午后的陽光打進(jìn)教室,溫暖地照射在一個(gè)手拿琴譜的女孩身上。女孩靜靜地坐著,我們似乎能聽到她背后有輕柔舒緩的音樂,也似乎能看到她腦海中放飛的思緒。 　　這是著名畫家王力克的油畫《鋼琴課?如歌的行板》。這幅作品代表了他這一時(shí)期油畫的特征,對(duì)人物造型的精雕細(xì)琢以及對(duì)人物精神、情緒的細(xì)膩表達(dá)。
　　
　　天資與勤奮并舉的藝術(shù)旅程
　　王力克,祖籍河北巨鹿,生于山東威海,現(xiàn)為山東藝術(shù)學(xué)院副院長、教授、碩士研究生導(dǎo)師。系中國美術(shù)家協(xié)會(huì)會(huì)員、山東美術(shù)家協(xié)會(huì)副主席、山東油畫學(xué)會(huì)副主席。
　　王力克出生于上世紀(jì)60年代。顯然,那是個(gè)對(duì)藝術(shù)缺乏認(rèn)知和尊重的時(shí)代,但王力克自小酷愛畫畫,在這一方面表現(xiàn)出了異于常人的個(gè)人稟賦。少年時(shí)期幾次偶然的機(jī)遇,王力克接觸到了一批革命歷史題材的宣傳畫,其中一幅名為《延河邊上》的油畫,深深觸動(dòng)了王力克。
　　上高中后,王力克無意中在學(xué)校的圖書館里發(fā)現(xiàn)了一本《藝術(shù)與探索》,其中一章介紹了畫家鐘涵創(chuàng)作《延河邊上》的背景和構(gòu)思過程,成了王力克藝術(shù)生涯最初和最重要的啟蒙。
　　十幾年后,鐘涵先生成了王力克在中央美術(shù)學(xué)院學(xué)習(xí)時(shí)的老師。
　　1979年,王力克如愿以償踏入山東藝術(shù)學(xué)院油畫系,開始了扎實(shí)的學(xué)院技藝積累。畢業(yè)那一年,王力克的畢業(yè)創(chuàng)作選擇了革命歷史題材,作品取名《交通站》,完成后很快被中國美術(shù)館收藏。1994年,該作品還被收入到了《光輝的歷程――中國革命歷史美術(shù)精品集》中。這證明了這一作品在中國現(xiàn)當(dāng)代革命歷史題材油畫中占有重要位置。1984年,王力克的新作品《追趕春天的人》入選第六屆全國美展,那時(shí),鋒芒初露的他年僅24歲。
　　1983年,王力克留校任教。1989年,他考入了中央美術(shù)學(xué)院油畫系創(chuàng)作研修班。
　　中央美院的這段時(shí)光,在王力克的學(xué)習(xí)生涯中留下了重要的注腳,“他們使我對(duì)傳統(tǒng)繪畫有了更深的理解,同時(shí)對(duì)現(xiàn)代繪畫也有了新的認(rèn)識(shí)�！�
　　也就在這一年,王力克的油畫《雀巢》在第七屆全國美展中獲銀獎(jiǎng),被中國美術(shù)館收藏。同時(shí),他的連環(huán)畫《雪國》也獲得了銅獎(jiǎng)。在一屆美展中獲得兩個(gè)獎(jiǎng)項(xiàng)的畫家并不多見,他的作品開始引起國內(nèi)畫壇和收藏界的關(guān)注。
　　
　　秩序與自由的和諧統(tǒng)一
　　上世紀(jì)90年代,中國的油畫藝術(shù)進(jìn)入了一個(gè)新的時(shí)期,藝術(shù)形式日趨豐富多樣,各種藝術(shù)主張和流派開始出現(xiàn)。中國的油畫家何去何從?當(dāng)很多人選擇表現(xiàn)主義和抽象主義藝術(shù)語言的時(shí)候,王力克堅(jiān)定地選擇了寫實(shí)主義的藝術(shù)道路。
　　“寫實(shí)與我生活的時(shí)代有關(guān),也與我的性格有關(guān)。可以說,選擇寫實(shí)是一種必然�！蓖趿�克說。與很多寫實(shí)畫家主攻一種題材不同,王力克的寫實(shí)繪畫題材極為豐富,人物、風(fēng)景、靜物皆能在他的筆下展現(xiàn)出特有的風(fēng)采。
　　近年來,很多美術(shù)評(píng)論家在評(píng)論王力克的繪畫時(shí),不約而同地要提到一個(gè)詞,那就是“秩序”,而這也是王力克在創(chuàng)作實(shí)踐中竭力鋪陳和貫徹的藝術(shù)主張。
　　王力克認(rèn)為繪畫存在的目的在于交流,任何繪畫都不能離開理性而能夠達(dá)到交流的目的。因此,毫無邏輯的表現(xiàn)是沒有意義的。
　　王力克重視創(chuàng)作實(shí)踐,同時(shí)他又從事著美術(shù)教育職業(yè),因此所談到的邏輯、理性等概念,既包含著豐富的創(chuàng)作經(jīng)驗(yàn),也滲透著他對(duì)古今中外繪畫史的深入思考和透徹了解。
　　他談到,只有在滿足人的視覺快感的基礎(chǔ)上,藝術(shù)家才能去張揚(yáng)個(gè)性,而達(dá)到這一條件背后的東西就是“秩序”。
　　正是基于這樣的思考,2005年,王力克發(fā)表了論文《繪畫中的自由與秩序》,正式提出了繪畫中自由和秩序的關(guān)系問題。2008年,王力克又出版了專著《繪畫與秩序》,對(duì)繪畫秩序問題進(jìn)行了更為系統(tǒng)的闡述。
　　在王力克的代表作《雀巢》中,我們不難看出,這幅作品向我們傳達(dá)的就是一種“諸要素之間和諧美妙的秩序關(guān)系”。
　　《雀巢》之后,從《斜陽》、《紅果》到《鋼琴課?如歌的行板》、《清茶》等等,我們都可以看到王力克總在不經(jīng)意間詮釋著作品內(nèi)在的“秩序和自由的統(tǒng)一”。
　　
　　東方人的寧靜家園
　　在中央美術(shù)學(xué)院完成進(jìn)修后,王力克隨即前往前蘇聯(lián)、東歐訪學(xué)。在半年多的時(shí)間里,王力克走訪了各地的博物館、美術(shù)館,汲取了大量的西方繪畫營養(yǎng)。
　　在拜訪名家、瀏覽名畫的過程中,王力克被他們濃郁的民族精神所震撼�！白鳛橹袊�的油畫家,我們?cè)撟呤裁绰纷?體現(xiàn)什么精神?”他陷入了長時(shí)間的思索。
　　1994年,王力克選擇了一張名為《老家》的大幅油畫參加全國美展,獲得優(yōu)秀獎(jiǎng)。從這幅作品開始,王力克對(duì)作品精神的探索進(jìn)入了一個(gè)新的階段。
　　梳理王力克的作品,我們不難發(fā)現(xiàn),無論是人物畫還是風(fēng)景畫,都離不開一個(gè)“靜”字。畫面中的人往往靜如止水,畫面中的湖往往風(fēng)平浪靜,畫面中的樹往往枝不搖、葉不動(dòng)。這種靜,給人一種超然物外的美好想象和超凡脫俗的高貴品質(zhì)感覺。
　　從《雀巢》靜坐在窗前的女子,到《鋼琴課》手拿琴譜的學(xué)生,再到《金色的湖》上一家人靜坐在淺灣的船上,在王力克這些作品前駐足,似乎總會(huì)被那陳年醇酒一樣悠長含蓄、寧靜曠遠(yuǎn)的藝術(shù)情懷和濃濃詩意所感動(dòng)。
　　王力克說,我也曾問過自己,到底是什么東西吸引我去創(chuàng)作這樣的作品、營造這樣的情景?我想,是東方人獨(dú)具的一種精神氣質(zhì)。繪畫一定與精神有關(guān),東方人的含蓄、寧靜、質(zhì)樸以及心地的純凈深深感動(dòng)了我。
　　采訪王力克的過程中,筆者感覺到,這種以靜制動(dòng)的精神氣質(zhì),絕非刻意為之。生活中的王力克天性溫和,不事張揚(yáng),盡管身居藝術(shù)學(xué)院副院長之位,需要從事繁雜的行政工作,但他依然能夠沉下心來,從事自己心愛的油畫事業(yè)。“無論什么情況,只要一回到畫室,我的創(chuàng)作欲望馬上就會(huì)燃燒起來。”
