徐建君——“和而不同 润泽天下”当代轩辕宗文人画派领军人物

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徐建君——“和而不同 润泽天下”当代轩辕宗文人画派领军人物

Xu Jianjun -- "Harmony with difference and embellishing the world" Leading artist in contemporary Xuanyuan Zong scholar painting

《黄帝颂》Ode to Emperor Huang

一

中华元祖尊黄帝

河浩岳峨功表彰

名永记五千年德

泽长流九万里疆

庆今圆梦国兴盛

远古开初家旺昌

动地桥山三献礼

文明肇此照遐荒

The ancestor of the Chinese Yuan Dynasty honored Emperor Huang.

His achievements were the creation of vast rivers and lofty mountains.

For more than 5,000 years, his well-known name has been remembered.

There were ninety thousand acres where the rivers he created flowed.

Today, we celebrate the prosperity of our nation and the realization of the Chinese Dream.

Our nation has prospered since the dawn of time.

The great rivers and mountains of the motherland are three tributes to the prosperity of the motherland.

A lengthy history can be found in our civilization.

二

开创发明万世功

农医兵器并交通

车船算历内经学

网罟衣冠矛箭弓

征服东夷伐逐鹿

造成书契整军戎

蚩尤平息九黎定

制律绥猷统大同

Emperor Huang's pioneering achievements in agriculture, medicine, weapons, vehicles, arithmetic, the calendar, inner scripture, fishing nets, clothing and hats, spears, bows and arrows are immortal.

He led his people to conquer Dongyi and fight Zhulu.

He created the deed, he reorganized the army.

Put down the Chiyou rebellion and settle the country

Laws were enacted to promote the great harmony of the Chinese nation.

徐建君作品赏析

    历史悠久的中国画，不仅是中国和东方的艺术瑰宝，也是世界艺术宝库中的一颗璀璨的明珠。它不仅深受华人和东方人的喜爱，而且也得到西方人士的赞赏。与西方引以自豪的西画相比，中国画同样有其博大精深的内涵和独具特色的民族风格。

With a long history, Chinese painting is a shining pearl in the world's art treasury as well as a treasure of art in China and the East. It is not only loved by Chinese and Eastern people, but also appreciated by Western people. Compared with Western painting , with which the West takes pride, Chinese painting also has its broad and profound connotation and unique national style.

徐建君作品赏析

    中国画是画家多学科知识、涵养及道德情操的综合表现，从中不仅可读到文学的意味深长，哲学的深邃奥妙，历史的厚实积淀，自然的丰富多彩、气象的变化万千，更可窥见画家聪明才智和真性情，西方画坛泰斗毕加索曾热情地赞扬中国绘画：“在这个世界上谈艺术，第一是中国。中国画的神奇在于看上去一无所有，其实包含一切。”

Chinese painting is a thorough representation of the painter's multidisciplinary knowledge, self-cultivation, and moral outlook. Through it, we can not only understand the profound meaning of literature, the esoteric and mysterious philosophy, the solid accumulation of history, the rich and colorful natural world, the changes of the climate, but also see the painter's wisdom and true temperament. One of the greatest figures in Western painting, Picasso, once warmly praised Chinese painting: "When it comes to art in this world, the first place is China. The magic of Chinese painting is that it seems to have nothing, but it actually contains everything."

徐建君作品赏析

    在几千年的绘画历史长河中，高峰迭起，大师辈出，各领风骚。中华人民共和国成立以后，特别是改革开放以来，国画迎来了又一个春天，许多有胆识、有才华的画家深入生活，广泛吸取东西方绘画营养。既传承古法又勇于创新，极大地推动了中国画的发展。值纪念中国人民抗日战争世界反法西斯战争胜利70周年大庆之际，我们特向海内外推介当今中国画坛颇有建树，且画风独到，才华横溢的中国大写意画家徐建君先生。

