袁晓岑，擅雕塑。美协云南分会。1938年入云南大学文史系攻中国画、雕塑及诗文。1953年调云南省文联任创作研究部副主任 。1959年任云南艺术学院美术系主任，1963年任昆明师范学院艺术系主任、教授 。1978年回云南艺术学院任副院长，教授 。现为云南画院名誉院长 。中国美术家协会理事，美协云南分会主席，中国文联委员 。雕塑作品《母女学文化》入选第二届全国美展及社会主义国家造型艺术展览;《版纳林泉》入选第六届全国美展，均为中国美术馆收藏。雕塑《金沙水暖》曾入选建军、建党展览，并铸成四米高铜像，建立在长江第一湾。花鸟作品《森林孔雀》入选近代世界美术展览，为日本福冈美术馆收藏。出版专集有:《袁晓岑画辑》、《袁晓岑雕塑选集》、《现代中国花鸟画家袁晓岑作品展》(日本版)，《荣宝斋画谱》、《袁晓岑国画雕塑选集》、《袁晓岑画孔雀》及入选《当代中国画》、《当代中国花鸟画》、《中国现代美术全集》花鸟卷、《中国现代美术全集》雕塑卷、《新中国美术50年》等大型画册数十种。 其子袁熙坤，1944年6月出生于云南昆明，北京金台艺术馆馆长，著名画家、雕塑家，第八届、九届、十届全国政协委员、文化部美术高级职称评审委员、中国收藏家协会副会长兼鉴定中心主任、中国雕塑学会顾问、中国建设文化艺术协会环境艺术专业委员会总顾问、中国艺术研究院研究生院客座教授。2005年当选2008奥运景观雕塑方案征集大赛组委会主任。

袁晓岑画作

 袁晓岑先生1915年6月28日出生于贵州省普定县一个偏僻的独家村，1924年至1929年在普定沙家马场小学就读。1930年至1937年在贵州省立师范学校、云南省立昆华中学学习。1938年至1942年在云南大学学习。1943年至1947年，举办个人画展，闭门潜心作画，期间与熊秉明、刘文清、邵芳、孙福熙等成立谷风画社，结识徐悲鸿先生，观摩聆教，受益颇多。1948年至1952年，任教于昆明师范艺术科、昆华中学、昆一中，雕塑《丰收》、《母女学文化》发表于《美术》、《人民文学》。从1953年开始，对孔雀写意画法的探究付诸实践，最终形成写意孔雀画法，达到独树一帜。1953年至1958年先后任云南文联创作研究部主任、云南省文化局美工室副主任，参加云南文联美协筹委会工作及北京十大建筑民族音乐厅的雕塑工作。雕塑《分到羊了》发表于《人民文学》，雕塑《母女学文化》参加在前苏联举办的"社会主义国家造型艺术展览"。1960年至1966年先后任中国美协云南分会主席、昆明师范学院艺术系系主任。为北京人民大会堂作大幅国画《森林孔雀》，在北京中国美术馆举办"袁晓岑个人雕塑作品展览"，此展使先生成了建国后第一个举办个展的雕塑家，引起了文艺界对云南的关注。1966年至1976年，受"文革"十年浩劫冲击，遭受不公正待遇，便托病在家集中精力创作。1973年应邀为北京饭店作画，后被打成"黑画家"，回昆明遭到批判。1977年至1986年，任昆明师范学院艺术系教授、云南艺术学院副院长、当选中国文联委员，64岁时加入中国共产党。1977年被文化部推荐，为外交部驻外各大使馆作画，1980年应中国画研究院邀请作画。1982年惨遭冤案，闲居家中，进行蜡画探索，创作作品50余幅，中央电视台拍摄了纪录片《袁晓岑的蜡画艺术》，被称之为是一新画种。1983年《鹤舞图》被中央领导作为礼品赠送日本前首相铃木善幸。1984年应北京人民大会堂邀请作画《白鹤》，同时作品《孔雀》被人民大会堂收藏。1986年北京荣宝斋与日本西武财团在东京合办"中国现代花鸟画家袁晓岑作品展"，并出版画册。1986年12月光荣退休。1987年至今，正如先生在《中国近现代名家画集?袁晓岑》自序中写道的"古人云，七十而从心所欲。吾生也有涯，而知也无涯。予将集中精力向无尽头之艺术道路继续前进。"20多年来，先后为人民大会堂作巨幅画《瑞鸟图》，为北京钓鱼台国宾馆作巨幅画《春天大地》，为荣宝斋出版画谱作画，为'99中国昆明世界园艺博览会创作雕塑《孔雀》。编撰出版《荣宝斋画谱?花鸟部分》、《袁晓岑国画雕塑集》、《袁晓岑画孔雀》、《中国近现代名家画集?袁晓岑卷》等。先生的一生，在画花鸟的同时，以国家民族经历的重大事件为题材，创作了许多雕塑作品，如:《战地黄花分外香》、《拍案而起》、《金沙水暖》、《伯乐相马》、《驼峰情》等等，表达了他作为一个艺术家对社会的责任感。

