竹石圖

款識(shí)：朱宣咸
規(guī)格：長(zhǎng)：66cm 寬：45cm
這是一幅畫。著力表現(xiàn)了竹子那頑強(qiáng)而又執(zhí)著的品質(zhì)，托巖竹的堅(jiān)韌頑強(qiáng)，言自己剛正不阿、正直不屈、鐵骨錚錚的骨氣。不管風(fēng)吹雨打，任憑霜寒雪凍，蒼翠的青竹仍然“堅(jiān)勁”，傲然挺立?！扒トf擊”、“東南西北風(fēng)”，極言考驗(yàn)之嚴(yán)酷。這首詩(shī)借物喻人，通過立根破巖中的勁竹，含蓄地表達(dá)了自己絕不隨波逐流的高尚的思想情操。全詩(shī)語言質(zhì)樸，寓意深刻。
This is a picture. Focus on the performance of the bamboo that stubborn and persistent quality, support the rock bamboo's tenacity and tenacity, speak of their integrity, integrity, iron clang bone. Regardless of the wind and rain, frost and snow, the green bamboo is still "strong" and proudly upright. "Thousand blows and ten thousand strikes" and "southeast and northwest wind" are extremely harsh. This poem is a metaphor for human beings. It implicitly expresses his noble ideological sentiment that he will never drift with the tide through the strong bamboo roots in the rock. The poetry of the whole poem is simple and profound.
:void(0);:void(0);

朱宣咸(1927年浙江臺(tái)州——2002年重慶)，又名：浙人。的中國(guó)畫畫家、中國(guó)新興木刻版畫家、漫畫家與美術(shù)活動(dòng)家，20世紀(jì)中期與后期我國(guó)美術(shù)事業(yè)的開拓者之一。
1940年代，由浙江到上海，投身海上藝術(shù)、魯迅新興木刻版畫、以作品為武器戰(zhàn)斗在抗日戰(zhàn)爭(zhēng)的，是早期上海美術(shù)與浙江美術(shù)的代表之一。1949年底到重慶，是1949年后四川美術(shù)與重慶美術(shù)的奠基人之一。在中國(guó)畫、中國(guó)新興木刻版畫、漫畫等領(lǐng)域。
20世紀(jì)40年代初起從事中國(guó)畫、中國(guó)新興木刻版畫與時(shí)政漫畫。由浙江到上海，直接投身海上畫派、魯迅新興木刻，以及在抗戰(zhàn)一線的“淪陷區(qū)”以作品為武器進(jìn)行戰(zhàn)斗。
.朱宣咸藝術(shù)回顧展
藝術(shù)精神
朱宣咸的藝術(shù)之路是由投槍匕首而到純美藝術(shù)，畢生彰顯了對(duì)真、善、美理想不懈追求與謳歌的藝術(shù)精神。
丹青歲月——朱宣咸中國(guó)畫作品展.
藝術(shù)風(fēng)貌
大半個(gè)世紀(jì)以來，朱宣咸對(duì)中西繪畫、傳統(tǒng)與現(xiàn)代美術(shù)孜孜不倦的探索，在中國(guó)畫中融入西方藝術(shù)的元素，在版畫、漫畫等西畫中賦予寫意等中國(guó)畫修養(yǎng)。在深厚遒勁的傳統(tǒng)功力基礎(chǔ)上，師傳統(tǒng)而不泥古，充滿新意、充滿生機(jī)、充滿清新的氣息與積極向上之朝氣。形成了中西繪畫相結(jié)合、傳統(tǒng)與現(xiàn)代相交融的藝術(shù)成就。
創(chuàng)作了一大批洋溢著鮮明時(shí)代感、社會(huì)性、學(xué)術(shù)性、藝術(shù)多元性、系統(tǒng)完整性與文獻(xiàn)價(jià)值的中國(guó)畫、中國(guó)新興木刻版畫、時(shí)政漫畫、水彩畫、水粉畫、插畫、連環(huán)畫等作品。
朱宣咸 (1927年浙江——2002年重慶)
展覽與出版
1944年起，朱宣咸創(chuàng)作了不少作品發(fā)表于當(dāng)時(shí)上海、浙江的各報(bào)刊，并參加一系列進(jìn)步美術(shù)展覽與進(jìn)步美術(shù)運(yùn)動(dòng)。1949年后，作品入選一系列重要展覽與美展，被中國(guó)美術(shù)館等收藏，多部大型文獻(xiàn)和美術(shù)辭書收錄，主要媒體專題評(píng)論，發(fā)表上千次。
先后在香港、重慶、浙江、上海等舉辦“朱宣咸作品展”、“朱宣咸從藝五十五年畫展”、“世紀(jì)回眸——朱宣咸作品故鄉(xiāng)行邀請(qǐng)展”、“清氣?朱宣咸中國(guó)畫、版畫小品展”、“朱宣咸畫展”、“朱宣咸藝術(shù)展、“朱宣咸藝術(shù)回顧展”、“丹青歲月——朱宣咸中國(guó)畫作品展”等個(gè)人畫展。
出版《朱宣咸作品選》、《朱宣咸花鳥畫選輯》、《朱宣咸木刻版畫集》、《朱宣咸風(fēng)景木刻版畫選輯》、《朱宣咸漫畫》、《藝術(shù)常青——美術(shù)家朱宣咸》、《朱宣咸美術(shù)作品選》等多個(gè)畫種的個(gè)人畫集。

