聊起张霭维先生，因为是中间距的洞察，对他的认识是较为三度空间的。在自个儿的印象中，她是一人以学员为友的教育工作者、一个人不明智的图腾编辑、一人游走于港台美加立业成家的巡回美术师、一人千难万苦的单亲阿妈。大家那行很极度，全校的师生都是画画的，在学术前边人人平等，学子比老师画得好的大有其人，摆架子的教师的天分是心虚的，唯有客气的教员才获得学子的青眼，往往他(她)们又是有本领的，金兰之契，张是归属前面一个。一九六五年，当作者要么学子，得届时任美编的伍启中兄的约稿，画了根本第一张彩色插图，交稿后倒数计时代待着 湖南画报的出版，哪个人知等到的是风度翩翩幅被改了的画，画中的妇女被改成个郎君，令自身非常大失所望，改画者张霭维也，时任画报美术编辑。又有壹次，出版社约作者画宣传画，印后交回画稿，上加了大滩水印不当心弄上来的，约稿和加印者，张霭维也，时任油画出版社编写制定，诚然，她不是贰个明智的编写，却是壹人睿智的美学家。在爱沙尼亚语中，ART，是方法与工夫的同义词，手艺之于乐师，实在太首要了，张霭维凭着生龙活虎支画笔，游走于海外，进行过众多绘画作品展览，获得过十分的大的名利双收。她画的画像，尤为江苏、香江有名的人的重视，画约不断，这应归功于她的稳定的描绘功力和能上能下的慧眼，她的雕塑在写实中有生机勃勃种罗曼蒂克的鼻息，罗曼蒂克主义本来正是重主观、重想象。她的摄影在造型上重客观，在色彩上则重主观，那就产生了样子严刻而色彩又偏于冷暖相比较跳跃的特征。这种在比较中求得和煦的音乐感就是其水墨画的感人之处。摄影本来是显现自小编的行事，而画肖像则是从客人的渴求和温馨的情势追求之间去追寻平衡点，那多亏画肖像最难的地点。张霭维在此上面是左右得一定成功的。说句题外话，有贰回在加州州博物院来看风度翩翩幅州长肖像，是用大写意近乎抽象的画法实现的，令人过目成诵。笔者惊讶的不是那美术师的本领，倒是佩性格很顽强在艰难险阻或巨大压力面前不屈那位州长能够忍受歌唱家造型花招的汪洋。以往的音乐家都有门有派，过去的音乐大师有的画了一生到出画集时方悟到要 寻认祖先，好象练了三十几年少林拳不知自身源出五指山。于是本人想起达芬奇了，他在十八世纪就提议镜子论，以为美学家必需怀有对自然万物都能描绘的手眼通天，这么些理论潜濡默化的震慑着我们整代人，大家那一时当年都完全一样穷，最大的性状是绝非相机，速写本是记录生活的头一无二工具，因而，都穷平生精力去练就这种 全能(写生造成钢铁)，这种力量令大家毕生享用。Hugo说:艺术是一面集中的近视镜，它不只不弱化原本的颜色和骄矜，而是把它们集中起来，凝聚起来，把微光化为美好，把美好成为火光，那正是办法生活实际的精粹。当前数码之镜充斥现代生活，但此镜不相同彼镜，恒久不能够取代。要是大家从这些角度来赏析张霭维的壁画，你就能够体会到他的画表现的不是女人柔弱的美，而是有风流浪漫种超强的才能。那大约与他在生活中所担负的单亲母亲的超强的负荷，超强的神经不非亲非故系。能够设想，她已经走过一段十二分艰辛的路，独力养育一子一女，又是画画，又是做家务活，一天24小时是非常不够用的。纵然他 傻人有傻福，一路走来皆有亲朋仗义相助，但她发愤忘食的振作激昂让人钦佩。今后他的男女长大了，立业成家了。正当她在国内的同代人已经安享老年之际，她又在构想八个宏大的创作大计，再走上道路。
ZHOU Chunya is one of the earliest painters who gave up literary themes. The year 1980 is a year in which the Scar Art of Sichuan Fine Arts Institute became widely known in China. When others were using brushes to describe historical scars, ZHOU Chunya had his first visit to Hongyuan county of Tibetan. No one told him why he had to go to that sunny place, but it was imaginable that the dark history and grey city will drive an eargerly changing and spiritually rich painter to his place of hope. In my first visit there, I found the charm of color from the skin color of Tibetan, from the sky and moutains distance away. It was a kind of rebellion from the painter himself and the reality was that he had no chance or possibility to understand things of the impressionism. He once wrote in his Memorabilia: in 1979, The library of Sichuan Fine Arts Institute bought a painting album of French Impressionism and put it in a glass desk for the visitors to read, one page per day. ZHANG Xiaogang and I always went there to appreciatte and copy the works from the masters of the impressionism. We began to knew Monet, Cezanne and Pissarro, then we knew Matisse, Van Gogh and Picasso. In 1981, ZHOU Chunya and ZHANG Xiaogang went to visit similarly colorful Ruoergei Grassland together, where he had his life paitnings for several times. Now, we clearly understand the true reasons for him to choose the Tibetan life and sceneries on the grassland. For him, the themes expressed in the Scar Art were not all the art was about, but contrarily the rudeness and the boldness and colorfulness of the life in Tibet was everything that attracted him directly. Therefore, his works of A New Generation of the Tibetan came out in 1980, which was natural of course. Just as the artist himself said: When I left the grassland where I experienced my life, many specific things became fade from my memory, only left with stong and heavy colors on the grassland, simplehearted and wild images of the Tibetan, as well as these colors and image linesIn my first visit to the grassland, the five kids later I had in my oil painting works A New Generation of the Tibetan impressed me mostI did not purposely pursue certain kind of style, even if my current paintings are still considered with some personal peculiarity, it is just to be different from others. The highlighted lines and natural images in my pictures also show some kind of deformation, which was the inspiration I had from the objects and the need of composition, not out of the motivation to actively represent. I hoped I can touch the nature naively and purely, in a way a firstborn seeing the world.
