85時(shí)代生命寫意楊樹峰333件（1979——1989）藝術(shù)作品展的九個(gè)樂章，真實(shí)生動(dòng)地記錄了楊樹峰八十年代生活和創(chuàng)作的整個(gè)過程。
作者作為一名視覺藝術(shù)家，他的藝術(shù)作品比任何其他交流形式都更具有說服力。楊樹峰的這批作品，反映了作者在當(dāng)時(shí)特殊社會(huì)背景下的真實(shí)情感、精神和意識(shí)，具有廣闊的交流能力。
這批作品，在其藝術(shù)形式下，潛藏著巨大的生命力和精神性，具有人類藝術(shù)價(jià)值！
The above is the nine movements of 85 times•life Impression —333 pieces of works of Yang Shufeng exhibition, vividly and truly recorded the whole process of living and creation of Yang Shufeng.
As a visual artist, his art works have more persuasiveness than any other exchange manner. These works of Yang Shufeng reflect the true emotions, spirits and awareness of author in the special social environments at that time, possessing wide exchanging capacities.
These works hides great vitality and spirit under the art forms, possessing artistic values for the whole human race!
We hope appearing more pioneer artists with different styles and taking life as topics!
第一樂章 風(fēng)景寫生——迷失在大自然的情懷里
自然風(fēng)景畫在繪畫諸門類中的地位無可替代，返璞歸真、回歸自然是生命的本性。大自然給予藝術(shù)家溫馨的愛，在大自然面前，藝術(shù)家回歸為一個(gè)乖孩子。
受到家庭和成長(zhǎng)環(huán)境的影響，楊樹峰在六歲時(shí)開始迷戀上繪畫，繪畫藝術(shù)慢慢啟蒙了他幼小的心靈，使他對(duì)藝術(shù)世界充滿了美妙又浪漫的向往。
從到農(nóng)村插隊(duì)到走進(jìn)藝術(shù)學(xué)校，楊樹峰越來越迷戀大自然。他到大自然中去捕捉陽光和色彩，去諦聽潛藏在天地山川間的詩和歌。自然界的一草一木、陰晴圓缺都讓他欣喜和熱愛。在充滿活力和樂趣的寫生過程中，楊樹峰提高了眼力、悟性與繪畫技巧，實(shí)現(xiàn)了色彩、技法、情感與大自然在作品中的完美結(jié)合。
在這個(gè)樂章中，作者用稚嫩卻又堅(jiān)定的筆觸、熱烈的色彩、深情的造型，表達(dá)著對(duì)大自然的仰慕之情，如同嬰孩依戀母親乳汁的甜蜜溫暖，作者迷失在大自然純真潔凈的情懷中。每幅作品都是在自然中的一次感通，一次孕育、一次創(chuàng)造生命的過程。它們是兒童般的真情流露，更仿佛戀人慢慢開啟心扉，讓自然與藝術(shù)的永恒氣息融入血液。
這個(gè)時(shí)期的作品沒有任何的學(xué)院派氣息，也看不到僵硬的學(xué)術(shù)性技法，每幅作品都是在用它的稚嫩美深深打動(dòng)著每一個(gè)人。代表作品有《校園寫生》、《紅古寫生》、《東北寫生》、《甘南寫生》、《新疆寫生》等，創(chuàng)作時(shí)間基本是在1979到1981年之間。
The first movement: Landscape Sketch—lost in feelings of nature
The status of natural landscape pictures is irreplaceable in the field of painting, returning to innocence is the original nature of life. Nature supplies warm loves to artists, and artists return to poppet in front of nature.
Influenced by his family and living environment, Yang Shufeng began to be infatuated with painting, and painting slowly enlightens his young heart, making him full of wonderful and romantic longing for the art world.
From going to live and work in a production team in a rural area to entering into art academy, Yang Shufeng become more and more being mad for nature. He catches sun shine and colors, listens to the poems and songs hidden in nature. Everything of nature all makes him joy and loving. In the sketching processes full of vitality and funs, Yang Shufeng improved his discernment, savvy and painting skills, realized perfect integration of colors, skills, emotions and nature in his works.
