潜心创作数十载 “发现”紫禁传佳名 ——名家好评姜国芳
作者:正在核实中..2012-06-25 10:02:50 来源:网络
最令人感服的，还是姜國芳对绘画心怀虔笃的热忱和一丝不笱的态度。就象他所说，画家是“孤独的劳动者”。应该看到，姜國芳的油画作品中沁透着那种深幽稳健的力量，是有效地综合了西方古典和中国国粹的因素所至。他在十五、十六世纪西方油画与中国传统艺术中发现了不少共性，无论在欧洲文艺复兴、巴罗克风格的古典绘画，还是中式建筑或界画中，都有常见的规则概念。他充分地借鉴并发挥两者的优势，针对他的特殊题材，殚竭妙得。
贺利/文（美国旧金山亚洲艺术博物馆研究员、亚洲艺术研究家）
2005年的7月到10月，姜国芳在意大利的罗马威尼斯宫有一个展览，获得了巨大的成功，无论是公众还是评论家，对于他的作品都产生了巨大兴趣。姜国芳先生是一个非常著名的中国艺术家，但是他的艺术是属于全世界的，因为他的作品具有无限的美和非凡的天才。姜国芳先生是当代画家，由于他采用了文艺复兴时代的艺术风格，他再一次使我们对现代艺术有了更加一致的看法。我们从中能够看到人类文明的进步，这是全人类追求的目标，所以它具有普遍的魅力。基于这个理由，当我在罗马有机会认识姜国芳先生时，我被他的画作如此地打动了。在世界各地，我对许多展览会，竭力推荐这位艺术家。
美国纽约权威名家展览会馆长：Marisa delRe
在紫禁城系列作品的创作中，姜国芳从那些奢华的房间和中国传统装饰中获取了灵感，而更多灵感来源于曾居住在其中的人们，尤其是女人 — 公主，皇后，嫔妃和宫女。但是，画家并不是要重现传统意义上的“真实的历史”，也不想死板地将当时场景或特定人物的思想表达方式搬上画布。画家无意诠释这个已经远去的时代，而作品中纪实的方面也因非历史的创作手法而被掩盖。姜国芳实际上为历史主题赋予了新的内容，成为其表现个性艺术理念的方式。画家自己说道：“我把所有的画作都视为文化产品。象其它所有的文化产品一样，必须由某些事物激发而成。但我不是写历史书，也不想诠释历史。我的画作中没有一幅涉及到具体的人物或事件。清王朝的历史只是为我提供了一个素材，以追随我的艺术之路。”
意大利著名艺术评论家：Roberto Del Signor
姜国芳是一位很有艺术勇气的艺术家。他敢于将自己的艺术命运交给中国皇宫紫禁城，敢于带着自己的紫禁城系列在紫禁城内举办个人画展。此后不久，他的紫禁城系列又闯入了意大利罗马的威尼斯宫，在那里举办了为期两个半月的个人画展。在不太长的时间里，姜国芳走过了从故宫到威尼斯宫、从东方到西方的艺术之路。应当说，姜国芳的艺术勇气来自对自己的艺术力量的自信。有力量的艺术往往是沉重的。读姜国芳的作品轻松不起来。能感觉出它的沉重。甚至能感觉出他的画板、颜料、画笔的沉重。他描绘的是紫禁城、城中的人，更是他对城与人的感觉与思考。感觉与思考是沉重的，画当然是沉重的。他画出了有数千年历史的中国皇朝的沉重，最后一个皇朝的沉重，隐约中还有可能延续着的某些东西的沉重。选择了紫禁城就是选择了沉重，同时也选择了不可替代。当画出了凝重与沉重，这创作就是不可替代的，属于姜国芳的独到的艺术创造了。
故宫博物院副院长 李文儒
用油画来描绘紫禁城及其人物，姜国芳虽说不是第一人，但是以如此巨大的规模，从新的历史角度，用油画来作为表现手段，他不但是第一人，而且可以说是在这以前的唯一第一人。
（原故宫博物院副院长、研究员）杨新
姜国芳的可贵之处：他努力做一个忠实于自己心灵的艺术家，而不管外界说三道四，他把艺术创作认定纯粹是个人的事情，投身其中，陶醉其中，尽可能把自己的感觉表达得淋漓尽致。
北京画院一级画师，中国当代著名画家 艾轩
在当代中国，姜国芳作为一位潜心历史画创作的艺术家，取得了令人瞩目的成就。这一成就不仅为中国社会所熟知，也正为国际社会所认识。姜国芳是70年代改革开放后的第一批进入学院并接受正规美术教育的艺术家，在中国最高的美术学府中央美术学院以优异的成绩毕业，并被选拔而留校任教。在学院学习中就对以纯正的欧洲写实主义技巧来创作历史画感悟颇深，同时在自己的教学历程中，姜国芳既向本民族优秀传统索取精髓，也放眼世界把握当代艺术发展的脉动，并以此为契机，逐步将自己的探索视点从对艺术语言的关注转向对理论确立与提升。90年代以来，姜国芳对中国历史膜拜构成了自己的艺术情愫和艺术追求，其独特的绘画语言也堪称是西方艺术与东方文化水乳交融的典范。
