《时代周刊》——跨国文化国家艺术形象代表人物王子锦-时代周报中文版

美国新闻中文版本篇文章10220字，读完约26分钟

个人简介：

王子锦，画家，雕塑家，中国工艺美术学会会员、工艺美术大师、现任邯郸学院客座教授、河北省书画艺术研究院艺术顾问、兰陵王画院院长。1952年出生河北磁县王家庄。1970年磁县”五七农场”跟随吴作人、李可染、李桦、彦涵、邵晶坤等老师学画。
2021年建党一百周年，中国美术家协会，中国书法家协会，中国人民书画研究院，中国文化艺术人才管理中心评为"人民艺术家″称号。
发表文章:《浅谈国画山水构图与笔墨》，《解释山水绘宗十二忌》。

Personal profile:

Wang Zijin, painter, sculptor, member of China Arts and Crafts Association, master of arts and crafts, current visiting professor of Handan College, art consultant of Hebei Academy of Painting and Calligraphy，Dean of Lanling King Painting Academy.Born in Wangjiazhuang, Ci County, Hebei Province in 1952. In 1970, the "Five Seven Farm" in Ci County studied painting with teachers such as Wu Zuoren, Li Keran, Li Hua, Yan Han, and Shao Jingkun.
In 2021, the 100th anniversary of the founding of the party, the Chinese Artists Association, the Chinese Calligraphers Association, the Chinese People's Academy of Painting and Calligraphy, and the Chinese Culture and Art Talent Management Center awarded the title of "People's Artist".
Published articles: "A Brief Talk on the Composition and Brushwork of Traditional Chinese Paintings", "Explaining the Twelve Taboos of Landscape Painting Zong".

社会活动：
百年学院千秋业，央美风和四月天。五世同堂聚北京，秉承画脉代代传。
2016年应邵晶坤恩师邀请出席了董希文、吴冠中、邵晶坤先生《颠峰之路三人行》的大展开幕式。
2018年3月央美百年校庆将至，应中央美术学院宣传部邀请，代表磁县“东陈"乡亲和学生参加了百年校庆。提前到北京拜访了吴作人的女儿萧慧先生，带着侯一民老师给河北省委写的信，汇报了中央美术学院120多人以吴作人院长为代表的老教授们为磁县所做的贡献，以及他们在磁县的一些情感难忘的事迹和遗作。策划筹建了磁县中央美术学院教授"东陈"记忆馆。
4月1日出席参加了中央美院百年校庆，相见了1970年在东陈”五七农场”阔别49年的黄永玉、刘焕章、蒋彩萍、苏高礼等老师们；并到家里看望了侯一民、邵晶坤、刘焕章、彭鸿远、汤池、李松、毛凤得等十几位教授导师。

Social activity:
Hundred Years College Qianqiuye, Yangmeifeng and April sky. Five generations gather in Beijing, inheriting the tradition of painting from generation to generation.
In 2016, I was invited by Shao Jingkun's mentor to attend the opening ceremony of Dong Xiwen, Wu Guanzhong and Shao Jingkun's "Road to the Peak of Three".
In March 2018, the Centennial Anniversary of CAFA is approaching. At the invitation of the Propaganda Department of the Central Academy of Fine Arts, I participated in the Centennial Anniversary on behalf of the villagers and students of "Dongchen" in Cixian County. I went to Beijing to visit Mr. Xiao Hui, Wu Zuoren’s daughter, and took a letter written by Hou Yimin to the Hebei Provincial Party Committee, reporting on the contributions of more than 120 old professors from the Central Academy of Fine Arts represented by Wu Zuoren to Ci County. And some of their unforgettable deeds and posthumous works in Ci County. Planning to build the "Dong Chen" Memory Hall of the Professor of the Central Academy of Fine Arts in Ci County.
On April 1st, I attended the Centennial Anniversary of the Central Academy of Fine Arts. I met Huang Yongyu, Liu Huanzhang, Jiang Caiping, Su Gaoli and other teachers who had been away for 49 years in Dongchen’s "May 7th Farm" in 1970; and visited Hou Yimin, Shao Jingkun, and others at home. More than a dozen professors and tutors including Liu Huanzhang, Peng Hongyuan, Tang Chi, Li Song, and Mao Fengde.

