随着北京迎冬奧倒計時開始，全球正式進入了2022年北京冬奧會周期，“為奧運喝彩”項目也迎來了在中國北京宣傳奧林匹克精神、文化、藝術的重要階段。“為奧運喝彩”承“傳播奧林匹克精神、弘揚中國傳統文化”的理念，将通過藝術手段進一步向世界展示中國開放自信、熱情友善的良好形象。
作者簡介
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張淼：字三水， 1984 年 9 月出生，男，祖籍陝西省商洛市。現為中央文化幹部管理學院中國水墨研究院院士、陝西省美術家協會會員，陝西省書畫藝術研究院研究員、西部中國畫院副院長，西安市中國畫研究會花鳥藝委會副主任，長安青年美術家協會副主席，商州美術家協會副主席。2016年作品《荷塘雙棲圖》特邀入選法國巴黎國際藝術沙龍展暨中法藝術名家國際學術交流展，并在法國巴黎盧浮宮展出；作品曾先後在北京、日本、香港、新加坡、法國、意大利等地展出；出版有多種個人畫集。
Zhang Miao: Sanshui, born in September 1984, male, native to Shangluo City, Shaanxi Province. He is now an academician of the Chinese ink and wash Research Institute of the central cultural cadre management college, a member of Shaanxi Artists Association, a researcher of Shaanxi calligraphy and painting art research institute and vice president of the western Chinese Painting Academy, deputy director of the flower and Bird Art Committee of Xi'an Chinese Painting Research Association, vice chairman of Chang'an Young Artists Association and vice chairman of Shangzhou Artists Association. In 2016, the work "double habitat in the lotus pond" was specially invited to be selected into the International Art Salon Exhibition in Paris, France and the international academic exchange exhibition of Chinese and French artists, and was exhibited in the Louvre in Paris, France; His works have been exhibited in Beijing, Japan, Hong Kong, Singapore, France, Italy and other places; He has published a variety of personal paintings.
作品鑒賞
硯邊随筆
Inkstone essays
——現代花鳥畫創新的思考與實踐
——Thoughts and Practice on the innovation of modern flower and bird painting
張淼
Zhang Miao
近代花鳥畫已經發展到一個相對穩定的時期，作為現代花鳥畫急需變革。無論是什麼題材的創作，我們都需要空間的突破，在創作之前不要受三維空間和色彩對我們視覺的束縛。從微觀當中感悟生命之奧妙，從宏觀當中感悟宇宙之變幻。深入的去探索四維、五維空間的物象，提高學術前沿的創作，這對于現代花鳥創作有很大的幫助。
Modern flower and bird painting has developed to a relatively stable period. As a modern flower and bird painting, it is in urgent need of reform. No matter what the theme of creation, we all need a breakthrough in space. Before creation, we should not be bound by three-dimensional space and color. Understand the mystery of life from the micro and the changes of the universe from the macro. It is very helpful for modern flower and bird creation to deeply explore the images of four-dimensional and five-dimensional space and improve the creation of academic frontier.
正所謂大象無形、大音希聲，這正是畫家所需要的心境，也是佛法中所闡釋的一花一草一世界的生命境界！關于物體的形象有很多種，譬如:具象的、意象的、抽象的、宏觀的、微觀的等等。
The great form has no shape. Great sound is hard to hear. This is the mood that painters need. It is also the life realm of flowers, grass, and the world as explained in Buddhism. There are many kinds of images about objects, such as concrete, image, abstract, macro, micro and so on.
不同的形象感受，主要取決于作者的思維感悟和審美取向，當代花鳥畫作者大部分趨向為意象的思維方式。意象是一種感受型的物象，它呈現給觀衆的是中和之美。
Different image feelings mainly depend on the author's thinking perception and aesthetic orientation. Most contemporary flower and bird painters tend to be image thinking mode. Image is a kind of perceptual object image, which presents the beauty of neutralization to the audience.
當代畫家的藝術創作的先覺條件，就是要有感而發、境界至上，要使自己的思維從微觀到宏觀、從具象到抽象。打開視野，深悟人生與大自然。在花鳥畫的創作形式上，追求現代意象構成，這是現代繪畫中的視覺要素。
The premonitory condition of contemporary painters' artistic creation is to express their feelings, put the realm first, and make their thinking from micro to macro, from concrete to abstract. Open your eyes and deeply understand life and nature. In the creative form of flower and bird painting, the pursuit of modern image composition is the visual element in modern painting.
當代畫家要在意象與抽象上尋找突破口，尤其在色彩方面，要努力借鑒歐洲印象派的作品，來豐富現代花鳥畫的彩墨創作。在光學色彩中，重複的構成和色彩的有序漸變會産生不同的節奏和韻律感，是以現代繪畫在光色的應用中有很大的發展空間。光與色對于現代繪畫有很大的幫助和提升作用。在此基礎上，借鑒西方繪畫及版畫和攝影藝術的表現手法已成為一種新的理念。
Contemporary painters should find a breakthrough in image and abstraction, especially in color, and strive to learn from European Impressionist Works to enrich the color ink creation of modern flower and bird painting. In optical color, repeated composition and orderly gradual change of color will produce different rhythm and rhythm, so modern painting has a great development space in the application of light and color. Light and color are of great help and promotion to modern painting. On this basis, it has become a new idea to learn from the expression techniques of Western painting, printmaking and photography.
就色彩而言，使用複合色，注重冷暖對比變化和講究色調的色彩變幻，尤其是印象派繪畫對于光色的表現，已經成為當代許多畫家借鑒學習的重要手法。
In terms of color, the use of composite color, focusing on the contrast between cold and warm and the color change of tone, especially the performance of light and color in Impressionist painting, has become an important method for many contemporary painters to learn from.
總之，光與色作為中國畫新的理念必然會成為今後繪畫的發展方向，它為現代中國畫的創新注入了新的活力。
In short, as a new concept of Chinese painting, light and color will inevitably become the development direction of painting in the future. It has injected new vitality into the innovation of modern Chinese painting.