“无界欧洲杯夺冠赔率:”:概念之外的心灵牧歌

唐伟民的画,给人一种既熟悉又陌生的感觉。人们很容易将唐伟民的画归入藏族题材。不少油画家在藏族题材上获得成功,让这类题材在中国当代油画创作中并不陌生,尽管无论是画家还是观众,真正熟悉藏民生活的为数甚少。换句话说,大量藏族题材的油画作品,让人们对陌生的藏民生活变得熟悉了。为了让自己的作品看上去再现了原汁原味的藏民生活,有些画家多次深入藏区写生,或者佯装与藏民打成一片。但是,唐伟民从来从不掩饰作品的虚构性。在他作品中反复出现的人物,与其说像饱经风霜的藏女,不如说像久处深宫的女官。即使唐伟民画的是现实中的藏女,她的反复出场也消解了观众对藏女的陌生感。既然观众对藏人生活并不熟悉,唐伟民就可以放开手来玩味这熟悉与陌生的游戏,让他的作品可以自如地从现实生活中跳进跳出,让观者的心理在现实与虚构之间起伏,获得一种视觉和心理愉悦。

许多人都注意到,唐伟民在画布上重复地调度着一位不存在的缪斯,画家自己也毫不避讳这点。这位女子穿戴着夸张的藏族服饰与配件,时而顾盼,时而沉思,时而又隐隐地黯然神伤。那清透的眼神中,流露出不食人间烟火的孤冷与倔强。这不是一位真正的藏民,而分明是一位装扮成藏民的仙女。对少数民族风情的猎奇,似乎不是伟民所痴迷的。他的这位藏族女子,更似一位冰肌玉冷的古典美人,独存了一份孤瘦雪霜之姿。沉静的背景衬着这张脱俗的脸庞。即使身着宽大厚重的服饰与精致繁缛的配饰,依然是清清秀秀丽人一枚;即使是两颊上的高原红,似乎也不烘托粗犷,反衬出隽秀。她兀自伫立在画中,毫不知觉、也毫不在乎观者对她容貌的啧啧称奇,抑或评头论足。她没有屈服于被画的状态,在绘画的时空节奏中,她遗世独立、生生不息。因此,在一个虚构的情境中,伟民画出了旷世的真实。

事实上,自从照相机普及之后,绘画是否真实地记录现实已经不再重要。没有那么疯狂的人,拿着绘画到法庭上指证某人正在做某事,不管画得如何逼真。但是,一幅不那么清晰的照片,却可以在法庭上作证。绘画与摄影的差别由此可见一斑。因为没有人将绘画当真。真要较真的话,画家多半也难胜其职。因此,对于唐伟民来说,人物是谁并不重要,她身上那身服饰究竟具有怎样的含义也不重要,重要的是所有东西搭配在一起能否传达出他想要的感觉,比如一种高贵感,庄重感,神秘感。在这种意义上,尽管唐伟民的作品初看上去像现实主义,而实际上却存在着浪漫主义或者表现主义的影射。或者说,唐伟民在用绘画追求音乐的效果,他表面上画的是具象人物,实际上在追求音乐中的抽象调子。正是因为感觉或者调子的不同,让唐伟民藏族题材的作品能够在众多同类题材的作品中脱颖而出。就像同样是《小夜曲》,莫扎特就不同于贝多芬。唐伟民是如此坚定地画着大家熟悉的题材,原因正在于他坚信自己表达的内容与众不同,自己的情感调子独具特色,即使是同样的题材,也不用有雷同的担心。

虚构作为真实,在中国古代寺观艺术中比比皆是。敦煌莫高窟中那倒弹琵琶的飞天美轮美奂,唐卡中那来自密宗的本尊、菩萨、天王、金刚、力士、度母等形象也令人目不暇接,洛阳龙门石窟那慈祥端庄的卢舍那大佛像让人顿生敬意,杭州飞来峰上的那座笑口常开的如来佛更是法化众生。这些宗教形象经过世世代代的想象演变而来,最终定格成了一目了然的视觉共识。它们或优美、或庄严、或生动的造型,为身在樊笼中的人们寻求超脱之路指引着方向。伟民也酷爱收藏佛像,不仅是因为心中有佛,更被它们千姿百态、玲珑流畅的造型所吸引。事实上,造型本身便是一种美,这样的观念在画家心中已经生根发芽并且开花结果了,我也因此能够想象他的画中追求纯净乃至宗教般圣洁的美。由此,现实中的虚构,被转化成了艺术上的真实。然而,不同于宗教的避世,伟民坦言,他选择这些略带忧郁的虚无形象,并不是逃避现实,而是对当下现实的一种委婉的批判。当然,这当中也包含着一种宗教式的寄托:嘈杂的现实中早已失落的那份纯洁与清静,在艺术中找到了自身的依附与所属,还原了画家内心深处的本真。

