点击艺术家名称了解更多
张云国
姓名:张云国；字：恒；号:云谷闲人；1953年生人,黑龙江省海伦人.原黑龙江省军区哈尔滨第二离职干部休养所副所长(副处级).在部队一直从事文化宣传工作.
?
自幼酷爱绘画,无师自学,曾进行过素描,油画,水彩画,中国画等创作. 1988年毕业于中国书画函授大学,中国画以花鸟为主,作品多次参加军内外展出并获奖.作品<<锦绣前程>>获黑龙江省公安厅,省美协第二届“卫士之光”作品展优秀奖;<<永钢鹤立>>已被香港永钢珠宝有限公司作为厂徽和商标;<<志在千里>>在1998年新时期文化艺术创作研讨会上获二等奖;多幅作品已被国内外友人收藏,其中两幅作品先后被日本兵法研究专家服部千村先生,马来西亚兵法研究会会长吕罗拔先生收藏. 2006年《中俄老兵北京艺术节》展出的国画作品被俄罗斯驻华大使馆收藏。15幅作品被选入<<当代中华文化名家专题邮票工程>>此套邮票已被国家博物馆,中国邮票博物馆等国家级机构收藏,并已被联合国儿童基金会,德国,日本,韩国,利比亚,安曼等10余个国家驻华使馆收藏,同时中国集邮总公司还为此发行了加盖天安门邮戳的<<当代中华文化名家专题邮票工程>>纪念封,邮折全国发行. 辞条辑入<<中国当代艺术家名人大辞典>><<中国当代艺术界名人录>><<中国专家大辞典>>,<<二十一世纪人才库>>,<<华夏英杰>>等辞书.被《今日水墨》2007年第5期推荐为当代实力派画家，并出版了《张云国花鸟画专集》，被香港《阳光卫视》特别节目作了特邀艺术专访。
?
?
北京京华兰亭书画院名誉院长，哈尔滨美术家协会会员，哈尔滨市书画研究会创作研究员,沈阳军区老战士书画会会员.
?Marie-Jose Walhof
Marie-Jose是一个绝对有天赋的画家及艺术家，她热爱生活和艺术。她是一个乐观开朗的人，富有天生的对人和事的敏感度，用光线和色彩在她的作品中反映中。
?
?
?
Marie-Jose也是一个太极拳爱好者，她经常游历中国各地，并结交各地热爱太极拳的朋友。
她在2007年Narana工作室中举办了一次成功的个人展览，展览上展出了她极具感染力的绘画作品。
想要了解更多有关Marie的作品及创作可以与双龙会的王玫瑰联系。
Marie-Jose Walhof生活工作在荷兰的Deventer,作为一个画家和美术设计，她的任务是把美带到生活中和工作中。她拥有的艺术的直觉，同样她也是一个生活的艺术家，她享受自己的生活。
?
?
她的创作灵感来自大自然，尤其是对野牛这种动物。她的作品明亮、纯净、开阔，用硬朗的线条和强烈的色彩来表现，经常采用特写和生动的动态描绘。
如果你仔细看她的作品，你会发现另一种微妙的东西，会有一种细节处的新发现。
你无法抗拒她带来的冲击力，这不仅仅是她的作品所表达出来的，也是从她自身散发出来的热情中可见。
?
?
?? 
引自Jantine Sijbring
Senior Organization Adviser Deventer
Ralph Brancaccio
Street Art — feeling the?pulse of the public.
?
Ralph G. Brancaccio voices his commitment to social change through his public art and arts education projects. In installations and other three-dimensional work such as “Silent March for HIV Prevention” and “Underneath It All”, Ralph has addressed such major issues as discrimination in AIDS awareness, human rights, and equality. His upcoming project, “Military Un-intelligence” focuses on the worldwide mechanical epidemic of land mines.
To assist him in raising funds for these projects he has opened this online store. One of the product lines was inspired by monoprints he creates on manhole covers in streets around the world. In this work he states,
?
