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袁晓岑艺术园

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Email:yuanxiaocenmuseum@163.com

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袁晓岑作品

袁晓岑先生艺术简介:

袁晓岑出生于贵州普定,是享有盛誉的雕塑家、中国画画家。时任云南艺术学院终身教授、云南省画院名誉院长、中国美协第二、三届理事和云南分会主席。

20世纪30年代,时逢抗日战争时期,时局动荡国土沦陷,各地美术院校纷纷停迁,矢志终身从事美术事业的袁晓岑投考入云南大学文史系以提高学养,同时坚持作画。其时,他对前人以临摹代替写生的画风毫不留情的予以抨击并且身体力行,在岭南派“师法自然”的基础上不断探索研究中国画的革新之道。使其艺术创作出于传统又不拘于传统。自1938年在昆明举办抗日劳军展至其后的七十年艺术生涯中,袁晓岑在绘画艺术上达到了一个又一个崭新的高度。他突破历代孔雀的画法,开创了写意孔雀画派。在对牛、马、仙鹤、鸽子、鸭子以及各种鸟类的表现方面亦打破了旧的程式,形成了鲜明的美学观点和个人风格,达到了出神入化的境地,既具有高度的学术价值又深受群众喜爱。袁晓岑以自己的行动,在艺术之路上终能独树一帜、蔚为大家,承前启后成为中国近现代花鸟画坛的铺路者,对中国的美术事业作出了重要贡献。

袁晓岑先生又是一位有社会责任感的艺术家,他始终不忘身负的重任,凭着朴素的人民艺术家的良知以及敏锐的洞察力,在新中国成立以后的各个历史时期中,将自己对党和政府、对人民的热爱倾注于雕塑创作中。得益于中国画的造诣,他将中国画之线条运用与西方雕塑强调块面的表现手法相结合;并将中国画之“气韵生动”注入到了雕塑作品中,从而创造性地将东方文化的精髓溶入到了作为西方现代艺术门类的雕塑中。当时著名的美学家、评论家王朝闻引用刘勰之“神与物游”的意境对其作品评论,并在新中国成立后,经由王朝闻先生推荐,于1964年5月在北京中国美术馆举办了建国后第一个个人雕塑展。后又于1973年参与了周总理倡议的由北京中国画研究院组织全国十多名画家为新北京饭店落成作画的活动。

袁晓岑的雕塑艺术在构思构图上讲究凝练简洁、高度集中概括、以精练的背景为陪衬,表现主题靠的是神韵与意境。其花鸟画在选题和构图上强调概括凝练、表现意境、神韵之处与雕塑相辅相成,是袁晓岑几十年有别于他人之艺术道路的独特之处。

 

 Art profile of Xiaocen Yuan

Xiaocen Yuan, born in Pu Ding in Guizhou province, is a renowned sculptor and painter of Chinese paint. He is a lifetime professor in Yunnan Art institute, honorary President of Yunnan art academy, the second and third director and chairman of Yunnan branch within artist association.

In the 1930 s, lands occupied, political situation was volatile during the Anti-Japanese War; numerous art colleges and universities have stopped and moved around the country. With the spirit of lifelong career in art, Xiaocen Yuan was admitted to Yunnan University to study history and literature and also kept painting. At the time, he criticized the style of copying instead of sketching relentlessly and acted on it by continuously exploring ways to innovate Chinese painting styles on the basis of Lingnan School–“Learning from nature”. Then his own artistic creation was formed out of, but not sticks to traditions. From 1938, after held an exhibition about anti-Japanese movement, Xiaocen Yuan’s paintings have ascended to a new height in the subsequent 70 years of his art career, marked by a breakthrough in pioneering freehand painting of peacocks in traditional Chinese paintings. He broke the old pattern through expressing animals like cattle, horses, cranes, pigeons, ducks, and all kinds of birds, formed a distinctive aesthetic views and personal style that with both high academic value and public affection. Himself and his work paved the way for the future of Chinese modern flower-and-bird painting, and made great contribution to the cause of Chinese fine arts.

Mr Xiaocen Yuan is an artist aware of social responsibilities, he never forget to use the conscience as a ‘people’s artist’ and his keen insight to show love to the party, the government and the people through sculpture creations. With benefit from attainment of Chinese painting, he combined both lining skill and “lively spirit” from it together with expression technique of emphasizing on surface of the block from western sculpture, to creatively enrich his works with a way of infusing essence of Oriental culture into the western modern arts sculpture. The famous esthetician and critics, Chaowen Wang referenced Xiezhi Liu”s “harmoniously blended” conception, to comment on Xiaocen Yuan’s work and recommended him to hold the first personal sculpture exhibition in National Art Museum after the founding of new China, in May 1964 in Beijing. After that Xiaocen Yuan participated in the painting event initiated by Premier Zhou for completion of the new Beijing Hotel, together with 10 other artists that organized by Beijing Chinese Painting Research Institute.

With refined background as a foil, Xiaocen Yuan’s designs of sculptures have highly concentrated themes, which have made his work exquisite and concise. His paintings emphasize on simple topic composition, the artistic conception and verve supplement each other with his sculpture, and this is the reason that Xiaocen Yuan’s art is unique.