破繭而入花明中｜岳海波綜合材料繪畫作品欣賞

制作：安迪（Produced by: Andy）

岳海波Yue Haibo

山東藝術(shù)學院教授，研究生導師

中國美術(shù)家協(xié)會會員，中國美術(shù)家協(xié)會綜合材料繪畫委員會委員。山東美協(xié)綜合材料繪畫藝委會主任，山東省書畫學會副會長。中國美協(xié)十二，十三屆全國美展評委，中國美協(xié)紀念辛亥革命百年全國美展評委，中國美協(xié)綜合材料繪畫特展評委，中國美協(xié)首屆、二屆綜合材料繪畫雙年展評委。曾獲“山東省教學名師”，“省級優(yōu)秀教學團隊山東藝術(shù)學院繪畫專業(yè)（國畫方向）帶頭人”稱號。山東藝術(shù)學院教授，研究生導師。

Member of China Artists Association, member of the Comprehensive Material Painting Committee of China Artists Association. Director of the Comprehensive Material Painting Art Committee of Shandong Artists Association, and Vice President of Shandong Calligraphy and Painting Society. The judges of the 12th and 13th National Art Exhibition of China Artists Association, the judges of the National Art Exhibition of China Artists Association to commemorate the centenary of the 1911 Revolution, the judges of the Special Exhibition of Comprehensive Material Painting of China Artists Association, and the judges of the first and second comprehensive material painting biennale of China Artists Association. He has been awarded the title of "Famous Teacher in Shandong Province" and "Leader of Shandong Academy of Fine Arts Painting (Traditional Chinese Painting), a provincial excellent teaching team". Professor and postgraduate supervisor of Shandong Academy of Arts.

破繭而入花明中

Break the cocoon and enter the flower

——著名畫家岳海波以“蛾子”自比

尋求不斷蛻變的進階之路

——Famous painter Yue Haibo compared himself with "moths"

Seek the way of continuous transformation

文/岳海波

二十年前，我說老梁是屬螞蚱的，從一個小螞蚱的一次次的蛻皮，變成一個有翅膀的大螞蚱，在昆蟲中叫不完全蛻變型。我是屬蛾子的，一個籽、一個蟲、一個繭、一個蛾子，是完全蛻變型。

Twenty years ago, I said that Lao Liang was a grasshopper. He changed from a small grasshopper to a big grasshopper with wings, which is called incomplete metamorphosis among insects. I am a moth, a seed, a worm, a cocoon and a moth, which are completely metamorphosed.

《等著我》?50X60cm? 2020年? ?Waiting for Me 50X60cm 2020

蛾子的想法

我有時覺得畫畫，在我能大體把控的領(lǐng)域里，交換一下畫種、畫法，大約在十到二十天左右的時間，基本的就成熟了。所謂“成熟”，不是說有多好，而是我自己這點“火力”燒到這時候就“熟”了。說具體點就是我所認知的理念、技法在這個畫種、畫法已經(jīng)用盡，到“山窮水盡疑無路”的情況，要想“柳暗花明又一村”，就要繼續(xù)加油、充電、加大火力，才能上一個臺階。

I sometimes feel that painting, in the field that I can generally control, is basically mature in about 10 to 20 days after exchanging painting types and methods. The so-called "maturity" is not how good it is, but my own "firepower" will be "mature" at this time. To be specific, the concepts and techniques I know have been exhausted in this painting type and painting method. When the situation is "the end of the mountain and the end of the river, there is no way", if we want to "see another village", we must continue to refuel, recharge, and increase firepower to reach a higher level.