In this movement, the author applies tender but firm strokes, warm colors; soulful styling to express his worship to nature, just like babies relying on mums’ latex, and the author lost himself in pure and clean thoughts and feelings to nature. All works are emotion exchanges with nature, and process of gestating and creating lives. They are child-like true feelings, but more like lovers slowly opening hearts to infuse the eternity of nature and art into our blood.
His works at this stage have no academic atmosphere and no rigid academic technique; each work all deeply affects everyone with its immature beauty. Representative works includes “school painting”, “Honggu painting”, “Northeast China painting”, “Gannan painting”, “Xinjiang Painting”, most of which were created at the period of 1979 to 1981.
第二樂章 人物寫生——用情造形的初期嘗試
1980年，楊樹峰進(jìn)入藝術(shù)學(xué)校已經(jīng)兩年，他已完成了大量素描和油畫的課堂作業(yè)。此時(shí)的他非?？鄲?，畫畫本來是件快樂的事，完成作業(yè)卻那么枯燥無聊，似乎只是在對(duì)象上重復(fù)地涂抹顏料，畫這些畫不是他的真正興趣。入學(xué)的第三年，楊樹峰感覺好似被圈在籠中快要窒息了，精神情緒極差，苦惱得失眠、脫發(fā)，他提出休學(xué)，卻沒有得到校方批準(zhǔn)，無奈繼續(xù)留校。
在此期間，楊樹峰游歷了新疆等地區(qū)，被當(dāng)?shù)厣贁?shù)民族的淳樸熱情深深地感染，開始創(chuàng)作人物寫生和速寫，用情感爆發(fā)的短暫時(shí)間、簡(jiǎn)練的筆觸、單純的色彩來表達(dá)這種炙熱的情感。
這期間的作品在表現(xiàn)形式上具有自由感，不苛求形與色的關(guān)系，重在情緒宣泄，重在反應(yīng)內(nèi)在心靈，更富有審美意義。每幅看似不完整的形象都能將人帶回到那個(gè)原生態(tài)特殊美的情愫之中，耐人尋味。
作者在創(chuàng)作時(shí)進(jìn)入一種忘我的自由馳騁的藝術(shù)境界，在這種境界下創(chuàng)作出的藝術(shù)作品是珍貴的、本質(zhì)的、也是其價(jià)值所在，具有獨(dú)特的光彩和魅力。從這些肖像人物作品里，我們已能感受到潛藏在作者內(nèi)心深處那股極強(qiáng)的破壞力。代表作品有《少女頭像》、《同學(xué)頭像》等。
The second movement: Character Sketch—first attempt on characterizing figure with emotion
In 1980, Yang Shufeng has been in art academy for two years and finished plenty of homework on oil painting & sketch. He was very distressed at that time, for painting is an original funny deed, but finishing homework is so boring, just like repeatedly coating on targets, painting like this is not his true interests. In the third year in art academy, Yang Shufeng felt nearly stifled as in a cage with bad spirits and emotions, appearing insomnia and hair loss. He submitted to suspend his schooling without losing one's status as a student, but was not permitted by the school, so he had to stay in the academy.
In this period, Yang Shufeng visited Xinjiang area, and was deeply affected by honest enthusiasm of local minority. He began to create character paintings and sketches, expressing the hot feelings with concise strokes, simple colors in the short emotional outbreak time.
Works in this period have freedom feelings on expression, requiring less on relations of figure and color, emphasizing on emotional catharsis and reflecting inner spirits, and with more aesthetic significance. Each seemingly incomplete image all could introduce us to the feelings to the original ecological special beauty, and is intensely interesting.
The author entered a selfless art realm with complete freedom when painting. The art works created in this realm are precious, essential and valuable, possessing special brilliance and charm. We could feel the strong destructive power hidden in author’s heart in these character works. Representative works include “girl head portrait”, “classmate head portrait”, etc..
