龍瑞

龍瑞,1946年生于成都,長在北京。筆名大龍、蜀人。1966年畢業于北京工藝美術學校,之后從事工藝美術設計10余年。1981年畢業于中央美術學院中國畫系山水畫研究生班,受教于山水畫大師李可染先生;畢業后于中國美術家協會工作,1985年調中國畫研究院為專職畫家,曾為該院業務處副處長,副研究員。2001年任中國藝術研究院美術研究所所長;2003年,改任中國畫研究院院長;2006年,中國畫研究院更名中國國家畫院,龍瑞任院長。現為全國政協委員、中國國家畫院名譽院長、國家一級美術師、中國美術家協會中國畫藝術委員會主任、中國國際書畫藝術研究會會長、文化部高級職稱評委會美術組主任、國家有突出貢獻中青年專家。

  • 中文名龍瑞
  • 別名筆名大龍、蜀人
  • 性別
  • 國籍中國
  • 民族漢族
  • 祖籍四川成都
  • 出生地成都
  • 出生日期1946年
  • 職業畫家
  • 畢業院校北京工藝美術學校、中央美術學院
  • 代表作品《山鄉農校》;《幽燕秋趣》;《龍瑞水墨畫集》;《秋天的收獲-龍瑞山水畫專輯》等。
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沈威峰花鳥畫的筆墨神韻——龍瑞訪談

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時間:2003年11月30日  地點:北京采訪對象:中國畫研究院院長龍瑞采訪者:蘇州廣播電視總臺記者繆軍采訪內容:記者:中國畫是“講筆墨”的,雖然沈威峰的畫里有一點西畫的東西,但終究還是講...
個人簡介

龍瑞(1946.8-)筆名大龍、蜀人。四川成都人。1966年畢業于北京工藝美術學校,之后從事工藝美術設計10余年。
1979年考入中央美術學院中國畫系山水畫研究生班,畢業后于中國美術家協會工作,
1981年參加“第六屆全國美展”,作品《山鄉農校》獲優秀獎。
1985年調中國畫研究院為專職畫家,曾為該院業務處副處長,副研究員。
中國美術家協會會員,東方美術交流學會理事擅長山水畫。
現為中國畫研究院院長,中國畫研究院一級美術師,中國美術協會中國畫藝術委員會委員,國家有突出貢獻中青年專家。
作品《山鄉農校》入選第六屆全國美展優秀作品展,《幽燕秋趣》入選第二次東方美術交流學會展,《山上有棵小樹》獲1988年北京國際水墨畫大展大獎。其作品曾多次參加出國展出。1988年于美國紐約赫夫納畫廊舉辦個展。出版有《龍瑞水墨畫集》、《秋天的收獲-龍瑞山水畫專輯》。

人物經歷

1986年赴香港參加“東方美術交流學會畫展”,作品為包玉剛先生收藏。
1987年參加日本“現代水墨畫美術展”獲優秀獎。
1987年,於中國國家畫院組織“中國畫研究會”。
1987年,於中國國家畫院舉辦“中國山水畫展”。
1987年於美國紐約赫夫納畫廊舉辦“龍瑞水墨畫展”,并獲美國俄克拉赫馬州榮譽市民證書。
1988年赴法國巴黎聯合國教科文組織總部舉辦由中國文化部組織的“現代中國畫展”。
1989年於臺灣舉辦“龍瑞水墨畫展”。
1990年隨中國畫家代表團赴泰國參加“中國當代美術家十五人展”。
1991年赴韓國漢城國家藝術殿堂舉辦“中國畫代表作家展”。
1992年應曼德國際登納基金會邀請,赴德國柏林皇宮舉辦“中國現代水墨展”。
1993年赴臺灣臺中美術館參加“現代水墨畫展”及學術研討會,送展作品為臺中美術館收藏。
1994年-1995年策劃并參加“張力的實驗——表現性水墨畫展”。
1996年為紀念中國紅軍長征勝利六十周年,組織全國知名山水畫家赴井岡山寫生,創作并舉辦“井岡山大型山水畫展”,於北京、南昌、珠海等地巡展。
1996年——1997年兩次訪問意大利及西班牙,并舉辦“現代中國畫展”。
1997年參加“新文人畫展”。
1998年參加“河山畫會第四國展”,“98中國山水畫展”,“當代中國山水畫·油畫風景展”。
1999年參加“世紀末中國畫著名畫家二十一人畫展”。
2000年 參加“錦繡中華萬里行——漓江篇畫展”。2001年參加“錦繡中華萬里行——太行篇畫展”,參加“聚集西部”畫展。
2002年參加“二OO二年全國中國畫展”。
2003年參加“北京國際雙年展”,“第二屆全國中國畫展”。
2011年2月任中國山水畫創作院院長。

