《時(shí)代周刊》——跨國(guó)文化國(guó)家藝術(shù)形象代表人物王子錦
個(gè)人簡(jiǎn)介：
????????王子錦，畫家，雕塑家，中國(guó)工藝美術(shù)學(xué)會(huì)會(huì)員、工藝美術(shù)大師、現(xiàn)任邯鄲學(xué)院客座教授、河北省書畫藝術(shù)研究院藝術(shù)顧問、蘭陵王畫院院長(zhǎng)。1952年出生河北磁縣王家莊。1970年磁縣”五七農(nóng)場(chǎng)”跟隨吳作人、李可染、李樺、彥涵、邵晶坤等老師學(xué)畫。
????????2021年建黨一百周年，中國(guó)美術(shù)家協(xié)會(huì)，中國(guó)書法家協(xié)會(huì)，中國(guó)人民書畫研究院，中國(guó)文化藝術(shù)人才管理中心評(píng)為"人民藝術(shù)家″稱號(hào)。
???????發(fā)表文章:《淺談國(guó)畫山水構(gòu)圖與筆墨》，《解釋山水繪宗十二忌》。
Personal profile:
Wang Zijin, painter, sculptor, member of China Arts and Crafts Association, master of arts and crafts, current visiting professor of Handan College, art consultant of Hebei Academy of Painting and Calligraphy，Dean of Lanling King Painting Academy.Born in Wangjiazhuang, Ci County, Hebei Province in 1952. In 1970, the "Five Seven Farm" in Ci County studied painting with teachers such as Wu Zuoren, Li Keran, Li Hua, Yan Han, and Shao Jingkun.
In 2021, the 100th anniversary of the founding of the party, the Chinese Artists Association, the Chinese Calligraphers Association, the Chinese People's Academy of Painting and Calligraphy, and the Chinese Culture and Art Talent Management Center awarded the title of "People's Artist".
Published articles: "A Brief Talk on the Composition and Brushwork of Traditional Chinese Paintings", "Explaining the Twelve Taboos of Landscape Painting Zong".
社會(huì)活動(dòng)：
百年學(xué)院千秋業(yè)，央美風(fēng)和四月天。五世同堂聚北京，秉承畫脈代代傳。
2016年應(yīng)邵晶坤恩師邀請(qǐng)出席了董希文、吳冠中、邵晶坤先生《顛峰之路三人行》的大展開幕式。
2018年3月央美百年校慶將至，應(yīng)中央美術(shù)學(xué)院宣傳部邀請(qǐng)，代表磁縣“東陳"鄉(xiāng)親和學(xué)生參加了百年校慶。提前到北京拜訪了吳作人的女兒蕭慧先生，帶著侯一民老師給河北省委寫的信，匯報(bào)了中央美術(shù)學(xué)院120多人以吳作人院長(zhǎng)為代表的老教授們?yōu)榇趴h所做的貢獻(xiàn)，以及他們?cè)诖趴h的一些情感難忘的事跡和遺作。策劃籌建了磁縣中央美術(shù)學(xué)院教授"東陳"記憶館。
4月1日出席參加了中央美院百年校慶，相見了1970年在東陳”五七農(nóng)場(chǎng)”闊別49年的黃永玉、劉煥章、蔣彩萍、蘇高禮等老師們；并到家里看望了侯一民、邵晶坤、劉煥章、彭鴻遠(yuǎn)、湯池、李松、毛鳳得等十幾位教授導(dǎo)師。
Social activity:
Hundred Years College Qianqiuye, Yangmeifeng and April sky. Five generations gather in Beijing, inheriting the tradition of painting from generation to generation.
In 2016, I was invited by Shao Jingkun's mentor to attend the opening ceremony of Dong Xiwen, Wu Guanzhong and Shao Jingkun's "Road to the Peak of Three".
In March 2018, the Centennial Anniversary of CAFA is approaching. At the invitation of the Propaganda Department of the Central Academy of Fine Arts, I participated in the Centennial Anniversary on behalf of the villagers and students of "Dongchen" in Cixian County. I went to Beijing to visit Mr. Xiao Hui, Wu Zuoren’s daughter, and took a letter written by Hou Yimin to the Hebei Provincial Party Committee, reporting on the contributions of more than 120 old professors from the Central Academy of Fine Arts represented by Wu Zuoren to Ci County. And some of their unforgettable deeds and posthumous works in Ci County. Planning to build the "Dong Chen" Memory Hall of the Professor of the Central Academy of Fine Arts in Ci County.
