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驚艷,，杜建奇的素描藝術帶給我強烈的驚艷感,，這種驚艷感中甚至帶有一絲的“災變”氣息：作為西方繪畫基礎的素描,，竟然還可以這樣畫,？對于學習過美術,，亦曾希望將繪畫作為自己的人生志向的我來說，在接觸到杜建奇的素描藝術之前,，我甚至從來沒有想到過素描還可以畫得這樣好,，可以以如此的方式表達。在文學課程教學中,，我曾反復地宣稱：“凡墻皆是門,，任何一種困囿都是寫作者自我的困囿，在我們習慣以為此路不通的地方總有偉大的作家,、藝術家推門進出,，他的存在和實踐會令我們豁然開朗……”然而面對素描，我還是有一個并不自覺的自我困囿,，為它暗暗地設置了限度,，這限度來自實踐，也來自對于米開朗琪羅,、倫勃朗,、凡·高和畢加索的閱讀，它在給予我大體參照的同時也悄然地固化起我的素描想象,。是畫家杜建奇的嘗試和創(chuàng)造讓我“豁然開朗”,，讓我明白：原來素描不僅是那種基礎的光影描繪和結構參照，它還可以如此富于變化,，如此進行增與減并形成它全新的獨特方式,。 
卓瑪 2019 紙本·綜合材料 100x100cm Stunning, Du Jianqi's sketch art brings me a strong sense of surprise, which even has a hint of "catastrophe": the sketch as the basis of western painting can still draw it like this? For me, who studied fine arts and once hoped to take painting as my life ambition, I never even thought that sketch could be painted like this before I came into contact with Du Jianqi's sketch art, and it could be painted so well and amazing. I didn't even think that sketches could be expressed in this way.In literature teaching, I have repeatedly declared that "every wall is a door and every kind of trap is a writer's self-trap. In places where we are used to thinking that this road is impassable, there are always great writers and artists who have opened the door, and his existence and practice will make us suddenly enlightened ..." However, in the face of sketch, I still have an unconscious self-trap, which secretly sets limits for it.It was the painter Du Jianqi's attempt and creation that made me "suddenly enlightened", which made me understand that the original sketch can be so artistic, not only the basic light and shadow description and structural reference, but also can be given, changed, increased and decreased, and formed into its brand-new and unique way.
旗袍女孩 2020 紙本·綜合材料 80x80cm杜建奇是一位了不起的畫家。他對素描探險性的藝術改變,，在我看來多少類似于林風眠,、吳冠中對于中國畫的藝術改變，他能輕松地擺脫窠臼,、推陳出新,，從“他類”的藝術方式中吸納過來補益“這種”藝術并使它煥然。Du Jianqi is a great painter. In my opinion, his exploratory artistic change is somewhat similar to Lin Fengmian's and Wu Guanzhong's artistic change of Chinese painting-he can easily get rid of the stereotype, bring forth new ideas, absorb from other artistic ways, replenish this kind of art and make it look new.
高原雄鷹之二 2019 紙本·綜合材料 110x80cm
首先我們來看杜建奇的“減法”,。在他的素描藝術中,，我們很難見到學院素描體系那種“黑、粗,、重,、實”的舊有樣貌,，在他這里，時時會使用簡筆,，時時會計白當黑,，時時會抓住重點而簡略有余。一直以來,，我們的素描強調的是扎實,，是對物象結構和光影關系的具體捕捉,，它多是作為其他繪畫藝術門類（譬如油畫,、水粉、水彩以及綜合材料）的基礎訓練方式來運用的,，“準確,、質感、明暗關系”是它所要重點把握的,，在它的整個藝術追求中并沒有“概括”的位置,，藝術的概括性在素描當中并不被強調。在杜建奇的素描藝術中,，我們會發(fā)現素描原有的“準確,、質感、明暗關系”依然存在,，他的造型能力,、基本功之扎實，即使在他簡筆速寫的過程中依然能呈現無疑,。但在這個基礎上,，作為創(chuàng)造者的杜建奇將素描藝術原本并不強調的“概括”放到核心位置，使之成為目標,。杜建奇的每幅素描都會留有大片的空白,，即使在他所勾畫出來的具體人物和呈現的局部中，“減法”也是明顯的……“計白當黑”是中國畫的理念,，它強調對空白的經營,、對省略的經營，它強調在未著筆墨處“意韻”的豐盈和寬闊延展,，杜建奇開創(chuàng)性地將它“挪入”到似乎最不可能挪入的素描之中,。在西方的素描中也有局部描繪，也有簡筆狀態(tài)和速寫狀態(tài),，但杜建奇的“減”與他們的“簡”有著大不同,，他的“減”不是忽略而是經營，而是拓展性地利用空間……我們看作品《優(yōu)雅》中的空白,，它似乎有一種曠遠的,、毛茸茸的質地在襯托著畫面主體上的那位笑瞇瞇的女孩兒,，甚至可感覺里面散發(fā)著某種輕微的甜蜜氣息；而作品《眼神》,，女性的眼睛望向側上方,，它遠遠“寬闊”于紙面所能表現的部分，一直延展到紙外,，到一個更為曠遠之處……它精到而細致地描繪了女孩的眼神,，而更靠近我們的視線、端著杯子的手則極為簡略,，有著減弱而避免它與“眼神”的沖擊力的爭奪,，精妙無比。 
