中国艺术家海外媒体展播——刘银叶

Overseas media exhibition of Chinese artists LiuYinYe

摘要：文化是一个国家、一个民族的灵魂。文化兴国运兴，文化强民族强。没有高度的文化自信，没有文化的 繁荣兴盛，就没有中华民族的伟大复兴。文化更是一个民族的脊梁和灵魂，它铸造着 国家和民族的心灵和品格，一个民族有了文化自信，才能立于世界民族之林;人民有了信仰，国家才有力量，民族才有希望。而文化自信是促成这些目标的至关重要的因素。

Abstract: Culture is the soul of a country and a nation.Culture invigorates the country, and culture strengthens the nation.Without a high degree of cultural confidence, without the prosperity of culture, there will be no great rejuvenation of the Chinese nation.Culture is the backbone and soul of a nation. It casts the heart and character of a nation and a nation. Only with cultural confidence can a nation stand in the forest of nations in the world.Only when the people has faith can a country have strength and a nation have

故土是承载着文人情感和梦想的一片土地，在人类文艺创作的历史长河中，故乡都是那么如诗如画。银叶先生的山水画其实都是以故土为原点、用笔墨为载体来表达他心目中的诗和远方。刘银叶是当代著名文人画家、诗人，词赋家，中国美术家协会会员、中国作家协会会员，并担任清华美院、中央美院客座教授等职。其山水画融入了深厚的文学积淀，形成了‘诗画合壁’的鲜明特色。

刘银叶深谙中国传统山水画的笔墨精髓，尤其受到范宽、四王以及龚贤等的影响。他的用笔沉稳有力，线条富有变化，既能表现山石的嶙峋质感，又能传达出草木的柔韧生机。

他尤为擅长积墨法。通过层层叠加、反复皴擦点染，营造出山体浑厚、林木蓊郁、空间深邃的效果。他的积墨并非简单的堆砌，而是层次分明，墨色通透，在浓淡干湿的变化中展现出丰富的墨韵和微妙的层次感，画面显得既厚重又透气。 刘银叶的山水构图多取高远、深远之势，画面往往气势磅礴，山峦叠嶂，视野开阔，给人以雄浑、壮阔、苍茫之感。

在继承传统山石皴法的基础上，他倾向于将山体进行一定程度的几何化、结构化处理。山石的块面感较强，结构清晰有力，带有一种内在的秩序感和力量感，形成了他个人独特的视觉符号。

刘银叶的山水画的独特审美意境是和他雄厚的国学功底分不开的！所以他的作品屡获全国美展奖项，多幅作品被中国国家博物馆及海内外藏家收藏，其中还有作品在拍卖行突破千万元人民币的高价！今天我们主要来探讨刘银叶先生山水画中的故土情怀。作为湖南新化人，他的创作始终根植于湘中山水的沃土，故乡的地理风貌，地域景观都成为了其作品的核心意象。紫鹊界梯田的层叠韵律、资江两岸的烟波浩渺、大熊山的古寺林泉，都在他的笔下提炼成为表达故土情怀的写实性或象征性的视觉符号。例如《资滨清晓图》以资江晨雾为背景，通过淡墨皴染与焦墨勾皴的对比，再现了江水的蜿蜒清冽，赋予了画面“云根结，山廊浮”的诗意。是对故土地貌的凝练表达。故土的自然景致转化成了可以传承的文化记忆，更是他对故土情怀的深情表达。刘银叶始终用故园山水来表达他隐逸思想的核心主题，湘中山地“层峦叠嶂藏村落”的地理特征，常在他笔下渲染得宁静而旷逸，营造成超脱世俗的精神栖居地，如《翠山苍松林居图》中，焦墨勾皴的山石与淡墨晕染的远峰形成虚实对比，密匝的松林间隐约可见茅舍小径，暗含“结庐在人境，而无车马喧”的隐逸理想。 《故园秋》中“气结晶勤布雨，阴阳合妙多生虹”的题诗，暗喻画家对喧嚣尘世的疏离与对自然本真的向往。

刘银叶的故土情怀与其人生经历紧密相连。早年弃画从文的波折、晚年重拾画笔的坚持，以及长期隐居白溪镇的孤独体验，均渗透于画作之中。例如，《资滨清晓图》以细腻的笔触描绘资江晨雾，既是对故乡风物的深情凝视，亦暗含对时光流逝的喟叹；而《收魂》系列中尝试融合地域巫傩文化元素，则是对梅山民间信仰的现代性重构，反映了他对文化根脉的守护意识。画中“屋舍掩映于疏林”的意象，更成为其内心对归隐田园的理想化投射。望先生永远保持那份故土情怀，在自己诗画一体艺术人生中完成了对故乡的永恒致敬。

中国画家刘银叶的微信号：Lyy200069，电话号码18890617839

The homeland is a piece of land that carries the emotions and dreams of scholars. Throughout the long history of human literary and artistic creation, hometowns have always been so poetic and picturesque. Mr. Yin Ye's landscape paintings are actually all based on his native land and use brush and ink as the medium to express the poetry and distant places in his mind. Liu Yinye is a renowned contemporary literati painter, poet and lyricist. He is a member of the China Artists Association and the China Writers Association, and holds positions such as a visiting professor at the Academy of Arts and Design, Tsinghua University and the Central Academy of Fine Arts. His landscape paintings incorporate profound literary accumulation, forming a distinct feature of "the integration of poetry and painting".

