【藏品名稱】：趙望云，土原的春
[collection name]: Zhao Wangyun, spring of tuyuan
【藏品類別】：字畫
[collection type]: calligraphy and painting
“我是鄉間人，畫自己身歷其境的景物，在我感到是一種生活上的責任，我要以這種神圣的責任，作為終生生命之寄托。”
——趙望云
【藏品簡介】：趙望云（1906-1977），原名新國，河北束鹿人。1933年深入冀南十余縣作農村生活寫生，作品在《大公報》專欄連載。1934-1936年又沿長城日軍占領區至塞外、魯西黃泛區等進行農村生活寫生，從此趙望云以平民畫家聞名。1941年，趙望云開始系統地鉆研中國畫的傳統技法，繼而旅行西北，繪畫題材逐漸由農民轉向西北的自然山川和農村風物。翌年定居西安，收授黃胄、方濟眾、徐庶之等學生，逐漸成為西北畫家群的核心人物。晚年堅持以西北為生活基地，中國畫技巧日趨成熟。經過艱苦的探索，形成了具有鮮明時代特色和西北地方特色的長安畫派。趙望云的畫風自然質樸，筆力蒼厚，注重生活氣息，擅從平淡的農家生活中發現意味雋永的畫面。他以農村寫生為代表的前期作品，在開創中國國反映現實生活新風氣方面的先驅作用和后期對于長安畫派的奠基性貢獻，在現代中國畫發展史上占有一定地位。
[introduction to the collection]: Zhao Wangyun (1906-1977), formerly known as Xinguo, was born in Shulu, Hebei Province. In 1933, he went deep into more than ten counties in Southern Hebei to sketch rural life, and his works were serialized in the column of Ta Kung Pao. From 1934 to 1936, he sketched rural life along the Great Wall, the Japanese occupied area to the outside of the great wall and the Yellow flood area in western Shandong. From then on, Zhao Wangyun became famous as a civilian painter. In 1941, Zhao Wangyun began to systematically study the traditional techniques of Chinese painting, and then traveled to the northwest. The painting theme gradually shifted from farmers to the natural mountains and rivers and rural scenery in the northwest. The following year, he settled in Xi'an and received students such as Huang Zhou, Fang Jizhong and Xu Shuzhi. He gradually became the core figure of the northwest painter group. In his later years, he insisted on taking the northwest as the living base, and the skills of Chinese painting became more and more mature. After hard exploration, Chang'an painting school with distinctive characteristics of the times and northwest local characteristics has been formed. Zhao Wangyun's painting style is natural and simple, his pen is thick, pays attention to the breath of life, and is good at finding meaningful pictures from the plain farm life. His early works, represented by rural sketching, played a pioneering role in creating a new atmosphere of reflecting real life in China and made a foundational contribution to Chang'an painting school in the later stage, occupying a certain position in the development history of modern Chinese painting.
趙望云是20世紀中國畫由古典形態向現代形態轉型時期的杰出革新派畫家，，他在新文化的影響下，確定了從事國畫的改造志愿，堅持自己的藝術方向，以農村現狀的描寫為突破口，這也許是因為他本身來自農村的緣故。他曾經說過，“我畫農村是由于我在農村，熱愛農村景物，同情勞動生活，作為新事業開始的重要標記，我把原名趙新國改成筆名趙望云。”從此，他開始了一種別具一格的藝術道路，他選擇的不是那種田園文雅的文人氣息，而是一種農村的野逸與貧苦的現狀，農民的辛勤勞動給予了他藝術的滋養。
Zhao Wangyun is an outstanding reformist painter in the transformation period of Chinese painting from classical form to modern form in the 20th century. Under the influence of the new culture, he determined to engage in the transformation of traditional Chinese painting, adhered to his artistic direction, and took the description of the current situation in rural areas as a breakthrough, perhaps because he came from rural areas. He once said, "I paint the countryside because I am in the countryside, love the rural scenery and sympathize with the working life. As an important mark of the beginning of a new career, I changed the original name Zhao Xinguo to the pseudonym Zhao Wangyun." From then on, he began a unique artistic road. What he chose was not the idyllic and elegant literati atmosphere, but the current situation of wild ease and poverty in the countryside. The hard work of farmers nourished his art.
