少 年 游
徐 累
傳統(tǒng)藝術(shù)衡量于當(dāng)代實(shí)踐是一種“立竿見影”的關(guān)系。既然我們都清楚過去的經(jīng)典早就樹起了偉大的標(biāo)識(shí)，就沒有理由對(duì)這種曆史的照應(yīng)視而不見，或者因爲(wèi)影響的焦慮而掉頭不顧。全球化的路線企圖使世界文化的多義性和豐富性隱入夜晚，這并不是一個(gè)善意的結(jié)論。中國(guó)當(dāng)代藝術(shù)的遠(yuǎn)行已經(jīng)發(fā)生，但我們應(yīng)該提醒自己，離開是爲(wèi)了更清楚地回望，我們?cè)谶@個(gè)地界努力延伸，是爲(wèi)了更有一種合理的角度與曆史的高幟遙相致意。
注入傳統(tǒng)藝術(shù)的激素，使自己看上去既有型又活力，如今成爲(wèi)許多中國(guó)新一代藝術(shù)家的策略。當(dāng)然如同我們看到的那樣，大概爲(wèi)了符合文化的正確和進(jìn)步的主張，這些藝術(shù)家偏好用另外一個(gè)語言系統(tǒng)答題，而對(duì)我們自身固有的繪畫譜系，確切說是傳統(tǒng)中國(guó)美學(xué)理想和形式的特殊藝術(shù)類型——工筆或水墨，熱情就少了狠多，甚至流露出鄙夷的神情。一般的看法總認(rèn)爲(wèi)，舊的形式總是與現(xiàn)代性相違背的，是一種妨礙，何況在這個(gè)俗稱爲(wèi)“中國(guó)畫”的領(lǐng)域，現(xiàn)狀確實(shí)頹唐，不僅習(xí)氣，而且濁氣，一個(gè)生機(jī)勃勃的傳統(tǒng)變成僵硬的化石，別說與中國(guó)過去的偉大藝術(shù)成就羞于相對(duì)，甚至難以用藝術(shù)的基本原則予以尊重。這當(dāng)然成爲(wèi)年輕畫家不想溷水摸魚的一個(gè)理由，但這還不是最主要的。由于中國(guó)傳統(tǒng)繪畫是一種特殊系統(tǒng)，無論從“藝”理解、領(lǐng)悟、激發(fā)，到相應(yīng)的“術(shù)”的準(zhǔn)備，需要一個(gè)厚積薄發(fā)的過程。在這個(gè)左右逢源的時(shí)代，上下求索畢竟需要勇氣的，年輕一代耐得寂寞，花得氣力，真是難爲(wèi)。新媒介、新表現(xiàn)、新語言簡(jiǎn)單明快，迅速鋪好了通往全球藝術(shù)高地的坦途，在不絕于耳的塞壬歌唱的誘惑下，許多人逃離了無生趣的桃花源，自我放逐，相看兩厭。
這些其實(shí)并不影響中國(guó)傳統(tǒng)藝術(shù)的端然，它還在它的高位上，帶著憐惜之心看著我們的嬉鬧。一種偉大的文化遺跡是活的記憶，包括在熟悉中國(guó)藝術(shù)傳統(tǒng)的外人心中，中國(guó)傳統(tǒng)工筆和水墨因爲(wèi)其優(yōu)美深邃的表現(xiàn)，能夠引起妙不可言的反響，這種反應(yīng)是由審美理想和材質(zhì)共同作用的，形式有時(shí)就是它的內(nèi)容，是不好割離的。這是一個(gè)根深蒂固的語言傳統(tǒng)，就像中國(guó)文學(xué)必然是以漢語寫作一樣，是文化上的本位。如果說本位是立場(chǎng)，本性是血緣，那么本色就是我們魅力表現(xiàn)的載體。
中國(guó)工筆和水墨非但不是障礙，反而是可以逾越的支點(diǎn)。被妨礙的不是既有的傳統(tǒng)，而是我們自己。如果不是我們自己的看法影響了他者對(duì)我們的期待，這個(gè)前提是可以早一些看到新的可能，不僅使我們自己曆史之內(nèi)的主體更有進(jìn)步，而且能爲(wèi)當(dāng)代世界藝術(shù)版圖的魅力疆土。妄自菲薄等于放棄了某種文化權(quán)力，總是懦弱的表現(xiàn)。如果不是缺乏才能、缺乏自信和缺乏自主精神，中國(guó)傳統(tǒng)工筆和水墨的現(xiàn)代實(shí)踐可能會(huì)比現(xiàn)在有更優(yōu)越的局面?；谶@樣的看法，我對(duì)那些當(dāng)代工筆或者水墨的發(fā)夢(mèng)者，尤其是有才能的年輕畫家抱有一種惺惜，他們不僅是不想“失語”的一群，而且是不想“失敬”的一群。當(dāng)人們迫切需要一個(gè)尚在成型的經(jīng)典給予證明的時(shí)候，他們適時(shí)現(xiàn)身了
郝量、肖旭、孫文三人成行，就是一個(gè)例證。他們研習(xí)的路數(shù)各有側(cè)重，重彩與墨象的意圖清晰，與以往我所熟悉江南一脈的婉約畫風(fēng)不盡相同，帶有蜀人的靈異與詭魅，是一種難得的氣象。他們尊崇中國(guó)傳統(tǒng)美學(xué)的節(jié)制，沒有偏離筆墨的法度，也知道造境的意味，這說明他們對(duì)傳統(tǒng)之道的解語和懇摯。不知古，則不能變古，如今這個(gè)“變”，更有一番幽深窈曲。以我對(duì)他們的了解，所謂“功夫在畫外”，是帶有今天所處時(shí)代的特征。對(duì)現(xiàn)代性的把握，是與中國(guó)傳統(tǒng)文化的認(rèn)識(shí)并置齊觀的。面對(duì)所有的知識(shí)儲(chǔ)備和文化遺産，觸須自由伸展到各自想去的地方，衆(zhòng)生平等，游弋自如，迂回在古典與現(xiàn)代之間，極超曠，極和平，有眼界，有心胸。他們?cè)?ldquo;化緣”中豐富了作品的意義和樂趣，他山之石，攻己之玉，最后落腳到已在的地方的時(shí)候，就長(zhǎng)出了奇麗的果實(shí)。郝量們的成績(jī)更加印證了我所認(rèn)爲(wèi)的新工筆和新水墨的要義，即闡釋立場(chǎng)的改變帶來的變異。在中國(guó)傳統(tǒng)繪畫語境中，藝術(shù)家將自己的性靈隱入山川花草中得到永恒，而新工筆和新水墨將個(gè)人從自然狀物中游離了出來，突顯自己主觀，指認(rèn)經(jīng)驗(yàn)的部分重新予以發(fā)現(xiàn)和綜合，這使得“觀念”成爲(wèi)一種前提，所有的答桉帶有私性的邏輯，總體上卻是一種共震。
孔子讓弟子各言其志，在衆(zhòng)弟子中，他唯獨(dú)贊同曾點(diǎn)：“暮春者，春服既成，冠者五六人，童子六七人，浴乎沂，風(fēng)乎舞雩，詠而歸。”當(dāng)別的弟子只想到自己可以“做”什么，“成就”什么的時(shí)候，只有曾點(diǎn)能夠想象自己“成爲(wèi)”什么，“是”誰。對(duì)郝量們來說，“成爲(wèi)”的理想，是少年的意氣，也是中國(guó)傳統(tǒng)藝術(shù)的再生，平澹真率，言近旨遠(yuǎn)。
展覽鏈接：
Spiritual Journeys Of Youngster
Xu Lei