There have been many peaks and a large number of masters in the long history of painting for thousands of years, all of whom have achieved incredible heights in their styles. Since the founding of the People's Republic of China, especially since the reform and opening up, Chinese painting has ushered in another spring. A large number of talented and courageous painters have gone deep into life and absorbed extensively the nourishment of Eastern and Western art. It inherits the ancient method and has the courage to innovate, which greatly promotes the development of Chinese painting. On the Commemoration of the 70th Anniversary of the Victory of the Chinese People's Resistance Against Japanese Aggression and the World Anti-Fascist War, we hereby introduce Mr. Xu Jianjun, a Chinese freehand painter who has made great achievements in the current Chinese painting world and has a unique painting style.

徐建君作品赏析

    徐建君，轩辕后裔，（詩字輩）軒轅畫派創始人，字道陀，号北斗砚主。现系艺术国际联合会主席、中国美术家协会会员，俄罗斯皇家艺术科学院院士、京华印社常务理事、东方中国画艺术研究院院长，被英國牛津大學聘請為客座教授，他上世纪六十年代出生于浙江诸暨的一绘画世家，从小看老一辈艺术家挥毫泼墨，耳濡目染，潜移默化，后被朱豹卿先生收为入室弟子，闻先生说道，开悟后创立了軒轅画派，作品诗、书、画、印互为融通，是当下中国文人画的领军人物。他专攻书画，所作诗文简约俏逸，寄托高远，书法上主张帖学和金石学融合，擅长水墨大写意，其篆刻汲取南北流派，印风雄浑苍莽，极具现代感。他综合诗书画印，在理论研究和创作实践中取精用宏，形成了自己独特的艺术风格。从传统的写意画来看，文人画追求意境，不为格法所囿，着墨不多，却又富于变化，大都诗书画印配合出现，讲究书法趣味。   

Xu Jianjun, descendant of Xuanyuan, founder of Xuanyuan painting school, whose courtesy name is Tao Tuo and art name is Beidou inkstone master. He is now president of the International Federation of Art, member of the Association of Chinese Artists, academician of the Russian Royal Academy of Arts, standing director of Jinghua Printing Press, director of the Academy of Oriental Chinese Painting Art, and was hired by Oxford University as a visiting professor. He was born into a painting family in the 1960s in Zhuji, Zhejiang Province, and has seen the older generation of artists create wonderful paintings since his childhood. After being accepted as a disciple by Zhu Baoqing, Wen said he founded the Regulus School of Painting after enlightenment. His works integrate poetry, calligraphy, painting and printing, and he is the leader of Chinese literate painting. He specializes in calligraphy and painting, and his poetry is simple and elegant, with a profound meaning. In calligraphy, he advocates the integration of post-study and gold and stone, and is good at ink painting brushwork. His seal cutting draws from the North and South Schools, whose printing style is vigorous and boundless and has a very modern sense. He integrated poetry, calligraphy, painting and printing into theoretical research and creative practice, and formed his own unique artistic style. From the perspective of traditional freehand brushwork, literate paintings pursue artistic conception, not for the established method. They do not draw much, but their work is rich in variations. In most cases, poetry, calligraphy and printing appear together, and artists also pay attention to the interest of calligraphy.

徐建君作品赏析

    其书画以骨法用笔为内质，以书写为法则，落笔见豪放的个性，恩师朱豹卿先生看了徐建君的《逍遥游》作品后说：徐建君画，简约而充实，有潘老这股气勢，并为《徐介君金石书画集》题写“冀北空群”四字。徐建君提出中国画艺术的本质就是点、线、块为基本组成单位，万物是由点、线，块组成，点、线、块的内质决定艺术境界的高低，可谓：取精用宏。单就王维的山水，苏、文的竹石，米芾父子的云山，梁楷、石恪的减笔描，黄公望、倪云林等元人的枯木竹石，以及明清文人画的作品都具备上述特点。