On April 1st, I attended the Centennial Anniversary of the Central Academy of Fine Arts. I met Huang Yongyu, Liu Huanzhang, Jiang Caiping, Su Gaoli and other teachers who had been away for 49 years in Dongchen’s "May 7th Farm" in 1970; and visited Hou Yimin, Shao Jingkun, and others at home. More than a dozen professors and tutors including Liu Huanzhang, Peng Hongyuan, Tang Chi, Li Song, and Mao Fengde.
藝術(shù)人生：
1973年在磁縣電影院做海報(bào)幻燈宣傳創(chuàng)作。
1978年創(chuàng)辦了馬頭戲劇服裝廠，(古裝、刺繡設(shè)計(jì)制作導(dǎo)師)
1980年輕工業(yè)部撥資，創(chuàng)建了磁縣工藝美術(shù)廠(擔(dān)任廠長(zhǎng))，創(chuàng)作的“磁州水石盆景”和仿真根雕陶藝，榮獲省工藝美術(shù)優(yōu)秀設(shè)計(jì)工作者稱號(hào)，作品《漓江帆影》獲中國(guó)輕工業(yè)部百花獎(jiǎng)和設(shè)計(jì)者獎(jiǎng)2000元，產(chǎn)品一度暢銷國(guó)內(nèi)外各地。《人民日?qǐng)?bào)》《光明日?qǐng)?bào)》《中國(guó)青年報(bào)》多次報(bào)道。
1985年聘調(diào)河北省雕塑公司擔(dān)任總工程師。
1986年創(chuàng)建河北省特藝工程雕塑總廠，(總工兼技術(shù)廠長(zhǎng))作品獲輕工業(yè)部、商業(yè)部、國(guó)家旅游局“旅游產(chǎn)品優(yōu)秀設(shè)計(jì)二等獎(jiǎng)、和天馬銀杯獎(jiǎng)"。
1987年雕塑作品:磁縣城標(biāo)(漢白玉)《荷花仙子》獲省城市雕塑優(yōu)秀獎(jiǎng)。1992年在承德避暑山莊，舉辦原創(chuàng)“清宮秘史”大型雕塑藝術(shù)展，(展示仿蠟像清史人物和宮廷御用文物，復(fù)原陳列再現(xiàn)寫真)
《避暑山莊清宮秘史》作品展，受到中國(guó)清史家、皇家后裔溥杰的高度評(píng)價(jià)并合影留念。
1997年設(shè)計(jì)創(chuàng)建承德市雙塔山風(fēng)景旅游區(qū)（時(shí)任董事長(zhǎng)）占地2000余畝建有山門，百米長(zhǎng)廊、三仙觀和摩崖石刻等，修建了1300年前的契丹遼塔和釋迦摩尼臥佛雕像，受到原國(guó)家主席李先念夫人林佳楣和毛澤東賢孫毛新宇的高度評(píng)價(jià)。(合影留念)
2001年創(chuàng)建了[承德遼清歷史博物館]300多仿蠟像人物的雕塑藝術(shù)作品：《康熙北巡》《乾隆接見六世班禪》《咸豐托孤兩宮垂簾》《咸豐帝靈柩起運(yùn)回京》《人鬼情未了》和遼代文物等五個(gè)展館。
2002年《雕塑家王子錦與雙塔山的情緣》上下集由承德電視臺(tái)專題采訪報(bào)道、[優(yōu)酷]視頻。
復(fù)制了遼墓文物:蕭太后孫女一一葉律氏.陳國(guó)公主和駙馬干尸的隨葬飾品。[遼清歷史博物館]受到原人大副委員長(zhǎng)姜春云，河北省省長(zhǎng)鈕茂生的高度評(píng)價(jià)，(著書影視載入了史冊(cè))。引國(guó)撥資金修雙灤風(fēng)景區(qū)旅游公路，帶動(dòng)了路兩側(cè)山地開發(fā)充分利用，推動(dòng)了承德雙灤區(qū)的經(jīng)濟(jì)發(fā)展，被提名承德市雙灤區(qū)政協(xié)委員。
2003年避暑山莊建莊300周年特展，仿蠟像作品《咸豐托孤》在北京"國(guó)家歷史博物館"展出，各電視臺(tái)、報(bào)紙等各媒體作了專題報(bào)道。
2020年4月18日，應(yīng)邀請(qǐng)國(guó)畫作品《天路》在日本東京都美術(shù)館展出。
2020年10月完成了磁縣天寶寨《五區(qū)兵工廠》紅色花駝博物館的大型雕塑展。
Artistic life:
In 1973, he created a poster and slide show at the Cixian Cinema.