第三樂章 純藝術(shù)的創(chuàng)作——生命力在這里找到了歸宿，變形的人物回到表現(xiàn)繪畫里，很多人性問題體現(xiàn)得淋漓盡致
1982年6月，楊樹峰從師大美術(shù)系畢業(yè)。在兩年多的等待分配的煎熬中，他感慨于四年大學(xué)生活學(xué)院式教學(xué)體制的壓抑，社會(huì)的殘酷現(xiàn)實(shí)，創(chuàng)作欲望急劇膨脹。他將對(duì)社會(huì)、人性、命運(yùn)的絕望，對(duì)純藝術(shù)繪畫不可能觀念的挑戰(zhàn)，通過神奇的、變形的、甚至粗野的表現(xiàn)形式，從體內(nèi)順著肌膚流入到作品里。
1983年，楊樹峰被分配到蘭州園林局，居住在金城盆景園。盆景園里遍地郁郁蔥蔥，無限的生機(jī)盎然。果樹在陽光下昂揚(yáng)生長(zhǎng)，鋪滿了青草馨香的纖纖小路，都令他深深迷戀。他好似一個(gè)籠中野獸擺脫了束縛，突然之間回歸自然，找回了精神才智，從此無拘無束、自由獨(dú)往、傲視一切，犀利的目光和手在畫布上敏捷地操作，六年多積蓄的能量瞬間爆發(fā)。
此時(shí)的作品不同于以往任何時(shí)期，它們更像是一群自由的野鳥終于掙脫了牢籠，憑著直覺找到了藝術(shù)無限的可能性。大部分作品是變形的人體和帶有象征表現(xiàn)意義的畫面，包括人性、生死、天地等主題，內(nèi)容涉及動(dòng)物、風(fēng)景、人物等。大量的形體及色彩是超感性的，以紅黃藍(lán)為主色調(diào)，熱烈而浪漫，透著青春的沖動(dòng)和血性，比如奔跑的紅色小男孩、血紅色的三口之家、碩大的金色女人體、成熟期、兒歌、風(fēng)中兒童、教皇式的自畫像、拳擊手式的青年畫像、宗教般恢弘的圣家族等等。每一幅作品都透著血?dú)?，是任何人無法模仿的——包括作者本人。
這一時(shí)期，作者處在一種不拘于形色、身心愉悅的創(chuàng)作狀態(tài)，過去的壓抑生活逐漸淡化在作品中，烘托出恰到好處的成熟色。作品中形和色的結(jié)合日臻完美，對(duì)形的探索、對(duì)色彩的掌握都達(dá)到了近乎超自然完美的地步。純藝術(shù)繪畫和純精神在這些作品中體現(xiàn)得淋漓盡致，生命在這里找到了歸宿，藝術(shù)生命蓬勃爆發(fā)。
The third movement: pure art creation—vitality found the destination, deformed figures returned to expressing paintings, many human natures are expressed completely
In June, 1982, Yang Shufeng graduated from art department of Normal University. In the suffering of waiting for allotment, he sighed with emotion the suppression of academic teaching system in the four year university life, and harsh social reality, his creative passions rapidly expanded. He expressed despair to society, human natures and destiny, and challenges to impossibility concepts of pure art painting in his spirits in his works with magic, deformed, even crude expressions.
In 1983, Yang Shufeng was allotted to Lanzhou Bureau of Parks and Woods, living in Jincheng bonsai garden. Everywhere in bonsai garden is green and luxuriant with infinite vitality. Fruit trees growing robustly in sun shines, slender paths paving with grass made him infatuated. He was like a beast without constraints, suddenly returning to nature and finding his spirits, and he operated his paint brushes and sharp eyes on canvas swiftly without any limitations from then on, energies accumulated for 6 years instantly broke out.
Works in this period are different from any previous stage. They are more like a group of free wild birds escaped from constraints, reaching the infinite possibility of art with intuition. Most works are deformed human bodies and pictures with symbolism, including topics of human natures, life and death, sky and earth, contents referring to animals, landscapes, character. Plenty of shapes and colors are super emotional, taking red, yellow and blue as dominant tones, hot and romantic expressing impulse and bloody of youth, such as running red boy, bloody-red three-member family, huge golden woman body, maturity, children’s songs, children in the wind, pope-style self-portrait, boxer-style portrait of youth, holy family with religious-like brilliance. Each works all express with bloody, impossible to be imitated by anyone, including author himself.
