法国巴黎书画文化艺术线上交流展——段济渝

段济渝，男，1951年出生，现为山东省书协、山东圣邦美术院副院长、中国铁路文联会员，山东画院高级画师，山东云轩画院副院长，老子画院副院长，新华书画山东分院副秘书长，是山东省第七次文代会代表。早年从师关友声、宗维成等先生。其画吸取宋元山水疏阔空间意识和静逸之气、清僧石涛的郁勃深严、近代黄宾虹的深厚华滋、傅抱石的清新俊逸，自成一家。

打开画卷，一股灵逸之气扑面而来，那山石的肌理质感，烟岚树木的气息，山风松涛，瀑布激湍，在纵情挥洒的笔墨中，让你产生置身真山水中的幻觉，细细品味会发现，他的画很讲究变化，构图的纵横开阖，墨气的浓淡干湿，笔触的轻重缓急，在他的笔下都裹挟着生气和灵气，在空濛变幻似有若无的光影中浮动，每因笔墨结构的不同产生出人意料的新鲜画面，绝无时下流行画家如同作坊生产的那种雷同呆板之弊。他的书法或优雅从容有二王气息，或简静醇古如八大弘一，或纵横迅疾如颠张醉素，点线运动中也有一种发自天然的灵动弥贯其中。

我非常喜欢他画室中的那幅草书，提按变化非常自然，但有迅疾的速度和韵律感，字型严守草法，又无虚尖浮华之弊，堪称神逸之品，问是如何写出此作，答曰;醉后所为。亦艺坛逸事也。在他的书画里，我忘情地观赏了许久，想从这些作品中寻觅出那鲜活自然的灵逸之气从何而来?他的画从奇肆痛快的笔墨中看出在从生到熟的艺术道路上是走过扎扎实实的道路的。

从中可以感受到许多古代名家笔法的消息，宋元山水疏阔的空间意识和静谧之气，清僧髡残石涛的郁勃生动之气，近人黄宾虹的浑厚华滋，都有隐约的端倪可见。但是临摹古人绝不会有他画中的那股灵气和生气，他的画在构图上有明显的独到之处，更多是师法自然造化本身的真面目，而少取之古人的痕迹，而且，他很善于用光，善于在光影变化中体现出笔墨的质感和意境的生动变化，这便是他的画中那灵逸之气的缘由。谈起艺术，他的话多了起来，有些冲动。他说，艺术就是发现，创作就是发现美、表现美得过程。做一个画家就要观察入微，观察力粗糙的人绝不是当画家的料。比如一株小草，清晨时匍匐着，水珠均匀分布在叶片上，太阳初升，小草逐渐挺起，小水珠开始聚集成大水珠在叶片上滚动，而且有氤氤水雾，在晨光中发生光的折射色彩的变化。画家在表现时就要注意这种变化。有人认为中国人画油画画不好是因为东西方艺术传统不同，不对!是因为我们的画家在体验观察时，没有贯注生命激情而是猎奇。猎奇心理绝不会产生感人的作品。在铁路工会工作的他，因工作需要常常走南闯北，游历名山大川，流连山水之间，在摄影写生的同时，他感受着大自然的真正意蕴，然后把山水照片与前辈大师的山水画进行比较，研究前辈大师是如何把眼中山水化为笔下山水，再将自己的山水画与山水照片和大师作品进行比较，分析自己是否真正表现了自然的真义，在表现手法上与大师相比有哪些差距，如何避开众人所趋，在人皆可见的自然山水寻找出属于自己的艺术语言。无疑，他的山水画中的自然灵逸之气是与他敏感的艺术气质，扎实的油画功底与长期师法造化分不开的。二十多年来，他喜欢一个人默默的读书，游历，画画儿，除了本职工作外，很少参加社会活动。他认为应当与古人争高下，应意识到“后生可畏”，而没有必要与时流一竟短长。他喜欢梵高的画中那种运动的感觉，那是有生命的，而不是僵死的。他推崇齐白石的大师风范，认为齐白石门下之所以大家辈出，是因为齐白石的作品中孕藏着艺术的本质和规律性的东西，而不仅在于外表，当代人学齐白石，多得其形，而未能把握齐白石作品中的鲜活的生命气息和前无古人后无来者的创造精神，艺术作品绝不是临摹、重复自己，而是要不断地扬弃，象火中的凤凰，不断地在涅盘中获得新生。不知不觉，在漫无际涯的琐话中已过午夜，兴之所至，他展开素洁的宣纸，信笔濡毫画了起来。一会儿，几枝菊花跃然纸上，错落的构图奇宕和谐，墨色与笔触的浓淡干湿酣畅淋漓，呈现出空朦的诗意空间层次。寥寥几笔，用花青和淡墨勾出一把壶、三盏杯。茶也?酒也?并不重要。动人的是那份东篱把酒黄昏后的精神情怀。

Duan Jiyu, male, born in 1951, is currently the Vice President of Shandong Calligraphy Association, Shandong Shengbang Art Academy, and a member of China Railway Federation of Literary and Art Circles. He is a Senior Painter at Shandong Painting Academy, Vice President of Shandong Yunxuan Painting Academy, Vice President of Laozi Painting Academy, and Deputy Secretary General of Xinhua Calligraphy and Painting Shandong Branch. He is a representative of the 7th Shandong Provincial Cultural Congress. In his early years, he studied under teachers such as Guan Yousheng and Zong Weicheng. His paintings draw inspiration from the spacious and tranquil atmosphere of the Song and Yuan dynasties, the profound and solemn spirit of the Qing monk Shi Tao, the profound and elegant charm of modern Huang Binhong, and the refreshing and handsome style of Fu Baoshi, forming his own unique style.