Established Matou Drama Clothing Factory in 1978, (an instructor of costume and embroidery design and production)
In 1980, the Ministry of Young Industry allocated funds to establish the Cixian Arts and Crafts Factory (as the director). The creation of "Cizhou Water Stone Bonsai" and the simulation of root carving pottery, won the title of Provincial Arts and Crafts Excellent Design Worker, and the work "Lijiang Sailing Shadow" won the China Light Industry The Hundred Flowers Award and the Designer Award were 2,000 yuan, and the products were once sold at home and abroad. "People's Daily", "Guangming Daily" and "China Youth Daily" have reported many times.
In 1985, he was hired and transferred to Hebei Sculpture Company as chief engineer.
In 1986, Hebei Province Special Art Engineering Sculpture General Factory was established. (Chief Engineer and Technical Factory Manager) works won the "Second Prize of Excellent Tourism Product Design Award and Tianma Silver Cup Award" by the Ministry of Light Industry, the Ministry of Commerce, and the National Tourism Administration.
1987 Sculpture: Cixian city standard (white marble) "Lotus Fairy" won the Provincial Urban Sculpture Excellence Award. In 1992, held the original "Secret History of Qing Palace" large-scale sculpture art exhibition in Chengde Mountain Resort, (showing imitation wax figures of Qing history figures and palace cultural relics, restoration and reproduction of pictures)
The exhibition "The Secret History of the Qing Palace in Mountain Resort" was highly praised by the Chinese Qing historian and royal descendant Pu Jie and took a group photo.
In 1997, he designed and established the Shuangtashan Scenic Resort in Chengde City (the chairman at the time), covering an area of more than 2,000 acres. It has a mountain gate, a 100-meter corridor, Sanxian Temple, and cliff stone carvings. The statue of the Reclining Buddha of Kamoni was highly praised by Lin Jiamei, the wife of former President Li Xiannian, and Mao Xinyu, the great grandson of Mao Zedong. (Group photo)
In 2001, he created [Chengde Liaoqing History Museum] more than 300 sculpture art works of imitation wax figures: "Kangxi Northern Tour", "Qianlong's Reception of the Sixth Panchen Lama", "Xianfeng Tuogu Two Palaces Hanging Curtain", "Xianfeng Emperor's Coffin, Transported Back to Beijing" and "People" Five exhibition halls including "Ghost Love Is Not Over" and Liao Dynasty Cultural Relics.
In 2002, the second episode of "The Love between Sculptor Wang Zijin and Shuangtashan" was interviewed and reported by Chengde TV station and video [Youku].
Reproduced the cultural relics of the Liao Tomb: the funeral ornaments of the Queen Mother Xiao's granddaughter Yiyi Yelu's Princess Chen Guo and the dry corpse of Ma Ma. [Liaoqing History Museum] was highly praised by Jiang Chunyun, former vice chairman of the National People's Congress, and Niu Maosheng, governor of Hebei Province. The introduction of funds allocated by the country to repair the tourist road in the Shuangluan Scenic Area has promoted the full utilization of the mountainous areas on both sides of the road and promoted the economic development of Shuangluan District in Chengde. He was nominated as a member of the CPPCC Shuangluan District in Chengde City.
In 2003, a special exhibition for the 300th anniversary of the establishment of the Mountain Resort, the imitation wax figure "Xianfeng Tuogu" was exhibited in the "National History Museum" in Beijing, and various TV stations, newspapers and other media made special reports.
On April 18, 2020, the invited Chinese painting "Sky Road" was exhibited at the Tokyo Metropolitan Art Museum, Japan.
In October 2020, the large-scale sculpture exhibition of the Red Camel Museum in Tianbao Village, Ci County, was completed.