Mnd energetic. Of course, as we have seen yet, probably in order to comply with the correct and progressive ideas in the field of culture, these artists prefer another language system to answer, but they are not so enthusiastic for our own inherent painting pedigree (exactly speaking, special art types of the traditional Chinese aesthetic ideals and forms—elaborate-style painting or ink-wash painting), and even reveal contemptuous expression. According to the genereasurement of traditional arts by contemporary practice establishes a kind of “instant-effect” relationship. As we all know the previous classics have already put up a great logo, there is no reason to turn a blind eye to such kind of historical reference, or resolutely turn round due to the anxiety resulting from influences. Globalized route makes an attempt to make polysemy and richness worldwide culture latent into the dark night, but this is not a well-meaning conclusion. Chinese contemporary art has undergone a long journey. However, we should remind ourselves that departure aims to look back more clearly. We make great efforts to extend this boundary for the purpose of presenting our compliments for high flag of the history with a more reasonable perspective.
Many Chinese artists in the new generation have now taken advantage of such a strategy: injecting hormones of traditional art to make themselves look smart aal perception, it is believed that the old form is not only always contrary to modernity, but also is a hindrance, not to mention the unfavorable current situation of this so-called field of “Chinese Painting”. This field has not only been spoiled by bad practice, but also has been chaotic. Vibrant tradition has been reduced into rigid fossil, let alone ashamed to compare beauty with the great artistic achievements of China in the past, and is even difficult to respect the current field of “Chinese Painting” on the basic principles of art. This is of course a reason for young artists to shy away from fishing in troubled waters, but it is not the overriding reason. Since the traditional Chinese painting is a special system, a well-grounded process of spurring with long accumulation is required from understanding, comprehension and inspiration in “art” to the corresponding preparation for “skill”. In this era of buttering bread on both sides, conquering the summit absolutely requires great courage as the road is endless and faraway. It is really uncommon for younger generation to endure loneliness and make strenuous efforts in spite of difficulties. New media, new performances and new languages are simple and lively at present, they have rapidly paved the way to the highland of the global art circles. In face of the endless lure of Siren’s songs, many artists have fled from the lifeless Peach Garden, indulge in self-imposed exile and feel fed up with the reality.
