2024年中歐書畫名家國際藝術線上交流展——何曉虎
何曉虎，1970年生于四川省自貢市，自幼習畫， 1989 年考入中央工藝美術學院（現清華大學美術學院），師從名家，在校期間，多幅作品獲學院收藏， 1993 年畢業獲學士學位,1997年獲得壁畫研究所學生同等學位。現為中國藝術研究院研究所學生院博士生導師，美國The ART door基金簽約畫家，中國美協會員，中國書畫研究院常務副院長，四川省博物院特聘畫家，中國對外文化藝術交流協會理事，香港國際畫院常務理事、客座教授，一級美術師，世界華人藝術家協會山水分會主任，中華詩詞協會理事，中國國學研究會理事，中華國學文化藝術大使，清華大學美術學院客座教授，中央美術學院客座教授，四川美術學院客座教授，北京工業大學客座教授。在中國當代彩墨畫和水墨畫領域深有建樹，創新和發展了中國傳統潑墨潑彩和工筆畫的優點，結合當代元素及西方油畫光影色彩獨創出豔麗、明快融冠中西的彩墨荷花和山水畫系列作品，被喻為自黃永玉、袁運甫兩位大師之後又一位“彩墨荷花之王”。獨立繪制完成多項大型政府工程，數十幅作品被國内外美術館、基金會和政府機構收藏。
論當代水墨圖式的演變與程式
當代藝術作品的産生受到藝術家生活的時代和工作環境的影響，藝術家在進行創作時會将自己的生活和工作經曆融入到自己的藝術作品中，這就是藝術來源于生活而又高于生活的原因。藝術創作并非孤立的，他是藝術家情感和生活以及對當代社會的情緒表達。
水墨作為一種中國文化的隐喻或象征，其價值體系在于它提供了一套對世界的認知理念及其相對應的筆墨程式。
就當代傳播形式而言，圖形比語言更直覺更生動和更容易産生強烈的記憶。在全球化的今天，時間與空間比過去任何一個時代都來得更加的迅速與複雜。然而，一個成熟的藝術作品所具有的當代屬性則會在它存在的時代中獨具特性，傲然于衆，獲得自己的價值。就每一個成功的藝術家而言，你仔細研究，他的藝術表達語言技法和作品題材非常具有圖形的個性——我們稱之為辨識度。這就是每個藝術家畢生追求的方向。
水墨作為中國文化強大母體之單元，它是由生存在這片土地上多民族的“和而不同”的多元文化基因孕育而成的國家形象，而不是簡單同構在血緣基礎上的純粹圖騰。水墨語言圖式是一個在漫長的曆史、經濟、社會、政治、宗教、民俗心理所積澱下來的精神貴族。自唐宋以來，曆朝曆代均會出現跨越曆史，照亮星程的大藝術家。水墨是中國文化記憶的最精彩的載體之一，到明清時代又是一個水墨藝術的高峰。我正是在反複閱讀曆史的基礎上，偶然發現了明代大畫家陳洪绶所畫的太湖石與荷花的圖式，我經過大量的對比研究，靈光一現，新的創作圖式出現了。結合我已經連續創作了十幾年的彩墨荷花，我的《太湖石與荷花》系列誕生了。
太湖石系列作品，是源于唐高宗末年，683年－690年武則天作為唐中宗、唐睿宗的皇太後臨朝稱制，後自立為武周皇帝（690年－705年），民間傳說武則天欲改朝換代，文武大臣皆不服，說要女人當皇帝，除非石頭開花，恰好當時有人向朝庭報告，在太湖發現有荷花從石洞中穿出開花，這是千年不遇的吉兆。又應念了文武大臣的諺語，武則天遂就改朝換代，建立大周，自有史以來古今第一女皇帝。從此太湖石就更加成為一種文人士大夫和貴族的文賞之物，備加推崇，一至到今天。《水浒傳》就是由太湖石引出來的故事。我從這個典故中發掘出太湖石系列，将這千年一遇的吉兆用圖像表現出來。讓大家感受到藝術的魅力。畫面工筆和寫意相接合，傳統和當代的對比，給人強烈的視覺沖擊力，觀後令人賞心悅目，回味無窮。這就是當代的水墨語言創作出的水墨圖式。
當代水墨作為一種在新語境下的知識體系，它的傳播是在西方文化語境的差異化中顯現的東方神韻，這是一個延續千年的文脈。 中國水墨的存在決定于它有一個傳承有序的完美的産業鍊，其紙、筆、墨、硯、金石刻印之獨特物語，呈現出了水墨文化的永恒力量。隻有心靈的真實，才是水墨的真實。我曾經用水墨創作山水、人物、花鳥各類題材綿延三十多年，作品不計其數。然而透過時間和空間的轉換，最終在人類藝術長河中存在的就是——《太湖石與荷花》。
西方的未來主義者們主張藝術是抛棄傳統的前衛。而東方的當代水墨注重的卻是從傳統中走來并超越自我。水墨尚道，書畫同源。當代水墨要向縱深發展，須得以書法功底為基石提升筆墨表現的力度，水墨是修煉的藝術。
當代水墨以東方人特有的思維模式為起點，使我們通過水墨得以理性與冥想，并使人成為全面發展的人，進而找尋人與自然的新的和諧，表現出禅意之景，我自幼練習書法，在最近幾年的創作中将書法《金剛經》與太湖石荷花系列融為一體，創作出充滿禅意畫境的新系列，将最當代的水墨語言表達出了最傳統筆墨的意趣，是以水墨語言是無敵的，禅境為家讓當代水墨有了回家的路。
以直覺觀照的沉思，在水墨的凝練與含蓄中體驗人生，表現與自悟，打破山水畫、人物畫、花鳥畫、中畫、西畫的界限，同構具象與抽象的視覺語言，貫之以時代精神之氣場，使自我精神的獨立表達成為一種可能，水墨雖已發展千年，而卻在各個時代都會出現高峰，我們都想成為那幾個站上峰頂的人并為之而獻上畢生的努力。
今天，當代水墨重意輕技的迷茫在于對書法精神的非解而妄用，當代的藝術家要更加深入的研習書法方可得到時代得垂青。中國水墨是世界上獨一無二的藝術。然而，水墨的演化卻是人與自我意識個性發展的演變。
今天，當代水墨對宇宙時空的建構，突破視覺領域對抽象、動感、透明、凹凸、漂移、黑與白、色與光、爆裂與收斂等元素，讓藝術與心靈對話，通過更加廣泛的大衆媒體而傳播。
人類的文化終将被科技的發展而同構。生命有限，而唯有藝術可以永恒。
He Xiaohu, born in Zigong City, Sichuan Province in 1970, studied painting from a young age. In 1989, he was admitted to the Central Academy of Arts and Crafts (now the Academy of Fine Arts at Tsinghua University) and studied under renowned artists. During his time at school, many of his works were collected by the academy. He graduated with a bachelor's degree in 1993 and obtained the same degree as a graduate student in murals in 1997. I am currently a doctoral supervisor at the Graduate School of the Chinese Academy of Art, a contracted painter at