时间:2022.08.23 来源:阿特网


集市  1990  油画  110x85cm

敬神  1991  油画  130x100cm
Kelsang Tsering, a quite hard-working painter with great understanding of art, was born in the Rear Tibet with abundant sunshine. The mountains in his hometown have helped develop his generous and broad heart, which is always clean and lighted. At the same time, the scorching sunshine has made his will as strong as stones. The rivers have enriched his emotional inner world, which is often colorful. When starting his career in the oil painting, Kelsang Tsering was determined to use the oil painting to express his praise and admiration for the hometown, tell the personal stories of his fellow townsmen and depict their happiness and sorrow......
放生羊  1996  油画  90x100cm
图片赶集  1998  油画  100x90cm
However, he has experienced many difficulties in his career as a painter. Though he received full-time painting education in Tibet Normal College (later known as Tibet University) and spent 2 years studying in Tianjin Academy of Fine Arts, his uneasy soul often flamed and scored his inner world, often sinking him into restless state. He often suffered from pains caused by his unwillingness to stay in mediocre, from vexation when seeking the truth of life, his surprise when finding something mysterious, and the contradictions between heart and hand, notion and ideal, social reality and artistic dream. For a  long time, he was inflicted by the shift of extreme joy and pains, just as Van Gogh did. At that time, his heart, which was never satisied with the current state, kept beating robustly and wildly. He was young at the time and his lust to making paintings was always ready to erupt like active volcanoes. The flood of emotions was not to be curbed. Many years ago when I saw him in a shabby school buiding in a high school in Shigatse, he was holding a pile of his paintings. Some of them were head portraits, some of them depicted sceneries and some were half-body naked portraits. His eyes were full of love and passion for the fine art, emitting his bravery to fight against the earthly world and great enthusiasm for paintings. Because of his extraordinary academic results, he was later transferred to teach in Tibet University, where he was graduated. We often met each other at that time and he still had strong desire and love for the fine art. 
路遇  2001  油画  90x100cm
 远方的歌  2010  油画  120x150cm
The Tibetan painters would never forget Series Oil Paintings of Tibet by Chen Danqing. The moon-calf born in the modern Chinese fine art community not only "cloned"many figure painters, landscape painters and painters of flowers and birds, who had the same style of painting, in the community of Chinese painters. At the same time, the oil painters in China, for a half century, focused too much on realism, thus suffocating the artistic life of many young people. For some time, Kelsang Tsering also took the path of realism. However, thanks to his cool head and sharp vision, his paintings excelled among his peers very quickly. He shifted his attention from the old-styled sheep-skin jackets to the Tibet wool shirt worn by farmers on the bank of Nianchu River. The attention to daily life and nature has helped turned the strong and dense colors into peaceful and plain ones. His oil painting began to depict the earth-made houses and fences, where generations of Tibetan farmers have been living, as well as the swinging curtains and lying cows and sheep. As a result, he found a reliable and sustainable topic, which was deemed as a foothold. for his fine art in the initial stage. And this foothold was nothing but the real living environment and scenes in which his ancestors lived and had happiness, joy, sorrow and understanding of life. For hinterland China and Tibet, Kelsang Tsering was the first painter to initiate the change. After identifying the foothold, the painters have to adopt a proper technique of expression to demonstrate thephilosophy of paintig and reveal their inner world and cultural understanding. From the huge reserve of cultural heritages in Tbet, Gesang Ciren has found the structure and lines of ancient wall paintings. He broke away from the original perspectives, anatomy andscience-based color relations. At the same time, in his paintings we can also find some technical traces in the ink paintings in hinterland China.These features helped establish the peaceful, plain, harmonious and elegant atmosphere on his paintings like pastoral poems, which perfectly blend the real life and ancient traditions. His oil paintings have abandoned fickleness and robust style. They have also reduced grievances and fight in contents. Figures shown in the paintshave peaceful mind and are amicable, kind, affable and lovely. No matter what jobs they take, they have share the aesthetics compatible with the common characteristics of human culture. As a result, Kelsang Tsering has upgraded from the wild, barbarian, backward and uncivilized state into a lofty, graceful and senior aesthetic level. The Aestheticism structure and pattern and plain depiction are farfrom low-level and mediocre art. Instead, they represent the genuine upgrading, thus diverting the viewers' eyes that aspire for senior-level original art into the wonderful, perfect and true world of art. 
