惊艳，杜建奇的素描艺术带给我强烈的惊艳感，这种惊艳感中甚至带有一丝的“灾变”气息：作为西方绘画基础的素描，竟然还可以这样画?对于学习过美术，亦曾希望将绘画作为自己的人生志向的我来说，在接触到杜建奇的素描艺术之前，我甚至从来没有想到过素描还可以画得这样好，可以以如此的方式表达。在文学课程教学中，我曾反复地宣称：“凡墙皆是门，任何一种困囿都是写作者自我的困囿，在我们习惯以为此路不通的地方总有伟大的作家、艺术家推门进出，他的存在和实践会令我们豁然开朗……”然而面对素描，我还是有一个并不自觉的自我困囿，为它暗暗地设置了限度，这限度来自实践，也来自对于米开朗琪罗、伦勃朗、凡·高和毕加索的阅读，它在给予我大体参照的同时也悄然地固化起我的素描想象。是画家杜建奇的尝试和创造让我“豁然开朗”，让我明白：原来素描不仅是那种基础的光影描绘和结构参照，它还可以如此富于变化，如此进行增与减并形成它全新的独特方式。
卓玛 2019 纸本·综合材料 100x100cm
Stunning, Du Jianqi's sketch art brings me a strong sense of surprise, which even has a hint of "catastrophe": the sketch as the basis of western painting can still draw it like this? For me, who studied fine arts and once hoped to take painting as my life ambition, I never even thought that sketch could be painted like this before I came into contact with Du Jianqi's sketch art, and it could be painted so well and amazing. I didn't even think that sketches could be expressed in this way.In literature teaching, I have repeatedly declared that "every wall is a door and every kind of trap is a writer's self-trap. In places where we are used to thinking that this road is impassable, there are always great writers and artists who have opened the door, and his existence and practice will make us suddenly enlightened ..." However, in the face of sketch, I still have an unconscious self-trap, which secretly sets limits for it.It was the painter Du Jianqi's attempt and creation that made me "suddenly enlightened", which made me understand that the original sketch can be so artistic, not only the basic light and shadow description and structural reference, but also can be given, changed, increased and decreased, and formed into its brand-new and unique way.
旗袍女孩 2020 纸本·综合材料 80x80cm
杜建奇是一位了不起的画家。他对素描探险性的艺术改变，在我看来多少类似于林风眠、吴冠中对于中国画的艺术改变，他能轻松地摆脱窠臼、推陈出新，从“他类”的艺术方式中吸纳过来补益“这种”艺术并使它焕然。
Du Jianqi is a great painter. In my opinion, his exploratory artistic change is somewhat similar to Lin Fengmian's and Wu Guanzhong's artistic change of Chinese painting-he can easily get rid of the stereotype, bring forth new ideas, absorb from other artistic ways, replenish this kind of art and make it look new.
高原雄鹰之二 2019 纸本·综合材料 110x80cm
祈祷 2019 纸本·综合材料 120x90cm
首先我们来看杜建奇的“减法”。在他的素描艺术中，我们很难见到学院素描体系那种“黑、粗、重、实”的旧有样貌，在他这里，时时会使用简笔，时时会计白当黑，时时会抓住重点而简略有余。一直以来，我们的素描强调的是扎实，是对物象结构和光影关系的具体捕捉，它多是作为其他绘画艺术门类(譬如油画、水粉、水彩以及综合材料)的基础训练方式来运用的，“准确、质感、明暗关系”是它所要重点把握的，在它的整个艺术追求中并没有“概括”的位置，艺术的概括性在素描当中并不被强调。在杜建奇的素描艺术中，我们会发现素描原有的“准确、质感、明暗关系”依然存在，他的造型能力、基本功之扎实，即使在他简笔速写的过程中依然能呈现无疑。但在这个基础上，作为创造者的杜建奇将素描艺术原本并不强调的“概括”放到核心位置，使之成为目标。杜建奇的每幅素描都会留有大片的空白，即使在他所勾画出来的具体人物和呈现的局部中，“减法”也是明显的……“计白当黑”是中国画的理念，它强调对空白的经营、对省略的经营，它强调在未着笔墨处“意韵”的丰盈和宽阔延展，杜建奇开创性地将它“挪入”到似乎最不可能挪入的素描之中。在西方的素描中也有局部描绘，也有简笔状态和速写状态，但杜建奇的“减”与他们的“简”有着大不同，他的“减”不是忽略而是经营，而是拓展性地利用空间……我们看作品《优雅》中的空白，它似乎有一种旷远的、毛茸茸的质地在衬托着画面主体上的那位笑眯眯的女孩儿，甚至可感觉里面散发着某种轻微的甜蜜气息;而作品《眼神》，女性的眼睛望向侧上方，它远远“宽阔”于纸面所能表现的部分，一直延展到纸外，到一个更为旷远之处……它精到而细致地描绘了女孩的眼神，而更靠近我们的视线、端着杯子的手则极为简略，有着减弱而避免它与“眼神”的冲击力的争夺，精妙无比。
马赛族后裔 2018 纸本·综合材料 110x80cm
