精品推薦——江山如畫（陳忠洲）
Excellent recommendation: picturesque scenery (Chen Zhongzhou)
陳忠洲，字潤卿，號圣賢齋主人，山東昌邑人，中國當代著名書畫家。中國致公黨黨員，中國致公黨中央文化委員會副主任，致公黨北京市文化委副主任，國家一級美術師。陳忠洲被評為2013年度和諧中國特別貢獻藝術家、中國公益事業形象大使。任首都師范大學客座教授，中國致公畫院副院長，中國書法家協會會員，北京市書法家協會理事，北京市美術家協會會員，中國民間組織國際交流促進會理事，第十次全國歸僑僑眷代表大會代表，中國致公黨第十五次代表大會代表，中國廉政教育內參編委會副主任，北京新的社會階層人士聯誼會常務理事。
Chen Zhongzhou, word Runqing, master of Shengxian Zhai, Changyi, Shandong Province, famous contemporary Chinese calligraphy and painter. Member of the Zhigong Party of China, Deputy Director of the Central Cultural Committee of the Zhigong Party of China, Deputy Director of the Beijing Municipal Cultural Commission of the Zhigong Party, and artist of the first class of the state. Chen Zhongzhou was named as the special contribution artist of harmonious China and ambassador of Chinese public welfare undertakings in 2013. Visiting Professor of Capital normal University, Vice President of China Zhigong Academy of painting, Associate member of Chinese calligraphers, Director of Beijing calligraphy Association, member of Beijing artists Association, member of the Association for the Promotion of International Exchange of Chinese non-governmental organizations, Representative of the 10th National Congress of returned overseas Chinese and overseas Chinese, China Deputy to the 15th Congress of Zhigong Party, deputy director of the editorial Committee of Internal reference for Integrity Education in China, and executive director of the new Social Class Friendship Association in Beijing.
精品一覽
江山如畫（陳忠洲）
Picturesque mountains and rivers
(Chen Zhongzhou)
觀賞陳忠洲先生的山水畫，第一個引人注目之處，就是其壯美的真景似乎超越了具體時空的局限，大美的景象與崇高的精神融為一體。他的許多作品，一律以畫嶗山為主體，層巒疊嶂，云涌泉流，偶有高土小屋庭院，分明煥發著飽滿昂物的人文精神。可以想到，在陳忠洲的觀念中，絲毫沒有西方畫家的“主客兩分”，有的只是中國畫家的“亦物亦我”和“天人合一”。他無論畫“閱盡人間春色”的莽莽大山，還是畫茫茫瀚海上的崢崢古木，抑或是畫自天而落的飛流瀑布，都是深情地注入了整個民族的歷史記憶和觀實感奮，都寄寓著早已融入高山巨川大漠長河中的古老而且充滿生機的民族精神。這與他對山水畫優良傳統的繼承，有著密不可分的關系。
In view of Mr. Chen Zhongzhou's landscape painting, the first remarkable place is that the true view of the magnificent beauty seems to go beyond the limits of the specific time and space, and the great beauty is integrated with the noble spirit. Many of his works, with the paintings of the mountain as the main body, the layers of the mountain, the cloud Yongquan flow, even have the high-soil cabin courtyard, have a clear and full of the spirit of the spirit. It is conceivable that in the concept of Chen Zhongzhou, there is no "Main passenger two points" of the western painter, some of which are the "The same thing is me." and the "unity of man and man" of the Chinese painter. No matter how hard the "to read the world's spring color" is to be drawn, he is still drawing a large amount of ancient wood on the sea, or a picture. The flying waterfalls that have fallen from heaven are affectionately injected into the historical memory and excitement of the whole nation, and all embody the ancient and vibrant national spirit that has long been integrated into the mountains, rivers, and desert rivers. This is closely related to his inheritance of the fine tradition of landscape painting.