In this period, the author was in an enjoyable creation status without any limitations of shape and color, previous suppressing living has faded in works slowly, expressing appropriate mature colors. Integration of shape and color in works becomes flawless day by day. Author’s exploration to shape and controlling on color both reach a super-perfect status. Pure art paintings and pure spirits are completely expressed in these works; life found its destination, art life broke out.
第四樂章 線描人體——黑白灰輕柔之風(fēng)吹我走進(jìn)夢(mèng)的故鄉(xiāng)，撫摸人體美，體會(huì)線的愛
初到金城盆景園的創(chuàng)作沖動(dòng)稍稍平息后，藝術(shù)生命不會(huì)停止。此時(shí)的楊樹峰順手捏來一張紙，用一只單色炭筆無意識(shí)地在紙面上輕輕流淌，筆鋒就像長(zhǎng)了翅膀的天使在無與有之間飛翔。他在不知不覺中繪出三十幾幅線描人體題材的單色畫，像風(fēng)、像云、像水、像氣，體味著唯美的美妙。
用線擁抱著想象，一張張的作品正是在這種情緒下孕育而來。這批作品將作者帶回夢(mèng)的故鄉(xiāng)，生命力的情感在此時(shí)顯得如此流暢、如此細(xì)膩，從不曾想過強(qiáng)烈的情感竟也有如此溫婉的一面。他相信，很多時(shí)候，藝術(shù)是可以療傷的，能夠祛除那些仿佛留在生命里的永恒的傷。
這些好似寵物的小作品，帶給人們無限美好的暢想。
The fourth movement: line-drawing human body—soft wind of black, white and grey blows me into dream homeland, fondling body beauty, feeling love of lines
When creation impulses of originally reaching Jincheng bonsai garden quelled a little, art life would not terminate. At that time, Yang Shufeng just took a piece of paper, and drew unconsciously with a charcoal monochrome on it, his strokes would fly between emptiness and substance like angles with swings. He drew more than 30 monochromes with topics of line-drawing human body, like wind, or cloud, or water, or air, expressing aesthetic beauty.
Embrace imaginations with lines, pieces of works are just created in this emotion. This patch of works bring author back to homeland in dream, emotions of vitality are so smooth and exquisite at this time. It is never imagined that so strong emotions even have so gentle aspect. He believed art could heal at many times, being able to dispel those permanent injuries seeming leaving in life.
These small works like pets bring infinite beautiful reveries to people.
第五樂章 靜物——短暫的柔情似一縷陽光爬上畫面，卻不能歇息
這一段強(qiáng)烈的創(chuàng)作激情過后，作者的情感得到了釋放從而平緩，生活上也有了婚姻。他三次到甘肅農(nóng)村兩當(dāng)?shù)貐^(qū)創(chuàng)作燒制陶藝，開辦了蘭州特種藝術(shù)研究所，同一時(shí)期又創(chuàng)辦了東方藝術(shù)沙龍，他和大家飲酒交流、討論藝術(shù)，他的家和沙龍成為蘭州及全國(guó)向往藝術(shù)的青年人經(jīng)常光顧的聚集地。
因?yàn)橛辛饲楦械囊缿?，作者的身心得到了短暫的歇息，作品里自然而然流露出柔情美妙的一面。作者描繪了很多帶有脈脈溫情的靜物作品，如金紅色的丁香花、干花、婚照、水仙花、鴿子等，尋找安寧、尋找沒有聲息的永恒。
The fifth movement: still life—temporary tenderness climbs on paintings like a piece of sun shine, but could not rest
After the period strong creation passion, author’s emotions were released, then became gently, and author married, too. He went to Liangdang area of Gansu to create pottery for three times, established Lanzhou Special Art Institute, and also established Oriental Art Salon at same time. He exchanged with other people with drinking wines and discussed art. His home and salon became gathering places for young people longing for arts from Lanzhou and the whole nation.
