作者：颜娟
出版社：宁波出版社
格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT
水绿：娟子油画作品集试读：
娟子的水绿绘画： 两个世界的相遇
夏可君一个女艺术家的绘画越是靠近她童年的记忆，越是深入她自己生活的地方性，越是具有生活的气息，就越是能够在绘画上传达自己与世界的关系，越是可以形成自己的艺术语言。因为女性发现美的方式，乃呼吸与色彩，乃喜爱与生命。当我们看到娟子的绘画，一片洋溢生命的水绿，我们看到了女性艺术家对于艺术与世界的热爱。
娟子在湖北的鱼米之乡洪湖长大，那里的湖水与荷花，异常干净与甜润，荷花不只是一种文化象征，还是一种生命的质感，一种养育生命的粮食，这种与生命呼吸相关的自然元素滋育了她的感知方式，这就是让油画接纳水性，吸纳青春的活力，这成为她持久探索的主题。在湖北美院接受过几年严格的油画训练后，来到另一个湖水之乡，也有着东钱湖的宁波，靠近大海的宁波，还生活在充满文化气息的月湖附近，娟子感受到水性对于绘画，对于生命，对于生活的重要性。因此，她大胆尝试以水墨性来画油画，乍一看似乎就是水墨荷花，其实是用稀薄的油画颜料所画而成，在保留准确造型的同时，还传达出水性化的呼吸与流动感，似乎荷花与荷叶如同水珠与露珠，还在流淌着，那青春的绿意永不褪色，分画面一片素雅的墨气荡漾，带着自然的诗意，似乎绘画不是在画对象，而是要画出月亮映在水面或者月亮与露珠相映的那种虚薄的呼吸诗意，还有荷花本身具有的高洁与清纯，还有永远不老的青春活力，不老的水绿色调，也是一个女性对于自己生命本质的自我期许，所谓画如其人，这种清纯而雅致的气质，得到了双重的印证。
能够把油画画得如同水墨，这体现了娟子细腻的情感，对于故乡的思恋，还有对于绘画的根源理解，就是让故乡的水感记忆，自己女性生命的水性触感，对于家乡的梦想回忆，都浓缩在这种油性的水性质感“转化”上，女性的心事似乎就如同那荷花上的蜻蜓与蝴蝶，只需轻轻地触及，就能轻轻地摇曳，让梦想获得绘画的语言。
这个油画的水墨化“转化”，其实与中国艺术当前的走向密切相关。当代中国绘画既要体现出油画的造型力，又要保留东方根性的质感，水性与油性的结合，成为当代突破的焦点，而敏感的娟子，得到命运的眷顾，找到了自己的绘画语言，她是清风明月的宠儿。
娟子的绘画于是向着两个方向展开自己的语言探索，在油画水墨化的同时，她也在探索油画语言的地方性存在感。面对自己身边美丽的月湖，有着文化历史记忆的所在，吴冠中先生的名画《双燕》就作于此处，它不同于洪湖的自然风光与荷花的文化象征，面对月湖，娟子更多是从油画写生的角度，以清雅的色调，简约的造型，严谨的画面构图，整体浑然的气息进入绘画。同时，还把宁波的地方性与文化的历史性，以一种素雅的色调，一种亲密的气息，在局部切片构图，其宛若南宋小品，保持传统青绿的色调，以清雅而恬静的调子传达出来。
当今中国油画，要保留写生的鲜活感的同时，还要有着文化历史的图像记忆，比如宁波的古楼与寺院，有着一种山水画的诗意，如同油画的荷花青绿系列带有水墨的文化品味。这是绘画的味道，是进入善良细节的陶冶。因而这些油画也保持了与水墨质感的对话性，同样是荷花的主题，也有着水性的呼吸，雅绿的调性，一种沉浸在画面的诗意冥想，让天光云影叠印在画面上，恍若梦幻一般。
从内湖到外海，娟子的绘画融合了内秀与博大，本次宁波当代美术馆的展览中，她还特意把洪湖的灰白细丝鱼网与宁波沿海的青绿宽粗鱼网编织起来，形成装置作品，让两个世界交织起来，形成内在的对话！
娟子的绘画，表达了自己对于绘画的热爱，对于所生活世界的热爱，这是在这两块地理空间之间，也是在两种记忆之间，还是在两种绘画语言之间，两种颜色的记忆，更是在两种生命感受之间，既体现绘画的故乡记忆，也体现当下生活的美好。
娟子的水果绿色调的绘画，让我们看到了一个女性走向成熟，走向自我身份与生活确定性的过程，以自己对于艺术的爱与探索，让我们体验到两个世界的美好。感谢艺术家一直把世界的美好发现出来，把永恒青春的秘密与我们分享！
Aqua Green in Juanzi’s Paintings: Where Two Worlds Meet
By Xia KejunAs far as a female artist’s paintings are concerned, the closer they are to the childhood memory, the deeper into the locality of her living. The more breath of life her works have, the more she can convey in paintings the relationship between herself and the world, the more she can form her own artistic language. Because females in nature find beauty by means of breathing and coloring, love and life. At the sight of Juanzi’s paintings, we can see the green of life, and we can perceive a female artist’s ardent love for arts and world.
Juanzi grew up in Honghu of Hubei Province — a city abundant with fish and rice, where lake water and lotus are celestially clean and sweet. Lotus is a life of texture no less than a symbol of culture, and a ration of nourishing lives. This natural element of life and breath nurtures her way of perception, that is to accept waterness and the vitality of youth in oil painting,which becomes the subject matter of her lasting exploration. Having received years of rigorous training in oil painting at the Hubei Institute of Fine Arts, Juanzi moved to