精品推荐 —— 俞继高（富贵吉祥）

中国娱乐圈

adminf

2024-11-29

Recommended Boutique - Yu Jigao (Fortune and Auspiciousness)

*本次藏品俞继高（富贵吉祥）*

典藏尺寸：长：131.5cm 宽：66cm

喻继高，1932年出生，江苏铜山人。1951年考入南京大学艺术系，1955年毕业于南京师范学院美术系，1957年参与筹备并调入江苏国画院，专门从事工笔花鸟画的创作和研究。系国家一级美术师。现任江苏省国画院副院长、江苏省美术家协会副主席、中国画研究院院委、中国工笔画学会副会长、徐悲鸿奖学金委员会委员等职务。

喻继高的工笔重彩花鸟画近师陈之佛先生，远祖五代两宋，更直接以造化为师，而熔铸以个人的生活感情。从他的花鸟画中，可以感受到大自然的蓬勃生机和新时代的昂扬诗情。他很少去描绘罕见的奇花异草、珍禽异兽，而是着眼于生活中常见的花果虫鸟，给人一种朴实亲近的乡土感情。他的画没有古代院体画那种恬淡幽远的隐逸气、江湖味，它是入世的，属于新的时代和人民的艺术。繁盛、充盈、丰实、欢乐、光彩照人、典雅秀丽、风流蕴藉、活泼天真、雍容豁达、泱泱大度，这就是继高工笔重彩花鸟画的基调和风格。读他的画，如同聆听一部华彩乐章，或者说是急管繁弦的江南丝竹，是对大自然的讴歌，对生活的赞颂，对美和爱的咏叹，唤起人们热爱生活、热爱劳动、热爱乡土、热爱人民的美好感情和高尚情操，因为花香鸟语、春华秋实，是大自然的赐予，更是世世代代劳动人民用血汗浇灌的祖国沃土的绿色生命。画是无声诗，于无声处感受到时代的脉搏跳动，听到画家的心声，这是一颗人民艺术家炽热的赤子之心，他对祖国一草一木爱得那样执着和深沉，一笔一画都充满感情。

余继高，1932年生，江苏铜山人。1951年考入南京大学美术系。1955年毕业于南京师范大学美术系。1957年，他参与了筹备工作，被调到江苏中国画院，专门从事工笔花鸟画的创作和研究。他是国家一级艺术家。现任职务包括江苏省中国画院副院长、江苏省美术家协会副主席、中国画研究院委员会委员、中国工笔画学会副会长、徐悲鸿奖学金委员会委员。余继高的工笔花鸟画色彩斑斓，深受五代两宋的远祖陈志佛先生的影响。他直接向自然学习，融合了个人生活情感。从他的花鸟画中，人们可以感受到大自然的活力和新时代的诗意。他很少描绘珍奇的花草、珍禽和动物，而是关注日常生活中常见的花草、水果、昆虫和鸟类，给人一种简单而亲密的乡土情怀。他的画既没有古代庭院画那种宁静幽静的氛围，也没有江河湖泊的味道。它们是世俗的，属于新时代的艺术和人民。繁荣、饱满、充实、欢乐、灿烂、典雅、优美、优雅、活泼、天真、优雅、豁达、宏伟、宽宏大量，这些都是鸡皋工笔重彩花鸟画的基调和风格。读他的画就像听一首色彩斑斓的交响乐，或者更确切地说，听一首错综复杂的江南丝绸和竹子。它是对自然的颂歌，对生命的赞美，对美和爱的颂歌，唤起人们热爱生活、劳动、家乡和人民的美好情感和高尚情操。因为花鸟的语言，春花秋果，是大自然的馈赠，也是一代又一代劳动人民用血汗浇灌的祖国沃土的绿色生命。绘画是一首无声的诗，在这里，人们可以感受到时代的脉搏，听到画家的内心声音。这是一个人民艺术家的激情之心，他以这样的执着和深度爱着国家的每一片草叶和每一棵树，每一笔和每一幅画都充满了情感。

Yu Jigao, born in 1932, is from Tongshan, Jiangsu. In 1951, he was admitted to the Art Department of Nanjing University. In 1955, he graduated from the Art Department of Nanjing Normal University. In 1957, he participated in the preparation and was transferred to Jiangsu Chinese Painting Institute, specializing in the creation and research of meticulous flower and bird paintings. He is a national first-class artist. Current positions include Vice President of Jiangsu Academy of Chinese Painting, Vice Chairman of Jiangsu Artists Association, Committee Member of Chinese Painting Research Institute, Vice President of China Gongbi Painting Society, and Member of Xu Beihong Scholarship Committee.