把山水作為民族生存的偉大空間和高昂精神的情感投射，正是中國山水畫早已形成的寶貴傳統。中國山水畫產生伊始，就自覺的表現著無比廣袤的精神生存空間。高明的畫家，從不滿足于僅僅描繪眼前風景，一直追求著藝術表現的咫尺千里和咫尺重深，以寄于寓宇宙意識、歷史和生命意識。對于深諳傳統奧秘的畫家而言，山水畫是人的自由旺盛的創造精神與大自然陰陽熏蒸的蓬勃生氣之一，是對屹立于歷史時空中蘊含著精神文化的生存環境的謳歌，是奔躍的生命，是可愛的鄉土，是偉大的祖國，是充滿自豪與自信的精神家園。集中體現了上述傳統的作品，是五代北宋北方畫家的全景山水。舉世聞名的范寬《溪山行旅圖》，不但至今使一個熱愛傳統者感奮不已，就是一度向西方繪畫尋找僅傳統出路的劉國松，面對此畫也不免目擊道存，產生了強烈的震撼，滋生出在精神上復歸傳統的動力。然而；這種山水畫傳統畢竟久已失落了，12世紀后文化中心南移，北方國家的銳減；元明清山水畫家心態的變化，大江以南山水的秀美，最終釀成了山水畫由雄轉秀，宏偉壯闊變成蕭散簡淡，更后則隨著摹古風的流行，秀美的山水畫進一步走上了公式化的狹路，歷代雖不乏名家，但總體上是衰落了。盡百年來，志在改革的山水畫家，為了扭轉因襲摹古的頹風，開始以科學的求真精神，變師古人為師造化，變書法化的寫意為繪畫性的寫實，變臨摹前人為對景寫生。雖然在刻畫具有時代性的人文景觀上大有收獲，但未充分顯現科學與藝術把握世界方式的差異，在構景造景上受到焦點透視處理空間的西方風景畫的影響，盡管增加了生活氣息，卻少有勢足力大的精神燦爛之作。直到改革開放的80年代；眼界的開拓，對傳統的反思，重振民族雄風的壯志，才造就了一些用復興五代北宋大山大水傳統以弘揚民族精神的畫家。這些畫家以愛鄉土愛祖國的深情，把創作扎根于鄉土生活的深處，以不同于西方人的天人觀，用講求筆墨語言的嚴謹寫實風格，創造了以北方山水真景為母題的紀念碑式的作品雄魂樸茂，氣象萬千，勢強境闊，無愧前人。在這一方面，中年畫家賈又福的《太行豐碑》早已為世人所稱道，陳忠洲則是為數不多的佼佼者。
Taking landscape as the great space of national survival and the emotional projection of high spirit is the valuable tradition of Chinese landscape painting for a long time. From the beginning of the emergence of Chinese landscape painting, it consciously showed an incomparably vast spiritual living space. Brilliant painters are never satisfied with just depicting the scenery in front of them, and have been pursuing artistic expression at hand for thousands of miles and deep at hand, in order to integrate cosmic consciousness, history and life consciousness. For painters who know the mysteries of tradition, landscape painting is one of the free and exuberant creative spirit of human beings and the vigorous vitality of the fumigation of yin and yang in nature, and it is an eulogizing of the living environment that stands in the history and time and space contains the spirit and culture. It is the life of the jump, it is a lovely country, it is the great motherland, is the spiritual home full of pride and self-confidence. It embodies the above-mentioned traditional works, and is the panoramic landscape of the Northern Song of the Northern Song Dynasty. The world-famous Fan-wide, the mountain line of the mountain, not only makes a love of the traditional one excited, that is, once to the western painting to find only the traditional way out of Liu Guansong, the face of this painting also can not help, has produced a strong shock, breeding the spiritual return to the traditional power. However, the traditional landscape painting has been lost for a long time. After the 12th century, the center of the culture has moved to the south, and the state of the north is sharply reduced; the state of the painting in the Yuan and Qing Dynasties Change, the beauty of the nanshan river, eventually led to the landscape painting from xiong to show, magnificent and magnificent into xiaosanjian light, but also with the popularity of copying the ancient style, the beautiful landscape painting further on the narrow road of formula, although there are no lack of famous, but the overall decline. In the past hundred years, landscape painters who wanted to reform, in order to reverse the decadent style of copying ancient times, began to take the scientific spirit of seeking truth, changed the ancient teachers for the creation, calligraphy for the freehand brushwork for the realistic painting, before the imitation of artificial scenes. Although there are great gains in portraying the contemporary human landscape, the differences between science and art grasp the world. In the view of the view of the landscape, the influence of the western landscape painting with the focus on the space, though the life breath is increased, has little force and great spirit. Until the 80 's of the reform and opening-up and opening-up, the development of the eye-opening, the traditional reflection and the revitalization of the nation's great ambition have made some painters who have used the great water tradition of the Great Dashan of the Northern Song Dynasty to carry forward the national spirit. The painter, with the love of the local love of the motherland, takes the creation in the deep of the local life, which is different from the view of the people and the nature of the west, and uses the strict and realistic style of the language of the pen-and-ink to create the memorial tablet with the true view of the northern landscape as the mother's theme. Thousand thousand, strong situation, worthy of the predecessor. In this respect, the middle-aged painter Jia Qiufu's ``Taihang Abundant Monument'' has long been known for the world, and Chen Zhongzhou is the few outstanding.