Liu Yinye was well-versed in the essence of brushwork and ink in traditional Chinese landscape painting, especially influenced by Fan Kuan, the Four Wangs and Gong Xian. His brushstrokes are steady and powerful, with lines full of variations. They can not only depict the rugged texture of the mountains and rocks but also convey the flexible vitality of the grass and trees.

He is particularly skilled at the ink accumulation technique. Through layering and repeated rubbing and coloring, an effect of thick mountains, lush forests and profound space is created. His accumulation of ink is not a simple piling up, but rather has distinct layers and a transparent ink color. In the changes of density, dryness and wetness, it shows rich ink charm and subtle layering, making the picture both heavy and breathable. Liu Yinye's landscape compositions often adopt a lofty and far-reaching posture. The pictures are usually grand and imposing, with overlapping mountains and a wide field of vision, giving people a sense of grandeur, magnificence and vastness.

Based on inheriting the traditional techniques of mountain and rock texture strokes, he tends to geometrically and structurally treat the mountain bodies to a certain extent. The mountain rocks have a strong sense of volume, a clear and powerful structure, and carry an inherent sense of order and strength, forming his unique visual symbol.

The unique aesthetic conception of Liu Yinye's landscape paintings is inseparable from his solid foundation in traditional Chinese culture! So his works have won numerous awards at national art exhibitions, and many of them have been collected by the National Museum of China and collectors at home and abroad. Among them, some works have even fetched over ten million yuan at auction houses! Today, we mainly explore the sentiment of homeland in Mr. Liu Yinye's landscape paintings. As a native of Xinhua, Hunan Province, his creations have always been rooted in the fertile soil of the mountains and waters in central Hunan. The geographical features and regional landscapes of his hometown have all become the core images of his works. The layered rhythm of the Ziqujie terraced fields, the vast and misty waters along both banks of the Zijiang River, and the ancient temples, forests and springs of Daxiong Mountain have all been refined by his pen into realistic or symbolic visual symbols expressing his feelings for his homeland. For instance, the painting "Zibin Clear Dawn" takes the morning mist of the Zijiang River as its background. Through the contrast of light ink strokes and dark ink outlining 皴, it recreates the meandering and refreshing nature of the river water, endowing the picture with the poetic quality of "clouds forming and mountain corridors floating". It is a concise expression of the landforms of one's native land. The natural scenery of his homeland has been transformed into cultural memories that can be passed down, and it is also a deep expression of his affection for his native land. Liu Yinye always uses the landscapes of his hometown to express the core theme of his reclusive thoughts. The geographical feature of the mountains in central Hunan, which are "layered peaks and hidden villages", is often depicted in his paintings as serene and expansive, creating a spiritual abode beyond the mundane world. For instance, in the "Dwelling in the Green Mountains and Pine Forests", the mountains and rocks outlined in black ink and the distant peaks tinted with light ink form a contrast of reality and illusion. Among the dense pine forests, faint thatched cottages and paths can be seen. It implies the ideal of seclusion: "Building a hut in the midst of people, yet free from the noise of carriages and horses." The poem "Qi crystallizes frequently to bring rain, Yin and Yang harmonize to create many rainbows" in "Autumn in the Hometown" alludes to the painter's detachment from the noisy world and his yearning for the authenticity of nature.

Liu Yinye's deep affection for her homeland is closely linked to her life experiences. The twists and turns of giving up painting for literature in the early years, the persistence of picking up the paintbrush again in the later years, and the lonely experience of long-term seclusion in Baixi Town are all permeated in the paintings. For instance, "Zibin Clear Dawn" depicts the morning mist over the Zijiang River with delicate brushstrokes. It is not only a deep gaze at the local scenery but also implies a sigh over the passage of time. The attempt to integrate regional Nuo culture elements in the "Soul Collection" series represents a modern reconstruction of the folk beliefs in Meishan, reflecting his awareness of safeguarding cultural roots. The image of "houses hidden among sparse forests" in the painting has become an idealized projection of his inner desire to retreat to the countryside. Mr. Wang has always maintained that deep affection for his native land and has paid an eternal tribute to his hometown in his artistic life that integrates poetry and painting.

The wechat ID of Chinese painter Liu Yinye is Lyy200069, and her phone number is 18890617839