“行走大地——许海刚水彩艺术展”在湖北美术学院开展至3月18日

“行走大地”WALKING ON THE LAND

许海刚

Xu Haigang

展期Duration:February 26，2025-March 18，2025

周二至周日，Tues-Sun 9:00 AM-17:00 PM

展览地点Address：

湖北美术学院昙华林校区美术馆1-2层展厅

（武汉市武昌区中山路374号）Exhibition hall on the 1st and 2nd floors of the Art Museum of Tanhualin Campus of Hubei Institute of Fine Arts

主办单位 Organizers：湖北美术学院、湖北省美术家协会

承办单位 Undertaker：湖北美术学院绘画学院、湖北美术学院美术馆、湖北美术学院实验艺术学院、湖北美术学院国际水彩画研究创作中心

总顾问General Counsel：鲍清芬

总策划 General Planner：周峰

展览总监 Director of Exhibitions：曹丹、张杰

艺术总监 Artistic Director：陈勇劲、徐文涛

策展人Curator：刘茂平

学术主持 Academic Host：李宁、白露洋

展览统筹 Exhibition Coordinator：邵昱皓、张昊

展览执行 Exhibition Executor：

王翼菲、林波、梁洁、蔡卜居、许捷欣、朱紫微、敖雪琦、牛璐、郭钰、吴祺芃、孙奥、许星宇、宋紫薇、马青阑、徐梁斌、侯铮、路舒程

天地有大美——许海刚水彩艺术展

中国水彩画艺术家创作了大量的水彩画巨制，成功地在中国把水彩画艺术变成了一门工作室艺术，一门闭门制作的艺术，也使得水彩画艺术在一定程度上丧失了对生活、自然，尤其是艺术家自身对生命的敏锐感受，而这种敏锐的感受性，正是水彩画艺术的重要特性和相对其他画种优势的地方。而要保持这种感受，写生，正是其最重要的创作方式。许海刚作为知名的水彩画艺术家，他深谙水彩艺术的创作之道，因此，多年来，他一直坚持写生。如果说他早期创作阶段的写生，还停留在对自然、人文景观的游观阶段。那么，近些年的写生，他则有计划地进行系统化的写生活动，用手中的画笔，记录下神州大地乃至世界各地不同地域的自然人文风情之美。

近年来，他先后跑遍了我国不同省区的三十多个有特色的地点，感知、记录、描绘了中国丰饶的大地，呈现出大美中国的独特之美。同时，他也多次去往欧洲的意大利、德国、希腊等国，描绘独特的异域风情。他不顾酷暑严冬，在各地的写生过程中，留下了数以千计的作品，这个展览呈现的，就是他这些作品的一小部分。

许海刚常常选取那些地貌、物产、民族、文化具有代表性的地方，超越走马观花、蜻蜓点水似的观光，到达一个地方静静地呆下来，用手中的画笔，以他独特的艺术方式将各地丰富多彩自然人文之美转换成艺术之美、绘画之美。

Chinese watercolor artists have created a large number of large-scale watercolor works, successfully turning watercolor art into a studio art and an art made confined to the studio in China, which also makes watercolor art lose, to a certain extent, the artist's keen sensitiving of life, nature, especially the artist's own inner vitality.This sensitivity is a crucial characteristic of watercolor art and one of its advantages over other painting genres. To maintain this feeling, sketching is the most important way of creation. Xu Haigang as a well-known watercolor artist, he is well versed in the creation of watercolor art, so, for many years, he has been insisting on sketchwork. If he sketched in the early stage of creation, he still stayed in the stage of viewing the natural and human landscape. So, in recent years, he has planned to carry out systematic sketching activities to record the beauty of natural and human customs in different regions of China and even around the world with his brushes.

In recent years, he has traveled to more than 30 distinctive locations in different provinces and regions of China to perceive, record and describe the rich land of China, presenting the unique beauty of the Great American China. At the same time, he also went to Italy, Germany, Greece and other countries in Europe many times to describe the unique exotic style. Despite the heat and winter, he left thousands of works in the process of sketching in various places, and this exhibition presents a small part of his works.

Xu Haigang often selects those places with representative landforms, products, nationalities and cultures, and goes beyond sightseeing, arriving at a place to stay quietly, using his brushes in his hands, and transforming the rich natural and cultural beauty of diverse regions into artistic and painterly beauty.

