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画家简介
范融先生出生于锦绣多姿的安徽大地,系中国宋代文学家“先天下之忧而忧”范仲淹先生的第28代后裔,父亲范苑声先生,母亲李国彝先生分别毕业于日本早稻田大学和北平中国大学,从政执教数十年,造福乡里,广受怀念。范融自幼酷爱书画,多得两岸名家教诲和指点,来美后努力吸收西画的技法,融汇中西画元素与一体,独树一帜,创立自己的风格,他对马的外形、肌肉和骨骼,以及马的神情和动态做过大量的研究,常在不同的山乡和有马的地方对真马写生,马的写生稿不下千篇,他遵循古人“气韵生动”和“骨法用笔”以及“应物象形”的法则,而更是把西画中的写实融汇到中国画中,使马的形象既有韵味又逼真,更符合西画的透视学和解剖学的原理,特别是创造性地把马的眼睛画得栩栩如生,马蹄画得坚实稳健,马的鬃毛画得更加飘逸美丽。他在画泼墨奔马时不用底稿,一气呵成,将马的“气”和“势”,马的狂野彪悍,阳刚之气表现得淋漓尽致,跃然纸上,直抒画家崇尚自然和向往自由奔放的心声。范融的白描马极具美的旋律,运用“十八描”的手法通过对线的疏密聚散,长短取舍,前后穿插,衬托对比,表现马的威武雄壮、奔腾跳跃的节奏和美感,其行笔时而急如流星,时而徐如蜗行,其重则若金刚杵,轻则似蝉翼,表现出马的或呼啸,或优雅的姿态和神情,可以看出范融画中的线条是“写”出来的,这是有别于西方画家毕加索、马蒂斯、米罗等在作品中所使用的线条,这也是中西画的“意”与“实”的不同之处。范融的“马”腾飞四海,受到国内外各阶层人士的普遍喜爱和收藏,国际艺评界认为他的“马”具有持久高速升值的能量。 Born in the splendid province of Anhui, Fan Rong was the 28th generation descendant of Mr. Fan Zhongyan -- a renowned scholar and writer of the Song Dynasty. His father - Mr. Fan Yuan and his mother- Mr. Li Guo, both were the graduates of Waseda University in Japan and the Chinese University of Peiping (Peking). They dedicated their lives to politics and education for decades and were widely missed after their deaths. Ever since childhood, Fan Rong loved calligraphy and painting. He had the opportunity to receive lessons and guidance from many renowned artists of the time in China and Taiwan. After he immigrated to the U.S., he started learning and studying western painting techniques in earnest and then created his own innovative and unique style. He also did a great deal of research on the physic, muscles, bones structure, appearance, and movement of horses. He travelled to many different townships in the U.S. to do sketches for more than a thousand manuscripts involving horses. He not only followed the ancient Chinese painting methods called "Spirit Resonance", "No-Bone method", and "Pictographic", but also added Western realistic painting techniques into his painting to make the horse more spirited and real. This was more in line with Western paintings’ perspective and anatomical principles. In particular, the eyes of his horses are more lifelike, horseshoes are solid and steady, the manes are more elegant and beautiful. He did running horses by only splashing ink, without a draft sketch. He used strokes to show the flow of energy that encompasses the horse's qi, energy, momentum, wildness, fierceness, and vividly portrayed the masculine performance of the horse. You can imagine the horse as if it is jumping on the rice paper and reflects the mind of the artist in advocating nature and his yearning for a freedom with an unrestrained voice.Fan Rong’s line drawing Sketch Horse Technique is an extremely beautiful melody. He adapts the "18 sketches" technique through the dense dispersion of lines with different lengths, interlaced before and after each stroke to allow the contrast to show the mighty majestic, pentium jumping rhythm and aesthetic sense of a horse. His brush strokes sometimes move like a meteor, sometimes like a crawling snail, sometime heavy as a metal pestle, sometimes light as the wing of a cicada. All these techniques are meant to show the full movement and expression of a horse. Fan Rong’s painting embodies that true meaning of "writing", the lines/strokes in Chinese painting which is not used by Western artists such as Picasso, Mattis, Milo and so on in their artworks. This is also the major difference between the Chinese and Western paintings of "meaning- spirit resonance" and "reality-correspondence to the object". Mr. Fan's interpretations of "horse" paintings has taken off and its popularity is reaching all over the world. His paintings are widely acceptable, welcomed, and collected by people from all walks of life, both in the U.S. and abroad. International art critics believe that his "horse" artwork has the energy for lasting appreciation.
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