曹勇因此壁画声名大噪,在曹勇的艺术实践中也似乎找到了独特的注脚

  一九九三年青春,在东瀛方式市集八年磨大器晚成剑的曹勇以特出人才的地位移居美利坚联邦合众国。  对曹勇来说,从出生地到他艺术思考的发源地福建,最终达到美利坚联邦合众国的经过是三次悠久而劳顿的远足,在此个路上中,他对章程的倾情贡献以致对全人类的悲欢曲尽其妙的注脚都以以其生命作为代价的。也许,曹勇刚开始阶段的思维是一直由台湾那块神性的土地培育的,历经时光的一字不苟,当他在二遍又二遍的渐悟的长河中,他算是开掘,内心深处有着更为Infiniti广阔而又深邃的宇宙堂奥曹勇在这里个路上中逐年成熟,而干练就象征不断地刷新职分。高科学和技术都市林立的United States将带给她怎么着的作画主题材料呢?拥挤的半空中是或不是会排挤掉自由的魂魄?  大家常说,London对美术师来说是西方和鬼世界的中间转播站,而曹勇就要面临的,正是在这里片充满活力、充满机缘、充满角逐的不敢问津的海域里,选用世界头号的国际艺术舞台的核实,接纳艺术宝殿更加高等级次序的冲击和挑衅。  生龙活虎踏上United States的土地,落魄不羁、繁荣而生气四射的美利坚合众国社会生活就给了曹勇全新的感想,他意识到,自身过去领悟的点染体裁已力不能及表明现实的体验和激情,他再一次陷入痛苦的用脑筋想中。偏偏在这里时,从东瀛拉动的几年的储蓄又被期货(Futures卡塔尔国经纪人输个精光,曹勇不能不再度面前境遇生活的困境。时局重新将曹勇丢进了人间炼狱。  在最艰辛的日子里,曹勇将每一日的生活的费用调整在5法郎以内,闭门探究画画。他挑着温馨的画作去敲一家又一家画廊的大门,一次又二遍吃了回绝,但曹勇立下誓言,在其余情况下毫不走其它致富谋生的走后门,他确信,有朝一日自个儿能在这里世界最大的较量舞台上打出一片天来。  就算她的福建画在United States艺术界再度得到掌声,纵然世界有名的Christie拍卖行拍出他的大小说,但曹勇决定把过去的友爱根本下葬掉,从严酷的阵痛中现身新型的宁馨儿,而那,意味着全体从零从前。  为促成从宽阔雪域到天空街市的更换,在美利坚合众国的最早3年,曹勇驾着车,从东到西,从南到北,差非常的少访遍了米国的每一个州,亲历法国人的生存,调换内心的合计方法,经受换骨脱胎的不方便历程,查究新主题材料,新作风,新门槛。他以优秀的心志焚膏继晷地画就了200多幅研究和尝试性的创作,每少年老成幅都计较以意气风发种全新的形式批注自个儿。  一九九八年,曹勇迈上了横濿美利坚合众国的旅程。他驾着风流倜傥辆破车,带着相亲的鸟类秃皮由London匆匆来到伊Stan布尔。他说,南边灿烂的太阳能够把他带回福建。  站在圣Monica的海岸,远眺北冰洋的广大与豪迈,激赏落日的余晖,美妙的月光,月光下的波光涟漪,海角明灭不定的灯火,曹勇被那隔开分离风雨如磐的太平、谐和与清幽震服了!他霍然意识,世界原本蕴藏着如此光彩夺目温暖的情调,本身正站在一片充满了美丽和欢腾的新天地里。此情此景,刚毅地唤醒了曹勇回想深处的新疆映象,他的心恍惚又赶回了苍凉的雪峰  人生有难熬,有挣扎,但也可能有盛宴和仪式,音乐家为啥不能够多成立些欢跃与芸芸众生疏享呢?  一时,曹勇心中的又意气风发扇门张开了,从那扇门中,汨汨涌出了全新的土比斯开湾岸种类、浪漫花园种类、威Cordova为数众多、塞舌尔类别、法国首都为数众多和卡奔塔利亚湾多元。曹勇将古典主义、罗曼蒂克主义、写实主义溶为风华正茂体,并借鉴影像派的光色效应,将发自灵魂深处的激情,将对生命和生活老诚的爱,一股脑融汇到生机勃勃幅幅赞许纯正的秉性和大自然的可喜风情的小说中:草绿海岸的夏夜狂喜,神秘的威奥马哈的追思,阳光下的莺歌燕舞,彩虹映照下爱的祝福曹勇以致把舞蹈、音乐等多样办法成分引进创作中,丰硕友好的点染语言,构建出大家Infiniti赞佩的艺术境界。他要把她的画产生一个几乎的Party,二个美妙绝伦、老少咸宜的Disney。当谈起标注着她艺术生涯主要时机的著述《圣Monica》时,曹勇说:直到今日,小编仍是可以明了地感觉到自己把心里的激动倾泄到画布上的那份纵情的快乐的颤抖,当本人形容近二百个人物在夏夜街头的节日假期日中纵情的闹饮时,笔者要好也正在庆祝内心的盛典。  1996年,曹勇创设了和谐的书局,果断将小说推入了天堂油画市场中轰轰烈烈而干练的有数印制品市集。2004年,曹勇重返London,以歌唱家和发行商的双重身份参与一年一度春日在那进行的国际艺术界的盛会London艺术会展,那是他的铺面和创作面前蒙受国际艺术商场的初次展布。几十幅热情洋溢的创作石破惊天,大家好奇绘画界黑马的产出,上百家画廊竞相必要做他的经销商。2003年,曹勇书局以曲尽其妙的成就再度现身伦敦,当时的曹勇已产生美利坚合众国显然的艺术家。恍若风(Ruan patrol卡塔尔华正茂夜春风过洋来,曹勇的画如潮似涌地奔进了美利哥的接二连三串,大家以宏大的古道热肠拥抱曹勇的法子,曹勇出以往哪个地方,曹勇迷就追踪到哪个地方。每度绘画作品展览,展览大厅里接连挤得水楔不通,大家每捧着曹勇的画喜极而泣。那总体被舆论界称为曹勇现象。近些日子,曹勇的摄影文章及星星印制品,不断成为花旗国画廊、收藏人和曹勇迷们竟相购买的走俏,曹勇出版社在美利坚合众国经济宏观不景气的意况下,保持稳健的开荒进取趋向,跻身于美利坚联邦合众国措施市镇最受款待和最具角逐性的连串。如今其贩卖网络已增加到加拿大、东瀛和欧市。在花旗国的印制画二手市集上,曹勇的画始终高居超越地位。  曹勇以为,大家之所以爱她的画,是因为互相都能体味到生存中的美和性命的摄人心魄。 佛罗里汉中一个人画廊高管对曹勇说:小编一直不曾看到买画的人由于对画画大师如此诚心的感谢,他们心获得风姿浪漫种心灵的撞击,体会到你付与人们的爱和温暖。加利福尼亚州壹位生活并不富有的女孩子在摄影《法国首都的梦》前久久徘徊。她含泪告诉曹勇,她曾和先生在画中的咖啡店迈过了最甜蜜最轻薄的时节,七年前相公一命呜呼了,此画使他反复旧梦深感安抚。她将女婿的旧物放在公园里卖(yard sale),当他数得所得收入适逢其会能够买此幅画时惊奇不已,她唯命是听:这是男士从西方送给她的礼金!一人得了肉瘤的收藏人说:亲属们在家里每一日为自个儿用灯的亮光照着曹勇的画,望着画,作者十分受感动,感觉极其的熨帖和安居。在加利福尼亚州具备八家画廊的鉴赏家MartinBrown在经受电台访谈时说:超少个书法大师能像曹勇那样,使画面充满梦幻,充满欣喜,让人们冷俊不禁地步入她构建的这一个地球上重视的乐园。小编觉着曹勇是本世纪最宏大的歌唱家。大家所能期望的是:他将美好生活的音讯不断传达给水墨画收藏大家,同一时候传达给世界上存有爱好和平的人们。  在追思本身三十几年的生命旅程时,曹勇说:从广西老家到神秘云南,到日本,到今世化的美利坚配合国,小编下意识地经历了一场大融汇:汉代的、今世的,东方的、西方的,中夏族民共和国的、东瀛的、南美洲的、United States的、世界的,以致各样流派的,全数那几个孕育着变化的经过都让我认为,多个美术师将内心和自然万物的关系,以致与民众享受的机要。  曹勇就如叁只蜜蜂,从一片花瓣飞到另一片花瓣,捕捉生命中每天的独特与芳香,给看她文章的人带给幸福和舒服。他认为,作为一名音乐家,活着的含义就是:能给世界留下一眼清泉,留下内在的、真实的、最周围生命源点的泉眼。  二零零三年,多次经过沉浮、漂游国外十几载的婴孩曹勇,回到了难忘的精气神儿家园,再一次与四川干杯。  曹勇说:在湖北有过摸到了天的感觉,但那是聪明的清醒,像三个东西进去了您的人身。主要的是,我在广西的荒野和大山间流浪时意识,小编豁然能听懂大山的长啸和荒原的喘息,那是风姿罗曼蒂克种回归到生命源头的提神,是后生可畏种融合到茫茫宇宙的销魂。  曹勇来自东方,却又决定归属西方。其实,在她的骨子里,原来就一直不东西之分。一如她今后的天幕的街市,一切都追求圆融通透,追求大梦初醒的超然之境  哦  詛嘛呢叭咪哞  In the spring of 1991, after a five-year stay in Japan, Cao Yong, an outstanding artist in the Japanese art world, relocated to the United States. Cao Yongs move from his birthplace in China, to Tibet, the cradle of his artistic thinking, to Japan, where he achieved recognition and success, and, finally, to the United States, was a long and bitter journey. Through his journey, he matured, constantly taking on new missions in life. During this time, he devoted his heart and soul to his artwork. His passion was to exhibit his experiences of life on canvas to share with the world.  