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现场的魅力 ――罗奇作品观赏 罗筠筠 中山大学 博士生导师 

1已有 5325 次阅读  2013-10-22 18:12   标签中山大学  center  博士生  style  罗筠筠 

现场的魅力

――罗奇作品观赏

中山大学艺术文化创新与发展研究中心 

罗筠筠

 

我始终认为,观画,一定要到现场。品评罗奇的画,更要到现场。

何也?在今天这个多媒体的时代,通过各种传播方式,我们的视觉早已被打败了,我们的感官更时时遭受欺骗,而我们的审美,一言难尽…,我们还会审美吗?我们还能审美吗?

如果不是现场亲眼所见,我们不知道所看到的究竟是不是艺术家的原作,是经过了多少次PS、多少次网络转载的“作品”。那怕是面对电子版的原作,也很找到真品的震撼力与感染力,仿佛隔着一层面纱,又好像是精神与物质间冷漠的距离。油画作品的内容,如果不借助体量、光色、质感,甚至嗅味,而只是面对冰冷、平面的、带有欺骗性的纸张、屏幕,很难点燃欣赏者的激情。

先说体量。就好像我现在面对电脑中泗海投资发给我的这些罗奇作品,仍然很难下笔。尽管每幅作品有标有题目、尺寸的介绍,你却无法从中真正感受到罗奇作品巨幅体量所给予人的逼迫,幸好我曾经仔细欣赏过泗海收藏的每一幅罗奇的作品。它们给我的第一个印象就是其巨大的体量,原作画面上那些真人大小的人物,仿佛就是活到你身边陌生的“亲爱的”,与你之间有着某种能量的互动,当你与画作中人物目光对视时(比如《亲爱的,我们是否总是在无尽的长河中等待》),你会被那些忧郁的、无奈的、麻木的、认命的眼神深深打动,其中凝聚着的是作者对人生的感悟、对命运的体察、对时代的谅解、对艺术的适然、对世界的宽容。在这幅巨大画作面前,你会不自觉的感到它具有把你吸入到那种生活中的力量,无论你怎样抗争,这似乎就是你生活中的挣扎。不到现场,你无从获得这种体验。

再谈光色。自印象派将光的因素引入绘画以后,油画就更加有身临其境的感受。光影的时间感,让观者真实地捕捉到画家的“眼中之竹”,从而品味到其“胸中”与“手中”之竹,而这也需要现场感。以罗奇这次展览的画作来说,有一些如非现场观赏,就无法体味到其中通过光色所传达的全方位美感。从一些画作的标题中,我们已经悄然走进了画家编织的光色世界之中:《我幻想在黑夜里突然的静止》、《野草世界的阴影是清晰而纤细的》、《多么清净的一洼水》、《初冬香巴拉的草场》、《谁能解释风吹过的地方》,不能想象,没有现场的光色交加,我们如何能够感受其中“黑夜的静止”、“野草的阴影”、“清净的水”、“初冬的草场”、“风吹过的地方”。康定斯基参观法国印象派画展时,曾因为无法辨认出画面上的形象就是目录中所说的草垛而痛苦,还认为画家没有权力把画面搞得如此模糊不清(那是由于他的眼睛还不太适应光影的魅力)。可是当他长时间地注视这幅画后却被深深地吸引了,而且不可磨灭地留存在记忆里。观赏罗奇的油画,也往往会给人这样的感受。初看上去,你会质疑画家为什么用这些“惨淡”的光色来折磨我们的视觉,如今这个五彩缤纷、光怪陆离的世界,怎么可能是这般的“单调”。进而,你会从画面的光色中品味到,也许这才是世界的本质,在人为的花花世界背后,还有一个纯粹的天地本真。画家有意略去那些养眼的光色,带我们去“烂木头的远方”(如果人类再如此穷奢极侈下去,早晚世界会成为一堆烂木头、烂钢铁),走“其实没有路”的路,最终就像《亲爱的,你怎么可以在这个世界睡得如此沉静》中那个仿佛混沌初开时婴儿般的人生初态,我们都回归到了原初的状态。

末道质感。帆布、油彩、刮刀、笔触……,造就了油画独有的质感。不言而喻,只有亲临现场,才能用双眼“触摸”作品,感受画面质感所传达的力度。罗奇作品的质感,也是其传达作品情绪的一个有力媒介。或强烈或平和的色调、或有力或轻柔笔触、或疾徐或舒缓的线条、或明亮或昏暗的色块、或紧凑或疏松的布局、或厚重或稀薄的堆积,交互成对作品内容充分阐发的罗奇式的形式语言。这一点通过《亲爱的,你怎么可以在这个世界睡得如此沉静》、《我的身体在如此灿烂的盛开,我知道你会回来的》、《亲爱的,你不知道我轻轻地走过你们的身边》、《我忧伤的手艺已不能与生活相融》等几幅画中体现的尤为突出。这种形式的运用,引导观赏者的目光游移在质感所传达的微妙意境之中。

意境,对了,说来说去,欣赏艺术作品,就是要走进艺术家的意境,与他做精神上的朋友、心灵上的同道。

欣赏罗奇,到现场去吧。Charm of the Scene

――Appreciation of works by Luo Qi

Art and Culture Innovation and Development Center of Sun Yat-sen University

Luo Yunyun

 

I have always held the view that one must be present at the scene to view the paintings, and even more so for the judgment of works by Luo Qi.

