水墨丹青寄鄉(xiāng)情

三江紅

闊別家鄉(xiāng)十多年的女藝術(shù)家古儀帶著這幾年來(lái)創(chuàng)作的一百幅作品，來(lái)杭州舉辦大型個(gè)人畫(huà)展。

古儀（原名勵(lì)國(guó)儀），是著名國(guó)畫(huà)大師潘天壽的兒媳，中央美術(shù)學(xué)院院長(zhǎng)潘公凱的夫人。她少年時(shí)代與潘公凱同時(shí)求學(xué)于浙江美術(shù)學(xué)院附中，附中生活開(kāi)始了她對(duì)藝術(shù)之夢(mèng)的探索和追求。盡管因“文革”她的求學(xué)生涯充滿著艱辛和挫折，但是回憶起附中生活，她仍十分愉快地說(shuō)：“雖然那時(shí)沒(méi)有很多可看的畫(huà)冊(cè)，我們?nèi)詮膶W(xué)校圖書(shū)館找出前蘇聯(lián)列賓、蘇里科夫的畫(huà)冊(cè)，進(jìn)行翻拍，裝訂成冊(cè)供自己學(xué)習(xí)。圖片是用潘公凱手工制作的放大機(jī)放的，放得十分清晰，比照相館里放得還好。 ”“文革”結(jié)束后，古儀在出版社任美術(shù)編輯，創(chuàng)作了大量的兒童連環(huán)畫(huà)和書(shū)籍插圖，其中有些作品在瑞士、法國(guó)、伊朗等國(guó)獲獎(jiǎng)。

1985年，古儀調(diào)入杭州畫(huà)院開(kāi)始了專職繪畫(huà)創(chuàng)作，她的藝術(shù)才能得以充分地展示。1996年，她被任命為杭州畫(huà)院副院長(zhǎng)。在畫(huà)院中，她潛心于深層的藝術(shù)風(fēng)格探索與追求，在深度研習(xí)中國(guó)傳統(tǒng)工筆繪畫(huà)的同時(shí)，多方面吸取寫(xiě)意水墨畫(huà)的墨色、意境以及西方現(xiàn)代藝術(shù)中的構(gòu)成、色彩和畫(huà)面處理要素，力圖使傳統(tǒng)的工筆畫(huà)更厚實(shí)、更富新意，具有更強(qiáng)的藝術(shù)表現(xiàn)力。

工筆與寫(xiě)意的深度融合，東方意蘊(yùn)與西式技法的完美聯(lián)結(jié)，加之古儀所具有的獨(dú)特視角，以及她為女性藝術(shù)創(chuàng)作所作的積極努力，使古儀在國(guó)際繪畫(huà)舞臺(tái)上有著屬于自己的獨(dú)特地位。二十余年間，她的作品在美國(guó)、法國(guó)、新加坡、奧地利等國(guó)家多次展出，并在國(guó)內(nèi)及日本、法國(guó)、美國(guó)多次獲獎(jiǎng)。法國(guó)藝評(píng)家莫阿氏 ·埃維農(nóng)曾寫(xiě)信贊揚(yáng)：“非常賞識(shí)您的細(xì)膩而充滿詩(shī)意的作品，這次評(píng)選，雖然您獲得的

是第二名，但我們還組織了另外的一個(gè)完整的純學(xué)術(shù)價(jià)值的評(píng)委團(tuán)，評(píng)選您的作品榮獲一等獎(jiǎng)。 ”前世界銀行行長(zhǎng)詹姆斯·沃爾芬森也寫(xiě)信贊揚(yáng)古儀的作品。她還多次受邀作為中國(guó)女藝術(shù)家的代表，參加各種國(guó)際藝術(shù)交流活動(dòng)，將中國(guó)女性繪畫(huà)的優(yōu)秀成果呈現(xiàn)給世界。國(guó)內(nèi)甚少舉辦畫(huà)展、行事低調(diào)的古儀，早已是享譽(yù)世界的國(guó)際知名女藝術(shù)家。