村寨新景  2016  油画  110x150cm
古韵  2018  油画  100x80cm
The fine art community in China, for years, has been discussing about localization of oilpaintings. However, oil paintings Western paintings in nature. And more and more oil painters are inclined towards Western paintings. However, on the Tibet plateau, there is a middle-agedpure Tibetan oil painter whose oil paintings have been localized and even Tibetan. Amazed at his extraordinary works, we are also touched by the beauty and style of new Chinese oil paintings, which adopt the form of oil paintings but carry the atmosphere and style of Chinese paintings. We are not only moved by Kelsang Tsering'spursuit, breakthrough and innovation in painting form. More importantly, we are also shocked by and echo with the oriental culture, emotions and history that are added to the field of Western paintings after they are localized. When trying to interpret the oil paintings of Kelsang Tsering, I am deply moved by the peace, joy and harmony between the Tibetan people and nature. The Western critics think the paingtings by Kelsang share the style of countryside paintings by the great French painter Miller in the 19th century, Miller's paintings, such as the Gleaners, the Evening Prayer and the Man with the Hoe, still adopt the traditional Western painting skills because the form is quite heavy and affirmative. Nevertheless, in the paintings of Kelang Tsering, we can find the even spreading and lines taking most part of the paintings. In Miller's paintings, he often depicted the fatigue and helplessness of farmers after the hard field work. But the paintings of Kelang Tsering focus more on the happy life scenes of farmers, bringing the arrogant field taste to the viewers. The figures on the paintings have proper pattern with a little deformation.They often have peaceful expressions and elegant stature, looking like working immortals instead of mortal people. And such peace, plainness and happiness just represent the essential spirit of the Chinese culture. And this painting spirit is just what the Tibetans and Chinese painters try to express. If we give some attention to the many Buddhism wall paintings in Tibet or the painting caves in Dunhuang, we can find the persistent and robust vitality of the spirit. However, as the lifestyle changes, this spirit is gradually decaying and even disappearing. In the form of paintings, Kelsang Tsering is reclaiming this spirit and instilling new dynamics and life into it. He has made a great success by presenting the broad prospect for the localization of Western paintings. His paintings produce the same shock and impact as the Series Paintings of Tibet by Chen Danqing. When Madame Yugert of Le Salond'Automne saw his paintings, he was greatly shocked and invited him to attend this high-level international exhibition, which is desired most by the famous painters in the world.
山崖古寺  2020  油画  60x80cm
The supreme level of art is that artists, by means of art, turn the fragments of daily life into vivid and typical scenes on paintings. For the artistic works, the most difficult part is for the artists to transform all scenes of life, whether it is joy, laugh, anger or criticism, into art. And the readers or viewers are amazed or touched deeply by thse works. Kelsang Tsering is doing quite well in this regard. When viewing his paintings, I can always feel excited, shocked and moved.
坐公交进城  2021  油画  180x120cm
Kelsang Tsering has attended many fine art exhibitions and won many awards. For the genius painter, there are many temptatonts in the real world. When climbing a mountain, you not only have to work hard. but also stay to the path and never get diverted. Be true to your inner world and keep working in the painting community. The fruitful results always belong to you.
1958 生于西藏日喀则市
1978 毕业于西藏师范学院(西藏大学前身)
2022 2022日本福冈“亚洲艺术双年展”
2021 第四届雪域情—西藏油画展 
2020 西藏油画学会抗疫情在线美术作品展览
2020 北京——拉萨西藏美术作品展览,北京宋庄朗坤美术馆
2018 十三名西藏油画家提名展
2017 作品《村寨印象》应邀参加俄罗斯列宾美术馆展出
2017 雪域情——第二届西藏油画作品展览,西藏拉萨
2016 可见之诗——中国油画风景展
2015 青山绿水——西藏油画风景展,西藏拉萨
2014 在美国佛蒙特艺术中心举办个人作品展览
2014 高.高原第四届中国西部美术展油画年度展,西安
2011 中国共产党成立90周年中国油画展,北京
2011 第十一届全国美术展览(油画作品展),湖北
2010 研究与超越第二届中国小幅油画展,北京
2010 烈日—西藏当代艺术展,宋庄美术馆,北京
2009 美国克罗拉多州艺术作品展
2003  第三届中国油画精品展览,北京
2000 20世纪中国油画展
1996 后藏农夫系列作品在日本东京西藏画家作品展览中展出
1994 第二届中国油画展览,北京
1994 第八届全国美展优秀作品奖,北京
1993 蒙德卡罗国际现代艺术展,摩纳哥
1993 法国秋季沙龙,巴黎
1992 巴黎洗衣船画廊举办个人作品展
1986 第六届全国美展,北京
Kelsang Tsering
1958 Born in Shigatse, Tibet
1978 Graduated from Tibet Teachers College (predecessor of Tibet University)
He has studied, exchanged and visited in Tianjin Academy of Fine Arts, Tsinghua Academy of Fine Arts, Paris International Art City, France, and Vermont Art Center in the United States.
Now he is a member of the China Artists Association, a member of the Art Teaching Steering Committee of the Ministry of Education, a director of the Chinese Oil Painting Society, a consultant of the Tibetan Artists Association, the chairman of the Tibetan Oil Painting Society, a professor and doctoral tutor of the Art College of Tibet University, and enjoys the special allowance of the autonomous region, Awarded the Title of "Artist of Virtue and Art" by the Chinese Federation of Arts and Culture.