So why? In the present multimedia era, our visual sense has been beaten as a result of the various propagation modes, and our sense organs have even been deceived; and our aesthetics; thereby hangs a long story. We can appreciate the beauty? Are we capable of appreciating the beauty?

If you couldn’t be present at the scene, it’s not clear whether what you are seeing are the originals or not. These may have been the “works” having been treated through Photoshop for multiple times and re-transmitted over the Internet. Even though these are the originals in electronic version, it’s hard to find the impact and appeal of the authentic originals, as if there is a veil between you and the works, and also the distance of apathy between the spirit and materials. The contents of oil paintings, if not conveyed through the space, light and color, texture, and even smell, will be hard to kindle the passion inside the viewers if the medium is only the cold, flat, and deceiving paper and screen.

To begin with, the spatial aspect. It’s just like the fact that I find it hard to put pen to paper in the face of the works by Luo Qi sent by Sihai Investment. Though each work is accompanied with the introduction of title and sizes, it’s impossible for you to experience the influence of the gigantic mass of the works by Luo Qi. Luckily, I have once admired all works by Luo Qi collected by Sihai. The first impression of these works is its gigantic form. The life-size characters on the original paintings seem as if the strange “darling” living near at hand, and has a certain interaction with you. When you gaze at the characters on the painting such as “Darling, are we waiting in the endless history”, you will be deeply moved by those gloomy, helpless, numb and resigned eyes; it contains the author’s understanding of the life, experience of the fate, allowance for the times, attitude of ease to the art, and tolerance of the world. In the face of this gigantic painting, you can’t help but feel its power for attracting to the life, no matter how hard you rebel. It only seems you are struggling in life. It’s impossible for you to get this experience without being at the scene.

Then the light and color. Since impressionism has introduced the factor of light into the painting, the oil paintings give a more real sense of being personally on the scene. The sense of time through the light shadow enables the views to truthfully capture the “bamboo in the eyes” of the painters, thereby savoring the bamboo in both the “chest” and “hands”. And this also requires you to be present on the scene. Take the exhibition by Luo Qi for example. Some paintings couldn’t transmit the all-round aesthetics through the light and color if these are not viewed on the scene. From the titles of some paintings, we have already entered quietly the world of light and color woven by the painters: I Image to Come to A Standstill At Night, The Shadows of Wild Grass World are Clear and Slender, What A Clear Pool of Water, Prairie in Shambhala in Early Winter, and Who Can Explain the Place Blown by the Wind. It’s not hard to imagine that without the action of light and color on the scene, how can we experience the “quiet of the black night”, “shadows of wild grass”, “clear water”, “prairie in early winter”, and “places blown by the wind”. Kandinsky feels painful for not being able to recognize that the images on the scene are the haystack recorded in the contents when he visited the French impressionism painting exhibition. He even considered that the painter has no right to blur the pictures (this is because his eyes are not adapted to the charm of shadow). However, he was deeply attracted by the painting after a long gaze, and it leaves an indelible impression on his memory. Viewing the oil paintings by Luo Qi will also invariably give this experience. At first glance, you may question why the painter use the “faint” color and light to torment our visual sense; in the modern variegated and colorful world, how can it be so “dull”. However, you can experience the true nature of the world from the light and color of the paintings. In the man-made world, there is a pure land. The painter deliberately omits the pleasant light and color, and brings to the “faraway place with rotted wood” (if the reckless squandering by the humans continues, the world will become a pile of rotted wood and steel sooner or later). Walking this road with “no end”, it bears resemblance to the baby-like life status in the “Darling, how can you sleep so quietly in this world”; we all have returned to the primitive status.

The last is the texture. Canvas, paint, scraping knife, and brushstrokes …… create the unique texture of the oil paintings. It’s self-evident that you can only experience the strength of the texture of the paintings by going to the scene and “touching” the works with your eyes. The texture of the works by Luo Qi is also a potent medium for expressing the disposition of the works. The strong or peaceful hues, powerful or soft brushstrokes, rapid or gentle lines, bright or dark colors, compact or loose layout, dense or rare stacking combine to constitute the form language of Luo Qi for the full expression of the works. This is particularly prominent in the paintings including “Darling, how can you sleep so quietly in this world”, “My body is blooming profusely and I know you will return”, “Darling, do you know I have gone to your side gently”, and “My sad skills couldn’t integrate into the life”. The application of this form guides the viewers to fix their eyes on the subtle artistic conception in the paintings.

 It’s just the artistic conception. In a nutshell, to appreciate the art works, you have to enter the artistic conception of the artists, and become their friends spiritually, and companions regarding the soul.

Go to the scene to appreciate Luo Qi.

 

 

 

 

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