豐富的國(guó)際藝術(shù)交流活動(dòng)，進(jìn)一步拓展了古儀的視野，啟發(fā)她創(chuàng)作題材的多樣化，鼓舞著她大膽進(jìn)行各種藝術(shù)探索，使其作品在典雅的東方詩(shī)意中呈現(xiàn)出國(guó)際化現(xiàn)代審美特征。

2003年因丈夫潘公凱調(diào)往北京工作，她隨夫赴京，移居在中央美術(shù)學(xué)院附近。得益于中央美術(shù)學(xué)院濃厚的藝術(shù)學(xué)術(shù)氛圍，她經(jīng)常去中央美院藝術(shù)館和圖書(shū)館觀看欣賞藝術(shù)作品，同時(shí)還結(jié)識(shí)了北京及來(lái)自全國(guó)各地的藝術(shù)家。雖然這里存在著畫(huà)風(fēng)的地域性、文化、習(xí)俗的差異，但是她以敏感的悟性，博覽眾家，求同存異，拓寬了自己的創(chuàng)作天地。著名理論

古儀作品：左為《芭蕉碧玉》，右為《品茶圖》。 Two paintings by Li Guoyi

家水天中先生對(duì)古儀的作品有著不菲的評(píng)價(jià)：“古儀的水墨人物畫(huà)是對(duì)一系列藝術(shù)問(wèn)題的回答。她采取了多方采擷而為我所用的聰明辦法，來(lái)解決‘時(shí)代性與‘民族性的問(wèn)題。與當(dāng)代主流人物畫(huà)不同——不以場(chǎng)面的沖擊力和人物神態(tài)的矛盾吸引人；與‘新文人畫(huà)不同——不以飄逸筆墨和偽托古人取勝。她筆下的女性形象優(yōu)雅大度而不忸怩作態(tài)，閑適寧?kù)o而充滿活力，現(xiàn)代人生情致和古典文化韻味在她的作品里相

古儀水鄉(xiāng)系列作品之一

This painting by Li Guoyi portrays Jiangnan.

STARDOM名家風(fēng)采

得益彰。在形式處理上，她善于運(yùn)用含蓄節(jié)制的色與墨，營(yíng)造出明朗而蘊(yùn)藉的精神境界……古儀使多樣藝術(shù)因素協(xié)調(diào)并存，形成一種優(yōu)美古雅而又具時(shí)代精神的藝術(shù)氣質(zhì)。 ”

“我喜歡寫(xiě)意畫(huà)的靈動(dòng)、多變、奔放，亦喜歡工筆畫(huà)的淡淡的細(xì)膩的渲染手法，在尋求二者相融合的過(guò)程中，最重要的是在藝術(shù)語(yǔ)言應(yīng)用上的統(tǒng)一。我在創(chuàng)作中力求做到這二者統(tǒng)一的完美。 ”古儀如是說(shuō)。她的這次名為“古意新儀——古儀繪畫(huà)作品展”匯集了近六年來(lái)創(chuàng)作的精品國(guó)畫(huà)，包括懷舊、女性、少數(shù)民族、花鳥(niǎo)畫(huà)、水墨拼貼等系列。畫(huà)家在傳統(tǒng)人物畫(huà)的基礎(chǔ)上，將中國(guó)寫(xiě)意畫(huà)的水墨韻味融入工筆作品，展現(xiàn)了融合工筆精細(xì)寫(xiě)實(shí)及水墨渲染滲化的獨(dú)特面貌。

在展覽的開(kāi)幕式上，畫(huà)家古儀的親朋好友、同事、粉絲團(tuán)等三百多人濟(jì)濟(jì)一堂。古儀身著一襲乳白色的套裝，手捧家人和友人送上的玫瑰，笑容可掬地和來(lái)賓們邊喝茶邊談藝。古儀說(shuō)：“這次展覽就是回家來(lái)看看，向家鄉(xiāng)人民作一個(gè)匯報(bào)?！?/p>

古儀對(duì)杭州有著很深的情結(jié)。1964年，她懷著美好藝術(shù)理想，離滬來(lái)杭，在西湖邊的中國(guó)美院附中讀書(shū)學(xué)畫(huà)，從此與杭州這座美麗的城市結(jié)下了不解的緣分。

