基本介紹
- 中文名:黃碩瑜
- 別名:黃錫瑜
- 國籍:加拿大
- 民族:漢族
- 出生地:廣東
- 出生日期:1941年
- 職業:畫家
- 畢業院校:香港理工大學
簡介,評論,履歷,繪畫理論,繪畫風格,良師益友,作品賞析,
簡介
黃碩瑜(1941-),廣東省人,自幼敏悟好學,痴衷繪畫。弱冠之年師從香港著名山水畫家梁伯譽先生和嶺南畫派大師趙少昂先生,勤勉苦學,效古人之法度,師造化之生機,奠定了中國畫傳統理論和技法的基礎。他兼擅山水、花鳥、人物,作品章法書宕嚴謹,設色瑰麗雅潔,筆墨舒放樸拙,意境自然清新,形成了淋漓蒼渾、氣勢恢宏的個人風格。近幾年,他在潑墨指畫方面也取得了很高的成就。自1967年以來,多次在香港、印尼、新加坡、台灣、中國、加拿大等地舉辦個人畫展,受到世界東西方藝術界的評價頗高。
評論
賀黃碩瑜畫展----范曾
(1988年黃碩瑜應天津南開大學邀請在天津博物館舉辦第十四次個展)
在人類的文化歷史上,一切有源有流、有根有本,經歷了時間的考驗、注入了時代的氣息的藝術,就能保持它生生不息的繁衍力和長青不敗的藝術魅力。
----加拿大當代優秀的畫家黃碩瑜 先生,他的繪畫以清新氣息、精美的構圖和靈動的筆墨,把我們帶進了一個嶄新的國畫天地。那是嶺南的燦爛陽光、浩蕩海風和萬物生機薰陶和培育了我們的藝術家,他作品中那種鐵宕縱橫的氣勢、潔淨俊發的造型,使我們對黃碩瑜先生把握宇宙、捕捉形象的盡精微、致廣大的手段深表讚賞。
在人類的文化歷史上,一切有源有流、有根有本,經歷了時間的考驗、注入了時代的氣息的藝術,就能保持它生生不息的繁衍力和長青不敗的藝術魅力。
----加拿大當代優秀的畫家黃碩瑜 先生,他的繪畫以清新氣息、精美的構圖和靈動的筆墨,把我們帶進了一個嶄新的國畫天地。那是嶺南的燦爛陽光、浩蕩海風和萬物生機薰陶和培育了我們的藝術家,他作品中那種鐵宕縱橫的氣勢、潔淨俊發的造型,使我們對黃碩瑜先生把握宇宙、捕捉形象的盡精微、致廣大的手段深表讚賞。
嶺南自明清以後,由於城市經濟的繁榮和海外貿易的發展,為封閉的中國帶來了清新的空氣,影響所及,在文藝上最少保守性、最富創造性,領導時代風騷的藝術家,應運而生。而在中國畫史上,近代能獨闢蹊徑,自成流派,堪與中國北方與東南海派抗衡的嶺南畫派,有著開拓性的卓越貢獻。從清末、民國初年到現代,嶺南才人輩出,名家相望,居廉、居巢之後,高劍父、高奇峰、伯仲及陳樹人,成為嶺南巨擎。茲後趙少昂、楊善深、黎雄才、關山月更開新境;又有歐豪年、黃碩瑜一輩踵接前修,嶺南畫派遂蔚成浩然雄風。凡有中國畫的地方,嶺南畫家總能一枝獨秀,不同凡響,君不見,滔滔珠水,江流有聲,它正磅礴為世界性的一種國畫潮流。高劍父有云:“半個世紀以來,世界各國提倡新藝術運動不遺餘力,如火如荼,歐洲畫壇的動盪已起了不少大變化,新之又新,變之又變,世界畫壇之異軍獨起,已指不勝屈,說起來就慚愧極了,難道我們的國畫就神聖到千年,萬年都不要變,都不能變嗎?略舉這50年間所演變之派別,馬奈在60年前創了印象派,不久即有“後期印象派”、“表現派”、“主體派”、“超現實派”、“象徵派”...... 尖銳地各個對立,這不過是歐洲藝壇革命動向之輪廓罷了。歐洲以外各國藝壇之新動向、新派別也雨後春筍一般,不斷作新藝術運動,無有停息,以我國50年來之藝壇情形較之,相去何啻天壤!漫說50年中依然故我,恐怕500年來除石濤、八大及西洋人郎世寧.......三數人外,能另創一派卓然大家的實不多見。侃侃雄辯,震聾發聵,其中論點本人雖不敢完全苟同,但劍父先生除舊布新的革新精神,無疑值得我們大家推重。