What scenes would Cao Yong be inspired to paint in the United States? A country with a great number of cities, built with sophistication and high technology, What impact would these paintings have on its people and their souls?   Upon his arrival to America, Cao Yong made New York City his home.He was overpowered by a new feeling that needed to be expressed through his art. To him, American society expressed ideals that reflected liberty, prosperity, and the vitality. He realized that his previous painting language, of which he had a sound command, could no longer express his experiences and feelings in this new world. Once again, he reached down into his souls deepest recesses.   It is often said by artists that New York City is a transit station between Heaven and Hell. Known as a city filled with life, energy, opportunity, and competition, Cao Yong was exposed to the test. Like the amazing flash of a shooting star, he entered the arena of the worlds top international artists, astounding and challenging their world.   Fate once again threw him into a dilemma. Unfortunately, the wealth he had accumulated over the years was squandered by those whom he had trusted to help him with investments. He was faced with a fresh round of extreme financial hardships and predicaments. During this time, Cao Yong budgeted himself to spending only five dollars a day. He stayed at home and studied painting. He tried to sell his paintings to many galleries, but because he was unknown as an artist, his paintings did not sell. Despite these obstacles, Cao Yong vowed never to compromise his art to earn a living. He firmly believed that, one day, he would finally be successful in the Western art world.   His Tibet Specific paintings once again received acclaim this time from art circles in the United States. Because of his poor financial condition, he was forced to sell some of his beloved masterpieces at the famous Christies auction house. His paintings brought an impressive amount of money, and he was able to start over once again.   In order to achieve a new transformed painting style different from that of the vast snowy Tibetan Plateaus to one that would be appropriate in prosperous American cities, Cao Yong spent the first three years of his stay traveling throughout the United States. The journey on the road exposed him to life in America; but, more importantly, it transformed his way of thinking. The journey was filled with explorations of new subjects, styles, and techniques of painting. With an extraordinary perseverance, he painted over 200 self- exploratory and experimental works. In each of these works, he tried to reinterpret himself in a new way.   In 壹玖玖捌, Cao Yong, with his pet bird, Toby, drove his car from New York City to Los Angeles, California. He stated that the brilliant west coast sunshine brought him back to his days in Tibet.   Standing on the Santa Monica Pier, Cao Yong looked at the vastness and magnificence of the Pacific Ocean. He basked in the afterglow of the setting sun, the softness and grace of the moonlight, and the flickering lights in the coves. He was overwhelmed by the peace and tranquility that this place exuded. He visualized many brilliant and warm colors in the world, and saw himself standing on a new horizon full of beauty and joy.   These wonderful new sights caused Cao Yongs memories to return him to the desolate snow-capped plateaus of Tibet. He thought-Life is full of pain and struggles, but it is also filled with happiness and celebrations. An artist should create more beauty and joy to be shared with all living beings.   