Opening the painting scroll, a spiritual and elegant aura rushes towards you. The texture and texture of the mountains and rocks, the scent of misty trees, the wind and waves of the mountains, and the turbulent waterfall create an illusion of being in the real landscape. Upon closer inspection, you will find that his paintings are very particular about changes. The vertical and horizontal opening and closing of the composition, the intensity and humidity of the ink, and the urgency of the brushstrokes all carry vitality and spiritual energy under his brush, floating in the ever-changing light and shadow. Every unexpected fresh scene is produced due to the different structures of the brushstrokes, never missing. Popular painters are like the same rigid and repetitive products produced in workshops. His calligraphy is either elegant and composed, with a hint of two kings, simple and elegant like the Eight Great Hongyi, or swift and swift like the ups and downs of Zhang Zuishu. In the movement of dots and lines, there is also a kind of natural agility that permeates through it.

I really like the cursive script in his studio. The strokes and changes are very natural, but it has a fast speed and sense of rhythm. The font strictly follows the cursive style, without the drawbacks of being too sharp or flashy. It can be called a masterpiece of divine elegance. How did you write this work? The answer is:; What you do after getting drunk. It is also an anecdote in the art world. In his paintings and calligraphy, I have been admiring them for a long time, wanting to find out from these works where the fresh and natural spiritual energy comes from? His paintings can be seen from his lively brushstrokes that he has walked a solid path from birth to maturity in art.

From it, one can feel many news about the brushwork of ancient masters, such as the spatial awareness and tranquility of the Song and Yuan dynasties, the vivid and vigorous energy of the Qing monk Kun Can Shi Tao, and the rich and vibrant atmosphere of the nearby Huang Binhong, all of which have faint clues. But copying ancient people will never have the same spiritual and lively atmosphere as his paintings. His paintings have obvious uniqueness in composition, more of which is learning from the true face of nature and less of the traces of ancient people. Moreover, he is good at using light, reflecting the texture of ink and the vivid changes in artistic conception in the changes of light and shadow. This is the reason for the spiritual and elegant atmosphere in his paintings. When it comes to art, he talks a lot and feels a bit impulsive. He said that art is discovery, and creation is the process of discovering and expressing beauty. To be a painter, one must observe meticulously, and a person with rough observation skills is by no means a painter. For example, a small grass plant crawls in the early morning, with water droplets evenly distributed on its leaves. As the sun rises, the grass gradually rises, and small water droplets begin to gather and roll on the leaves. There is also a dense mist of water, which changes the refracted color of light in the morning light. Painters should pay attention to these changes when expressing themselves. Some people believe that Chinese oil painting is not good because there are different artistic traditions between the East and the West, right! It is because our painters, when experiencing and observing, do not focus on the passion of life but rather seek novelty. A curiosity mentality never produces touching works. As a worker in the railway union, he often travels north and south due to work needs, traveling famous mountains and rivers, wandering between mountains and rivers. While taking photos and sketching, he feels the true meaning of nature. Then, he compares landscape photos with the landscape paintings of his predecessors, studies how the predecessors transformed the landscape in their eyes into the landscape in their works, and compares his landscape paintings with landscape photos and works to analyze whether he truly represents the true meaning of nature. What are the differences in expression techniques compared to the masters, and how to avoid the trend of others and find his own artistic language in the natural landscape that can be seen by everyone. Undoubtedly, the natural and elegant atmosphere in his landscape paintings is inseparable from his sensitive artistic temperament, solid oil painting skills, and long-term learning and cultivation. For over twenty years, he has enjoyed reading, traveling, and painting alone, and has rarely participated in social activities besides his job. He believes that we should compete with the ancients and be aware that "the younger generation can be intimidated", without the need to compete with the times. He likes the feeling of movement in Van Gogh's paintings, which is alive rather than dead. He admires the master style of Qi Baishi and believes that the reason why many people under Qi Baishi emerge is because Qi Baishi's works contain the essence and regularity of art, not just in appearance. Contemporary people learn from Qi Baishi more than in form, but fail to grasp the fresh vitality and creative spirit of unprecedented and unprecedented in his works. Art works are not simply copying or repeating themselves, but constantly discarding them, like a phoenix in fire, constantly gaining new life in Nirvana. Unconsciously, it was already midnight amidst the endless chatter. With great enthusiasm, he unfolded his plain rice paper and began to draw with a brush. After a while, a few chrysanthemums leaped onto the paper, with a staggered and harmonious composition. The ink color and brushstrokes were rich, dry, and wet, presenting a poetic spatial hierarchy of emptiness. With just a few strokes, draw a pot and three cups with floral blue and light ink. Tea too? Alcohol? It's not important. What is touching is the spiritual sentiment of Dongli after drinking wine in the evening.