先生一生，对艺术执着追求，笔耕不辍，创作颇丰，作品先后多次参加国内外大型展览，发表于多种画册、刊物，受到不少溢美之词，一一列举，实难详述。对先生一生艺术的追求，范曾先生在为袁晓岑的画册所作的序言中写道"先生之艺术生涯，备极苦辛，少年自学，以裱画店中名家作品及《芥子园画传》为范本，博学强记，饥不择食。1935年私塾岭南大师高剑父、高奇峰，画风一变。40年代初，幸逢徐悲鸿先生，深得青睐，自兹以还，进一步师法自然，学贯中西，画风又一变。解放后深入生活，外师造化，中得心源，加以笔墨锤炼，炉火纯青，先生始名播天下，蔚为一代大师。"

先生能够取得今天的成功，成为蜚声艺坛的大师，他感谢生他养他的大地，感谢磨练他的生活，感谢博大精深的中国文化，正由于这样，在先生的艺术追求中，把雕塑与绘画、诗情与画意作为一个有机的整体在创作中体现。

先生的人生是艺术的人生，尽管它充满了普通人的酸甜苦辣。是他一生孜孜不倦地追求使他获得了长久的艺术生命。

袁晓岑画作

 袁晓岑:当代中国花鸟画的铺路者

一部近现代中国绘画史就是一条艺术探索之路，齐白石、徐悲鸿、张大千、傅抱石就是如雷贯耳的铺路者。著名美术评论家鲁慕迅1995年在《中国当代著名花鸟画作品展》画集代序中总结道:以齐白石、林风眠、潘天寿同期或稍后活动于中国花鸟画坛的还有郭味蕖、李苦禅、朱屺瞻、吴作人、王雪涛、田世光、袁晓岑、郑乃珖等名家，代表着上世纪五六十年代及以后中国花鸟画的不同画风和画派，他们也是当代中国花鸟画的铺路者。

人民美术出版社为彰显我国近现代绘画艺术成就，为海内外这些绘画大师陆续出版专集。当代写意孔雀画创始人、当代中国花鸟画铺路者袁晓岑专集《中国近现代名家画集·袁晓岑》也问世了。

最初那一掬土取自故乡

关于故乡那个偏僻的独家村，年届90的袁先生这样深情描述:

"予1915年生于贵州普定县半耕半读之家，家有房屋数间，薄田数丘，自耕自食，但山林广阔，环境幽深，其时山花野卉四时不绝，飞禽走兽出没其间，喜鹊、画眉时到檐边篱下，山鸡野猪不时亦可捕到，景色优美，得天独厚。白日听坠石之声，便见岩羊于山顶格斗;夜间见有犬夺门而入，便听到豹子在林间吼叫，住家周围地名有蟒蛇洞、老熊洞、老虎咬牛、豹槛丫口，顾名思义，其神奇当可知也。家中又养着牛、马，予时用木炭画飞禽走兽，用粘土捏小牛、小马，自得其乐，宛如童话世界。"

9岁入沙家马场小学的袁晓岑，一边学习，一边帮父亲放牛放马，还一边为同学画窗心纸，逢年过节将自己的绘画作品送给老师和同学。校长特别钟爱这个天资聪慧的学生。

1930年，袁晓岑在贵阳省立师范学校接受正规教育之余，因了崇拜当时活跃于贵阳画坛的名画家景小楠，跨出校门，结识了"选文斋"裱画店的老板梁选文。利用这个机会，他反复临摹景小楠先生的作品，画技如黔灵山上的春笋节节升高。在此基础上，他研读了许多美术理论书籍，潜入中国画的渊源脉络。这种研习痴迷到用省下的伙食钱，换来一本本《芥子园画谱》时，饥肠辘辘的他竟兴奋得如获至宝。他从此师法南齐谢赫的"六法"理论，由传统工笔走墨，苦练中国画笔墨功，为后来的写意花鸟画打下了坚实的技法基础。其间，偶有卖画收入，便于假日与梁选文结伴而行，足迹遍及贵阳的灵山秀水、古寺名刹。至今他还记得黄果树瀑布观瀑亭那副楹联:"白水如棉不用弓弹花自散，红岩似火何须薪助焰自高。"名匾、名联、名碑词滋润了他古典文学的素养。

云南的红土地给了他另一掬土

1935年，20岁的袁晓岑只身来昆明，考取了国立云南大学，却因入学条件过严，尚无高中文凭的袁晓岑毅然插班昆华中学。因为他深知"才如湖海文始状，腹有读书气自华"，绘画要成大器，必须深厚自己的文学、史学、哲学、美学素养。

在一个名叫黄禅侠的画店店主那里，他认识了由高剑父、高奇峰兄弟和陈树人等20世纪革新中国画的先驱所创立的岭南画派。当抗日烽火烧遍大江南北，北大、清华等大学纷纷南迁至昆明，大批名人志士云集春城时，袁晓岑获得高中文凭，再度考入国立云南大学文史系。云南大学汇集的一批著名学者教授，以自己广博的知识和先进的思想引导着袁晓岑。

袁晓岑在学习岭南派画风和中国传统的"六法"中的"气韵生动"上身体力行。在画作中注重表现形神、表现灵性，使自己的画艺得以突飞猛进，所以1938年首次在昆明举办个人画展，便赢得书画界前辈及社会名流的称赞，百余件作品销售一空。这次成功不仅使23岁的袁晓岑享誉云南画坛，也坚定了他师承并光大岭南画派的决心。

