隐现生成

隐现生成

Hidden Appearance of Existence

——对尹朝宇油画的阐述

                           An Expatiation of Yin Chaoyu’s Oil Painting

江铭/文

Written by Jiang Ming

 

毕业于中央美院版画系的尹朝宇，在毕业之后并没有从事版画的创作，而是以油画为人所知。版画系的学习生涯无疑也给他的油画创作提供了某种特殊的影响。他的作品不是沿着中央美院系统的学院语言而追求和完善某种精湛的技艺。由于版画创作的技术性影响，使得他的作品或多或少体现出了版画创作中才有的概括性、无明显过渡性、简洁的色彩，清晰明确的块面构图等等特征。但是这样一种画面特征也只是他用来表达个人情感、观察当代世界的一种视角。Yin Chaoyu, graduated from the Engraving Department of China Central Academy of Fine Arts, did not engage himself in the creation of engraving after his graduation, but was well know by people by his oil paintings. While the study experience in the engraving department undoubtedly provides certain special influence to his oil painting creation. His creation is not following the academic language of China Central Academy of Fine Arts to pursue and perfect certain exquisite feat. Because of the technical influence of engraving creation, the characteristics such as generalization, no distinct transition, simple color, plain and clear composition of pictures and so on, which are only appear in the creation of engraving, are more or less embody in his artworks. But this feature of picture is only one of his angels of view employed by him to express his personal emotion and observe today’s world.

 

自2002年毕业至今，他的作品基本上有两个系列可以概括。一是以风景为主题特征的系列；二是以机场广阔的人造广场为主题的系列。虽然他创作的一些作品都有各自的名称，譬如《虹》、《夜》、《夜雨》、《桥》、《雨后》、《地平线》、《烟》、《出发》等等。这些作品都有一个总的特征，就是整个画面的构图上都有着特殊的经营，他的画面追求平衡感、总是以人的视平线来展开构成。这样一种构图模式往往让一般的观者体验到身处一种宁静、和谐、广阔的时空存在。那些画面中的点缀因素也被这种时空存在确定为稳定的、庄严的、冷凝的。Since his graduation in 2002 till now, generally his artworks can be generalized into two series. One is the series with the scenery as its thematic character; and the other is the series with the spacious manmade squares of airports as its thematic character. Though a lot of artworks created by him have their own names, such as “Rainbow”, “Night”, “Rain in the Night”, “Bridge”, “After the Rain”, “Horizon”, “Smoke”, “Set Out”, and so on, all these artworks have a general character, which is the special design of the composition of the whole picture. His pictures pursue a sense of balance and are always outspreaded and composed along with people’s apparent horizon. This mode of picture composition often make common spectator experience a kind of existence of space and time which is peaceful, harmonious and capacious. And, with the effect of this existence of space and time, the interspersing factors in these pictures also become steady, solemn, cold and condensed.   

 

最近我和尹朝宇有一次访谈，他在谈话中表达了自己希望通过画风景来阐述人与风景之间的关系。面对尹朝宇给我们呈现的那些“风景”画面，也许有人会不喜欢那样一种广阔而又冷凝的气氛，然而，这样一种具有某种神秘主义倾向和形而上特征的图像，无论它是虚幻的还是真实的，我们的确不能够无动于衷，它给予了一个观者超验的感受，这种感受在某一个点上可能触动了我们一些东西，但是我们却无法准确说得清楚。就像在一个黄昏，我们来到一片人迹罕至的海滩，面对着空旷无垠的海面，忽然一阵太阳雨过后，一道彩虹被画在天边，而即将到来的暮色又使得那片无人的海滩显现出一种神秘与深冷。在这样的时刻，美妙的景致必然给我们带来某种特殊的感受与思考。这种感受是来自那一道不期而至的彩虹给我们的愉悦呢？还是那即将降临的夜色带给我们的恐惧呢？也许现实的永存总是在希望与伤害中实现。Recently I have an interview with Yin Chaoyu and he expressed in the talk that he wished to expatiate the relation of human beings and the scenery. In the face of the “scenery” pictures presented by Yin Chaoyu, maybe some people will not like the spacious, cold and condensed ambience, but it is indeed that we can not be apathetic to this kind of pictures with certain mysticlsm incline and a superorganic character, no matter it is visional or real. They give the spectator a super-experience sense, which may touch something of us on certain point, but we can not express that clear and exactly. It is just like that we come to a untraversed beach in a dusk and face the boundless sea, suddenly it is rain with the sun on the sky, and after that a rainbow is drawn on the sky, and the forthcoming gloaming makes the unmanned beach become mysterious and cold. At this moment, for sure the marvelous scenery will bring certain special experience and consideration to us. Is this experience the joyance brought along by the unexpected rainbow? Or is it the dread brought along by the forthcoming night? Maybe the real perpetuation always exists in the hope and harm.        