“By putting myself at people′s feet, I can bring beauty up to their level, which causes them to look down.”
Brancaccio is a sponsored artist with New York Foundation for the Arts and his work is shown globally. He is also on the board of directors of TransCultural Exchange in Boston, MA and is a participating artist in their UNESCO sponsored “Tile Project”.
?
阿馨先生
最近，阿馨先生在淮海路上的上海图书馆举办了一场艺术展览，展出了他标志性的老虎艺术作品集。在上海，他是以画老虎而最出名的艺术家之一。
?
?
?
此次活动由上海浦东花旗银行赞助，参观者包括大量的艺术品爱好者、收藏者以及中国传统文化和艺术的狂热者。
?
??
?
?
?
?
?
老虎在中国文化中代表着权力和精神，以前是国画中一个传统的主题，但是在现代中国艺术中很少见到。
?
??
?
??
?
阿馨先生的画作是中国传统艺术中的杰作，令人领略到美丽庄严，萦绕于心头难以忘怀。
以下是阿馨先生画作的样本，希望大家可以喜欢！
?
?
?
?
?
?
?
?
?
?
?
?
?
?Kellie O’Dempsey
?
?Kellie O’Dempsey是一名澳籍艺术家，擅长抽象大型壁画。?
她曾为上海的i’s “M on the Bund” 水晶吧绘画，并且她的作品也是其市内音乐会的背景之一。
她的作品在:?www.kellieo.com
??????????????????????????????????????????????????????????????????????????????????
????????
???? ?
??? ??
双龙会艺术总监 ?－ 徐志文
由双龙会诚意邀请，获艺术大师徐志文先生出任双龙会艺术总监。
?徐志文出生于并成长于上海，于美国侨居多年。2010年10月23日，徐志文于上海举办了他的“从艺五十年“艺术展览。
徐志文擅长山水画，通过精巧的画笔，将丛丛灌木野樵描绘得栩栩如生，将湖海的蓬勃浩瀚展现得淋漓尽致。其作品于国内国外都享有极高的知名度，广受艺术收藏家的喜爱和欢迎。
以下是徐志文先生的作品展示。
?
?
?
?
??
?
?
如您对其作品感兴趣，请联系王玫瑰女士进一步接洽。
?
? ? ?
?双龙会的艺术总监徐志文老师近期邀请了王玫瑰合王明波两位老师走进了一次国画课堂。
?
?
?
饱餐过后，徐老师摆开驾驶施展绝活，挥毫泼墨绘制起一幅描绘竹韵的水墨画来。
??
?
?
王玫瑰通过相机镜头记录下绘画的全过程。徐大师按部就班，根据先叶，次枝，后干的顺序绘制处竹子的轮廓，随后在周围添上零零星星的嫩芽新枝，最后在画面底部临摹出竹林的地面，并于画卷的一角题上诗作一首，将作品作为礼物赠送给了王玫瑰女士。
徐老师表示，在开始画作之前，他对整幅作品的最后成样就已经“胸有成竹”，作为个人习惯，他选择了首先从竹叶开始绘制作品，而其他拥有不同作画习性的作家，也可以从枝干或其他部位开始作画，个中并无固定的先后步骤。
??
?
?
他表示，作为一名富有灵感的艺术家，他的老师在他初学绘画时就已经授予不同的专业技巧帮助学习。
一些老师要求学生严格按照自己的绘画技巧模仿学习，从而达到相当的水平；另一些则鼓励学生走出去，通过写生等模式亲近大自然，观察植物的生长过程以及自然形态，树干上的枝节瘤块是如何凝结而成，互相之间正常的生长距离，以及风影婆娑下，纤纤细叶是如何吹摆扭动的。
?
?
?
?
?
??
观察完自然之后，学艺者就要开始耗费大量的时间精力去临摹复制所观赏到的自然美景了。
徐老师点评说，想要通过寥寥数笔就能将栩栩如生的自然景观跃然纸上，往往需要数十年的精修钻研和勤学苦练。
?