At this moment, the doors to his soul opened, and through them poured the Golden Coast, 罗曼tic Garden, Venice, Hawaii, Paris, and Mediterranean Series.From the deep seated passion of his soul and his love for life, he drew upon the color and light effects of the impressionists, and integrated classicism, romanticism, and realism into his works.   He dedicated them to the purity of humanity and the charms of nature, the summer night carnival on the Gold Coast, the mysterious memories of Venice, the singing birds and blooming flowers in the sun, and the good luck wishes below the rainbow. He even integrated dance, music, and a number of artistic elements into his paintings in order to enrich his painting language and create an artistic realm pleasing to the eye. He wanted to turn his paintings into a grand occasion or a fantasy world suitable for the young and the old.   When discussing Santa Monica, a work marking a significant turning point in his art career, Cao Yong said, Even today, I can still clearly sense my great joy as I poured my heart-felt emotions onto the canvas. When I painted the 200 plus figures enjoying themselves at the pier on a warm summers night, I experienced a wonderful celebration in my heart.   In 壹玖玖玖, Cao Yong formed his own publishing house. He put forth a limited number of artworks into the western market. In the year 二〇〇二, Cao Yong returned to New York-- not only as an artist, but also as a publisher. He exhibited his artworks at the New York Art Expo, a great international art exposition, held once a year in springtime. This was the first appearance of his enterprise and artworks on the international market. His numerous works proved to be a great force at the Art Expo. People marveled at the rise of this new and immensely talented artist. Over 100 galleries competed to act as his agent after his startling exhibit.  In 二〇〇二, and 二零零七, Cao Yongs Publishing House again exhibited Caos work at the New York Art Expo. Already a household name in America, his paintings were very popular and widely sought after. Like a fresh breeze crossing the sea at night, people embraced his art with passion. In just a short period, Cao Yongs artworks hung in numerous American homes. Wherever Cao Yong went, his fans followed.When his artworks were exhibited, the galleries would be packed with collectors, some of them overcome with tears. The media often referred to them as the Cao Yong phenomenon.   Cao Yongs publishing house grew and ascended to the ranks of the most popular and competitive art publishing house on the American market. Its sales network has expanded and covers the Canadian, Japanese, and European markets. Cao Yongs works of art have played a dominant role in the art markets of the United States.  Cao Yong stated that the reason why people love his paintings is that he shares the same emotional opinion about the beauty and charm of life as they do. The owner of a gallery in Florida told Cao Yong, Ive never seen customers feel such sincere gratitude for a painter. Its as if they were personally experiencing the spiritual awakening, love and warmth you give them.   A California woman stood before the oil painting, Parisian Dream, with tears in her eyes. She told Cao Yong that she had spent her most memorable and romantic moments with her husband at the cafe depicted in the painting. Her husband had passed away two years earlier, and that painting reminded her of the sweet old days. She added that, to view it, gave her much comfort. She held a yard sale to dispose of her husbands personal belongings from which the earnings from the sale allowed her to purchase the painting. Thus, she believed that the painting was a gift that her husband had sent to her from Heaven!   An art collector who was suffering from cancer said, Every day, my family members lights a lamp before one of several paintings created by Cao Yong, and every time I see it, I am greatly moved and feel extreme peace and tranquility.   