1948年生。四川教育学院美术系首届毕业生。 中国美术家协会会员、四川省书法家协会会员;中国职业画家协会副主席;文化部国韵文华书画院艺委会副秘书长;四川诗书画家国际艺术交流协会理事;致公画院副院长、四川省天府画院副院长、四海画院院务委员。擅长水墨人物、油画、篆刻、书法兼长。
作品多次参加国内外画展,屡有获奖。作品被选送美、法、加、澳、日、东南亚等地展出,并举办12次海外个人画展,广为当地收藏家欢迎。《美术》《国画家》《文艺报》《诗刊》《中国拍卖》以及香港《文汇报》《大公报》《明报》《新报》《收藏家》《收藏天地》《中国文物世界》《中国画清赏》等权威报纸杂志多次发表其作品或专题介绍其艺术。代表作有《火把节系列》《天葬系列》《嘎曲玛曲系列》《牧歌系列》《古风系列》《人体系列》《唐马系列》等。作品曾获澳洲《悉尼金奖·亚太区水墨大奖赛》亚军,加拿大《多伦多国际艺术双年展》金奖。其名载入《世界名人录》《中国当代美术家人名录》等。出版个人画册十余种。其潜心研习没骨画和工笔画,有意识地将工笔的细致典雅与写意的奔放率直、西画的结构色彩与水墨的肌理神韵交相融合,追寻着自己的独特风格。
A Brief Arts Introduction to Cao Xiaoqing
Cao Xiaoqing, born in 1948, one of the first graduates in arts department, Sichuan College of Education, member of China Artists Association and Sichuan Calligrapher Association, vice President of Tianfu Painting Institute and Zhigong Painting Institute, is accomplished in Water-Ink Figure Painting, oil painting, seal cutting as well as calligraphy. His works, shown both home and abroad, have been selected send in the shows held in the U.S.A., France, Canada, Australia, Japan, Southeast Asia and so on; Conferred awards for his paintings, held 12 individual overseas painting shows and he has been very popular among the local collectors. His works have been published and introduced in the special topic in Arts, Chinese Painting Artists, Newspaper of Literature and Arts, Poem Journal, China Auction and Hong Kong's Wen Hui Pao, Ta-kung Pao, Ming Pao Newspaper, Sinbo Newspaper, Collectors, Collection World, China Culture Relic World and other newspapers and magazines of authority. His magnum opuses are Torch Festival Series, Celestial Burial Series, Gaqu and Maqu Series, Eclogue Series, Old Customs Series, Human Body Series, Horses of Tang Dynasty Series and so on. He has been ranked the second place in The First Asia and the Pacific competition of Chinese wash Paintings for the Gold Awards in Australia and awarded the gold prize in the Toronto International Biennial Fine Art Exhibition, Canada. His works and resume have been collected in Global Who's Who and Who's Who of Chinese Contemporary Artists. Having published five kinds of albums of painting, he has not only been devoted himself to the study of the Mogu painting style and elaborate style, but also has deliberately combined the delicacy, elegance of elaborate style with the directness, bluffness of impressionistic painting as well as integrated the structure and color of west painting with the verve, texture of ink-painting, thus perusing the special style of his own.
The art career of Mr. Xiaoqin started from learning oil painting, and he does very well in charcoal drawing, colors and sketch. His oil paintings have ever been exhibited in Hong Kong and Japan, and favorably received. However, in the late 1970s, suggested by one of his friend he began to draw traditional Chinese painting, charcoal drawing, sketch, elaborate style and impressionistic painting; character, landscapes, flower and bird; calligraphy, seal cutting, painting theory, a great deal of practice, creation and accumulation, and formed his own unique style: "the Mogu painting style". Deriving from Song period and prospering in Qing period, "the Mogu painting style" is an important branch of representing language family of traditional Chinese painting. Although it has great degree of difficulty, Xiaoqin can be unparalleled for a time and create a masterwork. With strict concept, elaborate structure, and fluent calligraphy, he usually produces excellent and fine works.
The painting of Mr. Xiaoqin describe remote places and ages, but after appreciation, the readers feel that what described is very close to us…
重要艺术活动
1、活动名称: 加拿大多伦多国际艺术双年展
主办单位: 加拿大多伦多国际艺术双年展组委会
参展作品: 《唐风》(竖幅)
获得奖项: 金奖
活动年份: 2002年
2、活动名称: 雪梨金奖 . 首届亚太地区中国水墨画大赛
主办单位: 澳大利亚悉尼
参展作品: 《何处无月明》
获得奖项: 亚军
活动年份: 1993年
——读曹小钦人文德昌系列作品
又一次看到曹小钦先生突破已臻完美的固有画风,将原本已经令艺术界叹为观止的成就推上了新的高峰。人文德昌系列是中国传统绘画精髓和现代人本主义精神的唯美展现。
首先是“写”! 只有中国传统绘画才将在宣纸上作画称为“写”,这是完全不同于西方美术的概念,这是东方哲学的内核。中国文化自古讲求“寓于内而形于外”“厚积薄发”的处世哲理。传统绘画艺术重视作者的内在修养和功力的体现,而相对淡化对色彩和仿真的追求。因此,中国文人画自古使用水墨淡彩以及和书法创作同样的简单工具,而其中的最高境界是经过多年艰苦训练后,用最简洁的形式“写“出最为丰富和深邃的意境。古往今来多少大家绝品,都是寥寥如同信手拈来,而风骨神韵具足。八十年代,也见过小钦先生的水墨人体,已然是笔简意赅,清新脱俗;二十年后人文德昌系列,更见大没骨法的出神入化。所绘人体不同一般,全部从骨点下笔,控制水墨浸润,不描不染,惜笔如金,一气呵成。这种技法看似简单快速,但没有多年功力,完全无法掌握,即使古人也只有少数如徐渭任颐等旷世名家曾经修习使用。小钦笔法如庖丁解牛行云流水,入木三分浑然一体,人物线条极简而神形兼备,当真是一个”写“字!
紧接着迎面而至的是满纸的中国元素。线条美,阴阳调和,刚柔并济… …. 这些在现代艺术中往往被忽略的元素一下子在人文德昌系列作品中全面又和谐的体现出来。缪篆(汉篆)的古朴线条与人体的妩媚曲线如藤树缠绵缱绻,即对比又相互衬托,一动一静,亦庄亦谐。画面布局别具匠心,繁而沉稳有序,简而灵动多姿,各领风骚又相得益彰。作为一个充满现代气息而有别于小钦以往作品的系列,人文德昌巧妙的运用并发扬了中国画传统的技法,构图,线条和哲学,同时展现出变化多端清新跃动的现代审美情趣。这是一次令人振奋的突破,是对中国画审美视角的一次扩大。
在体悟了技法和精神创新之后,人文德昌系列作品的真正精髓已然明朗。创作的对象主体是人,承载人的是象征文明的文字线条;表现的手法是化繁为简,纯熟洗练。作者在用一种传统而又崭新的笔触传达对于唯美和人性自身的歌颂。
古法绝技,中国元素,崭新视角,人本精神 -------正所谓:删繁就简三春树,标新立异二月花。人是美的,美是属于人的,人文德昌系列作品是小钦大写的中国人!
——王渡