武藝 渡之一 198×98cm 紙本水墨 2008
可以把武藝的畫(huà)稱為“現(xiàn)代逸品”。他在畫(huà)壇為人所重的是他20世紀(jì)90軍代中期之后的表現(xiàn),從《夏日組畫(huà)》、《黃村組畫(huà)》、《大山子組畫(huà)》、《丁村組畫(huà)》一路過(guò)來(lái),他的畫(huà)愈發(fā)顯露出一種輕松與隨意,與已有的傳統(tǒng)形式遠(yuǎn)去,與自己的心性貼近。他自己談到這些作品時(shí)說(shuō)：“筆墨最終是性情的產(chǎn)物……為筆墨而筆墨,或不斷地重復(fù)某種筆墨樣式,未免顯得概念和表面”,只有在“筆墨恢復(fù)了它的本來(lái)面目”時(shí),才“更接近于直覺(jué)和本性”。光看這類(lèi)文字,很難想見(jiàn)他畫(huà)的模樣。只有把他的畫(huà)和他所說(shuō)的結(jié)合起來(lái),才能看到他畫(huà)中顯然有自己的“直覺(jué)和本性”。
他的作品是在“平平和和、不急不躁”的狀態(tài)下畫(huà)成的,既無(wú)焦點(diǎn)也無(wú)中心。畫(huà)中的形任意地落在畫(huà)面,有時(shí)候很多向邊緣發(fā)展,呈零散之狀。與這種造型相關(guān)的,也更為重要的是他的筆墨趣味。他把墨色控制在灰色的、亞光的色域之內(nèi),好像男中音控制了高與低兩端音階,在限制的區(qū)域里謀求墨色的豐富性。這種墨色,加上他散淡的、率意的筆法,于是構(gòu)筑出一個(gè)相當(dāng)平面化甚至有幾分“解構(gòu)”意昧的圖景。許多人評(píng)他的畫(huà)“品位”很高,不無(wú)道理。
Recommendation
By Fan Dian
Some even praised Wu’s works as ‘modern masterpieces of leisure’, particularly for his works in the 90’s such as the Summer Days, Huangcun Village, The Son of the Mountain, and Dingcun Village, deluxe and free, far beyond the traditional serious type. ‘I’d like not to repeat others and my ancestors’, why should do so? I think I draw for a release of mood rather than anything else,’ said he, ‘and I do my work according to intuition and nature only.’ So exact as he says above you may see from his work as you enjoy them. In all his works you could not find a focus, or any anxiety, but a smooth natural status. Any object on the paper is so fine line to his environment that seems to fit for living there the most. The major color is gray and sub optical color, like baritone that is limited within alt and bass. His stroke is free, which form a reconstruction-sense of image. Some critic criticizes his pieces for his excessively high taste that could not entertain common audiences, and I think the criticism is on a right way.
【編輯：姚丹】