“人事有代謝,往來成古今”,後之視今亦猶今之視昔,每一個中國畫家在新的時代,都面臨著世界藝術新潮流的挑戰,問題是我們如何在風雲之中立定精神,既不尾追於現代派,拾人牙慧,也不故步自封、抱殘守缺,海內外有志人士,正應相互砥礪切磋,使民族的靈魂得以發揚光大,傳統的繪畫得以豐富發展,今天讓我以濃烈的興趣,去細細品味黃碩瑜先生的藝術精品。 藝術永遠是藝術家心智的果實,這裡面包含著畫家積年累月的辛勞,任何藝術家風發的才情都是執著的毅力、誠實的品格和霜晨夜雨的思索和追尋的產物,我相信作為老一輩的、卓有成就的藝術家,黃碩瑜先生的成功,對所有年輕一代的藝術家,會有深深的教益。
范曾---1988年3月2 2日夜於抱沖齋
“人事有代謝,往來成古今”,後之視今亦猶今之視昔,每一個中國畫家在新的時代,都面臨著世界藝術新潮流的挑戰,問題是我們如何在風雲之中立定精神,既不尾追於現代派,拾人牙慧,也不故步自封、抱殘守缺,海內外有志人士,正應相互砥礪切磋,使民族的靈魂得以發揚光大,傳統的繪畫得以豐富發展,今天讓我以濃烈的興趣,去細細品味黃碩瑜先生的藝術精品。 藝術永遠是藝術家心智的果實,這裡面包含著畫家積年累月的辛勞,任何藝術家風發的才情都是執著的毅力、誠實的品格和霜晨夜雨的思索和追尋的產物,我相信作為老一輩的、卓有成就的藝術家,黃碩瑜先生的成功,對所有年輕一代的藝術家,會有深深的教益。
范曾---1988年3月2 2日夜於抱沖齋
潑灑有成且問投石處?黃錫儒畫藝在兼程並進中--彭冊之
知道錫儒是在一九七六年他剛來多倫多的時候,那時他在如今的對面那棟房子的樓上開他來加的第一次畫展。有兩件事值得一提;那次畫展的主要內容是山水,帶著濃厚的後期“嶺南”餘韻。第二件是他有一幀小幅竹“鳥”在安省美術展中受到加拿大人的重視,並得了獎。
在賞析錫儒的作品以後,綜合印象是嶺南派 趙家子弟而已。若干年來,他把畫廊搬過街去,一來可以擺在地面上,招來觀眾容易;二來和安省的美術館並列,有一種“你這富家子弟聲勢浩大,看看我這茅屋裡的宰相材料如何”的直接感覺。十年期間,不斷展出名家作品,在文化的陣線上,表現了一種勇者的氣質。由“深心讚許”到“刮目相看”。經過一陣內心振盪與理解。終於,肯定了他在文化上的成就。
今天,正是他“四大名家畫展”甫畢。抽閒仔細觸摸他自己的藝術層面,細察之餘,不能不令人叫好。好在他的構圖設計,好在他筆觸的“投”與“灑”,加上他自嶺南繼承下來的透視能力。經歷了十年而後的錫儒,在引介名家之餘,自己已經走上“錫儒”的畫路了,難怪他的簽名已經放棄了原來消極的字面,而用了一個積極的“碩瑜”。“自己的畫路”就是創作。今天介紹他的山水,看看的“低飛”構圖。第一他的畫面本身處處呈現強烈的動感,但你會體察到動感是自觀者的“投入”,看他的構圖正如小飛機的御者,依山傍崖,在疾駛中,俯視天地。圖中有險無驚,看似險峻,而實質上是安靜中觀自然。這種構圖設計,不僅是聯繫了若夢人生與自然的密切綜合,更表現了自然的永恆與人生的偶然性。真實的閱畫者,會因此結識了“因緣”,大有了卻“塵緣”的“心"。這是文徴明、唐寅前後山水畫家中,從沒有想到過。原因是看一個畫家有沒有“作如是觀”的能力。