中央美术学院人文学院院长 赵力博士
姜国芳的《紫禁城》系列，可算是油画传入中国后较系列的、宏大的描绘宫廷生活这一重大历史题材的第一人。经历相当坎坷的姜国芳，是一个艺途上的修道者。自青年时代到北京进入中央美院油画系，至今二十几年的“渐修”，直至七年前“顿悟”，开始“紫禁城”系列的创作，七年来仅十几 幅作品面世，然而幅幅宏篇巨构，在中国油画史上占有一席之地。 姜国芳对汉、唐文化之古朴沉雄顶礼膜拜，为明清文化之华贵细致所折服。因而，表现在他 的画面上，《奏折》《天子》《宫门》都在突出高大的空间结构的同时，又有细致谨严的细节 刻画。值得注意的是，戏剧性的历史人物和事件并不是通过从巴洛克式风格到浪漫主义在表现 此类题材时惯用的情绪和动感效果，而是画家所说的“东方艺术的静态、平面装饰性、人物的 神、意交流”来表达。人物总是作为主体列于画面中央，与背景的历史空间构成转达意念的“ 场”，这种手法其实也印证了姜国芳所心仪的文艺复兴的艺术理念。
长征艺术基金会主席、艺术评论家 卢杰
阴沉沉的背景，缓缓地浮现出一个又一个明灿灿的丽人，穿着花团锦簇、色彩魅感的盛装， 雍容华贵、仪态万千，在深宫禁院里徘徊。这就是姜国芳先生笔下的宫女。
原香港《明报》总编、台湾著名学者、教授 高信疆
在紫禁城的重重压抑下，她们仍然是典雅的、温柔的、恬静的、从容的、高贵的，充满着女性的奇异魅力。于是，在环境与人性的交织挣扎中，他的画具有一种令人心醉的凄美，强烈地 拨动人们的心弦，他发现了“紫禁城内的女性面貌”，同时他也发现了自己。
香港著名作家、编导 张文中
姜国芳成功是个罕见的例子，他是经过不懈的努力和不少挫折，才踏上青云路。
香港文少励画廊经理艺术经纪人 Schoeni
姜国芳的《紫禁城系列》气势宏大，很饱满。紫禁城系列作品中的女性，对“情”的刻画犹为深刻。
中国著名楚学家、美学家、教授 文怀沙
姜国芳对各类人文主义问题十分关心。他把思想和触觉，饱蘸着热情和油画笔同时指向宗教 问题和晚清的历史问题。以此为契机，制作出几个系列的大型古典风油画，其涵量之大，制作 之严谨，劳动之艰辛，在国内外美术界都较为罕见。
中国艺术研究院美术研究所副所长 张晓凌
可能是出于我对紫禁城的偏爱。我一直期盼着紫禁城能呼唤哪位画家，用他那神奇的画笔画出震撼人心的紫禁城。为此我等待了许久许久。当画家姜国芳将他描绘紫禁城的画作展示在我面前时。我不禁惊呆了，姜国芳“发现”了紫禁城。
王树元（中央戏剧学院教授、清史专家 ）
《紫禁城系列》作为"历史画"创作，同以往的同类作品有一种显著的区别是作者无意诠释历史，也不曾选择历史上的名人和故事，对于姜国芳来说，紫禁城在视觉上的意义优先于历史的意义，历史只是他的绘画素材，是画面的气氛，是创作的理由，但并不意味着作品的主题。
陈丹青（清华大学美院客座教授，画家、评家）
What impressed me most is Jiang Guofang’s passion and devotion to his paintings. As he said, the artist is the “lonely worker”. The deep and stable power that one could feel from his paintings effectively combine the western classics with Chinese traditional essence. Jiang Guofang found much commonness between the western paintings of 15th to 16th century and the traditional Chinese art. No matter it is the classical art of Renaissance period or Baroque style, or it is the traditional Chinese construction, Jiang Guofang found the common rule and concept. He makes full advantages of both Western and Chinese styles and brings them to the best in his works.