During a television interview, Marty Brown, proprietor of a chain of eight galleries in California said, Except for Cao Yong, no artist can fill his paintings with such fanciful surprises. People cannot help but enter the beautiful and earthly paradise that he has painted. I believe that Cao Yong is the greatest artist of the century. We wish that he continues to convey the message of a beautiful life not only to collectors of fine art, but to all peace loving people in the world, as well.   Cao Yong, in recalling the journey of his life over the past several years said, In the process of moving from my hometown in Henan Province, China, to the holy land of Tibet, to Japan, and finally to the modern United States, I subconsciously experienced a massive integration. It was the integration of ancient, modern, Eastern, Western, Chinese, Japanese, European, American, and international art, as well as various schools of art. From this integration, there was an emergence of change. I felt the importance of communication between the soul of a painter with that of everything in nature, as well as the importance of sharing with others.   Cao Yong is very much like a bee flying from flower to flower. By embracing each day with enthusiasm and wonder, he brings happiness and comfort to all who see his paintings.   In 2004, after ten years of struggle overseas, Cao Yong finally returned to his spiritual homeland of Tibet. Cao Yong said, In Tibet, I felt as if I had touched the sky, as if something had entered my body for a lifetime. I understood the sighs of the mountains and plateaus, and that was an inspiring feeling. These valuable memories are an intricate part of my life.   Cao Yong was born in the East, but he also belongs to the West. He encompasses both worlds within him. In the mind of Cao Yong, there is no distinction between East and West. Just as he depicted his vision in The Streets in Heaven what he always pursues is a thorough integration of supreme enlightenment.

  壹玖捌玖年年末,曹勇带着在江苏抹不掉的人生阅世,离开家门,东渡扶桑。  初到东瀛,空气里飘着的金桂香,让曹勇觉获得了天堂。他呼吸日本首都湾的幽蓝,浪游新潟县的静美,然则生存的严酷性摆在曹勇前面,他只好回到炼狱。  他找了好几份专业都还没被收音和录音。去印厂,人家嫌他不懂加泰罗尼亚语;去旅社洗碗,人家嫌他头发长;后来她去做古文物开掘,人家开采他是中华夏族,要他改名字他不改。在找专业遍无着落的情景下,曹勇想起自个儿曾经在张家界的天葬台帮着次仁剥过尸体,心想,侍候活人不完了去侍候死人。他操起铁锹和扫把去到东京(TokyoState of Qatar流将军岭陵园,与风流倜傥帮老人老太太一同打扫墓地,发掘墓穴,但那份职业曹勇也只干了三个月十十六日,因为他不曾艺术忘掉画画。他时时带着一身尘土,无视一双双鄙夷的目光,走进一家家画廊,读画,赏画。他发誓要靠画画过上好日子,朋友们都笑谈他一枕黄粱。  后来曹勇在一家设计所找到风华正茂份专门的学问,给部分生意地方画水墨画。凭藉在台湾接摹摄影练就的硬功,曹勇初露锋芒便引来油画界的秋波。一天深夜,他刚为朝气蓬勃座商业余大学楼风流倜傥楼的快餐店忙完门脸画,就被楼上的业主叫住,希望她扶助校正坐落于八楼主题休憩大厅的豆蔻梢头幅雕塑,这幅雕塑是壹个人教师领着多少个学子刚画完的,耗费资金上千万日币历时三个多月,但董事长总感觉远没有大器晚成楼的油画美貌,那才找到曹勇。曹勇看后说,无法改只好涂掉重画。此时离开始营业只剩余八日的时光,老总疑虑重重,曹勇却信心十足,在既无蓝本也无草稿的状态下,曹勇不休不眠地画着,引来远近无数扫描的人群。四日后,在那个取名称为天子的灶间的旅社,当一幅长16米,高3.5米,共有十七个绘影绘声的传说人物的特大型油画《亚洲国王的晚宴》高水平地展现出来时,大家傻眼了。这一场赌钱为曹勇拿到了卓绝的小名,赢得了在东瀛的第生龙活虎桶金,更获得了职业和生存的紧要关口。  曹勇由此雕塑声名大噪,他树立了投机的集团:CG雕塑制作集团,来自各市的订单让她忙绿。几年间,曹勇的水墨画装饰了日本居多城郭的风靡建筑、高级商铺和首要性祭拜场馆,成为东瀛都会风流倜傥道道靓丽的风光,曹勇更被公众承认为整东瀛最负闻名的雕塑大师。与此同一时候,曹勇未有间断过自个儿的美术创作,以至画出了于今甘休最棒的吉林难题的壁画和大批判显示印度共和国、尼泊尔社会风情的小说。那么些小说在日本大名鼎鼎的版画馆和画廊及中华夏儿女民共和国湖北地区实行展览时惨被热烈追求捧场。东瀛最具影响力的图画商议家Yoshida Yoshie提议,曹勇的文章振撼艺术界不仅因为其形式上的卓著价值,更是因为其深入的洞察力和对大家生活的社会风气的不战而屈人之兵的熏陶。他说,曹勇画中的世界是她二十几年未见的离奇现象。日本绘画界和资源音讯界称曹勇为现代戈雅,我们时期的点子天资。  上个世纪90年份初的东瀛,可谓东方世界与天堂文化产生相撞的前沿阵地,曹勇在这里个东西方文化交融的热水区域里磨拳擦掌,查究西方各类办法思潮和法家的精髓,并在谐和的水墨画创作中开展英勇的尝试。他的水墨画色彩饱满,笔法时而细腻,时而奔放,静则展示抽象的空间感,动则描绘Infiniti的一方平安定协和丰满的下方理想,散发出浓郁的西方人文主义思想色彩和伦理气息。对曹勇来说,扶桑是她从东方通向南方的跑道,他在这地完毕了与西方的联网。  纵然已生活安定、功成名就,但曹勇这一个天禀不可能稳固的魂魄如同已听到来高慢洋彼岸自由美眉的倡议。他再也不可能忍受无休无止地为赢利而画水墨画。他说,如此下来,积存的是金钱,失去的是生命,他必得离开扶桑。  In 一九八七, Cao Yong arrived in Beijing where he held his first art exhibit. The artistic circles of Beijing were astounded by the more than 40 exquisitely beautiful paintings created by one man. The exhibit was covered by domestic and foreign media such as the overseas edition of The Peoples Daily, The Fine Arts Paper, Reuters, and Asashi. Afterwards, Cao Yong was enthusiastically invited to lecture at several foreign agencies in Beijing.   