Yu Jigao's meticulous and colorful flower and bird paintings are closely influenced by Mr. Chen Zhifo, who was a distant ancestor of the Five Dynasties and Two Song Dynasties. He directly learned from nature and fused his personal life emotions. From his flower and bird paintings, one can feel the vibrant vitality of nature and the high poetic sentiment of the new era. He rarely depicts rare exotic flowers and plants, rare birds and animals, but focuses on the common flowers, fruits, insects and birds in daily life, giving people a simple and close local sentiment. His paintings do not have the serene and secluded atmosphere of ancient courtyard paintings, nor the taste of rivers and lakes. They are worldly and belong to the art of the new era and the people. Prosperous, full, substantial, joyful, radiant, elegant and beautiful, graceful and elegant, lively and innocent, graceful and open-minded, grand and magnanimous, these are the tone and style of Jigao Gongbi Heavy Color Flower and Bird Painting. Reading his paintings is like listening to a colorful symphony, or rather, the intricate Jiangnan silk and bamboo. It is an ode to nature, a praise for life, an ode to beauty and love, evoking people's beautiful emotions and noble sentiments of loving life, labor, hometown, and the people. Because the language of flowers and birds, spring flowers and autumn fruits, are gifts from nature, and also the green life of the fertile soil of our motherland that generations of laboring people have watered with their blood and sweat. Painting is a silent poem, where one can feel the pulse of the times and hear the painter's inner voice. This is the passionate heart of a people's artist, who loves every blade of grass and every tree of the country with such persistence and depth, and every stroke and painting is full of emotions.

*本次藏品俞继高（富贵吉祥）*

典藏尺寸：长：131.5cm 宽：66cm

相对于人物与山水画，花鸟画成熟较晚，秦汉之前只作为装饰和陪衬出现在人物画中，宋代进入鼎盛，元明有所继承，清初进入黄金时代，之后相对停滞。近现代虽有发展，但没有形成几家独树一帜的“画派”。应该说，当代著名工笔花鸟画家喻继高在花鸟画上的探索，是较为引人注目的。喻继高1932年出生，1955年毕业于南京师范学院美术系，是国画大师傅抱石、陈之佛的高徒，得到过刘开渠、李可染的指点。从艺50多年来，先后参加全国第三、六、七、八、十届美展，并多次入选国际性美展，出版有《喻继高画集》《喻继高工笔花鸟画集》等。　喻继高继承了中国花鸟画鼎盛时期雍容华贵的高雅传统，吸收了“宋代院体画”的营养，用高文化素养尤其是诗一般的情感和笔墨，为花鸟画开辟了清新典雅、温馨生动、情趣盎然的新意境，形成了构图严谨、用笔工细、技法高超、设色明丽、主次分明的“继高式”祥花瑞鸟风格。从他的画作《瑞鹤迎春》《杜鹃山雀》《秋荷白鹭》《樱花小鸟》《白鸽紫菊》《可爱花荫》《富贵吉祥》中，不仅看到了繁盛豁达、泱泱大度、惟妙惟肖的“形”，也看到了丰实欢乐、典雅秀丽、生机勃勃的“神”，甚至闻到了花香，听到了鸟鸣，感受到了融融阳光和画家亲近自然的赤子般爱心，使人不由自主地进入到了心旷神怡的诗意境界。

