精品推荐――江山如画（陈忠洲）

精品推荐——江山如画（陈忠洲）

Excellent recommendation: picturesque scenery (Chen Zhongzhou)

陈忠洲，字润卿，号圣贤斋主人，山东昌邑人，中国当代著名书画家。中国致公党党员，中国致公党中央文化委员会副主任，致公党北京市文化委副主任，国家一级美术师。陈忠洲被评为2013年度和谐中国特别贡献艺术家、中国公益事业形象大使。任首都师范大学客座教授，中国致公画院副院长，中国书法家协会会员，北京市书法家协会理事，北京市美术家协会会员，中国民间组织国际交流促进会理事，第十次全国归侨侨眷代表大会代表，中国致公党第十五次代表大会代表，中国廉政教育内参编委会副主任，北京新的社会阶层人士联谊会常务理事。
   Chen Zhongzhou, word Runqing, master of Shengxian Zhai, Changyi, Shandong Province, famous contemporary Chinese calligraphy and painter. Member of the Zhigong Party of China, Deputy Director of the Central Cultural Committee of the Zhigong Party of China, Deputy Director of the Beijing Municipal Cultural Commission of the Zhigong Party, and artist of the first class of the state. Chen Zhongzhou was named as the special contribution artist of harmonious China and ambassador of Chinese public welfare undertakings in 2013. Visiting Professor of Capital normal University, Vice President of China Zhigong Academy of painting, Associate member of Chinese calligraphers, Director of Beijing calligraphy Association, member of Beijing artists Association, member of the Association for the Promotion of International Exchange of Chinese non-governmental organizations, Representative of the 10th National Congress of returned overseas Chinese and overseas Chinese, China Deputy to the 15th Congress of Zhigong Party, deputy director of the editorial Committee of Internal reference for Integrity Education in China, and executive director of the new Social Class Friendship Association in Beijing.

精品一览

江山如画（陈忠洲）
Picturesque mountains and rivers
 (Chen Zhongzhou)

观赏陈忠洲先生的山水画，第一个引人注目之处，就是其壮美的真景似乎超越了具体时空的局限，大美的景象与崇高的精神融为一体。他的许多作品，一律以画崂山为主体，层峦叠嶂，云涌泉流，偶有高土小屋庭院，分明焕发着饱满昂物的人文精神。可以想到，在陈忠洲的观念中，丝毫没有西方画家的“主客两分”，有的只是中国画家的“亦物亦我”和“天人合一”。他无论画“阅尽人间春色”的莽莽大山，还是画茫茫瀚海上的峥峥古木，抑或是画自天而落的飞流瀑布，都是深情地注入了整个民族的历史记忆和观实感奋，都寄寓着早已融入高山巨川大漠长河中的古老而且充满生机的民族精神。这与他对山水画优良传统的继承，有着密不可分的关系。

In view of Mr. Chen Zhongzhou's landscape painting, the first remarkable place is that the true view of the magnificent beauty seems to go beyond the limits of the specific time and space, and the great beauty is integrated with the noble spirit. Many of his works, with the paintings of the mountain as the main body, the layers of the mountain, the cloud Yongquan flow, even have the high-soil cabin courtyard, have a clear and full of the spirit of the spirit. It is conceivable that in the concept of Chen Zhongzhou, there is no "Main passenger two points" of the western painter, some of which are the "The same thing is me." and the "unity of man and man" of the Chinese painter. No matter how hard the "to read the world's spring color" is to be drawn, he is still drawing a large amount of ancient wood on the sea, or a picture. The flying waterfalls that have fallen from heaven are affectionately injected into the historical memory and excitement of the whole nation, and all embody the ancient and vibrant national spirit that has long been integrated into the mountains, rivers, and desert rivers. This is closely related to his inheritance of the fine tradition of landscape painting.

