範曾（1938.7.5-）字十翼，別署抱衝齋主，江蘇南通人，中國當代大儒、思想家、國學大師、書畫巨匠、文學家、詩人。現為北京大學中國畫法研究院院長、講席教授，中國藝術研究院終身研究員，南開大學、南通大學惟一終身教授，聯合國教科文組織“多元文化特別顧問”，英國格拉斯哥大學名譽文學博士，加拿大阿爾伯塔大學榮譽文學博士。是當代中國集詩書畫、文史哲、儒釋道於一身的文化大家，平生著作等身，已出版一百六十餘種詩、書畫、哲學之著述，國家圖書館珍藏其中119種。
Fan Zeng (1938.7.5 -) has ten wings. He was born in Nantong, Jiangsu Province. He is a great scholar, thinker, sinologist, calligrapher, painter, litterateur and poet. At present, he is the president and Chair Professor of the Chinese Academy of painting, Peking University, lifelong researcher of the Chinese Academy of art, the only lifelong professor of Nankai University and Nantong University, the "special adviser for multiculturalism" of UNESCO, the honorary doctor of literature of the University of Glasgow and the honorary doctor of literature of the University of Alberta. He is a cultural master of poetry, calligraphy, painting, literature, history, philosophy, Confucianism, Buddhism and Taoism in contemporary China. He has published more than 160 kinds of poetry, calligraphy, painting and philosophy works, of which 119 are collected by the National Library.
範曾提倡“迴歸古典、迴歸自然”，身體力行“以詩為魂、以書為骨”的美學原則，對中國畫的發展厥功至鉅，開創了“新古典主義”藝術的先河。1984年，日本岡山範曾美術館建立；1986年，捐建並主持南開大學東方藝術系；2008年，南通大學範曾藝術館揭牌；2011年，榮獲中華藝文獎終身成就獎。有二十四字自評：痴於繪畫，能書；偶為辭章，頗抒己懷；好讀書史，略通古今之變。
Fan Zeng advocated "returning to classicality and nature" and practiced the aesthetic principle of "taking poetry as the soul and book as the bone". He made great contribution to the development of Chinese painting and created the forerunner of "neoclassicism" art. In 1984, Fanzeng art museum was established in Okayama, Japan; in 1986, he donated and presided over the Department of Oriental Art of Nankai University; in 2008, Fanzeng Art Museum of Nantong University was opened; in 2011, he won the lifetime achievement award of Chinese art and literature award. There are twenty-four words of self-evaluation: infatuated with painting, able to write; occasionally as a dictionary, quite express their feelings; good history of reading, slightly through the changes of ancient and modern times.
筆墨語言的自身解放
The self liberation of ink language
「簡筆」與「潑墨」現都已被定義為中國畫的一種技法。古時南宋梁楷在繼承李公麟白描人物畫法的基礎上，畫風一變轉為「逸筆草草」的減筆畫法。同時將寫意山水的潑墨畫法引入人物畫中，一開後世寫意人物畫先河。明末清初的八大山人更是精於簡筆潑墨，尤以花鳥、山水為善。之後的任伯年在融合傳統和西方造型方法後，擺脫程序化影響使簡筆潑墨人物畫異彩重放。如今，範曾在學習了近現代人物畫的主流即以徐蔣為主的寫實主義風格後突破侷限，將傳統線描和潑墨技法與徐蔣體系中嚴謹而科學的造型結構能力巧妙結合，並加以變法，使畫面中筆墨這一繪畫語言得以完全解放，並在復興傳統的同時拓展傳統，開闢了新的審美領域，於古典人物題材中傾注了自身對時代的思考，從而在當代大寫意人物畫中獨樹一幟，起到了承前啟後的重要作用。
"Simple brush" and "splash ink" have been defined as a technique of Chinese painting. Liang Kai of the Southern Song Dynasty inherited Li Gonglin's painting method of white drawing figures, and the painting style changed into the method of "free brushwork and cursive brushwork". At the same time, the ink splashing method of freehand landscape painting is introduced into figure painting, which is the first time for freehand figure painting of later generations. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the eight mountain people were more proficient in simple ink painting, especially in flowers and birds, landscapes. After that, Ren Bonian got rid of the influence of the procedure and made the simple ink splashing figure painting play back brilliantly after combining the traditional and Western modeling methods. Now, after learning the main stream of modern figure painting, that is, the realism style dominated by Xu Jiang, fan Zeng has broken through the limitations, ingeniously combined the traditional line drawing and ink splashing techniques with the rigorous and scientific modeling and structure ability in Xu Jiang's system, and modified them to completely liberate the painting language of ink in the picture, and at the same time, he has revived the tradition, expanded the tradition, and opened up a new aesthetic Domain, in the classical character theme poured their own thinking of the times, thus in the contemporary freehand brushwork figure painting unique, played an important role in connecting the past and the future.