?
?
?
就如那些重复苦练招式成千上万遍的武学大师一样，学艺者也需要有相同时间的投入付出来达到自如无误的境界。
他说，现在的许多年轻画家都不愿意在画画这件事上投入很大的功夫精力打好基础，而扎实的基础正是学好画画掌握技艺的根本所在。
?
?
??
能够欣赏到大师的画作，看到一幅空白的纸卷渐渐被活灵活现的自然精致涂匀填满，的确是一件令人心旷神怡的雅事。
?
?
?
?
非常感谢徐老师以及其家人的热情款待。我们将永远珍藏这一特别、美好的回忆。
王玫瑰女士随后将会与徐老师关于画画进行深入交流，并向徐老师进一步讨教关于绘画的知识和技巧。
??
?
?
?
双龙会的王玫瑰女士和王明波老师近期为一本英语艺术杂志与国际著名艺术家徐志文进行了一次面对面的专访。
?
??
??
??
??
徐大师首先介绍了国画艺术的起源和历史，随后谈到了水墨画的绘画原理技巧，包括对阴影和色彩的掌握和运用，以及如何将阴阳的理论运用至绘画中。
?
?
?
?
?
??
他随后向我们现场展示了一个完整的作画过程：首先利用简单的笔触描绘出大致的轮廓定型，随后再逐步铺描渲染至整幅画卷，填充背景，丰满细节。
?
?
?
?
?
??
这幅《垂钓者》，描绘了一名孤独的渔夫，在整晚的垂钓守候之后，沿着水边缓缓前行的画面，意象丰富，引人联想。这正是中华艺术文化精髓的最好体现。
?
?
?
最后，我们向徐大师伉俪的热情慷慨表示感谢致敬。
?
?
?
?
?
?
Appreciating Traditional Chinese Ink Painting
?
Novices to the world of traditional Chinese painting and calligraphy may at first find it difficult to appreciate the somewhat stylized and “barrenness” of Chinese ink painting, but after speaking to Mr. Xu Zhi Wen, a renowned Chinese artist based in Shanghai, I’m sure artists of all styles will enjoy the subtleties and complexities of this ancient art form.
Mr. Xu explained that traditional Chinese ink painting stems from China’s earliest recorded history, and uses many of the same techniques and subject matters in the present day. Maintaining ancient traditions are an important part of Chinese life and culture, as well as in art, which is one of the main reasons for the enduring popularity of black ink paintings in China today.
The absence of colour, perhaps for many westerners, may make the artwork seem a little bleak and devoid of life, but Xu Zhi Wen explained that black and white are seen in China as the two most primeval and basic colours of life, forming an intangible and essential component of ancient Chinese philosophy and science, as the two integral “colours” of their Yin and Yang symbol, representing the real and imagined, the empty and the full, and in art terms, the solid and the space, the outline and the shade.
Black in Chinese art represents all other colours and tangibility, white stands for light, space, depth and intangibility. Although other colours are also to be found in Chinese art, coming into popularity around 3000 years or more ago; black and white ink paintings, (white is represented by the empty spaces found in the artwork) is still the most predominant form of painting in Chinese art.
The equipment for Chinese art is therefore slightly simplified, in terms of the palette of colours and hues required.
The artist needs black ink, which comes in several different grades and types, water and a parchment type of paper, often made of rice, bamboo or other material that has an absorbent quality. The artist tends to keep several bowls of water on hand, one clean, one very “inky” and one slightly ink-stained, to help build the necessary depth and perspective to the shading.
The brushes traditionally are made from a type of goat hair, or a kind of polecat found in China. There are several grades, thicknesses and types of firmness and softness of brush for different types of work or subject.
Beginners will usually start with a goat-hair brush of a firmer texture.