朱宣咸中國(guó)畫《紅雪圖》 ,1991年

在中國(guó)早介入現(xiàn)代藝術(shù)的那一批人

早期上海美術(shù)與浙江美術(shù)的代表之一

20世紀(jì)上半葉，作為在中國(guó)早介入現(xiàn)代藝術(shù)的那一批人，朱宣咸由浙江到上海，投身海上藝術(shù)、魯迅新興木刻版畫、以作品為武器戰(zhàn)斗在了抗日戰(zhàn)爭(zhēng)淪陷區(qū)。1946年加入中華全國(guó)美協(xié)，創(chuàng)作了大量作品，是早期上海美術(shù)與浙江美術(shù)的代表之一。
Zhu Xuanxian (1927 Zhejiang Taizhou - 2002 Chongqing), also known as: Zhejiang people. Outstanding Chinese painters, Chinese new woodcut printmakers, cartoonists and art activists, in the middle and late 20th century, one of the pioneers of China's art career.
In the 1940s, from Zhejiang to Shanghai, he devoted himself to marine art, Lu Xun's new woodcut prints and his works as weapons in the forefront of the War of Resistance Against Japan. He was one of the representatives of early Shanghai art and Zhejiang art. Arriving in Chongqing at the end of 1949 was one of the founders of Sichuan fine arts and Chongqing fine arts after 1949. In the field of Chinese painting, China's new woodcut prints, caricatures and other fields, it has made great achievements.
Since the beginning of 1940s, he has been engaged in Chinese painting, new woodcut prints and political cartoons in China. From Zhejiang to Shanghai, he plunged directly into the marine school of painting, Lu Xun's new woodcut, and fought with his works in the "occupied areas" on the front line of the Anti-Japanese War.
Zhu Xuanxian art retrospective exhibition
Artistic spirit
Zhu Xuanxian's artistic road is from throwing a gun and dagger to pure and beautiful art, which shows the artistic spirit of unremitting pursuit and praise of the ideal of truth, goodness and beauty all his life.
Zhu Xuanxian's exhibition of Chinese paintings.
Artistic features
For more than half a century, Zhu Xuanxian has made unremitting efforts to explore Chinese and Western painting, traditional and modern art, blending elements of Western art into Chinese painting, and endowing freehand brushwork and other Chinese paintings with Western prints and cartoons. On the basis of profound and vigorous traditional ability, we should learn from tradition without being old-fashioned, full of creativity, vitality, fresh breath and positive spirit. It has formed the artistic achievements of the combination of Chinese and Western painting and the integration of tradition and modernity.
He has created a large number of works, such as Chinese paintings, Chinese new woodcut prints, current political cartoons, watercolors, gouache, illustrations and comics, which are full of distinct sense of the times, social, academic, artistic pluralism, systematic integrity and documentary value.
Zhu Xuanxian (1927 Zhejiang - 2002 Chongqing)
Exhibition and publication
Since 1944, Zhu Xuanxian has published many works in newspapers and periodicals in Shanghai and Zhejiang, and participated in a series of progressive art exhibitions and progressive art movements. Since 1949, his works have been selected into a series of important exhibitions and national art exhibitions, collected by the Chinese Art Museum and other large-scale literature and art dictionaries, and published thousands of times in major media commentaries.
"Zhu Xuanxian's Works Exhibition", "Zhu Xuanxian's Fifty-Five-Year Art Exhibition", "Century Retrospect--Invitation Exhibition of Zhu Xuanxian's Works Hometown", "Qingqi-Zhu Xuanxian's Chinese Painting, Printmaking Exhibition", "Zhu Xuanxian's Painting Exhibition", "Zhu Xuanxian's Art Exhibition", "Zhu Xuanxian's Art Exhibition", "Zhu Xuanxia The exhibition of personal art exhibition, such as "retrospective exhibition" and "Dan Qing years" - Zhu Xuanxian's exhibition of Chinese paintings.
Publishing Zhu Xuanxian's Selected Works, Zhu Xuanxian's Selected Paintings of Flowers and Birds, Zhu Xuanxian's Collection of Woodblock Prints, Zhu Xuanxian's Selected Landscape Woodblock Prints, Zhu Xuanxian's Comics, Zhu Xuanxian's Evergreen Art - Artist Zhu Xuanxian, Zhu Xuanxian's Selected Works of Art and so on.
Zhu Xuanxian's Chinese painting "red snow map", 1991
The first group of people involved in modern art in China.
One of the representatives of early Shanghai art and Zhejiang Fine Arts
In the first half of the 20th century, Zhu Xuanxian, as the earliest group of people in China to intervene in modern art, from Zhejiang to Shanghai, devoted himself to marine art, Lu Xun's new woodcut prints and works as weapons to fight in the frontier of the occupied areas of the Anti-Japanese War. In 1946, he joined the National Art Association of China and created a large number of works. He was one of the representatives of early Shanghai art and Zhejiang art.


