不在場(chǎng)的敘述
黃 亞紀(jì)
自笛卡爾（René Descartes）開始，西方哲學(xué)對(duì)于繪畫再現(xiàn)的討論主要在于，繪畫讓所繪物之存在及其擴(kuò)延性之再現(xiàn)得以可能，即使到了印象派，塞尚（Cézanne）追求繪畫的深度，經(jīng)過破除事物表皮成為相稱于實(shí)證經(jīng)驗(yàn)的自我臨現(xiàn)，論點(diǎn)仍立基于外在世界的他者的存在，經(jīng)過不同的藝術(shù)方法達(dá)到追問存在的意義。相較之下，羅荃木的繪畫，自其山水到標(biāo)本系列、或采蝶人（2007）、伐木人（2007）、采石（2008），這些似寫生而來的景物其實(shí)來自藝術(shù)家記憶的拼湊，是從心中理想的歷史得到具體意像，并轉(zhuǎn)變?yōu)槌錆M情緒流露的所在。
最初認(rèn)為羅荃木的繪畫和看的方法有關(guān)，早期的地圖（2000）、天安門（2000），或是山水（2002）、（2006），皆是將西方對(duì)于路徑和地形的認(rèn)知，以帶有科學(xué)分析的手法在畫布中延展開來，尤其是溢滿整個(gè)畫面的山水，是解剖中國山水畫的筆法，似乎將郭熙山水的一角如地圖般攤平審視；但之后，羅荃木的山石卻又自滿出的山水開始縮小，變成游離在空間中的一段景致，接著又幻化成與畫中鹿、孔雀相伴之石，或是噴泉巨石，即「宣和畫譜」中所說：「云煙變滅庵靄之間，千態(tài)萬狀」，生機(jī)處處，為可棲、可居、可游的神奇，是中國山水畫中所描述萬物和自然之關(guān)系。
羅荃木對(duì)山石的想法表現(xiàn)了對(duì)藝術(shù)的追求，作品既自由又抑郁，即同其述：「山石是介于抽象和具象之間的形象，可以按照內(nèi)心的感覺自由行走，在任何地方多一點(diǎn)或少一點(diǎn)，不被形所限制，山石的型態(tài)有點(diǎn)像心靈的地圖，布滿奇怪的洞穴，它的肌里幾乎是神經(jīng)質(zhì)的」。羅荃木對(duì)于山石描寫的整段過程，并不像西方藝術(shù)家的態(tài)度在于形體的釋放，相反地，羅荃木緊縮形體，讓曾經(jīng)暴露出全部的肌里紋路重新蜷起，存在于灰暗空間，周邊景色蕭條，孤立于藝術(shù)家極個(gè)人的次元，這個(gè)次元且被緊緊隔離于畫面中，看不到存在于外部世界的可能，亦看不到過去未來；盡管生物居于其中，卻聞不到生命的現(xiàn)在性－羅荃木的繪畫是對(duì)于過往的一個(gè)切片，一個(gè)幻覺，一個(gè)夢(mèng)境的假設(shè)。
這也就不難解釋羅荃木對(duì)于標(biāo)本的偏好，并將場(chǎng)景直接地自博物陳列中擷取，這拼湊自藝術(shù)家記憶或相片的過程正如將攤平剖析過后再度構(gòu)造出的山石，成為了只存在于畫布中某個(gè)過去的瞬間；但有趣的是，這些標(biāo)本都存在著一種自在，這份感覺是無法在杉本博司（Sugimoto Hiroshi ）攝影中看到－此可呼應(yīng)宋時(shí)以寫生觀察自然、寄情自然的文人思維，但羅荃木經(jīng)過記憶和照片的造景和宋人走訪山林、秘觀花木鳥獸的寫生不同－羅荃木居住于城市里，存活在當(dāng)下，卻對(duì)過去已不存在之物寫生，是極度個(gè)人內(nèi)面情感反射，且自在地、不悲憤地、卻也憂郁地認(rèn)同自我和外在的這個(gè)狀態(tài)。
在采蝶人、伐木人、采石中，羅荃木積壘的細(xì)節(jié)漸漸改變，采蝶人、伐木人滿溢的背景企圖將猶有空缺的過往性填滿，肌里經(jīng)營視覺交纏，拉開空間的確定感，光線、色彩創(chuàng)造理想世界的地方感和故事性，捕捉某種即將結(jié)束或即將開始的模糊狀態(tài)，這種狀態(tài)感是羅荃木作品中獨(dú)有的氣息，他發(fā)現(xiàn)了普世所固定下來的東西的之間或之后，某些事物和情緒被指涉、被暗含，卻也不能說清的神秘；采石和山石（2007）中，羅荃木將過去似范寬堂堂大山的主軸構(gòu)圖轉(zhuǎn)為略偏一方，充滿變化型態(tài)，細(xì)碎皴擦豐富了山形又提供了一種秩序感。山石展現(xiàn)羅荃木以白色表現(xiàn)質(zhì)面的特定筆法，流露寫意的冬日氣質(zhì)，未被凍結(jié)的垂瀑水池引著視覺走向后景，S型水畔讓視線貫穿畫面的同時(shí)被左右風(fēng)光吸引，又像幼時(shí)探索未知地般小心冒險(xiǎn)。
一切都在加快，這是世界的寫照，過去十年如此，未來十年亦會(huì)如此，整個(gè)世界不斷從身旁飛奔而過，羅荃木卻在這喧囂中安靜圈出不曾流動(dòng)的那一刻，他讓觀者喜愛上進(jìn)入另一個(gè)世界，喜愛上神秘難解的事物，讓我們進(jìn)入故事里，然后越來越深入，感受到神奇，事情開始浮現(xiàn)，在結(jié)局處終于見到藝術(shù)家指出的人文或表達(dá)的那個(gè)開始。
narration of absence
Yaji Huang Chieh Jane Anderson-Wu
Since the time of René Descartes the debates upon representational painting have been focused on the possibilities of extended existence or representation of objects depicted by artists. Impressionist artist Paul Cézanne pursued depth of tableau through breaking away from the appearance of things and representing the scenes with subjective perception—an idea from positivism. All these arguments are, however, based on an assumption that there are Others existing in the outside world and the significance of their existence won't be understood except through diversified art forms. In Luo Quanmu's paintings, from landscape to specimens such as "Butterfly Catcher"(2007), "The Logger"(2007), and "Rock Collector"(2008), the seemingly realistic scenes are in fact composed of memorial collages of the artist. The materials in these collages are retrieved from an ideal history fabricated by Lou, and before being transformed into concrete images, they are permeated with the artist's emotions.
Lou's early paintings revealed the angles of the viewer's gaze. The "Map"(2000), "Tiananmen Square"(2000) and two "Shanshui "(2002), (2006) unfold topological features on canvases with western scientific perception and methodology. Nevertheless the brimming landscape comes from a dissection of traditional Chinese landscapes-- it seems that a fragment of Guo Xi's work has been flattened to be scrutinized like a map. In Lou's later works, mountain rocks apparently have shrunken from the excessive landscapes, becoming an image drifting in space. In other paintings, the mountain rocks are replaced by stones beside deer or peacocks, or fountain megaliths. Like what the Xuanhe Painting Guide has pointed out: "Haze shifts among the cloudy sky over the roof of a Buddhist convent, its forms are ever-changing." In Chinese paintings, the most prominent delineation of the relationship between men and nature is the livable, playable and restful environment.
