{{sindex}}/{{bigImglist.length}}

美博美术馆 | 朱国荣：由形生势——贝家骧的马系列创作

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

朱国荣：由形生势——贝家骧的马系列创作

From Form to Effect

-- BEI JIA XIANG’s Series of works on Horses

By ZHU GUO RONG

贝家骧喜欢画马，由来已久，算起来已有近20年的时间了。马是一种有灵性的动物，在中外艺术史上，马一直是艺术家乐于描绘的对象，落笔点大都着意于马的外在的俊美与内在的忠诚，在中国绘画中更带有一层事业发达的象征意义。不过，贝家骧画奔马，却是着眼于马的勇猛与快捷，意在表现马的雄性、强健的体格与恢弘的气势。他的立意显然与其他艺术家的画马在审美趣味上是迥然不同的。

Over the past 20 years, BEI Jiaxiang has always loved painting horses. Being a spiritual animal, the horse is one of the favorites among artists all over the world, and it’s a symbol of prosperity, especially in China. Many were focused on its beauty and loyalty, however, BEI Jiaxiang keeps his eye on its fearlessness and rapidness, trying to describe its masculinity, strength, and magnificence, his aesthetic taste in this regard is completely different from the others.

贝家骧，同心，布面油画，153x158cm，2017 BeiJia Xiang,Heart by Heart, oil on canvas

贝家骧画中的“势”与齐白石所谓的“似与不似”中的“似”显然是两回事。那“似”指的是与表现对象形象上的“象”，而这“势”是指对画面整体气氛的散发，也就是气场。贝家骧是一位善于由形而生发动势的画家，他在“意象”上的追求，实际上是重在抒发自身内在的激情，通过外在的“势”来表现物象的精神。

The effect in BEI Jiaxiang's artwork is different from QI Baishi’s philosophical notion of ‘between likeness and unlikeness’. The ‘likeness’ refers to ‘similar in form or appearance’, however, the effect refers to the overall atmosphere of the work. BEI Jiaxiang is good at bringing out magnificent effects from the appearance. For him, Yi Xiang is about expressing what he is passionate about and describing the essence of things through Shi.

最近看到贝家骧在新创作的一批“奔马”作品，感觉与他前两年的同类题材作品又有了很大的变化。细细观赏研究之后，发现有三个方面的变化。

Carefully studying his recent works, I found the horses are different from the ones he painted two years ago, especially in three aspects:

贝家骧，惊尘，布面油画，108x108cm，2017

BeiJia Xiang,Dusty, oil on canvas

一是强调了色彩的表现力。让阳光照进来，为奔马披上了一层绚丽的光色，于是乎马匹的受光与背光由过去的同类色的素描关系转换成了冷暖色的对比关系，色彩的感染力顿时迸发出来。马背上的骑士在内容上已不具有任何意义，他们只是画面中几个漂亮的色块，几种流动的色彩，却是将画面的色彩调动得躁动兴奋起来。

The first one is about color. A ray of light shining on the running horses, the horseback was made with cold and warm colors instead of the sketch he used before, bringing out the appealing effect of the color. The riders on horseback were made with a few color blocks without any specific form but made the whole painting more vibrant.

二是画面由平面转向立体，这是由光影的引入而引起画面整体效果的改变。贝家骧深知光影的加入对于形的塑造十分有利，而且能够将形的体积感表现得十分饱满。带有聚光性的光影使得马的形体凸显于画中，对马头寥寥数笔的刻画又将马的神情表现得生动至极。

The second is the change from 2D to 3D, which was achieved by arranging light and shadow. With a deep understanding in this regard, BEI Jiaxiang is good at shaping and fully presenting 3D effects; The light and shadow, like a spotlight, successfully make the horses stand out. A few brushstrokes made the horseheads extremely vivid.

贝家骧，西风烈，布面油画，153x158cm，2017

BeiJia Xiang,Fierce West Wind, oil on canvas

可以看出，贝家骧在这批新作中用大写意的手法来回归写实的画风，致使群马腾跃之势扑面而来。《西风烈》是这批新作中非常精彩的一件作品，在看似一片激荡奔放的抽象图形中却又依稀可以看到几个隐隐约约的马头，也许是作为“意象”的一种提示。

We can see that BEI Jiaxiang used free-hand style in realistic paintings, allowing the horses to prance and surge along vigorously. Fierce West Wind is a very exciting work among his new works, a few blurry horseheads in passionate and freed-up abstract graphics are a sign of Yi Xiang.