However, due to Chinas limited understanding of the use of realism in painting, his innovative works were not completely appreciated nor accepted. The art exhibit suffered a setback; but, fortunately, it put Cao Yongs work to the test. Later, his paintings were sent to Japan, Europe, and the United States where they were widely accepted and still enjoy continuous popularity.  At the end of 1987, with his unforgettable life experiences in Tibet, Cao Yong decided to travel to Japan. Smelling the sweet aroma of Osthmanthus flowers in the air, he felt as if he had arrived in Paradise. He enjoyed the deep blue ocean of Tokyo Bay and the tranquil beauty of Hokkaido, but life would not be easy. Once again, he would face many hardships and misery.   Cao Yong again suffered much discrimination. He tried to find work, but failed. He was met with indifference and bias because he could not understand nor speak Japanese. When he asked to work as a dishwasher in a restaurant, he was refused because his hair was too long. Later, he sought to join an archaeological excavation team, which refused him because of his Chinese heritage. He was even asked to change his name. Being a proud man, he refused, and lost an opportunity to work.   Faced with unemployment, Cao Yong felt that he should have stayed in Tibet where he had helped a Qangba (a caretaker of the deceased卡塔尔国 on a celestial burial ground. He said, Since I cannot serve the living, why not serve the dead?   Because of continued hunger and financial poverty, he had no alternative but to work in a cemetery in Tokyo. He swept the graveyards and dug graves.   He would often go into galleries to study and appreciate the works of art, ignoring his physical appearance and peoples scornful eyes. He vowed to live a better life by painting, even though people called his vision an idiotic fantasy.   Due to the skills that he had gained from copying the murals in the caves of Tibet, Cao Yong finally found a job as a painter with a commercial decorating company, and began to paint murals for businesses. His first murals attracted great attention. One evening, the owner of the Kings Kitchen Hotel called him to his office and asked him to revise a mural. The mural had been painted by a music professor and several of his understudies from the National University of Fine 阿特s in Tokyo. This mural had been completed in one month and at a cost of approximately ten million yen.  Cao Yong stated to the hotel owner that the mural could not be revised, but had to be re-created in its entirety. The hotel owner cautioned Cao Yong that the mural had to be completed within four days due to the grand opening of the hotel. Cao Yong assured the hotel owner that he could complete the project in the allotted time. Without blueprint or draft, Cao Yong painted day and night. Four days later, the mural titled, Dinner of a King in Europe was unveiled. It depicted 16 classical figures that reflected the images that the owner desired. The 16-meter long by 3.5-meter wide mural displayed the fact that Cao Yong was a master artist and muralist. The gamble that Cao Yong had taken allowed him to be nicknamed superman, and catapulted him from obscurity into an overnight success in Japan.  Cao Yong became a household name in art circles. His success allowed him to establish his own art company called C G Mural Wall Painting Company. His newly established success led to tremendous demand for his talents. Within a few years, murals painted by Cao Yong were used to decorate stylish, elite business buildings, as well as ceremonial sites in many cities of Japan. His murals added brilliant color to the cities, and established Cao Yong as the most famous mural artist in Japan.   