趙澄襄（澄子）
1953 出生于廣東汕頭
現居廣東汕頭，中國美術(shù)家協(xié)會(huì )會(huì )員，中華文化促進(jìn)會(huì )剪紙藝委會(huì )副主任，中國女畫(huà)家協(xié)會(huì )理事，廣東省作家協(xié)會(huì )會(huì )員，汕頭畫(huà)院畫(huà)師、專(zhuān)欄作家。
作品入選第8屆、第9屆、第10屆全國美術(shù)作品展覽及20多次全國性大展。自2000年以來(lái)，在北京、上海、武漢、廣州、吉林、廈門(mén)、佛山、中山、蘇州、汕頭和香港、澳門(mén)、馬來(lái)西亞舉辦個(gè)人畫(huà)展。
Zhao Chengxiang (Chengzi)
1953 Born in Shantou, Guangdong province
Currently lives in Shantou, Guangdong, a member of Chinese Artists Association, deputy director of paper-cut Art Committee of Chinese Culture Promotion Association, director of Chinese Women Painters Association, member of Guangdong Writers Association, painter and columnist of Shantou Painting Academy.
Her works were selected for the 8th, 9th and 10th National Art Exhibition and more than 20 national exhibitions. Since 2000, she has held solo exhibitions in Beijing, Shanghai, Wuhan, Guangzhou, Jilin, Xiamen, Foshan, Zhongshan, Suzhou, Shantou, Hong Kong, Macau and Malaysia.
昨天的足音 紙本水墨 2005
Yesterday's footsteps
Ink on paper
122x108cm
扇面合璧之磁州窯 紙本水墨 2021
CiZhou Kiln of Fan combination
Ink on paper
66x66cm
扇面合璧之彩陶 紙本水墨 2021
Coloured pottery of Fan combination
Ink on paper
66x66cm
一直以來(lái)，我的畫(huà)大多為表現自己熟悉的生活，包括童年的記憶，興趣范圍內的，比如老器物和民藝品，線(xiàn)裝書(shū)和土陶野卉等——我仿佛總是透過(guò)民居的花格窗，遙望遠去的日子。童年生活印象和上山下鄉的經(jīng)歷給了我諸多感受，賦予我真實(shí)樸素的情感，我的創(chuàng )作深受這兩個(gè)時(shí)期的影響。在我的幾種系列中，分別表達了對早年恬淡自足的百姓生活氛圍的眷戀，對飄蕩著(zhù)書(shū)卷氣的書(shū)房、茶坊、雅舍的向往，也抒發(fā)了對逐漸式微的民間藝術(shù)的追懷。我崇尚古代和民間，充滿(mǎn)敬意。畫(huà)室里有這樣的一副對子，“澄明有境，守拙以居”，八個(gè)字道出我所向往的生活和創(chuàng )作的態(tài)度，這些年來(lái)，不管外部如何喧囂，在自由的時(shí)間和空間里，我把心靈的感受留痕于尺幅之上，享受時(shí)光慢慢地流淌，甚感精神上的滿(mǎn)足和愉悅。All the time, most of my paintings show the life I am familiar with, including my childhood memories and the areas of interest, such as old artifacts and folk art, thing-bound books，clay pottery and wild flowers. It seems that I always look at the days far away through the lattice window of the folk houses. The impression of childhood life and the experience of going to the countryside have given me many feelings and endowed me with true and simple emotions. My creation is deeply influenced by these two periods. In my series, I have expressed my attachment to the quiet and self-contained atmosphere of people's life in the early years, my yearning for the study, tea house and elegant house which floating in the bookish atmosphere, and my yearning for the gradually declining folk art. I admire the ancient and folk, full of respect. The studio has such a couplet, "The heart is very pure, adhere to the moral life", eight words to decribe what I desire and creative attitude of life, over the years, No matter how loud it is outside, in free time and space, I put the feeling of the heart in evidence on the Paper or Silk, enjoy the time flows slowly, very feeling of spiritual satisfaction and pleasure. 追憶童年的歡笑 紙本水墨 2019