大师为他添一掬土

1941年，海外漫游归来的徐悲鸿先生来到云南大学映秋院，爱才如子的熊庆来校长将袁晓岑引荐给大师。年长袁晓岑20岁的大师指着他的水墨画马幽默地说:"你画的是中国马，我画的是西洋马。"大师给他许多速写，要求他多画速写，注意实物写生，把握轮廓线条与光影关系，画出马的雕塑感。大师的谆谆教导，使年轻的袁晓岑受益匪浅，决心像大师一样特立独行，辟一代画风。之后，他创作的每一幅作品，大师都亲自点评，并在点评中介绍了罗丹、巴里、蓬蓬、鲁德等法国著名艺术家的雕塑作品。在大师加深他对岭南画派的理解中，他亦加重研习法国雕塑作品，反复揣摩中西雕塑艺术的异同，为他日后的雕塑创作夯下了坚实基础。

抗战8年，袁晓岑在昆明以卖画为生，一边求学，一边进行绘画和雕塑创作，取得了丰硕的成果。

历史给了他一片沃土

1949年10月，新中国诞生了，袁晓岑也迎来了一个艺术创作的春天。1951年，袁晓岑创作的国画《孔雀》和《小鸭》在全国第一届画展获得好评。1954年，他的雕塑《母女学文化》、《牧羊女》、《庆丰收》入选第二届全国美术作品展，各大报刊相继发表评论。1959年，《母女学文化》入选前苏联主办的《社会主义国家造型艺术展》;期间，他与中央美院一批著名雕塑家合作完成了北京民族文化宫的民族团结大型浮雕。1964年，著名美学家、美术评论家王朝闻盛赞袁晓岑的雕塑，并推荐给中国美术家协会在中国美术馆举办了袁晓岑个人雕塑展，几十件极富个人风格和民族地域特色的作品，引起了艺术界的广泛关注，《光明日报》等大报交口赞誉这位新中国成立后第一个举办个人作品展的雕塑家。

"十年浩劫"中，视艺术为生命的袁晓岑，以惊人的毅力投入花鸟画创作。其写意孔雀独树一帜，确立了写意孔雀画的代表地位。1973年经周恩来总理倡议，中国画研究院调集黄永玉等国画家为北京饭店作画，袁晓岑名列其中。

在改革开放的春天，袁晓岑的100余件国画、雕塑精品相继问世。1993年《袁晓岑国画雕塑集》出版时，回顾接触岭南画派以来的半个多世纪，包括以较多精力投入雕塑的20年，他终于在70年代走出了岭南画派，形成了独特画风，在中国画坛自成一家。特别是雕塑绘画的并举和相得益彰，大有裨益于绘画的结构准确、造型优美、高度凝炼;写意孔雀的成功正是得益于坚实的雕塑基础。所以王朝闻先生为他题辞:"画家、雕塑家袁晓岑的作品，不只创造性地体现了两种艺术形式的差别与联系，更可贵的是诗意与民族性与地域性的统一。"由陈毅元帅倡导、荣宝斋出版的《荣宝斋画谱》第42册袁晓岑专辑，至今已印刷5次。2003年驰名中外的天津杨柳青画社的《中国近现代名家精品》丛书亦为袁晓岑出版了花鸟画专辑。

已作品等身的大家袁晓岑自己，仍始终以"此时，此地，我心"为创作原则。此时，乃时代精神;此地，乃地域特色;我心，乃真情实感。

添土铺路:一锹一锹又一锹

正如人们说"虾"就想起齐白石，说"马"就想起徐悲鸿，而一说到"孔雀"和"仙鹤"就想起袁晓岑。对"孔雀"和"仙鹤"情有独钟的袁晓岑，将孔雀和仙鹤的美描绘得淋漓尽致、仪态万千，以至其写意孔雀成为中国画坛一绝，所以湖南人民美术出版社将画册《袁晓岑画孔雀》，与《齐白石画虾》、《李可染画牛》、《李苦禅画鹰》、《关山月画梅》并列出版。

袁晓岑认为人与自然、与动物的和谐，是画好孔雀的前提。早在1953年袁晓岑就随边疆工作队，"与傣族老乡同吃、同住、同劳动。清晨与傣族农民入山寻猪草，见孔雀成群出没于林际草坪，金瓴翠羽闪烁于薄雾晨纱，使我如置身仙境，领略了大自然里的孔雀的清新、野逸、幽雅、出尘，远非配以牡丹、桃花、杏花等庭园孔雀可以比拟。且自然环境中的形象具有矫健、潇洒、自然之美，所处环境的简洁又非工笔所能奏效，使予在意境处理及表现形式上受大启发。"

历经半个世纪不倦追求的袁晓岑总结说:"在西方艺术写实基础上把中国艺术的'意想'加上去，将美强化、突出、夸张;将美中不足之处减弱"。

美术不是丑术，他追求以美烘托神韵的美学观，所以他夸张了的孔雀美才成为当代画坛的一绝。1988年，他应邀为人民大会堂创作的5米长、3米高的《瑞鸟图》，集中展示了他写意孔雀画的艺术天才。