唐伟民作品的陌生感,正在于它们与众不同的精神气质和情感调子。这种精神气质和情感调子,既是作品的也是作者的。尤其是在熟悉的题材中,不同的精神气质和情感调子就体现得更为明显。比如,同以藏族女孩为题材的油画,唐伟民的庄重就不同于艾轩的感伤。对于唐伟民来说,画面的一切安排都是为了这种情感调子的传达。这种情感调子正是一个艺术家的天生素质,如同李白的飘逸、杜甫的沉郁、王维的空灵那样,不是单纯通过学习获得的。从这种意义上说,艺如其人也不无道理。艺术并不会因为题材的穷尽而走向终结,原因就在于不同艺术家的不同气质。只要充分展示了自己的气质,就会创造出熟悉而又陌生的作品。这样来看,绘画如同演奏一样,同样的曲目,会因为演奏家的不同气质而成为不同的作品。唐伟民在经过艰苦的探索之后,终于在藏女题材中找到了自己的精神归宿。因此,与其说他所画的形象是现实中某位藏族女子,不如说他塑造了一位他心中的女神,用她来承载自己的精神寄托。

但是,人们依然会问,假若画家要为自己营造一座寄托情怀的精神家园,为何要如此固执地选择这张美而不真的脸庞呢?又或者,假若画家的心目中常驻着这张理想化的面孔,又为何非要选择异域风情的装束与背景呢?这里要提请观者注意的是,伟民采用的是写实的手法,但不是写生的手法;画中人物是被细致地雕琢出来的,却不是真正意义上的肖像;人物的目光无论是沉浸在画中还是投射向画外,都没有刻意地取悦抑或搜寻画外观者的目光。如此,画面构建了一个自给自足的世界。只有当我们抛却常识与概念的那一刻,画面的时空才会真正向我们敞开。

唐伟民之所以用藏女作为创作题材,也许是为了拉开与现实之间的距离,就像当年画家喜欢去边疆写生,以少数民族为题材创作作品一样。不过,当年的艺术家看重的是少数民族与政治的距离,唐伟民看重的是藏女与世俗的距离。唐伟民借助藏女来表达自己的精神高地,就像席勒当年借助古希腊来表达自己的精神诉求。独特的精神诉求和情感特质的融入,让唐伟民笔下的人物显得陌生,但是朴实的写实技法,又让唐伟民笔下的人物似曾相识。唐伟民没有因为表达个人情感的需要而走向变形的表现主义,也没有因为写实的需要而成为现实的奴隶,他在限制之中表达自由,在熟悉之中追求陌生,我想这正是唐伟民的绘画让人着迷的地方。

在西方美术史上,写生精神是艺术迈向现代主义的重要标志当艺术家们意识到应当为艺术而艺术(Art
for Arts
Sake)时,对写生之鲜活感与现场感的追求就从未停止过:从十九世纪开始,萌发于英国拉斐尔前派就意识到了写生的重要性,他们对那些千篇一律的文艺复兴宗教绘画深恶痛绝,提出直接向自然学习(learning
directly from
nature)的口号。法国巴比松画派的众画家们则坚持亲近自然进行写生,创作出了众多传世名作。更毋宁说,走向现代艺术的印象派画家们是多么孜孜不倦地对着一片池塘、一座山丘、一幢建筑、一次郊游等等进行速写式的写生。而对于异域风情的痴迷,则当首推浪漫主义大师德拉克罗瓦。当年画家创作《阿尔及尔妇女》一作时,曾屡次试图进入当地妇女的闺房一探究竟,遗憾最终未果。即便如此,画家还是坚持将自己在当地之所见拼凑起来,创作出了这幅充满异国情调的代表作。而后印象派画家高更,更是断然放弃了西方现代文明,只身来到了位于西太平洋的塔希提岛,在这片最简单原始的土地上创作。关于异域的那份神秘、原始、淳朴与隔绝,长久以来都在为艺术家的创作提供着源源不断的养分。