早于上世纪五七十时期，霭维就读于圣地亚哥美院附中及高校壁画系，系统完美了解雕塑表现手艺，深奠其扎实写实本事之幼功。结束学业后留校任教，又于早先时代《湖北画报》担任媒体人、美编，以 虹岚之艺名，同盟登载之随笔，创作大量插图画幅，初誉画坛。七零到七六年间，任西藏人民出版社美术编辑，肩负整个市宣传画稿约职业，并还要创作大批量油面及宣传画、水粉、水彩画等诸画种。自七四年后到现在，前后相继陆陆续续乔迁香岛、浙江、加拿大、美利坚合众国等地，画笔未歇，探究点不清。分别成为内地、港、台及加美四地的名雕塑家。夫好多画家者，平时多具 专攻豆蔻年华类或 特有风格者也。然霭维于山水、静物、肖像、人物著书都有涉猎，才华通博，素材面极广。其画作之色彩虽多荣耀闪烁之律动，灿烂热烈，亦不相信守某色调，而折射其水墨画本性正为其独特之色感，亦为其画中润泽丰硕色彩语言。于其眼中，倘摄影不尊重色彩，好似植地无理庄稼之生长经常不足理喻。故观其画作，此中创设画面之意境，皆正视于色彩语言，此摄影之所感到水墨画之命脉所在耶。
陈衍宁: 美籍中原人、United States引人注目水墨画、肖像戏剧家
徐坚白:美籍华侨摄影家，圣地亚哥美院教学，曾经担负水墨画系老总、湖北水墨画会团体带头人，早年就读美利哥俄亥俄Nabi斯高校和平条伊斯坦布尔美院Ms. Ai-Wai Chaung is the youngest child in her family. Shes like a beautiful flower blossoming in a shower of love from people around her. Then she joined another big family, Guangzhou Fine Arts Academy, cradle of fine arts in southern China. After eight years of hard work and innocent lives in the academy with other fellow artist students, she was asked to stay as a teacher due to her academic excellence. From then on, she started facing lives independently and has since experienced ups and downs, frustrations and challenges. Thanks to her resilient nature, she did not let the difficult times make her weak or fall into decadence. Instead, she grew stronger and succeeded in her career. She has always kept her cheerful, pure and youthful image no matter what hardship shes going through. It is unimaginable to regular artists how many independent exhibitions she has held. Her portrait paintings are especially popular among people, from artist to bankers, She was able to draw people from all walks of lives vividly with her unique technique enhanced by close observation, sharp instinct and personal life experiences. She often uses melody as title to her scenic and still paintings, which demonstrates her pursuit of beauty from simple objects in life and mixing her appreciation of music into her paintings.
A New Generation of the Tibetan and a series of works on Tibetan life on the grassland by ZHOU Chunya, both show a kind of spiritual trend recognized by Chinese artists at that time, the most outstanding characteristic was that the artist actively combine his art or heart demand with a kind of themes with human kindness and humanitarian ideals. Artists began to consciously study and use also various kinds of brand-new and subjective way of object description. Large amounts of western modernism artists and genres were introduced in China, which brought chances and sources of inspirations for artists during a period of time. It undoubtedly enhanced the status and importance of the subjective art language in the explorations of the artists. Then in 1984, he again used the wild and bold block brushworks in his works Ruoergei in the Sunshine created to strongly represent the sunshine in the altiplano. But in the contrary, in A Family, his tone was quiet and steady. So later, he changed his bright and vivid tone and easy emotions.
