文澳雯 Ao Wen 譯張海鷹 Zhang Haiying

韓書力：從傳統(tǒng)到當代

Mr. Han Shuli:From Traditional to Contemporary Art

文澳雯 Ao Wen 譯張海鷹 Zhang Haiying

為推動中國傳統(tǒng)文化藝術發(fā)展，促進澳門與西藏兩地的文化藝術交流，活躍澳門文化氣氛，讓更多的澳門人認識和感受中國西藏繪畫藝術作品的魅力，由澳門基金會、西藏文聯(lián)、西藏美協(xié)主辦，澳門美術協(xié)會、澳門西藏文化促進會協(xié)辦，澳門特區(qū)政府文化局、澳門藝術博物館支持的“韓書力西藏繪畫展（澳門）”于4月5日至4月30日在澳門回歸賀禮陳列館展覽廳舉辦。本次展覽展出韓書力精選畫作逾50幅，讓人們品味西藏從傳統(tǒng)到當代、從神本主義到人本主義的完整文化鏈條，體會畫家傳承、創(chuàng)新、發(fā)展的文化理念。

澳門中聯(lián)辦副主任薛曉峰，外交部駐澳特派員公署政策研究室主任冉波，澳門基金會行政委員會主席吳志良，西藏自治區(qū)常委宣傳部副部長、西藏文聯(lián)副主席張曉峰，澳門文化局副局長楊子健，澳門日報社總經理溫能漢，藝博館館長陳浩星，澳門美術協(xié)會會長黎鷹，澳門西藏文化促進會會長陸曦及展覽作者韓書力出席開幕式。

韓書力的布面重彩畫從藏族唐卡繪畫中借鑒了材料和文化符號，內容上不再是對藏傳佛教藝術的簡單借用，而是融入了中原地區(qū)文人畫的創(chuàng)作理念。他的織錦剪貼作品是用從歷史的角落拾得絲織舊物再加工，將漢文化從歷史層面對接到西藏的宗教和世俗生活。他的“黑底子”水墨畫雖用漢地傳統(tǒng)繪畫的材料，卻吸取了藏族寺院布置的神秘氣息和藏族黑底壁畫的表現手法，以“黑白顛倒”的方式呈現水墨，形成了獨特的“韓氏黑畫”，享譽中外。他的作品主題多著眼于社會的正面教化和啟發(fā)，更著重于布道和勸善，獨具一格。

韓書力是西藏當代美術的領軍人物，每每提及自己的創(chuàng)作時，卻總不忘感謝純樸、善良的藏族同胞和博大精深的藏文化，他受益于西藏這片土地的濡染，也用藝術傳承反哺這片土地。多年來韓書力在西藏文聯(lián)、西藏美協(xié)和西藏美術院等擔任領導工作，致力發(fā)掘和培養(yǎng)創(chuàng)作人才，并主持“百幅唐卡工程”，繁榮西藏當代美術界，同時幫助西藏當代美術走出西藏，走出國門，與世界交流對話。

韓書力致辭Han Shuli Delivered Address

拂暑 （設色紙本） 韓書力Fan by Han Shuli

To promote traditional Chinese culture, boost art exchanges between Macao and Tibet, introduce the glamour of Tibetan painting to Macao people and invigorate local cultural atmosphere, the ‘Macao Exhibition of Tibetan Paintings by Han Shuli’was held from April 5th to 30th at the Handover Gifts Museum of Macao.It was sponsored by Macao Foundation, Tibetan Federation of Literary and Art Circles and Tibetan Artists Association, organized by Macao Artist Society and Macao Association for the Advancement of Tibetan Culture,with support from Culture Department of Macao SAR Government and Macao Art Museum. There were over 50 pieces of select artworks by Mr.HAN, providing Macao audience an opportunity to appreciate both an overall heritage of Tibetan culture from the traditional artworks to the contemporary ones, and to understand the artist’s cultural concepts for inheritance, creation and further development.

Participants at the launching ceremony included dignitaries from Liaison Office of the Central People’s Government in Macao, Office of the Commissioner of the Foreign Ministry in Macao, Macao Foundation,Publicity Department of Chinese Communist Party in the Tibet Autonomous Region, Tibetan Federation of Literary and Art Circles,Macao Daily News, Macao Art Museum, Macao Artist Society, and Macao Association for the Advancement of Tibetan Culture.

Mr. Han’s artworks were based upon multiple materials and presented different features. His heavy-color paintings on cloth took lessons both in terms of fabric and cultural symbols from Tibetan Thangka, i.e., Tibetan Buddhism scroll paintings, yet also went quite beyond simple takeover of Tibetan Buddhism arts. Creative ideas from the scholarly paintings in Mandarin area were also imbued. His brocade barbola artworks, i.e., silk clip arts were made from renewed second-hand silk fabrics which were gathered as if from some corners of history. It looked like a historical connation of Mandarin culture with religious and secular lives in Tibet. His ink wash paintings in ‘Black Background’ style used the same materials as for traditional Chinese paintings, yet absorbed the mystic accent in Tibetan temples, and took on expression techniques of Tibetan blackbackground frescoes. It presented ink wash pictures in reversed black and white colors and thus created the so-called ‘Han’s black paintings’which is now well-known at home and abroad. The themes of Mr. Han’s artworks were also unique for their penchant for positive education and enlightenment in society, and furthermore, for preaching of beneficence.

Mr. Han is now a leading figure in contemporary Tibetan fine arts. Every time he spoke of his creative artworks, he never forgot to express gratitude for the kind and honest Tibetan people as well as the profound and excellent Tibetan culture. Benefiting from the artistic cultivation in Tibet, he reciprocated with artistic inheritance. For many years, Mr. Han took on leading posts at Tibetan Federation of Literary and Art Circles,Tibetan Artists Association and Tibetan Academy of Arts. He made steady efforts to identify and cultivate artistic talents. He organized the ‘Hundred Thangka Project’. He helped to boost the development of contemporary Tibetan fine arts, and at the same time, brought the artworks out of Tibet and out of China for worldwide exchanges and dialogues.

韓書力

Resume of Han Shuli

1948年生于北京，1969年畢業(yè)于中央美術學院附中，1982年畢業(yè)于中央美術學院研究生班，上世紀80年代初，他的研究生畢業(yè)創(chuàng)作連環(huán)畫《邦錦美朵》讓他在畫壇嶄露頭角。他以傳統(tǒng)工筆重彩技法結合現代藝術的各種機理，并融合遠古彩陶紋、漢畫像和藏族圖騰符號，以此表現藏族的民間故事《邦錦美朵》，可謂天衣無縫、恰到好處，為他此后的藝術創(chuàng)作奠定了基調。

Han shuli has born in 1948 in Beijing. Graduated from the postgraduate class of China Central Academy of Fine Arts in 1982. His graduation work, the comic book ofBangjinmeiduowon him a position in the fine arts circle. He combined traditional fine brushwork and heavy-color painting techniques with various models of modern arts, imbued symbols over ancient colored potteries, Mandarin portraits and Tibetan totems, and thus presented the Tibetan folk story ofBangjinmeiduoin a well-balanced and perfect manner. There came the basic tones for his artistic creations afterwards.

羌塘女 （設色紙本） 韓書力Ladies of the Northern Plateau by Han Shuli

冷月 （設色紙本） 韓書力Cold Moonby Han Shuli

展覽剪彩儀式Ribbon Cutting at the Launch of the Exhibition

韓書力帶領嘉賓參觀展覽Han Shuli Ushering in the Dignitaries to View the Exhibition

韓書力向澳門基金會贈送作品Han Shuli D edicating his Artworks to Macao Foundation