Most experienced artists will have a large array of brushes on hand, and once they have decided on the subject for the picture, prepare their ink whetstone for the liquid ink, (in ancient times ink would always have been prepared from an ink block, traditionally being ground with the right amount of water to create the required consistency) their bowls of water, then moisten and and squeeze out their brushes, ready to begin.
Chinese calligraphy (and then later Chinese ink painting) came into being based on prehistoric, cave paintings, rather like early-man, cave paintings we also know of in the west. Earliest forms of calligraphy over 4500 thousand years ago, were pictorial, rather than the characters we see in Chinese writing today and were simplified images of what early-man saw. Traditional Chinese artists and writers have used the same methods over the ages, but their images and pictures have evolved to be not only beautiful pieces of artwork, but also used to purvey provocative, political messages, representing ancient pictorial, idioms that criticized emperors, government and officials, all under the guise of celebrating aesthetics and pleasing the onlookers. A common theme was pictures featuring birds, fixing a critical eye on the observer, or caustically looking up at the sky, to represent an old Chinese proverb about casting aspersions on the powers above.
Thus, ancient Chinese artists through their art practised the old English saying “The pen is mightier than the sword”.
Mr. Xu, who is now in his 70’s, began painting in his early childhood. Coming from a very poor family, he couldn’t afford paper to draw on, so started painting and drawing on any material he could find, including wood, his father’s cigarette papers, flooring and walls among other things, in fact he was an early proponent of graffiti in China!
Fortunate to find a benefactor in his youth, who admired his prowess, he began studying in a “vocational” art college, receiving excellent tuition from some high level and well-known artists of their day, who would offer classes at the college in Shanghai. Following his graduation, he was invited to the USA to work and teach at a university there.
While in the USA, he began to notice the different styles of western art, the various mediums, the use of colour and brushwork, plus the different “feel” of the artists’ styles; especially the expansive and open way of depicting life or nature, infusing the artwork with a sense of freedom, energy and imagination. He concluded that in comparison to Chinese painting, western styles of art were more complex and to help Chinese painting evolve and garner a new audience’s appreciation, he would try to incorporate some of these ideas to enhance his own work. He started to encompass the freestyle brush techniques in his own paintings, progressing to large murals and canvasses, slowly gaining recognition for mountain and water scenes, in particular capturing the essence and expansiveness of the great oceans.
Now, back in Shanghai Mr. Xu is eager to introduce Chinese ink painting to a wider audience, both abroad and in China, and hopefully further develop traditional Chinese ink painting as a form of art that can be appreciated both for its delicate intricacy and refinement, as well as its energy and power.
To begin any painting, there are several rituals before the artist commences.
In Chinese ink painting, this includes the preparation of the ink, water and brushes, a kind of meditation if you like, to put the artist in the right frame of mind, before creating the image on the paper.
The paper is always laid on a type of thick felt mat, which also helps to blot and absorb the ink and water, allowing it to dry quicker and provides a flat, firm, yet soft surface to paint on, as Chinese artists don’t use easels, always painting on a horizontal surface.
The brush is first immersed in clean water, to moisten it, dipped into the ink, then immediately dipped back into the water to dilute the ink slightly, then blotted on tissue or the felt mat, to dry off the excess liquid.
When the brush is first applied to the paper, if the brush is too wet, the paper, despite being absorbent, will become soggy and possibly tear.
The artist, with experience, will gradually be able to recognize how much ink and water is generally necessary and how much is required for each individual subject.
When Mr. Xu is painting mountain and rock scenery, he uses larger brushes, which are kept quite dry, after being dipped and rolled in the ink and then well blotted first, before being applied to the paper.
The amount of ink on the brush, according to the way the brush is rolled and stroked in the ink, varies from the base to the tip; thus giving varying depths of colour and boldness to the picture, which also helps to build up the sense of space, dimension, shading and perspective.
The brush also has different stages of wetness running its length, with the tip being wetter and the sides and base quite dry.