袁晓岑笔下的仙鹤亦为一绝，并成为国家领导人出访的国礼。经过对鹤的长期观察，他对鹤的形体的秀逸、仪态的傲岸了如指掌，一弃前人程式化描绘和狭窄意境传达，以写意写实结合表现"芦塘之闲适，沼泽之争逐，雪源之起舞，九皋之和鸣，自有一种苍茫辽阔野逸出尘之感。""在写意中注意体感和动感，在环境构图中重意境，仙鹤本身就丰富了。"1993年完成的《百鹤图》长卷中，他为突出主题，在无背景处理中展现100只鹤的觅食、悠闲梳羽、相依为伴、嬉戏追逐、行颈长鸣、展翅冲霄……构图恢宏，自然连贯，节奏鲜明，如长江大河奔腾澎湃。

袁晓岑自幼爱马成癖。他笔下的马之所以不同于他人，也得益于雕塑。"我的马在造型上以中国马为基调，综合伊犁马、蒙古马、阿拉伯马、英纯种马的美，在对美的强化中弱化不美，以东方重精神的审美，抓住阿拉伯马和中国伊犁马的灵性和精灵"。结构的处理也由单一的线条而与雕塑的线面结合，形成独特风格，所以《群马图》入选2003年全国画院双年展。

艺术还要有厚实的文化学养。中国文学学养深厚的袁晓岑，追求诗意中蕴藏韵味的东方审美精神。《举杯邀月》、《伯乐相马》等古人物雕塑及反映少数民族风情的《牧归》、《纳西人家》等作品，都是于情景交融中别具一格地再现人物的精神风貌，抒发内心的真实情感。《母女学文化》、《祖国颂》、《金沙水暖》、《茶马古道》等重大题材作品，坚持提炼生活中的真实形象，通过自然含蓄的表达，生发强烈的艺术震撼力。1999年，袁晓岑为昆明世博园创作的青铜雕塑《孔雀》，构图、造型都别具匠心。2001年，86岁的袁晓岑以昆明金马碧鸡传说为题材，由孙冉翁"长联"获灵感，倾心创作了青铜雕塑《金碧腾辉》，立于昆明东风广场，作品构思巧妙，气势轩昂，再次展示了袁晓岑雕塑艺术的魅力。他创作的雕塑《纳西人家》和《茶马古道系列》，也将立于古城丽江。

第二故乡的近70个春秋滋养了一个大师的艺术精灵，而《中国近现代名家画集·袁晓岑》卷的出版正是大师对这片土地的深情回报。

袁先生已于2008年6月9日晚在昆明去世。享年93岁。

 Yuan Xiaocen is good at sculpture. Association of Arts Yunnan Branch. In 1938, he joined the Department of Literature and History of Yunnan University to study Chinese painting, sculpture and poetry. In 1953, Yunnan Provincial Literary Union was appointed Deputy Director of Creation Research Department. In 1959, he was the chairman of the Department of Fine Arts of Yunnan Academy of Art, and in 1963, he was the chairman and professor of the Department of Fine Arts of Kunming Normal University. In 1978, he returned to Yunnan Academy of Art as Vice President and Professor. Now he is honorary president of Yunnan Painting Academy. Director of China Artists Association, Chairman of Yunnan Branch of AA, Member of China Federation of Artists. The sculpture "Mother and Daughter Learning Culture" was selected into the 2nd National Art Exhibition and the plastic arts exhibition of socialist countries, and "Banna Linquan" was selected into the 6th National Art Exhibition, all of which are collected by the Chinese Art Museum. The sculpture "Jinsha Water Warm" was selected for the Army Building and Party Building Exhibition, and cast into a four-meter-high bronze statue, which was built in the First Bay of the Yangtze River. The flower and bird work "Forest Peacock" was selected in the Modern World Art Exhibition and collected by Fukuoka Art Museum of Japan. Published monographs include: Yuan Xiaocen Painting Collection, Yuan Xiaocen Sculpture Selection, Modern Chinese Flower and Bird Painter Yuan Xiaocen Works Exhibition (Japanese edition), Rongbaozhai Painting Sculpture, Yuan Xiaocen Chinese Painting Sculpture Selection, Yuan Xiaocen Painting Peacock and Contemporary Chinese Painting, Contemporary Chinese Flower and Bird Painting, and Modern Chinese Beauty. There are dozens of large-scale picture albums, such as Flower and Bird Volume, Sculpture Volume of Complete Works of Modern Chinese Art and Fifty Years of New Chinese Art. His son, Yuan Xikun, was born in Kunming, Yunnan in June 1944. He is the curator of Beijing Jintai Art Museum, a famous painter and sculptor, a member of the 8th, 9th and 10th CPPCC National Committee, a member of the senior title appraisal committee of the Ministry of Culture, a vice president and director of the appraisal center of the Chinese Collectors Association, a consultant of the Chinese Sculpture Society, and a member of the Chinese Construction Culture. General Consultant of Environmental Art Committee of Art Association and Visiting Professor of Graduate School of China Academy of Art. In 2005, he was elected Director of the Organizing Committee of the 2008 Olympic Landscape Sculpture Competition.

