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混沌中流淌着生命意识 ——罗奇及其作品印象 潘立勇 (浙江大学人文学院哲学系教授

已有 1333 次阅读  2013-10-22 18:02   标签浙江大学  center  博士生  哲学系  style 

混沌中流淌着生命意识

——罗奇及其作品印象

潘立勇

(浙江大学人文学院哲学系教授 博士生导师)

 

在这个没有诗人的年代,却有一个,乃至一群诗人气质的画家,他们在广州美院,罗奇在其中卓然而立。

我与罗奇素未谋面,甚至他的拟展作品电子图片也是第一次看到。在收到材料前我几乎对罗奇及其画作一无所知。材料中唯一的一张罗奇肖像,给人印象深刻:深邃逼人的眼神孕显着忧郁和寂寞、冲天的怒发极其桀骜不驯、紧扪微凸的嘴唇似乎欲言又止,言必惊人。

很难把这张略带狂野的脸和这些平和纯净、自然连绵的作品联系在一起!

以一个外行的触角,我感受到的似乎不是画作本身,而是画作的底片叠影,或者是二度创作的玻璃雕画。模糊的边界、朦胧的细节;色彩不明而净、不艳而纯,在灰朦的底色中蕴含绿的生意。

茫然看“境生象外”,画意似乎只是“朦胧诗”。仔细看“意在境中”!在《亲爱的,我们是否总在无尽的长河中等待》透明而朦胧的画面中,不经意就可以捕捉到众生的不一眼神,像是庞德“地铁中的花瓣”,混沌中令人惊心。是期冀?是无奈?还是茫然中的不甘?“此中有真意,欲辨已忘言”,是画面自己在说话。《亲爱的,我总是希望你用这样的方式了解这个世界》设置的似乎是幻境,物理中不可能有这样的存在方式,但我却读出了诗化的哲理:画面右下角的主人略显聊赖地捏着遥控器,微睨着混沌不清的画面,看,抑或不看?在,抑或不在?旁边的小鹿平静地注视着他,似乎禅语精辟:“山,还是山;水,还是水”。一切尽在不言之中。如果我在前两幅画中读到的是人生的天老地荒的无奈,尽管带有些许不甘,但总是被自然反讽。那么,在《亲爱的,你怎么可以在这个世界睡得如此沉静?》和《亲爱的,你不知道我轻轻地走过你们身边》似乎转换了价值评估角度。“沉静”中,那个如同“复归婴儿”的主体在这个乌云笼罩的世界中真的睡的那么沉静,右肘折叠枕在颅下,两脚一鞋一赤,其恬淡宁静之态令旁边的秃鹫也为之瞩目,其“道法自然”,“抱朴守真”的态势,似乎连动物也为之肃然起敬。一缕淡黄的侧光抚摸着臀部和脚部的边缘,给画面点染了神来之韵。“走过”表现了人作为有灵性的存在,超越自然物界争执的灵动和轻盈。不能说罗奇只是在单向地追寻复归自然,他也有着悟通自然后的超越。

以上是所谓“意义”的试着解读。令人更感兴趣的是“无意义”的层面:他独特的形式表达。“净”、“淡”、“空”是艺界友人对罗奇画色的评价。混沌、纯粹、简单中蕴含着内在的生命精神,是对其画风的基本评估。给我最深的感受是:罗奇确实在最大程度上消解了对材料和技巧的注意力,去掉了手感,去掉了“做”感。作为油画,他的作品没有油画材料的雕塑感、肌理感、堆砌感,甚至把油画中最令人瞩目的光和色都混沌化了,隐藏或遮蔽了光色的直观视觉刺激,淡化或软化了材料的直接表现力。画艺的门类被边缘化了,墨、光、气、韵浑然一体,画面似乎是在“水”的自然流淌中涂抹而成,气韵让线条、色块和色面绵柔流动,色彩的罩染和墨色的流动软化了人、物的轮廓、体质,不辨雌雄,只感气韵。

自然的触角、连绵的笔触、平和的灰色,混沌中流淌的生命意识,呈现的是现象学的意境。

罗奇在艺术上奉行“软现实主义”,“软”在我的理解是,消解刻意的意义,无论的来自所谓经典的权威,还是来自前卫的“当代霸道话语”。非暴力、不合作,随心而动、随遇而安、顺其自然,默默注视着芸芸众生。

罗奇的人格境界,我的揣摩,也许既不“遁世”(他保留着对人世,尤其是弱势人群的关注),也不“谐世”(绝不刻意逢迎,无论是传统经典的,还是当代前卫的),只是平和地回归和超越。在艺术上是质朴性还原,在生存上是“抱朴守真”,“复归婴儿”,对人的自我欲望的节制和与自然关系的重构,使其能“和光同尘”,“大音希声”。Life Consciousness Flowing in Chaos

——Luo Qi and impression of his works

Pan Liyong

(Professor of Philosophy Department, School of Humanities Zhejiang University, doctoral supervisor of aesthetics and leisure studies)

 

In an era with no poets, there is one, or even a group of, painters with the poet disposition; they are at Guangzhou Academy of Fine Arts and Luo Qi stands head and shoulders above them.