《走进亮宝节》

纸本水彩 150cm×180cm 2013

许海刚的绘画方式，看似源自于西方自希腊以来并在印象派艺术中得以升华的写生传统，但在具体的艺术处理过程中，他也受到中国古代绘画独特的写生传统的影响，即对“唯写生物”之写生的理解。所以许海刚高超的绘画技艺和丰富的艺术修养，使他不仅能“写生物”，而且在“写生物”的过程中，根据不同的“生物”写出其生意、生气和生命。生意是指画出对象生意盎然的状态，生气是指在描绘像山川河流建筑这样静穆的物体时，也体现出勃勃生气，而对于画面中所出现的人物，则聚焦其独特灵动的生命状态。

而要做到这一切，首先源于对对象细微的体察，感悟。熟悉许海刚的人都知道，他是一位沉静而敏锐的艺术家，看他写生是一种享受，他常常在行走的过程中就停了下来，开始架设画具，并不刻意寻找一个独特的视点或舒适的位置，仿佛一切都可入画，这种取景的方式，使进入他画面的景色、人物具有一种日常的状态，给人一种温情的感受。无论画幅大小，他都淡然处之，使得整个绘画过程不慌不忙，胸有成竹。这既源于他娴熟的艺术技艺，也基于他对对象的细致入微的观察。他多采用局部画法，有时甚至都不用铅笔勾线打形，直接从某一个局部开始画，用很小的笔触，一笔一笔往下接，毫不犹豫，看似细碎，甚至刚开始都看不出他画的是什么物象，但很快，随着笔触所至，颜色的叠加，不仅有了体块，对象的形体也出来了，此时，离一张作品的完成已经不远了。所以，他的画面不是画出来，而是生长出来。他就这样，每到一个地方，就从他的笔下生长出很多作品来。因为是长出来的绘画，所以他的绘画总有一种活跃的生命状态，从而使得他的作品回归到中国绘画原始写生所追求的艺术境界。

Xu Haigang's way of painting seems to be derived from the Western sketching tradition since Greece and sublimated in Impressionist art, but in the specific process of artistic treatment, he is also influenced by the unique sketching tradition of ancient Chinese painting, that is, the understanding of sketching of "only writing creatures". Therefore, Xu Haigang's superb painting skills and rich artistic accomplishment enable him not only to "write biology", but also to write his business, vitality and life according to different "biology" in the process of "writing biology". Business refers to the painting of the object's vibrant state, vitality refers to the depiction of quiet objects such as mountains, rivers and buildings, but also reflects vitality, and for the figures in the picture, focus on their unique and dynamic life state.

And to do all this, first from the object of subtle observation, perception. People who are familiar with Xu Haigang know that he is a quiet and sensitive artist, watching him sketch is a kind of enjoyment, he often stops in the process of walking, and starts to set up painting tools, and does not deliberately look for a unique viewpoint or comfortable position, as if everything can be painted. This way of framing makes the scenery and figures entering his picture have a daily state. Gives a kind of warm feeling. No matter the size of the painting, he is calm, so that the whole painting process is not busy and confident. This stems both from his skillful artistry and from his meticulous observation of his subjects. He mostly used local painting methods, and sometimes he didn't even use a pencil to draw, directly starting from a certain part of the painting, with very small strokes, stroke by stroke down, without hesitation, seemingly fragmented, even at the beginning of what he was painting, but soon, with the brush strokes, the superposition of colors, not only has the body, the object's shape also emerged, at this time, I'm not far from the completion of a picture. Therefore, his picture is not painted, but grown. In this way, every place he went, a lot of works grew out of his pen. Because it is an outgrown painting, his paintings always have an active life state, which makes his works return to the artistic realm pursued by the primitive sketching of Chinese painting.

《牧归》

纸本水彩 52cm×70cm 2017

《拉卜楞寺写生》

纸本水彩 36cm×51cm 2019

他的写生作品虽然画起来较快，但笔笔实在，几乎每一张都是完整的作品，但是他没有止步于这些现场感强烈、充满生命状态的鲜活的作品，因为这些作品受限于户外作画时间和其他条件，幅面有限。但当这样的作品多了以后，他又变成工作室大制作的一种素材、准备，甚至某个局部的练习。他全国美展的金奖作品《亮宝节上的人们》，就是在大量写生作品基础上的大制作。我们看他不少藏族人物写生，非常完整，非常深入，是很精彩的单幅水彩人物作品，但当你把这两类作品联系起来看，惊叹于他大幅主题人物画作品的精湛艺术水准时，可以从这些单个的写生人物作品中找到原因。所以他的写生作品，既是写生，同时又超越写生。

许海刚为了感受、体悟大自然、不同地域的人文风情美，不辞辛劳，不顾生活习惯和气候条件的限制，用生命去感受体验树木花鸟、水泽高原，用心灵和不同地方的人民交流沟通。如他为了画好西藏题材，多次在西藏地区的高原过春节，熟悉那里壮美的高山草原以及淳朴的民风民情，所以他笔下的大地——山川河流、树木花草、人文风情、勤劳人民。体现了大地的厚重、生命的丰饶。形成了不同地区各美其美的大美图像世界，既是对大自然中各种生命形态的理解思考，也是对万物生命与自然交汇交融的心灵上的感悟。

Although his sketching works are quick to draw, the strokes are realistic, and almost every piece is a complete work. However, he did not stop at these vivid works with a strong sense of scene and full of life, because these works are limited by outdoor painting time and other conditions, and the format is limited. But when such works become more and more, he becomes a kind of material, preparation, and even a local practice for the studio's large-scale production. The gold medal work of his National art exhibition "People at the Liangbao Festival" is a large-scale production based on a large number of sketching works. We see many of his Tibetan figures sketched, very complete, very in-depth, is a very wonderful single watercolor figure works, but when you look at these two types of works together, marveling at the exquisite artistic level of his large-scale theme figure paintings, you can find the reason from these individual sketched figure works. Therefore, his sketching works are not only sketching, but also beyond sketching.