作品風格

龍瑞的山水,最初師承李可染梁樹年等,重視寫生,但他一開始就喜歡有力的筆線色皴,而不特鐘情于反復的渲染。20世紀80年代后期,他多次赴歐美考察藝術,觀念有所變化,決定“跳出形的束縛”,創作了一批強調構成的作品,從而拉開了與寫實山水的距離,突出了視覺張力,成為革新山水畫的代表之一。20世紀90年代以來,他在漸向傳統,追求氣韻、味道。回歸式求變的過程中,筆力益發自由雄健,陽剛渾融之氣籠罩畫面,個性面貌、傳統意趣和現代感,也愈加明晰而統一了。
龍瑞生于成都,求學于北京,南人北相。南北兼綜的素質在他的繪畫藝術中燦然可睹:氣象博大而筆式精妙,丘壑高大綿長而點景生動怡人,能將燕趙慷慨悲歌之氣與吳越小橋流水人家冶為一爐,亦能將黔蜀山野氣象同市井都市紅塵勾兌一壺。筆墨中正蒼厚,卻不乏風流蘊藉,格局大開大闔,過渡卻微妙精細。

龍瑞的底子是工藝美術設計,因此他對構成、設計的抽象意識比一般中國畫家要敏感。在那大談“繪畫性”的年月里,“構成”一詞變得時髦起來,而人們對“構成”的理解又都偏重于平面幾何,于是不管是油畫,還是傳統的中國水墨,大家在平面上都“構成”起來,各種僵直的幾何形狀把畫面中的有機物象切割成大大小小的條條框框。龍瑞未能免俗,他的工藝設計底子這時候也派上了用場。但這么弄了幾年后,他發現用毛筆和水墨畫幾何簡直有些莫名其妙,“氣韻不夠”,龍瑞用4個字溫和地結束了這場游戲

人物評價

龍瑞不是一個偏執之才,而是一個具有中和之質的整合型畫家。從他80年代出道以來的種種表現可以清楚地看到他身上兼容并蓄的氣質。他可以是相當前衛的“張力的實驗——表現性水墨展”的重要成員,也可以是堅守傳統筆墨趣味的“新文人畫”網羅的對象,還可以是觀念與語言都平實中正的“河山畫會”的中堅。似乎誰也不想漏掉他,他也不想同誰過不去。當主旋律畫展或紀念性場合需要他的作品時,他可以畫出氣勢磅礴的錦繡中華,為祖國河山立傳的凜然正氣不讓前賢。當游戲筆墨的小兄弟讓他表現些輕松愉快的邊緣人生情調時,他那蜀人的詼諧幽默也能派上用場。當前衛畫家們痛心疾首于水墨畫在觀念和語言上滯后于世界潮流時,他也深感責任在肩,于是策劃于密室,揭壁于展廳。
龍瑞不是一個滿足現狀、吃老本的人,他有著活躍的思想,悟性高、能力強、眼界開闊。用評論家郎紹君的話說:龍瑞是為數不多,極有希望取得突破性成就的畫家。因為他走過了一段曲折與反復的路程,對東西方藝術的整體有更明晰的認識,且更加自覺和成熟。作為有實力的畫家,龍瑞通過有目共睹的創作成就,無言地闡述著自己的思想主張和價值取向。當臨中國畫發展需要在深刻反思中重整旗鼓的特殊歷史情境,他的藝術追求尤其提示了一種頗有表率意義的實踐方式。

