戴敦邦水浒人物谱

2024年-02月-19日 ➠ 463 ➠ ♥ 0

《戴敦邦水浒人物谱》戴敦邦历经3年，用水墨画绘制了《水浒传》上聚义的108位好汉以及战时阵亡的托塔天王晁盖。笔法清新，拥有着中国古典画卷之美。
戴敦邦
出生于1938年，中国著名国画家，号民间艺人，江苏镇江丹徒人。擅人物，工写兼长，多以古典题材及古装人物入画。现为中国美术家协会会员，上海市美术家协会理事，中国工笔画会理事，中国连环画研究会理事，中国红楼梦学会会员，上海交通大学文艺系教授。
主要作品《水浒人物一百零八图》、《戴敦邦水浒人物谱》、《红楼梦人物百图》、《戴敦邦新绘红楼梦》、《戴敦邦古典文学名著画集》等；连环画代表作品有：《一支驳壳枪》、《水上交通站》、《大泽烈火》、《蔡文姬》等。
当今沪上画坛，集国画、连环画、插图于一身的戴敦邦先生，已近古稀之年的老画家了。他从上海第一师范学校毕业后，1957年进入上海《儿童时代》杂志社从事插图工作。由于，他在连环画上作出了很高的成就，1979年经著名漫画家丁聪、方成俩先生的推荐加入中国美术家协会。1981年调入上海交通大学教授绘画，任艺术系主任。由于钟情于绘画，不久又辞掉了系主任职务。正如他自己在创作手记中所言：“吾以画为主，画以吾为友。”自成年以来，梦醒诱惑，几乎尽在一个“画”字。
他除了绘画以外，对戏曲、音乐、舞蹈，中国古典文学都有着广泛的兴趣。他长于南方的雅曲，并能哼唱昆曲，更喜欢的是北方古老的秦腔，崇尚秦腔的阳刚豪放的气息，并认为秦腔高亢悲壮，有着一派阳刚之气。
｜戴敦邦创作手记
吾以画为生，画以吾为友，自成年以来，醒梦诱惑，几乎尽在一个“画”字。此种澹然生涯，或许在旁人眼里，犹似闲云野鹤，无拘无束，其实个中甘苦，唯心独知。
春光秋阴画卷裹，情丝意绪笔墨中。这多年来，吾之所绘，大凡二类。一是任务之作–恪守职责，谨尽义务，虽有即兴得意之墨，而大抵循源依本,中规中矩,不敢以谬误人。至若应卯应酬，偶尔为之，搁笔辄不记怀。二是以中国古代文史为题材之作–始缘于书报界嘱约，恰合吾素常志趣，于是渐成创作重心所在，用力亦勤。
作中国画，案前省不了砚池、水盂、笔洗、笔筒之类，故画界同道喜以“坛坛罐罐”谑称自家作品。今奉于读者面前的,就是经吾反覆摩挲、伴吾度过无数寒暑晨昏的旧坛土罐。
集内之作，皆取材于中国古典文学名著，上自神话盘古开天辟地，《诗经》《楚辞》，中及唐诗宋词，下逮元明清戏曲小说；以名著插图为多，有组画、独幅画、长卷、人物造型等形式，共计一百六十余幅；创作时间为一九七○至一九九七年间，略以所本原著问世次第编列。
“Dai Dunbang’s Water Margin Character Chart” Dai Dunbang spent three years using ink painting to depict the 108 heroes who gathered in “Water Margin” and the wartime fallen Tota Heavenly King Chao Gai. The brushwork is fresh and possesses the beauty of classical Chinese paintings.
Dai Dunbang
Born in 1938, a famous Chinese painter, also known as a folk artist, born in Dantu, Zhenjiang, Jiangsu. Proficient in characters, skilled in both writing and composition, often incorporating classical themes and ancient costume characters into paintings. I am currently a member of the China Artists Association, a director of the Shanghai Artists Association, a director of the China Gongbi Painting Association, a director of the China Comic Painting Research Association, a member of the China Dream of Red Mansions Society, and a professor in the Department of Literature and Art at Shanghai Jiao Tong University.
His main works include “108 Figures of the Water Margin”, “Dai Dunbang’s Water Margin Figure Genealogy”, “Hundred Figures of the Dream of the Red Chamber”, “Dai Dunbang’s New Painting of the Dream of the Red Chamber”, “Dai Dunbang’s Collection of Classical Literature Masterpieces”, etc; Representative works of comic books include “A Shell Gun”, “Water Transportation Station”, “Ozawa Flame”, “Cai Wenji”, and so on.
Mr. Dai Dunbang, who combines traditional Chinese painting, comic strips, and illustrations in the current Shanghai art scene, is already an old painter in his almost rare years. After graduating from Shanghai First Normal School, he joined the Shanghai Children’s Times magazine in 1957 to work as an illustrator. Due to his high achievements in comic strips, he joined the Chinese Artists Association in 1979 on the recommendation of famous cartoonists Ding Cong and Fang Chengliang. In 1981, he was transferred to Shanghai Jiao Tong University to teach painting and serve as the head of the art department. Due to his passion for painting, he soon resigned from his position as department head. As he himself said in his creative notes, “I mainly focus on painting, and painting makes me my friend.” Since adulthood, the temptation of waking up from dreams has almost always been in one word, “painting.”.
Besides painting, he has a wide interest in traditional Chinese opera, music, dance, and classical Chinese literature. He is good at elegant music in the south and can sing Kunqu Opera. What he likes more is the ancient Qin Opera in the north, which advocates the masculine and unconstrained atmosphere of Qin Opera, and believes that Qin Opera is high and solemn, with a school of masculinity.
Dai Dunbang’s Creative Notes
I make a living by painting, and painting makes friends with me. Since reaching adulthood, the temptation to wake up to my dreams has almost always been in the same word “painting”. This kind of carefree life, perhaps in the eyes of others, may seem like idle clouds and wild cranes, free and unrestrained, but in fact, the joys and sorrows are only known by the heart.
Spring light and autumn shade envelop the painting scroll, with emotions and emotions in the brush and ink. Over the years, what I have painted is generally of two types. One is the work of the task – to abide by responsibilities, fulfill obligations conscientiously, although there is improvisation and complacency, it generally follows the source and follows the rules, and dare not make mistakes. Even if it’s socializing, occasionally it’s done, but when it’s done, it’s often forgotten. The second is the creation of works based on ancient Chinese literature and history, which originated from the advice and agreements of the publishing industry and perfectly matched my common aspirations. As a result, it gradually became the focus of my creative work, and I worked hard and diligently.
When it comes to Chinese painting, one cannot avoid the use of inkstones, water bowls, pen washes, and pen holders. Therefore, the art world likes to jokingly refer to their own works as “jars and jars”. What is presented to the readers today is the old earthen jars that have been repeatedly touched and accompanied me through countless cold, summer, morning, and dusk.
The works in the collection are all based on classic Chinese literature, starting from the mythological creation of Pangu, the Book of Songs, Chu Ci, Tang and Song poetry, and ending with Yuan, Ming, and Qing opera novels; There are more than 160 illustrations of famous works, including group paintings, solo paintings, long scrolls, and character designs; The creative period is from 1970 to 1997, slightly listed in the order of publication of the original work.