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【劉西藏心靈的風景油畫展

《法喜》

 

展出日期:2014.5.8-5.14

開放時間:11:00-20:00 (週一休館)

簡歷

劉西藏,教授、藝術家。

1969年11月出生,自幼在西藏生活學習。

1991年畢業於中央美術學院,始終堅定地從事著藝術教育和藝術創作事業。

Professer zhaohui liu, pseudonym Xizang Liu, is an artist, who was born in

november1969 and grew up in Tibet. After graduation from China Central Academy of Fine

Arts in 1991, he has kept on art education and fine arts creation since then.

意評

心靈的風景

薛亞軍

高山青,澗水藍,阿里山的姑娘美如水,阿里山的少年壯如山。這是美麗的台灣島帶給大陸人的最初也最美好的印象。無疑,與走馬觀花的遊客相比,劉西藏是幸福的。他不僅有時間“身所盤桓,目所”于阿里山、日月潭的優美精緻,還能“以形寫形,以色貌色”地與台灣島進行深入的對話。

歌德曾說,藝術家與自然有雙重關係:他既是自然的主宰,又是自然的奴隸。他是自然的奴隸,因為他必須用人世間的材料來進行工作,才能使人理解;同時他又是自然的主宰,因為他使這個人世間的材料服從他的較高意旨,並且為這種較高的意旨服務。因而,台灣島也是幸運的。

在被“圖像轉向”、“視覺轉向”弄得暈頭轉向的中國油畫界,對藝術家來說,能堅持寫生創作已經成d了一種態度,一種避免失去感悟生活機會的抵抗方式。劉西藏的創作實踐也證明,只有走向生活,與自然對話,才能調度和激發起創作的靈感與激情。在劉西藏的創作過程中,注重的是對自然的觀察與提煉,將畫面的形式構成與自然景物有機結合起來,以期達到“應目會心”。所以,劉西藏的作品已經呈現出較為完整的語言結構關係。

劉西藏通過自己特別的語言符號,表現出心中的自然。“他將語言簡化成若干圓狀、方狀、條狀的塊狀,很有濃縮的力度感”(鄧平祥語)他的作品在寫生和創作之間,形成了自己獨到的表現方法,或者可以說他找到了通往自然同時也充分表達心靈的道路。

隨著年齡的增長,劉西藏日益認同中國哲學,雖然用油畫創作,但創作理念還是“外師造化,中得心源”。所以在他多年創作中,他總是避開流行的圖式和庸常的景物,與最樸素的自然景物進行心靈的交流,同時又感悟生活,讚美生命。這也許是能感動讀者的原因吧。

劉西藏自幼生活在西藏,西藏的神秘和對精神的追求,養成了畫家重要的心靈和精神資源,從某種意義上說,劉西藏的寫生創作,也是對這種珍貴資源的不斷回溯,尤其是在這個精神被物化的時代,這種藝術所提示的精神就更加難能可貴。

當劉西藏離開美麗的台灣,回到家鄉,再次欣賞這些作品時,一定會有和宗炳一樣“閒居理氣,拂觴鳴琴,披圖幽對,坐究四荒,不違天勵之藂,獨應無人之野。峰岫嶢嶷,雲林森眇”的超功利的審美愉悅。當他再憶台灣時,就可以“畫象佈色,構茲雲領”來暢神了。

The Scenery of Heart

The mountain is green and the creek is clean. Girls are beautiful as water and boys are strong as Ali Mountain. It is the first and best image about Taiwan for mainlanders. Undoubtedly, Mr. Liu xizang is happier than those sight-seeing visitors because he got not only enough time to appreciate the exquisite natural scenery of Ali Mountain and Sun-moon Lake, but also the opportunity to make a deep communication with Taiwan island.

Goethe once said that the artist has a twofold relationship to nature; he is at once her master and her slave. He is her slave in that he must work with ordinary means, so as to be understood, but her master in that he subjects these ordinary means to his higher purpose, making them subservient to them. So, in this way, we can say, Taiwan is lucky too.

For Chinese oil painting sector, which has lost its own mind by the conception such as “picture orientation”, “visual orientation”, the sketch creation has become an attitude, a resistance way to avoid the loss of inspiration of life. Mr. Liu xizang’s artistic creative practice proved that the artistic inspiration and passion come only from the close to life, the deep communication with nature. The important part in his work is the observation and purifying of nature, the dynamic integration of picture and nature scene with the purpose to unfold what in his heart to the appreciator. We can say that there is a complete relation of artistic language and structure in Mr. Liu’s works.

Mr. Liu xizang applies his own special language symbol to present the nature in his heart. Mr.Deng pingxiang (famous painter in China) said that Mr.Liu simplified the language into roundness, square, strip and other geometric patterns with concentrated strength feeling. Between sketch and artistic creation, he found his own way of expression, in other words, he found the path to nature as well as to fully demonstrate his heart.

With the growth of age, Mr. Liu Xizang turns to Chinese philosophy. Although he uses oil painting, he still insists on the classical Chinese artistic creative ideals: Learn outward from nature, get inward from heart. This is why he always avoids the fashion schematism and common scene in his creative practice. At the same time he works hard to make his soul communication with very simple and natural scene, to have the perception of life, to appreciate the great of life. Perhaps this is the reason why readers are all affected by his works.

Mr. Liu xizang has been living in Tibet since he was young. The mystery and the spirit pursuing is an important spirit resource for a painter. In a sense, Mr. Liu’s sketch creation is a recalling for such resource which is more estimable in this time when spirit has been continually materialized.

When Mr. Liu xizang leaves Taiwan back to his hometown and appreciates these works again, he will get the aesthetic pleasure beyond utilitarianism as ZongBing (famous painter in Song Dynasty) said: living in seclusion, regulating one’s own mind, drinking, playing lyre, sitting along to appreciate painting, to appreciate the beauty of nature and great of nature.

When Mr. Liu Xizang misses Taiwan, he can use his painting brush to reappear his memory.

 

 

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