另外,碩瑜的用筆。當然有時他也用“指頭”,大部分用了許多前人筆法。但他的“投頓”和“潑灑”常常是騎著速度的鞍子而行,使“掌握”盡其在心,不在毫端投頓之餘,潑灑之後。暮然,投掉了許多陳跡,如皴法,如描法,幾乎都給潑灑無遺,投頓無跡了。投石問路的工作,是碩瑜今後的大目標,好容易自巢窠中站出來,多少血汗,幾許晨昏,讓自己的羽毛豐厚。而今,豈能自歇?成大器,展鵬程,該自此始。可是,前程迨迨,國畫的鵠的,畫人的文化使命,中西文化衡擊之後的塵埃,依然雲山渺渺,永無落定的跡象。散居世界各地的畫人,多在尋找蹊徑。有的已經是“未晚先投宿”,但大多都正在“雞鳴早看天”了。爭取時空的是生命,生命投入了收穫與否,自不在藝術家自料之內。但在投入之前,先行“投石問路”倒永遠是一個穩健而必然的一大步。碩瑜投石何處?何石在投?這是他自己的寶藏,絕不是為了收藏者興趣的滿足,而且他的成就也不是一般泛泛之輩可以終生可達得到的。
(民國七十三年十一月 十七日)
在賞析錫儒的作品以後,綜合印象是嶺南派 趙家子弟而已。若干年來,他把畫廊搬過街去,一來可以擺在地面上,招來觀眾容易;二來和安省的美術館並列,有一種“你這富家子弟聲勢浩大,看看我這茅屋裡的宰相材料如何”的直接感覺。十年期間,不斷展出名家作品,在文化的陣線上,表現了一種勇者的氣質。由“深心讚許”到“刮目相看”。經過一陣內心振盪與理解。終於,肯定了他在文化上的成就。
今天,正是他“四大名家畫展”甫畢。抽閒仔細觸摸他自己的藝術層面,細察之餘,不能不令人叫好。好在他的構圖設計,好在他筆觸的“投”與“灑”,加上他自嶺南繼承下來的透視能力。經歷了十年而後的錫儒,在引介名家之餘,自己已經走上“錫儒”的畫路了,難怪他的簽名已經放棄了原來消極的字面,而用了一個積極的“碩瑜”。“自己的畫路”就是創作。今天介紹他的山水,看看的“低飛”構圖。第一他的畫面本身處處呈現強烈的動感,但你會體察到動感是自觀者的“投入”,看他的構圖正如小飛機的御者,依山傍崖,在疾駛中,俯視天地。圖中有險無驚,看似險峻,而實質上是安靜中觀自然。這種構圖設計,不僅是聯繫了若夢人生與自然的密切綜合,更表現了自然的永恆與人生的偶然性。真實的閱畫者,會因此結識了“因緣”,大有了卻“塵緣”的“心"。這是文徴明、唐寅前後山水畫家中,從沒有想到過。原因是看一個畫家有沒有“作如是觀”的能力。
另外,碩瑜的用筆。當然有時他也用“指頭”,大部分用了許多前人筆法。但他的“投頓”和“潑灑”常常是騎著速度的鞍子而行,使“掌握”盡其在心,不在毫端投頓之餘,潑灑之後。暮然,投掉了許多陳跡,如皴法,如描法,幾乎都給潑灑無遺,投頓無跡了。投石問路的工作,是碩瑜今後的大目標,好容易自巢窠中站出來,多少血汗,幾許晨昏,讓自己的羽毛豐厚。而今,豈能自歇?成大器,展鵬程,該自此始。可是,前程迨迨,國畫的鵠的,畫人的文化使命,中西文化衡擊之後的塵埃,依然雲山渺渺,永無落定的跡象。散居世界各地的畫人,多在尋找蹊徑。有的已經是“未晚先投宿”,但大多都正在“雞鳴早看天”了。爭取時空的是生命,生命投入了收穫與否,自不在藝術家自料之內。但在投入之前,先行“投石問路”倒永遠是一個穩健而必然的一大步。碩瑜投石何處?何石在投?這是他自己的寶藏,絕不是為了收藏者興趣的滿足,而且他的成就也不是一般泛泛之輩可以終生可達得到的。
(民國七十三年十一月 十七日)
Chinese artist shows influence of western style
ARTSFOCUS
Hamllton Journal ,Wednesday ,March 2, 1988 by Diana Hutton
Toronto artist Sik -Yee Wong feels his career is finally picking up steam.