These in fact do not affect the lofty and firm of the traditional Chinese art which stills towers in its high, witnessing our frolic with pity in the innermost heart. A great cultural heritage is a living memory. Moreover, traditional Chinese elaborate-style painting and ink-wash painting can arouse incredible responses in the hearts of these outsiders who are familiar with Chinese art tradition because of their graceful and profound performance. Such response is the joint product of aesthetic ideal and material quality. The form is sometimes the content, which are purely inseparable. This is a deep-rooted language tradition, just as Chinese literature is necessarily written in Chinese, which is the cultural standard. If it is said that the standard is the position, inherent quality is blood relationship, distinctive character is the carrier for our demonstration of the charms.
Chinese elaborate-style painting and ink-wash painting are not only far from obstacles, but also the surmountable pivot. The hampered matter is not the established tradition, but we ourselves. If our own viewpoints hadn’t influenced against others’ expectations for us, new possibilities could be available earlier for this premise, which would not only help us advance further within the subject in our history, but also become the enchanting territory in the domain of contemporary global art. Underestimation of our own capabilities is equivalent to giving up a certain cultural power, and it is always a revelation of cowardice. If it not for lack of talent, lack of confidence and lack of self-initiated spirit, modern practice of traditional elaborate-style painting and ink-wash painting may hold preferable position than the current predicament. Based on this view, I cherish the wise appreciation for those dreamers of contemporary elaborate-style painting and ink-wash painting, especially the talented young artists. They not only do not want to descend to the group suffering from “aphasia”, but also do not want to turn into the group of “immodesty”. When people are in urgent need for an ongoing incubated classic to certify that, they present themselves in a timely manner.
As three artists in company, Hao Liang, Xiao Xu and Sun Wen have set a good example. Their profession and research fields feature different emphases, enriched colors and ink representations have clear intentions, which are discrepant from the graceful style of the south in lower reaches of Yangtze River which I am familiar as before. However, their artworks are tinted with great mystery and sly charm from Sichuan talents, which is a rare spectacle. They respect the temperance of traditional Chinese aesthetics, make no deviation from brushwork criteria, and grasp the implication of creating realm, which indicate their understanding and courtliness for traditional doctrine. If you are ignorant of the ancient way, you cannot reform the ancient way. Nowadays this “reform” even proves that a small path opens up on an enchanting view. To my knowledge of them, as the saying goes “You must learn more things beyond paintings if you want to learn painting them”, they feature the characteristics of the current era today, grasp the modernity, and place the equal emphasis on the understanding of traditional Chinese culture. Feasted by all the knowledge reserves and cultural heritages, their artworks extend tentacles to their own desired places at freedom. Upholding a brotherhood of man, cruising freely and detouring between classical and modern realms, they demonstrate extreme vastness, extreme peacefulness, grand vision and lofty broad-mindedness. They enrich the meanings and funs for artworks in the course of “begging for alms”. By other’s fault, wise men correct their own. In final settlement into dominated place, strange and beautiful artistic fruits are harvested. Hao Liang and other two artists’ accomplishments convincingly confirm the essential of brand-new Chinese elaborate-style painting and ink-wash painting in my opinion, i.e., explaining the variations brought about by changes in position. In the context of traditional Chinese painting, an artist conceals his/her natural disposition and intelligence into the mountains and flowers so as to achieve eternality. And brand-new Chinese elaborate-style painting and ink-wash painting dissociate the individuals from the natural subjects so as to highlight their own subjective aspect. The part referring to empiricism has undergone rediscovery and re-integration, which makes “ideology” a kind of prerequisite. All the answers are endowed with the logic with private nature, while lead to a kind of mutual shock on the whole.
Confucius let his disciples to just express their own aspirations once upon a time. Among all disciples, Confucius only assented to Zeng Dian’s opinion: “I would like, on some spring day, when the new clothing for the spring season has been finished, to go with five or six adults and six or seven youngsters to bathe in Yi River, enjoy the cool breeze at the altar of the rain at the Rain Dance Festival, and make our way back home with singing songs”. When other disciples only pondered over “what” they could do and “what” they could accomplish, only Zeng Dian could imagine himself to “become” what and “be” whom he should be. For Hao Liang and the other two artists who share the same ambitions and purposes, the ideal of “become” unveils the youth’s emotion and spirit, but also embodies the regeneration of traditional Chinese art. This is plain and unaffected, with perfect combination of concise words and profound meanings.
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【編輯：袁霆軒】
