盛元富

王慶明繪畫創(chuàng)作深懷母愛情愫，偏愛兒童、少女，善于發(fā)現(xiàn)平凡人生活和精神世界中富有趣味的美麗瞬間。

中國(guó)美術(shù)學(xué)院國(guó)畫系意筆人物畫家王慶明是一位創(chuàng)作精妙、教學(xué)認(rèn)真且為人誠(chéng)懇低調(diào)、德藝雙馨的老教授。她曾與人合著出版過(guò)書籍《結(jié)構(gòu)素描》，還分別在1993年和1998年出版過(guò)兩冊(cè)由中央美術(shù)學(xué)院老院長(zhǎng)吳作人先生題寫書名的八開畫集《王慶明畫集》。

王慶明于1955年考入中央美術(shù)學(xué)院華東分院（今中國(guó)美術(shù)學(xué)院）中國(guó)畫系，受教于潘天壽、吳茀之、諸樂(lè)三、陸維釗等老先生。中華人民共和國(guó)成立初期，強(qiáng)調(diào)美術(shù)應(yīng)反映社會(huì)現(xiàn)實(shí)，在國(guó)內(nèi)享有盛譽(yù)的“新浙派人物畫”應(yīng)運(yùn)誕生，李震堅(jiān)、周昌谷、方增先這3位意筆人物畫老師的代表作《媽媽的新課題》《兩個(gè)羊羔》和《粒粒皆辛苦》等代表作名揚(yáng)四海。作為第一屆學(xué)生的王慶明，她的藝術(shù)思想、藝術(shù)風(fēng)格和筆墨造型等方面自然而然地留有李震堅(jiān)老師作品的“厚實(shí)”、周昌谷老師作品人物動(dòng)作“巧妙”與方增先老師作品“靈動(dòng)”的影子。

“行萬(wàn)里路，讀萬(wàn)卷書”的信條與新浙派人物畫推崇的深入生活與強(qiáng)調(diào)寫生的理念，一直為王慶明所銘記。她先后去過(guò)新疆伊犁、甘肅甘南、云南西雙版納、山東泰山采風(fēng)寫生，尋覓創(chuàng)作素材。她每次去絕非走馬觀花，而是花很長(zhǎng)時(shí)間沉下去深入生活，光在新疆就呆了數(shù)月時(shí)間。

王慶明繪畫創(chuàng)作深懷母愛情愫，偏愛畫兒童、少女，善于發(fā)現(xiàn)平凡人生活和精神世界中富有趣味的美麗瞬間。因此，她的作品有許多表現(xiàn)這類題材，如她出版的第一冊(cè)畫集中的《迎春》《小羊羔》《塔吉克人》《月光曲》《媽媽的小寶貝》《傣家姑娘》等等。其中，《盛裝的苗女》是畫家的得意之作。銀頭飾、銀掛件和深色布衣上的明麗繡花與健美、富有立體感的臉龐，一雙勞動(dòng)的手與指頭微翹的細(xì)節(jié)刻畫，讓一位自信、幸福與靦腆的苗女神態(tài)躍然紙上。畫面中墨色的面儺掛件與可愛的姑娘形象形成強(qiáng)烈的對(duì)比，畫作構(gòu)圖簡(jiǎn)潔，吸人眼球，因此被選作畫集的封面畫。

王慶明的作品在藝術(shù)處理上很多著意于人物的面部和手腳的刻畫。她講究結(jié)構(gòu)，巧施渲染，讓人物有血有肉有立體感，注重筆意，干濕濃淡兼用，故畫面墨色氤氳、靈氣滿紙，意韻無(wú)限。

王慶明第二冊(cè)畫集的出版，除了重印了第一本畫集中特別落單的幾幅外，絕大多數(shù)是后來(lái)的新作。第二冊(cè)畫集更全面地反映了她的藝術(shù)觀點(diǎn)和繪畫成就。無(wú)論是在天山腳下的牧民氈房里，還是在西雙版納的傣家竹樓上或是在水鄉(xiāng)江南的街巷中與河道上，她對(duì)男孩女童、少女、母親都懷著深深的愛，他們的許多生活細(xì)節(jié)、情趣都成為她的繪畫題材。作品《從雪山走來(lái)》《水鄉(xiāng)寄情》《少女》《維族老祖母》等都是這種情結(jié)的表露。藝術(shù)處理上筆墨大膽潑辣、蒼勁寫意有力度，畫面給人以或亮麗或深沉、妙趣橫生的感受，韻味十足。

