范炳南·特邀| 长安画坛水墨双年展|「墨在长安」·展期至9月15日

至誉嘉德 2023-09-03 22:25

范炳南，1946年生，毕业于西安美术学院，职业画家、古玩鉴赏家。1971年叩拜“长安画派”创始人赵望云，1989年定居美国洛杉矶，美国兰亭笔会会长，

▲ “长安画坛水墨双年展”先导片

▲ 展览海报

2023年“长安画坛水墨双年展”特邀艺术家·范炳南

Guest artist from the 2023“Chang’an ink andwash biennale

范炳南，笔名老陕。1946年生，毕业于西安美术学院，职业画家、古玩鉴赏家。1971年叩拜“长安画派”创始人赵望云，1978年又叩拜一代青绿画大师何海霞。1989年定居美国洛杉矶，美国兰亭笔会会长、美国南加州画院院长，陕西省文史馆馆员、陕西省历史博物馆名誉馆员、东仓鼓乐社社长。范炳南先生在继承长安画派绘画精神上做了大胆的尝试，在扬弃并借鉴西方绘画理念的基础上，形成老陕符号，创立了现代解构主义绘画、新写意当代水墨。

Fan Bingnan, pen name Lao Shaan. Born in 1946, graduated from Xi’an Academy of Fine Arts, professional painter and connoisseur of antiques. In 1971, he bowed to Zhao Wangyun, the founder of the “Chang’an School”, and in 1978, he bowed to He Haixia, a generation of green and green painting masters. In 1989, he settled in Los Angeles, USA, and is the president of the American Lanting Pen Association, the president of the Southern California Painting Institute, the librarian of the Shaanxi Provincial Museum of Culture and History, the honorary librarian of the Shaanxi Provincial History Museum, and the president of the Dongcang Drum Music Club.

▲ 展览现场

展览现场

范炳南：力证艺术的自由特性文 | 张敏

范炳南《舞》纸本水墨 248×129cm

范炳南《再书写系列》抽象水墨作品

因此我们可以看到，那些以墨色带动肢体的行动式的创作都是基于他对本色的熟悉和了解程度；那些极具表现力“再书写”水墨，在看到以精炼老辣的笔墨语言、消解式的思维和图式表达何为中国精神核心时，观众切莫忽视那其中还包含着艺术家多年抗争积攒下来的情绪，似正气，又似怒气。

组图：范炳南《再书写系列》抽象水墨作品 122×120cm历史上，新潮美术风向的形成往往有赖于所谓在野艺术家对个人及群体文化权利的声张，范炳南是典型的在野艺术家，不谋官职，自己供养着自己的水墨图式。“养”的指向并非只有温润和趣味性，范炳南的“养”，是抗争式的。

谈到此处，似乎应该对文章开头提到的那句“推心置腹交流的情谊”做解释了，那仅仅是一种对个例和在野艺术家贡献力量认可的真诚度。

个例献祭于史观立场，实则是一种偏见和冷漠，范炳南正是在力证艺术家身份中最为重要的“自由”特性。

范炳南《黑与红的碰撞》

Han Lidang is a wise person who “happy water”, she is so good at transporting ink with water, and she has a variety of transparent effects on that life Xuan, and she also cultivates the elegant artistic conception of the moon and light wind in the contrast of the heavy brush and dry ink of the pen and the meaning, and it is as refreshing to read as good tea. Chinese paintings of flowers and birds have always had a tradition of reverie of birds, beasts, plants and trees, and the same is true of Han Li’s paintings, her lonely walking geese, jade bones and soul narcissus, peacocks moving like heavens, ghost birds wandering in the fragrance of plum blossoms, and the reverie light ink in “The End of the Moon”, all turned into love words in scenery. When she whimsically “installs” several real old lotus sticks with ink autumn lotus, she reveals her unending creative desire to push freehand art into modern times.

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