　　
　　With Julu in Hebei Province as his ancestral home, Wang Like was born in Weihai, Shandong Province. Presently, he holds several positions as the vice president, professor, and tutor of graduate students, in Shandong Art Academy. And he is also a member of the Chinese Artists Association, vice chairman of Shandong Artists Association and vice chairman of Shandong Oil Painting Association.
　　Wang Like was born in the 1960s, an era when people suffered from a lack of cognition and respect for art. But he ardently loved painting from a young age, and showed extraordinary talent. On several occasional opportunities in his youth, Wang Like happened to see some paintings for propaganda themed at revolution and history, among which an oil painting named On the Banks of Yanhe River, touched him greatly.
　　In his senior high school, Wang Like found a book named Art and Research by chance in the school library. In one chapter it introduced the background and drafting process of the painter Zhong Han (an artist born in 1929), for creating the work On the Banks of Yanhe River, which has become the primary and most important enlightenment for Wang Like in his artistic career.
　　More than a decade later, Mr. Zhong Han became his teacher when Wang Like studied in China’s Central Academy of Fine Arts.
　　In 1979, Wang Like realized his wish to be admitted to Shandong Arts Academy, choosing oil painting as his major. Since then, he began to solidly accumulate academic painting skills. On his graduating year, Wang Like chose the theme of revolution and history as his graduation piece which was named Traffic Station, and was immediately collected by the National Art Museum of China after its completion. In 1994, this piece was also included in the collection A Lustrous Journey―Fine Arts Collections of China’s Revolution and History, which testified to its position of great significance among China’s contemporary and modern oil paintings themed at revolution and history. In 1984, A Man’s Pursuit for Spring, a new piece of Wang Like, was selected in the 6th National Exhibition of Fine Arts. At that time, Wang Like, first showing his talents, was only 24 years old.
　　In 1983, Wang Like stayed at his university to teach. In 1989, he got his entrance to the research and study class in oil painting at China’s Central Academy of Fine Arts (CCAFA).
　　The time he spent in the CCAFA, is of milestone significance for Wang Like’s study. “They helped me to gain a deeper comprehension of traditional paintings and to get a new understanding of modern painting”, said Wang Like.
　　In the same year, Que Chao, an oil painting by Wang Like, won the Silver Prize at the 7th National Exhibition of Art in China, and was collected by the National Art Museum of China. At the same time, his comic strip Snow Country won the bronze prize. It is rare for a painter to win two prizes at the same exhibition. Therefore, his works began to draw attention of people from the painting and collection fields.

相關(guān)熱詞搜索：繪畫 精神 王力 王力克:繪畫一定與精神有關(guān) 有關(guān)雷峰精神的繪畫 王力克及其繪畫