易经智慧与朱德群的抽象油画
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摘要
朱德群是当代著名的法籍华裔艺术家,他在艺术道路上的不断思索、创新,对东西方文化艺术的研究也融入画中,造就了他独特的风格和自由的抽象油画空间。朱德群的抽象油画不同于其他抽象画,以其别具一格的风格和学养高度进入色彩斑斓、气势恢宏的抽象绘画世界,仿佛是和着原始天地还未分开的一元混沌世界的节奏,和宇宙对话、和自然对话、生命对话,朱德群的抽象油画所传达的哲思与智慧与《易经》的“弥纶天地之道”的深度和广度不谋而合。
原本混沌的宇宙,经过盘古开天辟地,分出了天和地,乾为天(天属阳),坤为地(地属阴)。太极生两仪(阴和阳),两仪生四象(春、夏、秋、冬),四象生八卦。《易经》有三部,《连山易》和《归藏易》已失传,现用来研究学习的是《周易》。《易经》是中国古代先贤集宇宙天地智慧和文化的结晶,被古代的统治者立为群经之首,万法之源。历代知识分子,也大多孜孜学易,穷经皓首,研究《易经》的心得报告不知其数。然而,相同的风光景色,所有人对它的观察、感受、得到的结论却会有天壤之别。
自然者,上者之上。本文以《易经》八卦的色彩属性和自然属性为出发点,对朱德群的抽象油画进行详细的研究分析。朱德群的生命智慧说源于中国的古老文明——《易经》。朱德群的画中流露着深厚的文化内涵,画面空间广阔、笔触和色彩是在不断运动着的。《易经》的八种卦象代表的天、水、太阳、雷、风、月亮、山、地在朱德群的抽象画中以自己的规律呈现。八卦中阳的四卦是:乾?、兑?、离?、震?;阴四卦是:巽?(xùn)、坎?、艮?、坤?。乾?(qián)乾为天,为首,代表蓝色。兑?(duì)兑为泽,代表海洋、河流,润泽的,自然界中,大多数红色的物都具有鲜艳润泽感,兑卦代表红色。离?(lí)离为火,代表太阳,代表火,是光明的、热的、温暖的、干燥的,干燥晦涩的紫色。震?(zhèn)震为雷,打雷闪电过后,雨水就下来了。尤其在春季,震卦是碧色的。巽?(xùn)巽为风,为木。代表气流、风、草木,是绿色的。坎?(kǎn)坎为水,代表月亮,水的源头是雪山,雪山是白色的,晶莹剔透、纯洁的白色。艮?(gèn)艮为山,代表高山、陆地,先天八卦方位图中,艮卦代表西北,西北是沙漠之地,还多山,放眼望去,是无边无际的沙漠,沙漠是黄色的。坤?(kūn)坤为地,三个阴爻。坤是湿土,泥土中黑色的淤泥是最多的。以朱德群的十件抽象油画作品为例来看八卦与画的紧密联系。希望通过本文探讨中国先民的卓识《易经》与当代抽象艺术的完美结合,给学子们一些关于艺术、哲理和生命的启示。
Chu Teh-Chun is the famous contemporary French Chinese artist. His unique style and free abstract space of oil paintings have been formed by his consistent consideration and creation on the way of art as well as his combination of the research on both eastern and western culture and art. His abstract oil paintings differ from other abstract paintings in its colorful and magnificent abstract painting world featuring in distinctive style and academic depth, as if talking with the universe, the nature and the life with rhythm of the unary chaos world which has not been separated from the primitive world. The philosophy and the wisdom of his abstract oil paintings happen to be in coincidence with depth and width of the principle of“containing the Way of Nature”in the Book of Changes.
Created by Pangu, the original chaotic universe, was divided into the heaven and the earth, with Qian for heaven (belongs to Yang), Kun for earth (belongs to Yin). Liangyi (Yin and Yang) was born in the Great Ultimate (the primitive chaotic world); Sixiang (the four seasons: spring, summer, autumn, winter) was born in Liangyi; Bagua (the eight diagrams) was born in Sixiang. There are three volumes of the Book of Changes. Zhou Yi is the volume studied now since Lian Shan Yi and Gui Zang Yi have been lost. As the quintessence of wisdom and culture in heaven and earth gathered by ancient scholars, the Book of Changes was made the top of all the classics as well as the origin of all the principles by ancient rulers. The scholars of generations have been diligently studying it so as to make numerous reports and papers about their understanding. However, from different perspectives, people have immeasurably different feelings and conclusions as for the same sceneries.
