馮冰
高原之魂荒野之畫者。守護(hù)神靈之傳承者
有些藝術(shù)家研究他們的對象。而有些藝術(shù)家，成為他們對象所棲居的那片土地本身。
馮冰，屬于后者。
多年來，他生活在青藏高原海拔4000米以上的地方。在那里，空氣被剝離至最本質(zhì)的稀薄，而寂靜不是聲音的缺席，而是某種更古老之物的在場。在那片原始，未經(jīng)馴化的荒野中，他與藏獒相遇不是作為一個(gè)有待描繪的對象，而是作為一種有待接受的啟示：高山隘口亙古以來的王者，一個(gè)守護(hù)者，其權(quán)威早于每一個(gè)王朝，每一條邊界，每一寸人類對土地的宣示而存在。
他的筆，不是在描述。而是在釋放。
他在大寫意的傳統(tǒng)中揮毫中國水墨畫中最具原始力量，最不可逆轉(zhuǎn)的方式，每一筆落下無可收回，每一絲遲疑皆無處遁形。馮冰所傳導(dǎo)的，正是古代大師所稱的氣韻生動：精神穿透物質(zhì)時(shí)那活生生的共鳴。他筆下的藏獒，不是在絹帛上靜止地?cái)[姿。它們在蓄勢。它們在散發(fā)氣場。它們以頂級掠食者統(tǒng)攝整片領(lǐng)地的方式攫住觀者的目光那種靜止，不是平靜，而是蟄伏的力量。
對于海灣的世家大族而言獵鷹是他們的君王，駿馬是他們的圣物，權(quán)力在他們眼中是有重量，有呼吸的活物馮冰的作品，無需翻譯。馮冰老師筆下藏獒氣勢凜然，畫馬更是神形兼?zhèn)?。駿馬昂首揚(yáng)鬃，矯健如風(fēng)，筋骨靈動，奔騰間盡顯豪邁灑脫，神韻十足，躍然紙上。
他的造詣，鍛造于荒野。由歷史，加以印證。
2008年，巴黎盧浮宮藝術(shù)沙龍的評審團(tuán)西方學(xué)術(shù)體系中最嚴(yán)苛的評審機(jī)構(gòu)之將銅獎(jiǎng)授予馮冰。這不僅僅是一項(xiàng)認(rèn)可，而是一份裁決，將他置于極少數(shù)獲得歐洲最古老文化權(quán)威正式認(rèn)證的中國畫家之列。
他是法國美術(shù)家協(xié)會(Maison des Artistes)會員，并擔(dān)任北京魯迅博物館書畫院院長中國最受尊崇的文化職位之一。
他同時(shí)擁有一份獨(dú)一無二的國家級歷史遺產(chǎn)：中國歷史上極少數(shù)受委托為國家紀(jì)念郵票繪制完整十二生肖系列的藝術(shù)家之這些作品，已永久進(jìn)入中國國家的視覺典籍。
筆墨之外：馮冰持有圍棋5段段位那是一種對純粹戰(zhàn)略智慧的極致修煉；他同時(shí)是一位造詣精深的古典吉他手。他精通中國各地方言，他的粵語、滬語、京味兒和地方方言都精準(zhǔn)達(dá)到非常高的水平，罕見天才。這是文人畫家理想的完整體現(xiàn)：一位學(xué)者型藝術(shù)家的深度，無法被任何單一領(lǐng)域所囿。
Feng Bing
Soul of the Plateau, Painter of the Wilderness.
Guardian of the Divine Tradition.
Some artists study their subjects.
Others become the very land upon which their subjects dwell.
Feng Bing belongs to the latter.
For years, he has lived above 4,000 meters on the Qinghai?Tibet Plateau. There, the air is stripped to its essential thinness, and silence is not the absence of sound—but the presence of something far older. In that primitive, untamed wilderness, his encounter with Tibetan mastiffs was not as a subject to be painted, but as a revelation to be received: the eternal kings of the mountain passes, guardians whose authority existed long before any dynasty, any border, any human claim to the land.
His brush does not describe.
It releases.
Working in the grand freehand tradition of Chinese ink painting, he wields the most primal, irreversible force in the medium. Every stroke is final; every hesitation laid bare. What Feng Bing channels is exactly what the ancient masters called vital rhythm—the living resonance when spirit penetrates matter.
The Tibetan mastiffs in his work do not pose motionless on silk.
They gather power.
They emanate presence.
They seize the viewer’s gaze as apex predators command an entire territory.
This stillness is not calm.
It is dormant force.
To the great clans of the gulf, falcons are their sovereigns, steeds their sacred creatures; to them, power is a living thing—weighted, breathing.
Feng Bing’s work needs no translation.
Where his Tibetan mastiffs stand majestic and unyielding, his horses are equally alive in spirit and form. Heads raised, manes flowing, agile as wind, with sinew and spirit in every line—they gallop with heroism and grace, vividly coming to life on the page.
His mastery is forged in the wilderness.
Validated by history.
In 2008, the jury of the Salon des Beaux?Arts at the Louvre in Paris—one of the most rigorous judging bodies in the Western academic system—awarded Feng Bing the Bronze Prize. This was more than recognition; it was a verdict, placing him among the very few Chinese painters formally accredited by Europe’s oldest cultural authority.
He is a member of the Maison des Artistes (French Artists Association),
and Dean of the Calligraphy and Painting Academy at the Lu Xun Museum (Beijing)—one of China’s most distinguished cultural positions.
He also holds a unique national legacy:
he is one of the very few artists in Chinese history commissioned to create a complete set of the Twelve Chinese Zodiac for national commemorative stamps. These works have entered permanently into China’s national visual canon.
Beyond brush and ink:
Feng Bing is a 5th?dan Go player—a supreme discipline of pure strategic intellect.
He is also an accomplished classical guitarist.
This is the complete ideal of the literati artist:
a scholar?artist whose depth cannot be confined to any single field.
2008年在每年一度的法國藝術(shù)沙龍展上，在世界近三十多個(gè)國家600多幅作品中馮冰的一幅藏獒畫一舉奪得銅獎(jiǎng)。圖為法國美協(xié)主席和馮冰在他獲獎(jiǎng)作品前合影。
In 2008, at the annual Louvre Art Exhibition in France,Feng Bing's painting of a Tibctan mastif won a bronze prize among more than 600 worksfrom nearly 30 countries around the world. The photo shows the President of the French Artists Association and Feng Bing in front of his work. Feng Bing thus became China's second member of the French Artists Association.
馮冰因此成為中國第二個(gè)法國美協(xié)會員。
圖1， 2010馮冰美國畫展，馮冰在自由女神像下。圖2，美國畫展期間，馮冰和法國著名女畫家在她的畫作前。