During this time of great success, Cao Yongs passion for individual art did not cease. He exuded creativity that led him to produce beautiful oil paintings of Tibet, as well as paintings that reflected the social customs and practices of India and Nepal. These works of art were received with enthusiastic acceptance when exhibited at the famous museums of fine arts and in galleries in Japan and Taiwan.  The most influential fine arts critic of Japan, Yoshida Yoshie, stated that the introduction of Cao Yongs artwork upon the art world ascribed status to him not only for outstanding artistic ability, but also for a profound insight and huge impact upon our world. He said that the world depicted in Cao Yongs artwork was an extraordinary phenomenon that he had not seen in many years. The art circles of Japan and the press praised Cao Yong as a modern Goya and as an artistic genius of our time. It is said that, Cao Yongs murals encompass beauty likened to a symphony of music.   To Cao Yong, Japan was a track upon which he ran from the Eastern world to the Western world. He also considered Japan a place where he could integrate Eastern and Western art traditions. In the 1989s, Japan was at the forefront of a collision between Eastern and Western cultures. Cao Yong was eager to explore the essence of Western art trends and schools of thought. He boldly experimented with it in his mural paintings.   Cao Yongs early thinking was influenced directly by the holy land of Tibet. Because he suffered extreme hardships for many years, there grew in him a tremendous well of emotions, thoughts, and understanding. He realized that there were even deeper spiritual places that he had never visited, which could aid him in his lifetimes journey.   Filled with brilliant and exquisite color, his murals had original characteristics never seen before in the art world. When static, they embodied the abstract sense of space. When dynamic, they depicted the worldly desires for peace and affluence. His murals reflected a pervasive air and color that expressed Western humanism.   Despite his stable life and great success in Japan, Cao Yong, born with a searching and inquisitive soul, heard the call of the Statue of Liberty from the other side of the world. He could no longer bear to ceaselessly paint murals for money. If the situation continues, he said, I may accumulate money, but I will surely lose myself. He felt that he had to leave Japan and travel to the United States to pursue his lifelong dreams.

  作者是先看过曹勇的图集,后来看她本人的。第3回拜见,让小编大感意外。那么八个名列前茅的西边匹夫。他憨朴拙异的外表,与其画作飘逸灵动的场景实在变成后生可畏种美艳而有意思的比较。一双总是某些眯着的眼眸,闪烁着睿智而温柔的光明,脸上飘溢着后生可畏种单纯而圣洁的笑意。看到他的首先眼,凭直觉笔者就以为,那是八个在世间的食盐加水中浸透过千百次,仍旧保留着童真的美术大师。就艺术成立来说,那又是极端难能的风骨。  等到欣赏了她印在图册中的大多数画作,明白了她起起落落、惊喜若狂的人生轨迹和心理进度之后,愈加证实了本身的率先认为到。  在曹勇的人生和形式历程中,经验过多个主要的等级。四川7年,东瀛5年,美利坚合资国10年。黄彦先生称为三度转变,三度高出,三度升华。如此完美的评说,对自己这么的图腾外行来讲,实非力所能致。我所特地感兴趣的,是他赴美后的代表性画作威澳门生龙活虎体系、浅珍珠红海岸类别、罗曼蒂克公园体系、仙本那类别、巴黎千千万万、东西伯利亚海千门万户等。  面临这么些令人诧异、令人炫人眼目标画作,作者以为在四个东方美术师的眼中笔头下,在三个源于中华夏族民共和国的后生书法家的例外感悟中,源点于亚洲的古老摄影艺术,就好像在灵魂深处,悄然发生着黄金年代种新变。冥冥中,就好像有一双用东方文化、东方精气神付与神力的奇怪的手,在大家前边开发了一个新的、令人头晕目眩、令人激情迸涌、令人认识悠长、令人离开了又要赶回的新的办法世界。欧洲油画细腻逼真的写真情景中,弥漫着风度翩翩种浓烈、超然、清幽、和煦的东头情怀。写实与写意,安谧与喧嚷,自然与万物,人与自然白璧无瑕地融入在一同。在这里间,繁复或简洁,构图或技能,色彩或光影,就像是都变得不根本了。在风姿罗曼蒂克种气韵贯通的情势精气神的总理下,内容和样式在不经意间找到了最得当的表明情势。中华夏儿女民共和国太古圣贤们所注重的大音稀声、大象无形、道法自然等,在曹勇的点子履行中也犹如找到了分外的注释。  公元元年此前与今世,自然与江湖,有些法规是中外古今不变的。而人类的感想以至对这种心得的章程表达却是每时每刻都在转移着。天才的美术师总能敏锐地捕捉到转瞬即逝的优质刹这,让它在人类心灵无垠的高空中,成为共同并不是磨灭的瑰丽风景。曹勇为大家留下的,正是如此一些在我们内心深处引起广大波澜的定势眨眼之间间。《威哈里斯堡的上午》、《威多哥洛美的想起》、《威比什凯克的黄昏》、《法国巴黎的梦》等,均显示出艺术家始终如一的坚定追求。与中期的江苏成千成万相比,外在的表明情势变了,但艺术家这颗渴望温暖自由、追求理想人生,超过物欲世间的心还是依旧。透过那些个舒服、颇有市镇人情气息的画面,让大家同理可得真切地感受到,那迷幻光影下的沉静,豪华红尘中的淡泊。艺术家总是通过这些繁华的表象,在给尘世中的大家追寻精气神儿和灵魂的安歇之所。