In order to feel and understand nature and the beauty of human customs in different regions, Xu Haigang works tirelessly, regardless of the restrictions of living habits and climatic conditions, and uses his life to experience trees, flowers and birds, water and water plateaus, and communicates with people in different places with his heart. For example, in order to paint Tibetan themes well, he spent the Spring Festival in the Tibetan plateau many times, and was familiar with the magnificent alpine grasslands and the simple folk customs and feelings there, so the land under his painting - mountains and rivers, trees and flowers, cultural customs, and hard-working people. It embodies the heaviness of the earth and the richness of life. It forms a big beautiful image world of beauty in different regions, which is not only the understanding and thinking of various life forms in nature, but also the spiritual perception of the integration of all things life and nature.

《亮宝节上的人们》

纸本水彩 156cm×150cm 2014

手稿甘南

这次展出的作品当中还有一批独特的电影题材作品，许海刚称之为画电影。无法外出写生时，许海刚想出了一个独特的主意，画电影中的场景，电影拍摄过程中取景和人物都具有现场性，是镜头看到真实场景，与人眼现场的观看具有高度相似性所以这批作品乍一看以为就是现场写生，艺术家以这样独有的方式找到外出写生的替代方式。这批作品无论从取景、画面内容的构成，还是图像的转换、技术的观看和人的观看的关系，以及艺术的细致处理，都具有独特的意义和价值，值得深入鉴赏和分析。

在摄影术高超，乃至今天AI强大的图像生成功能所形成极具震撼力的图像时代，许海刚的水彩艺术，以艺术家独特的艺术手感、高超的绘画性带来的强烈艺术美感和深沉内蕴的质朴情感，为专业人士和大众所喜爱，体现出图像时代艺术创作不可替代的独特价值。

Among the works on display this time are a number of unique films, which Xu Haigang calls painting films. During the epidemic period, it is impossible to go out to sketch, Xu Haigang came up with a unique idea, painting scenes in the movie, the film shooting process and characters are on-site, is the lens to see the real scene, and the human eye to watch the scene has a high degree of similarity, so this group of works at first glance thought is the scene sketch, the artist in such a unique way to find an alternative way to go out to sketch. These works have unique significance and value in terms of framing, composition of picture content, transformation of images, relationship between technical viewing and human viewing, and meticulous treatment of art, and are worthy of in-depth appreciation and analysis.

In the era of stunning images formed by the superb photography and even the powerful image generation function of AI today, Xu Haigang's watercolor art, with the artist's unique artistic feel and superb painterliness, brings strong artistic beauty and deep and simple emotion, is favored by professionals and the public, reflecting the irreplaceable unique value of artistic creation in the image era.

画电影《哭泣的草原——02:01:30》

这次展览，还一并展出了他外出写生所做的手账，这些手账是他在各地写生期间，旅途中的飞机、列车、宾馆，写生现场随手所记，既有行程记录、旅途见闻，也有艺术和人生的体验感悟。这些手账以艺术家独有的方式，记录下作品产生的背景、机缘，甚或写生过程中趣事，既有言简意赅的文字，也有速写草图，文图配合，相互补充、互相参证，与水彩作品一起，提供了许海刚写生创作的全方位记录，不仅具有独特的艺术价值，艺术教学价值，也有丰富的档案价值，也为读者观众提供了一个进入许海刚写生艺术世界的全景图像。所以这个展览是一个独特而丰富的展览，其远远超出了一个图像制作式的陈列给与的信息和感受，相信会受到艺术家和广大艺术爱好者喜爱。

This exhibition also exhibits the sketchbooks he made when he went out to sketch. These sketchbooks are casually recorded on the plane, train, hotel and sketch scene during his journey in various places, which includes both itinerary records, journey experiences and perceptions of art and life. These sketchbooks record the background, chance and even interesting things in the process of sketching in a unique way of the artist. There are not only concise and comprehensive words, but also sketches and drawings, which complement and reference each other. Together with watercolor works, they provide a comprehensive record of Xu Haigang's sketching creation, which not only has unique artistic value, but also art teaching value. It also has rich archival value, and also provides readers with a panoramic image into the world of Xu Haigang's sketchmaking art. Therefore, this exhibition is a unique and rich exhibition, which goes far beyond the information and feelings given by an image-making exhibition, and I believe that it will be loved by artists and art lovers.

文/刘茂平 Liu Maoping，2025年2月于江夏藏龙岛 February 2025, Canglong Island, Jiangxia；来源：湖北水彩）

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