 

最近尹朝宇有一些作品叫做《窗外》，也是一些风景的画面，所不同的是他的视线是通过一个窗口放射出去。那个望向窗外的眼睛，也许是隐藏在高级宾馆、写字楼或者是某个机场候机大厅的悬窗后面。那是一双带有主观判断的眼睛，于是出现在这双眼睛中的风景也便不再具有自然主义的客观性了。Recently Yin Chaoyu has some artworks with the name of “Out of the Window”, which are some pictures of scenery. But what is different is that in these artworks Yin Chaoyu’s sightline is radiating out though a window. The eyes look over the window may hide behind the window of a high-grade hotel, an office building or an airport lounge. That is a pair of eyes with subject judgment, so the scenery appeared in this pair of eyes no longer has the objectivity of naturalistic.

 

任何绘画都是艺术家自我之梦的隐现，艺术家通过色彩生成了他的梦幻图像。通过这种图像让我们发现那些存在于我们心智深处的奇异时刻。尹朝宇的《窗外》就像一张致命的网，他就是那网中神秘的蜘蛛，当某种外在的气息扑入他的视界，他便像捕捉蝴蝶一样，在冷静的活动中捕捉到那些一般人因无知和分心而不察的奇异时刻。这样的奇异时刻是内在与外在神秘撞击的瞬间出现的。All paintings are the hidden appearance of the dream of ego of artists. The artists create their dreamy images though the color. Though this kind of images, we can find the fantastic time existing in the deep of our heart. Yin Chaoyu’s “Out of the Window” is just like a fatal net, and the artist himself is the mysterious spider in the net, when certain tinge gets into his nose, he will catch fantastic time, just like catching the butterflies, that common will not detect for ignorance or distraction. And the fantastic time is appeared in the moment of the mysterious impact of the interior and the exterior.   

 

《机场》与《窗外》在脉络上实际属于一个创作思路。但是在指向性上有着某种差异。这种差异在于《机场》作为一种人工的场域，它所形成的那种广阔性与我们在自然环境中所感受到的完全不同。自然的广阔性具有天人合一的朴质性，而机场这种人造的广场则给人某种不确定的冰冷的畏惧的梦幻感。整齐划一的跑道、空旷的广场、神秘的大飞机所带给人的是一种限定，而不是随心所欲；飞机改变了人类的时空概念，速度与时间的改变是为了适应人类病态的竞争需要，而不是为了使人类与自然和谐发展。于是现代人的生活在本质上被改变成一种夸张的、虚幻的，消费欲望不断地膨胀、永远没有安全感地迁徙让人类变得焦虑而神经质。一个小时之前我们还在此地，一个小时之后却在彼地降落。生死一瞬间。在机场远处是新建的城镇与老镇的融合。工厂的大烟筒依然在遥远的地平线上冒着黑烟，与远离城市的森林彼此讥讽着伫立在我们的视野中。这种印象同时搅动着你整个的存在，好象过去与现在的全部生活都作为事实展现在我们的眼前。我们的生活仿佛永远将处于不满足所带来的无尽的不幸之中，而我们又找不到那种不满足的真实意义和确定性。Actually the “Airport” and the “Out of the Window” belong to a same train of thought. But the two series of artworks have certain difference on the intentions of them. This difference exists that, as a manmade space, the roominess formed by the “Airport” is abruptly different from that we experience in the natural environment. The natural roominess has the plain character of integrating the nature and the human beings, while the manmade square of airport bring us a kind of uncertain, cold and awe-stricken feeling of dream. The orderly runways, clear squares and mysterious big planes bring a restriction, but not the feeling of go-as-you-please, to us; the plane changes the space-time concept of human beings, the change of speed and time is to adapt the diseased competition requirement of human beings, not for the harmonious development of the human beings and the nature. So, in substance, the life of modern people is changed into exaggerated and visional one, the ceaseless expansion of consumption desire and the migration never having sense of safety make people become anxious and jumpy. Only before one hour we are here, one hour later we land on another place. To live and to die is just in a moment. In the distance of the airport is the amalgamation of the newly built town and the old one. The big chimneys of factories are still emitting black smoke on the remote apparent horizon, which are sarcastically standing in our eyeshot along with the forest far away from the city. Meanwhile this image agitates your whole existence, just like that the whole life of the past and the present is exhibiting before our eyes. It seems as our life will forever in the endless misfortune brought along by the dissatisfaction, while we can not find out the real meaning and certainty of that kind of dissatisfaction.

 

然而，除了机械的冰冷的确定性，就不存在别的什么确定性吗？存在心理的永恒吗？还是只存在非永恒？人类尽管建立了成千上万巧妙的信仰结构来征服生命，但是生命本身最终将以死亡、以未知结束。生与死就像一枚硬币的两面，要想获知生命的意义，就必须获知死亡的意义，而生命永远不可能获知死亡的意义，于是也就永远不可能获知生命的意义。当我们理解到这一点，便知道对人类来讲，任何方向、任何层次上的自我实现都没有意义。However, isn’t there any other certainty except the mechanical and cold certainty? Does the mental perpetuation exist? Or only the un-perpetuation exists? Though human beings have constructed numerous beliefs to conquer the life, but finally the life itself will end by death and being unknown. The life and the death are just like the two sides of a coin. If you want to find out the meaning of life, you must find out the meaning of death, while the life can never get the meaning of death, so we can never get the meaning of life. When we understand this point, we know that to human beings, the self-fulfillment in any direction and on any level has no meaning.     

 

也许我们人类的目光永远只能够看到地平线。May the sight of our human beings can only see the apparent horizon forever.