The ART door Foundation in the United States, a member of the Chinese Artists Association, Executive Vice President of the Chinese Academy of Calligraphy and Painting, a special invited painter at the Sichuan Provincial Museum, a member of the China Association for Cultural and Art Exchange with Foreign Countries, a standing member and visiting professor of the Hong Kong International Painting Academy, a first-class artist, director of the Landscape Branch of the World Chinese Artists Association, a member of the Chinese Poetry Association, a member of the Chinese National Studies Research Association, an ambassador for Chinese National Studies, a visiting professor at the School of Fine Arts at Tsinghua University, a visiting professor at the Central Academy of Fine Arts, a visiting professor at the Sichuan Academy of Fine Arts, and a visiting professor at Beijing Institute of Technology. In the field of contemporary Chinese ink painting and water painting, he has made great achievements, innovated and developed the advantages of traditional Chinese splashing and meticulous painting, combined with contemporary elements and Western oil painting light and shadow colors, and created a series of colorful and lively ink lotus and landscape paintings that blend the East and the West. He is known as another "king of colorful ink lotus" after the two masters Huang Yongyu and Yuan Yunfu. Independently completed multiple large-scale government projects, and dozens of works have been collected by domestic and foreign art museums, foundations, and government agencies.
On the Evolution and Programming of Contemporary Ink Painting Patterns
The emergence of contemporary art works is influenced by the era and work environment in which artists live. When creating, artists will integrate their own life and work experiences into their art works. This is why art originates from life and is higher than life. Art creation is not isolated, it is the artist's expression of emotions, life, and contemporary society.
As a metaphor or symbol of Chinese culture, the value system of ink painting lies in its provision of a set of cognitive concepts for the world and its corresponding brush and ink programs.
In terms of contemporary forms of communication, graphics are more intuitive, vivid, and easier to generate strong memories than language. In today's globalized world, time and space have become more rapid and complex than any previous era. However, the contemporary attributes of a mature work of art will be unique in its era of existence, standing out and gaining its own value. For every successful artist, upon careful study, their artistic expression language and techniques, as well as their subject matter, possess a highly graphic personality - what we call discernment. This is the direction that every artist pursues throughout their life.