He Li(Researcher of Asian Art Museum of San Francisco, USA & researcher of Asian Art)
From July to October of 2005, Jiang Guofang Guofang held his personal exhibition at Rome’s Palazzo Venezia, Italy. Both the public and critics were immensely interested in his works.Mr. Jiang Guofang is a very famous Chinese artist. But his art belongs to the world because his works possess unlimited beauty and extraordinary talent. Mr. Jiang Guofang is a contemporary artist. As he has adopted the artistic style of the Renaissance, he has enabled us once again to reach a more unanimous view on modern art. There we can see the progress of human civilization, which is the target of all mankind. This is why his paintings possess universal attraction.
This is why when we had the opportunity to know him in Rome, we were so stirred by his works. In various places in the world, I made very effort to recommend this artist to many exhibitions.
Marisa del Re (President of the New York Exhibition of Authoritive and Notable Artists of the United States)
In the course of creating the Forbidden City series of works, Jiang Guofang derived inspiration from those gorgeous rooms and Chinese traditional decorations and received more inspiration from the people who live in them – princesses, empresses and imperial concubines. But the painter did not want to recreate “true history” in the traditional sense, nor did he want to put rigidly on the canvas the scenes of that time and the way the specific people expressed their thought. The painter had no intention to explain the past era. The aspect of the pictures as records of actual events was covered up by the non-historic method of creation. Jiang Guofang has actually imparted a new content to historical themes and made it a way of expressing his personal concept of art. The painter himself said, “I look upon all the pictures as cultural products. Like all other cultural products, they must be created and inspired by certain things. But I am not writing a history book, nor do I want to explain history. Not a single one of my pictures involves a specific person or event. The history of the Qing dynasty provided me with only the raw material so that I can follow my road of art.”
Roberto Del Signore (Well-known Italian art critic)
Jiang Guofang is an artist of great courage in art, who dares to place the fate of his art in the Forbidden City, the former imperial palace in China, and dares to hold a personal exhibition in the Forbidden City with his series of paintings of the Forbidden City. Later, his Forbidden City series was brought to Rome’s Palazzo Venezia, Italy, where the personal exhibition lasted two and a half months. In this not very long period, Jiang Guofang traveled from the former imperial palace to Palazzo Venezia, the road of art from the East to the West. We should say that Jiang Guofang’s courage in art comes from his confidence in the power of his own art. A powerful art is often heavy. Looking at Jiang Guofang’s works, one cannot feel cheerful, but can feel their heaviness and even the heaviness of his drawing board, pigments and painting brush. He painted not only the Forbidden City and the people in it, but also his feelings and thoughts. His feelings and thoughts are heavy, so are the pictures. He has painted the heaviness of the history of the Chinese imperial dynasties of several thousand years, the heaviness of the last imperial dynasty, and the shadowy heaviness of something that is still there. Choosing the Forbidden City means choosing its heaviness, which cannot be replaced. When the pictures are forceful and heavy, they cannot be replaced. They belong to Jiang Guofang’s distinctive artistic creations.
Li Wenru (Vice-President of the Palace Museum)
Jiang Guofang is not the first person to describe the Forbidden City and the people in it in oil paintings. But to describe it in such a gigantic scale, from a new historical angle of view and in oil paintings as a means of expression, he is not only the first person, but also the only first person.
Yang Xin (former Vice-President of the Palace Museum and Research fellow)
What is the most precious thing about Jiang Guofang is that he tries all his best to be an artist that follows his own heart. Without any attention to the critics about his works, Jiang Guofang considers art as a pure personal thing. He is so devoted to the art that he shows all his feelings through the paintings.