Major works exhibited and awards:
2022 2022 "Asian Art Biennale" in Fukuoka, Japan
2021 The 4th Snowland - Tibet Oil Painting Exhibition
2020 Tibetan Oil Painting Society Anti-epidemic Online Art Exhibition
2020 Beijing—Tibetan Art Works Exhibition in Lhasa, Langkun Art Museum, Songzhuang, Beijing
2018 "Difference in Fusion" Exhibition of Chinese Contemporary Artists, Berlin, Germany
2018 Thirteen Tibetan Oil Painters Nomination Exhibition
2017 The work "Impression of Village" was invited to participate in the exhibition of Repin Art Museum, Russia
2017 Snowland - The 2nd Tibetan Oil Painting Exhibition, Lhasa, Tibet
2016 Visible Poems - Chinese Oil Painting Landscape Exhibition
2015 Green Mountains and Clear Waters - Tibetan Oil Painting Landscape Exhibition, Lhasa, Tibet
2014 Held a solo exhibition at the Vermont Art Center, USA
2014 Gao. Plateau 4th Western China Art Exhibition Oil Painting Annual Exhibition, Xi'an
2012 "Charming Tibet" Chinese Oil Painting Exhibition, Beijing
2011 Chinese Oil Painting Exhibition of the 90th Anniversary of the Founding of the Communist Party of China, Beijing
2011 The 11th National Art Exhibition (Oil Painting Exhibition), Hubei
2010 "Charming Tibet" The First Beijing Pinzhong Tibetan Oil Painting Exhibition, Beijing
2010 Research and Transcendence The 2nd China Small Oil Painting Exhibition, Beijing
2010 Scorching Sun—Tibetan Contemporary Art Exhibition, Songzhuang Art Museum, Beijing
2009 Colorado Art Exhibition
2003 The 3rd China Oil Painting Exhibition, Beijing
2000 20th Century Chinese Oil Painting Exhibition
1996 Post-Tibetan farmer series works were exhibited in the exhibition of Tibetan painters' works in Tokyo, Japan
1994 The 2nd Chinese Oil Painting Exhibition, Beijing
1994 Outstanding Work Award of the 8th National Art Exhibition, Beijing
1993 Monte Carlo International Modern Art Exhibition, Monaco
1993 French Autumn Salon, Paris
1992 Solo exhibition at the Laundry Boat Gallery in Paris
1986 The 6th National Art Exhibition, Beijing
我要说两句 >>
昵称: 匿名发表
最新评论 >>
· 刘长静:内在的“缘起” 生命的诗意· 白涛的油画艺术
· 曾文军作品印象——邂逅写实油画之美· 梁剑:学习、求索、锲而不舍
· 雷双:虚无深渊旁的舞蹈· 即使在痛苦中刺破了皮肤——张钧油画中的轻...
· 黎柯汝的油画人物· 田圣:魔幻统觉,若即若离
· 宁静苍茫之精神道场——读彭慧油画作品· 施玮:画中的形与色
· 2014第17届北京艺术...
· “青春盛绘 江海情”江苏...
· “梳理”重启中国当代艺术
· 中国女性主义艺术的人文特...
· 中国女性主义艺术的人文特...
· 毕加索鉴定权之争:我们只...
· 河北“元宝塔”入选丑陋建...
· 广州男女裸体雕塑创作者回...
· 作家马识途王火获“东方文...
· 草间弥生(Yayoi K...

视频专区 >>
· “融合中的趣味”当代艺术...
· 对画说:刘力国解读作品
· 从柏林“前行”——中国艺...
· “自然·至道”——杨志凌个展
· 杜建奇画展视频
· 《上山》孟新宇的视频
· 威尼斯双年展采访视频2
· 用艺术的方式表达人生:刘伟
· 现实主义羊肠小道——不如跳舞
· 另一种风景——张成个展
艺术专题 >>
· 这些年那些破不了的苏富比...
· 马云和曾梵志《桃花源》拍...
· 北京艺术品春季拍卖乍暖还寒
· 北京夏季珠宝展现场拍卖会
· 今年艺术品春拍收槌 低潮...
· 艾未未作品“十二生肖”拍...
· 《查理与巧克力工厂》作者...
· 2014第17届北京艺术...
· “青春盛绘 江海情”江苏...
· “梳理”重启中国当代艺术
· 中国女性主义艺术的人文特...
· 中国女性主义艺术的人文特...
· 河北“元宝塔”入选丑陋建...
· 广州男女裸体雕塑创作者回...
· 作家马识途王火获“东方文...
合作媒体 >>  
关于我们 | 广告报价 | 投稿热线 | 招聘信息 | 友情链接 | 联系我们
客服电话 010-52336201   邮箱 art@ccartd.com   QQ 729738158
京ICP证 13004709 号-1  京公网安备 11010502033528号
Copyright 2008-2017  阿特传媒(北京)有限公司