   把山水作为民族生存的伟大空间和高昂精神的情感投射，正是中国山水画早已形成的宝贵传统。中国山水画产生伊始，就自觉的表现着无比广袤的精神生存空间。高明的画家，从不满足于仅仅描绘眼前风景，一直追求着艺术表现的咫尺千里和咫尺重深，以寄于寓宇宙意识、历史和生命意识。对于深谙传统奥秘的画家而言，山水画是人的自由旺盛的创造精神与大自然阴阳熏蒸的蓬勃生气之一，是对屹立于历史时空中蕴含着精神文化的生存环境的讴歌，是奔跃的生命，是可爱的乡土，是伟大的祖国，是充满自豪与自信的精神家园。集中体现了上述传统的作品，是五代北宋北方画家的全景山水。举世闻名的范宽《溪山行旅图》，不但至今使一个热爱传统者感奋不已，就是一度向西方绘画寻找仅传统出路的刘国松，面对此画也不免目击道存，产生了强烈的震撼，滋生出在精神上复归传统的动力。然而；这种山水画传统毕竟久已失落了，12世纪后文化中心南移，北方国家的锐减；元明清山水画家心态的变化，大江以南山水的秀美，最终酿成了山水画由雄转秀，宏伟壮阔变成萧散简淡，更后则随着摹古风的流行，秀美的山水画进一步走上了公式化的狭路，历代虽不乏名家，但总体上是衰落了。尽百年来，志在改革的山水画家，为了扭转因袭摹古的颓风，开始以科学的求真精神，变师古人为师造化，变书法化的写意为绘画性的写实，变临摹前人为对景写生。虽然在刻画具有时代性的人文景观上大有收获，但未充分显现科学与艺术把握世界方式的差异，在构景造景上受到焦点透视处理空间的西方风景画的影响，尽管增加了生活气息，却少有势足力大的精神灿烂之作。直到改革开放的80年代；眼界的开拓，对传统的反思，重振民族雄风的壮志，才造就了一些用复兴五代北宋大山大水传统以弘扬民族精神的画家。这些画家以爱乡土爱祖国的深情，把创作扎根于乡土生活的深处，以不同于西方人的天人观，用讲求笔墨语言的严谨写实风格，创造了以北方山水真景为母题的纪念碑式的作品雄魂朴茂，气象万千，势强境阔，无愧前人。在这一方面，中年画家贾又福的《太行丰碑》早已为世人所称道，陈忠洲则是为数不多的佼佼者。

    Taking landscape as the great space of national survival and the emotional projection of high spirit is the valuable tradition of Chinese landscape painting for a long time. From the beginning of the emergence of Chinese landscape painting, it consciously showed an incomparably vast spiritual living space. Brilliant painters are never satisfied with just depicting the scenery in front of them, and have been pursuing artistic expression at hand for thousands of miles and deep at hand, in order to integrate cosmic consciousness, history and life consciousness. For painters who know the mysteries of tradition, landscape painting is one of the free and exuberant creative spirit of human beings and the vigorous vitality of the fumigation of yin and yang in nature, and it is an eulogizing of the living environment that stands in the history and time and space contains the spirit and culture. It is the life of the jump, it is a lovely country, it is the great motherland, is the spiritual home full of pride and self-confidence. It embodies the above-mentioned traditional works, and is the panoramic landscape of the Northern Song of the Northern Song Dynasty. The world-famous Fan-wide, the mountain line of the mountain, not only makes a love of the traditional one excited, that is, once to the western painting to find only the traditional way out of Liu Guansong, the face of this painting also can not help, has produced a strong shock, breeding the spiritual return to the traditional power. However, the traditional landscape painting has been lost for a long time. After the 12th century, the center of the culture has moved to the south, and the state of the north is sharply reduced; the state of the painting in the Yuan and Qing Dynasties Change, the beauty of the nanshan river, eventually led to the landscape painting from xiong to show, magnificent and magnificent into xiaosanjian light, but also with the popularity of copying the ancient style, the beautiful landscape painting further on the narrow road of formula, although there are no lack of famous, but the overall decline. In the past hundred years, landscape painters who wanted to reform, in order to reverse the decadent style of copying ancient times, began to take the scientific spirit of seeking truth, changed the ancient teachers for the creation, calligraphy for the freehand brushwork for the realistic painting, before the imitation of artificial scenes. Although there are great gains in portraying the contemporary human landscape, the differences between science and art grasp the world.  In the view of the view of the landscape, the influence of the western landscape painting with the focus on the space, though the life breath is increased, has little force and great spirit. Until the 80 's of the reform and opening-up and opening-up, the development of the eye-opening, the traditional reflection and the revitalization of the nation's great ambition have made some painters who have used the great water tradition of the Great Dashan of the Northern Song Dynasty to carry forward the national spirit. The painter, with the love of the local love of the motherland, takes the creation in the deep of the local life, which is different from the view of the people and the nature of the west, and uses the strict and realistic style of the language of the pen-and-ink to create the memorial tablet with the true view of the northern landscape as the mother's theme. Thousand thousand, strong situation, worthy of the predecessor. In this respect, the middle-aged painter Jia Qiufu's ``Taihang Abundant Monument'' has long been known for the world, and Chen Zhongzhou is the few outstanding.

