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史美峰先生，
笔名天羽，1928年生，猝于2011年春，祖籍浙江余姚。一级美术师（国际“IAO”认证）、中国书画社重点会员、中国文化艺术发展促进会会员、世界书画家协会（WC-PO）加拿大总会副会长、海天书画院副院长。曾在中国华东等地各大报刊和澳大利亚报刊上发表数十件作品，部分作品被《解放日报》、《人民画报》等多家单位收藏。1990年在上海友谊画廊举办了个展，1995年在澳大利亚举办了个展和联展，并应邀作了 《欣赏中国画之我见》的讲演。作品在《第五届国际书画作品展览》和《第六回国际书画审美大展赛》中均获金奖，在《2000年世界华人艺术展》上，文化部艺术人才中心，中国文联和人民画报社授予“世界华人艺术人才”荣誉称号。传略已被收录在《世界华人文学艺术界名人录》、《世界书画家铭录》和《世界名人录》等多种辞书之中。
2004年经世界教科文卫组织专家学术委员会正式确立其为“世界教科文卫组织专家成员”；经国家文物局中国书画收藏家协会暨中国书画藏典编辑委员会专家评议，予以颁发《中国书画收藏资格认定证书》。他的部分作品及*略已收录在《史美峰》作品选集（当代中国书画系列）》、《上海市现代书画名录》、《中华翰墨各家作品博览》、《世界书画家铭录》、《世界名人录》等多种辞书之中。
A Brief Introduction
Mr. Shi Meifeng, also named Shi Tianyu, was born in 1928, being a native
of Yu Yao county, Zhejiang Province. Perhaps it is his temperament of a
country folk which has inspired his creative power, kindled his
interest, fired his learn drawing at his youth. He drew pictures to his
heart’s content whenever he got an inspiration. He mentioned in the
Author’s Preface of his published works: “Nothing but painting can take
the place of my love of books.” It is clear that he has been fascinated
by drawing from the start.
Although engaged in economic work over a long period, he has persisted in
his self-study of drawing. He studied the art for a time in the Research
Association of Painting of Mountains and Rivers which was persided by
Mr. Hu Zheng Lang. Later, he had the opportunity of making the
acquaintance of Mr. Shen Shijia, whom he acknowledged as his master. He
laid a solid foundation by studying diligently the traditional methods
of painting. He drew admirably and implicitly, being skilled in
imitation, good at drawing mountains and at the same learning broadly
from various schools of painting. For twenty years, he devoted himself
to learning from ancient masters and at the same Yangtze River and other
famous mountains and great rivers, in order to “gain the wholesome
atmosphere and the charm of the Universe. He brings the use of the
painting brush and ink stick on paper to full capacity, for instance,
the sight of a cataract in the skyward –looking eyes of a traveler, with
imagined great noises of the falling water in his ears” He delved into
magnificent old books and bore in mind their gist to enrich his own
Chinese artistic creation. Wide-ranging travel and untiring probing
enabled him to have a better understanding of the painter’s historical
origin through the ages and the fine traditional painting art of our
country.
He based his art on tradition. Exploring incessantly and making changes,
he succeeded in publishing in the past few years several score of his
paintings in various well-known newspapers and periodicals in East China
and won awards offered by the Shanghai Dragon Year Festival Exhibition
of Paintings and Calligraphy and the Second Session of Cultural Fair. In
1990, a Painting Exhibition was held by him in the Shanghai Friendship
Gallery. Later, he was accepted as a key member by the Society of
Chinese Painting and Calligraphy in Beijing and as a painting regular
member of World Calligrapher and Painter Organization (Honorary
Title/Member, WC/PO). Quite a lot of his paintings have been collected
by foreign citizens and Hongkong and Taiwan compatriots.
His painting brush often brings forth new ideas. Earlier in his career,
he frequently applied simplified strokes to express an implicit meaning
which was actually profound and required prolonged painstaking and
elaborate work. At his middle age, he utilized rough strokes with a free
hand and thick lines with dark ink. Later, he blended the ancient
forceful lines of the Northern Song Dynasty with the veiled dark lines
of the Southern Song Dynasty . With merging of the two, a distinct style
of his own took place. It is clear that all the changes carried out by
him were on a basis derived from tradition, modified however by epochal
and individual distinctive features. He often talks about himself with
the famous remark of Ni Zan: “Painting is my way of unburdening myself.”
He is also of the opinion that the lofty realm of painting is
“unrestrained painting”, which grows out of and is a sublimation of
imitation of imitation painting, nature painting and elaborate painting.
He lays special stress on the importance of craftsmanship, to be applied
to painting, which can only be attained by diligent study and hard
training over a long period of time. |
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