Cliffs, mountains and rocks use larger, bolder strokes, due to the ragged nature of the kind of rock-faces found in Chinese topography, made in quite a frenetic and free way, letting the “dry” ink on the brush be wiped and rubbed onto the paper, rather than “painted” on.
The brush is used on the paper in differing directions and stroke methods to build up the rocks and mountain crags, with the “white” empty spaces emphasizing the depth perception and shading of the rock-face. In Chinese terms they will say it is creating the sense of “Yin and Yang” or empty and full in harmony, bringing 3 dimensional life to the picture.
The different types of water being used are also another way to build up space and depth; the control of the brush dipped in the ink and the different “colours” of water are integral to the whole process of diffusing the ink and letting it leach onto the paper naturally, rather than simply just painting the colour on.
Once the actual picture is finished, the painting itself has one further step in order to be completed.
In Chinese art, there is always a space left at one of the sides for the artist to complete the picture with some calligraphy; usually a poem or saying that will compliment the painting, plus the date, time and name of the artist.
The painting will also be stamped, usually twice with the artist’s personal seals which have his name carved into them.
The idea of this is also to provide balance to the painting, again adhering to the principle of Yin and Yang, creating a sense of equilibrium of words and pictures to create totality.
Xu Zhi Wen said that for beginners, the biggest challenges are choosing the right brushes and type of paper. To begin, they should go with lower quality paper, one that is forgiving of poor techniques and water/ink usage, as beginners cannot properly control the amount of water and ink applied to the brush and will tend to make it either too wet and thus over-soak the paper, splodging the colour, or alternatively keep it too dry, which prevents the ink “entering into” the paper and becoming one with it; so the subject doesn’t look life-like or part of the paper, rather the colour just sits on the paper, a bit like a transfer. Sometimes, the contact of the brush on the paper maybe too heavy and the subject will be blotted and have no definition or form.
If the painting is going to be a large one, the painter shouldn’t focus on the size, because if they view the “canvas” as if it’s large, they will be overawed by the size and subject, and have no direction. Instead they should think of a large picture as a small one, and a small picture as a large one; this way, they will not lose sight of their aim and can express their feelings, without being overwhelmed or constricted.
In short, the “secret” Mr. Xu explained is lots of practice and experimentation, to enjoy playing with the materials and finding your own way to express your own style.
To truly appreciate the art form, which is still perhaps somewhat unknown in the west, one needs to know something about Chinese culture and philosophy. The integration of art, calligraphy, movement and meditative practice are all components in the search for self-cultivation that is an important fabric of Chinese life.
For many painters throughout the world, painting is a way not just to earn a living, or wile away the hours, but is also a form of meditation, a way to find inner peace and tranquility.
Chinese ink painting has existed over thousands of years, but like any art mode needs to grow and change in order to develop further and allow new audiences to appreciate its artistic qualities and potential for creativity. ?
Mr. Xu Zhi Wen hopes Chinese ink painting will gain popularity among western artists, who he believes can find new ways to interpret their ideas in the Chinese ink painting medium.?
?
陆祺炜
??????
自幼习书画篆刻，后又习太极。感悟生活，绘画人生。
书画作品被收录于由中国文化部艺术局、中国艺术研究院、中国书协、中国美协主编的《世界华人书画作品选集》等多部典籍中，人名被列入《世界名人录》。其作品在香港、日本、韩国、比利时、荷兰、法国、澳大利亚、美国和国内多次展出，2006年首次在上海戏剧学院举办个人书画展。部分书画作品被世界教科文卫组织和上海宋庆龄纪念馆、上海鲁迅纪念馆等机构收藏。
云、山。
自然里的无意形态，
造势于天地间，
如神、如羽、如幻影。
图绘其间，
意欲尽览千姿万态，
只觉霎那间的留驻已成下一瞬回眸。
就这样专注着，
所为何态？
纳入心源深处的这份本真。
吾孜孜以求……??