“北大荒是一片神奇的土地。”著名作家梁晓声曾在他的作品中这样写道。北大荒的神奇不仅仅是开垦出了那么多的土地,打出了那么多国家急需的粮食,北大荒的神奇还在于对黑土文化的开掘。北大荒版画就是那些文化中一支璀璨的奇葩。现任北大荒版画院院长的张洪驯就是这支队伍里杰出的代表。夕阳、池塘、村口、大树下,那个近乎荒诞的荷花梦,锁定了他日后一生对绘画的追求。当他走出那片土地,走进农垦日报社的时候,冥冥中他开始了那场梦的实现。18年报社美术编辑的生涯让他积累了厚实的绘画基础,当1999年农垦总局党委将他调任北大荒美术创作室的时候,他的版画生涯真正开始了。经农垦总局党委批准,他在当年就把美术创作室扩展为北大荒版画院。应该说是北大荒版画成就了张洪驯,又是张洪驯将北大荒版画发扬光大,直至今天将其推向了高端。按照年轮的顺序,我们可以把北大荒版画分为三个阶段:早期属于十万转业官兵阶段。那时的北大荒版画主要反映的是火热的拓荒生活,英雄豪迈,战天斗地的壮举和人类与自然界的对抗;中期是七八十年代城市知识青年下乡来到北大荒阶段。那时的北大荒经过十多年的开发建设,已经是千里沃野,万顷良田了。大批的知青画家笔下多数是表现北大荒丰收的景致,对荒原的赞美,这时期的北大荒版画多流于装饰性极强的人工美;第三代北大荒的版画家应该就是以张洪驯为核心的一批老北大荒人的后代,即“本土画家”们。改革开放三十年来,大规模西方文化的涌入,各种西方绘画流派思潮的影响,使这些年青的版画者们很容易接受新鲜的事物,紧接着抽象、半抽象创作出现了;象征主义、超现实主义出现了。张洪驯的版画就是用超现实的手法,用意象的思维,去完成他内心深处梦境一样的世界。他的这种思考多来自于他主观的意念,而这主载他意念的又是那个孩童时期夕阳西下中,村口池塘边那个盛开着无数艳丽荷花的荒诞梦境。人生中有太多的东西都是无法诠释的,就像弗洛伊德对梦境的学说一样。也许那个童年的梦境就是他一生的命相,所以在他日后的创作中,荷花成为他笔下歌颂的主题,即使是在他那些极其抽象的画作中。他说他的创作灵感多是来自于他的意念,无须说那梦中的荷花一定是那个意念的主题。几十年来,他苦苦寻找着那个深藏于他灵魂深处的创作泉眼,他用所有具象的符号来搭建他的创作线条,用超现实的手法在他的画板上一刀刀来完成他内心深处认为的人类理想世界王国,那应该就是深埋于他灵魂深处的图腾!就如同他的画作《紫气东来》。这说明北大荒第三代的版画家们已经开始从宏观描绘走向内心的独白,探索着土地与心灵、自然与人文和谐共处的大命题,不再是简单的对北大荒山水美好的描述,对丰收的赞美了。对北大荒人文的关怀应该说是北大荒版画一个质的飞跃,对这片神奇土地深层的思考已经溶入到了北大荒第三代版画家的创作之中。张洪驯说:北大荒版画是一个流派,不是某一幅画。 “The Great Northern Wilderness is a magical land.” The famous writer Liang Xiaosheng wrote in his work. The magic of the Great Northern Wilderness is not just reclaimed so much land, hit so many countries much-needed food, the magic of the Great Northern Wilderness lies in digging culture of the Black Earth. The Great Northern Wilderness Print is a wonderful flower in those cultures. Zhang Hong, the incumbent president of the Northern Wilderness Printmaking Institute, is an outstanding representative of this team. Sunset, ponds, village entrances, under the big tree, that almost absurd lotus dream, locked his future life after the pursuit of painting. As he stepped out of the land and walked into Nongkeng Daily, he began to realize that dream somewhere. His 18-year newspaper art editor’s career allowed him to accumulate a solid foundation of painting. When the party commission of the Land Reclamation Bureau transferred him to the Beidahuang Fine Art Studio in 1999, his career in printmaking really started. Approved by the Party Committee of Land Reclamation Bureau, he extended the art studio to the Northern Wilderness Printmaking Institute in the same year. It should be said that the achievements of the Great Northern Wilderness Zhang Hong Taming prints, but also Zhang Hong Taming North Wilderness prints flourish, until today it will be pushed to the high end. In accordance with the order of the annual rings, we can divide the Great Northern Wilderness print into three stages: the early stage belongs to the one hundred thousand men and soldiers. At that time, the northern great wilderness prints mainly reflected the fiery pioneering life, the mighty heroes, the feats of war and the confrontations between humans and nature. In the mid-1970s and 1980s, urban educated youth came to the northern Great Wilderness stage. At that time, after more than ten years of development and construction of the Great Northern Wilderness, it was already a fertile ground for thousands of hectares of fertile land. A large number of educated youth painters most of the pen is the performance of the harvest of the Great Northern Wilderness scenery, praise of the wilderness, this period of the Northern Great Wilderness prints flow in more decorative beauty of the artificial beauty; third generation of the Great Wild Wilderness should be Zhang Hong tamer As the core of a group of descendants of the old Great Northern Wilderness, that is, “local painter ”. Since the reform and opening up to the outside world, the influx of large-scale Western culture and the influence of various Western painting schools have made it easier for these young printmakers to accept fresh things, followed by abstract and semi-abstract creations. Symbolism, Surrealism appeared. Zhang Hongmai’s engraving is to use the surrealistic method to use the thinking of images to accomplish the same world as his inner world. Most of his thinking came from his subjective thoughts, which were the main dreams of his imagination. In the sunset of that childhood, the absurd dream of numerous and beautiful lotus blooms beside the pond in the village entrance. There are too many things in life that can not be interpreted, just as Freud’s dream theory. Perhaps that childhood dream is the life phase of his life, so in his later creation, the lotus became the subject of his eulogy, even in his extremely abstract paintings. He said that most of his creative inspiration comes from his ideas, needless to say that the lotus in that dream must be the subject of that idea. For decades, he was searching for the fountain of creation, hidden in the depths of his soul. He used all the symbols of symbols to build up his creative lines. He finished his heart with a knife in his art board with surrealistic techniques Deeply thought that the world of human ideal world, it should be deep in his soul the totem! Just as his painting “purple east.” This shows that the great painters of the third generation of the Great Northern Wilderness have begun to depict the monologue from the macroscopic portrayal to the inner one and explored the great proposition that the land and the mind are harmoniously coexisted between nature and humanity and are no longer simply descriptions of the Great Beilder’s Mountains and Waters. Harvest praise. The care of the Northern Great Wilderness should be said that the Great Northern Wilderness is a qualitative leap in print, deep thinking of this magical land has been dissolved into the third generation of the Great Northern Wilderness painter’s creation. Zhang Hong Taming said: The Great Northern Wilderness print is a genre, not a painting.