Familiarization and Strangeness

然而,当我们回到唐伟民的绘画中时,不觉发现,他的绘画既不向写生靠拢,也并非真正在捕捉异域风情。在他的画中,我发现了一种强烈的形式感。这种形式感,透过固定的造型元素建构起来,却从来不是元素本身。当造型本身成为形式,风格即已形成,至于原料从何而来,如何组成,大可以天马行空,放手一搏。因此,我在这里想提出,伟民的绘画,在其内在秩序中,并没有与艺术创作的原发性背道而驰。相反,她们开拓了一片更自由的创作领地。

Peng Feng

首先,从伟民的绘画手法上看,不难发现他在同一幅画中采用了多种画法其中既包含层层罩染的古典技法(如人物的面部及手部等),又处处可见将笔触暴露在外的灵活多变的直接画法(如那些服饰与配件)。这些手法均是写实的,但在画面中所起的作用却不尽相同。古典技法显露出庄重、细腻,直接上色则带着结实的笔触,透着呼之欲出的质感。最令人欣喜的是,在对珠子配件的处理上,画家又忽而转向绵密平滑的写实技法,玛瑙石透亮的光泽正如白居易诗中的大珠小珠落玉盘。色层上的厚薄与布局的安排,彰显出多种多样的对比,使得画面极富层次感与灵动感。这不仅仅是画家绘画功力的体现,也显露出对造型美的自觉追求。

Tang Weimins paintings remind us of a feeling both familiar and strange.
People would easily classify his painting into the Tibetan subject.
There are quite a few oil painters who have gained their success through
Tibetan subject, which makes this subject no more strange among the
creation of contemporary Chinese oil painting, despite of the fact that
there is rare painters or viewers who are truly familiar with the real
Tibetan life. In other words, it is the huge amount of oil paintings
with Tibetan subject that make people to become familiar with the remote
Tibetan life. In order to let their works look like original
representation of the local life, some painters would go deep into the
Tibetan district to do sketches or pretend to get involved into their
life. However, Tang Weimin never disguises the fictionalized feature of
his works. The Tibetan girls in his painting are more like court ladies
living in the palace for long instead of the real Tibetans who have been
through the vicissitudes of life. Even he paints Tibetan girls in real
life, their repeated presence has dispelled the alienation towards
Tibetan girls for the audience. Since the audience is not really
familiar with the real Tibetan life, Tang Weimin could get the chance to
paly the game between familiarization and strangeness freely. His
painting could therefore jump in and out unrestrained from the real
life, driving the audience up and down between the mental reality and
fantasy, acquiring a kind of visual and psychological pleasure.

继而我也注意到,画家不仅在单个人物的塑造方面追求层次感,更在群组人物画中勾勒出另一种层次感。《尘烟》、《赛马》、《转山》这几幅作品,均为群组人物画。但画家并没有按照大多数群组人物的处理方式,将人物在同一水平线上平行排布。相反,这些人物被纵向堆叠起来,填充了整个画面。此时,各式人物分别充当了前景、中景与背景,其中还能看出画家苦心经营的虚实关系。这让人不禁想起宋代的山水画。无论是范宽的《溪山行旅图》、郭熙的《早春图》,还是马远的《踏歌图》、李唐的《万壑松风图》等等,均在重复着以竖直构图体现层次与径深的经典构图法。同样的,这些传世的宋人丘壑,都采取了前景、中景、背景层层递进的透视法则。在伟民的群组人物画中,我发现的正是这样一种极富想象力的呼应。前景中的人物清晰敞亮,而视线逐渐向上推移的同时,仿佛也在向深处推移,因为越往上看,人物似乎就愈发概括、简化,如同中国古代山水画中远处的山峰,绵延着带领观者走向无边的远处。唐伟民尝试在油画中,并且还是油画人物中表现中国古代山水画丰富的层次与径深,这无疑是对传统文化的一种个人化重构,内中包含了绘画语言的多样性。