Mr. Yuan Xiaocen was born on June 28, 1915 in a remote and exclusive village in Puding County, Guizhou Province. He studied at Shajia Ma Chang Primary School in Puding from 1924 to 1929. From 1930 to 1937, he studied in Guizhou Provincial Normal School and Yunnan Provincial Kunhua Middle School. From 1938 to 1942, he studied in Yunnan University. From 1943 to 1947, he held a solo painting exhibition and devoted himself to painting behind closed doors. During this period, he set up Gufeng Painting Club with Xiong Bingming, Liu Wenqing, Shao Fang and Sun Fuxi. He met Mr. Xu Peihong and benefited a lot from watching and listening. From 1948 to 1952, he taught in Kunming Normal Art Department, Kunhua Middle School and Kunyi Middle School. His sculptures "bumper harvest" and "mother-daughter learning culture" were published in "Fine Arts" and "People's Literature". Since 1953, the exploration of peacock freehand brushwork has been put into practice, and eventually the freehand peacock brushwork has become unique. From 1953 to 1958, he was successively the director of the creative research department of Yunnan Literary Federation and vice director of the art studio of Yunnan Cultural Bureau. He participated in the work of the Preparatory Committee of Yunnan Literary Federation and Art Association and the sculpture work of Beijing Ten Architectural Ethnic Concert Halls. The sculpture "Divided Sheep" was published in People's Literature, and the sculpture "Mother and Daughter Learning Culture" participated in the "Plastic Art Exhibition of Socialist Countries" held in the former Soviet Union. From 1960 to 1966, he was successively chairman of Yunnan Branch of China Artistic Association and chairman of the Department of Art, Kunming Normal University. The exhibition of Yuan Xiaocen's personal sculptures was held at the Beijing Museum of Fine Arts. This exhibition made Mr. Yuan Xiaocen the first sculptor to hold a solo exhibition after the founding of the People's Great Hall of Beijing. It aroused the attention of the literary and artistic circles to Yunnan. From 1966 to 1976, impacted by the ten-year catastrophe of the "Cultural Revolution" and suffered from unfair treatment, he concentrated on writing at home on the basis of his illness. In 1973, he was invited to paint for the Beijing Hotel. He was later called a "black painter" and criticized when he returned to Kunming. From 1977 to 1986, he was a professor in the Department of Art of Kunming Normal University, vice president of Yunnan Art College, elected member of the Chinese Federation, and joined the Communist Party of China at the age of 64. In 1977, he was recommended by the Ministry of Culture to paint for the embassies of the Ministry of Foreign Affairs abroad. In 1980, he was invited by the Academy of Chinese Painting. In 1982, he was wronged and lived idly at home, exploring wax painting. He created more than 50 works. CCTV filmed the documentary "Yuan Xiaocen's Wax Painting Art", which is called a new kind of painting. In 1983, "Crane Dance Picture" was presented as a gift to former Prime Minister Suzuki of Japan by the central leadership. In 1984, at the invitation of the Great Hall of the People in Beijing, he painted "White Crane" and his work "Peacock" was collected in the Great Hall of the People. In 1986, Beijing Rongbaozhai and Japan Xiwu Financial Group co-sponsored the "Chinese Modern Flower and Bird Painter Yuan Xiaocen Works Exhibition" in Tokyo, and published a picture album. Glorious retirement in December 1986. From 1987 till now, as Mr. Yuan Xiaocen wrote in his preface to The Collection of Paintings by Chinese Modern and Contemporary Famous Artists, "The Clouds of the Ancients, Seventy, follow their own will." My life has a long way to go, and my knowledge has a long way to go. He will concentrate on the endless road of art. "Over the past 20 years, he has successively painted a giant painting of the Great Hall of the People, a giant painting of the Spring Earth for the Diaoyutai State Guest House in Beijing, a painting for Rong Baozhai's publication of the painting spectrum, and a sculpture of the Peacock for the'99 Kunming World Horticultural Expo in China." Compilation and publication of Rongbao Zhai Painting Spectrum? Flowers and Birds Part, Yuan Xiaocen's Chinese Painting Sculpture Collection, Yuan Xiaocen's Painting of Peacocks, and Yuan Xiaocen's Volume, a Collection of Modern and Modern Chinese Artists, etc. In his lifetime, while painting flowers and birds, he created many sculptures on the theme of major events experienced by the nation, such as "Yellow Flowers in the Battlefield Fragrant", "Rise from a Case", "Jinsha Water Warm", "Bole Xiangma", "Hump Love" and so on, which expressed his sense of responsibility to society as an artist.