After 25 years spent perfecting his style in the ancient art of Chinese painting ,he can now point to several showings around the world that confirm his place amongst the best.
Included in his list of personal achievements are: Invitations from the Canadian National Art Gallery, to participate in Expo'86,the Tokyo Central Art Museum, to participate in a joint exhibition of world artists; the Sing sun Art Gallery of Taipei, Taiwan for an exhibitions; Solo exhibitions at Hongkong city Hall, Ottawa and Toronto, as well as Singapore and Indonesia.
"I am very pleased to where my career has progressed", he said through an interpreter last week," It is nice to be getting recognition at last".
Mr. Wong's most recent works are currently on display at the McMaster University Art Gallery, a sort of warm-up show for an upcoming exhibition in his native China.
In May, Mr. Wong will take some 80 to 100 works to China in a number of solo exhibitions that could take up to a year." To be able to go back home in a solo show is a tremendous achievement" he said," For me it represents a tremendous opportunity as well as a great honor".
Hamllton Journal ,Wednesday ,March 2, 1988 by Diana Hutton
Toronto artist Sik -Yee Wong feels his career is finally picking up steam.
After 25 years spent perfecting his style in the ancient art of Chinese painting ,he can now point to several showings around the world that confirm his place amongst the best.
Included in his list of personal achievements are: Invitations from the Canadian National Art Gallery, to participate in Expo'86,the Tokyo Central Art Museum, to participate in a joint exhibition of world artists; the Sing sun Art Gallery of Taipei, Taiwan for an exhibitions; Solo exhibitions at Hongkong city Hall, Ottawa and Toronto, as well as Singapore and Indonesia.
"I am very pleased to where my career has progressed", he said through an interpreter last week," It is nice to be getting recognition at last".
Mr. Wong's most recent works are currently on display at the McMaster University Art Gallery, a sort of warm-up show for an upcoming exhibition in his native China.
In May, Mr. Wong will take some 80 to 100 works to China in a number of solo exhibitions that could take up to a year." To be able to go back home in a solo show is a tremendous achievement" he said," For me it represents a tremendous opportunity as well as a great honor".
WESTERN INFLUENCE
He immigrated to Canada in 1975 and says he's been influenced by the western art scene. In fact, his recent works clearly show this. "People in China see the mix and they like it" he said.
Born in Kwongtung Province,China, Mr.Wong,47, received professional training by two of the great master of Chinese painting. Pak-yui Leung and Professor Shao-an Chao. Their influence, he said, is the cornerstone of his career." They molded me and shaped me". Fascinated by painting and drawing as a child. Mr.Wong said he enjoyed imitating life on canvas.'' Over time, I decided I wanted to be a painter". Though his parents were not artistic, he said they did encourage him to pursue whatever made him happy. In the early days, carving a living from the arts "was a struggle, Hong Kong, Like many places around the world, had no organization promoting young artists", he said," They only recognize talent after someone has achieved national recognition".