復歸古典開新風
Return to classical style
早在元代中國畫就曾在趙孟頫的「古意」倡導下掀起了一場向五代北宋傳統的復歸運動。而這場運動也掀起了元代繪畫的全面變革，對後世繪畫影響深遠。而進入當代，隨著西方現代藝術、後現代主義等思潮的傳入和影響，藝術中存有一種對自然的反叛和對美的背離的現象。基於此，範曾提出要「復歸古典」，並從宏觀視野出發直言「古典」是包含中西方在內的所有經典文明。這種復歸古典的本質是要重建自然之美，這種倡導其實與範曾深厚的傳統修養有關，老莊哲學中認為最為真實的美就是根於自然，範曾在對老莊哲學思想的深刻領悟上，又進一步提出要「棄絕矯偽，順適天然」的繪畫理念。《牧驥歸來》、《桑麻絮語》和《歸牧》畫面便是這一理念的集中體現。作品的人物沒有經過刻意雕琢，而是一種純真不加矯飾的自然之美。所謂「大音希聲、大象無形」即是如此，他畫中人物的自然之美已經擺脫了人物表象的具體刻畫，具有本真性情。除此之外，「復歸古典」背後承載著是範曾對當代人類現狀的焦慮和現代科技文明快速發展下帶來的負面影響的一種擔憂。從這一點來講，範曾的「復歸古典」比起趙孟俯的「古意」倡導以及西方的文藝復興，多了一層人文主義的關懷。而這種反樸歸真的本質追求和人文關懷精神正是當代藝術多元蓬勃發展中所缺失的。
"Simple brush" and "splash ink" have been defined as a technique of Chinese painting. Liang Kai of the Southern Song Dynasty inherited Li Gonglin's painting method of white drawing figures, and the painting style changed into the method of "free brushwork and grass painting". At the same time, the ink painting method of freehand landscape is introduced into figure painting, which is the first time for freehand figure painting of later generations. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the eight mountain people were more proficient in simple ink painting, especially in flowers and birds, landscapes. Later, Ren Bonian, after combining traditional and Western modeling methods, got rid of the influence of the program and made the simple ink splashing figure painting brilliant again. Now, after learning the main stream of modern figure painting, that is, the realism style dominated by Xu Jiang, fan Zeng has broken through the limitations, ingeniously combined the traditional line drawing and ink splashing techniques with the rigorous and scientific modeling and structure ability in Xu Jiang's system, and modified them to completely liberate the painting language of ink in the picture, and at the same time, he has revived the tradition, expanded the tradition, and opened up a new aesthetic Domain, in the classical character theme poured their own thinking of the times, thus in the contemporary freehand brushwork figure painting unique, played an important role in connecting the past and the future.
知白守黑的無限空間
The infinite space of knowing the white and guarding the black
知白守黑原是出自於老子《道德經》中的言論，用於繪畫上則有對一物象的描繪、畫面中的疏密對比關係等演繹方式。範曾的簡筆潑墨人物則在此基礎上於畫面中展示出了「黑」與「白」之間的無限空間。這之中其實是得益於八大山人畫面的尚簡筆墨和自由心靈的揮發，但他不只於此，而是將其上升到了一種高度，他於線描勾勒和大潑墨結合之中所尋求的是要達到一種「萬物」的和諧。無論是古代神話人物題材的《鍾馗神威》、《觀世音菩薩造像》、《風風雨雨夾江來》，老莊著作談及的人物《伯樂》，還是其它如《牧驥歸來》、《桑麻絮語》、《歸牧》、《塞翁失馬，焉知非福》，都集中體現出他在迴歸自然純樸的人物神態、灑脫的筆墨及清逸高潔的精神這一傳統下對寫意人物畫所做的開拓貢獻。首先，範曾使得古代人物題材具有了現代意義，鍾馗、觀音、達摩等都沒有具體形象參考，這隻能憑藉範曾自己的理解，然而他依據自身深厚的國學基礎賦予了這些造型神似而非形肖的姿態，引人共鳴。其次，範曾在傳統白描和潑墨的繪畫語言上加以拓展。其人物形象的造型方式是融合了蔣兆和式重結構的特點，但又不拘泥於此。最後，在傳統「書畫用筆同法」的理論上創造「以書為骨」這一具有時代意義的筆墨。將潑墨寫意人物和狂草的本質幾齣一理，而畫面中無論是人物的衣飾還是動態和情節性表現都顯現出一種恣意的書寫，從而顛覆了古代減筆潑墨人物繪畫模式，使得筆墨本身展現出的「黑」、「白」擁有了更加自由的演繹空間。
Knowing the white and guarding the black is originally from Laozi's "Tao Te Jing" speech. When it is used in painting, there are deductive ways such as the description of an image, the density and contrast relationship in the picture, etc. On this basis, fan Zeng's simple ink splashing characters show the infinite space between "black" and "white". In fact, it is thanks to the simplicity of the pictures of Badashan people and the volatilization of free mind, but he did not only benefit from this, but also raised it to a height. What he sought in the combination of line drawing and big ink splashing is to achieve a harmony of "everything". Whether it's Zhongkui Shenwei, GuanShiYin Bodhisattva statues, ups and downs Jiajiang, or bole, or other characters in Laozhuang's works, such as