喻继高的工笔重彩花鸟画拥有新时代的风格和基调，以简洁有意趣来表达整幅画面，画面将唯美的笔触凝练于线条之中，营造出欢乐祥和的意境。启功先生赞喻继高的画“不减宣和孔雀图”。潘絜兹先生评价他是“给花鸟以生命的人”。

喻继高秉承“对花写照、为鸟传神”的传统衣钵，以重写生、尚形神、坚骨法、淡色泽的双勾设色花鸟，表现了大自然繁茂向荣的生机，形成了清新、自然、典雅、温馨、隽秀的画风。他以“不减宣和瑞鹤图”的精深造诣和发展陈氏艺术的理想目标，以大量的有相当影响力的作品接续了“南派”工笔花鸟画的辉煌，崛起于江南，卓然成家，名满艺林，光照全国。

Compared to figure and landscape painting, flower and bird painting matured later, appearing only as decoration and accompaniment in figure painting before the Qin and Han dynasties. It reached its peak in the Song dynasty, was inherited by the Yuan and Ming dynasties, entered its golden age in the early Qing dynasty, and then relatively stagnated. Although there have been developments in modern times, there have not been several unique "painting schools" formed. It should be said that the exploration of contemporary famous meticulous flower and bird painter Yu Jigao in flower and bird painting is quite remarkable. Yu Jigao was born in 1932 and graduated from the Fine Arts Department of Nanjing Normal University in 1955. He was a disciple of Chinese painting masters Fu Baoshi and Chen Zhifo and received guidance from Liu Kaiqu and Li Keran. For over 50 years, I have participated in the third, sixth, seventh, eighth, and tenth national art exhibitions, and have been selected for international art exhibitions multiple times. I have published works such as "Yu Jigao's Painting Collection" and "Yu Jigao's Gongbi Flower and Bird Painting Collection". Yu Jigao inherited the elegant tradition of the flourishing period of Chinese flower and bird painting, absorbed the nutrients of "Song Dynasty courtyard painting", and used high cultural literacy, especially poetic emotions and brushwork, to create a fresh, elegant, warm, vivid, and interesting new artistic conception for flower and bird painting, forming the "Jigao style" of auspicious flowers and birds with rigorous composition, meticulous brushwork, superb techniques, bright colors, and clear priorities. From his paintings "Welcoming Spring with Red Cranes", "Cuckoo Sparrow", "Autumn Lotus White Egret", "Cherry Blossom Bird", "White Dove Purple Chrysanthemum", "Cute Flower Shadow", and "Fortune and Auspiciousness", not only can we see the prosperous, generous, and lifelike "form", but also the abundant, joyful, elegant, and vibrant "god". We can even smell the fragrance of flowers, hear the chirping of birds, and feel the fusion of sunshine and the painter's close relationship with nature, which makes people involuntarily enter a poetic realm of joy and relaxation.

Yu Jigao's meticulous and colorful flower and bird paintings have a new era style and tone, expressing the entire picture with simplicity and interest. The painting condenses beautiful brushstrokes into lines, creating a joyful and peaceful atmosphere. Mr. Qigong praised Jigao's painting as' not reducing the Xuanhe Peacock '. Mr. Pan Jinzi praised him as the person who gave life to flowers and birds.

Yu Jigao adheres to the traditional mantle of "portraying flowers and conveying the spirit of birds", using double hooked colors of flowers and birds that emphasize sketching, emphasizing form and spirit, firm bones, and light colors, to depict the flourishing vitality of nature, forming a fresh, natural, elegant, warm, and elegant painting style. He continued the glory of the "Southern School" meticulous flower and bird painting with a large number of influential works, based on his profound knowledge of "not reducing the Xuanhe Ruihe painting" and his ideal goal of developing Chen's art. He rose to prominence in Jiangnan, established a prominent family, became famous in the art world, and shone throughout the country.