First of all, let's look at Du Jianqi's "subtraction". In his sketch art, it is difficult for us to see the old appearance of "black, thick, heavy and solid" in the sketch system of the college. Here, he always uses short pens, always counts white as black, and always grasps the key points and makes the rest brief-all along, our sketch emphasizes solidity, which is a concrete capture of the structure of objects and the relationship between light and shadow. It is mostly used as other painting art categories (such as oil painting and gouache watercolor) "Accuracy, texture, light-dark relationship" is what it should focus on, and there is no place for "generalization" in its whole artistic appeal, and the generality of art is not emphasized in the sketch.
空灵 2014 纸本·综合材料 110x80cm
我想再谈杜建奇素描艺术中的“加法”。加法之一是手段方法的加，他的素描不只是使用铅笔、炭条，而是“综合材料”，需要的时候他会加入炭粉、水彩甚至粉笔，一切可用的、可调合的原料和器物都可以加入其中，只要它有益于表达并能强化表达的效果。而其中白粉的运用和添加实在高妙。加法之二是水彩、油画效果的挪用和叠加，他打破了艺术方式之间的潜在壁垒。与以往素描的语言方式不同，杜建奇素描有一种“水彩感”，他强化了湿润和自如的“渗透”，强化了“水汽”，将部分之前的“硬转”变成了现在的“软转”，而某些留白的方法也是从水彩和部分油脂类综合材料的绘画中汲取过来的。在作品《红衣女孩》《维吾尔族女孩》《芳园》中，他有意融合，在保留一种艺术表达的固有优势的同时，将属于其他绘画方式的优势巧妙地添加进来，从而突出个性化和创造性。我在言说杜建奇的融合性完成的时候有意没提其中的难度，其实它的难度远比我们通常认为的、看到的要大得多，每一步的前行都是走在试错的路上，都是精神的和实践的双重冒险。然而他完成了，将一条几乎是不可能的道路走通了，其中的甘苦和曾经的失败大概也只有他自己知道。
优雅 2014 纸本·综合材料 110x80cm
I want to talk about the "addition" in Du Jianqi's sketch art again. One of the additions is the addition of means. His sketches are not just using pencils and carbon bars, but "comprehensive materials". When necessary, he will add carbon powder, watercolor and even chalk, and all available and adjustable raw materials and utensils can be added, as long as it is beneficial to expression and enhances the effect of expression-and the use and addition of white powder is really wonderful.The second addition is the removal and superposition of watercolor and oil painting effects, which breaks the hidden barrier between artistic ways. Du Jianqi's sketch has a sense of "watercolor", which is different from the previous language style of sketch. He strengthened the wet and comfortable "infiltration", strengthened the "moisture", and changed some of the previous "hard turns" into the present "soft turns", while some blank-keeping methods were also drawn from watercolor and some oil-based comprehensive materials. Like his "Girl in Red", "Uygur Girl", like his "Fang Yuan"-he intends to blend, while retaining the inherent and advantages of one kind of artistic expression, he also skillfully adds the advantages of other painting methods, thus making individuality and creativity become prominent. When I talked about Du Jianqi's integration, I deliberately didn't mention the difficulty. In fact, it is much more difficult than what we thought and saw. Every step of the way is on the road of trial and error, it is a double adventure of spirit and practice. However, when he completed it, he turned an almost impossible road into a thoroughfare, in which only he knows about the joys and sorrows and some setbacks.