In his lifetime, he pursued art persistently and created a lot of works. His works have participated in many large-scale exhibitions at home and abroad, published in a variety of albums and publications, and received many praises. It is difficult to elaborate on them one by one. In his preface to Yuan Xiaocen's album of paintings, Mr. Fan Zeng wrote about Mr. Yuan Xiaocen's pursuit of art in his lifetime: "His artistic career is extremely painful and young people study by themselves. He takes the famous painters'works in the painting shop and the biography of Mustard Garden paintings as a model, knowledgeable and memorable, hungry and hungry. In 1935, Gao Jianfu and Gao Qifeng, masters of Lingnan Private School, changed their painting style. In the early 1940s, I was fortunate to meet Mr. Xu Beihong, who enjoyed great popularity. Since then, I have further learned from nature, learned from China and the West, and changed my painting style. After liberation, he went deep into life, made by foreign teachers, gained his heart, refined his pen and ink, and became a master of his generation. "

Mr. Zhang is able to achieve today's success and become a famous artist. He thanks for the land he raised, the life he lived, and the profound Chinese culture. In this way, in his artistic pursuit, he embodies sculpture and painting, poetry and painting as an organic whole in his creation.

Mr. A's life is a life of art, although it is full of the ups and downs of ordinary people. It is his tireless pursuit that has made him gain a long artistic life.

Yuan Xiaocen: Paver of Contemporary Chinese Flower and Bird Painting

A history of modern Chinese painting is a road of artistic exploration. Qi Baishi, Xu Beihong, Zhang Daqian and Fu Baoshi are the pavers who pierce the ears like thunder. Lu Muxun, a famous art critic, concluded in the preface to the collection of paintings at the Exhibition of Famous Flower and Bird Paintings in Contemporary China in 1995 that there were also some famous artists such as Guo Weifan, Li Kuchan, Zhu Qizhan, Wu Zuoren, Wang Xuetao, Tian Shiguang, Yuan Xiaoqi and Zheng Naiqian who took part in the same or later period of Qi Baishi, Lin Fengmian and Pan Tianshou. Represents the different styles and schools of Chinese flower and bird paintings in the 1950s and 1960s, and they are also pavers of contemporary Chinese flower and bird paintings.

People's Fine Arts Publishing House has published special collections for these masters both at home and abroad in order to highlight the achievements of modern and contemporary painting art in China. Yuan Xiaocen, the founder of contemporary freehand peacock painting and paver of contemporary Chinese flower-and-bird painting, has also published a collection of famous painters in modern and contemporary China, Yuan Xiaocen.

Initially, that scrap of earth was taken from its homeland.

Regarding the remote and exclusive village in his hometown, Mr. Yuan, 90, described it with such affection:

"Yu was born in 1915 in Puding County, Guizhou Province, where he lived in a semi-farming and semi-reading home with several houses, a few hills and thin fields, and cultivated himself for food. But the mountains and forests were vast and the environment was deep. At that time, the flowers and wild plants in the mountains were endless, the birds and animals were in the air, magpies and thrushes were under the eaves fence, and the pheasants and wild boars could be caught from time to time. The scenery was beautiful and unique. In the daytime, when you hear the sound of falling rocks, you can see the goats fighting on the top of the mountain; at night, when dogs rush in, you can hear the leopard roaring in the woods. Around the house, there are Python caves, old bear caves, tigers biting cattle, leopard sill maidens. As the name implies, its magic should be known. The family also keeps cattle and horses, paints birds and animals with charcoal, pinches calves and ponies with clay, and enjoys themselves, just like the fairy tale world. "

Nine-year-old Yuan Xiaocen, who entered Shajia Racecourse Primary School, helped his father graze cattle and horses while studying. He also painted window paper for his classmates and presented his paintings to teachers and classmates on New Year's Day. The headmaster loves this talented student very much.

In 1930, after receiving formal education in Guiyang Provincial Normal School, Yuan Xiaocen came out of school to meet Liang Xuanwen, the owner of the "Selected Wenzhai" mounting shop, because he worshiped Jing Xiaonan, a famous painter who was active in Guiyang painting circle at that time. Taking advantage of this opportunity, he repeatedly imitated Mr. Xiaonan's works, such as the Spring Bamboo Shoot Festival on Qianling Mountain. On this basis, he studied a lot of art theory books and went into the origin of Chinese painting. This kind of study obsessed with saving food money, in exchange for a Book "Mustard Garden Picture Book", he was hungry and excited to get the most treasure. From then on, he learned from the theory of "Six Ways" of Fanan Qi Sheikh, and practiced Chinese brush and ink skills with traditional meticulous brushwork, laying a solid technical foundation for later freehand flower and bird paintings. In the meantime, there is occasional income from selling paintings, which makes it easy to travel with Liang Xuanwen on holidays. It has footprints all over Lingshan, Xiushui and famous ancient temples and temples in Guiyang. Up to now, he still remembers the couplet of Huangguoshu Waterfall Waterfall Pavilion: "White water like cotton does not scatter itself without bows and slings, and red rock like fire needs no salary to boost its flame." "Plaques, couplets and inscriptions nourished his classical literary accomplishment.

The red earth of Yunnan gave him another scrap of earth.

In 1935, 20-year-old Yuan Xiaocen came to Kunming alone and took the National Yunnan University. However, because of the stringent admission conditions, Yuan Xiaocen, who had no high school diploma, stepped into Kunhua Middle School resolutely. Because he knows well that "just like the beginning of the lake and the sea, he has the spirit of reading and self-cultivation." Painting must have profound literary, historical, philosophical and aesthetic qualities.