馬賽族后裔 2018 紙本·綜合材料 110x80cmFirst of all, let's look at Du Jianqi's "subtraction". In his sketch art, it is difficult for us to see the old appearance of "black, thick, heavy and solid" in the sketch system of the college. Here, he always uses short pens, always counts white as black, and always grasps the key points and makes the rest brief-all along, our sketch emphasizes solidity, which is a concrete capture of the structure of objects and the relationship between light and shadow. It is mostly used as other painting art categories (such as oil painting and gouache watercolor) "Accuracy, texture, light-dark relationship" is what it should focus on, and there is no place for "generalization" in its whole artistic appeal, and the generality of art is not emphasized in the sketch.
我想再談杜建奇素描藝術中的“加法”,。加法之一是手段方法的加,，他的素描不只是使用鉛筆、炭條,，而是“綜合材料”,，需要的時候他會加入炭粉、水彩甚至粉筆,，一切可用的,、可調合的原料和器物都可以加入其中，只要它有益于表達并能強化表達的效果,。而其中白粉的運用和添加實在高妙,。加法之二是水彩、油畫效果的挪用和疊加,，他打破了藝術方式之間的潛在壁壘,。與以往素描的語言方式不同，杜建奇素描有一種“水彩感”,，他強化了濕潤和自如的“滲透”,，強化了“水汽”，將部分之前的“硬轉”變成了現在的“軟轉”,，而某些留白的方法也是從水彩和部分油脂類綜合材料的繪畫中汲取過來的,。在作品《紅衣女孩》《維吾爾族女孩》《芳園》中，他有意融合,，在保留一種藝術表達的固有優(yōu)勢的同時,，將屬于其他繪畫方式的優(yōu)勢巧妙地添加進來，從而突出個性化和創(chuàng)造性,。我在言說杜建奇的融合性完成的時候有意沒提其中的難度,，其實它的難度遠比我們通常認為的、看到的要大得多,，每一步的前行都是走在試錯的路上,，都是精神的和實踐的雙重冒險,。然而他完成了，將一條幾乎是不可能的道路走通了,，其中的甘苦和曾經的失敗大概也只有他自己知道,。
優(yōu)雅 2014 紙本·綜合材料 110x80cm I want to talk about the "addition" in Du Jianqi's sketch art again. One of the additions is the addition of means. His sketches are not just using pencils and carbon bars, but "comprehensive materials". When necessary, he will add carbon powder, watercolor and even chalk, and all available and adjustable raw materials and utensils can be added, as long as it is beneficial to expression and enhances the effect of expression-and the use and addition of white powder is really wonderful.The second addition is the removal and superposition of watercolor and oil painting effects, which breaks the hidden barrier between artistic ways. Du Jianqi's sketch has a sense of "watercolor", which is different from the previous language style of sketch. He strengthened the wet and comfortable "infiltration", strengthened the "moisture", and changed some of the previous "hard turns" into the present "soft turns", while some blank-keeping methods were also drawn from watercolor and some oil-based comprehensive materials. Like his "Girl in Red", "Uygur Girl", like his "Fang Yuan"-he intends to blend, while retaining the inherent and advantages of one kind of artistic expression, he also skillfully adds the advantages of other painting methods, thus making individuality and creativity become prominent. When I talked about Du Jianqi's integration, I deliberately didn't mention the difficulty. In fact, it is much more difficult than what we thought and saw. Every step of the way is on the road of trial and error, it is a double adventure of spirit and practice. However, when he completed it, he turned an almost impossible road into a thoroughfare, in which only he knows about the joys and sorrows and some setbacks.