艺术人生：
1973年在磁县电影院做海报幻灯宣传创作。
1978年創办了马头戏剧服装厂，(古装、刺绣设计制作导师)
1980年轻工业部拨资，创建了磁县工艺美术厂(担任厂长)，创作的“磁州水石盆景”和仿真根雕陶艺，荣获省工艺美术优秀设计工作者称号，作品《漓江帆影》获中国轻工业部百花奖和设计者奖2000元，产品一度畅销国内外各地。《人民日报》《光明日报》《中国青年报》多次报道。
1985年聘调河北省雕塑公司担任总工程师。
1986年创建河北省特艺工程雕塑总厂，(总工兼技术厂长)作品获轻工业部、商业部、国家旅游局“旅游产品优秀设计二等奖、和天马银杯奖"。
1987年雕塑作品:磁县城标(汉白玉)《荷花仙子》获省城市雕塑优秀奖。1992年在承德避暑山庄，举办原创“清宫秘史”大型雕塑艺术展，(展示仿蜡像清史人物和宫廷御用文物，复原陈列再现写真)
《避暑山庄清宫秘史》作品展，受到中国清史家、皇家后裔溥杰的高度评价并合影留念。
1997年设计创建承德市双塔山风景旅游区（时任董事长）占地2000余亩建有山门，百米长廊、三仙观和摩崖石刻等，修建了1300年前的契丹辽塔和释迦摩尼卧佛雕像，受到原国家主席李先念夫人林佳楣和毛泽东贤孙毛新宇的高度评价。(合影留念)
2001年创建了[承德辽清历史博物馆]300多仿蜡像人物的雕塑艺术作品：《康熙北巡》《乾隆接见六世班禅》《咸丰托孤两宫垂帘》《咸丰帝灵柩起运回京》《人鬼情未了》和辽代文物等五个展馆。
2002年《雕塑家王子锦与双塔山的情缘》上下集由承德电视台专题采访报道、[优酷]视频。
复制了辽墓文物:萧太后孙女一一叶律氏.陈国公主和驸马干尸的随葬饰品。[辽清历史博物馆]受到原人大副委员长姜春云，河北省省长钮茂生的高度评价，(著书影视载入了史册)。引国拨资金修双滦风景区旅游公路，带动了路两侧山地开发充分利用，推动了承德双滦区的经济发展，被提名承德市双滦区政协委员。
2003年避暑山庄建庄300周年特展，仿蜡像作品《咸丰托孤》在北京"国家历史博物馆"展出，各电视台、报纸等各媒体作了专题报道。
2020年4月18日，应邀请国画作品《天路》在日本东京都美术馆展出。
2020年10月完成了磁县天宝寨《五区兵工厂》红色花驼博物馆的大型雕塑展。

