《消失的胡同》图书首发式暨况晗精品展

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展览日期:2008年7月26日-2008年8月2日展览地点:北京云峰画苑
展览时间:星期一至星期五: 9:00 --- 5:00 星期六、日 : 10:00 --- 5:00

首发式时间：2008年7月26日下午三时（况晗老师将亲临签售仪式）

北京云峰画苑
地址：北京市东城区南池子大街136号邮编：100006
电话：010－6523 3320 传真：010-6525 3466
Email：gallery@wanfung.com.cn

《消失的胡同－－铅笔画中的北京风貌》序言

艺术风貌与个性特征的取得绝非易事，需要艺术家长期为此付出艰辛的劳动和大量的心血，才能创作出一批具有鲜明特色的作品，况晗的铅笔画“留住胡同”系列，就是这样的佳作。

建国以来，特别是改革开放三十年来，北京发生了巨大的变化。高楼大厦从胡同中拔地而起，许多我们熟悉的街景、门楼、四合院逐渐从人们的视线中消失。但几百年来形成的北京胡同风俗文化，并不因为社会转型期不可避免的变革而随风消逝，胡同曾经承载过的人间冷暖，不但时时撞击老北京人的心灵，同时也吸引住了外来学子深情的目光，况晗就是其中的一个。从八十年代末来到北京工作开始，作为一个画家，他对北京胡同的热爱，到了如醉如痴的程度。他用了近二十年的时间，“泡”在北京的胡同深处，“与推土机赛跑”，那些已不复存在的胡同，通过他的笔、他的画，慰籍着人们对曾经的家园的留恋之情，也激发着人们对新生活的向往和追求。

况晗的铅笔画独具个性。铅笔画虽然没有夺目的色彩，但却有它独特的魅力，用单纯的黑、白、灰勾勒出沉淀了历史文化的胡同景象，能够更好地体现胡同的内涵和意境。他用笔考究，使扁宽的速写铅笔产生出不同的线条排列，来反映不同的质感和意境；他对素描的结构造型、色彩光感和色阶的把握非常准确，做到一笔到位成型，不涂不改；他吸收了中国水墨画的优良传统，浓淡相宜，又结合了西方写实画风，虚实交融。他在东方传统和西方艺术汇融中找到了一个适合自己的表现方式，画面上古老的胡同被赋予了清新之气和勃勃生机。

况晗的作品独具个人魅力，他用心灵把悠远的历史和灿烂的胡同文化呈现给我们，令人耳目一新、过目难忘，得到诸多专家的大力称赞。

2008.2.12
吴长江
中国美术家协会分党组书记、常务副主席

Preface

Artistic style and personalities are never easily acquired. Artists should make any efforts and spare no energy so as to get them and capable of creating works of remarkable characteristics. Kuang Han’s pencil drawings “Saving Hutongs” is such excellent works as it is.

Since the founding of PRC, especially the three decades after the reform and opening up to the outside world, Beijing witnesses dramatic changes. Skyscrapers rocket from hutongs, which make those familiar street sights, gates towers, four-square courtyards disappearing out of our view. However, hutongs’ customs and culture that dates back to hundred years ago do not pass away with the intrusion of social transition and reform. Hutongs carry civil life with harshness and warmness of common people. They not only always touch the deep hearts of original Beijing residents, but also attract dense focus of foreign students. Kuang Han is one of them. Kuang began his work in Beijing in late 1980s. As an artist, he is obsessed and drunk with Beijing’s hutong. He spent nearly twenty years “immersing” himself in the deep hutongs and “racing with bulldozers”. Those late hutongs, via Kuang’s pencil and drawings, comfort people who miss their past homeland, and inspire expectations and pursuits of new life in people’s heart.

Kuang Han’s pencil drawings are of unique personalities. Pencil drawings, though without colors to brighten them, possess certain sort of charisma, illuminating hutong’s image of honored history and culture by pure black and white, and expressing a much better meaning and artistic conception of hutongs. He exquisitely uses his pencils, produces various line arrangements by the broadsided sketch pencils, which reflect different textures and artistic conceptions; he has accurate skills to catch structures of sketches, color and light perception, and color gradation, making each stroke a success, and correction and alteration unnecessary; he absorbs fine traditions in Chinese ink-and-water paintings, heavy strokes perfectly complementing light ones, and he also combines the western styles with integration of reality and fantasy. He finds out a fit way in the meeting of oriental traditions and western arts to express himself. Hutongs in his drawings are vitalized by a sense of refreshing novelty and life.

