四川省工笔画学会会长王申勇：用大自然之美为三星堆上色
Sichuan Province Meticulous Painting Society's President Wang Shenyong：Coloring Sanxingdui with the Beauty of Nature
川观新闻记者 邓翔沣 王秋萱
“我认为，三星堆的消失可能和部落战争有关......”聊起三星堆，四川省工笔画学会会长王申勇顿时来了兴趣，滔滔不绝地讲述他心中对三星堆“来龙去脉”的猜测。
"I think the disappearance of Sanxingdui may have something to do with tribal conflicts..." Talking about Sanxingdui, Sichuan Province Meticulous Painting Society's President Wang Shenyong grew enthusiastic, launching into his speculations about every detail of Sanxingdui history and culture.
王申勇，生于四川彭州，自幼在农村就与动物结缘的他，是国内最具人气的走兽画家之一。不到四十岁就荣获国内外大展金奖6次、银奖3次、铜奖2次，其《工笔走兽画》已成为国内各美术院校的专用教材，他的走兽画时常将动物置之于天地自然间，充分表现出画者对生灵动物、对生态自然的人文关怀。
Born in Sichuan's Pengzhou City and being close to animals in the countryside from a young age, Wang Shenyong is currently one of the most popular painters of wildlife in China. Under forty, he has won 6 gold awards, 3 silver awards, and 2 bronze awards in exhibitions at home and abroad, and his Traditional Chinese Realistic Painting of Beasts has been used as a text for various art institutes in China. In his wildlife paintings, he tends to choose nature as the setting, fully showcasing his humanistic concern for animals, ecology, and nature.
90年代，王申勇第一次去到三星堆博物馆参观，当时就被展出文物的神秘所吸引。“哪怕在今天看来，三星堆文物的造型也是十分前卫！”王申勇表示，作为一名探索当代艺术的画家，他为三星堆文物及其夸张、简洁有力的造型惊叹，并认为这体现了其超前的审美和大胆的创意。
In the 1990s, when Wang Shenyong visited Sanxingdui Museum for the first time, he was intrigued by the mystery of the cultural relics on display. Wang Shenyong told us: "Even today, Sanxingdui's cultural relics' shapes are really avant-garde!" He thought that as a painter who was exploring contemporary art, he was amazed by the exaggerated, simple but powerful shapes of Sanxingdui's cultural relics, and believed that this reflected the ancients' advanced aesthetics and bold creativity.
大自然，是此次参加“幻彩三星堆”创作的灵感关键词。
'Nature' was the key word that drove Wang Shenyong to take part in the 'Colorful Sanxingdui' artwork creation project.
“我推测，三星堆时期已经存在朱砂等矿物颜料，也有可能当时的三星堆文物也曾被上色过。”在此次“幻彩三星堆”的创作中，王申勇的创意灵感也来自于大自然。他认为，三星堆时期文物的色彩应也是由类似矿物颜料等产生于大自然的颜料上色而成，在经过几千年的时间演变后，大部分色彩逐渐褪色。创作现场，王申勇便选择用朱砂等矿物颜料，用国画中的绘画手法，再次用大自然之美“穿越”回3000年，为青铜人像幻彩、新生。
Therefore within his work, he drew inspiration from nature. "I speculate that mineral pigments such as cinnabar already existed during the Sanxingdui period, and it is possible that the Sanxingdui's cultural relics were at that time actually painted." He believed that the Sanxingdui cultural relics were painted using natural pigments such as mineral pigments, but after thousands of years most of the colors had gradually faded away. At the creation site, Wang Shenyong chose to use mineral pigments such as cinnabar and deploy the painting techniques of traditional Chinese painting. He traveled through 3,000 years, coloring the bronze figure and bringing it to life using the beauty of nature.
值得一提的是，红、黄、蓝，是王申勇此次创作的主色调。他认为，三原色是最基本的颜色，也是最天然的颜色。同时，王申勇还表示，三星堆王国的衰落在他眼中多少伴随战争或者冲突，带有几分伤感之意，这也是他大面积使用红色的主要原因。“让我们一起为三星堆上色吧！”王申勇说。
It is worth mentioning that red, yellow, and blue were the main colors in Wang Shenyong's creation, and that this was because he thought that the three primary colors were the most basic and natural colors. Besides, Wang Shenyong also told us that in his eyes, the decline of Sanxingdui Kindom was usually accompanied by wars or conflicts, which cast a tragic shadow over the relics. Therefore, he decided to use more red in his work. Wang Shenyong invited the public to take part, saying "Let's paint Sanxingdui together!"
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