Xu Jianjun's calligraphy and painting takes the bone method as the inner quality, takes writing as the law, and the brushwork shows the bold personality. After seeing Xu Jianjun's "Carefree Roam", his teacher Zhu Baoqing said: Xu Jianjun's painting is simple and substantial, with the momentum of Mr. Pan, and wrote "Ji Bei Kong Qun" four characters for "Xu Jiejun's Collection of Epigraphy and Painting". Xu Jianjun pointed out that the essence of Chinese painting art is that point, line and block are the basic constituent units, and everything is composed of point, line and block, and the intrinsic quality of point, line and block determines the level of artistic realm, which is called taking the essence from a large number of materials and putting it to good use. Alone Wang Wei's landscape, Su, Wen's bamboo and stones, Mi Fu and his son's clouds and mountains, Liang Kai, Shi Que's abbreviated drawing, Huang Gongwang, Ni Yunlin and other Yuan people's dead wood and bamboo stones, as well as Ming and Qing literati painting works all have the above characteristics.

徐建君作品赏析

    清李重华《贞一斋诗话》云；善写意者，意动而其神跃然欲来，意尽而其神渺然无际，此默而成之，存乎其人矣。”中国花鸟画自青藤白阳行大写意之风后，辈有来者，然而真正能够有所成者都有着与众不同的心性与情感。“意动”由心中一念而起，此一念必有不同常人之“感”才能成此独有之“意”，由“意”驱笔行墨，于纸素之上行乎不得不行，止乎不得不止。这是写意画创作的真正状态。因此写意花鸟对于创作者有很高的要求，简率的笔墨并不是简单轻易之举。笔墨对于“意’’呈现的充分有效性关系到作品的最后成功，因此笔墨的功力是一个极为重要的要求，是创作成功的必要保障。而作品的最终要求是“神”，“神”跃然纸上，则所绘物之形态表象已为其次，重要的是以神形物，超然形外。物之“神”与作者之“神”合一。

Li Chonghua in the Qing Dynasty said in his Poem Zhenyizhai that if a person is good at freehand painting, his work will become vivid when he expresses his intention, while his work will be lifeless after he finishes expressing his intention. Whether he can succeed in freehand painting depends on the artist himself. Chinese flower and bird painting has no shortage of freehand painters since Qingteng and Baiyang initiated the trend of freehand painting. However, those who can truly achieve success have different hearts and emotions. "Intentionality" begins with a thought in the heart, which must have a "sense" different from ordinary people to form its unique "intentionality." By "intentionality", the brush stroke is driven to create freely on paper, and the painter cannot control the handling and finishing of the brush stroke, which is the true state of freehand brushwork creation. As a result, freehand flower and bird creators are in high demand, and simple brushstrokes can be challenging. Whether the brushstrokes fully and effectively present the "meaning" is related to the final success of the work. Therefore, the painter's brushwork skill is a crucial requirement for the success of creation and an essential guarantee. The final requirement of the work is "spirit." When the "spirit" appears on the paper, the morphological representation of the painted object is secondary. The most important thing is the spirit-shaped object, which is detached from the form. The "spirit" of the object and the spirit of the author are one.

徐建君作品赏析

    大写意花鸟画的发展，青藤、白阳、八大山人以后有扬州八怪诸家，清末民初有海上诸家，各自有所建树。二十世纪有吴昌硕、齐白石、潘天寿以写意花鸟名世。其后吴、潘影响着江浙花鸟画的发展，而齐则对以北京为中心的北方花鸟画发展起着极为重要的作用。

The development process of freehand flower and bird painting. After Qingteng, Baiyang and Badashanren (Zhuda), there were the Eight Eccentrics of Yangzhou, as well as scholars of the sea in the late Qing and early Republic period. In the 20th century, Wu Changshuo, Qi Baishi and Pan Tianshou were famous for their freehand flowers and birds. Later, Wu and Pan had an impact on the development of flower and bird painting in Jiangsu and Zhejiang, while Qi played a crucial role in the development of flower and bird painting in northern China centered on Beijing.