As a matter of fact, ever since the popularization of camera, it is no
longer important for painting to record reality in sincerity. Nobody
would be that crazy to take a painting of someone doing something as
evidence in court, no matter how realistic the painting is, while on the
other hand, a photo that is even not so clear could work. The difference
between painting and photography could be underlined from this case. No
one would take painting seriously as records. If painting must be
records of life, perhaps most painters could not succeed in this task.
As a result, it is not important for Tang whoever the figure is in his
paintings, nor is the significance of the particular costume on that
figure. What really matters is with everything matched together, whether
he could convey the feelings he wishes to achieve, such as elegance,
dignity, mystique. In this sense, although Tangs works seem to be
realistic at first glance, they in fact carry the projection of
Romanticism or Expressionism. Or, we can say that Tang is pursuing the
effects of music with paintings. At surface, he paints figurative
person, but indeed he goes for the abstract tones in music. Just because
of the distinguished sense or tone, Tangs Tibetan paintings would be
able to stand out from the massive resemble subjects, which is similar
to the case that Mozart and Beethoven would compose in different styles
in the same genre of serenade. Tang is so determined to work on the
subject that everyone is familiar with. The reason is exactly due to his
firm belief that the meanings he expresses are different from anyone
else, and his emotional tone has characteristics, even within the same
subject matter. Therefore, he would not have to concern the issue of
similarity.

最后,我想谈谈伟民的画面气质。气质不同于手法、结构、层次等等,她并非手头的功夫,而是心底的声音。她体现在每一个细节、每一处质感、每一份肌理之中,外化于媒材,同时也内化了形式。伟民的画在我看来,有一种孤寂而倔强的气质,尤其妙绝的是,他总能用这种气质的反面来更强烈地凸显它们。那热热闹闹的串珠挂件,或许能在第一时间抓人眼球,可再看那古朴的背景与静若处子的人物,忽而感到热闹背后更强烈与深刻的孤独。伟民画中的女子看起来如此弱不禁风,但她们的眼神,又是那般坚定果敢,宁在茫茫旷野中独自前行,也不愿做那香闺中脂粉弥漫的风情女郎。她们美得孤高、坚韧,不愿向观者谄媚。或许正是这种美,带我们超越了单纯的视觉愉悦,进入一个更加空灵而纯粹的精神世界。

The de-familiarization of Tangs works lies in their distinct spiritual
disposition and emotional tone. They belong to both his works and the
painter himself, particularly evident in the familiar subject matter.
For example, both adopting the subject of Tibetan girl, Tangs dignity is
different from Ai Xuans sentimentality. All the arrangements of canvas
function to carry out the emotional tone for Tang. This emotional tone
is exactly the gift that an artist is born to have, such as the ethereal
quality of Li Bai, the depression of Du Fu, as well as the intangibility
of Wang Wei, all of which are not be learned from simple training. To
this extent, it is fairly reasonable to say that art resembles
personality. The reason why that art will not run to an end only because
of the exhaustion of subject matters is just due to individualized
temperament of artists. As long as the personal disposition could be
fully demonstrated, works that both contain familiarization and
strangeness would be thus created. From this perspective, painting
shares some similarity with playing music. A same piece of work would
vary due to the different disposition of the players. After tough
exploration, Tang finally finds his spiritual sustenance through the
subject of Tibetan girl. Therefore, it is rather to say that he has
created a goodness of his heart than he paints Tibetan girls from real
life.

谈及伟民绘画的西方的精神源泉,他说自己喜欢伦勃朗、弗朗西斯卡、梵高和维米尔。伦勃朗与维米尔毫无疑问是荷兰巴洛克时期的两位大师,前者既能运用强烈的明暗对比塑造出张力十足的戏剧性场面,又在肖像画中表现出了异乎寻常的冷静;后者描绘日常生活中的片段,那幅引人无限遐想的代表作《戴珍珠耳环的少女》其通灵之气与伟民画中的少女神奇地遥相呼应。再看弗朗西斯卡,这位意大利文艺复兴时期的画家可以说是古典与现代精神的集大成者。他画面中的形体、秩序、构成与体量感以及透视的深度既是古典精神的高度凝结,又似乎超越时空地预见到了现代主义艺术对形式感的追求,出其不意地为后世艺术的发展回溯性地做出了完美的注脚。当然,还有我们最熟悉不过的梵高先生,画面上强烈的色彩在画布上狂舞着,犹如内心情感在画布上恣意奔跑。无论是若干幅不同版本的《向日葵》、《自画像》、还是《阿尔的卧室》、《有乌鸦的麦田》,直至临终前的绝唱《星夜》,都透露出画家朴实、虔诚而真挚的坦率绘画是对自我内心的诚实。梵高用自己与绘画水乳交融的一生,为我们诠释了这句看似简单却最为本质的真理。

