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“境生于象外”，是中国画坛关于意境论的一个重要论点。境离不开象，但又不等于象，而是超越于画中物象之外的深层意蕴。王宏江正是通过物象（花鸟）来体现对宇宙生命自由解放意境的追求。
意境，是中国传统美学和艺术创作的一个核心问题，它是诗画艺术的灵魂，历来被艺术家视为最高的美学追求。中国绘画不仅要求形似，且求神似，更进一步是要在形神兼备、情景交融的基础上追求“象外之象”的意境美。
王宏江先生正因为具有这样的美学追求，所以，他的花鸟画别具一格，充满诗情画意，将人们引入更高的艺术境界。清代画家朱耷画鱼不画水，齐白石画虾不画水，但其作品有“画了鱼儿不画水，此间亦自有波涛”的意境，欣赏者可以从鱼虾的动态中感受到水波粼粼的生命意境，体悟到作者对生命跃动、与宇宙生机相通的天人合一的情怀。王宏江的《胜似春光》通过独特的艺术处理展示出“天高任鸟飞”的广阔空间，进而体现出作者热爱生活的高尚情怀，具有强烈的审美感染力。
笪重光《画鉴》中说，“虚实相生，无画处皆成妙境。”谁如果不懂得虚实相生，境生象外，谁就不可能领悟中国绘画的特色。
这种意境是客体与主观的统一体，是作品的灵魂。王宏江很多作品都可以说明这一点。例如，《高原秋色》以虚托实，云山幽深虚渺，牧民悠闲地于镜湖边牧羊。虽然画面上无鸟儿飞翔，但对于观众来讲，似乎在幽深山林中隐蔽着很多欢跃的鸟雀，使人的思想上升到清新、自然、质朴的生命境界。
王宏江早年结识李可染、叶浅予、吴作人、黄胄、刘海粟、李苦禅、王雪涛、关山月、黄永玉、启功和崔子范等前辈，并在他们的指点下对先贤艺术创作及风格进行过精心地心摹手追，同时他还继承了中国花鸟画的优秀传统，吸取了西画的优点，并受到现代装饰画及民间美术乃至农民画的启发，最终创造出了装饰性强，优美隽秀的新画风。
花鸟画在中国源远流长，远在南北朝时期就已经出现，唐代在宫廷和民间又有较大发展。进入宋朝之后，迎来了花鸟画繁荣发展的黄金时代，对后世影响深远。纵观花鸟画发展史，不难看出，唐宋时期的花鸟画，以反映为主，重视写实；宋元以后，文人画兴起，崇尚写意。文人画的兴起本是进步，能对现实事物作本质的表现，但它在流传过程中，也出现了定型化的倾向。王宏江则避开了文人画的弊端，不拘守成规，不重复古人和自己，站在新时代的高度有选择地吸取西画优点，并加以创新。比如作品《富贵平安》、《花鸟四条屏》，用色沉着，墨色滋润，运笔有力，色彩浓烈，犹如轻快的水彩作品，我们从中也可以看出王宏江在西画方面的功力。
王宏江先生吸收了现代装饰画和西画的优点，作品中的动物、山水、花鸟、人物，造型及写法独特，构图大胆，设色强烈，变形夸张，不重复古人和自己，经过几十年的勤奋努力，创造出一种崭新的画风，从而形成了独特的个人艺术风貌。
肖峰：原中国美院院长，中国美术家协会副主席、顾问，《美术报》社社长
Pursuing Similar Form, and
More Similar Spirit and
Essence
- Hongjiang
Wang’s “Conception beyond
Image”
“Conception beyond image”
is an important point about
artistic conception of
Chinese painting. Conception
cannot do without image. It
does not equal to image, but
is beyond profound
connotation of images of
objects in painting. Through
images (flowers and birds),
Hongjiang Wang expresses
pursuit of freedom and
liberation of life in the
universe.
Artistic conception, a
core issue of Chinese
traditional aesthetics and
artistic creation, is the
soul of art of poetry and
painting which has always
been regarded as the highest
aesthetic pursuit. Chinese
painting requires not only
the similar appearance but
also the similar sprit.
