加精 朱晏墨烟云画法视频及图文解析

快笔抓气势,慢笔找韵味

Capture the Ch'i and Structure with fast brushstrokes,

Look for Rhythm and Nuances with slow brushstrokes

--晏墨烟云画法浅析

李晓晖


- An analyses of Zhu Yanmo's Painting Style

Henry Li


2012年朱晏墨老师的个人画展在网上网下隆重举行,因我身在美国,又忙于给老外学生授课,所以没有能及时参与此一盛会,非常遗憾!

Last year(2011) when Mr Zhu Yanmo held a solo exhibition at Mt Wudang and online. It was very regrettable that I was unable to participate because I was too busy teaching a summer class on Chinese brush painting in the USA. Now I have had chance to browse through Mr Zhu's exhibition archives and read all the comments and critiques. It is really a feast to the eyes but also a lot of feelings.





朱晏墨工作室一角


刚在中国画论坛上又浏览了一遍朱老师的展品及诸位画友的观后感及评论,真是大饱眼福也感触颇多。我自从2007年加入论坛以来就一直很关注朱老师的人及画,见证了他在论坛上广收博纳,虚心接受他人批评和建议,同时又尊重自己的个性风格,终于修得正果的全过程。日前,朱老师在中国画论坛开课,将他多年来钻研山水画的经验毫无保留地教给大家。这样的好老师现在到哪里还找得到?所以我也借此机会,将我最近跟朱老师学习的一些心得以及对朱晏墨作品的认识跟大家分享。

Since joining ZGHLT in 2007 I have witnessed the growing process of master Zhu Yanmo both artistically and mentally through his paintings. His self taught method began by generously sharing his artworks online and learning from critiques and comments from other people with a humble attitude, while maintaining his unique style with a strong personality. His artistic achievement today results from his personal cultivation over the years. I have great respect to my teacher Zhu Yanmo when he opened a forum and taught all his experiences and techniques to his students without any reservation. He is a generous teacher which is hard to find these days. Here I would like to share with you what I have learned from him and my understanding of his paintings.




黄山雨后更迷离 Mount Huang after the rain 朱晏墨Zhu Yanmo 68X68cm 纸本Chinese art paper 2014


我原籍是南京人,对傅抱石所创的金陵画派非常熟悉。我学画时,傅先生虽已走了,但我有幸认识很多傅派金陵画家,如黄纯尧先生是傅先生的助教我的启蒙老师,还有学傅先生几可乱真的武霖生先生,才气横溢的亚明先生,从传统里打出来的宋文治大师等。朱老师的山水画法虽然取法于傅先生,但跟傅家山及其画派的画家在风格上有很大的不同,而正是这种不同才令我耳目一新。

Firstly,  I was born in Nanjing, here I studied Chinese landscape painting.  A few years previously Master Fu Baoshi had pasted away in Nanjing,  however I was fortunate enough to study under several of his associate artists. Professor Huang Chunyao, was Professor Fu's TA (teaching assistant) in art history and my first landscape teacher. I also learned from many other local artists including Ya Ming and Sun Wenzhi, both are masters of the Nanjing school of landscape painting founded by Fu Baoshi. So I am very familiar with the  the Fu Baoshi style landscape painting.

Zhu Yanmo's painting is often considered to be a  follower of Fu Baoshi style, who was the founder of the Nanjing School landscape painting. In my view, although Mr Zhu Yanmo's landscape painting is strongly influenced by Fu Baoshi, his style has significant differences from Fu Baoshi and the other Nanjing school landscape painters. It is this difference that refreshed my interest in Fu Baoshi style painting.




千山云起Climbing cloud of Qianshan mountains 朱晏墨Zhu Yanmo 50cmX50cm 纸本Chinese art paper 2015


朱老师的山水画咋一看很像傅抱石金刚坡时期的风格,但是在画法上最大的不同就是傅抱石重湿染,尤其是多次积染,而朱老师则是基本上不染。我们在朱晏墨画里所看到的水墨淋漓效果是用“破墨”与“拖泥带水”法在元书或皮纸上直接画出来的。这类纸的特点是半生半熟,水墨画在纸上渗化比较慢。朱老师用破笔、破墨法,使水、墨相互参破而产生了一种虚无缥缈的云雾的效果。朱晏墨的干画法将破笔、破墨法进行到底,云雾可以出现在前景最实的地方,达到了一种虚实相间,有无相生的境界。

The differences between Fu Baoshi and Mr Zhu begin with their painting methods. Fu Baoshi heavily rely on wet wash, multiple ink and color washes on absorbent mulberry or rice paper, but Zhu Yanmo never does wet washing. The running ink and water effect that we see in his paintings are generated by "broken-ink" or "water wash before ink dry" methods on Yuanshu bamboo paper or dragon-cloud mulberry paper. The characteristics of these semi-sized papers allows the ink and water to smear slowly. Mr Zhu applies split brush, loaded with different tones of ink, to let ink and water interact with each other on the paper, so to produce the illusory and ethereal misty effects. Mr Zhu's direct painting method is less clearly defined than in the proceeding, so his clouds and mists often appear withi
n the strokes of trees and rocks in the foregrounds, so real as if the viewer could grab them but they are also shapeless. His painting has reached the state where solid and void, or being and non-being create each other.