陈忠洲山水画的第二个引人瞩目之处，是在境象上统一了大美与充实。大美是一种很难描述的美，正像“大象无形大音稀声”一样，犹如“羚羊挂角，无迹可寻。”在视觉形象上处理不好就会流入空泛；然而陈忠洲却辩证地领会了“大美无言与充实之谓美”的关系，把象雄境阔、势长、质实等视觉因素成功地统一起来。特别他的横幅巨作中，幅幅构图饱满，但见巍然耸动的群山在莽林玉树与云涌泉奔的陪衬下显示了巨大的体量感和无尽的空间感。古代文人画家偏爱的无画处不见了，靠文学语言拓开画境的长篇题诗省略了，剩下的只是在晦明变化中山石的细密错综的结构，只是在空间中起伏的笔笔不苟的密林；只是时浓时淡，若聚若散的流云，还有时分时合跳跃的理想化的山水，却仿佛置足于身经目历而应接不暇，充满可视细节的实景之中。仔细研究，可以发现，为达到这一观景效果，陈忠洲别具匠心地处理了质与势、远与近，“以大观小” 和“小中见大”的关系。

     The second remarkable thing about Chen Zhongzhou's landscape painting is the unity of beauty and enrichment in the situation. Beauty is a kind of beauty that is difficult to describe, just like "the invisible sound of elephants", like "antelope hanging horn, no trace to find." If the visual image is not handled well, it will flow into emptiness; however, Chen Zhongzhou dialectically understands the relationship between "great beauty is silent and full is called beauty", and successfully unifies the visual factors such as the broad situation, the long situation and the quality of the elephant. In particular, in his banner masterpiece, the amplitude composition is full, but the towering mountains show a great sense of body weight and endless sense of space under the foil of Mang Lin Yushu and Yunyunquan. Ancient times The lack of painting preferred by the literati painters has disappeared, and the long inscriptions, which rely on literary language to expand the painting environment, have been omitted, leaving only the meticulous and meticulous structure of Zhongshan Stone changing in obscurity, but only the meticulous dense forest of pens and pens in space; it is only thick and light, if the clouds are scattered, and the idealized mountains and rivers of time and time jump, but it seems to be filled with the reality of the visual details. Careful study, we can find that in order to achieve this viewing effect, Chen Zhongzhou has handled the relationship between quality and potential, far and near, "looking at the small with the big" and "seeing the big from the small".

     陈忠洲的山水画第三个引人瞩目之处，是擅长于以古法变我法，在法度谨严中求法外之法的机趣天然。所谓古法，但实际上包含两个方面，一是古人笔墨语言中反映出来的中国山水画艺术表现的普遍规律，比如它必须服从于概括而又意味的提炼物象，也必须服从于生动而有效的传达国家的性情，还必须以尽可能多样的对立统一因素表达相对立的笔墨之美。二是符合上述艺术表现规律又具有个人特色的构成方式。对普遍而言，它是世代画家参悟累积而来，不下一番深思苦练的功夫，就不知其好，更说不上得心应手。对个性方式而言，它则是每一个画家竭尽心力的艺术创造，是其自成风格的标志，不去透彻分析就学不到创造个人笔墨风格的经验。

     The third remarkable thing about Chen Zhongzhou's landscape painting is that he is good at changing our method with the ancient law and seeking out the law outside the law in the preciseness of the law. The so-called ancient law, but in fact, contains two aspects, one is the general law of the artistic expression of Chinese landscape painting reflected in the ancient pen and ink language, such as it must be subject to the general and meaningful extraction of the image, must also be obedient to the vivid and effective transmission of the temperament of the country, but also must express the opposite beauty of pen and ink with as many factors as possible of unity of opposites. The second is in line with the above law of artistic expression and has personal characteristics of the composition. Generally speaking, it is the accumulation of the understanding of generations of painters. Come on, without a little thought and hard work, you don't know it's good, let alone be handy. As far as personality is concerned, it is the artistic creation of every painter, is the symbol of his own style, and can not learn the experience of creating personal pen and ink style without thorough analysis.

联系方式：18776747733 黄女士
Contact information: Ms. Huang, 18776747733