作為成長(zhǎng)于上海又在杭州浸潤(rùn)多年的江南女子，古儀的作品多以女性為表現(xiàn)對(duì)象，筆下的人物或清新細(xì)膩，或端莊典雅，或帶著幾分神秘氣息，在一顰一笑之際、一靜一動(dòng)之間，生動(dòng)地顯露江南女子的溫婉。即便是她在創(chuàng)作中借鑒西方現(xiàn)代繪畫(huà)構(gòu)成及技法的創(chuàng)新畫(huà)作，也掩蓋不住作品中散發(fā)的傳統(tǒng)東方氣質(zhì)和江南韻味。

古儀帶來(lái)的大多是近些年在北京創(chuàng)作的作品，但流露出來(lái)的卻是江南的風(fēng)情，江南的情結(jié)深植于其心里。她是江南的，更是杭州的，無(wú)論她走到哪里，她的根都在這里。

Artist Holds Solo Show in Hangzhou

By San Jianghong

Gu Yi， a female artist who is away from Hangzhou for more than ten years， is back. She is now holding a solo show

in Hangzhou with over one hundred paintings created in the past six years.

Gu Yi is the name Li Guoyi uses for her art activities. She is wife of Pan Gongkai， the son of Pan Tianshou and president of the Central Academy of Art. She studied at the middle school affili-ated to the Zhejiang Academy of Fine Arts， the predecessor of the present-day China Academy of Art in Hangzhou， where she met Pan Gongkai. The life at the middle school was characterized by hardships and upheaval as it was ravaged by the Cultural Revolution （1966-1976） but she managed to find fun. Few art books were avail-able in these years， but she remembers photographing collections of masterpieces of the Soviet Union artists such as Ilya Yefimovich Re-pin and Alexander Surikov and making enlarged copies on a device manually made by Pan Gongkai. It produced better photos than those by photo shops. After the Cul-tural Revolution was finally over in 1976， she worked as an art editor for a publishing house in Hangzhou. She also

created quite a few picture

books for children and did some illustrations. Some of her books for children won awards in Sweden， France and Iran.

In 1986 she became a full-time artist at Hangzhou Institute of Art and in 1996 she became the vice president of the institute. The full-time job enabled her to pursue her own style. During this period， she firmly established herself as an artist who explored the depths and widths of the traditional Chinese painting， styles， and colors. She also looked into the western arts for inspiration. As the result， her elaborate-styled painting breaks new grounds. Her artworks were displayed in America， France， Singapore， Austria， and Japan. And she won many awards and honors.

In 2003， her husband was appointed the president of the Central Academy of Fine Arts and the couple moved to Beijing. The new life in Beijing has greatly broadened her horizons as libraries and galleries are easily accessible and artists from different provinces are legion. She has improved a great deal.

Her figure painting in traditional Chinese ink an-swers an important question： how do modern artists of traditional Chinese painting create figure paintings that express and balance modernity and nationality at the same time？ She does not paint historic events in mainstream styles. She does not depict historic mo-ments and figures in modern history. Nor does she go back to ancient times and depict ancient events. She focuses on images of women graceful without pre-tenses， serene and ebullient. In her works， sentiments of a modern life commingle well with classic grace.

Gu Yi explains her style this way： “I like the agility， changeability， and ebullience of the freehand style. I also love the elaborate style that glorifies poetic de-tails. I seek to combine the two in my work.”

The opening ceremony of her solo painting show in Hangzhou was attended by over three hundred guests， including her family members， friends， colleagues and fans. Dressed in milky white and holding a bundle of roses， she smiled and chatted with guests. The artist said， “This exhibition is my report to my hometown people.”

She considers Hangzhou as her hometown， though she is from Shanghai. In 1964， she came to Hangzhou and started her art student education. Her life became intricately entangled with the local people and the West Lake of Hangzhou.

Though most of the exhibits were created in Bei-

jing， they reflect a personality of Jiangnan， arguably

the most amazing noun in Chinese that describes the natural beauty， prosperity， peace， culture and history in the south of the Yangtze River delta. No matter where she goes， she considers herself a native of Jiangnan.