画面中这几个游离于经典建筑或华丽风光中的人们,无不保持着风华正茂种难得的从容和平静。那恐怕不是超多人当即的生存境况,但却是大家向往已久的境况。难怪西方人如此爱怜曹勇的画,从壹此中黄炎子孙民共和国游览者的思想,小编以为奥密之黄金年代就在于,曹勇的画中浸泡着的这种源于东方文明、赶上俗尘物欲的对和煦、从容、自由、闲适的人类精气神儿的探究与追求。即便像巨作《圣Monica》,虽地方宏大,人物众多,氛围狂热,但还是发挥了人与海洋、天空、椰树,即人与自然的异乎经常的和睦之美。狂热的人群,起伏的波浪,飞翔的海鸟,跳跃的鱼儿,让大家的心灵深处充盈着风流浪漫种和煦、宁静、安宁的鼻息。动与静,热与冷,肉与灵,在此得到了巧妙的谐和与联合,真便是外部的大动与激情迸发后内心大静的调理统生机勃勃。从那么些意思上讲,画作表明的美,是充满协和罗曼蒂克气息的美,是黄金年代着特性光辉的美,是让人在纪念长河中尽情、徜徉咀嚼的美。曹勇到美利哥现在画风的一反既往,后生可畏层层新作的名落孙山,显明已经超(Jing ChaoState of Qatar越了她个人生活和心理的悲欢。他站在东西方文明交汇的制高点上,审视人类的神气困境,寻找办法的新径,他算是完结了二遍能够的小编涅簄。  曹勇的这一堆画作,还向我们宣告出,他用本人天才而异军突起的点子世界,在崇高与粗浅之间搭起了后生可畏座美貌的花桥。让各色人等在愉悦神往的审美享受中,感悟其画作深层的精气神世界,领略其镜头以外的无边韵味。他在方式与公众赏识之间找到了生龙活虎种惊人的平衡。这是稍微音乐大师铭心镂骨的境地。曹勇用中华夏族民共和国知识的和合精气神,用她不倦的方法探究,找到了符合本人的门道。那也是古老的南美洲水墨画走进公众的一条成功的路径。独白一骢在走向开放与多级的华夏写生艺术来说,曹勇的施行为大家提供的启迪,大概比其画作自身越来越多。  曹勇已经在巴黎市确立了上下一心的画廊,那大概是她艺术探寻中的又三个新的起点。他一而再在不倦地求新求变,自己否定,自己超过。由此,大家在庆贺的还要,又充满着火急的希望。是为序。

二零零六年八月七日 匆匆于首都

  Before meeting Cao Yong, I had already had the pleasure of viewing his painting album. The moment I first saw him, I was surprised. He was typical of the men in Northern China; his simple and honest appearance contrasted finely and interestingly with the elegance and intelligence manifested in his paintings. His eyes, although slightly narrowed, beamed with wisdom and mildness.   A simple and innocent smile was always found on his face. At first sight of him, I felt that even after his being exposed to the cruelties of the world numerous times, this artist still had a childs innocence. In artistic creation, such innocence is a rare characteristic. My feelings were further verified after I saw his painting album and read about the great trials, tribulations, joys and sorrows of his life.  Cao Yong experienced three paramount phases in his life and artistic career: the seven years in Tibet, the five years in Japan and the ten years in the United States. Mr. Huang Yan called these the three phases of transformation, transcendence, and sublimation. His was so comprehensive a summary, that as a layperson of fine art, I could never expect to phrase it better.   However, what interested me most were the series of paintings that Cao Yong created while residing in the United States, namely, the Golden Coast, Hawaii, Mediterranean, Paris, Romantic Garden, Venice and his newest, the Grand American Series.   These paintings, so marvelous and dazzling, evoked in me such deep emotions that it was as if the ancient art of oil painting from Europe were undergoing a secret change in the eyes and mind of this great and extremely talented artist from China. I felt as if a pair of magical hands powered by an Eastern spirit and culture was opening up a new, rich and passionate artistic horizon that one could not forget nor part with. From these fine and vivid paintings of European scenes, one can easily find a strong, unearthly, tranquil and harmonious Eastern sentiment.   In Cao Yongs paintings, both realistic and vivid expressions are seamlessly integrated: earth, man, nature, tranquility and commotion. The composition, technique, color and shade, whether complicated or simple, no longer seem important. Dominated by a thorough artistic spirit, content and form find their most suitable way of expression in his paintings.   From the artistic practices of Cao Yong, one may find unique annotations to such sayings of ancient sages as, Great sound is hard to hear, Great form takes no shape and The Dao follows the way things are.  Compared with his former Tibet-specific paintings, these Europe-specific works adopt a different form of expression, but contain the same aspirations of the artist for warmth, freedom and an ideal, unearthly life. From the pleasant images of the streets, we clearly feel a kind of tranquility behind the dazzling lights as well as a stoic attitude towards the clamorous world. Artists always seek to find a spiritual shelter for people through such flashy images. In addition, without exception, all the figures among the classical buildings or beautiful scenery as depicted in Cao Yongs paintings take on a rare look of peace and calmness.  