For attachment of lover, author’s body and mind took temporary breath, works also naturally expressed tender sentiments. Author drew plenty of still life works with warmth, such as golden lilac flowers, dried flowers, wedding photos, daffodils, pigeons, searching for peace, and quiet eternity.
第六樂章 迷境繪畫——默想的空間、宇宙和生命壯烈而安寧地交織在一起
敦煌旅游后，作者思考著宇宙哲學(xué)、佛教、文化傳統(tǒng)等，創(chuàng)作了一大批迷境般的繪畫。畫幅較小，內(nèi)容包括人物、動(dòng)物等，色彩趨向于濃重深沉的灰、棕、深紅色調(diào)，多采用變形構(gòu)成的手法來完成，人物線描帶有一種宗教氣息，如夜色中的貓、空中的佛、背坐的女人體等，畫面里有宇宙、有生命、有默想、有寧靜的等待。
這段時(shí)間，作者更多是在靈魂的家園徘徊，凝重的深棕色取代了前一時(shí)期的血色，畫面上平整的軀體代替了強(qiáng)烈扭曲的外形。這些作品能夠引領(lǐng)觀眾暢想遙遠(yuǎn)的未來，思考人生哲學(xué)。
The sixth movement: uncharted painting—meditated space, universe and life heroically and tranquilly interlace together
After visited Dunhuang, author began to think about cosmic philosophy, Buddhism, culture and traditions, created plenty of uncharted drawings. The frames are small, contents include characters, animals, colors tend to thick and deep grey, browse and dark red tones, primarily finished with deformed structures, character line-drawing has a religious atmosphere, such as cat in the darkness, Buddha in the air, female body sitting back. There are universe, life, meditation and peaceful waiting.
In this period, author was more in the status of hesitating in soul family, the dignified dark browse replaced the previous blood, smooth bodies replaced the strongly deformed shapes. These works could introduce people to imagine the distant future and think about philosophy of life.
第七樂章 卡紙線刻畫——情、性、愛的夢(mèng)游者帶我去了別地他鄉(xiāng)
這個(gè)時(shí)期，楊樹峰像夢(mèng)游者一樣在城市里漫無目的地游蕩，很晚才回到盆景園開始創(chuàng)作。具象的形體、抽象的意境、獨(dú)特的視覺形式?jīng)_擊著作者的心靈，他使用特殊的工具、材料、手法，更深入地嘗試著潛意識(shí)與圖形的完美結(jié)合。
銳利的鐵筆無數(shù)次劃過紙面，作者用這種方法將自己的夢(mèng)境展現(xiàn)出來，作品從無目的到慢慢有了形、有了色。線與色一次次地匯合交錯(cuò)，暢快淋漓的表現(xiàn)手法使這一時(shí)期的作品有了與前面作品截然不同的韻味。以至于連自己都不確定它們屬于那種風(fēng)格，很難用語言來解釋。
無數(shù)個(gè)夢(mèng)在這樣的表現(xiàn)形式中誕生包括生命的、潛意識(shí)的、性的。這一時(shí)期的代表作《晚歌》、《生命泉》、《投生》、《母像》等等，道出了作者對(duì)時(shí)間、空間、性、愛等多種元素的感悟。
這批作品是作者在不到兩個(gè)月時(shí)間里完成的，這種形式給我們的視覺藝術(shù)領(lǐng)域增添了新的篇章。
The seventh movement: jam-line characterization—dreamwalker of emotion, sex and love brought me to anywhere else
In this period, Yang Shufeng wandered aimlessly in the city like a dreamwalker until very late to begin creation. Representational form, abstract artistic conceptions, and unique visual forms impacted author’s soul, he applied special instruments, materials, skills to more deeply attempt perfect integration of unconscious and graphics.
Sharp stylus numerously crossed paper, author applied this method to express his dreams, works evolved from aimless to with shapes and colors. Lines and colors converge and cross, the complete expressions make works in this period possess a different aura from previous ones. Even author himself could not determine which style they belong to, it is difficult to explain in language.
Numerous dreams were created in this expression, including those on life, unconscious and sex. Representative works of this period include “evening song”, “life spring”, “reborn”, “mother painting”, expressing sentiments of author to time, space, sex, love.