In a shop owner named Huang Zen Xia, he met Lingnan Painting School founded by Gao Jianfu, Gao Qifeng Brothers and Chen Shuren, pioneers of the 20th century's innovation of Chinese painting. When the anti-Japanese beacon fire burned all over the north and south of the Yangtze River, Peking University, Tsinghua University and other universities moved south to Kunming and a large number of celebrities gathered in Chuncheng, Yuan Xiaocen obtained a high school diploma and was re-admitted to the Department of Literature and History of National Yunnan University. A group of famous scholars and professors gathered in Yunnan University guided Yuan Xiaocen with their extensive knowledge and advanced ideas.

Yuan Xiaocen practiced vividly in learning Lingnan School painting style and traditional Chinese "Six Ways". In his paintings, he pays attention to the expression of form and spirit, and expresses spirituality, which makes his painting art develop rapidly. Therefore, he held his first personal painting exhibition in Kunming in 1938, which won the praise of the forerunners and celebrities in the field of calligraphy and painting, and sold out more than 100 works. This success not only made 23-year-old Yuan Xiaocen famous in Yunnan painting circle, but also strengthened his determination to inherit and glorify the Lingnan School.

The Master added a scrap of earth to him.

In 1941, Mr. Xu Beihong, who returned from his overseas wanderings, came to Yingqiu College of Yunnan University. President Xiong Qinglai, who loved talent like son, introduced Yuan Xiaocen to the master. The 20-year-old master pointed to his ink painting horse and said humorously, "You painted Chinese horses, I painted Western horses. "The master gave him many sketches, asking him to draw more sketches, pay attention to physical sketches, grasp the relationship between contour lines and light and shadow, and draw the sculpture of horses. The young Yuan Xiaoqin benefited greatly from the great master's earnest teaching and was determined to be as independent as the master and to create a new style of painting. Later, the masters commented on each of his works and introduced the sculptures of famous French artists such as Rodin, Barry, Pompon and Rudd. In deepening his understanding of Lingnan School of Painting, he also studied French sculpture works, repeatedly speculated about the similarities and differences between Chinese and Western sculpture art, laying a solid foundation for his future sculpture creation.

During the eight years of the Anti-Japanese War, Yuan Xiaocen made a living selling paintings in Kunming. He studied and created paintings and sculptures at the same time, and achieved fruitful results.

History gave him a fertile soil.

In October 1949, New China was born, and Yuan Xiaocen ushered in a spring of artistic creation. In 1951, Yuan Xiaocen's Chinese paintings "Peacock" and "Duckling" won high praise at the first national painting exhibition. In 1954, his sculptures "Mother and Daughter Learning Culture", "Shepherdess" and "Qingfengharvest" were selected into the second national art exhibition, and the major newspapers and magazines commented one after another. In 1959, "Culture of Mother and Daughter Studies" was selected as the "Plastic Arts Exhibition of Socialist Countries" sponsored by the former Soviet Union. During this period, he cooperated with a group of famous sculptors of the Central Academy of Fine Arts to complete the large-scale relief of national unity in the Beijing National Cultural Palace. In 1964, Wang Zhaowen, a famous aesthetician and art critic, praised Yuan Xiaocen's sculpture, and recommended that the Chinese Artists Association hold an exhibition of Yuan Xiaocen's personal sculpture in the Chinese Art Museum. Dozens of works with rich personal style and national and regional characteristics attracted wide attention of the art circle. Guangming Daily and other newspapers gave praise to it. He was the first sculptor to hold a personal exhibition after the founding of New China.

In the ten years of catastrophe, Yuan Xiaocen, who regards art as his life, devoted himself to the creation of flower and bird paintings with amazing perseverance. Its freehand peacock painting is unique and establishes its representative position. In 1973, on the initiative of Premier Zhou Enlai, the Chinese Painting Academy brought together painters such as Huang Yongyu to paint for Beijing Hotel, among which Yuan Xiaocen was listed.

In the spring of reform and opening up, more than 100 pieces of traditional Chinese paintings and sculptures by Yuan Xiaocen came out one after another. When Yuan Xiaocen's Collection of Chinese Painting and Sculpture was published in 1993, he reviewed more than half a century since he came into contact with Lingnan School of Painting, including more than 20 years when he devoted himself to sculpture. In the 1970s, he finally came out of Lingnan School of Painting and formed a unique style of painting, and became his own artist in the Chinese painting circle. Especially, the combination of sculpture and painting is of great benefit to the accurate structure, beautiful shape and high concretion of the painting. The success of freehand peacock is due to the solid foundation of sculpture. So Mr. Wang Zhaowen inscribed for him: "The works of painter and sculptor Yuan Xiaocen not only creatively reflect the difference and connection between the two artistic forms, but also the unity of poetry and nationality and regionality. "Yuan Xiaocen's album of the 42nd volume of Rong Baozhai Painting Spectrum, initiated by Marshal Chen Yi and published by Rong Baozhai, has been printed five times so far. In 2003, the series of "Excellent Works of Chinese Modern and Contemporary Famous Artists" published by the well-known Tianjin Yangliuqing Painting Society also published an album of flower and bird paintings for Yuan Xiaocen.