Ai Xuan (well-known contemporary Chinese artist, National first class painter of Beijing Painting Academy)
In contemporary China, Jiang Guofang is an artist who is devoted to the creation of historical pictures and has achieved signal success. The success is known not only in China, but also internationally. After opening to the outside world in the 1970s, Jiang Guofang was among the first batch of artists to receive a formal education in art and graduated with brilliant scores from the Central Academy of Fine Arts, the highest art college in China. After graduation, he was selected to teach at the Academy. While he studied at the Academy, he gained a perfect understanding of creating historical pictures with orthodox European realistic skills. While he was teaching, he learned from the best of the fine national tradition and focused his eyes on the development of contemporary art in the world. In this way, he gradually shifted his exploratory attention from the language of art to the establishment and elevation of theory. From the 1990s, Jiang Guofang began to form his artistic preference and pursuit on the basis of his worship of Chinese history. His unique language of painting is a fine example of combining Western art with Easter culture.
Dr. Zhao Li (President of the College of Humanities of the Central Academy of Fine Arts)
Jiang Guofang with his Forbidden City Series is the first person to describe the important subject of life in the palace since oil painting was introduced to China. After experiencing quite a few frustrations, Jiang Guofang became a devotee to art. After nearly 30 years of cultivation since he was enrolled in the Department of Oil Painting of the Central Academy of Fine Arts and since his “sudden understanding” more than 10 years ago, he began to create the Forbidden City Series. Each of the several hundred pictures painted over scores of years is gigantic in scale. Together, the series occupies a place in the Chinese history of oil painting. Jiang Guofang is an admirer of the unsophisticated and sedate culture of the Han and Tang periods and an idolater of the resplendent and exquisite culture of the Ming and Qing periods. This was why when he painted A Memorial to the Throne, Son of Heaven and Palace Door, he depicted not only the lofty space, but also the fine details with careful brush strokes. What deserves our attention is that the dramatic historical figures and events were not described with the usual method used by masters from the Baroque-style painters to Romantic artists to depict mood and action. In the words of the painter, he used “the tranquility of Eastern art, plain decoration and the spirit and mood of figures” to describe them. Human figures as the main part of the picture are always placed at the center of a picture. The historical space presented by the background describes the mood of the picture. This method also proved Jiang Guofang’s understandings of art of the Renaissance period.
Lu Jie (President of the Long March Art Foundation and art critic)
Against a dark and heavy background, there emerged one after another dazzlingly beautiful women dressed in splendid multicolored clothes, elegant and posed, wondering deep in the Forbidden Palace. These are the court ladies painted by Mr. Jiang Guofang
Professor Gao Xinjiang (Editor-in-Chief of Hong Kong’s Mingbao and a famous scholar of Taiwan)
Heavily restrained in the Forbidden City, they still look elegant, gentle, calm, unhurried, noble and full of the wonderful feminine attraction. Describing the struggle between human nature and the environment, his paintings display an enchantingly dismal beauty that tugs the heartstrings of the viewers. He has discovered “the looks of the women in the Forbidden City” and at the same time discovered himself.
Zhang Wenzhong (famous writer and playwright-director of Hong Kong)
Jiang Guofang’s success is a rare example. Through tireless efforts and many frustrations, he eventually embarked upon the road of success.
Schoeni (Manager and art agent of the Hong Kong Schoeni Art Gallery)
Jiang Guofang’s Forbidden City Series is full of power, grandeur and vitality. He described intimately the “feelings” of the women in the Forbidden City Series.
Professor Wen Huaisha (famous Chinese scholar of Chu studies and aesthetics)
Jiang Guofang is closely concerned with various humane questions. He applied his thought, feeling and brush well-saturated with enthusiasm and oil color on the question of religion and the history of late Qing period. Taking this as a turning point, he produced several series of large oil paintings of classical style. Their huge content, close attention to details and the hard work involved are rarely seen in the art circles both in China and abroad.
Zhang Xiaoling (Deputy Director of the Art Research Institute of the Chinese Academy of Art Studies)
My preference to the Fobidden City always makes me expect that one day there will be an artist, who could depict the Forbidden City in a heartshaking way. I waited for such a long time until one day Jiang Guofang’s paintings attracted my attention. I was shocked. Jiang Guofang “discovered” the Forbidden City
Wang Shuyuan (professor of Central Academy of Drama, scholar of history of Qing Dynasty)
The big difference between the Forbidden City Series as “historical paintings” from the other similar historical paintings is that the artist does not interpret the history intentionally, nor does he choose the historic famous persons or stories. In Jiang Guofang’s view, The Forbidden City is of more significance visually than historically. The history is just the material, atmosphere and reason for creation for his paintings, but never the theme of his paintings.
Chen Danqing (Visiting professor of Qinghua University, artist, art critic)
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