临渊探幽 An orchid in the valley 朱晏墨Zhu Yanmo 63X33cm 纸本Chinese art paper 2016


傅抱石和很多画家的写生习惯不同。傅抱石常常是只看不画,或者只是简略地画几根线条的速写以帮助记忆,他把饱览沃看的大好河山,全部印在自己的记忆中,“早上速写、晚上创作”。朱晏墨的画很重视室外写生,搜尽奇峰打草稿,乃至写生就是创作,创作又不外乎自然。傅抱石后期的写生创作源于生活又高于生活,将浪漫主义与现实主义完美结合,反映其所处的时代精神。而朱晏墨的画以现实的自然现象为师,澄怀观道,反映的是心灵与自然的共鸣。


Fu Baoshi had a very different plein air painting habit from many other painters. Fu Baoshi would just look but not paint, or just draw a few lines, only briefly sketch to help him remember. The beautiful mountains and rivers that he had traveled and visited are all printed in his mind. His work was usually "created in the evening from sketch in the morning".  Zhu Yanmo draws heavily upon outdoor sketching, in search of inspiration from numerous mountains. His sketch is creation, a reflection of  nature.  In his later years Fu Baoshi created his landscape paintings ba-x-sed on his life sketching experience. They are the perfect combination of realism and romanticism, reflecting the spirit of his times. Zhu Yanmo's paintings are drawn directly from the real natural phenomena, this is his teacher. The resulting creations demonstrate the resonance between his heart and nature "clearing his mind to realize the Tao".




顺水顺风Sail with the water, fly with the wind 朱晏墨Zhu Yanmo 90X60cm 纸本Chinese art paper 2015


画如其人,傅抱石属于豪放的文人,几乎无酒不画,醉后往往有佳作,很少当众挥毫,在画面的意境表现上经常呈现出放浪不羁、震慑人心的风格;而朱晏墨则年纪轻轻便深入佛道,滴酒不沾,以书画艺术作为修行的法门,即使身处闹市也能心如止水,挥洒自如,虽然用笔威猛,画面的意境表现上却趋于恬淡、静谧一类的风格。

Painting reflects the artists personality. Fu Baoshi belongs to the uninhibited literati artist. Fu is known as a drunk painter. He would not paint without alcohol and he even had a mood seal saying "often after drunk". That was probably why he would not paint in front of public. Fu Baoshi's style is kind of wanton and unrestrained, which has a great impact on people's heart. Mr. Zhu Yanmo is a young artist who is committed to the ways of Buddhism, takes Chinese painting and calligraphy art as a practice of the Dharma, does not drink at all!  He can paint in a noisy market while maintaining inner peace like still water. Although, it seems Zhu does his paintings in a free-style with powerful strokes, his end painting tends to be tranquil and a quiet, peaceful kind of style.




壮游长江 Grand tour 朱晏墨Zhu Yanmo 50cmX50cm 纸本Chinese art paper 2015


朱晏墨老师作画的过程基本分为“快笔抓气势,慢笔找韵味”这样两部分。即先开拓画面,然后整合画面。开拓中运笔很快,因为只有在速度中才更能表现出万物并作的气势;整合中运笔逐渐缓慢,也许只有慢慢的才更能理解到意象的韵味,而最终体现出那种人生修养的境界。朱晏墨老师认为我们画山水画的目的在于“学习符合自然法则的技艺,创造体现人生精神境界的作品”。在学习晏墨烟云一段时间后,更使我深刻地体会到,学习绘画必须得内外双修,一方面从老师的作品中学习符合于自然法则的表现手法,而对于内在的精神境界更需要自己去深入修炼。

谢谢朱老师的指点,我当继续努力探索烟云山水,将祖国的文化精华向全世界传播!

Mr Zhu's painting process is composed of "Capture the Ch'i and Structure with fast brushstrokes, look for Rhythm and Nuances with slow brushstrokes" two phases. That is, first opening a painting with bold strokes, and then harmonize it. In the starting phase, he paints very fast, because only with certain speed-painting one can catch the momentum of ten thousand things; in the ending phase, his brush speed slows down, because only in slow painting one can understand the charm or savor the flavor of the imagery. The ultimate goal of painting reflects one's accomplishment of life cultivation. Mr Zhu Yanmo says that to the purpose of landscape painting is "to learn techniques that follow the laws of nature, and create artworks that express the spiritual realm of humanity". Having learned with Mr Zhu Yanmo for a period of time myself, I come to realize more deeply now that learning Chinese painting has to do with both inner and outer trainings: On the one hand we learn from our teacher certain painting methods that conform to the laws of nature; on the other, we need to cultivate our own spiritual realm deep in the heart.

Thank to all Mr Zhu's help over the years and I will continue to strive to explore the mist and cloud landscape painting, to spread the Chinese cultural essence around the world.

Thank to all Mr Zhu's help over the years and I will continue to strive to explore the mist and cloud landscape painting, to spread the Chinese cultural essence around the world.





朱晏墨艺术简介

朱晏墨,1970生于山西,居于北京宋庄。绘画取法于张大千与傅抱石大师;书法取法于泰山石刻和弘一大师;艺术修养得益于自然造化及圣贤思想。形成了独特的笔墨语言与画境,确立了自由信笔画法,画面呈现出烟云满纸的效果,业界誉为“晏墨烟云”。其独特的表现手法,近年来深受收藏界瞩目。





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