而杜建奇素描藝術中最令我震撼、最能打動我的一點就是他的“捕捉”能力,，他在素描藝術中所展現的那種獨特的敏銳,。一般而言，素描多描繪“靜物”,，而作為模特的人往往也是一種“靜物化”的存在,，他們在繪畫中留下的往往是一個普通的固有形象，是他們的“實”,，是固有形象的呈現,，但在杜建奇那里,，他的素描藝術所要表現的可不止這些,，他試圖捕捉更為短暫的“剎那”并將其永恒化，他要賦予自己“個人繆斯獨特的面部表情”,?！氨砬椤笔嵌沤ㄆ嫠孛杷囆g中珍貴而獨特的部分，也是他的藝術最為動人之處,。2014年他畫過一張人物肖像,，頭戴貝雷帽的人物目視前側，略略地瞇起眼,，嘴角向下,，我注意到其中的豐富和復雜，我甚至覺得,，杜建奇在這個二維的紙面空間里為我們建立了一條通向內心深處的“沉默著的幽暗區(qū)域”的秘密通道,，極耐尋味。而作品《青春涌動》中同樣略略瞇起眼的女孩所帶給我的感覺則完全不同,，它里面蘊含的其實是涌動和對于涌動的掩藏,，甚至還帶些懵懂性。而作品《空靈》中,，杜建奇給我們建立的空靈感則是多重的,，女孩面對的空間的空靈，簡筆處理的背景的空靈和她睜大眼睛所透露出的內心空靈完美而精妙地結合在一起,，他所捕捉到的竟然是屬于“本質”性的東西,，盡管它貌似只是一個一閃即逝的瞬間。杜建奇在作品《純潔》中畫下天真爛漫的欣喜,，在作品《愜意》中畫下愜意與迷離,，在作品《有話要說》中畫下大聲呼喊,，在作品《阿旦》中畫下憤怒……畫下這些在我看來并不是素描藝術的東西，可杜建奇卻讓它變成了一種藝術形式,。更令我叫絕的是他的作品“性感”系列,，他表達“性感”的選擇竟然是嘴唇的局部，他有意剔除了便于表達“性感”的身體和它的曲線,，有意剔除了便于表達“性感”的眼神和身體,，而只選擇了“嘴唇”和嘴唇里的舌。他逼迫自己在“難”和“更難”之間選擇,，然后再逼迫自己選擇“更難”,。這一自我“逼迫”出人意料，然而他竟然把不可能,、不那么可能變成了讓人驚艷和心動的可能,。耿紀朋教授在談及這一組畫時曾說道：“'性感’系列作品中沒有強調線條和場面的情感，而是通過實與虛的畫面布局,，將性感的質感融入到'潤’'糯’'柔’'嬌’'甜’等幾種視覺感受中……色彩的運用在'性感’系列作品中也有獨到之處,，粉色、肉色,、紅色等唇色在灰色的調子里掩映著,，牙齒的邊界在色彩的對比中被強化卻又非常自然?！痹谖铱磥?，他的評價中肯到位。
純潔 2014 紙本·綜合材料 80x110cm What shocked me most and impressed me most in Du Jianqi's sketch art was his "capture", which showed his unique acumen in sketch art. Generally speaking, sketches often depict "still life", while people who are models are also a kind of "still life" existence. What they leave behind in painting is an ordinary inherent image, which is their "reality" and the presentation of the inherent micro-point of the image-but in Du Jianqi's view, his sketch art needs more than that, and he tries to capture a shorter "burst" and put it. "Expression" is a precious and unique part of Du Jianqi's sketch art, and it is also the most moving part of his art.In 2014, he He painted a portrait of a character. He wearing a beret looked sideways, squinting slightly, and his mouth tilted down ... I noticed that he was rich and complicated in it. I even thought that Du Jianqi even built a secret passage for us to the "silent dark area" in this two-dimensional paper space, which was extremely intriguing. The girl who squints slightly in "The Surge of Youth" gives me a completely different feeling. What it contains is actually surging and hiding the surging, even with some ignorance. In "Emptiness", Du Jianqi's inspiration for us to establish emptiness is multiple. The emptiness of the space faced by the girl, the emptiness of the background dealt with simply and the emptiness of her heart revealed by opening her eyes are perfectly and subtly combined. What he captures is actually an "essential" thing, although it seems to be just a fleeting moment.Du Jianqi painted unbridled joy in Pure, coziness and vagueness in Comfortable, shouting loudly in Have something to say, and anger in Adan: Drawing these is not good at sketching art in my opinion, but Du Jianqi turned it into good at it. What surprised me even more was his Sexy Series, where his choice of expressing "sexiness" was so partial. He deliberately eliminated the body and her curves, eyes and breasts that were easy to express "sexiness", and only chose "lips" and tongue in lips. He forced himself to choose between hard and harder, and then forced himself to choose harder. This self-"forcing" is unexpected, however, it turns the impossibility and impossibility into amazing and exciting possibilities.When talking about this group of paintings, Professor Geng Jipeng once said, "Sexy works do not emphasize the emotion of lines and scenes, but integrate sexy texture into several visual feelings such as' moist',' waxy',' soft',' charming' and' sweet' through the real and virtual picture layout ... The use of color is also unique in Sexy series, pink. In my opinion, his evaluation is to the point.
