蔡顺根，I958年生于杭州，专攻山水人物、兼花卉。1989年毕业于中国广州美术学院中国画系山水专业。2003年12月，马来西亚国立沙巴大学艺术学院绘画专业研究生毕业，获美术学硕士学位。马来西亚英特艺术学院兼职教授，几十年来从事中国画教学工作。他在传统中国画的基础上，借鉴西洋画法大胆实践并努力创新，被同行称为“中西合壁"而风格突出，其作品多次在国内外重大画展上获奖。蔡顺根出身于书香门第，多年来，他在艺术创作上一直注重传统，且讲究内涵。早年习画时，为掌握绘画基本功，蔡顺根常临摹宋元时期画家的作品。12岁起，他跟随着名山水画大师余任天学习山水画。蔡顺根回忆说：“老师对我的指导帮助很大，教我临摹历代名家的作品，十分讲究精神和灵性。”

蔡顺根：小时候学人物画，那时候年纪也比较小，我到少年宫美术班学素描打下了一定的造型基础，后来又去拱墅区文化馆学山水画，人物画、那时浙江美院孔仲起、童中焘、宋忠元老师都给我们上过课的。我的人物画受宋忠元先生影响最深，因为他对人物画结构的理解很深，对人物画运动的状态，怎么来抓住这个要点，人物的线条怎么来勾，外轮廓的勾线运用是要虚的还是实的，虚实要怎么处理，到现在我还记得很清楚，这个是给我打下了扎实的基础。人物画以前都是学传统的比较多，古人的作品比较多，现在人物的写生，课题创作，这个还是在美院里面完成的。后来经过美院的学习，特别是让我的人物画达到了一定的水平。

蔡顺根戏剧人物画

在传统绘画的熏陶之下，蔡顺根形成了注重用笔、注重传统绘画的笔墨语言和笔墨技法的特点。他在书画创作中注重笔墨与意境的关系处理，他常说“线条的本身就是中国画传统。”他在绘画时注重气象，也注重生活变化。因而他的画面意境开阔明朗、随性自然，格调高雅，常常呈现清雅、润秀，空灵的独特绘画风格，给人以独特的审美意趣。

蔡顺根：人物画它又要吸收中国文人画的精神，因为中国绘画体系有几千年的历史。到了明代清朝时期，中国的文人画是到了一个最高的境界。这个文人画体系最大的造诣是什么呢？主要是中国绘画有笔墨的元素，比如它追求一种灵气、雅气、大气，最终在画面里面呈现出来。那么为什么几张成功的画感觉特别的亮，色彩虽然很丰富，墨色也很丰富，但是画面不灰，很亮。这个主要是黑白相互衬托的关系，墨色与色彩相互衬托的关系，处理的比较完美。

蔡顺根戏剧人物画的表现形式，是用中国画的传统笔墨构勒戏剧人物结构，色彩吸收民间图案构成法原理的用色方法，加以自我个性化的组合，形成强烈的自我风格。形体结构的表达;人物造型通过平面或立体的分割，形成自我的一种绘画形式，呈现出民间，传统、简练、单纯的感觉，大胆的用色方法;暖色与冷色强对比处理从而产生了现代色彩的符号，传达出生动的表情和个性。曲线和直线的组合画法，有助于一种新型态的画法，蔡顺根将之称为装饰性人物，它可以变型甚至扭曲，形成自我的绘画语言和时代符号。

蔡顺根：我画戏剧人物画主要是追求两个方面，第一个我追求笔墨，因为我这个戏剧人物也是属于中国绘画，中国画的戏剧人物，不是其他的画种。既然是中国画来表现戏剧人物，我还是采用了中国画笔墨内涵的东西，笔墨线条的一种表现力。还有一个就是我体现中国画构图与平面构成相结合的原理，用到这个绘画里面去。还有一个我把建筑的构成方法，吸收到中国绘画的构图里面去。因为建筑的构成是体现一个时代的符号，那么人物造型是体现一个画家的风格，是非常关键的一个部分。