Ink painting, as a powerful unit of Chinese culture, is a national image nurtured by the diverse cultural genes of multiple ethnic groups living on this land, rather than a pure totem based on blood ties. The pattern of ink and wash language is a spiritual aristocrat accumulated over a long history, economy, society, politics, religion, and folk psychology. Since the Tang and Song dynasties, there have been great artists who have transcended history and illuminated the world. Ink painting is one of the most splendid carriers of Chinese cultural memory, and it was also a peak of ink painting art during the Ming and Qing dynasties. It was on the basis of repeated reading of history that I stumbled upon the pattern of the Taihu Lake Lake stone and lotus painted by Chen Hongshou, a great painter of the Ming Dynasty. After a lot of comparative studies, I found a new creative pattern. In combination with the colorful ink lotus I have created for more than ten years, my the Taihu Lake Lake Stone and Lotus series was born.
The series of the Taihu Lake Lake stone works originated from the late years of Emperor Gaozong of the Tang Dynasty. From 683 to 690, Empress Wu Zetian was called the empress dowager of Emperor Zhongzong and Emperor Ruizong of the Tang Dynasty, and later established herself as Emperor Wu Zhou (690-705). According to folk legends, Empress Wu Zetian wanted to change the dynasty, but the ministers of literature and military were not satisfied. They said that women should be emperors unless the stones blossomed. At that time, someone reported to the court that lotus flowers were found in the Taihu Lake Lake and blossomed out of the cave, which was a good omen for thousands of years. After reciting the proverb of the Minister of Civil and Military Affairs, Empress Wu Zetian changed her dynasty and established the Great Zhou, the first female emperor in ancient and modern history. Since then, the Taihu Lake Lake Stone has become a kind of cultural reward for literati, doctors and nobles, which is highly respected today. "Outlaws of the Marsh" is a story led by the Taihu Lake Lake Stone. I excavated the the Taihu Lake Lake stone series from this allusion, and expressed the auspicious omen once in a thousand years with images. Let everyone feel the charm of art. The combination of meticulous brushwork and freehand brushwork, as well as the contrast between traditional and contemporary styles, creates a strong visual impact that is pleasing to the eye and leaves a lasting impression. This is the ink painting pattern created by contemporary ink language.
Contemporary ink painting, as a knowledge system in a new context, its dissemination is the Eastern charm manifested in the differentiation of Western cultural contexts, which is a millennium long cultural context. The existence of Chinese ink painting is determined by its perfect industrial chain of orderly inheritance. The unique stories of paper, pen, ink, inkstone, and inscriptions on gold and stone present the eternal power of ink culture. Only the truth of the soul is the truth of ink painting. I have used ink and wash to create various themes such as landscapes, characters, flowers and birds for over thirty years, with countless works. However, through the transformation of time and space, what ultimately exists in the long river of human art is the Taihu Lake Lake Stone and Lotus.
Western futurists advocate that art is avant-garde in abandoning tradition. However, contemporary ink painting in the East focuses on walking from tradition and transcending oneself. Ink painting and calligraphy share the same origin. In order for contemporary ink painting to develop in depth, it is necessary to use calligraphy skills as the cornerstone to enhance the intensity of brush and ink expression. Ink painting is an art of cultivation.
Contemporary ink painting starts from the unique thinking mode of oriental people, which enables us to be rational and meditative through ink painting, and make people become fully developed people, so as to find a new harmony between man and nature, and show the vision of Zen. I practiced calligraphy since I was young. In my creation in recent years, I integrated the calligraphy "Diamond Sutra" with the the Taihu Lake Lake stone lotus series, and created a new series full of Zen paintings. The most contemporary ink language expresses the most traditional interest of ink painting. Therefore, ink language is invincible. The Zen realm is home for contemporary ink painting, and it has a way to go home.
Through intuitive contemplation, experiencing life through the conciseness and subtlety of ink and wash, expressing and self-awareness, breaking the boundaries of landscape painting, figure painting, flower and bird painting, Chinese painting, and Western painting, constructing concrete and abstract visual language, and combining it with the spirit of the times, making independent expression of one's own spirit possible. Although ink and wash has developed for thousands of years, it will reach its peak in various eras. We all want to become those who stand at the peak and dedicate our lives to it.
Today, the confusion of contemporary ink painting lies in the misunderstanding and misuse of the spirit of calligraphy. Contemporary artists need to delve deeper into calligraphy in order to gain the favor of the times. Chinese ink painting is a unique art in the world. However, the evolution of ink painting is the evolution of human and self-awareness personality development.
Today, contemporary ink painting breaks through the visual realm of abstraction, dynamism, transparency, concavity and convexity, drift, black and white, color and light, explosion and convergence in the construction of space and time, allowing art and the soul to converse and spread through a wider range of mass media.
Human culture will eventually be isomorphized by the development of technology. Life is limited, but only art can be eternal.