the return of the Muji, Sangma Xu Yu, Guimu, blessing in disguise and loss of horse, how to know it's not blessing, they all reflect his simple and natural character, free and easy writing and Qing Dynasty The pioneering contribution to freehand figure painting under the tradition of elegant and noble spirit. First of all, fan Zeng made the theme of ancient characters have modern significance. Zhong Kui, Guanyin, Dharma and so on have no specific image reference, which can only rely on fan Zeng's own understanding. However, according to his own profound foundation of Sinology, he gave these shapes of gods rather than Zodiac posture, which resonates with people. Secondly, fan Zeng expanded the traditional painting language of white drawing and ink splashing. The modeling method of his characters is to integrate the characteristics of Jiang Zhaohe's heavy structure, but not to stick to it. Finally, in the traditional "painting and calligraphy with the same brush" theory, create "book as the bone" which has the significance of the times. The essence of freehand brushwork figures and wild grass is explained in a few ways. In the painting, no matter the clothes and ornaments of the characters or the dynamic and plot performance, it shows a kind of arbitrary writing, which subverts the ancient painting mode of the characters with reduced brushwork, and makes the "black" and "white" displayed by the brushwork itself have a more free deductive space.
專家推薦：此畫面裡鍾馗和白馬的形象塑造存有範曾的簡潔風格，鍾馗騎馬前行，人物相貌魁梧，五官端正，衣角飄逸，充分顯出運動人物的動態。看畫後頓覺耳邊似有疾風粗獷的線條，嘆其繪畫技法之高妙。濃烈的墨汁，誇張的姿態，勁健的運筆。無不彰顯出鍾馗磊落剛正無畏大氣的人形鬼風神韻。有緣展閱這樣的畫像，必會精神愉悅，思想滿足，邪念不侵。畫中用充滿激情的畫筆，寥寥幾根線條準確而又生動地勾畫出這位剛正不阿，正氣浩然的中國傳統文化中“賜福鎮宅聖君”鍾馗的形象。最為精彩部分為人物神情的刻畫，鍾馗面部表情仰頭望向遠方似有憂慮也是其內心活動的寫照。一隻手臂微微抬起，也是其內心活動的寫照。全圖筆墨凝練生動，鍾馗與馬設色形成鮮明對比，設色淡雅和諧，鍾馗形象勾勒極致簡化，成功地表現出鍾馗的文人氣質，既端莊威嚴，又可敬可親。是範曾先生十分難得的人物畫佳作。右方題字書法，酣勁流暢，頓挫明快，給觀者以無盡的享受，藝術價值不言而喻！
Experts recommend: the image of Zhong Kui and the white horse in this picture has the simple style of fan Zeng. Zhong Kui rides forward, with a big face, correct facial features and elegant clothes, fully showing the dynamic of the moving figures. After seeing the painting, I feel that there are rough lines in my ears, and I sigh for its excellent painting techniques. Strong ink, exaggerated posture, vigorous pen. All of them show Zhong Kui's upright and fearless spirit of human ghost. If you have the chance to display such a picture, you will have spiritual pleasure, ideological satisfaction and inviolability of evil thoughts. With a passionate brush and a few lines, the painting accurately and vividly depicts the image of Zhong Kui, the upright and noble Chinese traditional culture who "blessed the holy king of zhenzhai". The most wonderful part is the depiction of the characters' facial expression. Zhong Kui's facial expression looks up to the distance as if he is worried, which is also the portrayal of his inner activities. A slight lifting of an arm is also a reflection of its inner activities. The painting is concise and vivid. Zhong Kui is in sharp contrast with the horse in color setting. The color setting is elegant and harmonious. The image of Zhong Kui is extremely simplified. It successfully shows Zhong Kui's literati temperament, which is dignified, dignified and amiable. It is a rare masterpiece of figure painting by Mr. Fan Zeng. The calligraphy inscribed on the right side is vigorous, smooth and bright, which gives the audience endless enjoyment. Its artistic value is self-evident!
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