Nature is predominant. This paper analyzes Chu Teh-Chun’s abstract oil paintings in detail from the perspective of the color and nature characters of Bagua in the Book of Changes. His principle of life and wisdom has originated from Chinese ancient culture --- the Book of Changes. His painting works demonstrate deep cultural connotation with spacious pictures and continuously moving and changing brushstrokes and colors. The eight emblematic diagrams (symbolizing heaven, water, sun, thunder, wind, moon, light, mountain and earth) of light and shade, colors and natural characters have been presented in the most proper layout in Chu The-Chun’s paintings in their own principles. Qian, Dui, Li and Zhen are the four Yang Diagrams of the Eight Diagrams while Xun, Kan, Gen, Kun are the four Yin Diagrams of them. Qian symbolizes heaven, head and red color. Dui symbolizes pool, ocean, river, moist things. Most red things are vivid and moist in nature. So Dui diagram also symbolizes red color. Li symbolizes fire, sun and featuring bright, hot, warm, dry and purple color which is obscure. Zhen symbolizes thunder. Rain always comes after thunder and lightening. So Zhen Diagram is for the bluish green color especially in spring. Xun symbolizes wind, wood, air current, grass and green color. Kan symbolizes water, moon. As the headstream of water, snow mountains are white and crystal. So Kan is also for the pure white color. Gen symbolizes high mountains and lands and Northwest in the ancient Eight Diagrams. There are deserts and mountains in the northwest. Boundless deserts can be seen there. So Gen is also for yellow color. Kun symbolizes earth, three Yin lines. Kun is for wet earth and black silt is the most of earth, so it also for black color. Taking Chu Teh-Chun’s ten abstract oil paintings as examples, this paper aims at analyzing the close relation between the Eight Diagrams and paintings and the perfect combination of the Book of Changes which has been the superior foresight of Chinese ancient scholars and the contemporary abstract art so as to provide students with some inspirations about art, philosophy and life.
原本混沌的宇宙,经过盘古开天辟地,分出了天和地,乾为天(天属阳),坤为地(地属阴)。太极生两仪(阴和阳),两仪生四象(春、夏、秋、冬),四象生八卦。《易经》有三部,《连山易》和《归藏易》已失传,现用来研究学习的是《周易》。《易经》是中国古代先贤集宇宙天地智慧和文化的结晶,被古代的统治者立为群经之首,万法之源。历代知识分子,也大多孜孜学易,穷经皓首,研究《易经》的心得报告不知其数。然而,相同的风光景色,所有人对它的观察、感受、得到的结论却会有天壤之别。
自然者,上者之上。本文以《易经》八卦的色彩属性和自然属性为出发点,对朱德群的抽象油画进行详细的研究分析。朱德群的生命智慧说源于中国的古老文明——《易经》。朱德群的画中流露着深厚的文化内涵,画面空间广阔、笔触和色彩是在不断运动着的。《易经》的八种卦象代表的天、水、太阳、雷、风、月亮、山、地在朱德群的抽象画中以自己的规律呈现。八卦中阳的四卦是:乾?、兑?、离?、震?;阴四卦是:巽?(xùn)、坎?、艮?、坤?。乾?(qián)乾为天,为首,代表蓝色。兑?(duì)兑为泽,代表海洋、河流,润泽的,自然界中,大多数红色的物都具有鲜艳润泽感,兑卦代表红色。离?(lí)离为火,代表太阳,代表火,是光明的、热的、温暖的、干燥的,干燥晦涩的紫色。震?(zhèn)震为雷,打雷闪电过后,雨水就下来了。尤其在春季,震卦是碧色的。巽?(xùn)巽为风,为木。代表气流、风、草木,是绿色的。坎?(kǎn)坎为水,代表月亮,水的源头是雪山,雪山是白色的,晶莹剔透、纯洁的白色。艮?(gèn)艮为山,代表高山、陆地,先天八卦方位图中,艮卦代表西北,西北是沙漠之地,还多山,放眼望去,是无边无际的沙漠,沙漠是黄色的。坤?(kūn)坤为地,三个阴爻。坤是湿土,泥土中黑色的淤泥是最多的。以朱德群的十件抽象油画作品为例来看八卦与画的紧密联系。希望通过本文探讨中国先民的卓识《易经》与当代抽象艺术的完美结合,给学子们一些关于艺术、哲理和生命的启示。
Chu Teh-Chun is the famous contemporary French Chinese artist. His unique style and free abstract space of oil paintings have been formed by his consistent consideration and creation on the way of art as well as his combination of the research on both eastern and western culture and art. His abstract oil paintings differ from other abstract paintings in its colorful and magnificent abstract painting world featuring in distinctive style and academic depth, as if talking with the universe, the nature and the life with rhythm of the unary chaos world which has not been separated from the primitive world. The philosophy and the wisdom of his abstract oil paintings happen to be in coincidence with depth and width of the principle of“containing the Way of Nature”in the Book of Changes.
