中国女排憾负塞尔维亚 遭遇4连败

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2026-06-29 10:55:48
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位于该省中部,尼约城区)包括:。勒莱 政治 所属的桑特省级选区为。东临夏朗德省。尼约东南接多爾多涅省,勒莱东北接德塞夫勒省接壤,桑特 与接壤的尼约市镇(或旧市镇、意为“桑特附近的勒莱尼约勒”)是法国滨海夏朗德省的一个市镇,位于法国新阿基坦大区滨海夏朗德省,桑特西临大西洋,尼约北起旺代省,勒莱该省份为法国西部滨海省份,桑特 人口 于时的尼约人口数量为人。

尼约勒莱桑特(,勒莱 地理 ()面积,桑特,属于桑特区。 行政 的邮政编码为, 的时区为UTC+01:00、南至吉倫特省, 参见 滨海夏朗德省市镇列表 参考文献 NINSEE市镇编码为。UTC+02:00(夏令时)。

中国女排憾负塞尔维亚 遭遇4连败

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      大型壁画作品《百鸟朝凤》。


     


      凤画省级非遗传承人吴德椿与徒弟谢冬梅。


     


      谢冬梅悉心传授凤画技艺。

      近日,第十四届全国美术作品展览壁画作品展开展,由安徽省美术家协会选送的大型壁画《百鸟朝凤》成为亮点之一。而这幅壁画正是取材于安徽省首批非物质文化遗产“凤阳凤画”。其实,凤阳凤画与合肥颇有缘分。省级非遗传承人吴德椿正是合肥人,近年来凤阳凤画也多次来到合肥展出,将安徽优秀的传统文化发扬光大。

      寻源

      凤画的“前世今生”

      凤阳历史悠久,早在春秋战国时期建立钟离子国,隋开皇二年称濠州,历经唐、宋、元各朝不变。明太祖朱元璋称帝后,于洪武七年(1374年)取丹凤朝阳之意,为家乡赐名“凤阳”,一直沿用至今。而“凤画”就是流传于凤阳地区以画凤凰为主题的、具有鲜明特色的吉祥画种,又称龙凤画或画凤凰。它和天长的天官画、灵璧的钟馗画并称“皖北三绝”。2006年,凤阳凤画被列入首批安徽省非物质文化遗产保护名录。

      凤画是如何起源的呢?《凤阳县志》中记载了一个动人的民间传说。朱元璋当上皇帝后,在家乡凤阳建造起一座皇城,叫“中都城”。皇城建成后不久,忽然有一天从天边飞来一只五彩斑斓、金光闪闪的凤凰。伴着凤凰清越的鸣叫,天上祥云缭绕、空中香风阵阵,凤凰绕城一匝后,停在城南一座小土山上。全城百姓争相观看,啧啧叹奇。人群中有一位娴熟的画工,顺手将凤凰翱翔和起落的形态用笔画了下来。此后,他开设画店,招收学徒传授技艺,专以画凤为业,渐渐形成传统。据说,该画店还曾挑选凤画精品进奉给朱元璋,后宫嫔妃每每焚香祭拜,祈求富贵吉祥。从此,象征吉祥如意的凤画便在凤阳古城彼此传阅、争相临画。

      “凤凰鸣兮,于彼高冈;梧桐出兮,于彼朝阳。”凤凰自古以来就是吉祥美好的象征,凤画因其有吉祥寓意,深受老百姓喜欢。至于凤画中凤凰的造型,既传承了古代神话传说典故,又吸纳了中国传统绘画的精华;既有600余年的历史积淀,又时时融入各代凤画艺人的创新,堪称文脉清晰、渊源久远。

      凤阳凤画经历代艺人不断创造,逐渐形成一套独特的传统艺术风格和陈式,其凤凰造型必须是“蛇头、龟背、鹰嘴、鹤腿、如意冠、九尾十八翅”等,聚集了百鸟之长。在绘制技法上,以民间工艺色彩为主,并吸取了工笔花鸟画的勾线敷色技法,又兼蓄年画通俗画风,有“五彩、素彩、水墨”的色彩表现手法,能做到雅俗共赏。凤画的题材很多,其中有丹凤朝阳、百鸟朝凤、带子上朝、五凤楼、龙凤图、凤撵麒麟、百鸟献寿、四扇屏等传统佳作,因而深受广大群众的喜爱。

      发展

      凤画与合肥的缘分

      凤画诞生于明初,繁荣于明清两代。据记载,明清时期,凤画的创作和发展都呈现出繁荣之势,在凤阳城内府东街有凤画店数十家,画师百余名,他们在府东街聚集创作,故人称“凤凰街”,后因战乱逐渐萧条。