The reason why that Tang Weimin adopts the Tibetan girls as his subject
matter is probably to widen the distance from reality in painting, which
is similar to the case that painters used to be fond of going to the
frontiers to do sketches, adopting the minority as subject in their
creation of works. Nevertheless, those artists were more concerned of
the distance between the minority groups and politics, while Tang
focuses on the distance between Tibetan girls and the secular. He uses
Tibetan girls to express his spiritual high ground, just as Schiller
used to borrow the ancient Creek to convey his psychic pursuit. The
figures in Tangs painting seem to be de-familiarized through his
combination of unique mental pursuits and emotional quality, while the
pure and simple realistic manner in the depiction of figures makes a
sense of dj vu. He neither heads to the distorted expressionism for his
personal emotional need, nor does he become a slave of reality for the
need of realism. He seeks freedom in restrains and pursues strangeness
through familiarization, which to me is the most fascinated site of
Tangs painting.

古典的、现代的,还有集古典与现代于一身的,这些西方美术史中的大师在不同的领域到达了造诣上的巅峰。表面上看,他们几位的风格截然不同、各领风骚,但细细回味,不难发现他们之间的一个共同点:画面中都包含着沉静、浓烈、单纯而质朴的力量,激发出富有张力的表达。这种力量延续到了伟民的创作中。越是简单,越是醇厚;越是沉静,越有韧性;越是柔弱,越饱含了那份倔强与坚持。或许正是这样的对比,令伟民的绘画沁人心脾而又耐人寻味。

佛教中有无界一说,其大意为:当心灵达到了真正自由的高度,它所释放出的能量,乃是无限。法门不二,虚静自在。画家在画布上修行,安然地表达着自己对人世间的种种理解,最终实现的,乃是至真至简的回归。沉静、空灵、无界,这或许就是伟民在绘画中追求的自由之境。如果说手法、构图都还隶属于形式范畴,那么这份独一无二的气质与境界,则显然超越了形式。也正是这份气质与境界,远离了细枝末节的概念与规范,将画家内心深处的那首心灵牧歌兑换了出来。

Beyond Border:a Pastoral from Heart outside Concepts

Jin Yingcun

(Ph.D Candidate of Zhejiang University in Aesthetics)

Many have noticed that Tang Weimin is repeatedly working on a muse who
does not exist. This goodness is dressed in exaggerate Tibetan costumes
and accessories. Sometimes she looks around, or in contemplation, and
sometimes she seems to be slightly sad. Her eyes reveal a solitary
coldness and stubbornness with transcendency and purity. She is not a
real Tibetan but obviously a fairy girl dressed in Tibetan costume. It
seems not to be what Tang is fascinated to search for the local color of
the minority groups. This Tibetan girl is more like a classic beauty
with icy beautiful skin, preserving a fragile and solitude gesture. This
other-worldly face is set off by serene backgrounds. Although in heavy
loose clothes and exquisite, flamboyant ornaments, she is still delicate
and pretty with purity. Her red cheeks suggesting life in high mountain
areas also appear not to add her provincial quality but delicacy on the
contrary. She stands alone in the painting, without noticing her status
of being watched and even less care about the comments of viewers on her
appearance, no matter praiseful or critical. She does not yield to the
condition of being painted, but being self-contained and self-directed
with vividness. Therefore, in a fictionalized scene, Tang accomplishes
the extraordinary real.

It is very common in Chinese ancient temple art to transform the
fictionalized to the real. There are the flying apsaras sumptuous (fei
tian) playing pipa upside down in the Dunhuang Grottoes, the
hallucinated images of Buddha, Bodhisattvas, Heavenly Kings, Buddhas
warrior attendants as well as Tara in Esoteric tangkas. The dignified,
compassionate major Buddha sculpture at the Longmen Grottoes in Luoyang
makes us raise the sense of respect once looking at it, while the
Maitreya Buddha in Hangzhou klippe with his ever-lasting laughing mouth
affects all living creatures. Through imaginary transformations
generation after generation, these religious images have been fixed as a
visual common understanding so easy to recognize. They direct the
secular people to discover the road of detachment with their elegant, or
dignified, or vibrant shapes. Tang himself is fond of collecting
Buddhist figures, not only because he treasures Buddha from his heart.
He is also attracted by various and exquisite shapes. As a matter of
fact, shape is itself a kind of beauty, which concept has rooted and
grew to blossoms deep in the painters mind, thus I can imagine the
purified and even religious beauty he wants to pursuit in his painting.
From this point, the fictionalized in reality has been transformed into
truth in art. However, unlike the avoiding feature of religion, Tang
confesses that the reason why he chose these slightly gloomy and empty
figures are not to escape from reality. Instead, they are euphemistic
criticisms towards the current society. There is no doubt that through
the criticism, a religious longing is contained: the purity and serenity
have long been lost in the chaotic reality, and they turned to art to
find their shelter and attach to it, which restores the authenticity
deep in Tangs heart.