幽蓝 2014 纸本·综合材料 110x80cm
而杜建奇素描艺术中最令我震撼、最能打动我的一点就是他的“捕捉”能力，他在素描艺术中所展现的那种独特的敏锐。一般而言，素描多描绘“静物”，而作为模特的人往往也是一种“静物化”的存在，他们在绘画中留下的往往是一个普通的固有形象，是他们的“实”，是固有形象的呈现，但在杜建奇那里，他的素描艺术所要表现的可不止这些，他试图捕捉更为短暂的“刹那”并将其永恒化，他要赋予自己“个人缪斯独特的面部表情”。“表情”是杜建奇素描艺术中珍贵而独特的部分，也是他的艺术最为动人之处。2014年他画过一张人物肖像，头戴贝雷帽的人物目视前侧，略略地眯起眼，嘴角向下，我注意到其中的丰富和复杂，我甚至觉得，杜建奇在这个二维的纸面空间里为我们建立了一条通向内心深处的“沉默着的幽暗区域”的秘密通道，极耐寻味。而作品《青春涌动》中同样略略眯起眼的女孩所带给我的感觉则完全不同，它里面蕴含的其实是涌动和对于涌动的掩藏，甚至还带些懵懂性。而作品《空灵》中，杜建奇给我们建立的空灵感则是多重的，女孩面对的空间的空灵，简笔处理的背景的空灵和她睁大眼睛所透露出的内心空灵完美而精妙地结合在一起，他所捕捉到的竟然是属于“本质”性的东西，尽管它貌似只是一个一闪即逝的瞬间。杜建奇在作品《纯洁》中画下天真烂漫的欣喜，在作品《惬意》中画下惬意与迷离，在作品《有话要说》中画下大声呼喊，在作品《阿旦》中画下愤怒……画下这些在我看来并不是素描艺术的东西，可杜建奇却让它变成了一种艺术形式。更令我叫绝的是他的作品“性感”系列，他表达“性感”的选择竟然是嘴唇的局部，他有意剔除了便于表达“性感”的身体和它的曲线，有意剔除了便于表达“性感”的眼神和身体，而只选择了“嘴唇”和嘴唇里的舌。他逼迫自己在“难”和“更难”之间选择，然后再逼迫自己选择“更难”。这一自我“逼迫”出人意料，然而他竟然把不可能、不那么可能变成了让人惊艳和心动的可能。耿纪朋教授在谈及这一组画时曾说道：“‘性感’系列作品中没有强调线条和场面的情感，而是通过实与虚的画面布局，将性感的质感融入到‘润’‘糯’‘柔’‘娇’‘甜’等几种视觉感受中……色彩的运用在‘性感’系列作品中也有独到之处，粉色、肉色、红色等唇色在灰色的调子里掩映着，牙齿的边界在色彩的对比中被强化却又非常自然。”在我看来，他的评价中肯到位。
纯洁 2014 纸本·综合材料 80x110cm
What shocked me most and impressed me most in Du Jianqi's sketch art was his "capture", which showed his unique acumen in sketch art. Generally speaking, sketches often depict "still life", while people who are models are also a kind of "still life" existence. What they leave behind in painting is an ordinary inherent image, which is their "reality" and the presentation of the inherent micro-point of the image-but in Du Jianqi's view, his sketch art needs more than that, and he tries to capture a shorter "burst" and put it. "Expression" is a precious and unique part of Du Jianqi's sketch art, and it is also the most moving part of his art.In 2014, he He painted a portrait of a character. He wearing a beret looked sideways, squinting slightly, and his mouth tilted down ... I noticed that he was rich and complicated in it. I even thought that Du Jianqi even built a secret passage for us to the "silent dark area" in this two-dimensional paper space, which was extremely intriguing. The girl who squints slightly in "The Surge of Youth" gives me a completely different feeling. What it contains is actually surging and hiding the surging, even with some ignorance. In "Emptiness", Du Jianqi's inspiration for us to establish emptiness is multiple. The emptiness of the space faced by the girl, the emptiness of the background dealt with simply and the emptiness of her heart revealed by opening her eyes are perfectly and subtly combined. What he captures is actually an "essential" thing, although it seems to be just a fleeting moment.Du Jianqi painted unbridled joy in Pure, coziness and vagueness in Comfortable, shouting loudly in Have something to say, and anger in Adan: Drawing these is not good at sketching art in my opinion, but Du Jianqi turned it into good at it. What surprised me even more was his Sexy Series, where his choice of expressing "sexiness" was so partial. He deliberately eliminated the body and her curves, eyes and breasts that were easy to express "sexiness", and only chose "lips" and tongue in lips. He forced himself to choose between hard and harder, and then forced himself to choose harder. This self-"forcing" is unexpected, however, it turns the impossibility and impossibility into amazing and exciting possibilities.When talking about this group of paintings, Professor Geng Jipeng once said, "Sexy works do not emphasize the emotion of lines and scenes, but integrate sexy texture into several visual feelings such as' moist',' waxy',' soft',' charming' and' sweet' through the real and virtual picture layout ... The use of color is also unique in Sexy series, pink. In my opinion, his evaluation is to the point.