The changing rocks are the embodiment of Lou Quanmu's art:seemingly carefree but intrinsically restrained. In a statement Lou said:
"Mountain rocks possess forms that are both abstract and figurative, their shapes are paralleled to our mental topology, and their apertured, coarse textures are like our nerves."
Contrary to the western artists who tend to liberate objects from their forms, Lou's mountain rocks are contracted, and their once exposed textures and grains now curl up. Arranged in the somber, desolate surroundings, these rocks are confined in the artist's personal dimension, a dimension absolutely isolated in the painting, a dimension without any connection to the outside world or the future. Despite the existence of lives in this dimension, the audience is not able to feel any of their presence. Lou's painting is a section of the past, an illusion and a dream.
That might explain why Lou is enchanted by specimen. He staged a scene of a museum that displays the pieces of his memories and mental pictures through the laying out and reconstituting the cross-sections of rocks. The procedures only exist in a momentary flash on the canvas. Though there are similarities between Lou's themes and those of Japanese photographer Sugimoto Hiroshi, Lou's objects are at greater ease than Hiroshi's. Like to the literati from the Song Dynasty, nature is the anchor for Lou, only literati in the old time depicted mountains, woods, birds and flowers through visiting and touching them personally. Lou, a city dweller, can only piece up the past objects with the present conditions. Lou's works reflect his personal emotions and he candidly identifies such emotions with sentiment.
In "Butterfly Catcher", "The Logger", and "Rock Collector”, Lou gradually changed the excessive details. The saturated backdrops of the "Butterfly Catcher" and "The Logger" attempt to fill up the waning past; the artist created a place and a story in an ideal world through mingled textures, entangled prospects and a certainty in the unfolding space, light and colors. Lou grasps the ambiguous status of something about to set out or about to end. Such a fashion is his unique style because he has found the myth in things and in emotions that can't be represented no matter how they are depicted or implied.
In "Rock Collector” and "Shanshi"(2007), the grand mountains comparable to Fan Kuan's have been moved slightly to one side, the capricious configurations and the rugged hills nonetheless give out a sense of order. The white rocks demonstrate Lou's brushwork that presents a wintry feel, and the running waterfall leads viewers toward the background where an S-shape pond transverses the canvas from left to right. Seeing this picture, a cautious adventure we've conducted in childhood has been revitalized.
Over the past decade the world is moving faster than it ever has and in the next decade it surely won't slow down. Things are flying by as Lou Quanmu is grasping the still, tranquil moments among all the bustling incidents. Looking at his paintings, the audience can not help themselves but fall into the world of mythic ambience he created. We enter it, feel it as these intriguing things emerge gradually, and at length, we realize what the artist tried to show us.
【編輯：賈嫻靜】