These works were finished in less than 2 months, and this expression adds a new chapter in our visual art field.
第八樂章 油漆潑彩抽象具象畫——飛流直下三千尺，解放的快感帶來了永恒的震撼
在酒精的作用下，作者的藝術(shù)生命更加狂放不羈，靈魂與肉體在生死之間徘徊，體內(nèi)本能的純藝術(shù)激情強(qiáng)烈地回歸了，一股無法阻擋的創(chuàng)作欲望沖擊著作者的頭腦和畫筆。在短短三個(gè)月中，作者創(chuàng)作了大量的油畫、油漆畫和木雕。畫面張力十足，強(qiáng)烈的視覺沖擊力好似將積蓄了一生的能量一瞬間完全傾瀉到作品上，強(qiáng)大的生理和精神力量使這些作品永遠(yuǎn)留有生命的跡象，更像是生命的寫意。
這一時(shí)期作品的尺寸較前一時(shí)期要大一些，色彩趨于黑色，結(jié)構(gòu)框架堅(jiān)挺而嚴(yán)謹(jǐn)，抽象但理性成分較多，作品的視覺感知符號(hào)還是非常明確的。
1988年，作者參加了黃山現(xiàn)代藝術(shù)研討會(huì)，帶去了幾幅木雕。可是，與會(huì)的人對(duì)這類純藝術(shù)作品不太感興趣，更多地關(guān)注具有模仿西方先前藝術(shù)痕跡的作品。但是沒關(guān)系，作者在純藝術(shù)的創(chuàng)作過程中自得其樂，藝術(shù)生命得到升華。
The eighth movement: paint abstract painting—liberation pleasure brings eternal convulsion
Influenced by alcohol, author’s art life is more unconventional and uninhibited, soul and body pace up and down between life and death, the instinctive pure art passions strongly returned. An unstoppable creation impulse impacted author’s thought and painting brushes. In short 3 months author created plenty of oil paintings, paint paintings and woodcarvings. The screen tension is full, strong visual impaction seems instantly pouring energies accumulated in the whole life into the works, the strong physical and mental powers make these works with life traces eternally, more like freehand brushwork on life.
Sizes of works in this period are larger that the previous period, color tends to black, frames are strong and tight, the works are with more abstract but rational elements. The visual perception symbols are still clear.
In 1988, author joined Huang Mountain Modern Art Seminar, and brought some woodcarving, however, the participators had less interest on this kind of pure art works, but more focused on works with traces of imitating western previous art. It does not matter for author because author enjoyed himself in pure art creation, and his art life got sublimation.
第九樂章 病床系列——肉體與精神在這里被輕輕放下，留待以后慢慢回想
經(jīng)過了巨大的精神創(chuàng)作工程，楊樹峰在生理和精神上嚴(yán)重消耗，他預(yù)感到生命似乎即將進(jìn)入停止的狀態(tài)。1989年9月，他終于倒下了，此后兩年間臥床不起。他在醫(yī)院的病床上創(chuàng)作了近三十幅病床系列、家族系列作品，內(nèi)容關(guān)于生命和死亡，采用的材料比較溫柔。
楊樹峰在八十年代的人生歷程，體現(xiàn)著在蘭州時(shí)對(duì)藝術(shù)的執(zhí)著、對(duì)生命的執(zhí)著、對(duì)情感的執(zhí)著，正是這種執(zhí)著造就出一個(gè)特立獨(dú)行、中國(guó)最具生命力和先鋒精神的藝術(shù)家。
The ninth movement: sicked series—body and mind are laid down lightly, left to be recalled in the future
After heavy mental creation projects, Yang Shufeng has paid great physical and mental consumption, he had a hunch that his life would enter termination status. In September, 1989, he finally fell down, and remained in bed in the following two years. He created nearly 30 works of sickbed series and family series on sickbed, the contents refer to lives and death, and the applied materials are gentle.
Yang Shufeng’s life experiences in the eighties express his persistent to art, life and emotions when he was in Lanzhou, and just this persistent accomplished a special artist with most vitality and pioneering spirit in China.
【編輯：霍春常】