English Introduction

Long Rui (1946.8 -) under the name of the dragon, Shu people. Chengdu Sichuan people. 1966 graduated from Beijing arts and crafts school, after more than 10 years of art and design.
In 1979 he was admitted to the Chinese Painting Department of China Central Academy of Fine Arts, and graduated from the Chinese Artists Association after graduation,
1981 to participate in "the Sixth National Art Exhibition", "Shan school" works of excellence award.
1985 Chinese Painting Institute of painting as a full-time painter, was deputy director of the hospital business, associate researcher.
Member of China Artists Association, director of Oriental Art Exchange Association is good at landscape painting.
Now the director of the Research Institute of China Institute of Chinese painting painting, first class artist, member of Art Committee China Chinese Painting Art Association, the national young experts with outstanding contributions.
Works of "Shan" Aggie selected the sixth national excellent works exhibition, "Yan autumn fun" selected second Society for oriental art exchange exhibition, "the mountains are tree" won the 1988 Beijing international ink painting exhibition award. His works have repeatedly participated in the exhibition abroad. 1988 held a solo exhibition in Hefner Gallery, New York. The publication of "ink painting", "Long Rui autumn harvest - Longrui landscape painting album".
1986 went to Hongkong to participate in the Oriental art exchange exhibition, works for Mr. Bao Yugang collection.
1987 to participate in Japan's modern ink painting art exhibition won the award.
In 1987, China National Academy organization "Chinese painting research association".
In 1987, China held the "National Academy of China landscape painting".
1987 in New York, Hefner Gallery held "Long Rui ink painting exhibition," and received the honorary citizenship certificate.
1988 to Paris, France, UNESCO headquarters organized by the Chinese Ministry of culture, "modern Chinese painting exhibition".
1989 held in Taiwan dragon ink painting exhibition".
1990 with the Chinese painter delegation to Thailand to participate in Contemporary Chinese Artists Exhibition fifteen".
1991 to the National Palace of art held in Seoul, China painting representative writers exhibition".
Mandela international Adenauer foundation in 1992 should be invited to go to Germany, Berlin palace held China modern ink painting exhibition".
In 1993, he went to Taichung Art Museum in Taiwan to participate in "Modern Ink Painting Exhibition" and academic seminar.
Planning and participating in "tension experiment" in 1994 -1995 -- performance ink painting exhibition".
China in 1996 to commemorate the sixty anniversary of the victory of the long march of the Red Army, the organization of the well-known landscape painter in Jinggangshan painting creation, and hold the "Jinggangshan large landscape painting exhibition" in Beijing, Nanchang, Zhuhai and other places.
1996 - two visit to Italy and Spain in 1997, and held "modern Chinese painting exhibition".
1997 to participate in the new literati exhibition".
1998 to participate in "Heshan fourth painting exhibition", "98 China landscape painting exhibition", "contemporary China landscape painting & oil painting exhibition".
1999 to participate in the end of the 20th century Chinese painting famous painter twenty-one exhibition".
2000 to participate in the splendid China Wanli - Lijiang painting exhibition". 2001 to participate in the "beautiful China Tour - Taihang Article Exhibition", "gathering in Western art exhibition.
2002 to participate in the two OO National Exhibition of China in two years".
2003 to participate in the "Beijing International Biennale", "the second national art exhibition China".
February 2011 any Chinese Academy of landscape painting dean.

Longrui landscape, originally modeled after Li Keran, Liang Shunian and so on, pay attention to painting, but he began to love the powerful pen line color without special fondness for chapped, repeated rendering. In late 1980s, he repeatedly went to Europe and the United States of art, the concept of change, decided to "jump out of shape bound", created a number of works on, and started with the realistic landscape distance, highlighting the visual tension, become one of the representative of the landscape painting innovation. Since 1990s, he gradually to the tradition, the pursuit of spirit and taste. The process of regression change, more vigorous strokes free, masculine fusion gas shrouded picture, personality features, traditional charm and modern, but also more clear and unified.
Long Rui was born in Chengdu, studying in Beijing, South north. North and South and the comprehensive quality in his paintings can see: broad and bright weather pen is exquisite, long and tall mountain scenery vivid and pleasant, the Qi and Wu Yue Yanzhao kangkaibeige flyfox as a furnace smelting, can also be Guizhou and Sichuan mountain weather with a pot of red hook against the city street. The ink is pale thick, yet graceful but not showy doors wide open, the pattern of the transition, but subtle.
Long Rui is the basis of Arts and crafts design, so his composition, design Abstract consciousness than ordinary Chinese painters to be sensitive. Talk about "in the painting" years, "" the word became fashionable, and people to "constitute" understanding and emphasis on the plane geometry, so whether it is painting or traditional China ink, everyone in the plane "composition", all kinds of rigid geometry cut organic the images in the picture into large and small restrictions and fetters. Long Rui all his craft design foundation at this time also come in handy. But so get a few years later, he found that the brush and ink painting geometry simply some rather baffling "Qiyun enough", Long Rui with 4 words gently to the end of the game
Long Rui is not a paranoid, but a neutral quality of the integration of the painter. From a variety of performance since his debut in 80s can clearly see him fully inclusive and equitable temperament. He can be quite an important member of avant-garde "tension experiment: expressive ink painting exhibition", also is to stick to the traditional pen and ink taste "new literati painting" net objects, can also be a concept and language level is the "landscape painting" backbone. Nobody seemed to want to miss him, and he didn't want to be with anyone. When the main melody or Exhibition Commemorative occasions his work, he could draw the splendid China for a biography of great momentum, the motherland of the awe inspiring righteousness not to let people. When the little brother playing words make him appear more relaxed mood of life on the edge, he the Shu people humor can also come in handy. The current health of artists with deep hatred and resentment to the ink and wash painting in the concept and language behind the trend of the world, he also feel the responsibility on their shoulders, and planning in the private room, exposing the wall in the exhibition hall.
Long Rui is not a satisfied, rest on our laurels, he had an active thought, savvy and strong ability, broaden their horizons. In the words of critic Lang Shaojun: Long Rui is one of the few artists who is very hopeful to achieve a breakthrough. Because he has gone through a tortuous and repeated journey, the eastern and Western art as a whole have a clearer understanding, and more conscious and mature. As a powerful painter, Long Rui through the obvious achievements of creation, wordless exposition of their own ideas and values. When the development of China painting need special historical situation rallied in the profound reflection of his artistic pursuit especially suggests a quite practical example way.

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