I have never met Luo Qi before, and even it’s the first time to see the electronic pictures proposed for the exhibition. I haven’t the least inkling of Luo Qi and his paintings before I received the materials. The only one portrait of Luo Qi among the materials is impressive: the deep and penetrating eyes reflect the sense of depression and gloom, the hairs standing with anger reflect his stubborn streak, and the closed and protruded lips speak no words except those which will amaze the people.

 

 It’s hard to associate the relatively wild face with these peaceful and pure, and natural works!

From the perspective of a layman, it seems I experience not the paintings themselves, but the superimposition of negatives of the paintings, or the re-created glass carved paintings. The blurred boundaries and dim details; the color is pure but not bright, and is pure but not vulgar. It presents a sense of green vitality under the dim grey background.

When admiring the “artistic conception outside the actuality” absently, the conception of paintings seems as the “misty poetry”. See the “meaning inside the artistic conception” carefully! In the transparent and hazy scene of “Darling, are we waiting in the endless history”, you can capture the unique gaze of the masses by accident, just like the “petal on the subway” by Pang De; it’s amazing in the chaos. It’s the expectation? Or hopelessness? Or the feeling of not resigned to ignorance? “there is real meaning in admiring the high mountains and how can I express the inner profound meaning!” The pictures are speaking themselves. “Darling, I always wish to under this world through your method” has imaged the dreamland; this existence method is impossible physically speaking; however, there is poetic philosophy according to my reading: the master on the right-hand bottom corner of the painting holds the remote control lazily, squints at the unclear picture; he is seeing or nor? Existing or nor? The deer near at hand looks at him with a level gaze, as if saying the quintessential Zen quotes: “Mountain is still the mountain, and water is still the water”. Everything lies in silence. If I have an impression of the helplessness about the age of earth and the extent of heaven for life from the previous two paintings, thought with a certain unwillingness, the nature will be full of irony for me. Then, in the “Darling, how can you sleep so quietly in this world”, and “Darling, do you know I have gone to your side gently”, the angle of value assessment has been changed. In the “quiet”, the main body of “likely to returning to baby” has slept in such a quiet way in a world with gathering clouds, with his right elbow folded under his head, only one shoe for his foot; such an attitude of quiet and tranquility has even attracted the attention of the vulture near at hand. Its attitude of “the Tao way following nature” and “maintaining the true-plain nature of human”, it seems the animals are filled with deep esteem. A column of yellowish sidelight strokes the edges of the buttocks and feet, bringing a magical charm to the picture. “Passing through” reflects the existence of intelligence inside the people, and surpasses the flexibility and lightness of the disputes in the natural kingdom. It can’t be said that Luo Qi is only simply seeking the return to the nature; he has also exceptional ability of understanding the nature.

Efforts have been made to interpret the above so-called “meaning”. What is more appealing is the aspect of “meaninglessness”: he provides expression through a unique form. “Clean”, “faint” and “empty” is the assessment for the painting colors made by the friends in the circle for Luo Qi. Chaos, pureness and simplicity contain the inner life spirit, and are the basic assessment for his style of painting. What I am most impressed is: Luo Qi has actually eliminated the attention to the materials and skills to the greatest extent, and gotten rid of the feel and the sense of “affectation”. As the oil paintings, there are no sense of sculpture, sense of texture and sense of stacking to the materials of the oil paintings. Even, it even brings a sense of chaos to the most striking light and color in the oil paintings, conceals or masks the direct visual stimulation of the light and color, and dilutes or softens the direct expression force of the materials. The category of the painting skills is marginalized, and the ink, light, air, and charm form a coherent whole. The picture seems as if it’s painted in the natural flow of the “water”, and the artistic conception makes the lines, color block, and color pictures more flexible and flowing, and the covered-dying of the colors and flowing of the ink soften the outline and disposition of the people and things, with no discrimination of the gender but the artistic conception.

 

With the natural perspective, flowing brushstroke, and peaceful grey, the life consciousness flows through the chaos, reflecting the artistic conception of the phenomenology.

Luo Qi upholds the “soft realism” regarding the art. According to my understanding, “soft” is used for eliminating the affectation, whether it’s from the so-called classic authority, or from the vanguard “modern overbearing say”. With non-violence, and non-cooperation, and letting nature take its course, they just silently gaze at living beings.

I have thought that the realm of personality of Luo Qi is not the “reclusive life” (he preserves the attention for the world, especially the disadvantaged), neither the “harmonious world” (definitely no currying favor with people, whether it’s the traditional classic or modern forward aspect). It’s only the returning and surpassing in a peaceful way. Artistically speaking, it’s the simple return; in terms of the life, it’s the “maintaining the true-plain nature of human”, and “returning to baby”. The abstinence for desires and the restructuring with the natural relationship achieve the aim of “standing aloof from worldly success” and “great music is that silent music”.

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