Created by Pangu, the original chaotic universe, was divided into the heaven and the earth, with Qian for heaven (belongs to Yang), Kun for earth (belongs to Yin). Liangyi (Yin and Yang) was born in the Great Ultimate (the primitive chaotic world); Sixiang (the four seasons: spring, summer, autumn, winter) was born in Liangyi; Bagua (the eight diagrams) was born in Sixiang. There are three volumes of the Book of Changes. Zhou Yi is the volume studied now since Lian Shan Yi and Gui Zang Yi have been lost. As the quintessence of wisdom and culture in heaven and earth gathered by ancient scholars, the Book of Changes was made the top of all the classics as well as the origin of all the principles by ancient rulers. The scholars of generations have been diligently studying it so as to make numerous reports and papers about their understanding. However, from different perspectives, people have immeasurably different feelings and conclusions as for the same sceneries.
Nature is predominant. This paper analyzes Chu Teh-Chun’s abstract oil paintings in detail from the perspective of the color and nature characters of Bagua in the Book of Changes. His principle of life and wisdom has originated from Chinese ancient culture --- the Book of Changes. His painting works demonstrate deep cultural connotation with spacious pictures and continuously moving and changing brushstrokes and colors. The eight emblematic diagrams (symbolizing heaven, water, sun, thunder, wind, moon, light, mountain and earth) of light and shade, colors and natural characters have been presented in the most proper layout in Chu The-Chun’s paintings in their own principles. Qian, Dui, Li and Zhen are the four Yang Diagrams of the Eight Diagrams while Xun, Kan, Gen, Kun are the four Yin Diagrams of them. Qian symbolizes heaven, head and red color. Dui symbolizes pool, ocean, river, moist things. Most red things are vivid and moist in nature. So Dui diagram also symbolizes red color. Li symbolizes fire, sun and featuring bright, hot, warm, dry and purple color which is obscure. Zhen symbolizes thunder. Rain always comes after thunder and lightening. So Zhen Diagram is for the bluish green color especially in spring. Xun symbolizes wind, wood, air current, grass and green color. Kan symbolizes water, moon. As the headstream of water, snow mountains are white and crystal. So Kan is also for the pure white color. Gen symbolizes high mountains and lands and Northwest in the ancient Eight Diagrams. There are deserts and mountains in the northwest. Boundless deserts can be seen there. So Gen is also for yellow color. Kun symbolizes earth, three Yin lines. Kun is for wet earth and black silt is the most of earth, so it also for black color. Taking Chu Teh-Chun’s ten abstract oil paintings as examples, this paper aims at analyzing the close relation between the Eight Diagrams and paintings and the perfect combination of the Book of Changes which has been the superior foresight of Chinese ancient scholars and the contemporary abstract art so as to provide students with some inspirations about art, philosophy and life.