Yuan Xiaocen himself, a master of his works, still adheres to the principle of "at this time, here, my heart". At this time, it is the spirit of the times; here, it is the regional characteristics; my heart, it is the true feelings.

Soil paving: shovels, shovels and shovels

Just as people think of Qi Baishi when they say "shrimp", Xu Beihong when they say "horse", and Yuan Xiaocen when they say "peacock" and "crane". Yuan Xiaocen, who is fond of "peacock" and "crane", depicts the beauty of peacock and crane thoroughly and vividly, with thousands of manners, so that his freehand peacock has become a top-notch artist in Chinese painting circles. Hence, Hunan People's Art Publishing House will compile "Yuan Xiaocen Painting Peacock" with "Qi Baishi Painting Shrimp", "Li Keran Painting Cattle" and "Li Kuzen Painting Eagle". 》 "Guanshan Moon Picture Plum" and listing edition.

Yuan Xiaocen believed that the harmony between man and nature and animals was the premise of painting peacocks well. As early as 1953, Yuan Xiaocen followed the frontier task force and said, "Eat, live and work with Dai people." Early in the morning, Dai peasants went to the mountains to search for pork grass. Peacocks appeared in groups on the forest lawn. The golden jadeite feathers glittered in the mist morning veil, which made me feel the freshness, wild escape, elegance and dust of peacocks in nature, far from matching peach peony, peach blossom, apricot flower and other garden peacocks. Moreover, the image in the natural environment has the beauty of vigor, chic and natural. The conciseness of the environment is not effective by meticulous brushwork, which greatly enlightens the treatment of artistic conception and the form of expression. "

After half a century of tireless pursuit, Yuan Xiaocen concluded: "On the basis of Western art realism, add the'intention'of Chinese art, strengthen, highlight and exaggerate the beauty, and weaken the shortcomings of the beauty".

Art is not ugly art. He pursues the aesthetic view of beauty as a foil to charm. Therefore, his exaggerated peacock beauty has become one of the most outstanding artists in contemporary art circles. In 1988, he was invited to create a 5-metre-long and 3-metre-high "Swift Bird Picture" for the Great Hall of the People, which focused on his artistic genius in freehand peacock painting.

The crane in Yuan Xiaocen's works is also a unique one, and it has become a national rite for the leaders of the country to visit. After a long-term observation of the crane, he knows the elegance of the crane's form and the arrogance of its posture. He abandons the formulaic description and narrow artistic conception of his predecessors and expresses "the leisure of the lutang, the contention of the swamp, the dance of the snow source, and the sound of Jiugao" in combination with freehand-brushwork and realism, which has a sense of escaping from the vast wilderness. "In freehand brushwork, attention should be paid to the sense of body and motion, and the artistic conception should be emphasized in the environmental composition. The crane itself is rich. "In the long volume of Hundred Cranes Picture completed in 1993, he showed 100 cranes'foraging, leisurely combing feathers, interdependent companionship, playful pursuit, long-necked roaring, wings soaring in the sky in order to highlight the theme. The composition is magnificent, natural and coherent, and the rhythm is clear, such as the surging Yangtze River.

Yuan Xiaocen's horse-loving habit since childhood. The reason why his horses are different from others is also due to sculpture. "My horse takes Chinese horse as the keynote in shape, integrates the beauty of Ili horse, Mongolian horse, Arabian horse and British pure breed horse, weakens the beauty in strengthening the beauty, attaches great importance to the spirit of the Oriental aesthetic, seizes the spirit and spirit of the Arabian horse and Chinese Ili horse." The treatment of the structure is also combined with the line and surface of the sculpture by a single line, forming a unique style, so "Qunmatu" was selected in the 2003 National Painting Academy Biennale.

Art should also have a solid cultural education. Yuan Xiaocen, a well-educated Chinese literature, pursues the Oriental aesthetic spirit with charm in poetry. The sculptures of ancient figures such as "Inviting the Moon with a Glass" and "Bole Xiangma" and works such as "Mugui" and "Naxi Family" which reflect the customs of ethnic minorities are all unique in reproducing the spiritual features of the characters and expressing the true feelings of the heart in the blending of scenes. Major themes such as Mother and Daughter Culture, Ode to the Motherland, Jinsha Water Warm and Tea Horse Road persist in refining the real image of life and generate strong artistic shock through natural implicit expression. In 1999, Yuan Xiaocen created the bronze sculpture Peacock for Kunming World Expo Garden, which has unique composition and shape. In 2001, the 86-year-old Yuan Xiaocen, inspired by Sun Ranweng's "Long Couplet", devoted himself to creating the bronze sculpture "Jin Bi Tenghui", which stood in Dongfeng Square in Kunming. His works were ingenious in conception and magnificent in momentum, showing the charm of Yuan Xiaocen's sculpture art once again. His sculptures "Naxi Family" and "Tea Horse Ancient Road Series" will also stand in the ancient city of Lijiang.

Nearly 70 years of spring and autumn in the second homeland nourished a master's artistic spirit, and the publication of the volume "Chinese Modern and Contemporary Master Painting Collection Yuan Xiaocen" is the master's deep reward for this land.

Mr. Yuan died in Kunming on the evening of June 9, 2008. He was 93 years old.