In 1969, Mr.Wong opened his own studio, Tinlai Chinese Art Studio, in Hong Kong, There he taught the art to students. Upon his move to Canada, he settled inToronto and opened the Karwah Art Gallery, a place to showcase not only his own works, but those of local Chinese artists as well.
"I thought young artists inToronto could use the exposure", he said," It is my way of helping them".
He immigrated to Canada in 1975 and says he's been influenced by the western art scene. In fact, his recent works clearly show this. "People in China see the mix and they like it" he said.
Born in Kwongtung Province,China, Mr.Wong,47, received professional training by two of the great master of Chinese painting. Pak-yui Leung and Professor Shao-an Chao. Their influence, he said, is the cornerstone of his career." They molded me and shaped me". Fascinated by painting and drawing as a child. Mr.Wong said he enjoyed imitating life on canvas.'' Over time, I decided I wanted to be a painter". Though his parents were not artistic, he said they did encourage him to pursue whatever made him happy. In the early days, carving a living from the arts "was a struggle, Hong Kong, Like many places around the world, had no organization promoting young artists", he said," They only recognize talent after someone has achieved national recognition".
In 1969, Mr.Wong opened his own studio, Tinlai Chinese Art Studio, in Hong Kong, There he taught the art to students. Upon his move to Canada, he settled inToronto and opened the Karwah Art Gallery, a place to showcase not only his own works, but those of local Chinese artists as well.
"I thought young artists inToronto could use the exposure", he said," It is my way of helping them".
HAND PAINTING
Settled into his own studio, Mr.Wong spent much time during those early years in his new home country perfecting his technique. He drew inspiration from nature and used his imagination to interpret what he saw onto canvas.
Comfortable with his progress, Mr.Wong ventured into new territory during the early 1980s.He began painting with his hands and fingers and used no brushes, "It is an ancient Chinese technique that I never learned", Mr.Wong said. Eager to stretch his talents, he began experimenting and found new exhilaration in the art." It was a very interesting and exciting development in my career .As an artist, I am now able to trans-form the vision in my mind directly onto paper, There is no tool in the middle obstructing me". Using this method, Mr.Wong says he is better able to accomplish what he sets out to do. He finds his work reflects his emotions more effectively now." I am consistently
more satisfied with my works. " Still ,the perfect painting remains elusive." I am satisfied with all the paintings I put on display, but I have yet to paint the perfect picture. I continually strive to do that". Mr.Wong's show at the McMaster University Art Gallery continues through March.
Settled into his own studio, Mr.Wong spent much time during those early years in his new home country perfecting his technique. He drew inspiration from nature and used his imagination to interpret what he saw onto canvas.
Comfortable with his progress, Mr.Wong ventured into new territory during the early 1980s.He began painting with his hands and fingers and used no brushes, "It is an ancient Chinese technique that I never learned", Mr.Wong said. Eager to stretch his talents, he began experimenting and found new exhilaration in the art." It was a very interesting and exciting development in my career .As an artist, I am now able to trans-form the vision in my mind directly onto paper, There is no tool in the middle obstructing me". Using this method, Mr.Wong says he is better able to accomplish what he sets out to do. He finds his work reflects his emotions more effectively now." I am consistently
more satisfied with my works. " Still ,the perfect painting remains elusive." I am satisfied with all the paintings I put on display, but I have yet to paint the perfect picture. I continually strive to do that". Mr.Wong's show at the McMaster University Art Gallery continues through March.
履歷
黃碩瑜(錫儒)著名國際畫家,加拿大籍華人,早年師從香港山水名家梁伯譽先生和嶺南畫派大師趙少昂先生。並吸收古人之法度,除用毛筆之外,同時發展指墨法,其作品曾多次在香港、加拿大、美國、台灣、日本、新加坡、馬來西亞、印尼、中國西安、天津、廣州、深圳等地區舉辦個展,均受到世界東西方藝術界的頗高評價,並榮獲加拿大傑出成就獎和榮譽獎。
1941年出生於中國廣東台山
1957年移居香港,先後從游梁波譽和趙少昂老師
1962年香港(理工大學) 工專美術設計科畢業.
