朱宣咸(1927年浙江——2002年重庆),中国画画家、木刻版画家、漫画家与美术活动家。20世纪40年代初起从事中国画与中国新兴木刻版画,半个多世纪来,创作了大量中国画、版画、漫画、插画、水粉画、水彩画、连环画等作品,并被中国美术馆及各地美术馆、博物馆等收藏;被《中国年鉴》,《中国百年版画》等大型文献收录;从1946年到2002年多次入选国内外一系列重要展览,发表作品数千次,艺术风格被《人民日报》等主要媒体专题评论;出版有《朱宣咸作品选》,《朱宣咸花鸟画选辑》,《朱宣咸木刻版画集》,《朱宣咸风景木刻版画选辑》,《朱宣咸漫画》,《艺术常青——美术家朱宣咸》等;由文化、新闻、出版等六单位联合主办了“朱宣咸从艺五十五年画展”;生平被载入《中国美术辞典》等国家级辞书

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艺贯中西
——美术家朱宣咸

 

朱宣咸 (1927年浙江——2002年重庆),又名:浙人。杰出的中国画画家、中国新兴木刻版画家、漫画家与美术活动家。

 

20世纪40年代初起从事中国画、中国新兴木刻版画与时政漫画。由浙江到上海,直接投身海上画派、鲁迅新兴木刻版画,以及在抗战一线的沦陷区以作品为武器进行战斗。1946年加入中华全国美协,1948年在近代史上著名的上海《观察》事件中被捕。1949年与刘开渠、张乐平、庞薰琹、杨可扬等代表上海美术界在《大公报》发表美术工作者宣言,该宣言的发表意味着国统区美术和上海近现代美术史从此翻开了崭新的一页。同时进入中华全国美术协会工作,参与早期美术事业的建立。1949年底到重庆,1951年任中华全国美术工作者协会(今中国美术家协会)重庆执委,参与1951年重庆市文联的创办,参与1953年西南美术工作者协会(今四川省美术家协会)的创办、并任执委,以及1981年重庆市美术家协会的筹备与创办,担任首任常务副主席兼秘书长、后任顾问,主持最早的重庆美术馆工作,是成立重庆国画院的发起人、顾问,重庆美专校长。作为20世纪中期与后期我国美术事业的开拓者之一与1949年后重庆美术的重要奠基人之一,对于建立、推动和促进重庆近现代美术事业的形成、繁荣与发展作出了重要贡献。

 

朱宣咸的艺术之路是由投枪匕首而到纯美艺术,毕生彰显了对真、善、美理想不懈追求与讴歌的艺术精神,洋溢着鲜明的时代感、抒情性与艺术多元性

 

 大半个世纪对中西绘画、传统与现代美术孜孜不倦的探索,在中国画中融入版画等西方艺术的元素、木刻版画中赋予写意等中国画修养。在深厚遒劲的传统功力基础上、师传统而不泥古,充满新意、充满生机、充满清新的气息与积极向上之朝气。从而形成了在中西绘画相结合、传统与现代相交融方面的开拓性与鲜明艺术成就。

 

创作了一大批中国画 、中国新兴木刻版画、时政漫画、水彩画、水粉画、插画、连环画等作品。1944年起入选一系列国家级美展,被中国美术馆等收藏,多部大型文献和美术辞书收录,主要媒体专题评论,发表作品上千次,多次在各地举办个人画展。出版《朱宣咸作品选》、《朱宣咸花鸟画选辑》、《朱宣咸木刻版画集》、《朱宣咸风景木刻版画选辑》、《朱宣咸漫画》、《艺术常青——美术家朱宣咸》、《朱宣咸美术作品选》等多个画种的个人画集。

 

 

 

Master of Eastern and Western Arts

——Zhu Xuanxian 中文
 

Zhu Xuanxian(朱宣咸), 1927-2002, born in Zhejiang and deceased in Chongqing, with a pseudonym Zheren, was a prominent master of Chinese paintings, woodcut artist, caricaturist and art activists.

 

Starting Chinese painting, Chinese new woodcut art and editorial cartoon career in the 40s of the 20th century, after moving from Zhejiang to Shanghai, adhering devotedly to the Shanghai School and Lu Xun’s Woodcut Art, He engaged in the battle against Japanese aggression in the frontline of the “Occupied Area” with his works during the Chinese Anti-Japanese War. He became a member of the China National Art Workers' Association in 1946 and was arrested in “The Observer” Incident, a known incident in Chinese modern history happened in Shanghai. In 1948, he, Liu Kaiju, Zhang Leping, Pany Xunqin and Yang Keyang jointly published the “Declaration of Art Workers” on Ta Kung Pao on behalf of Shanghai fine arts, sparking a new era of the fine arts in the KMT-controlled area and Shanghai modern history of art. His working at the China National Art Workers' Association at the same time marked the beginning of the early art industry. After being relocated to Chongqing in the late 1949 and becoming the active director of the Association Chongqing Branch (today’s China Artists Association) in 1951, he participated in planning and founding of several associations and organizations with a capacity of founder, director, chairman, consultant or principal, including the founding of Chongqing Federation of Literary and Art Circles in 1951, founding and directing Southwest Art Workers’ Association (today’s Sichuan Artists Association) in 1953, planning and founding of Chongqing Artists Association in 1981, where he also worked as the first executive vice chairman and secretary general and consultant later to preside over the early work of Chongqing Art Museum. He was the founder and a consultant of Institute of Chongqing Chinese Painting (now Chongqing Art Museum) and a former principal of Chongqing Academy of Fine Arts. As one of the forerunners of China’s art industry in the mid- and late-20thcentury and the founder of Chongqing fine arts following 1949, Zhu’s contribution in founding, promotion and advocacy to the formation, prosperity and development of the contemporary art industry of Chongqing are immeasurable.

 

From definitive realism to pure art, Zhu’s art life echoes his endless pursuit of the ideal of truth, goodness and beauty and lauding of art with untoned Zeitgeist, lyricism and artistic pluralism.

 

Sparing no traditional elements and rejecting none modernistic ingredients, Zhu spent a half-century exploring Chinese and Western paintings and infusing Western artistic elements of woodcut into Chinese painting and Chinese philosophy into woodcut printmaking. His works reveal the profundity of traditional Chinese art mingled with innovation, vivaciousness, freshness and dynamism, an integration of Chinese and Western painting and cohesion of tradition and modernity, which define his pioneering and mesmerizing artistic accomplishments.

 

His works abound, ranging from Chinese brush painting, woodcut painting, editorial cartoon, watercolor, gouache, illustration to comicstrips, which have been selected in a series of national art exhibitions and collected by National Art Museum of China in 1944, publications and art dictionaries. Media critics have given generous reviews. His works have been published and exhibited numerous times, such as the Selected Art Works by Zhu Xuanxian, Chinese Paintings of Flower and Bird by Zhu Xuanxian (Selected Collection)Collection of Woodcut Paintings by Zhu XuanxianSelected Collection of Landscape Woodcuts by Zhu XuanxianZhu Xuanxian’s ComicsZhu XuanxianA Master of Brush Evergreen (Forever Inspiration – Artist Zhu Xuanxian) and Selected Collection Works by Zhu Xuanxian.