四川省美术家协会副主席姚叶红：三星堆文物造型是写意和写实的结合
Sichuan Artists Association's Vice President Yao Yehong：Sanxingdui's cultural relics' shapes are a combination of freehand and realistic brushwork.
川观新闻记者 邓翔沣 王秋萱
青铜面具、青铜神树、青铜神鸟，宣纸缓缓铺开，姚叶红用寥寥几笔为三星堆再次赋予新的“生命”
The Bronze Mask, Bronze Sacred Tree, Bronze Sacred Bird... Yao Yehong endowed these cultural relics with a new life with his paintbrush.
“三星堆文物让我非常震惊，体现了当时人民的极致智慧，让人对当时的科技发展水平十分好奇！”对于三星堆，四川省美术家协会副主席姚叶红兴趣浓厚。他表示，从艺术的角度来看，三星堆文物的造型夸张有度、充满想象力，例如，千里眼和顺风耳等造型。“只有经济和科技的发展程度到达了一定的水平，才能有这样超前的审美和想象力。”姚叶红说。
Yao Yehong, vice president of the Sichuan Artists Association, expressed his enthusiasm about Sanxingdui's cultural relics: "I am intrigued by Sanxingdui's cultural relics because they reflect the wisdom of the ancients, and arouse our interest in the level of scientific and technological development at that time!" He added that from an aesthetic perspective, the shapes of Sanxingdui's cultural relics, including figures of clairvoyance and clairaudience, were exaggerated and full of imagination, which could only be the product of an economy and technology that were highly developed.
姚叶红，1983年师从于“三峡画派”创始人岑学恭研习山水画。他的作品先后在北京、上海、山东、海南、四川等省市美术馆展出，并在日本、新加坡、美国等地举办个人画展。出版有《姚叶红国画选》《姚叶红山水卷》《荣宝斋画谱·姚叶红山水画》等。
Yao Yehong studied landscape painting under Cen Xuegong, pioneer of the 'Three Gorges Painting School', since 1983. His works have been displayed in art museums in Beijing, Shanghai, Shandong, Hainan, and Sichuan, and he has held personal exhibitions in Japan, Singapore, and the United States. His published works include Yao Yehong's Chinese Painting Collection, Yao Yehong's Landscape Scroll, and Rongbaozhai Painting Copybook: Yao Yehong's Landscape Paintings.
“作为一名艺术工作者，我也认为三星堆文物夸张的表现方式是我们无法想象的，极具突破性。”姚叶红的作品以中国山水画为主，他认为其体现了中国山水的张扬与大气，这也和他自身的性格有相符之处。“国画重在写意和写实的结合，我认为三星堆文物的造型也是将两者很好地进行了结合。”对于此次的再创作，姚叶红表示，他此次选择了三件有代表性的三星堆文物，并用多种国画表现手法，在一副画面中进行渲染和描绘，让其既有写意的画面也能一眼看明白是哪件三星堆文物。
His works are mainly landscape paintings because he thinks he can demonstrate Chinese landscapes' strength and majesty, which are qualities he believes match his own personality. Yao Yehong told us: "As an artist, I also think that the exaggerated expression of Sanxingdui's cultural relics is unimaginable and extremely groundbreaking." "Chinese painting stresses the combination of freehand and realistic brushwork, and I think Sanxingdui's cultural relics' shapes are also a perfect combination of the two styles." Yao Yehong said. In addition, he also shared with us his re-creation ideas. He selected three representative Sanxingdui cultural relics and used a variety of Chinese painting expression techniques to render and depict them in a picture, which enabled him to make use of his freehand painting skills to precisely capture the essence of these cultural relics.
“哪怕时间过去几千年，部分三星堆文物出土后仍存留了一些色彩。”姚叶红还表示，因为古代对色彩非常讲究，大量使用花青和朱砂等矿物颜料，所以他认为三星堆文物本来的颜色一定是非常丰富的。姚叶红表示，这和中国山水画有异曲同工之妙，都是用大自然的色彩为其上色，而这样的颜色永不褪色。
Yao Yehong told us: "Even though thousands of years have passed, some cultural relics unearthed at Sanxingdui still retain some of their original colors." From his point of view, since the ancients were fastidious about colors and utilized a lot of mineral pigments, including cyanine and cinnabar, the original Sanxingdui cultural relics must be richly colorful. He added that this suggested an affinity with Chinese landscape paintings because both Sanxingdui cultural relics and Chinese landscape paintings took colors from nature, and such colors never faded.
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