About Ms. Ai-Wai Chaung, since my observation is in medium distance, my understandingof her is three dimensional.In my impression, she is a teacher that made friends with her students, a not-so-smart art editor, a touring artist who is successful in Hong Kong, Taiwan, the U.S.A and Canada, and a single mother who went through a lot of hardships.The arts field is uniquely different from other subjects. At school, all teachers and students are painters. Academically, everybody is equal. It is not unusual to see a student who can paint better than the teachers. Those teachers who put on airs are likely lacking in self-confidence. Only open-minded teachers who are usually also very capable receive respect from students. They are as much a teacher as a friend. Ms. Chaung belongs to the latter.When I was still a student in 1964, I was asked by Mr. Qizhong Wu to contribute to Guangdong Pictorial. That was the first color plate I ve ever painted in my life. However, after I received the final publication, the woman in the illustration was replaced by a man. I was greatly disappointed. It was Ms. Ai-Wai Chaung, art editor for the pictorial at the time, who changed my work. On another occasion, I was asked to paint a poster. But by the time I got it back, there was a big water mark on the painting. It was Ms. Ai-Wai Chaung who requested the painting and accidentally stained it. She was an art editor for Fine Arts Publishing House. However, although she was not a smart editor, she was a very smart painter.In English, ART is the synonym of art and skills. Skills of a painter are extremely important. Ms. Ai-Wai Chaung traveled among overseas destinations and successfully organized many art exhibitions. Her painting, especially her portrait paintings are very popular in Taiwan and Hong Kong, which won her numerous commissions. It is fair to say that we could attribute her success to her masterful skills and sharp observation. Her paintings have a radiance of romantic feelings amidst realistic depiction.Romanticism itself is very subjective and imaginative. Her paintings are more objective in shapes, but very subjective in colors, which creates a special effect of loyalty to shapes accompanied by jumping comparison among cold and warm colors. Her paintings touch people because of the sense of musical harmony that she was able to achieve.Paintings are artworks to express ourselves. However, portrait paintings need to balance the requirement of the clients and our own artistic pursuit. That is the most difficult aspect of portrait paintings. Ms. Ai-Wai Chaung is very successful in this. To stray from the topic a little bit, I once saw a portrait for a governor in the State Museum of California. The technique of the painting was close to freehand, almost abstract. I was very impressed. I applaud not the skills of the painter, but the open-mindedness of the governor.Modern painters belong to many different schools. Some painters didnt realized that they need to trace their artistic origin until the time of publishing their works, just like a Shaolin boxer who exercised for many years, but didnt know that the martial arts were from Mount Songshan. This reminded me of Da Vinci. He raised a Mirror Theory in the 16th century asking painters to have all-around capacity to be able to depict anything existed in nature. This theory unconsciously influenced our whole generation. Our generation was poor growing up. We didnt have cameras. The only thing we have to record lives surrounding us was a sketch book. As a result, we spent our whole life trying to reach that all-aroundedness and sketching became our strength. We benefited greatly from it.Victor Hugo once mentioned that art is a concentrated mirror. It does not diminish the original color and splendor. Instead, it collects them, condenses them and changes dim lights into brightness, bring brightness into fire. This is the quintessence of art creation. Even in this digital world of modern society, this mirror is irreplaceable.If we appreciate Ms. Ai-Wai Chaung s oil painting from this perspective, youll notice that her paintings do not demonstrate the beauty of a soft woman. On the contrary, it is great power that we experience. This may result in lifes pressure as a single mother. Its imaginable what kind of difficulty she went through bringing up a son and a daughter all by herself in addition to her art career. It will make 24 hours too short to take care of both housework and painting. Even though as a Chinese saying says, she has the luck of a muddle-headed and she has received great support from friends, her diligent spirit is highly admirable. Now that her children are grown up, despite the fact that most of her peers in China are relaxing in retirement, once again, shes embarked on a new journey of art creation..
By Jianbai XuOct. 12,2006
In 1985 and 1986, ZHOU Chunyas description of Tibetan life and sceneries changed. The works in this period of time overcome some visions and feelings as a visitor in A New Generation of the Tibetan and other works, gained a more substantial, more mature understanding of the nature and himself, and found a kind of relevant language way. The mystery feelings and beams were all things that ZHOU Chunya trying to pursue and render out. In The Tower under the Moonlight, people disappeared from the image and a kind of clear rational control seemed to simplify the stylistic composition of the objects in the image. The forms of the objects in the image seemed to be coincident with Cezannes conclusion that the nature was composed of forms like cylinders and cones. The strong light and shadow effect reminded people of the street scenes and squares in Rome or Turin as described by Tshirikov.