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2019-12-31
  雷子人的画作中潜伏着某种才华

  在当下,认认真真画画的人并不多,多的是招摇撞骗的人,利用各种关系混吃混喝的人,有时候我感到发牢骚都是多余的,因为现实就是如此,谁也不是圣人,总有私心杂念,除了要求自己坚守一定的原则,对别人,最好还是宽容一些。雷子人要我替他的画集写几句,他很谦虚,其实就画而论,他比市面上许多牛皮吹得挺响的家伙强多了,只是因为他年轻,在各种场合的出镜率不高,所以很多人对他了解不够。

  在我去年主持的新中国画大展上,特意邀请雷子人参加,我觉得在年轻一代画家里,他的画很具特色,已大致上形成了自己的个人图式,并且,从他的作品中还可看出相当的潜力。果然,他的画作在展览上受到好评,人们把他(包括一些与他年龄相仿的画家)看作为未来的希望,这便是一种良好的兆头,起点高,才会有以后更高发展和更广阔的空间。

  说实话,在当下这样的氛围中,一个画家要坚守自己的艺术理想,并将这种理想安置在很高标准上,是极难做到的。现实的诱惑太多,变化的节奏太快,艺术又如万花筒般的失去了底色,每人有每人的角度和立场,标准变得模糊起来,它一方面解除了艺术家的束缚,另一方面又让形形色色的阿混钻了空子。传媒包装、商业炒作、以及利用官方招牌攫取名声,等等一切,使得艺术家左右为难,这说明,现实的力量犹如潮水泛滥,它能够消化许多人原先怀有的理想、抱负和目标。我说的是许多人,而不是全部,因为,无论何时何地,都会有少量的艺术上的傻子,就像只懂得做好事的革命的傻子雷锋那样,在他们心目中,艺术是至高无上的,其余一切,都得为艺术让路。我看了雷子人十年间的作品的照片,或多或少看到了他沉迷画画的一片苦心,在中国画这条坎坷的崎岖的道路上一步步迈进。他有意识地探索笔墨的表现力,试图更新传统的构图方式,并在造型上有所突破他的努力在画面中一一显现出来。我知道只要我开口谈中国画问题,别人就会想起穷途末日的说法,时至今日,穷途或者末日都失去了争论的实际依据,多元化和多样性才是当今的真实面貌,在此间,中国画的位置已经划定,用句俗话说就是,该怎么的就怎么的。

  雷子人的画包含了很多的东西,各种因素融化为一个具有个性的整体,从题材、表现性到画面的处理,都和我们的日常经验没有隔膜,我们可以轻松地进入他设置的场景,与他一起观看和欣赏这是一种理想的结果,但是,也隐藏了危机,说明他操持的语言不够陌生化,换种表达,是指他仅仅在运用各种现成的表现手法,没有将它们锻造成新的语言。譬如,我们既可以发现他拥有一些传统工夫,又有一些洋的手段,这几乎是上百年来力求创新的中国画家的共同方式,其典范即是林风眠,无论是林的同代人,还是后来者,皆到此为止。

  雷子人的画作中潜伏着某种才华,它随意、率性、偶发、灵动,好好加以利用的话,会开出令人惊羡的硕果,但若不小心,也会因此变得轻飘和单薄。

  2001年5月14日

  If it is worth doing, it is worth doing well

  LI Xiaoshan (translated by ZHANG Ling 张凌 译)

  In todays China, the number of painters who hold a serious attitude in their work is quite small. What we see more often are swindlers who swagger about to beguile others. Sometimes I am even tired of making complaints, because that is the reality, and nobody is the saint who has no selfish ideas and personal considerations. We could require ourselves to hold on to our principles, but we should be more tolerant to others. Mr. LEI Renzi asked me to write a few words for his new picture album. He has been a man of modesty - in fact, his works are much better than those by many so-called famous artists. Just because he is young and does not appear often in public, he is not known by many people.

  I invited LEI to New Chinese Paintings Exhibition last year, which I hosted. His works are distinctive among the new generation artists. He has established his own style and has also shown great potential. Not surprisingly, his works were well received on the exhibition. He and some other artists of his age were acclaimed as the hope of future. This is a good beginning, indicating a high starting point, making further development possible.

  I admit that it is no easy task for an artist always holding his or her ideal true and setting his or her ideal with a high standard in todays society. There are simply too many temptations out there, the society is getting too fast-paced, so art has become a kaleidoscope and is losing its background color. Every one has his or her own perspective or position, thus standards get blurred. On the one hand it may help artists break away from restrictions, and on the other hand it gives swindlers of all kinds opportunities to cheat. Media packaging, commercial hypes, using official positions to gain fames and so on have put artists in a dilemma. This shows that the power of reality is like a flooded river; it can wash away many peoples ideals, ambitions, and goals. By saying many people I mean not all, because there are such fools in art, like the famous fool LEI Feng, who had devoted all his life doing good deeds to help others. In their heart, art is everything, and all of the rest is secondary and should make way for art.

  I have seen photos of LEIs works in the last ten years, from which I also saw his great effort in the art of painting, and his resolute steps on the rugged path of Chinese painting. He has made a deliberate effort in exploring the expression of the brush and ink in his works, in innovating the traditional picture composition, and in making new designs which are all evident in his works. I know when I begin to talk about Chinese painting, some people would think of it as a declining art facing its end. But this is not the case; the reality is the diversity of Chinese painting. Among this dispute, the position of Chinese painting is already well-defined. As a saying goes, come if it must come.

  Many elements are included in LEIs paintings, all of which have combined together into a unique whole. Either the subjects, way of expression or the treatment of pictures is blocked from our daily experiences, so that we can easily enter the scenes he sets, and enjoy them with the artist Well, this would be an ideal thing to happen, but it may also hides some crises: his language is not defamiliarized enough, that is, he only resorts to the existing ways of expression, rather than merging them into a new language. For example, we may find that he possesses many traditional methods as well as some western techniques, which is probably the common approach of all Chinese painting artists have tried to innovate for the last one hundred years, with LIN Fengmian being its great example. LINs contemporaries and successors have not exceeded him in this respect.

  Some special talents can be found in LEIs works: free expression, being at will, coincidence, agility, all combined to produce fruitful results if well used, but it could also face the risk of being simple and light if not handled with care.

  May 14, 2001