現(xiàn)代人，創(chuàng)作水平雖然沒有古代人那么高，但是創(chuàng)作的工具，都比古時(shí)候的好，更利于他們創(chuàng)作出的作品，所以，字畫的質(zhì)量上去了，價(jià)值，自然也就跟著上去了，升值空間肯定是有的，就像當(dāng)代的啟功，范曾等。現(xiàn)代的藝術(shù)創(chuàng)作者，比古代的人，物質(zhì)生活更，自然也就有了更多的時(shí)間跟經(jīng)歷進(jìn)行創(chuàng)作，所以，隨著時(shí)間的推移，現(xiàn)代人，在創(chuàng)作時(shí)間上面會(huì)超過古人，創(chuàng)作作品也有是有可能超過古代人的。所以說，現(xiàn)在社會(huì)的發(fā)展，人們的技藝雖然不能完全跟古代人所媲美，不過，創(chuàng)作時(shí)間跟創(chuàng)作工具也能彌補(bǔ)這些方面的不足，作品日后能升值也是一種必然趨勢(shì)。
Modern people, although the level of creation is not as high as the ancients, but the creative tools, are better than ancient times, more conducive to their creation of quality works, so, the quality of calligraphy and painting, value, naturally followed, the appreciation of space is certainly there, like contemporary Qigong, Fan Zeng and so on. Modern artists, than the ancient people, the material life is better, naturally there will be more time and experience to create, so as time goes on, modern people, in the creative time will be more than the ancients, creative works may also be more than the ancients. Therefore, with the development of society, people's skills can not be completely comparable to the ancients, but creative time and creative tools can also make up for these shortcomings, works can appreciate in the future is also an inevitable trend.

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