藏人 2014 纸本·综合材料 55x80cm
我还想谈杜建奇在构图上的精心与独特，我还想谈在他的素描艺术中被拓展的“美”，我还想谈因为杜建奇对情绪、情感的捕捉而使素描所“多出”的意味和丰厚，他在描绘过程中减掉的和使用“言外”而做的添加……在我看来，杜建奇是那种极有天分和才情又极有智慧和能力的创造者，他使得“素描”这一带有基础性、辅助性的美术手段成为艺术，有着光耀和独特审美的新艺术;在我看来，杜建奇甚至可能改变我们许多人的素描理念，他甚至可以以西方的这一艺术手段完成对西方艺术的部分反哺。
文 / 李浩
一级作家
鲁迅文学奖获得者
河北省作家协会副主席
河北师范大学文学院教授
I also want to talk about Du Jianqi's meticulous and unique composition, the expanded "beauty" in his sketch art, and the "extra" meaning and richness of his sketch because of Du Jianqi's capture of emotions, what he lost in the process of painting and what he added by using "illocutionary words" ... In my opinion, Du Jianqi is a creator with great talent, talent and wisdom and ability. In my opinion, Du Jianqi may even change my sketch idea and that of many of us, and he can even feed back some western art with this western art method.
Text / Li Hao
First-class writer
winner of the Lu Xun Literature Award
vice chairman of Hebei Writers' Association
professor of the College of Literature of Hebei Normal University
杜建奇
中国美术家协会会员
中国壁画学会会员
美国纽约哈德逊美术家协会会员
海外华人美术家协会 理事
中国 河北省社会科学基金专家库专家
中国 河北省美术教育学会 副会长
中国 河北省传统文化教育学会 副会长
中国 河北师范大学教授 硕士研究生导师
国际驻访：
2013 美国 纽约哈德逊艺术中心国际驻访项目
2011 比利时 马瑟瑞尔艺术中心国际驻访项目
2010 韩国 首尔南松美术馆国际驻访项目
作品收藏：
日本千代田美术馆 巴黎法中文化交流中心 韩国南松美术馆 比利时马瑟瑞尔艺术中心
作品发表:
《美术》《美术观察》《艺术评论》《文艺研究》《中国油画》《装饰》《中国艺术》《艺术界》《美术关注》《中国美术选集》《杜建奇》(四川美术出版社)《杜建奇素描艺术》(人民美术出版社)
About Du Jianqi
Memberof China Artists Association
Memberof China Mural Association
Academician ofHudson Artists Association of New York,USA.
Director of overseas ChinaArtists Association
Social Science Fund expert database expert of Hebei Province, China
Vice President of Art Education Association of Hebei Province, China
Vice President of Traditional Culture Education Association of Hebei Province, China
Professor and MasterSupervisor of Hebei Normal University, China
Artists in Residence Program
2013 Hudson Center for Contemporary Arts,New York,USA.
2011 Mather Riel Art Center, Belgium
2010 Namsandong Art Museum in Seoul,Korea
Works collection:
Maseril art center, nansong art museum, Paris, France and China cultural exchange center, chiyoda art museum, Japan
Published works:
"Art", "art observation", "art criticism", "literature and art research", "Chinese oil painting", "decoration", "Chinese art", "art world", "attention to art", "selected works of Chinese art", "sketch art of du jianqi"