Artistic life:
In 1973, he created a poster and slide show at the Cixian Cinema.
Established Matou Drama Clothing Factory in 1978, (an instructor of costume and embroidery design and production)
In 1980, the Ministry of Young Industry allocated funds to establish the Cixian Arts and Crafts Factory (as the director). The creation of "Cizhou Water Stone Bonsai" and the simulation of root carving pottery, won the title of Provincial Arts and Crafts Excellent Design Worker, and the work "Lijiang Sailing Shadow" won the China Light Industry The Hundred Flowers Award and the Designer Award were 2,000 yuan, and the products were once sold at home and abroad. "People's Daily", "Guangming Daily" and "China Youth Daily" have reported many times.
In 1985, he was hired and transferred to Hebei Sculpture Company as chief engineer.
In 1986, Hebei Province Special Art Engineering Sculpture General Factory was established. (Chief Engineer and Technical Factory Manager) works won the "Second Prize of Excellent Tourism Product Design Award and Tianma Silver Cup Award" by the Ministry of Light Industry, the Ministry of Commerce, and the National Tourism Administration.
1987 Sculpture: Cixian city standard (white marble) "Lotus Fairy" won the Provincial Urban Sculpture Excellence Award. In 1992, held the original "Secret History of Qing Palace" large-scale sculpture art exhibition in Chengde Mountain Resort, (showing imitation wax figures of Qing history figures and palace cultural relics, restoration and reproduction of pictures)
The exhibition "The Secret History of the Qing Palace in Mountain Resort" was highly praised by the Chinese Qing historian and royal descendant Pu Jie and took a group photo.
In 1997, he designed and established the Shuangtashan Scenic Resort in Chengde City (the chairman at the time), covering an area of more than 2,000 acres. It has a mountain gate, a 100-meter corridor, Sanxian Temple, and cliff stone carvings. The statue of the Reclining Buddha of Kamoni was highly praised by Lin Jiamei, the wife of former President Li Xiannian, and Mao Xinyu, the great grandson of Mao Zedong. (Group photo)
In 2001, he created [Chengde Liaoqing History Museum] more than 300 sculpture art works of imitation wax figures: "Kangxi Northern Tour", "Qianlong's Reception of the Sixth Panchen Lama", "Xianfeng Tuogu Two Palaces Hanging Curtain", "Xianfeng Emperor's Coffin, Transported Back to Beijing" and "People" Five exhibition halls including "Ghost Love Is Not Over" and Liao Dynasty Cultural Relics.
In 2002, the second episode of "The Love between Sculptor Wang Zijin and Shuangtashan" was interviewed and reported by Chengde TV station and video [Youku].
Reproduced the cultural relics of the Liao Tomb: the funeral ornaments of the Queen Mother Xiao's granddaughter Yiyi Yelu's Princess Chen Guo and the dry corpse of Ma Ma. [Liaoqing History Museum] was highly praised by Jiang Chunyun, former vice chairman of the National People's Congress, and Niu Maosheng, governor of Hebei Province. The introduction of funds allocated by the country to repair the tourist road in the Shuangluan Scenic Area has promoted the full utilization of the mountainous areas on both sides of the road and promoted the economic development of Shuangluan District in Chengde. He was nominated as a member of the CPPCC Shuangluan District in Chengde City.
In 2003, a special exhibition for the 300th anniversary of the establishment of the Mountain Resort, the imitation wax figure "Xianfeng Tuogu" was exhibited in the "National History Museum" in Beijing, and various TV stations, newspapers and other media made special reports.
On April 18, 2020, the invited Chinese painting "Sky Road" was exhibited at the Tokyo Metropolitan Art Museum, Japan.
In October 2020, the large-scale sculpture exhibition of the Red Camel Museum in Tianbao Village, Ci County, was completed.

作品赏析：

《油画开国大典》

王子锦解释

元代.饶自然

《绘宗山水十二忌》

一、布置迫塞:

布置，构图经营也就是谢赫《六法画论》中提到"经营位置"，是画论之总要，是布置和及笔墨的实践。
布置迫塞就是不要把整张纸画的太满，上下不见天地，没有虚实，构图没有聚散开合，用笔板刻墨色污浊不见空灵，物象安置杂乱没有笔法，使整个画面墨色灰暗无光，物象意境冲天塞地透不过气来。
画者要灵感悟道，实践与理论结合，执笔要左顾右盼纵观全局，胸中丘壑。
微笔巧用变化万千，线条枯湿勾勒要弹性而不板结，墨色丰韵，笔墨有法。疏密无序，寻归自然而又高于生活。以白当黑，以少胜多。方见构图布置的合理章法和笔墨境界。

《巍巍太行》

《江山如画》

二、远近不分:
远近不分高低无错落，大小失调，千山一面，物象形状单一又重叠，远没有景深，高低没有空间。
如何在只尺有限的纸上画出万里无限的空间？这里有学问和笔墨技巧。远山无石，隐隐如眉取其形。远水无波，高与云齐遥天际交光，取水天一色。高山取其势，低山趋相随。远景取其虚，近景取其质。虚实交替，疏密和谐。远小近大，方见景物层次与空间。

《太湖印象》

《江南春色》

三、山无气脉:
指的是在画名山大川时，不可画成碎石的堆积，石块的拼接。山有气脉，气脉相联，山川要接地气，不能是幻想中的飞来石，脱离了你画中主要景物的根基，所画的前后景物山川不在同一地平面上，怎能行成山川和气脉？山无脉川无气，山与山之间没有内在的关联。近山画在地球上，远山确悬挂在月空中，不能把艺术的境界"无中生有"之说用意于此。
山连山峰连峰，水连水川连川，高山雲雾锁奇腰或阴或阳又或笔断意联，有沟壑峡谷见悬崖峭壁；有高低呼应相盼，见连绵起伏迂回。即便不见山底，也有着山与山之间的必然内在关联。才方见山水画整体宏伟磅礴的气韵和气脉。

《太行金秋》

四、水无源流:
指的是水无出处，死水一潭，不合自然规律。
所以我们提倡要到大自然中去观察，去写生悟道，画出大自然中水流处的趋向和出处，虚实相应，画意相联，穿针引线有所交代。
水外柔内刚，水的源头来龙去脉立意要心中有数，水的刚柔任意性，使我们在绘中悟出自然万物与水关系的用笔用墨的方法及勾图的需求。

