睿鸷人物 仿如隔世的灵魂之花——记著名画家王俊英女士

Soul Flower
仿如隔世的灵魂之花
——记著名画家王俊英女士

  In today's art world, withered plug more beautiful, also more, but only to those rare. That said, the form changes easily, and substantial content is difficult. Literary works is having substance in speech, the words, disease in moan and groan without being ill, kittenish. Therefore, the standards required by the simple, it is to teach people to Kang Zhuang Avenue law or fundamental law, but since ancient times can comprehend the gist of it may be said is very rare. This concept of female painter Wang Junying painting, a sense of its understanding of " up to " the aesthetic standards of great depth, then make an analysis slightly, to see his achievements.
  初见王俊英其人其画,脑子里便映现出唐代杜甫诗作《丽人行》中描绘的场景:“三月三日天气新,长安水边多丽人。态浓意远淑且真,肌理细腻骨肉匀。绣罗衣裳照暮春,蹙金孔雀银麒麟……”,传统的唯美气息与古典的油画语言水乳交融,相映成趣。不言而喻,王俊英的油画创作在东方美学的意境理念与西方唯美主义思潮之间进行了一种审美沟通与彼此观照的关系营建。正因如此,她的绘画同时获得了东西方艺术爱好者的青睐。当然,这一切也得益于其长期的海外生活与内心深挚的故土眷恋之情。
  上世纪九十年代初毕业于鲁迅美术学院的王俊英有着良好的学院派绘画根底,更为重要的是形成了自己坚定的艺术理念,她并没有选择当时东北画派流行的表现主义特征强烈的乡土画风,而是另辟蹊径地将形成于西方19世纪后期的唯美主义作为了自己创作的参照物,从而义无反顾建构出自己的唯美主义风格。回顾艺术史,我们不难发现唯美主义运动第一次确立了“美”的独立价值,对20世纪的艺术产生难以估量的影响:其对感观愉悦的追求、对比喻与象征手法的应用、对造型与色彩间内在联系的探求建立起一个纯粹的“美的王国”。而这也构成了王俊英孜孜以求的绘画方法论,诚如唯美主义绘画大师布格罗所述:“只存在一种画,就是能把毫无瑕疵的美和完善呈现到人们眼前的画。”
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