第一眼看蔡顺根的画作，觉得他画色彩很强烈，但又很和谐，变型自然而独特，但如果你静下心来仔细剖析他的画面，色块与人物造型组合了很完美，丰富的戏剧人物形象和表情都只用了寥寥几笔，已活脱脱的勾勒出丰满的人物动态和内者的灵魂。用最少的笔墨写出最深的意境。

蔡顺根：变形不能变的太丑太怪，或者不自然，既要变得很自然，又要变得很有趣味性美感，很有生活性美感，这个就是有一定的难度。这个我下了很大的功夫。这幅画:是画了休息天活动的一个场面，题目叫《社区风情》。构图我主要是吸收了一个块面的构成的特点，我都是有通过斜线来破直线的一种方法，这是我的构图特点，画面有种运动的感觉。色块的处理上，我特别强调黑白相互衬托的一种感觉。还有人物在这里是关键，那么变形其实是很难，它是一种绘画语言，是一种创造，所以我在画面里面特别注重变形的处理。所以我的绘画是强调主观大于客观，这是我的目标，也是我体现创作和探讨的一个主题。

蔡顺根《社区风情》

“大家评价我的画‘怪’，其实我反倒不这样认为。国画创作应当是笔墨当随时代，饱满地传达作者与众不同的个性与思想追求，这样才能使国画创作迸发新的生机。”蔡顺根如是说。他从未放弃过中国传统笔墨的技法与意蕴，但在他眼中，有传承，更要有突破与创新。“寂寞楼居四十年。”这是新浙派绘画奠基者余任天的创作心路。而对于蔡顺根而言，绘画已是陪伴他走过五十余年的“老伙伴”。但蔡顺根笑道，自己对画画不但没有厌倦，反而越加悟出了滋味。

独特的构图、反差强烈的色块组合并具有鲜明的时代气息，蔡顺根先生的画给我们留下了深刻的印象。绘画题材仿佛随手拈来，一定格在他的画面上趣味盎然，诙谐而可爱，在观者心底激起欢快愉悦的情感。

 

 