《秋月扬明辉》

五、境无夷险:
山水的构图要有主次，布置经营的画面要主题突出。没有主次的画面是松散的，主题不突出很难充分传达作品中心内容的精神，要主景突出造势取险方神韵万千。主山、主景突出有势；客山、衬景呼应传情。
求高耸奇险，忌凡俗平淡，有音律启示意境的变化，有高于生活的夸张与实践，每作一画，心所立意必须明确，做到心有成竹胸中丘壑。

《一览众山小》

《江南锦绣》

六、路无出入:
忌死路半截！
山水画路根据作品的需求，要弯曲自然，穿针引线，有藏有露，生动合情合理。要画到曲径通幽处，禅房花木深，再现出奇制胜的构图和笔法的妙用。

《天路》

七、石止一面:
画山不可石之一面，那样太过死板而没有空间感，古人王维说的"阴阳背向，石分三面"。就是指其对山水写意也要有立体空间的诉求，石分三面，小指石头大指整个山体的宏观立象，整体用笔、罩墨、着色、笔法都要协调一致。

《天路筑梦》

《雾飞山庄美》

八、树少四枝:
画山水画忌整体树少，具体枝少。
画山不画树，心中无底数。
禁忌光头山，必须要有树。
树身露在外，树叶平板摆，
枝叶无前后，空间神韵何处来？
画山不可缺树，树枝树叶也要有变化，除非特殊环境和作品的需求。因各地域山水的树木植被有所不相同，所以要抓住地域特征去构图创作，树冠外形要取精神姿态，树种形状叶子深浅和树枝粗细，要藏露虚实有所变化，笔墨枯焦湿润的用笔见空灵与疏密。前后左右出枝，八方出锋，可见树木的神态和层次变化。

《夏云多奇峰》

九、人物伛偻:
人物在山水画中是画龙点睛。是重要传情内容的标志，人伛偻是一种病态，是用笔不精准，墨色不空灵造成的。伛偻病态的人物在画面中，它不但提不起画中的精神内涵，还会严重破坏整张好作品。
所以近画要四肢比例和精神形象，远画姿态外观和支体造型。绘入在山水画中的人物比例乃是丈山尺树，寸马分人，而不失比例动态，方见人物精神传情与画面协调的意境。

《双塔山》

十、楼阁错杂:
楼阁错杂，现代建筑与传统建筑的结合是很多画家难以协调的通病，结构比例不对脱离实际画面，死板生硬。最应注意的就是传统笔墨山水，结合现代建筑置入在画中的协调与融合。"笔墨当随时代"也印证了石涛先生就中国画发展的必然趋势。一切亭台楼阁、房屋、舟车、高速桥梁等景物的安排，都必须遵循自然的社会发展规律，到大自然中去，到生活中去，最高的艺术来源于自然生活，拜大自然为师。多写生掌握各民族的建筑风格和基本结构。方解楼阁错杂不合理的弊端。

《家家都在画屏中》

《新城一桥堑通途》

十一、滃淡失宜:
笔墨画彩的层面，要笔墨得法熟练应用，掌控画面的浓淡、深浅、光影虚实的意境效果。要研究古代的、传承近代的、发展现代的。所用的笔法、墨法、皺法、泼彩、学院派的中西写实和写意的新文人画等，都不要脱离实践与理论的结合，即便是大写意也要通过笔墨的实践与理论的总结，才能得于绘画作品的升华，中国画的稳步发展。

《雾宿漓江》

十二、点染无法:
是指笔墨的运用和色彩渲染无法，笔墨无法品自低。
点染是用笔的过程，也是笔法对画作产生后的效果。国画山水笔法很多，比其它画种也相对繁琐，就不同形式内容要求的笔法、墨法、皴法、色法等就有很多。
笔法有:平、圆、留、重、变。
墨法有:焦墨、积墨、破墨、泼墨、渲染等。
皴法有:长短披麻、大小斧劈、大小米点皴、解索皴、折带皴、荷叶皴、云头皴等。
色法有:色墨混合、色墨重叠、泼彩等。
这些笔法的掌控，会直接影响到作品水平的高低。所以做为一个画家必须得以长期实践和理论研究，学法传统又不泥古传统，师法自然潜心学习长期实践，每次实践升华为理论后再实践成的作品结果，一定是技法和作品得到了进一步的提升和飞越。