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美博美术馆 | 龚云表：由心出发——贝家骧奔马系列创作中的浪漫主义审美意象

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龚云表：由心出发——贝家骧奔马系列创作中的浪漫主义审美意象

Romantic aesthetic in Bei Jiang Xiang’s Series of Works on Running Horses

By Gong Yun Biao

贝家骧的油画创作，无不从内心的感觉出发，去寻找符合自身艺术气质和浪漫个性的题材，而从不刻意为之，勉强自己。

All of BEI Jiaxiang’s works were created out of his feelings. When he chose the subject, he tended to choose those fits his aesthetic taste and romantic spirit without forcing himself.

贝家骧，马语009，布面油画，91x73cm，2017

BeiJia Xiang,Horse-talking009, oil on canvas

他对画马情有独钟。他在澳洲寓所附近有一个马场，多年来，他总会长时间在那里倾心专注马的各种姿态，熟悉马的性情。他笔下的马，在主体精神与想象能力上展现出一种被感觉的、在精神层面上的真实。可以明显感觉到他是从审美意象入手，同时吸收了当代视觉经验，呈现出他内心所感受的另一种真实。

Bei loves painting horses. In Australia, there was a racecourse near where he lived, he spent years and years looking at the postures of horses and trying to understand their characters. Spiritually speaking, the horses in his paintings are so real that they presented another kind of reality the painter experienced inside with an artistic style and contemporary vision.

贝家骧，马语005，布面油画，91x73cm，2017

BeiJia Xiang,Horse-talking005, oil on canvas

他的奔马，笔触凌厉粗放，构成饱满单纯，对马的形象只强调外轮廓的勾勒，而对细节不作细致的刻画。他所要突出表现的，是对奔马普遍性的本质表现，是驰骋奔腾中的马匹所蕴藉的精神，是画出他在内心深处所理解的马的神韵。

The running horses are made of sharp and rough brushstrokes with complete and simple composition. The horses were outlined without details as the painter tended to stand out the soul, the spirit, and the charm of running horses deep inside his heart.

贝家骧，华尔兹舞步，布面油画，91x73cm，2014

BeiJia Xiang,Waltz,oil on canvas

他在动笔之先，早已有无数的马在他胸中奔腾，而在画面上呈现的那些蹄下生风的马群，已成为蕴藉他的生命状态和浪漫情怀的一种象征和符号。在他的近作中，画面上的马已脱去了辔头鞍鞯，也没有了骑手紧勒缰绳挥鞭驾御，而任由它恣肆纵情，四蹄矫健，飞奔如风。画面因此而显得更为纯粹，意境也更得以提升，令人仿佛感受到辛弃疾词中所云“马作的卢飞快，弓如霹雳弦惊”“沙场秋点兵”的情景和气势。

Before he began to paint, a great number of horses already run in his mind, which means the horses have long been internalized and become a symbol of his living state and romantic spirit. In his recent horse paintings, he removed the bridles and riders, the horses are running wild like the wind. The painting appears more poetic with pure images, like what we can feel in an ancient Chinese poem ‘horses running and arrows thundering’, ‘in autumn, soldiers (and horses) in full combat.’

贝家骧，黑马，布面油画，153x150cm，2014

BeiJia Xiang,The Black,oil on canvas

从他创作的奔马作品，让人联想起郑板桥从“眼中之竹”到“胸中之竹”再到“手中之竹”的创作过程，印证了客观世界如何在画家的审美感知作用下达到主客互渗、情景交融的“意象”，说明了画家作画，“意象”先要在胸中酝酿成熟，方能一气呵成。

It also reminds us of the creation process of a famous Chinese painter ZHENG Banqiao, from ‘bamboo in the eyes’ to ‘bamboo in the mind’ and eventually ‘bamboo in the hands’, which explained how Yi Xiang (or emotional impression) is achieved by the interaction between the inside world and the outside world through the aesthetic appreciation of the artist.

贝家骧，奋蹄，布面油画，158x138cm，2014

BeiJia Xiang,Striving,oil on canvas

清人方薰将此概括为“意象经营”。他在《山静居画论》中说：“笔墨之妙，画者意中之妙也，故古人作画，意在笔先。”“画者意象经营，先具胸中丘壑，落笔自然神速。”此之谓也。

Yi Xiang must be created in mind before being presented in a painting, which is the ‘Yi Xiang management’ proposed by FANG Xun, an art critic in the Qing dynasty. In his book On Painting in the Quiet Mountain Studio, he explained, that the beauty of ink painting lies in the meaning. The ancients painted in mind first, that’s why when they started to paint, they painted fast.

贝家骧，风驰电掣，布面油画，153x150cm，2014

BeiJia Xiang,Lightening Speed,oil on canvas

在贝家骧的油画作品中，意象已经成为他的一种艺术品格。他讲究审美形式和画面构成的韵律和平衡，色彩营造的绮丽意境，这同样也是一种艺术品格，展示出他油画语言的华美和优雅。

Yi Xiang has become a unique art style adopted by BEI Jiaxiang, the rhythmed, balanced composition and wonderous effect achieved by color well presented his artistic appeal on gorgeous and elegant visual elements of oil painting.

——摘自龚云表《贝家骧：浪漫情怀的意象审美》

Extracted from Yi Xiang Aesthetics with Romantic Spirit by GONG Yunbiao

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.