Such scenes may not be a true representation of the living conditions of most people at present, but surely they stand for a long-cherished aspiration in all of us. It is no wonder that Cao Yongs paintings are so loved in the West. From the perspective of a Chinese reader, it can be said that the popularity of Cao Yongs artworks in the Western world lies in the artists pervasive pursuit for a calm, harmonious, leisurely and uninhibited human spirit that originates from the Eastern civilizations and transcends worldly desires.  Even in the masterpiece Santa Monica, the beauty of extraordinary harmony between man and nature stand out in spite of the grand occasion, numerous figures and heated atmosphere depicted in the painting. In the painting, happy crowds of people are strolling on the boardwalk and walking in the sand, enjoying a sunny day at the beach. Tall palm trees fan their leaves to cool the hot summer day; there is a fresh scent of the oceans salt air; the oceans surging waves break into white billows of foam on the sand; flying fish jump out of the water; and high above in the bright blue sky, noisy seagulls soar. All these scenes are brought together in absolute harmony, balance and perfection. This scene fills the depths of our hearts with joy, warmth, tranquility and peace.   Here, a magical harmony of integration is achieved between the dynamic and static, the hot and cold, the soul and flesh. It is a harmonious integration of superficial motion with internal tranquility that follows the outbreak of passions. In this sense, the beauty expressed in Cao Yongs paintings is one of a warm, romantic atmosphere that beams with the splendor of humanity and deserves endless appreciation.  The sharp change in Cao Yongs painting style and the creation of a series of new works after his arrival in the United States have already transcended the sorrows and joys of his own life. Standing on the commanding point of conflux between Eastern and Western civilizations, Cao Yong, by seeking new ways to art and examining the spiritual predicament of human beings, has finally accomplished a wonderful rebirth.  The collection of artworks included in Cao Yongs painting album also reveals the fact that, with his unique artistic talent, he has built a beautiful bridge between popular art and high art, so that all kinds of people may come to understand the spiritual world in the depth of his paintings and experience the endless charms beyond them. He has managed to find the surprising point of balance between art and popular appreciation. Many artists have earnestly longed for this position.   Thanks to tireless artistic pursuit and the unifying spirit of the Chinese culture, Cao Yong has finally found a suitable road of his own; the same road through which the ancient oil paintings of Europe got close to the common people. The practices of Cao Yong may provide more enlightenment for Chinese painting art than his paintings; that of expanding his art to the outside world and reaching towards multi-diversification.  He is always seeking innovation, change, self-denial and self-transcendence. For this reason, we are full of earnest expectation while extending our deepest and most sincere congratulations to him.  As a nonprofessional of art, my comments may be far off the subject, but this just coincides with the common saying, Ignorance leads to boldness. Fortunately, Cao Yongs paintings are there as proof. I believe in the judgment and vision of every viewer of his paintings. This is my preface.

November 20,2005,Beijing