著名畫家葉淺予看完這次展出后，稱頌西安畫家在“中國大地上開出了‘長安畫派’這一朵鮮花”，“長安畫派”是新中國成立之后最具代表性、最有特色、最具革命色彩的畫派，也是從古典形態到現代形態轉變最徹底、最具成果的一個畫派。趙望云在早期創作時就反復強調，要通過中國傳統，通過古人的繪畫去感受自己、影響自己，然后通過技巧來表達創作和生活的感受。方濟眾在紀念趙望云的文章中說：“如果說國畫從古典走向現代，從傳統走向生活是一列火車的話，這條鐵軌在上世紀40年代趙望云就把它鋪通了。”這個比喻恰到好處地表述了趙望云為“長安畫派”形成奠定的基礎和無可替代的橋梁作用。
After seeing the exhibition, the famous painter Ye Qianyu praised the artists of Xi'an for "Blossoming the flower of the 'Chang'an School of Painting' in the land of China." "Changan Painting School" is the most representative, characteristic and revolutionary painting school after the founding of New China, and it is also the most thorough and fruitful painting school that changed from classical form to modern form. Zhao Wangyun repeatedly emphasized in his early creation that he should feel and influence himself through the Chinese tradition and the paintings of the ancients, and then express his feelings of creation and life through skills. "If Chinese painting is a train from classical to modern and from tradition to life, this railway was paved by Zhao in the 1940s," Fang said in an article in memory of Zhao Wangyun. This metaphor correctly expresses Zhao Wangyun's foundation and irreplaceable bridge role for the formation of "Chang'an School of Painting"
這幅《土原的春》尺寸規格：長137.5cm，寬68.5cm，8.5平尺。
此幅作品是趙望云先生一九五九年黃河系列里的寫景時所作，平中寓險，風格雄奇，他用樹木的層次烘托出山峁的氣勢，雖然沒有描繪一塊堅硬的巖石，畫卻面依然顯得那樣蒼勁偉岸、雄渾壯闊。八百里秦川，平疇沃野，在他的筆下，刻畫得那樣豐富多彩。
趙望云先生用淡墨皴染及破鋒擦掃的黃土高原，淡而能厚，虛而能實，拙而能清，平而能奇，充分表現出了土原蓬松綿厚的質感，堪稱一絕。在現實生活中黃土高原那些“不入畫”、“難入畫”的平凡景物，在他的筆下，化平凡為神奇。保留至今品相完好，具有極高的收藏價值和升值空間！
Dimensions: Length: 137.5 cm, it is 68.5cm wide and 8.5 flat ruler.
This work was made by Mr. Zhao Wangyun when he was painting scenes in the Yellow River series in 1959. He used the layers of trees to set off the momentum of the hills. Although it does not depict a solid rock, the painting still looks so strong and powerful. Eight hundred miles of Qinchuan, Pingchou fertile wild, in his pen, the portrayal of so colorful.
Mr. Zhao Wangyun used light ink to textualize and sweep the loess plateau, which is light and thick, empty and solid, clumsy and clear, flat and strange, and fully shows the loose and thick texture of the soil, which can be called a unique. In the real life of the Loess Plateau those "not into the painting", "difficult to enter the painting" of ordinary scenery, in his pen, ordinary into magic. Retain the product phase intact, with a high collection value and appreciation space!
收藏價值：
1.從文化精神上講，他弘揚了正義與正氣。趙望云的繪畫探索，最重要的是他從勞苦大眾真實生活中發現美，歌頌勞動，贊美土地，從繪畫發展戰略上講，他開辟了新的道路，從繪畫理念上講，他開辟了一個全新的視野，他把寫生僅僅當作一種存留社會生存萬象與記錄人性的社會記錄。在中華民族偉大精神的感悟下，他把這種記錄與感悟用最平實的筆墨技法，實現著一種新的繪畫理念：面向生活，直面蒼生。這句話聽上去并不驚心動魄，但他卻為中國畫開辟了一個全新的視野，從筆墨表現上講，他創造了“樸茂”的新的審美經驗，他的這種審美體驗，源于在心靈深處有一種對土地的眷戀，這份眷戀使他的作品中每一處都充滿了對土地的贊美，包括對離土地最近的人的禮贊。
- Culturally and spiritually, he promoted justice and righteousness. Zhao Wangyun paintings of exploration, the most important thing is that he found beauty, from the toiling masses in real life to labor, land, praise from the painting development strategy, he opened up a new path, tell from the concept of painting, he has opened up a new field of vision, he left the sketch just as a kind of social survival vientiane and record human society. With the understanding of the great spirit of the Chinese nation, he realized a new painting concept: facing life and facing the people with the most plain brush and ink techniques. This sentence doesn't sound pretty impressive, but his traditional Chinese painting has opened up a new field of vision, tell from the ink performance, he created a new aesthetic experience of "sincere and honest", his this kind of aesthetic experience, from deep in the mind have a kind of sentimentally attached to land, the sentimentally attached to each of his works is full of praise for land, including land on the nearest people praise.