1967年參加香港大會堂博物館主辦藝術展
1968年設立天籟國畫苑
1971年在香港大會堂舉辦第一次個展
1973年在香港大會堂舉辦第二次個展
1975年移居加拿大
1976年3月在多倫多開設 “嘉華畫廊”
1976年8月在多倫多舉辦第三次個展
1978年在香港大會堂舉辦第四次個展
1980年在加拿大安省鹹美頓麥瑪士大學美術館舉辦第五次個展(作品被收藏)
1982年在馬來西亞舉辦第六次個展
1983年出版第一本畫冊
1983年在新加坡舉辦第七次個展
1983年在印尼舉辦第八次個展
1983年10 月在多倫多舉辦第九次個展
1984年在渥太華舉辦第十次個展
1985年在香港大會堂舉辦第十一次個展
1986年5月應日本東京美術館邀請展
1986年9月在台北新生畫廊舉辦第十二次個展
1988年2月應加拿大安省鹹美頓麥瑪士大學邀請舉辦第十三次個展
(十幅作品被收藏)
1988年5月應天津南開大學邀請在天津博物館第十四次個展
1989年7月應溫哥華UBC大學邀請舉辦第十五次個展
1990年8月應中國西安文史館邀請舉辦第十六次個展
1990年榮獲加拿大傑出成就獎
1991年黃山寫生在多倫多舉辦第十七次個展
1992年應深圳美術館邀請舉辦第十八次個展(作品被收藏)
1994年榮獲加拿大國慶頒發榮譽獎
1996年美國紐約第十九次個展
2000年應廣東省博物館邀請舉辦第二十次個展(作品被收藏)
2000年12月為中加友好30載"中華丹青繪畫楓園"統籌畫展
2002年為廣州市五仙觀舉辦籌款個展
2003年6月為廣州增城何仙姑家廟籌款舉辦荔枝個展
2003年11月在順德天任美術館舉辦第二十一次個展
2005年嘉華畫廊回遷廣州
2006年應福建美協邀請舉辦第二十二次個展
2007年為廣州市五仙觀舉辦第二十三次個展並義賣籌款
2010年應廣州番禺檔案局美術館邀請舉辦第二十四次個展。
繪畫理論
1975年,黃碩瑜來到了加拿大多倫多,黃碩瑜靠著毅力和一技之長打開了屬於自己藝術大門,把中國的嶺南畫派帶到了多倫多,讓更多的外國人認識了了解中國文化,他的畫作風格奠定了中國畫傳統理論和技法的基礎。
黃碩瑜先生作品完全汲取了嶺南畫派風格的精髓,他的作品中體現著嶺南畫派生生不息的繁衍生命力和長青不敗的藝術魅力。
繪畫風格
山水畫,橫跨東方與西方兩個不同地域,意境自然清新,形成了淋漓蒼渾、氣勢恢宏的個人風格。
花卉畫,重潑墨趣味的一氣呵成的寫意,富有嶺南畫特有的藝術韻味。
鳥獸蟲魚畫,得益於畫家堅持長期寫生,所形成對大自然敏銳的觀察能力、對生活的理解感悟能力和精於細節表現的繪畫功底。
荔枝畫,在賦色上也多採用鮮艷的硃砂兼赭石,並施之以水,達到鮮活的效果。
指墨畫,為黃碩瑜大師特創,是用手指蘸上墨汁,直接潑灑到紙上,像一個融身心於琴音中的樂師,用自我的手指去彈奏出內蘊的心聲。
良師益友
黃碩瑜與名家恩師的交流也從不中斷,中國書畫界名師李可染、謝稚柳、范曾、關山月、賴少其、程十髮等人成為他的良師益友,紫砂界顧景舟、微雕刻家曲儒、油畫家余本等也與他有來往。在與名師名家的密切交往中,黃碩瑜充實了嶺南畫派的內涵和外延,助推了嶺南畫派在海外的傳之久遠,為此,海內外專家學者對黃碩瑜的繪畫推崇備至。