王慶明的創(chuàng)作中不乏分量頗重的作品，如《秋瑾》《魯迅先生》《宋慶齡》《梅塢春早》《西泠五友》《冰心》等，這些作品造型嚴(yán)謹(jǐn)、落筆靈動(dòng)、形神兼?zhèn)洹?/p>

若干年前，王慶明赴歐洲藝術(shù)考察，在巴黎舉辦個(gè)人畫展后，還到德國(guó)特里爾市瞻仰馬克思故居。她驚喜地發(fā)現(xiàn)自己1983年為紀(jì)念馬克思逝世一百周年創(chuàng)作的《馬克思一家讀莎士比亞著作》被掛在陳列大廳中，而且這幅作品還編入《馬克思畫傳》。后來(lái)她才想起，這幅畫是她當(dāng)年重畫后奉贈(zèng)給德國(guó)的。

王慶明的作品中還有一個(gè)亮點(diǎn)，就是以中國(guó)畫筆墨抒寫異域風(fēng)情，這些作品除《馬克思一家讀莎士比亞著作》外，還有《緬甸舞蹈》《小貓咪》《留學(xué)生愛莎》《林中漫步》《白樺林中》《蓬皮杜女孩》《唐寧街即景》《綠草地》《蒙馬特畫家》《莎翁故里》等。這些作品中，人物臉部結(jié)構(gòu)準(zhǔn)確，用色雅麗不乏立體感，衣著背景用筆放逸，個(gè)別還用拓印效果、黑白布局、破墨積墨等，呈現(xiàn)出獨(dú)特的藝術(shù)效果。

Specializing in freehand brushwork figure painting， Wang Qingming （born in 1933） has served her teaching duties at the Department of Traditional Chinese Painting of the Hangzhou-based China Academy of Art for decades. Her published works include ?and two editions of ， released respectively in 1993 and 1998.

Wang Qingming started her advanced art study at the Eastern China Campus of Central Academy of Fine Arts （present-day China Academy of Art in Hangzhou） in 1955， learning from such masters as Pan Tianshou （1897-1971）， Wu Fuzhi （1900-1977）， Zhu Lesan （1902-1984） and Lu Weizhao （1899-1980）. At a time when realism was underlined as a goal of the mainstream art circle， the 1950s saw the rise of a new figure painting artist group representing Zhejiang Province， with the works of Li Zhenjian， Zhou Changgu and Fang Zengxian garnering the attention of the national media. Wangs artistic style and thoughts are strongly influenced by the styles of the three masters， combining the solidity of Li Zhenjian and the ingenuity and flexibility of Zhou Changgu and Fang Zengxian.

Taking art from the reality of life has always been the most important pursuit in the artistic creation of Wang Qingming. To draw inspiration from real life， she traveled a lot， exploring the countrys remotest places such as the south of Gansu in the northwest， Xishuangbanna in Yunnan in the southwest， Mount Tai in eastern Chinas Shandong， and Yili in Xinjiang Uygur Autonomous Region， where she stayed months to observe local lifestyles.

Girls and children are two of the artists favorite themes， as can be easily noticed in most of her creations depicting the beautiful moments of ordinary peoples homely life. Many of her works included in her first published art book， such as ，， ， ， and ， extract blessings from daily life routines. The viewer can sense the happiness and content from the face and hair decorations of the girl with a shy smile.

Wang Qingming spares no effort in the depiction of faces， hands and feet. She is a structure master， as can be seen in all her figure works that are full of flesh and blood and freehand flexibility brought to the max.

Most of the works included in the second edition of Wangs brushwork collection are her newer creations that demonstrate a more mature artistic attitude. The new edition is also a better summary of the artists achievements and progresses. Her love for children and motherhood is fully expressed in the paintings selected from her newer works， many of which show a bolder use of brushstrokes and a higher level of power and precision.

Whether it is the familiar pleasures of the life of ordinary people or more solemn topics， Wang expresses with noticeable ease. Her newer works include a “heavyweight” series that deals with cultural and political notables including Lu Xun， Soong Ching-ling， and Bing Xin， each demonstrating the artists high attainment in achieving unity of form and spirit.

One of Wang Qingmings solo exhibitions found its way into Paris. During her visit in Europe many years ago， she took the chance to go to Trier （in the west of Germany）， to see the former residence of Karl Marx， and found one of her works she created for the celebration of the 100th birthday of Karl Marx displayed in the residence， much to her surprise.

Titled ， the painting is just one of the artists “exotic” creations， in which she uses Chinese-style brushwork to bring out striking “foreign” details and proves herself a master of facial structures and colors. Layers of ink seem to have worked magic in her works， opening a world full of artistic possibilities.