2.趙望云先生的探索與實踐是中國繪畫學術良心的當代體現。在藝術探索中，趙望云站在中華民族精神向度上，直面民族的生存命運，在不斷堅持探索中國繪畫傳統的同時，努力拓展筆墨的表達與表現能力，體現了筆墨為時代、筆墨為心聲的當代知識分子的責任感。從趙望云的藝術之路中我們可以看出，堅持藝術創作的獨立性是趙望云創作的基點。趙望云的繪畫探索是當代學術精神的一種象征。中國繪畫的當代學術精神并不是獨立的，而是學術精神的一種當代化。獨立、自由與探索是當代學術精神的基本面，學術精神在當代還需要有一個民族精神張揚的問題。
2. Mr. Zhao Wangyun's exploration and practice are the contemporary embodiment of the academic conscience of Chinese painting. In his artistic exploration, Zhao Wangyun stands on the spiritual dimension of the Chinese nation and faces the living destiny of the nation. While constantly adhering to the exploration of Chinese painting tradition, zhao wangyun strives to expand the expression and expression ability of brush and ink, which embodies the responsibility of contemporary intellectuals who believe that brush and ink are the era and the aspiration of brush and ink. From zhao Wangyun's artistic path we can see that adhering to the independence of artistic creation is the basic point of Zhao Wangyun's creation. Zhao Wangyun's painting exploration is a symbol of contemporary academic spirit. The contemporary academic spirit of Chinese painting is not independent, but a kind of contemporary academic spirit. Independence, freedom and exploration are the fundamentals of contemporary academic spirit, and the academic spirit also needs a publicity of national spirit.
3.趙望云先生在當代繪畫中的探索，其學術精神最明顯的表征就是強烈的民族精神性。在今天看來，這一點似乎無關痛癢，但在民族危亡之際，在漢奸、走狗盛行之際，對于一個文人，對于一個拿著畫夾和毛筆的窮苦中國畫畫家，這種精神的確立不僅純粹，而且高尚，因為他無關任何群體的利益，有的只是犧牲自己、喚醒民眾的責任意識，有的只是憑一腔熱情、用藝術救國的良知。一個人一旦有了這種精神，對藝術的探索就很難不執著、不獨立、不自由，因為他站在中華民族文化大背景之中，他身后有億萬大眾的熱盼。因此我們說，趙望云的藝術探索是一種現象，更是當代學術精神的一種象征。
3. The most obvious manifestation of Mr. Zhao Wangyun's academic spirit in his exploration of contemporary painting is his strong national spirit. Today, it seems innocuous, but by the time the national in peril, the traitors, running dogs, the prevalence of a literati, for a holding about a poor painter of Chinese painting and brush, the establishment of the spirit is not only a pure, noble, and because he has nothing to do with any interest groups, there are only sacrifice themselves, awaken people's responsibility consciousness, There is only a cavity of passion, with art to save the conscience of the country. Once a person has this spirit, it is difficult for him not to be persistent, independent and free in his artistic exploration, because he stands in the background of Chinese national culture and has the ardent expectation of hundreds of millions of people behind him. Therefore, we can say that Zhao Wangyun's artistic exploration is not only a phenomenon, but also a symbol of contemporary academic spirit.
藏家獨愛中國字畫十幾年，在字畫領域有一定的造詣，可以跟藏家進行學術交流，雙方共同學習進步，弘揚中華文化！如有意向掃描文中二維碼或電話聯系（158 9158 6640）藏家（王先生）。
Collectors have been loving Chinese calligraphy and painting for more than ten years and have certain attainments in the field of calligraphy and painting. They can conduct academic exchanges with collectors so that both sides can learn and progress together and promote Chinese culture! If you have the intention to scan the qr code in the article or contact the collector by phone (158 9158 6640) (Mr. Wang).