三是奔马背景的天地合一。在贝家骧过去的作品中，奔马的背景还是似有天地之分。但是在新作中已是完全摆脱了这个习惯性的或者说是下意识的思维，他将背景作为一个整体来处理，粗犷奔放的笔触吞噬着周围的空间，上下搅动，浑然一体，由此将奔马的动势活脱脱地衬托了出来，有效地扩展了画面的气场。

The third is the reunion of heaven and earth in the background. There were heaven and earth in the background in his previous works, but now he completely jumped out of the automatic thoughts and made the background as a whole. The rough and freed-up style extended to the surroundings and integrated other parts, perfectly showing the vitality and energy of horses.

贝家骧，马语010，布面油画，91x73cm，2017

BeiJia Xiang,Horse-talking010, oil on canvas

贝家骧，马语008，布面油画，91x73cm，2017

BeiJia Xiang,Horse-talking008, oil on canvas

最近他又画了一批没有骑手的马，它们沐浴在光色之中，奔腾雄健，野性十足。从它们身上，我仿佛看到了画家的影子，如果没有一个远大的志向，没有不折不饶的毅力和充沛的精力是呼之不出这样震撼人心的马图的，这批作品透露出了贝家骧旺盛的处于高峰期的创作状态。

Recently he painted a number of horses without riders, the horses are prancing in the light, full of strength and wildness. I can see that these works were made at the height of his creative powers, as well as his great ambition, perseverance, and energy.

摘自朱国荣《谈贝家骧的“意象”油画》

Extracted from Oil Paintings in Yi Xiang Art Style by Zhu Guo Rong

贝家骧

1953年出生于上海，1976年毕业于上海师范大学艺术系，1984年自中央美术学院第一期研修班毕业，于1984至1991年间于上海师范大学美术系任副教授，1991年移居澳大利亚。

任教上海师范大学期间，其油画代表作品《昨天、今天、明天》获得第六届全国美展优秀作品奖和上海市文联评选“1984-1985油画作品”一等奖，消息刊载于当时《光明日报》的头版。因真实反映了“文革”后大批失学青年如饥似渴的强烈求知欲望，这件作品也成为一代青年的集体象征，并于2021年作为《美术》杂志封面再次出现在大众视野中。

1991年，贝家骧移居澳洲，其后近两年的时间里，他频繁进出墨尔本博物馆临摹学习，并专注于思索将中国传统文人画精神注入西方当代油画的创作中，为当代油画赋予新的精神与内涵。其间，作品曾荣获澳大利亚罗贝尔美术展油画金奖，坎贝尔美术展优秀奖等。

时至今日，贝家骧虽有长达二十余年旅居澳洲的异域经历，然而其艺术创作始终扎根于中国海派的文化厚土。近年来，他以其油画创作：“奔马”“老上海”“色界”“戏曲人物”“沪语”“扇子”“水墨戏曲人物”等多个系列作品惊艳画坛。作品多次被澳洲、美国、日本、韩国、中国（上海、台湾、香港）等多国画廊机构代理，先后在日本、韩国、中国举办个展，并被澳大利亚电讯公司、中国美术馆、上海美术馆等多家艺术机构、画廊、私人藏家等广泛收藏。

BEI Jiaxiang was born in Shanghai in 1953 and graduated from the school of art of Shanghai Normal University in 1976. In 1984, he finished his study at the first advanced oil painting training course organized by the Central Academy of Fine Arts and became an Associate Professor until 1991, after that he moved to Australia.

During his work at Shanghai Normal University, one of his artworks Yesterday·Today·Tomorrow won the Excellence Awards at the 6^th National Arts Exhibition and the 1^st Prize among oil paintings made between 1984 and 1985 in an art competition organized by Shanghai Literature and Arts Association. This work was then published on the front page of Guangming Daily as it highly illustrated the hunger for knowledge of a whole generation of young people dropped out of school during the Cultural Revolution. In 2021, on the cover of Art Magazine, this work was appeared again in the eyes of the world.

In 1991, he went to Australia and spent 2 years in Melbourne Museum to learn and imitate the world’s best artworks, and started to look for a way to bring new implication to western oil paintings by adding spirit of Chinese traditional paintings. During that period, his works were rewarded Gold Award at Australia Robert Art Exhibition and Excellence Awards at Campbell Art Exhibition, etc.

However, after more than 20 years of experience in Australia, we can see that BEI Jiaxiang’s art is still deeply rooted in the regional culture of Shanghai. In recent years, he created a number of amazing works including Running Horses, Old Shanghai, Shikumen (a traditional Shanghainese architectural style combining Western and Chinese elements), Chinese Operas, Shanghainese Dialect, Fans, Ballet and Ink Wash Paintings on Characters from Chinese Operas, etc. His works are now operated by galleries from Australia, USA, Japan, Korea, China (Shanghai, Taiwan and Hongkong) and widely collected by Australian Telecommunications Corporation, National Art Museum of China, Shanghai Art Museum, as well as private collectors, and he successfully organized art exhibitions in Japan, Korea and Shanghai.