Kuang Han’s works embody his personalities which brings charm. He presents us the hutong culture with remote history and brilliance by soul. His drawings make everything fresh and new, deeply impress people, and deserve vigorous praise from a great many experts.

Feb. 12, 2008
Wu Changjiang: secretary of branch party team and executive president of China Artists’ Association

从对比中看胡同变化——读况晗的铅笔画

况晗的《消失的胡同——铅笔画中的北京风貌》有以下三个特点：

一、在对比中看变化。他的立意极好，从同一个视角看，注意，一定是固定地从同一个视角去看，一边是十多年前的某个胡同，另一边是今日的同一个胡同，两者对比，一下子，胡同景观变成了动态的，把时代的脚步描绘了出来。这是此本图集不同于别的胡同图集的特点，很了不起。大家知道，北京在最近十多年发生了天翻地复的变化，城市历史掀开了新的一页，为全世界所瞩目，纪录这件事便是成了一代文化人的好选题。有识之士纷纷拿起了相机，或者画笔，积累资料。况晗动手早，始自1990年，距今差不多已有十七八年了，又画又摄，起码拍了一万张照片，有的胡同先后去了十几次。他本是学画的，除了相机，还带着画笔去实地写生，一开始是画水彩，后来是用宽铅笔画。搞着搞着，时间一长，咦，有了新主意，把最开始的胡同绘画画面和最后来的胡同摄影画面并列放在一起，一看，岂不是绝妙的对比吗。不用说过多的话，胡同的变化就一目了然了，好主意!这就让况晗的图册有了重大的史料价值，一定会受到热烈欢迎。

        二、是艺术品。摄影和摄像当然是艺术品，绘画更是艺术品，相比之下，后者是有更多创作元素的艺术品，难度和自由度都更大，效果也更突出。况晗的作品属于后者，它是画，属于有相当艺术价值的图册，史料之外，又多了一层美学欣赏价值，份量大不相同。

    三、宽笔铅笔画是一种新画种。宽笔铅笔画可以说是况晗的发明，此前仅有个别外国人拿来作速写，真正当一种正规的艺术创作手段的还没有。况晗摸索了很久，终成气候。这种宽笔铅笔画讲究笔触，一笔是一笔，不可涂抹，颇像中国画、中国书法、木刻和水彩。画时手臂必须很用劲，一笔下去，画纸上会留下一个凹沟，摸起来颇有立体的质感。这种画吃功夫，不大的一张画，要耗时整整七至十天。况晗是个壮汉，连续画画，七天下来，竟大病一场，可见耗精力之大。如此看来，这部图集可算是一部身心投入的力作了。宽笔铅笔画看起来和常见的铅笔画一点都不一样，猛一看，还以为是水墨的呢，感觉很好，很美。

    有此三点，应该向况晗表示祝贺，为一部有价值、有品味，有情趣的图册。

舒乙

2008.1.1

Tracking Changes in the Hutongs by Comparison

In this collection of his pencil drawings, Fading-away Hutongs: Pencil-Drawing Beijing’s Old Alleys

Han Kuang has demonstrated three features:

1. Tracking changes by comparison. Kuang has a well-founded style. He depicts the Hutongs of different times from the same perspectives. I mean from the same perspectives at the same place. On one drawing, you see a Hutong of a dozen years ago and on another you see the same Hutong today, the comparison of which creates a dynamic scene that shows you the footprints of time. This unique feature differentiates this collection from other albums of Hutongs, a great approach, indeed. We are all aware of the tremendous changes that took place in Beijing in the past decade or so. The new chapter of the city''''s history has attracted attention of the whole world. Such changes naturally become the subject of the cultural circle of this generation and many people of vision picked up either cameras or painting brushes to record the transformation. A pioneer among them, Han Kuang started as early as 1990, almost eighteen years ago, by utilizing both photos and drawings. Kuang has taken at least ten thousand photos of the Hutongs and he made more than a dozen visits to some of the Hutongs at various times. A painter by training, Kuang brought with him, in addition to his camera, his painting kit and he sketched the scenes as well, firstly in water colors, and later in pencil broadsides. New inspirations popped up with the passage of time. The early paintings of the Hutongs and the later photos of them, when placed side by side, formed a brilliant comparison. Words would be extra here as one can catch sight of the changes at the very first glance. What a smart idea. This comparison actually endows Kuang’s works with significant historical value, which for certain will earn him popularity.