Cai Shungen, born in Hangzhou in 958, specializes in landscape figures and flowers. In 1989, he graduated from the Department of Chinese painting of Guangzhou Academy of fine arts, majoring in landscape. In December 2003, he graduated from the school of art, national Sabah University of Malaysia with a master's degree in fine arts. An adjunct professor at Malaysia's inter Academy of art, he has been engaged in the teaching of Chinese painting for decades. On the basis of traditional Chinese painting and drawing lessons from western painting, he boldly practiced and made great efforts to innovate, Known by his peers as "the combination of Chinese and Western painting", his style is outstanding, and his works have won awards in major painting exhibitions at home and abroad for many times. Cai Shungen was born in a scholarly family. Over the years, he has always paid attention to tradition and connotation in his artistic creation. When he studied painting in his early years, Cai Shungen often copied the works of painters in the song and Yuan Dynasties in order to master the basic skills of painting. Since the age of 12, he studied landscape painting with Yu Rentian, a famous landscape painting master. Cai Shungen recalled: "The teacher helped me a lot with my guidance. He taught me to copy the works of famous masters of previous dynasties and paid great attention to spirit and spirituality." Cai Shungen: when I was a child, I studied figure painting. At that time, I was relatively young. I went to the children's palace art class to learn sketch and laid a certain modeling foundation. Later, I went to Gongshu District Culture Museum to learn landscape painting and figure painting. At that time, Kong Zhongqi, Tong Zhongtao and song Zhongyuan of Zhejiang Academy of fine arts taught us lessons. My figure painting is most influenced by Mr. Song Zhongyuan, because he has a deep understanding of the structure of figure painting, how to grasp the key point of the movement of figure painting, how to hook the lines of figures, whether the hook of the outer contour should be virtual or real, and how to deal with the virtual and real. Up to now, I still remember very clearly that this has laid a solid foundation for me. Figure painting used to learn more about tradition, and there were many works of the ancients. Now the sketch of characters and subject creation are still completed in the Academy of fine arts. Later, after the study of the Academy of fine arts, especially my figure painting reached a certain level. Under the influence of traditional painting, Cai Shungen's dramatic figure painting has formed the characteristics of pen and ink language and techniques that pay attention to pen and traditional painting. In his calligraphy and painting creation, he paid attention to the relationship between pen and ink and artistic conception. He often said that "the line itself is the tradition of Chinese painting." In his painting, he paid attention to the weather and the changes of life. Therefore, his paintings are open and bright in artistic conception, natural in nature and elegant in style. They often present a unique painting style of elegance, elegance and emptiness, giving people a unique aesthetic interest. Cai Shungen: figure painting also absorbs the spirit of Chinese literati painting, because the Chinese painting system has a history of thousands of years. In the Ming and Qing Dynasties, Chinese literati painting reached the highest level. What is the greatest accomplishment of this literati painting system? It is mainly because Chinese painting has elements of pen and ink. For example, it pursues a kind of aura, elegance and atmosphere, which is finally presented in the picture. So why do several successful paintings feel particularly bright? Although the colors are very rich and the ink is also very rich, the picture is not gray and very bright. This is mainly the relationship between black and white, and the relationship between ink and color. It is handled perfectly. The expression form of CAI Shungen's dramatic figure painting is a color method that uses the traditional pen and ink of Chinese painting to construct the dramatic figure structure, absorbs the principle of folk pattern composition, and combines it with self personalization to form a strong self style. Expression of body structure; Through plane or three-dimensional segmentation, character modeling forms a self painting form, showing folk, traditional, concise and simple feelings, and bold color methods; The strong contrast between warm color and cold color produces the symbol of modern color to convey the dynamic expression and personality. The combination of curve and straight line is conducive to a new form of painting. Cai Shungen calls it a decorative figure. It can be deformed or even distorted to form its own painting language and era symbols. Cai Shungen: I mainly pursue two aspects in my dramatic figure painting. First, I pursue pen and ink, because my dramatic figure also belongs to Chinese painting. The dramatic figure of Chinese painting is not another kind of painting. Since it is Chinese painting to express dramatic characters, I still use the connotation of Chinese brush and ink, which is a kind of expressiveness of brush and ink lines. Another is that I embody the principle of the combination of Chinese painting composition and plane composition, and use it in this painting. Another is that I absorb the composition method of architecture into the composition of Chinese painting. Because the composition of architecture reflects the symbol of an era, the character modeling reflects the style of a painter and is a very key part. At the first glance, I think Cai Shungen's paintings have strong colors, but they are very harmonious, and the deformation is natural and unique. However, if you calm down and carefully analyze his pictures, the combination of color blocks and character modeling is perfect. The rich dramatic character images and expressions only use a few strokes, which have vividly outlined the plump character dynamics and the inner soul. Write the deepest artistic conception with the least pen and ink. Cai Shungen: deformation cannot be too ugly, strange, or unnatural. It should not only become very natural, but also become very interesting and aesthetic, very life aesthetic. This is a certain difficulty. I worked hard on this. This painting: it is a scene of rest day activities, entitled "community style". The main feature of my composition is that I absorb the motion of the diagonal. In the treatment of color blocks, I especially emphasize the feeling that black and white set off each other. There are also characters here is the key, so deformation is actually very difficult. It is a painting language and a kind of creation, so I pay special attention to the treatment of deformation in the picture. Therefore, my painting emphasizes subjectivity over objectivity, which is not only my goal, but also a theme of my creation and discussion. "In CAI Shungen's" community customs ", I don't think so. The creation of traditional Chinese painting should fully convey the author's distinctive personality and ideological pursuit with the times, so as to make the creation of traditional Chinese painting burst into new vitality." Cai Shungen said. He has never given up the techniques and implication of Chinese traditional pen and ink, but in his eyes, there should be inheritance, breakthrough and innovation. "Lonely house for 40 years." This is the creative mind of Yu Rentian, the founder of the new Zhejiang School of painting. For CAI Shungen, painting has been an "old partner" who has accompanied him for more than 50 years. But Cai Shungen smiled and said that he was not tired of painting, but realized the taste more and more. Mr. Cai Shungen's paintings have left a deep impression on us with unique composition, strong contrast color block combination and distinctive flavor of the times. The painting theme seems to be handy. It must be interesting, humorous and lovely on his picture, which arouses happy emotions in the bottom of the viewer's heart.