我還想談杜建奇在構圖上的精心與獨特,，我還想談在他的素描藝術中被拓展的“美”,，我還想談因為杜建奇對情緒、情感的捕捉而使素描所“多出”的意味和豐厚,，他在描繪過程中減掉的和使用“言外”而做的添加……在我看來,，杜建奇是那種極有天分和才情又極有智慧和能力的創(chuàng)造者，他使得“素描”這一帶有基礎性,、輔助性的美術手段成為藝術,，有著光耀和獨特審美的新藝術；在我看來,，杜建奇甚至可能改變我們許多人的素描理念,，他甚至可以以西方的這一藝術手段完成對西方藝術的部分反哺。文 / 李浩 一級作家 魯迅文學獎獲得者 河北省作家協會副主席 河北師范大學文學院教授 I also want to talk about Du Jianqi's meticulous and unique composition, the expanded "beauty" in his sketch art, and the "extra" meaning and richness of his sketch because of Du Jianqi's capture of emotions, what he lost in the process of painting and what he added by using "illocutionary words" ... In my opinion, Du Jianqi is a creator with great talent, talent and wisdom and ability. In my opinion, Du Jianqi may even change my sketch idea and that of many of us, and he can even feed back some western art with this western art method.
Text / Li Hao First-class writer winner of the Lu Xun Literature Award vice chairman of Hebei Writers' Association professor of the College of Literature of Hebei Normal University 
杜建奇 中國美術家協會會員 中國壁畫學會會員 美國紐約哈德遜美術家協會會員 海外華人美術家協會 理事 中國 河北省社會科學基金專家?guī)鞂＜?/span> 中國 河北省美術教育學會 副會長 中國 河北省傳統文化教育學會 副會長 中國 河北師范大學教授 碩士研究生導師 國際駐訪： 2013 美國 紐約哈德遜藝術中心國際駐訪項目 2011 比利時 馬瑟瑞爾藝術中心國際駐訪項目 2010 韓國 首爾南松美術館國際駐訪項目 作品收藏： 日本千代田美術館 巴黎法中文化交流中心 韓國南松美術館 比利時馬瑟瑞爾藝術中心 作品發(fā)表: 《美術》《美術觀察》《藝術評論》《文藝研究》《中國油畫》《裝飾》《中國藝術》《藝術界》《美術關注》《中國美術選集》《杜建奇》（四川美術出版社）《杜建奇素描藝術》（人民美術出版社） About Du Jianqi Memberof China Artists Association Memberof China Mural Association Academician ofHudson Artists Association of New York,USA. Director of overseas ChinaArtists Association Social Science Fund expert database expert of Hebei Province, China Vice President of Art Education Association of Hebei Province, China Vice President of Traditional Culture Education Association of Hebei Province, China Professor and MasterSupervisor of Hebei Normal University, China Artists in Residence Program 2013 Hudson Center for Contemporary Arts,New York,USA. 2011 Mather Riel Art Center, Belgium 2010 Namsandong Art Museum in Seoul,Korea Works collection: Maseril art center, nansong art museum, Paris, France and China cultural exchange center, chiyoda art museum, Japan Published works: "Art", "art observation", "art criticism", "literature and art research", "Chinese oil painting", "decoration", "Chinese art", "art world", "attention to art", "selected works of Chinese art", "sketch art of du jianqi"
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