*本次藏品俞继高（富贵吉祥）*

典藏尺寸：长：131.5cm 宽：66cm

喻继高能穷追两宋院体画在精严细腻中透出典丽富贵的审美趣味，也可以比文人工笔画所追求的自然、适意、清净、淡泊的人生境界更重感受而意从工出；他既能临摹古迹，落笔乱真，也能走出传统，面对自然，赋予传统以内在的新生命；他既得恩师陈氏“南派”淡雅清和之超逸风神，也取“北派”于氏浓艳富丽的格法之妙，冶南北于一炉，清中寓厚，淡中寓浓，雅中寓艳，在面向现代时，以厚重的传统底蕴，展现了当代人的审美观念。喻继高思接千载，紧步大师后尘，以前瞻性的超越和自身充分的学术质量，成为“目前中国工笔花鸟第一人”（李瑞环语）。正如古人所言：“非尽百家之美，不能成一人之奇；非取法至高之境，不能开独造之域。”这不仅需要足够的才华，而且需要革故鼎新的勇气，喻继高就是这样的一位画家。他还是他这一代画家中高产的一位（以创作作品而言，他的数量可能是最多的），直至耄耋之年，他仍然坚实地沿着自己艺术发展的轨迹走向更为广阔和精深的层面。

如果说，中国的传统文化有庙堂文化、文人文化、民间文化三大板块所组成，那么喻继高的工笔花鸟画则既有庙堂的富贵之气，也有文人的高雅之格，更有大众的亲切之感。三种文化的相互渗透，使他的作品受众可以超性别、超民族、超文化而具有广泛性、人民性、现代性。最根本的原因是喻继高画的本身就是来自于大自然的杰作，其纯正、自然、积极入世的正大气象，具足了真、善、美的人性光彩，表现的是人类共同的理想和欲望。比如，他画牡丹的雍容华贵，他画松鹤的延年益寿，他画荷花的清逸高洁，他画白鸽的和平境界，他把一个普通人的情感画在画里，画出了人民的追求与向往，画出了民族的尊严与高贵，画出了对美好生活的祝愿和企盼。

Yu Jigao is able to pursue the aesthetic taste of elegance, beauty, and wealth in the refined and delicate style of the Song Dynasty's court paintings, and can also place more emphasis on feelings and intentions beyond the natural, comfortable, pure, and indifferent life realm pursued by literati's meticulous paintings; He can not only copy ancient relics and write with authenticity, but also step out of tradition, face nature, and give new life to tradition; He not only gained the elegant and graceful charm of his mentor Chen's "Southern School", but also took on the exquisite and rich style of the "Northern School", blending the north and south in one furnace. Qing is rich, light is rich, and elegant is beautiful. In the face of modernity, he showcases the contemporary aesthetic concept with a profound traditional heritage. Yu Jigao has been thinking for thousands of years, following in the footsteps of a master, surpassing his predecessors with foresight and possessing sufficient academic quality, becoming the "number one meticulous painter in China" (Li Ruihuan's words). As the ancients said, "Without the beauty of a hundred families, one cannot become a marvel of one person; without the highest realm of the law, one cannot open up a realm of independent creation." This not only requires sufficient talent, but also the courage to reform and innovate, and Yu Jigao is such a painter. He was still one of the most prolific painters of his generation (perhaps the most numerous in terms of creative works), and even in his old age, he remained firmly committed to following the trajectory of his artistic development towards broader and deeper levels.

If traditional Chinese culture is composed of three major parts: temple culture, literati culture, and folk culture, then Yu Jigao's meticulous flower and bird paintings not only embody the wealth and prosperity of temples, but also the elegance of literati, and a sense of familiarity with the masses. The mutual infiltration of three cultures enables his works to have a broad, popular, and modern audience that transcends gender, ethnicity, and culture. The fundamental reason is that Yu Jigao's paintings themselves are masterpieces from nature, with a pure, natural, and actively engaging atmosphere that embodies the brilliance of truth, goodness, and beauty of human nature, expressing the common ideals and desires of humanity. For example, he painted the elegance and luxury of peonies, the longevity of pine and crane trees, the purity and nobility of lotus flowers, the peaceful realm of white doves, the emotions of an ordinary person in his paintings, the pursuit and longing of the people, the dignity and nobility of the nation, and the wishes and expectations for a better life.