However, we may still ask that if a painter wants to create a spiritual
land for his feelings and emotions, why does he insists to choose this
beautiful but unreal face? Or, if this face inhabits permanently inside
the painters heart, why must he select these exotic dressings and
backgrounds? At this point, attention needs to be paid to the fact that
what Tang adopts is not life drawing style but painting in realism. The
figures in the paintings are sophisticatedly carved and polished, but
rather, they are not portraits in the real sense. The gaze of figures,
either immersing within the painting or looking out of the frame, is not
to please or search for any response of the views. Hence, the paintings
construct a self-contained world. Only when we abandon the common sense
and concept is it possible that time and space of his paintings truly
open to us.

Reflecting the history of western art, the spirit of realism is a
significant mark towards modernismwhen the artists realize the notion of
Art for Arts sake, the pursuits of the sense of vividness and presence
have never ceased to develop: ever since the nineteenth century, the
pre-Raphaelites have noticed the importance of drawing from real life.
They loathe the stereotyped religious painting in the Renaissance period
so deeply, that they come out with the slogan of learning directly from
nature, While the Barbizon School in France insists to maintain the
intimacy to nature and painting in life, leaving numerous masterpieces
for the world, not to mention that the impressionists who set a turning
point to modernism are so diligently sketching from some pond, mountain,
building or a picnic and so on. As for the fascination to the exotics,
the master of Romanticism Delacroix is no wonder one of the most
representative. When he created the painting The Women of Algier, he
used to try to visit a real local haram, and finally he failed the
attempt. Despite of this, the painter still managed to piece what he
sees from his trip together and created this masterpiece full of exotic
atmosphere. And the post-impressionist Gauguin went even further by
travelling to Tahiti by himself,leaving the modern western civilization
resolutely. He painted in this simple, primitive land. The exotic
mystery, originality, purity as well as isolation have long been the
nutrition of the artists creation.

However, when we come back to Tangs paintings, we could not help
noticing that they are neither close to the life nor did he truly
attempt to capture the real local color. In his paintings, I discover a
strong sense of form, which is constructed by some fixed elements but
never be the elements themselves. Once shaping becomes a form, the style
has already established. As for where the sources come from, how do they
constitute, it becomes free to take adventure of those issues.
Therefore, I want to propose that there is internal order in Tangs
paintings. Within this order, he is not against to the originality of
art. On the contrary, these paintings exploit a land for creating more
liberally.

First of all, from the perspective of techniques, it is not difficulty
to find out that Tang adopts multiple manners in a single
paintingincluding the classic styles, painting layer by layer (the faces
and hands for example), as well as the versatile direct coloring method
with the brushstrokes exposed which could be frequently seen (such as
the costumes and accessories). These methods all belong to the style of
realism, but they functions differently in the canvas. The former
reveals dignity and delicacy, while the later carries solid brushworks
with compelling texture. The most delightful part is when is comes to
the handling of beads, the painter would suddenly transform to the
exquisite realism. The sheen of carnelian echoes to as pearls, large and
small, on a jade plate fall in Bai Juyis poem. The thickness of color
layers as well as the arrangement of composition show forth the multiple
contrasts, enable the layering and spirituality of the painting, which
is not only the embodiment of the painters skill, but also a
demonstration of his conscious pursuit to the beauty of shapes.

