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画家郑增科工笔画|丹青妙手,粉黛三千!

艺术的生命力,在于表现出其有生命特性的东西,骨子里美的东西。

——郑增科

郑增科

1957年生于河北宁晋。1980年毕业于河北师范大学美术系,1989年进修于天津美术学院。先后就学于天津美术学院王麦秆教授、中央美术学院黄均教授等画家。曾受到王雪涛、田世光、俞致贞老师指教,攻习人物和花鸟,并被中央美术学院教授黄均收为入室弟子。现为中国美术家协会、河北分会会员、任九河工笔画学会会长等职。

工笔画历史悠久,从战国到两宋,工笔画的创作从幼稚走向了成熟。

工笔人物画可谓是中国传统绘画艺术的珍宝,它用笔工整,刻画细致,色彩典雅,具有很强的装饰意味和极高的审美价值。

与水墨写意画不同的是,工笔画要求取神得形,以线立形,以形达意,所以工笔画更多地关注细节,注重写实。

工笔画也有人物、花鸟和山水之别,而尤以工笔仕女画的历史最为悠久,其艺术欣赏价值很高。

仕女画是对女性美的描述,女性的美,犹如天上的繁星、月亮,是上帝赐给人类最美好的事物。画家在运用工笔画描绘仕女图的时候,稍微胖些的女子,画家就把她描绘的性感妩媚、风韵十足;仟瘦些的女性在画家的笔下,又呈现出亭亭玉立、婀娜多姿之美,可见工笔仕女画的奇妙之处。

中国传统的工笔仕女画以其永恒的艺术魅力穿越历史时空,老树绽放新花,在今天的中国画坛出现了一批优秀画家,推出了一批传统题材的新创作品,今人所绘工笔仕女画在用笔、用色、章法、造型方面都超越古人,达到了一个新的高度,那浓丽的色彩,工细的勾染和准确的造型,大大提升了传统古典工笔仕女画的艺术品格。

郑增科画中的一山一水,一草一木,阁楼回廊,衣冠修饰,无不顾盼人物情绪、身份需要,精致熨贴,位置适当,从而表现出其广博的传统文化修养和深厚的绘画功底。

他选择的绘画题材,都来自于为大众喜闻乐见的历史故事和优秀民间传说,他选择的故事和传说,都能给人以想象的空间,引起人们对历史故事和传统文化的久久回想与品味,比如《水月观音》《西施》《昭君》《貂蝉》《贵妃醉酒》《贵妃调鹦》《画龙点睛》《吹箫引凤》《八仙过海》《吴彩鸾跨虎入山图》,以及小说《红楼梦》中人物《黛玉》《惜春》等,无不使人产生对中国传统优秀文化的联想和思考,从而很容易使人产生艺术共鸣,唤起人们对传统优秀文化的尊重和至爱。

郑增科作品欣赏

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