Recalling the laughter of childhood
Ink on paper
97x100cm
秋的盛宴 紙本水墨 2019
Autumn feast
Ink on paper
107x107cm
鄉土的微笑 紙本水墨 2017
Rural smile
Ink on paper
95x96cm
原始·舞動(dòng) 綜合材料—水墨+剪紙 2020
Primitive·Dance
Mixed media -- ink and paper cutting
74x142cm
我一直對原始藝術(shù)充滿(mǎn)興趣，對時(shí)間無(wú)聲無(wú)息地流逝感到好奇，時(shí)常會(huì )陷入沉思。五六千年前的新石器時(shí)代，原始人在簡(jiǎn)陋的生活條件下，卻對色彩、對黑白關(guān)系有著(zhù)深刻的領(lǐng)悟，他們把心中的愿望和訴求，抽象成那些神秘的幾何圖案，令今天的人們折服。我不是考古工作者，對于這些似有規律又千變萬(wàn)化的，具有強烈裝飾意味又似乎隱藏著(zhù)宇宙和生命的哲思的圖案，我主要從美感上去感知它，并且通過(guò)各種手段去表達我對原始藝術(shù)的感動(dòng)，對古人的崇敬。I have always been interested in primitive art, curious about the silent passage of time, often lost in thought. Five or six thousand years ago in the Neolithic age, primitive people in simple living conditions, but to color, the relationship between black and white has a profound understanding, they put the heart of the desire and appeal, abstract into those mysterious geometric patterns, It's amazing to people today. I am not an archaeologist. I perceive these patterns, which seem to be regular and ever-changing, have strong decorative meaning and seem to hide the philosophy of the universe and life, mainly from the aesthetic sense, and express my feelings for the primitive art and my reverence for the ancient people through various means. 時(shí)間·生命 綜合材料--水墨+剪紙 2020
Time·Life
Mixed media -- ink and paper cutting
74x160cm
夢(mèng)里風(fēng)箏 綜合材料--水墨+剪紙 2020
The kite in dream
Mixed media -- ink and paper cutting
142x74cm
在我童年的印象里，風(fēng)箏是一個(gè)符號，是遙遠的夢(mèng)境。那時(shí)的夏日傍晚，小街上空總飄忽著(zhù)小孩子自制的各式風(fēng)箏，這是夏日里最美的風(fēng)景，這個(gè)意象揮之不去。此外還有童年視野里的老房子老家具老物件，這些不僅成為憶舊的線(xiàn)索，也是我創(chuàng )作的題材。去年以來(lái)，我想到用一種新的手段來(lái)表達這些童年記憶，我曾多年做過(guò)現代剪紙，這次我采用和水墨融合，使用各種紙張，有畫(huà)報紙、外文報紙、皮紙、英國彩虹紙、日本和紙、自染色紙等等，這些剪紙舍棄了年輕時(shí)喜歡的精雕細刻，以比較粗獷的面貌呈現，它們凌駕于水墨之上，是另一種感覺(jué)。In my childhood impression, kite is a symbol, is a distant dream. At that time, On summer evenings, kites made by children always fluttered over the street , which is the most beautiful scenery in summer, and this image will not go away. In addition, there are the old houses, furniture and objects in my childhood vision, which not only become the clues of remembering the old, but also the subject matter of my creation. Since last year, I think in a new way to express the childhood memories, I was once a modern paper-cut for years, this time I used it with ink and wash, using various papers, including painting newspaper, foreign newspaper, vellum, British rainbow paper, Japanese and paper, self-dyeing paper and so on, these paper cuts have abandoned the elaborate carving that I liked when I was young, and are presented with a relatively rough face. They are above the ink painting, which is another kind of feeling. 歲月如歌 綜合材料—水墨+剪紙 2020
Years As Songs
Mixed media -- ink and paper cutting
142x74cm
