线上展览（二）精彩人间｜国际视野下的中国绘画——中国国家画院作品交流展（荷兰展）

来源：交流合作部发布时间：2024-06-24

part.2 精彩人间‍‍‍‍‍‍‍

人物画是最早的绘画分科，具有记录历史、教化民众的功能。从最早的道释人物、帝王将相到今天的普通百姓，人物画题材变化也经历了西方同样的历史进程。工笔人物画以线条作为主要的造型手段，加以色彩的晕染，形成丰富的视觉效果，具有很强的装饰意味。写意人物画则打破工整细腻的笔法勾勒，以线条的粗细、长短、顿挫、疏密，运用墨色的浓淡干湿，来概括提炼人物的形体特征，或纯以水墨，或铺以色彩，重在表达人物的精神状态。一个多世纪以来，中国人物画受西方造型艺术影响巨大，水墨人物画与素描造型相结合，开创出中国人物画新貌，极大地丰富了中国人物画的表现形式，拓展了表现内容，使得艺术家能够更好地描绘当下人们的现实生活。呈现在这里的作品，即是艺术家们以各自不同的表现方式，展示出充满活力的精彩人间。

传神写照，不在于真实描绘眼前所见的客观对象。中国绘画不重“写形”重“写神”，描绘出客观对象的“不似之似”，将情感投入其中，提炼出人物的内在精神。这是中国人物画的特点，是艺术家们主动追求的目标，也是中国绘画写意精神的表达。

徐涟

All We Mortal Beings

Figure painting, which serves the functions of recording history and educating the public, is the earliest branch of painting. From the earliest depictions of Daoist and Buddhist figures, emperors, and generals to today’s common people, the subjects of Chinese figure painting have evolved in ways similar to those in Western art history. Chinese gongbi figure painting uses precise lines as the main means of shaping, combined with color shading to create a rich visual effect with a strong decorative quality. Chinese xieyi figure painting, in contrast, breaks away from meticulous and delicate brushwork. It uses variations in line thickness, length, the inflection in the force applied to the brush, and density, along with the gradation of ink from thick to thin, dry to wet, to abstractly capture the characteristics of figures, emphasizing the expression of their spirit, either in pure ink or with added color. For over a century, Chinese figure painting has been significantly influenced by Western plastic arts. The integration of ink painting with sketch techniques has ushered in new styles in Chinese figure painting, greatly enriching its expressive forms and expanding its subject matter, allowing artists to better depict contemporary life. The works presented here showcase the vibrant and dynamic scenes of the human world through various artistic approaches.

Portraying areal person is not about accurately depicting the objective reality before the eyes. Chinese painting values “depicting the spirit” over “depicting the form,” aiming to capture the “likeness in unlikeness” of the subject and instilling emotion into the work to distill the inner essence of the depicted figures. This characteristic of Chinese figure painting represents the artists’ intentional pursuit and embodies the expressive spirit of Chinese painting.

Xu Lian