政策资讯协会

流水今日,明月前身

来源:yishuhui_cc    发布时间:2019-02-19 20:50:57


  

  美院油画系的老先生的先后退休,上世纪五十年代造就的一代名师,仿佛在一个夏季,都离开了教职,一下子就换作了“文革”后的一代人。“日光随意落,河水任情流”。人换了一代,而油画系的气息却一脉而相承。两鬓染霜的一代,兀自回返画室,“万事悉悠悠”,更多地琢磨起绘事画意来。汪诚一先生正是其中的代表。


  认识汪先生很早,早在1978年夏,当时我已知被浙美录取,但未接正式通知。汪先生带着当时油画进修班梁铨等几位同学赴闽写生,我如获救星般前往探望。三十年前的往事如风,每回想起,都会吹起一片记忆的涟漪。知道汪先生的画,那就更早了,早在1973年春,我高中毕业后,寄寓福州学画,从老师家中搜出“文革”前的《美术》等刊物阅览,马克西莫夫油训班如远月,《信》等作品正若渺远的光芒。在那个颇为严酷的年代,这些艺术中蕴藏着浪漫情愫,像一首诗,沁着人们的心头,尤其点燃了我们山乡知青生涯的亲历感情。那温丽的调子,从此总与某些温馨的事相联。



信 The Letter 布面油画 Oil on canvas 143cmx228cm 1957


  我们常说:国美(浙美)油画系有着一种“写”的传统,指的是油彩的塑形赋色的绘画过程中,重视“笔”的挥洒和自在的表现力。当我们确认这样一种传统的时候,心中一定会浮现汪先生的绘画艺术。他的“挥写”几乎成了他的一个特质。远在上世纪五十年代的《信》的创作中,在人物塑造的同时追求生动的用笔的倾向,就已经初显端倪。“文革”恢复了教学秩序后,学校复兴人体写生之风,我曾亲眼目睹汪先生的写生过程,对他把握整幅作品大体色调的能力印象尤深。在写生中,他极重视人体的纯一的亮度,淡化人物的细琐阴影,常常有意识地将暗部转化为色块。为此,他营造出一种偏于平面的表现方法,让色彩和整体的形来打动人,并为用笔留出淋漓的挥写空间。



拉卜楞寺 Labrang Monastery 布面油画 Oil on canvas 54.5cmx73cm 1980


  上世纪八十年代初,汪先生和宋贤珍老师一道赴甘南写生,回来后在院里举办了“藏区风貌”的双人联展。这个联展中的一些画至今还留在我的印象里。那极具写意的用笔,迅速捕捉形体;夸张的色块,蕴满了生活的激情。汪先生对于油画的独特的挥写在藏民异域他方的色彩世界中几乎得到任情任性的施展:人物牛畜还原成一块块滚动的色彩,在高调的高原上穿梭;载歌载舞的人群,又在同明度、对比色的交回中荡开活的韵律;大块的平涂和激越的色彩相互应和,那色、那线仿佛要挣脱形象,兀自颤动起来。高原的生活被表达得如此丰彩,如此亮丽,在当时和今天都让我们的心随之怦然跳动。



三头牦牛 Three Yaks 纸板油画 Oil on cardboard 55cmx56cm 1980


  汪先生作画重色线,重挥写,在那后面蕴着的,是他的感情。这种感情并非雄浑或澎湃的一类,却天然地有着一种凝练的倾向。“空潭泻春,古镜照神”。那如泻春色的潭水,澄清彻底;那照人形神的古镜,绝无蒙翳。汪先生的内心常常充满了被感情淘洗之后趋于澄澈自照的清明,所以他的色线一方面总带着情,蕴着情;又一方面趋向于洗练。《渔火》、《童年》中那舟船,那江水,都带着一种思乡的远望。远望是由色彩来表达的,那般沉郁,又那般纯粹,蕴着一缕家园的守候。



渔火 Fishing LIghts 布面油画 Oil on canvas 60cmx73cm 1986


  这样一种望境是注定要倾向于简约,倾向于淡远的。汪先生经历了一系列源于生活的色彩世界的激荡之后,内心越发澄澈起来,清明起来。八十年代末以来,汪先生创作了一批人体系列。人体的造型仿佛受着一些立体表现的影响,但更加简约,有如一片片披裹着布衣的云团,随时要在流畅而纯一的背景上飞翔起来。物之纯洁出于洗,技之精熟出于练。汪先生经历了反反复复的洗练之后,他的艺术世界进入了一个更为单纯、更为悠蔓的境域。他内心深处的某个本己的东西在这个洗练的过程中被陶冶出来了。那本己的东西那般素淡,却又迢远;那般简洁,却又浑然一体。“体素倾洁,乘月返真”。汪先生几乎半个世纪的矢志努力,在他的晚年,正在把他自己带回其本身,带回那纯一而淡定的家园。



童年 Childhood 布面油画 Oil on canvas 97cmx120cm 1986


  这个家园曰“写”:那些山壑村庄只在笔端处延绵伸展,在远方的地平线下,化作耕云播雨的地之灵窍,正吐纳着中国人因时因地、二十四节气的呼吸。这个家园曰“淡”:那清晨窗前的一花一卉,正发散着清新的绿影幽香,悄悄然给每日的生活带来一份悠蔓自得的梦一般的远望。这个家园曰“意”:那山水,那花卉,那人物都蕴着生命本己的一种快意,蕴着绘画自如自在之境的和乐,只要你看上一眼,就被感染,那一切就如水一般沁入心园,成为静观自守的家园的一部分。


  “流水今日,明月前身”。今日,犹当下;前身,犹前生。在这样一个简白澄化的世界里,前生、今日,明月、流水又有什么区别呢?她们是否一道昭示着一个活的隽永之境呢?