《關(guān)山渡若飛》?150X160cm? 2020年? ?Crossing the Mountain Like Flying 150X160cm 2020

也就是說二十天以后，如果再畫可能會繼續(xù)完善，會有量變，但不會有質(zhì)的變化。所以一般不是有什么情況，我就會收手，再搗鼓點別的。

二十年前，我說老梁是屬螞蚱的，從一個小螞蚱的一次次的蛻皮，變成一個有翅膀的大螞蚱，在昆蟲中叫不完全蛻變型。我是屬蛾子的，一個籽、一個蟲、一個繭、一個蛾子，是完全蛻變型。成毛病了，當然有時自己也慣自己的毛病。說不上是螞蚱好還是蛾子好，性格使然，沒辦法。

That is to say, after 20 days, if we paint again, we may continue to improve, there will be quantitative changes, but there will be no qualitative changes. So generally, if there is no situation, I will stop and try something else.

Twenty years ago, I said that Lao Liang was a grasshopper. He changed from a small grasshopper to a big grasshopper with wings, which is called incomplete metamorphosis among insects. I am a moth, a seed, a worm, a cocoon and a moth, which are completely metamorphosed. It's a problem. Of course, sometimes I get used to my own problems. It can't be said whether a grasshopper is better or a moth is better. Because of the nature, there is no way.

《生機》 50X60cm? 綜合材料? 2020年? Vitality?50X60cm composite material 2020

量變到質(zhì)變是辯證法的規(guī)律，量變的方式和過程可以不同，但是不斷提高自己的目的是一樣的，怕的是“一成不變”，“作繭自縛”?！白骼O自縛”這個詞挺好，蛾子最怕這個。

Quantitative change to qualitative change is the law of dialectics. The way and process of quantitative change can be different, but the goal of continuous improvement is the same. The fear is "unchangeable" and "trapped". The word "cocooning oneself" is very good, and moths are most afraid of it.

《但使俺家老鐘在大鬼小鬼莫進來》 50X60cm? ?2020年? But Don't Let My Old Clock Come in?50x60cm 2020

以下是我這一年不同樣式的整體獻丑，說自己是個蛾子都高抬了，就像一個無頭的蒼蠅。通過這個獻丑，希望在新的一年里能找到一個有縫的蛋，別期望自己是一個蛾子了，起碼是個有頭的蒼蠅。

The following is my whole disdain of different styles this year. I said that I was a moth and raised high, like a headless fly. Through this show, I hope to find a sewn egg in the new year. Don't expect to be a moth, at least a fly with a head.

《扶搖》?40X60cm? 2020年?Whirlwind 40X60cm 2020

《你在哪里》?50X60cm? 2020年? Where Are You 50X60cm 2020

《往事一一迷途羔羊》??60X60cm??2019年? Past - Lost Lamb 60X60cm 2019

?《往事一一執(zhí)子之手》????60X60cm? ?2018年? The Past - Holding the Hand of the Son 60X60cm 2018

《往事一一咫尺天涯》??50X60cm? ?2019年? The Past-Faraway,So Close?50X60cm 2019

《江山留與后人愁》 綜合材料?50X60cm? 2019年? Remaining in the Mountains and the Sorrow of the Future?comprehensive material 50X60cm 2019

《往事一一出竅的魂靈》?50X60cm? 2018年? The Past-The Soul Out of the Body 50X60cm 2018

《白露》 綜合材料?50X60cm? ?2019年? White Dew composite material 50X60cm 2019

《扶搖》??40X60cm? 2020年? Whirlwind 40X60cm 2020

《山雨》??50X60cm? 2020年? Mountain Rain 50X60cm 2020

《人啊人（清代）》? 80×180cm? People （Qing Dynasty）80×180cm

《人啊人（清代）》80×180cm? People （Qing Dynasty）?80×180cm

《曾經(jīng)》160×180cm? once 160×160cm

《無聲》 180×180cm? silent 180×180cm

《仲秋望月》 45×45cm? Mid-autumn moon?45×45cm

《齊恒公稱覇》（與李兆虬合作） 300×540cm? Hegemony ofQihuangong（to?work with?Lizhaoqiu） 300×540cm

《龐貝古城》? 18×25cm? Pompeii?18×25cm

《水庫邊上》? 45×60cm? In the reservoir45×60cm

《土屋村》? 30×48cm? Village30×48cm

《思若飛鴻》? 69×138cm? Think immeasurably, just like a flying swan?68×138cm