Furthermore, I have also noticed that the painters pursuit of layers
does not only lie in the singular figures, but also in the group of
figures, outlining another sense of layer. Dust and smoke, Horse Racing,
Turning Mountains are all paintings of group figures. However, Tang does
not follow the common handling of group portrait, arranging figures in
the same horizontal in parallel. On the contrary, these figures are
piled vertically to fill up the canvas. At this point, various figures
play respectively as the foreground, middle-ground and background, in
which the relation between the reality and fantasy with elaboration,
which easily reminds us of the landscape in Song Dynasty. There are
Travelers among Mountains and Streams by Fan Kuan, Early Spring by Guo
Xi, Dancing and Singing (Peasants Returning from Work) by Ma Yuan, Wind
in the Pines Among a Myriad Valleys by Li Tang and so on, all of which
repeat the vertical composition to embody layer and depth in a classic
way. Similarly, these masterpieces handing down from ancient times
described as mountains of Song have all convey the principle of
perspective with gradual layout of foreground, middle and background. In
Tangs painting of group figures, what I discover is exactly this
extremely imaginative correspondence. The figures in the foreground are
highlighted in clarity. However, as our view gradually moving up, it
seems that we are receding deeper and deeper in space, since the higher
we look up, the more general and simplified the figures see to be, which
resembles the distant mountains in Chinese ancient landscapes, waving to
lead the viewers to the infinite space. Tang attempts to convey the rich
layers and depth from the past in his oil painting of figures, which is
no wonder a personalized re-construction to the traditional culture,
containing the multiplicity of pictorial language.

Last but not least, I want to discuss the temperament of Tangs painting.
Unlike manners, organizations and layers, temperament is not
craftsmanship, but the voice from heart, reflected in each detail,
texture and surface, externalized in materials while internalizing form.
There is a feeling of loneliness and stubbornness to me in Tangs
paintings. Splendid especially, he is always able to use the opposite of
this feeling to emphasize it even more strongly. It might be true that
the colorful accessories and beads could catch our eye in the first
place. But when looking back to the backgrounds with primitive
simplicity and figures static if the child, it suddenly changes the mood
behind the jollification with even stronger and profound loneness. The
girls in Tangs painting appear to be fragile, but in their eyes, there
are such feelings of courage and resolution. They would rather to walk
alone in the wilderness than being the women with flirtation in the
pinky haram. Their beauty is elegant and tough, never being willing to
flatter the viewers. It might be this kind of beauty that lead us to
transcend the simple visual pleasure to a more vast and purified
spiritual world.

Speaking of Tangs spiritual resources in western painting, he expressed
his favorite idols Rembrandt, piero della Francesca, van Gogh and
Vermeer. The former two are without doubt master of Dutch Baroque
period. Rembrandt is not only able to use the contrast of light and dark
to create dramatic tension, but he also demonstrates an extraordinary
calm. Vermeer depicts slices of daily life. Girl with a Pearl
Earring,bringing out infinite imagination, is echoed distantly in Tangs
girls in painting in spirit magically. As for Francesca, this painter of
Italian renaissance could be called as master for he epitomized
classicism and modernism. The shapes, order, constitution as well as
volume and depth of perspective are highly crystallization of classic
mind, while they seem to transcend space and time to have predicted the
pursuit of form in modern art, unexpectedly making a perfect footnote
retrospectively for the development of later art. There is also Mr. van
Gogh whom we could not be more familiar with. The intense colors sweep
over the canvas, as if inner emotion is dancing through the brush. There
are different versions of Sunflower, Self-portrait, as well as Bedroom
in Arles, Wheat Field with Crows, and down to Starry Night before his
death, all of which reveal the painters simplicity, devoted mind as well
as sincerityto paint is to be honest to selfs inner world. Van Gogh uses
his life in complete harmony with painting to interpret this fundamental
truth that seems to be plain.

Being classic, modern, as well as combine them together, these masters
in western art history have reached the peak of accomplishment in
different areas. Superficially, they are in quite distinctive styles,
but with keen observation, it is not hard to find that they share one
thing in common: these paintings all contain the power of silence,
strength, purity and simplicity, invoking expression with tensions. This
power has been inherited in Tangs works. The simpler, more quite and
weaker they are, the richer, stronger, and more persistent they embody.
It is perhaps precisely these contrasts that make his works mentally
refreshing and affording for thoughts.

In Buddhism, there is a saying of beyond border. Generally, the meaning
of this concept is that when a heart reaches the height of true liberty,
it could release infinite power. There is only one true way, silent and
free. The painter practices Buddhism on his canvas, calmly expressing
his own understanding to the world, which finally reaches the return of
the ultimate truth and simplicity. The freedom Tang pursues in his
painting is perhaps fulfilled in silence, emptiness and beyond border.
If manners and compositions are still subordinate to form, then this
unique mood is apparently transcending the range of form. It goes far
from the detailed concepts and regulations, hence, it redeems out that
Pastoral deep inside the artists heart.

发表评论

电子邮件地址不会被公开。 必填项已用*标注