贝家骧 戏曲人物03 Opera Figure 03 纸本水墨 46×69cm 2024
水墨戏曲人物03
Opera Figure 03
贝家骧的《水墨戏曲人物03》以极具张力的意象化手法，将传统戏曲中老生角色的精神内核与水墨语言的现代性表达融为一体，堪称其水墨戏曲人物系列的典范之作。
Bai Jiaxian’s Ink Opera Figure 03 as a quintessential work within his series of ink opera figures, masterfully fusing the spiritual core of the traditional male opera role with a modern, expressive ink language charged with tension and symbolism.
画面中，老生形象以满构图形式几乎充盈整个竖幅画布，人物轮廓与画布边缘的微妙距离形成一种视觉上的膨胀感，仿佛角色正冲破二维平面的束缚，跃入观者的心理空间。
The male figure nearly fills the entire canvas in a full-format composition. The subtle spatial gap between the figure’s outline and the canvas edges creates a visual expansion, as if the character is breaking through the constraints of the two-dimensional plane and entering the viewer’s psychological space.
《水墨戏曲人物03》局部
在艺术观念层面，贝家骧通过这幅作品实践着其“画骨不画肉”的美学主张。三笔浓墨勾勒的三块瓦脸谱，既保留了戏曲程式化的美学符号，又通过右眼处“浓中见淡”的墨色晕染，将观者视线引向那只浑圆瞪视的眼睛。画面中所有细节都经过高度提炼：绒花顶戴的抖动、宝剑的寒气、衣纹的光泽，皆以最精简的符号指向最丰富的意象。这种“减笔美学”并非对传统的简单回归，而在于通过笔墨处理激发观者的共情想象。画面中老生昂扬的姿态与震颤的笔触共同构建出一个“正在进行时”的戏剧瞬间，使静态绘画获得了堪比舞台表演的动态张力，使人物动作升华为精神气度的外化。
Artistically, BEI enacts his aesthetic principle of “painting the bone instead of the flesh” in this piece. The three bold ink strokes outline three angular facial makeup patches—both preserving the stylized beauty of traditional opera masks and, through the nuanced ink gradation at the right eye, directing the viewer’s gaze to the intense, wide-open eye. Every detail is minimized to its essence: the trembling floral headdress, the chill of the sword, the sheen of the folds—each rendered with minimal signs pointing to rich imagery. This “reductive brushwork” does not simply revisit tradition, but uses ink to evoke empathetic imagination. The male figure’s proud posture combined with vibrating brushstrokes constructs a “moment in progress,” imbuing the static image with dynamic tension akin to a staged performance, elevating the figure’s gestures into an outward expression of spirit and demeanor.
《水墨戏曲人物03》局部
相较于其油画作品对光影体量的严谨推敲，这幅水墨创作更凸显贝家骧对“即时性”的艺术追求。迅疾的运笔痕迹与可控的墨色渗透形成矛盾统一，既记录了创作过程中的情绪流动，又通过留白与晕染预留了意象生成的余地，将水墨材料特有的偶然性与艺术家的主观控制力推向平衡的极致。
Compared to BEI Jiaxiang’s oil paintings—known for their meticulous exploration of light and volume—this ink work foregrounds his pursuit of artistic immediacy. The swift brushwork and controlled ink diffusion form a paradoxical unity, simultaneously capturing the emotional flux of creation and reserving space through blankness and blending for emergent imagery. This balances the medium’s inherent spontaneity with the artist’s subjective control to its peak.
贝家骧
1953年出生于上海，祖籍江苏苏州。
1976年，贝家骧毕业于当时上海最高艺术学府上海师范大学艺术系，并留校任教。1984年毕业于中国顶级艺术学府中央美术学院第一期研修班。1984至1991年间于上海师范大学美术系任副教授，后第一批被破格评为副教授的年轻教师。
1991年贝家骧移居澳洲。他频繁进出墨尔本博物馆对世界大师作品进行临摹学习，并专注于思索将中国传统文人画精神注入西方当代油画的创作中，为当代油画赋予新的精神与内涵。其间，作品曾荣获澳大利亚罗贝尔美术展油画金奖，坎贝尔美术展优秀奖等。
时至今日，贝家骧虽有长达二十余年旅居澳洲的异域经历，然而其艺术创作始终扎根于中国东方审美艺术的文化厚土。他从艺术自身的构成和形式入手，以“意”作为主体精神活动的东方式的“写意性”，与张扬个性和宣泄情感的西方式的“表现主义”融汇糅合，获得了现代性绘画语言上的统一。他以其油画创作：“奔马”“老上海”“色界”“戏曲人物”“沪语”“扇子”“水墨戏曲人物”等多个系列作品惊艳画坛。作品多次被澳洲、美国、日本、韩国、中国（上海、台湾、香港）等多国画廊机构代理，先后在日本、韩国、中国举办个展，并被澳大利亚电讯公司、中国美术馆、上海美术馆等多家艺术机构、画廊、私人藏家等广泛收藏。BEI Jiaxiang，Renowned contemporary artist in Chinese imagist painting。
BEI was born in Shanghai in 1953 and hails from Suzhou。
In 1976, BEI graduated from the Fine Art Department of Shanghai Normal University, which was the highest art institution in Shanghai at that time, and he became a teacher there after graduation. In 1984, BEI completed the first advanced training course held by the top art school in China, the Central Academy of Fine Arts. From 1984 to 1991, BEI taught in the Fine Art Department of Shanghai Normal University as an associate professor and became one of the first young teachers to be promoted to this position after the Cultural Revolution.In 1991, BEI immigrated to Australia. During his time there, he frequently visited the Melbourne Museum to study the works of world-renowned masters and focused on infusing the spirit of traditional Chinese literati painting into contemporary Western oil painting, with the hope of adding new spiritual and conceptual depth to contemporary oil painting. While in Australia, BEI’s works received accolades such as the Gold Award at the Robell Art Exhibition and the Excellent Award at the Campbell Art Exhibition.
Despite spending over twenty years living in Australia, BEI Jiaxiang’s artistic creation has always been deeply rooted in the cultural heritage of traditional Chinese aesthetics. Starting from the composition and form of the image, BEI unified Western expressionism, which emphasizes individuality and emotional release, with the freehand brushwork from the East, which focuses on subjective spiritual activity, achieving a unified language of modern painting with such fusion. BEI captivated the art world with series such as the Galloping Horse, Old Shanghai, Color Realm, Opera Figure, Shanghai Dialect, Fan and Ink Opera Characters among others. BEI’s works have been represented by galleries in Australia, the United States, Japan, South Korea, and China (Shanghai, Taiwan, Hong Kong), and have been exhibited in solo shows in Japan, South Korea, and China. BEI’s works have also been widely collected by various art institutions, galleries, and private collectors, including the Australian Telecommunications Company, the China Art Museum, the Shanghai Art Museum, and many other art institutions, galleries, and private collectors.| 开馆时间： 周二至周日
10:00 - 17:00（周一闭馆）
| 地址： 上海市闵行区黎明路88号 美博美术馆
