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href="news_list.asp?kind=%E7%BE%8E%E8%A1%93%E9%A4%A8%05%07%07%07%08%08%08%07%08%07%07%08%06%08%08%08%08%07%08%06%05%06%06%07%07%08%07%06%08%06%07%06%07%05%08%05%07%07%08%08%08%07%08%E3%80%81%E5%8D%9A%E8%A6%BD%E6%9C%83+class%3D">滾動(dòng)新聞</a>> 正文</h2> </div> <div id="io0am00" class="read_news_content"> <div id="sym0ems" class=" read_news_content_left">  <div id="uieo8sq" class="read_news_content_title"> <h2>尋根沂蒙，為美塑魂——?jiǎng)⑸栖姾退挠彤嬍澜?/h2> <p>時(shí)間：2024/6/28 20:19:21　　<span>來源：中國藝術(shù)報(bào)</span></p> </div>  <div id="0y0w00m" class="read_news_content1"><p align="center"><img src="http://img.cnarts.net.cn/cweb/news/2024-06/2024-06-28/20240628201911459.jpg"> </p> <p align="center"> 年關(guān)（油畫）　劉善軍 </p> <p> 　　“沂蒙畫派”在山東乃至全國繪畫界都自成一脈，并因其題材、內(nèi)容到風(fēng)格上的獨(dú)特性而備受業(yè)界矚目。近些年來，伴隨一大批新生代畫家的接續(xù)涌現(xiàn)，更使得這一畫派聲名遠(yuǎn)揚(yáng)。 </p> <p> 　　劉善軍，1970年生，山東沂南人，也是“沂蒙畫派”中的一員。他專攻油畫并在藝術(shù)理念上自成一體。他的油畫創(chuàng)作以對沂蒙鄉(xiāng)土風(fēng)景、風(fēng)情、風(fēng)物的生動(dòng)描畫，對沂蒙紅色革命主題的多元表達(dá)，特別是對“紅女系列”“小芳系列”“青廊系列”等形形色色女性青春形象的藝術(shù)建構(gòu)而成為“獨(dú)特的這一個(gè)”。在他的油畫世界中，沂蒙元素?zé)o處不在，從對自然山水之美的摹繪，到對女性青春之美的塑魂，更凸顯其在當(dāng)代“沂蒙畫派”中的典型性。 </p> <p> 　　立足于沂蒙紅色資源，發(fā)掘和講述沂蒙人民擁軍支前故事，特別是表現(xiàn)戰(zhàn)爭背景下的各類“紅女”在戰(zhàn)火中的青春之美，首先構(gòu)成了劉善軍油畫創(chuàng)作中極具特色的主題向度?！冻Ｉ?，常山》系列組畫，形象再現(xiàn)了沂蒙人民在革命戰(zhàn)爭年代擁軍、支前的壯舉。這類作品在本質(zhì)上是用繪畫方式講故事，帶有“主題創(chuàng)作”的鮮明傾向。但他把戰(zhàn)爭僅作為背景，著重表現(xiàn)戰(zhàn)爭環(huán)境下人之本真的風(fēng)景。他專注于對各類富有青春氣息和犧牲精神的“紅女”形象的形構(gòu)，長于表現(xiàn)女兵在戰(zhàn)火中的青春之美，揭示其內(nèi)心世界。如為沂蒙女戰(zhàn)士樸實(shí)而純美的青春形象賦型的作品《年關(guān)》：在節(jié)日里覆雪的山村胡同中，一名女兵在老鄉(xiāng)一門樓前駐足端詳，從其修長的背影和目視紅燈籠不舍且優(yōu)柔的眼神中，不難體悟到“紅女”之獨(dú)特氣質(zhì)，引發(fā)觀眾的一系列追問：革命戰(zhàn)爭環(huán)境下，節(jié)日里白雪覆地的村莊，在此，她在沉思、默想或期待什么呢？ </p> <p> 　　追溯“過往”，以戀歌或挽歌調(diào)子緬懷沂蒙鄉(xiāng)土傳統(tǒng)，或表達(dá)山水自然之愛，是劉善軍致敬沂蒙、撫慰精神的尋根之旅。他創(chuàng)作了大量的以沂蒙村落、山水、故園等老鄉(xiāng)土?xí)r代的自然遺跡或風(fēng)景為寫生素材的油畫作品，并以此表達(dá)其精神深處的鄉(xiāng)土情結(jié)。代表作主要有《黃煙屋》《遠(yuǎn)去的故鄉(xiāng)》《山上人家》《回不去的故鄉(xiāng)之旮旯》《寫生常山莊》。他在“意象故園”系列和“意象山水”系列中描畫古舊的村落，或以復(fù)調(diào)方式立體建構(gòu)記憶中的鄉(xiāng)村風(fēng)景，或者原生再現(xiàn)故鄉(xiāng)山水原貌，都不難看出其對故鄉(xiāng)家園刻骨銘心的紀(jì)念。其中，《遠(yuǎn)去的故鄉(xiāng)》由落雪、老樹、鳥窩、老屋、泥墻等繪畫要素或意象構(gòu)成的畫面及其所表達(dá)的鄉(xiāng)土情感，更是來自鄉(xiāng)村世界的“地之子們”的魂?duì)繅衾@、欲說還休。色塊里隱匿著說不清、道不明的故土鄉(xiāng)愁，光影中照見熟悉的場景，構(gòu)圖中留存著關(guān)涉一代人的鄉(xiāng)土記憶。由此，愛山，樂水，思人，戀故鄉(xiāng)，這種古今文人所共有的情感在其油畫創(chuàng)作中得到充分表達(dá)。 </p> <p> 　　為青春之美塑魂，即用油畫表現(xiàn)種種女性之美，構(gòu)成了劉善軍繪畫創(chuàng)作中最引人矚目的實(shí)踐向度。這主要有三類：一類形構(gòu)沂蒙鄉(xiāng)村少女或村姑形象的作品。在這些被作者稱為“小芳系列”的作品中，女主人翁毫無例外地全為沂蒙鄉(xiāng)村世界里的普通女性，但她們又無一不以其勤勞、純樸和美善而彰顯自身品格。代表作有《古船》《沂蒙·雪》。其中，《沂蒙·雪》中叫“雪”的小姑娘——上身穿著普通的小棉襖，戴著常見的花披肩，挎著蓋有花包袱的小提籃，坐在石碾上遠(yuǎn)望前方——從穿戴、眼神到氣質(zhì)，都典型地帶有沂蒙鄉(xiāng)間女性樸實(shí)而又內(nèi)斂的形象氣質(zhì)。在劉善軍描繪鄉(xiāng)土風(fēng)情或綜合材料繪畫作品中，這類少女或村姑作為一個(gè)繪畫要素或形象較為常見。 </p> <p> 　　另一類專注閨閣女性題材的作品，代表作有“青廊系列”。這類作品畫風(fēng)古樸、典雅，主題表達(dá)含蓄、內(nèi)斂；青廊和青廊女子是該系列作品所共有的兩大要素。在《青廊1》和《青廊2》中，女子分別獨(dú)自在樓下門口矗立和樓上遠(yuǎn)望的姿態(tài)，其中所蘊(yùn)含的故事及可闡釋的精神空間足夠?qū)拸V。不同于前一類的明晰化，這一類作品中的形象趨向模糊，但內(nèi)在意蘊(yùn)更豐滿。還有一類是表現(xiàn)現(xiàn)代女性形象的作品，對于“美”之形象及內(nèi)涵的持續(xù)探察和表現(xiàn)。《汶河雪霽》描繪汶河岸邊優(yōu)美的自然風(fēng)光，輔之以身材曼妙、秀發(fā)飄逸的兩位女郎形象，是對純粹自然之美和內(nèi)在女性之美的雙重歌詠。 </p> <p> 　　劉善軍的油畫創(chuàng)作根植于沂蒙深厚的文化土壤之中。他對油畫的認(rèn)知、體悟與改造，更多奠基于中國深厚的民族傳統(tǒng)和本土文化，不乏文人式的筆墨情趣。西式的造型手法、色彩表現(xiàn)和空間想象，與中式的意象建構(gòu)、意境生成和細(xì)節(jié)表現(xiàn)，彼此相映成趣，達(dá)成了某種頗有意味的平衡，并昭示出較為豐富而悠遠(yuǎn)的意蘊(yùn)闡釋空間。 </p>  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