我的风景-我的乌托邦
毛旭辉
生命之初有神话.一如伟大的神曾经在印度人、希腊人和日尔曼人的心灵中进行创作并寻求表現那样,它如今又日复一日地在每个儿童的心灵中进行创作.
赫.黑塞 (Hermann Hesse ,1877一1962)
当孩子在纸片上用铅笔画出一条铁轨、一排电线杆的透视感,那份喜悦至今还留在心里,那就是一切的开始.他笔下的线条表达出越来越多的事物和形象,并且用这些形象去构成他的风景,他的世界,事物在幼小而洁净的眼睛里逐渐清晰了起来,那是一个美丽的世界,它充满阳光空气以及温暖和谐的态度,
由于对绘画的兴趣以及这种兴趣带来的奇妙的安慰和鼓舞,孩子也学会了去认识其它的绘画和画家,比如画白桦林的库因芝(Kuinji 1842一1910)、画金色秋天的列维坦(Levitan,1860一1900),他还画了湖上的云、黄昏的池塘及一条伸向远方的路.其实那时他还不习惯老祖宗的伟大创造一水墨世界,他只知道面向风景就是面向空间和色彩,这是一个初学者的基本功课.那些年俄罗斯绘画成了今天说的时尚,孩子周围的朋友长大了办喜事都来求他给他们的新房画上一幅俄罗斯风景.当年这种事也是社会对孩子热爱绘画的一种价值肯定.
时间过得很快,艺术的趣味也在悄悄改变,法国绘画的光亮也影响到这个城市里的年青画家,孩子们的调色板也亮丽了起来,轻松明快的光斑取代了俄罗斯的忧郁和沉思,在文革戏剧性的政治动乱年代里,在街头小巷里写生,到郊外画风景是一种逃避政治喧嚣的办法,在那个疯狂乏味的时代里绘画就如同宗教如同乌托邦.
随着政治动乱的停息,孩子们都纷纷上了大学.国门也随之开放,艺术观念变得复杂了起来,绘画进入了观念革命的国际轨道,从此再也没有返回.绘画的先锋性质被现代主义所定义,在那个新潮起伏的年代,绘画被倡导与个人的感觉有关,在南方绘画被生命的冲动所覆盖,生命与自然融合一体创造着个人的神话.孩子们长大了登上了历史的舞台.
世界被改变着,历史的车轮朝着未来世界奔去,而四周留下大量的荒芜的残赅,它们曾是从小陪伴孩子们成长的河流湖泊森林田野山坡宁静和空气,如今这些曾经的家园正经受着高迅发展的毁灭,这是一种特別的状况,艺术也被引入对这种状况的关注和揭示,绘画也必然蒙上时代变化的阴影和焦虑,绘.画无力改变世界,但能保留对过去的怀念、对孩提时代的记忆、对自然的眷恋,它纯真的态度能成就人类内心的幻想,它曾经是美丽的世界的歌声,而今当它面对自然和过去的风景时,情绪难免带有伤感.但世界不能失去希望,描绘一种曾经领悟过的自然的魅力,一种经过孩子纯净的目光和心灵绘制的风景,仍然是当代人类的心理需求.每一个孩子绘画的风景都包含着重返乌托邦的梦想,那是孩子的风景一那是世界的乌托邦！
本次在云南特别组织和策划的风景主题展,集合了(上世纪)50年代和80后出生的艺术家的作品,他们有的经历过上世纪末以来的三十年的各种艺术风云,有的刚刚跨出大学的门槛,在我看来无论是谁,当它在绘画风景的,他都是一个孩子,在与自然交会的过程中,内心的确会放下尘世的纷繁和当代社会的沉重负担,绘画中的孩子都会天真地把世界纳入到他的构筑之中,在这个天真的逻辑中,的确可以保留人类在孩童时代的种种与大自然密切相关的美丽神话.
2010.3 于昆明创库
My Scenery- My Utopia
Mao Xuhui
March, 2010
生命之初有神话.一如伟大的神曾经在印度人、希腊人和日尔曼人的心灵中进行创作并寻求表現那样,它如今又日复一日地在每个儿童的心灵中进行创作.
赫.黑塞 (Hermann Hesse ,1877一1962)
When a child drew the perceptive of a trail and a line of telegraph poles by a pencil on the paper, a kind of ecstatic arouse and the feeling has still been in his deep heart so far, which is the beginning of everything. The lines he drew can express more and more things and images, which constituted his scenery and world. Everything gradually began to be clearer in these young and pure eyes. That is a beautiful world, which is full of sun, air and warm and harmonious attitude.
Due to the interest in painting and the marvelous comfort and encouragement brought by the interest, the child began to explore other paintings and other artists, for instance, Kuinji(1842-1910) who painted the birch wood, Levitan(1860一1900) who painted golden autumn, the cloud above the lake, the pond in the dusk and a road leads to the distance. In fact, at that time he wasn’t used to the great invention by his Chinese ancestors- ink on the paper. When facing the scenery, the only thing he knew was space and color, which is the basic painting lesson for a beginner. Russian painting was those days’ vogue and fashion. The friends of the child became grown-ups, and then asked him to paint Russian scenery paintings for their wedding rooms when they got married, which is an affirmation from the society to the child’s passion for the painting.
Time always flied. The taste of art was slowly and silently changing. The brightness of French painting influenced the young painters in this city. The pallets in children’s hands became bright and beautiful. The light spot took the place of the melancholy and meditation of the Russian style. In the dramatic political turmoil of the Cultural Revolution, making sketches in the lanes, streets and painting in the countryside is a good way of escaping the chaotic politics. In the crazy and dull times, painting was like religion; painting was like Utopia.
After the cease of the political disturbance, children all went to the university; the country begun to open to the outside world, so the notion of arts became complicated. Painting complied with the international way and came into a new era of notion revolution, and never came back to the old ways. The vanguard paintings were defined as modernism. In the years of ups and downs of various new weaves, many people advocated that painting should be related to individual feelings. In the south of China, paintings were filled with the impulse of the lives; the individual myth was created by merging lives with nature. The children grew into adults and came to the stage of history.
The world is changing, and the wheel of the history is running into the future, leaving lots of wildness and wreckages. They were once the rivers, lakes, forests, fields, hillsides, peace and air which accompanied the children to grow up. However, the old homes were destroyed by the rapid development, which is a very special situation, thus, art is also involved into this situation to show its care and expose the essence. Paintings are destined to be affected by the shadows and worries of the changes. Paintings could do nothing to change the world, but they can keep the miss for the past times, the memory of the childhood, and the attachment of the nature. Their innocent attitudes could fulfill the fantasy in the heart of humankind. They are the songs of the beautiful world, but when they face the nature and the past scenery, the sad feelings couldn’t be stopped. Nevertheless, hope couldn’t be given up, for it is still a psychological need of human-beings to describe an enchantment of comprehension; to describe scenery reflected by children’s eyes and minds. Every child’s scenery all includes the dream back to the Utopia, and it is children’s scenery- that’s world’s Utopia!
This specially organized and curated scenery exhibition in Yun Nan, includes the artworks by artists born in 1950s and 1980s. Some of them experienced the various art styles in the past 30 years, while some of them just graduated from university. However, no matter who they are, in my eyes, they are all children when they paint the scenery. In the course of meeting the nature, it is difficult for the human mind to get rid of the complexity of the real world and the heavy burden of the society nowadays, but the children can naively include the real world to their paintings. According to this simple logic, the beautiful myth which is closely connected to the nature during the human’s childhood could definitely be kept.
Written in Chuang Ku, Kun Ming
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