创作中,同时也体现在中国美术事业的热心中。尹石担任着江苏省美协副主席、秘书长,多所大学兼职教授等职务,在美术组织和美术教育方面倾注了心血,也收到了成果。中国美术事业的发展,不仅需要在个人的艺术上有所创新、有所建树,也需要在艺术组织工作中热情参与的画家。作为一名国画家,尹石可谓正值壮年,祝尹石艺术之树常青,继续为中国美术事业和江苏美术事业的繁荣发展贡献力量。(吴长江 2014年5月于北京)


文/ 吴长江
(吴长江:中国美术家协会分党组书记、常务副主席,中国人民大学艺术学院名誉院长,中央美术学院教授。)

 

Yin Shi--Jiangnan Yizhu

Shengshi Danqing Painting and Calligraphy Network 2016-10-05

Yin Shi Yin Shi (pen name: Nanxiangzi) was born in December 1953 at the shore of Hongze Lake. He is currently a director of the Chinese Artists Association, a consultant of the Jiangsu Artists Association (former vice-chairman and secretary-general), a director of the Chinese Painting Association, a national first-class artist, a vice president of Nanjing Yinshe, and an adjunct professor at Nanjing University, Southeast University and Jiangsu University. , Distinguished Research Fellow of Jiangsu Academy of Culture and Art, Honorary Dean of Jiangsu Zhongshan Painting and Calligraphy Institute.

In today's Chinese painting world, the birth of the first half of the 1950s and 1960s was the mainstay, and Yin Shi was one of them. When Yin Shi was a child, he was nourished by the vast waves of Hongze Lake in the south of the Yangtze River. He was interested in calligraphy and painting and classical literature. Although he studied from the military and studied medicine, he never lost his ideals of art. At the end of the 1960s, Yin Shi’s paintings directly undertook the painter Wang Banyu. In the early years, Wang Banyu was a teacher at Qiping National Institute of Fine Arts from Qi Baishi and Mr. Huang Binhong. He was more than freehand, especially good at flowers and plants, and his works were simple and atmospheric. Yin Shi also benefited a lot from the teacher. He learned and inherited the main theme of his paintings. He also studied the families of Yangzhou and the modern factions, and through his own feelings and efforts to develop and grow up, he finally became a family.

Yin Shi is the best in the theme of Mozhu, Wisteria, Eagle, etc., and has the reputation of "Jiangnan Yizhu". "Bamboo" is a classic theme of traditional literati painting. It was originally the art of vision. It became the usual object of depiction of literati, and thus became the spiritual symbol of morality and personality of a particular class. In the late Ming and early Qing dynasties, the painting bamboo changed in the "qi" style, no longer satisfied with the symbolic cultural and moral symbols, and thus affected the Yangzhou painting school in the middle of the Qing Dynasty, so it was called "Eight Monsters" and formed a personalized The artistic face. The bamboo of Yin Shi’s pen can also be derived from this logic. On the one hand, Yin Shi's bamboo painting inherits the basic art and character pursuit of the predecessors, and pursues noble sentiment, cultivation and individuality in the visual; on the other hand, due to the development of society and the change of art itself, Yin Shi's bamboo paintings Not only staying in the "Ink Theatre", but also adding to the pursuit of art itself. The bamboo in the painting finds the combination point in Yong Yonghe's strength, and has strong resilience. This kind of toughness is not only physical, visual, psychological, but also cultural and character.

The homology of painting and calligraphy is one of the basic artistic laws of Chinese painting. The Yuan Zhaomeng’s title “Shi Rufei White Wood Ruyi, Write Bamboo Must Be Eight Laws” illustrates this point. "Eight Laws" is the "Emperor" eight paintings, which are the basic elements in calligraphy. It happens that Yin Shi grew up in bamboo painting and was good at calligraphy and engraving. He found a combination point between the two. In this combination point, "freehand" is an important unified film, which is not only reflected in the technical level, but also in the spiritual level. The artistic conception of Chinese painting can also be understood as the "realm" of "freehand". Freehand drawing, easy to get started, but after mastering the basic techniques, the competition is the knowledge and thoughts, although they are not directly expressed in the picture, but always affect the height and depth of the work. Yin Shi is not a painter who only pays attention to the visuals of the picture. In the history of literature and history, there are also accomplishments. Many papers, poems and essays are found in newspapers and magazines, which laid the foundation for the continuous expansion and deepening of his paintings.

Moreover, Yin Shi does not stick to the study, his love of art is not only reflected in his own creation, but also reflected in the enthusiasm of Chinese art. Yin Shi served as the vice chairman and secretary-general of the Jiangsu Artists Association and a part-time professor at several universities. He devoted his efforts in art organization and art education, and also received results. The development of China's art industry requires not only innovation and achievements in individual art, but also painters who are enthusiastic in the work of art organization. As a national painter, Yin Shi can be said to be in his prime, wishing the Yin Shi art tree to be evergreen and continue to contribute to the prosperity of China's art industry and Jiangsu art industry. (Wu Changjiang, Beijing, May 2014)


Text / Wu Changjiang
(Wu Changjiang: Party Secretary and Executive Vice Chairman of the Chinese Artists Association, Honorary Dean of the School of Art, Renmin University of China, Professor of the Central Academy of Fine Arts.)

 

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