引文
[1]吴钢.朱德群[M].石家庄:河北教育出版社,2009:104
[2]朱德群.朱德群画集[M].石家庄:河北教育出版社,2005:24
[3]祖慰.朱德群传[M].上海:文汇出版社,2001:121
[4]南怀瑾.南怀瑾选集第二卷[M].上海:复旦大学出版社,2007:4
[5]双螺旋结构特点[DB].百度文库.中学教育
[6]中国美术史及作品鉴赏[M].北京:高等教育出版社,1997:109
[7]朱德群油画欣赏[DB].朱德群官方网站,2010
[8]河清.现代与后现代[M].中国美术学院出版社,1998:438
[9]祖慰.朱德群传[M].上海:文汇出版社,2001:11
[10]阴阳和合与三宝同炼[DB].中国传统文化网
[11]南怀瑾.南怀瑾选集第二卷[M].上海:复旦大学出版社,2007:24
[12]南怀瑾.南怀瑾选集第二卷[M].上海:复旦大学出版社,2007:8
[13]祖慰.朱德群传[M].上海:文汇出版社,2001:177
[14]姬昌.全本周易[M].北京:北京出版社,2006:308
[15]杨尔驹.绘画·色彩·媒材[M].云南:云南大学出版社,2005:3
[16](德)马克斯·多奈尔.欧洲绘画大师技法和材料[M].北京:清华大学出版社,2006:154
[17]栾加芹.用易经开方[M].北京:中国中医药出版社,2009:27
[18]南怀瑾.南怀瑾选集第二卷[M].上海:复旦大学出版社,2007:6
[19]栾加芹.用易经开方[M].北京:中国中医药出版社,2009:29
[20]黄丹麾.情感的栖息地——新表现艺术[M].吉林:吉林美术出版社,1999:197
[21]Lydia Haramabourg.论朱德群[M].石家庄:河北教育出版社,2005:32
[22]贝多芬[DB].F大调第六交响曲http://baike.baidu.com/view/78975.htm
[23]黄其洪.海德格尔论艺术[M].吉林:吉林美术出版社,2007:33
[24]黄丹麾.情感的栖居地——新表现艺术[M].吉林:吉林美术出版社,1999:208
[25]戴士和.画布上的创造[M].四川:四川人民出版社,1986:138
[26]殷珍泉.易经的智慧[M].当代世界出版社:2008年:636
[2]朱德群.朱德群画集[M].石家庄:河北教育出版社,2005:24
[3]祖慰.朱德群传[M].上海:文汇出版社,2001:121
[4]南怀瑾.南怀瑾选集第二卷[M].上海:复旦大学出版社,2007:4
[5]双螺旋结构特点[DB].百度文库.中学教育
[6]中国美术史及作品鉴赏[M].北京:高等教育出版社,1997:109
[7]朱德群油画欣赏[DB].朱德群官方网站,2010
[8]河清.现代与后现代[M].中国美术学院出版社,1998:438
[9]祖慰.朱德群传[M].上海:文汇出版社,2001:11
[10]阴阳和合与三宝同炼[DB].中国传统文化网
[11]南怀瑾.南怀瑾选集第二卷[M].上海:复旦大学出版社,2007:24
[12]南怀瑾.南怀瑾选集第二卷[M].上海:复旦大学出版社,2007:8
[13]祖慰.朱德群传[M].上海:文汇出版社,2001:177
[14]姬昌.全本周易[M].北京:北京出版社,2006:308
[15]杨尔驹.绘画·色彩·媒材[M].云南:云南大学出版社,2005:3
[16](德)马克斯·多奈尔.欧洲绘画大师技法和材料[M].北京:清华大学出版社,2006:154
[17]栾加芹.用易经开方[M].北京:中国中医药出版社,2009:27
[18]南怀瑾.南怀瑾选集第二卷[M].上海:复旦大学出版社,2007:6
[19]栾加芹.用易经开方[M].北京:中国中医药出版社,2009:29
[20]黄丹麾.情感的栖息地——新表现艺术[M].吉林:吉林美术出版社,1999:197
[21]Lydia Haramabourg.论朱德群[M].石家庄:河北教育出版社,2005:32
[22]贝多芬[DB].F大调第六交响曲http://baike.baidu.com/view/78975.htm
[23]黄其洪.海德格尔论艺术[M].吉林:吉林美术出版社,2007:33
[24]黄丹麾.情感的栖居地——新表现艺术[M].吉林:吉林美术出版社,1999:208
[25]戴士和.画布上的创造[M].四川:四川人民出版社,1986:138
[26]殷珍泉.易经的智慧[M].当代世界出版社:2008年:636