Moreover, the pursuit of
beautiful artistic
conception of “image beyond
image” is based on the unity
of appearance and spirit as
well as the fusion of
setting and feeling.
Because of such aesthetic
pursuit, Mr. Hongjiang
Wang’s flowers and birds
paintings have a unique
style and are rich in poetic
and pictorial splendor,
leading us into a higher
artistic realm. Da Zhu, a
painter in the Qing Dynasty,
drew fish but not water.
Baishi Qi drew shrimps but
not water. However, their
works feature artistic
conception - “drawing fish
without water in painting
but waves appears”.
Appreciators can feel life
conception from dynamic fish
and shrimp in sparkling
waves and realize the
author’s feelings that life
movement interlinks with the
vivid universe. In “More
than a spring”, Hongjiang
Wang shows artistic
conception of “Spacious Sky
for Birds to Fly” by means
of his unique artistic
skills. Furthermore, the
painting reflects his noble
sentiments and has a strong
aesthetic appeal.
In “Painting Review”,
Chongguang DA writes
“Virtual Mixes with Real,
Blank Makes Great
Conception.” Whoever does
not know mutualism of
blankness or conception
beyond image, can not
comprehend characteristics
of Chinese painting.
This concept is unity of
objective and subjective as
well as the soul of works.
Many of Hongjiang Wang’s
works illustrate this point.
For example, in “Plateau
Autumn”, virtual sets off
real. Clouds and mountains
are unfathomed and vague.
Herders leisurely herd sheep
around Jing Lake. Although
there is no bird flying in
painting, for the audience,
it seems that in deep
mountain forests, there hide
a lot of joyful birds. Our
thinking will rise to a
fresh, natural, and rustic
life state.
In his early years,
Hongjiang Wang gets to know
his predecessors like Keran
Li, Qianyu Ye, Zuoren Wu,
Zhou Huang, Haisu Liu,
Kuchan Li, Xuetao Wang,
Shanyue Guan, Yongyu Huang,
Gong Qi and Zifan Cui.
Following their advice, he
learned and practiced
artistic creation and styles
of previous artists.
Meanwhile, he inherited
Chinese fine traditional
bird and flower painting,
drew on absorbing advantages
of Western painting, and was
impacted and inspired by
modern decorative painting,
folk art paintings, and even
farmers’ painting. Finally
he formed a new highly
decorated and beautiful
painting style.
Flower and bird painting
can be traced back to a long
time ago. It appeared in the
Northern and Southern
Dynasties, which enjoyed a
great development in the
royal court and folk world
in the Tang Dynasty; the
Song Dynasty witnessed the
golden age of prosperity and
development of flower and
bird painting, which
impacted much more on future
generations’ painting.
Throughout the history of
flower and bird painting, it
can be easily detected that
flower and bird painting
concentrates on reflection
and realism in the Tang and
Song Dynasties. After the
Song Dynasty, literati
painting, which emphasizes
on conception comes up.
Although the rise of
literati painting is
progressive and it can
express essence things,
there has been a tendency to
stereotype during the
process of its spreading.
However, Mr. Hongjiang Wang
avoids the drawbacks of the
literati paintings. He does
not observe stereotype or
repeat previous painters or
himself. He stands at the
height of a new era, selects
and absorbs advantages of
Western painting, and makes
his own innovation. Works
like “Wealth and Peace”,
“Flowers and Birds on Four
Stripes Screen”show calm
colors, moist ink, powerful
handwork and rich colors
just like lively watercolor
works, from which we can
also see Hongjiang Wang’s
skills in Western painting.
Mr. Hongjiang Wang
absorbed advantages of
modern decorative painting
and western painting.
Animals, landscapes,
flowers-birds, and
characters in his works are
represented by unique form
and writing style, bold
composition, strong colors,
and exaggerated
transformation, in which no
traces of simulation of
previous painters or himself
can be detected. After
decades of hard work, he
presents to people a new
painting, forming his unique
artistic style.
Feng Xiao: Former
President of Chinese
Painting Academy,
Vice-Chairman and Consultant
of Chinese Artists
Association, President of
Art News. |