徐建君作品赏析

    徐建君的写意花鸟画受到老师朱豹卿的熏染，在笔墨形态及审美意味上与这三家有所不同，显现了明显的个人特色，以风神之萧散与笔墨之简远为特征。吴、齐、潘三家的成功均与各自援用书法成就相关。吴昌硕以秦《石鼓文》为突破口，齐白石用心于魏碑与汉碑，潘天寿多临写甲骨文、金文汉碑。三家都以用笔厚重、刚毅、凝练为总体特征，显示了大写意花鸟的情势与力量。

Influenced by his teacher Zhu Baoqing, Xu Jianjun's freehand flower and bird paintings are different from these three schools in the form of brushwork and aesthetic meaning, showing obvious personal characteristics, which are characterized by unrestrained style and simplistic brushwork. The success of Wu, Qi and Pan schools is related to their own achievements in the application of calligraphy. Wu Changshuo took Qin's Shiguwen as a breakthrough, Qi Baishi focused on Wei and Han tablets, and Pan Tianshou wrote oracle bone inscriptions, Jin wen and Han tablets. The three are characterized by thick, resolute and concise brushwork, showing the form and power of freehand flowers and birds.

徐建君作品赏析

    徐建君的写意花鸟画继承了前贤对于笔墨的质量的严格要求，但是并没有将笔墨自身凸显出来，笔墨与心意相合，更在在萧散简远之中。时下写意花鸟画家学习吴、齐、潘三位大家而走入误区的是将他们的笔墨特征夸张化运用，以为大写意就是笔墨的布陈，而缺乏笔墨内在的意韵。更有画家以为写意就是随意地“自由”舞弄笔墨，全然不顾写意画简率之下内在的严格要求。

Xu Jianjun's freehand flower and bird paintings inherited the strict requirements of the previous swordsman for the quality of the brushstrokes, but did not highlight the brushstrokes themselves, and the brushstrokes are in harmony with the mind, which makes them more scattered and simple. Today's freehand flower and bird painters learn from Wu, Qi, and Pan and make the mistake of exaggerating their brushwork characteristics by believing that freehand brushwork is the layout of brushwork and lacks its inherent allure. Ignoring the strict requirements inherent in the simplicity of freehand brushwork, some painters believe that freehand brushwork is "free" brushwork.

徐建君作品赏析

    徐建君的画以意为高，意在象外，因此不会对物象作过多的雕琢，同时以意涵情，情在意的统摄之下，不恣肆，而自有其深处。其笔墨萧散故无滞浊，简远离于繁杂。无论花卉、虫鸟都有一种逸致，这种逸致是其人离于俗地的必然表现。面对其画，一种拙趣溢于纸外。宋姜夔说“雕刻伤气，敷衍露骨。若鄙而不精巧，是雕刻之过；拙而无委曲，是敷衍之过。”徐建君的创作注重心性的直现，不是求悦于人的迎合，因此呈现了一种独立的人格，这在当下是极为可贵的了。

Xu Jianjun's paintings attach more importance to meaning than image, so he will not make too much modification to the image. At the same time, the sensation is not arbitrary and has a certain degree of depth under the influence of meaning. The brushwork of his painting is not stagnant, simple but not complicated. Regardless of whether flowers, insects and birds have a kind of peace, this peace is Xu Jianjun's inevitable manifestation away from the common place. In the face of his paintings, a kind of silly interest overflows out of the paper. Song Jiang Kui said, "Carving hurts qi, perfunctory bare bones. If it is contemptible and not delicate, it is the fault of carving; it is a perfunctory mistake that is clumsy and unyielding." Xu Jianjun's work focuses on the direct expression of the mind rather than seeking to please others, so his work presents a unique personality, which is very valuable today.

徐建君作品赏析

徐建君作品赏析