私自的风景

私自的风景Private Landscape

赵力Zhao Li

 

尹朝宇迷恋于风景，他的画也以风景为主，这一点在当下显得非常的特别。其实尹朝宇骨子里有非常特别的古典情节，这是他以风景入画的原因，也是他放弃在美院所学的版画转而创作油画的原因。Yin Chaoyu is infatuated with the landscape and the themes of his paintings are mainly of the scenery, this appears very special at present. In fact there is a very special classicality complex in Yin Chaoyu’s heart, which is the reason that he adopts the landscape in his paintings, and it is the reason that he gave up the engraving specialty that he studied in China Central Academy of Fine Arts and turned to create oil paintings.  对于风景画中的经典，尹朝宇则偏爱透纳和弗里德里希，而透纳和弗里德里希显然是古典风景画的两翼，透纳的风景是对自然的感受基础上的光色幻想，弗里德里希的风景则是人与自然的情感结合基础上的精神倡扬，从这一点来看尹朝宇既关注于风景画中的光色表现，又关注风景画的精神性表达。Of the classic landscape painting artists, Yin Chaoyu prefers Turner and Friedrich. And apparently Turner and Friedrich are the two wings of the classic landscape painting. Turner’s landscape is the light and color fantasy based on the perception of the nature, while Friedrich’s landscape is the advocating of spirit based on the emotion combination of the nature and human beings. From this point, Yin Chaoyu not only cares the light and color representation in the landscape paintings, but also cares the expression of spirit in these paintings.   然而作为当下的创作者，有关风景画的创作又早已迥异于古典，尹朝宇不再像古典的风景画家那样拿着画板画架而对着风景进行所谓的写生，而是在画室中对着画布编织着“私自的风景”，如果要找到这些作品与古典的表象联系的话，那就是那条似乎遥不可及且又异常明确的“地平线”。However, as the artist at present, and since the creation of landscape paintings are quite different from those classic ones for a long time, Yin Chaoyu does not take the palette and the easels to carry out the so-called sketch of the landscape like the classic landscape painting artists, but weaves the “private landscape” in the atelier. If you want to find out the external relation between these artworks and the classic ones, which is the “apparent horizon” that seems distant but very clear. “地平线”，是尹朝宇在很多画中非常强调的部分，甚至成为了他创作中的某种“原则”，但是这一在表象上让人联想到古典的“地平线”，除了像过去那样以此来强调景深之外，更多的则是画面的结构性的意义。The apparent horizon is the factor that Yin Chaoyu emphasized a lot in many of his paintings, which has even turned certain “principal”, but except emphasizing the depth of field like the past, this “principal” that makes people associate the classicality of external images has more structural meaning of pictures. 通过“地平线”，尹朝宇取得了横向切割画面的结构方式，整个画面往往因为“地平线”被人为分割为上、下两块，这令整个画面有别古典而带有了更多的主观性，使得整个创作脱离开“自然的秩序”的束缚而呈现出“理念的模式”。Though the “apparent horizon”, Yin Chaoyu acquired the structure mode of incising the picture breadthwise, and often the whole picture is intentionally divided into the upper and the lower parts because of the “apparent horizon”, which makes the whole different from the classicality and has more subjectivity, and makes the whole creation get rid of the bondage of the “order of the nature” and takes on the “mode of concept”.  在尹朝宇的最初创作中，画家以“地平线”为中轴，在上部的天空以及下部由远及近的空间中展现出了自己的想象力，“彩虹”、“风暴”、“激光”、“北极光”、“流星雨”、“飞机”、“透过阴霾而照射下来的阳光”等等构成了有关天空的表情，而“城市”、“水面”、“田园”、“奔马”、“人群”则是下部空间中的主宰或参与者。In the initial artworks of Yin Chaoyu, the artist took the “apparent horizon” as the medial axis and exhibited his own imagination in the upper sky and the lower space that spreading from the distance to the vicinity. “Rainbow”, “Storm”, “Laser Light”, “Aurora Borealis”, “Meteor Shower”, “Plane”, “Sunshine Irradiating Downward through the Haze” and so on compose the expression of the sky, while “Cities”, “Surface”, “Rural Field”, “Running Horse”, “Crowd” and so on are masters or participators of the lower space.    可以不久之后尹朝宇就认识到仅仅依靠“地平线”会让整个画面稍显单调，即便这样做的结果已经令创作者非常具有对画面的控制力，尹朝宇进一步的想法是在坚持单纯性的同时形成更复杂而完满的视像结构。But before long Yin Chaoyu realized that only depending on the “apparent horizon” will make the whole picture a little bald, even the result by doing this way has made the artist have a good mastery over the pictures. The further thought of Yin Chaoyu is to form the more complex and more satisfactory vision structure at the same time of insisting on the simplicity.   于是从2007年之后，尹朝宇开始在“地平线”之外琢磨出更多的分割画面的方法。So since 2007, Yin Chaoyu began to study out more methods of dividing the picture except the “apparent horizon”.在一些作品中，尹朝宇有意识地打破“地平线”的固化结构，他开始放大近景，譬如那些有关机场、立交桥等的作品，飞机、汽车、立交桥上沿的弧形等在近景中出人意料地“插入”，不仅是一种“迁想妙得”的成果，也是画家有意味地刻意摆放，它们打乱了画面因为“地平线”的存在而形成的横向平行的构成，并在很大程度上压缩了景深以至于画面变得更为平面化；In some of his artworks, Yin Chaoyu intentionally break the fixed structure of “apparent horizon”. He began to zoom out the close shots, such as in the artworks about airports and flyovers, the unexpected “inserting” of arcs of upper sides of the plane, the car and the flyover in the close shots is not only a fruit of “accidental gain of daydreams”, but also the result of the intentional arrangement of the artist, it disturbs the horizontal composition formed by the existence of the “apparent horizon” and compresses the depth of field in great extent so that the picture turns to be more planar;  而在另一些作品中，尹朝宇在近景增加了有关“玻璃窗”的描绘，形成了“窗内”和“窗外”的两个空间，“窗外”与“窗内”的空间是通过玻璃的通透性来加以连接的，而玻璃窗的纵向框线无疑形成了既在纵向上分割画面的方法，又以“硬边”式的冷峻加强了画面结构化的效果。while in other artworks, Yin Chaohui added depictions about the “glass window” in the close shots and hence formed the two spaces of “inside the window” and “out of the window” , and the spaces of “inside the window” and “out of the window” is connected though the transparence of the glass, while the lengthways frame lines undoubtedly compose the method dividing the picture lengthways on one hand, and on the other hand it enforces the effect of the picture structure with its “hard border” type coldness.  事实是尹朝宇近期以城市为题的创作，还带有更强烈的针对性，它取消了人的活动与形象，呈现了近乎霍默式的落寞与忧伤的当代情境。In fact, Yin Chaoyu’s recent artworks with the theme of cities have stronger pertinence. These artworks abandon human’s activities and images and take on a lonely and sad contemporary context which is almost of the Homer type.