coastal city Ningbo, another city of lake water, where is located Dongqian Lake and Moon Lake. Near the latter she resided, which is full of cultural atmosphere, rendering her perceptive to the importance of waterness in relation to painting, life and living. Hence, she tries boldly to introduce the property of water and ink in oil painting. At first glance, her works look like lotus painted in water and ink, which is in fact to paint with extremely thin oil pigments for the expression of watery breath and flow while retaining the accurate modeling at the same time to the effect that lotus flowers and leaves resemble raindrops and dews, flowing constantly the greenery of youth and rippling with elegant ink vastness. Hued with poetics of nature, painting is more than meant to mimic objects, but to portray the mesmerizing breathing poetics of the moon’s image mirrored on the surface of water, or of the moon and dew in the reflection of one another, in addition to the majesty and purity of lotus. It is nothing less than a female’s self-expectation for the essence of her own life so much so that painting and personality becomes one, in which purity and elegance has been dually reflected.
The ability of painting on canvas in the way of water and ink reflects Juanzi’s delicate feelings for her hometown nostalgia,and her understanding of the origin of painting, that is the watery memory of hometown, the female’s watery sense towards life, and the dream of hometown are altogether compressed in the oil transformation of watery texture. What lingers in a female’s heart seems like butterflies and dragonflies on the lotus; only a gentle touch can poke a slight swing, and the dream can acquire the language of painting.
The water and ink transformation of oil painting, in fact, is closely connected to the current trend of Chinese arts.Contemporary Chinese paintings not only need to embody the molding force of oil painting, but also to retain the texture of their Oriental originality. The blend of waterness and oilness has become the focus of contemporary artistic breakthroughs.Alas, Juanzi, sensitive and sentimental, is fortunate to gain the favor of Providence, and has found her own language of painting. Indeed she is blessed.
Juanzi’s painting, thus, unfolds in two directions to explore her own language. While integrating water and ink style in oil painting, she is probing for the existence of locality in its language. In face of the beautiful Moon Lake by her side, where Master Wu Guanzhong created his famous painting Two Swallows, place in possession of cultural and historical memories and much difference from the Honghu Lake which is famed for natural scenery and the cultural symbol of lotus, Juanzi is inclined to enter the world of painting by sketching, and
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