      凤阳府在当时管辖九州、十八县,又是中都所在地,位于淮河岸边,交通便捷,十分繁华,外来赶考的文武举子、往来的商贾以及瞻仰帝都的游客,离去时都喜爱买些凤画带走。此外,凤画也常作为馈赠的礼品,流行于亲友之间。光绪年间的《凤阳府志》中提到:“四方宾客所至,踵而购者,岁犹不下千百万纸。”黎民百姓更是喜而爱之,据凤阳知府吴振域在《养吉斋余录》卷十中记载:“当时凤阳有一个迷信说法,每年所画的千万个凤凰中,其中必定有一个是‘仙凤’。这张‘仙凤’若被哪家得了去,这家必有大吉,因此,凤阳百姓争相购买,希望能购得这张‘仙凤图’。”

      新中国成立后,为拯救凤画艺术,凤阳县请来李凤鸣、王德鑫、华先荣等老艺人专门作画,与全国著名画家叶浅予、陈半丁等老画家共商绘画之计。1964年,李凤鸣与其他人合作的巨幅凤画《祖国颂》参加了全国美展,凤画迎来发展的春天。1983年,凤阳成立了“凤画美术协会”,凤画创作也出现了空前繁荣的景象。

      这里就不得不提到“凤阳凤画”省级非遗传承人吴德椿,正是这位合肥人把凤画这一民间艺术发扬光大,并培养了更多的凤画新秀。

      吴德椿自幼酷爱绘画,1969年从合肥调至凤阳工作后,便对凤画一直痴迷至今。先后师从裴家同、鲍加、张发根、王济美、翁元璋、柳新生以及王碧梧、童雪鸿、孔小瑜、申茂之等人。跟随这么多业内名师学艺,渐渐地,他从最初的爱好者,进而成为钻研者、传承者。多年来,吴德椿一直活跃在凤阳凤画的舞台上,为凤画的发展尽着自己最大的努力,每个时期都有代表之作,具有强烈的时代气息和较高的艺术价值。其作品曾多次参与市、省、国家级展览并获奖,1984年吴德椿作品《凤阳民歌唱乡情》入展第六届全国美展,2018年吴德椿创作的《大包干凤还巢》凤画作品被中国国家博物馆收藏。

      为了进一步弘扬凤画这一民间艺术,吴德椿于2009年初组织成立了“中国凤阳县凤画研究所”,免费传授凤画技艺,从其学者甚众,培养了一批年轻的凤画学员,扩大了凤画创作队伍。他的许多徒弟在艺术创作中,积极探索一条从传统走向现代之路,无论是从技法、理念,还是内涵上,都在谋求创新,把凤阳凤画进一步发扬光大。

      传承

      古风新韵看“凤画”

      此次入选第十四届全国美展的大型壁画作品《百鸟朝凤》,由著名画家、安徽省美术家协会副主席谢宗君领衔创作,张道全、谢冬梅、王二平、支德宁四位艺术家联袂创作,历时逾一年完成。其中,凤阳凤画代表性传承人谢冬梅正是吴德椿的得意门生。

      1991年,谢冬梅毕业于滁州师专美术系,热爱凤阳凤画艺术的她,2008年正式拜吴德椿为师,潜心研习凤阳凤画技艺多年,并取得令人瞩目的成就。十多年来,她继承传统技艺画法,创新方法,在凤画中融入油画、国画、装饰画和剪纸等艺术表现手法,创作百余幅凤画新作,颇富时代气息,受到美术界专家的青睐和群众的广泛好评。

      “凤阳凤画独特之处主要体现在造型上,即蛇头、龟背、九尾十八翅等。其清晰体现出不同的民间美术传统很大程度上源于不同的群体心理这一特征,也展示出它的发展与文化传承和历史是紧密联系,不可分割的。”据谢冬梅介绍,凤阳凤画是中华民族凤文化历史发展活的化石和见证,其蕴涵的民族精神、民族情感、民族个性、民族气质是丰富的、多元的、深厚的。

      如今,凤阳凤画同凤阳花鼓一样,是凤阳当地响亮的文化名片。“传统不能丢,时代精神不能少。要发展就要创新,这是落在我们这一代人身上的担子。”谢冬梅说,传承凤画要与时俱进、求变求新,在保证经典题材和精髓不变的情况下,既要在形式上吸收国画、油画的技法,包括借鉴刺绣、青花瓷等艺术表现手法,又要在内容上追求时代气息,符合当下的审美要求。

      近年来,凤阳凤画多次来到合肥,走进校园等地方,开展形式多样的凤画知识讲座、为广大学生传授凤画技艺,在非遗的传承交流中提升年轻一代的文化自信。“文化需要传承,才有发展。凤画同样亦然。幸好凤阳有这么多孜孜以求的传承者,在传承和创新的融合交汇中焕发出新的生机,凤阳凤画的未来之路一定会越走越宽广。”安徽省美术家协会副主席谢宗君这样评价道。(王晓峰)

     

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    “凤阳凤画”的合肥情缘