作品賞析：
《油畫開國(guó)大典》
王子錦解釋
元代.饒自然
《繪宗山水十二忌》
一、布置迫塞:
布置，構(gòu)圖經(jīng)營(yíng)也就是謝赫《六法畫論》中提到"經(jīng)營(yíng)位置"，是畫論之總要，是布置和及筆墨的實(shí)踐。
布置迫塞就是不要把整張紙畫的太滿，上下不見天地，沒有虛實(shí)，構(gòu)圖沒有聚散開合，用筆板刻墨色污濁不見空靈，物象安置雜亂沒有筆法，使整個(gè)畫面墨色灰暗無光，物象意境沖天塞地透不過氣來。
畫者要靈感悟道，實(shí)踐與理論結(jié)合，執(zhí)筆要左顧右盼縱觀全局，胸中丘壑。
微筆巧用變化萬千，線條枯濕勾勒要彈性而不板結(jié)，墨色豐韻，筆墨有法。疏密無序，尋歸自然而又高于生活。以白當(dāng)黑，以少勝多。方見構(gòu)圖布置的合理章法和筆墨境界。
《巍巍太行》
《江山如畫》
二、遠(yuǎn)近不分:
遠(yuǎn)近不分高低無錯(cuò)落，大小失調(diào)，千山一面，物象形狀單一又重疊，遠(yuǎn)沒有景深，高低沒有空間。
如何在只尺有限的紙上畫出萬里無限的空間？這里有學(xué)問和筆墨技巧。遠(yuǎn)山無石，隱隱如眉取其形。遠(yuǎn)水無波，高與云齊遙天際交光，取水天一色。高山取其勢(shì)，低山趨相隨。遠(yuǎn)景取其虛，近景取其質(zhì)。虛實(shí)交替，疏密和諧。遠(yuǎn)小近大，方見景物層次與空間。
《太湖印象》
《江南春色》
三、山無氣脈:
指的是在畫名山大川時(shí)，不可畫成碎石的堆積，石塊的拼接。山有氣脈，氣脈相聯(lián)，山川要接地氣，不能是幻想中的飛來石，脫離了你畫中主要景物的根基，所畫的前后景物山川不在同一地平面上，怎能行成山川和氣脈？山無脈川無氣，山與山之間沒有內(nèi)在的關(guān)聯(lián)。近山畫在地球上，遠(yuǎn)山確懸掛在月空中，不能把藝術(shù)的境界"無中生有"之說用意于此。
山連山峰連峰，水連水川連川，高山雲(yún)霧鎖奇腰或陰或陽又或筆斷意聯(lián)，有溝壑峽谷見懸崖峭壁；有高低呼應(yīng)相盼，見連綿起伏迂回。即便不見山底，也有著山與山之間的必然內(nèi)在關(guān)聯(lián)。才方見山水畫整體宏偉磅礴的氣韻和氣脈。
《太行金秋》
《太行金秋》
四、水無源流:
指的是水無出處，死水一潭，不合自然規(guī)律。
所以我們提倡要到大自然中去觀察，去寫生悟道，畫出大自然中水流處的趨向和出處，虛實(shí)相應(yīng)，畫意相聯(lián)，穿針引線有所交代。
水外柔內(nèi)剛，水的源頭來龍去脈立意要心中有數(shù)，水的剛?cè)崛我庑裕刮覀冊(cè)诶L中悟出自然萬物與水關(guān)系的用筆用墨的方法及勾圖的需求。
《秋月?lián)P明輝》
五、境無夷險(xiǎn):
山水的構(gòu)圖要有主次，布置經(jīng)營(yíng)的畫面要主題突出。沒有主次的畫面是松散的，主題不突出很難充分傳達(dá)作品中心內(nèi)容的精神，要主景突出造勢(shì)取險(xiǎn)方神韻萬千。主山、主景突出有勢(shì)；客山、襯景呼應(yīng)傳情。
求高聳奇險(xiǎn)，忌凡俗平淡，有音律啟示意境的變化，有高于生活的夸張與實(shí)踐，每作一畫，心所立意必須明確，做到心有成竹胸中丘壑。
《一覽眾山小》
《江南錦繡》
六、路無出入:
忌死路半截！
山水畫路根據(jù)作品的需求，要彎曲自然，穿針引線，有藏有露，生動(dòng)合情合理。要畫到曲徑通幽處，禪房花木深，再現(xiàn)出奇制勝的構(gòu)圖和筆法的妙用。
《天路》
七、石止一面:
畫山不可石之一面，那樣太過死板而沒有空間感，古人王維說的"陰陽背向，石分三面"。就是指其對(duì)山水寫意也要有立體空間的訴求，石分三面，小指石頭大指整個(gè)山體的宏觀立象，整體用筆、罩墨、著色、筆法都要協(xié)調(diào)一致。