2. True artwork. Photos and video movies are artwork, and paintings and drawings are more so. In comparison, the latter is a form of art that allows more creativity, challenge, freedom, and effectiveness. Kuang’s artwork falls under the latter category. A collection of significant artistic value, this album serves as historic records. Furthermore, it carries extra aesthetic value for appreciation, weighing a lot more than others.

3. Broadsided pencil drawings as a new form of artwork. Broadsided pencil drawings might be considered an invention by Han Kuang. While some foreign artist before him used broadside pencils for sketches, no one before Kuang treated pencil broadsides as a formal means of artistic creation. Kuang had also spent a long time exploring this new form of art before it became mature. Demanding accurate touches in a very much similar way to the Chinese ink paintings, calligraphy, woodcuts and water colors, broadsided pencil drawings count on every single stroke that can not be erased. Much force of the arm is needed and each stroke leaves a deep impression on the paper, forming a feel of a three dimensional production. Time-consuming, a small broadsided painting may take up seven to ten days to finish. A stout man he might be, Kuang once fell badly sick after seven days’ of continued work. It is obvious pencil broadsides burn much energy. Therefore, the collection of here represents a devotion of efforts, both mental and physical. Such efforts result in landscapes different from other pencil drawings and one may easily mistake it for Chinese ink paintings at a quick glimpse. They do carry a pleasant feel around them, and they are truthfully beautiful.

I would congratulate Han Kuang for the three features, and for the creation of such a collection of value, taste and appeal.

Yi Shu

January 1, 2008

	画家简介

况晗艺术简历

中国美术家协会会员。1961年生于江西宜丰，1989年毕业于南京师范大学美术学院，曾荣获首届徐悲鸿奖学金。1993年加入中国民主同盟。毕业分配至北京，住在胡同里，对胡同产生了情感。他跑遍了北京的大街小巷，对即将拆除的民居情有独钟，从日常生活的景物中发现诗意和美的韵致，在探索中创造出宽线条铅笔来描绘北京的胡同。

1988年在母校举办有史以来第一个学生个人画展。1992年在北京燕山石化举办个人水彩画展。2002年先后在中央美术学院美术馆、北京云峰画苑举办“留住胡同──个人宽线条铅笔画展”，2005年11月，在北京云峰画苑举办“留住胡同──况晗宽线条铅笔画新作展”。受到专家和群众的肯定。

作品《京都纪事》入选中国美协第十三届新人新作展；《城市变迁》组画入选第九届全国美展；《人人健身迎奥运》入选第五届全国体育美术作品展；《拆迁之前》入选《纪念毛泽东延安文艺座谈会上讲话发表六十周年》全国美术作品展并获优秀作品奖，2005年入选第十届全国美展。

出版有《留住胡同－－况晗宽线条铅笔画作品选》一书。中央电视台、北京电视台、美术、当代美术、人民画报、人民日报、中国日报、北京日报、北京晚报、宜春日报等国内外媒体作过专题报道，多数作品被世界各地艺术鉴赏家收藏。

Kuang Han was born in Jiangxi Province in 1961. He graduated from the Nanjing Normal University with a degree in Traditional Chinese Painting in 1989. Kuang Han won the Xu Beihong Scholarship in 1988.

After graduation, he moved to Beijing and lives in a Hutong, amongst the ancient architecture of Beijing. In most persons’ minds, Hutong is regarded as the essence of Beijing. Within the Hutong lies the core of Beijing, the crux of Beijing’s culture. Kuang Han is fascinated by the charm of Hutong. He traveled around most Hutongs in Beijing and has taken hundreds of photographs as his material. He is especially impressed by the buildings that are being demolished within Hutongs. His paintings capture the soul of Beijing through vivid portrayal of its street life.