  谨以此文献给汪诚一先生在中国美术馆的个展。


许江(中国美术学院院长)

2008年7月8日于杭州南山三窗阁


Water Today and Moon Predecessor


  Old professors of Oil Painting Department of CAA (China Academy of Art) retired subsequently. Masters from the 1950s left suddenly as if in one summer and were replaced by the generation after the Cultural Revolution. “Let days come and go and river flows by”(1). The new generation inherits the tradition of Oil Painting Department. The white-haired generation returns to the studio. All things become the memory (2). They will think more about painting. Wang Chengyi is one of them.


  I knew Mr. Wang as far back as in the summer of 1978, that is, when I was admitted by Zhejiang Academy of Fine Arts, but hadn’t received the official notice yet. Mr. Wang led Liang Quan and several other students in Oil Painting Training Class to Fujian for sketching. I was excited to meet them. The past has vanished like wind. At the thought of those days, I felt that the very chord of my heart was touched. I knew the painting of Mr. Wang even earlier. In the spring of 1973, I graduated from high school and studied painting in Fuzhou. I found “Fine Arts” and other magazines in my teacher’s house, which were published before the Cultural Revolution. Works from Maksimov Oil Painting Training Class such as “Far Moon” and “The Letter” were like remote, but brilliant rays of light. In that bleak age, these arts felt like romantic poems and warmed us, the educated youth being far away from our hometown. The warm and bright tone was always associated with some happy memories.


  We often say that: the Oil Painting Department of CAA (Zhejiang Academy of Fine Arts) has a tradition of “writing”—emphasizing the free expression of “brushstrokes”. When we confirm such a tradition, we would think about the painting arts of Mr. Wang. His “free writing” style almost become one of his traits. Its signal was seen in “The Letter” in the 1950s, in which he pursued the use of “brushstroke” while depicting figures. When the teaching order was restored after the Cultural Revolution, the school advocated painting human body. I witnessed once Mr. Wang’s sketching process and was deeply impressed by his mastery of color tone of the whole work. He paid extremely high attention to pure brightness of human body, weakened the trivial shadows of figures and consciously transformed the darkness into color pieces. He created the method of expression that emphasized more on the plane, moved people by colors and overall forms, and left the space for free expression of brushstrokes.


  In the early 1980s, Mr. Wang and Ms. Song Xianzhen went to South Gansu area for drawing from nature and held their joint exhibition of “Scenes of Tibetan Region” in our academy when they came back. I was still impressed by some paintings in that exhibition. Free strokes rapidly captured the forms. Exaggerated color pieces were full of life passion. His unique style was fully demonstrated in exotic colors of Tibet. People and livestock were reduced to rolling pieces of colors and they shuttled in the high-key plateau. People danced to the rhyme of same brightness and contrast colors. Large pieces of flat and vibrant colors correspond to each other. The color and lines seem to break away and dance by themselves. The plateau life was expressed so vividly and brightly. It touches our heart even today, much more in those days.


  Mr. Wang emphasizes color, lines and free style. What’s behind is his emotion. It isn’t powerful or vibrant, but is naturally polished. “The crystal-clear lake sets free the spring and the ancient mirror reflects the soul”. The lake that sets free the spring is as clear as crystal. The ancient mirror that reflects the soul has no fog. Mr. Wang’s inner mind is so clear and reflects himself. His colors and lines, though simple, are full of feelings. The boat and river in “Lights on a Fishing Boat” and “Childhood” were tinge with an irresistible feeling of homesickness. “Memory” is expressed by colors. The boat was dark, but pure, as if waiting for a journey back to the hometown.


  “Waiting” is destined to be “simple” and “distant”. After ups and downs in the colorful world, his heart is clearer and purer. Since the late 1980s, Mr. Wang created a series of human body paintings. Forms of human bodies are influenced by three-dimensional expression, but simpler. They are like clouds wrapped with clothes, ready to fly in the smooth and pure background at any moment. After repeatedly refining, Mr. Wang led his artistic world into a purer and easier realm. His ego, at the bottom of his heart, was discovered. The ego was so plain, but remote; so simple, but integrated. “Pure as it is, returning by riding the moon”. Mr. Wang worked hard for almost half a century. In his late years, he returned to his pure and simple home.


  His home is “writing”. Those valleys and villages extend at the tip of brush. They turn into “fertile farmland” under the horizon far away, corresponding to 24 solar terms of China. His home is “plain”. Fragrant flowers in front of windows in the morning bring dreamlike aspiration each day. This home is “meaningful”. The landscape, flowers and figures are “mirthful” and “harmonious”. You would be moved with a glance at them. All are like water, penetrating into your heart and becoming a part of the serene homeland.


  “Water Today, Moon Predecessor” (5). “Today” is “now”; “predecessor” is the ‘previous life”. In this simple and pure world, what is the difference between the “previous life”, “today”, “moon” and “water”? Whether they remind people of a dynamic and meaningful world?


  Dedicated to Mr. Wang Chengyi’s Solo Exhibition in National Art Museum of China.


 Xu Jiang

  July 8th, 2008

  In the Pavilion of Three Windows, South Hill, West Lake, Hangzhou



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