《天路筑夢(mèng)》
《霧飛山莊美》
八、樹少四枝:
畫山水畫忌整體樹少，具體枝少。
畫山不畫樹，心中無底數(shù)。
禁忌光頭山，必須要有樹。
樹身露在外，樹葉平板擺，
枝葉無前后，空間神韻何處來？
畫山不可缺樹，樹枝樹葉也要有變化，除非特殊環(huán)境和作品的需求。因各地域山水的樹木植被有所不相同，所以要抓住地域特征去構(gòu)圖創(chuàng)作，樹冠外形要取精神姿態(tài)，樹種形狀葉子深淺和樹枝粗細(xì)，要藏露虛實(shí)有所變化，筆墨枯焦?jié)駶?rùn)的用筆見空靈與疏密。前后左右出枝，八方出鋒，可見樹木的神態(tài)和層次變化。
《夏云多奇峰》
九、人物傴僂:
人物在山水畫中是畫龍點(diǎn)睛。是重要傳情內(nèi)容的標(biāo)志，人傴僂是一種病態(tài)，是用筆不精準(zhǔn)，墨色不空靈造成的。傴僂病態(tài)的人物在畫面中，它不但提不起畫中的精神內(nèi)涵，還會(huì)嚴(yán)重破壞整張好作品。
所以近畫要四肢比例和精神形象，遠(yuǎn)畫姿態(tài)外觀和支體造型。繪入在山水畫中的人物比例乃是丈山尺樹，寸馬分人，而不失比例動(dòng)態(tài)，方見人物精神傳情與畫面協(xié)調(diào)的意境。
《雙塔山》
十、樓閣錯(cuò)雜:
樓閣錯(cuò)雜，現(xiàn)代建筑與傳統(tǒng)建筑的結(jié)合是很多畫家難以協(xié)調(diào)的通病，結(jié)構(gòu)比例不對(duì)脫離實(shí)際畫面，死板生硬。最應(yīng)注意的就是傳統(tǒng)筆墨山水，結(jié)合現(xiàn)代建筑置入在畫中的協(xié)調(diào)與融合。"筆墨當(dāng)隨時(shí)代"也印證了石濤先生就中國(guó)畫發(fā)展的必然趨勢(shì)。一切亭臺(tái)樓閣、房屋、舟車、高速橋梁等景物的安排，都必須遵循自然的社會(huì)發(fā)展規(guī)律，到大自然中去，到生活中去，最高的藝術(shù)來源于自然生活，拜大自然為師。多寫生掌握各民族的建筑風(fēng)格和基本結(jié)構(gòu)。方解樓閣錯(cuò)雜不合理的弊端。
《家家都在畫屏中》
《新城一橋塹通途》
十一、滃淡失宜:
筆墨畫彩的層面，要筆墨得法熟練應(yīng)用，掌控畫面的濃淡、深淺、光影虛實(shí)的意境效果。要研究古代的、傳承近代的、發(fā)展現(xiàn)代的。所用的筆法、墨法、皺法、潑彩、學(xué)院派的中西寫實(shí)和寫意的新文人畫等，都不要脫離實(shí)踐與理論的結(jié)合，即便是大寫意也要通過筆墨的實(shí)踐與理論的總結(jié)，才能得于繪畫作品的升華，中國(guó)畫的穩(wěn)步發(fā)展。
《霧宿漓江》
十二、點(diǎn)染無法:
是指筆墨的運(yùn)用和色彩渲染無法，筆墨無法品自低。
點(diǎn)染是用筆的過程，也是筆法對(duì)畫作產(chǎn)生后的效果。國(guó)畫山水筆法很多，比其它畫種也相對(duì)繁瑣，就不同形式內(nèi)容要求的筆法、墨法、皴法、色法等就有很多。
筆法有:平、圓、留、重、變。
墨法有:焦墨、積墨、破墨、潑墨、渲染等。
皴法有:長(zhǎng)短披麻、大小斧劈、大小米點(diǎn)皴、解索皴、折帶皴、荷葉皴、云頭皴等。
色法有:色墨混合、色墨重疊、潑彩等。
這些筆法的掌控，會(huì)直接影響到作品水平的高低。所以做為一個(gè)畫家必須得以長(zhǎng)期實(shí)踐和理論研究，學(xué)法傳統(tǒng)又不泥古傳統(tǒng)，師法自然潛心學(xué)習(xí)長(zhǎng)期實(shí)踐，每次實(shí)踐升華為理論后再實(shí)踐成的作品結(jié)果，一定是技法和作品得到了進(jìn)一步的提升和飛越。