陳忠洲山水畫的第二個引人矚目之處，是在境象上統一了大美與充實。大美是一種很難描述的美，正像“大象無形大音稀聲”一樣，猶如“羚羊掛角，無跡可尋。”在視覺形象上處理不好就會流入空泛；然而陳忠洲卻辯證地領會了“大美無言與充實之謂美”的關系，把象雄境闊、勢長、質實等視覺因素成功地統一起來。特別他的橫幅巨作中，幅幅構圖飽滿，但見巍然聳動的群山在莽林玉樹與云涌泉奔的陪襯下顯示了巨大的體量感和無盡的空間感。古代文人畫家偏愛的無畫處不見了，靠文學語言拓開畫境的長篇題詩省略了，剩下的只是在晦明變化中山石的細密錯綜的結構，只是在空間中起伏的筆筆不茍的密林；只是時濃時淡，若聚若散的流云，還有時分時合跳躍的理想化的山水，卻仿佛置足于身經目歷而應接不暇，充滿可視細節的實景之中。仔細研究，可以發現，為達到這一觀景效果，陳忠洲別具匠心地處理了質與勢、遠與近，“以大觀小” 和“小中見大”的關系。
The second remarkable thing about Chen Zhongzhou's landscape painting is the unity of beauty and enrichment in the situation. Beauty is a kind of beauty that is difficult to describe, just like "the invisible sound of elephants", like "antelope hanging horn, no trace to find." If the visual image is not handled well, it will flow into emptiness; however, Chen Zhongzhou dialectically understands the relationship between "great beauty is silent and full is called beauty", and successfully unifies the visual factors such as the broad situation, the long situation and the quality of the elephant. In particular, in his banner masterpiece, the amplitude composition is full, but the towering mountains show a great sense of body weight and endless sense of space under the foil of Mang Lin Yushu and Yunyunquan. Ancient times The lack of painting preferred by the literati painters has disappeared, and the long inscriptions, which rely on literary language to expand the painting environment, have been omitted, leaving only the meticulous and meticulous structure of Zhongshan Stone changing in obscurity, but only the meticulous dense forest of pens and pens in space; it is only thick and light, if the clouds are scattered, and the idealized mountains and rivers of time and time jump, but it seems to be filled with the reality of the visual details. Careful study, we can find that in order to achieve this viewing effect, Chen Zhongzhou has handled the relationship between quality and potential, far and near, "looking at the small with the big" and "seeing the big from the small".
陳忠洲的山水畫第三個引人矚目之處，是擅長于以古法變我法，在法度謹嚴中求法外之法的機趣天然。所謂古法，但實際上包含兩個方面，一是古人筆墨語言中反映出來的中國山水畫藝術表現的普遍規律，比如它必須服從于概括而又意味的提煉物象，也必須服從于生動而有效的傳達國家的性情，還必須以盡可能多樣的對立統一因素表達相對立的筆墨之美。二是符合上述藝術表現規律又具有個人特色的構成方式。對普遍而言，它是世代畫家參悟累積而來，不下一番深思苦練的功夫，就不知其好，更說不上得心應手。對個性方式而言，它則是每一個畫家竭盡心力的藝術創造，是其自成風格的標志，不去透徹分析就學不到創造個人筆墨風格的經驗。
The third remarkable thing about Chen Zhongzhou's landscape painting is that he is good at changing our method with the ancient law and seeking out the law outside the law in the preciseness of the law. The so-called ancient law, but in fact, contains two aspects, one is the general law of the artistic expression of Chinese landscape painting reflected in the ancient pen and ink language, such as it must be subject to the general and meaningful extraction of the image, must also be obedient to the vivid and effective transmission of the temperament of the country, but also must express the opposite beauty of pen and ink with as many factors as possible of unity of opposites. The second is in line with the above law of artistic expression and has personal characteristics of the composition. Generally speaking, it is the accumulation of the understanding of generations of painters. Come on, without a little thought and hard work, you don't know it's good, let alone be handy. As far as personality is concerned, it is the artistic creation of every painter, is the symbol of his own style, and can not learn the experience of creating personal pen and ink style without thorough analysis.
聯系方式：18776747733 黃女士
Contact information: Ms. Huang, 18776747733
