私自的風景Private Landscape

趙力Zhao Li

 

尹朝宇迷戀于風景，他的畫也以風景為主，這一點在當下顯得非常的特別。其實尹朝宇骨子里有非常特別的古典情節(jié)，這是他以風景入畫的原因，也是他放棄在美院所學的版畫轉而創(chuàng)作油畫的原因。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.  對于風景畫中的經典，尹朝宇則偏愛透納和弗里德里希，而透納和弗里德里希顯然是古典風景畫的兩翼，透納的風景是對自然的感受基礎上的光色幻想，弗里德里希的風景則是人與自然的情感結合基礎上的精神倡揚，從這一點來看尹朝宇既關注于風景畫中的光色表現(xiàn)，又關注風景畫的精神性表達。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.   然而作為當下的創(chuàng)作者，有關風景畫的創(chuàng)作又早已迥異于古典，尹朝宇不再像古典的風景畫家那樣拿著畫板畫架而對著風景進行所謂的寫生，而是在畫室中對著畫布編織著“私自的風景”，如果要找到這些作品與古典的表象聯(lián)系的話，那就是那條似乎遙不可及且又異常明確的“地平線”。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. “地平線”，是尹朝宇在很多畫中非常強調的部分，甚至成為了他創(chuàng)作中的某種“原則”，但是這一在表象上讓人聯(lián)想到古典的“地平線”，除了像過去那樣以此來強調景深之外，更多的則是畫面的結構性的意義。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. 通過“地平線”，尹朝宇取得了橫向切割畫面的結構方式，整個畫面往往因為“地平線”被人為分割為上、下兩塊，這令整個畫面有別古典而帶有了更多的主觀性，使得整個創(chuàng)作脫離開“自然的秩序”的束縛而呈現(xiàn)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”.  在尹朝宇的最初創(chuàng)作中，畫家以“地平線”為中軸，在上部的天空以及下部由遠及近的空間中展現(xiàn)出了自己的想象力，“彩虹”、“風暴”、“激光”、“北極光”、“流星雨”、“飛機”、“透過陰霾而照射下來的陽光”等等構成了有關天空的表情，而“城市”、“水面”、“田園”、“奔馬”、“人群”則是下部空間中的主宰或參與者。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認識到僅僅依靠“地平線”會讓整個畫面稍顯單調，即便這樣做的結果已經令創(chuàng)作者非常具有對畫面的控制力，尹朝宇進一步的想法是在堅持單純性的同時形成更復雜而完滿的視像結構。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.   于是從2007年之后，尹朝宇開始在“地平線”之外琢磨出更多的分割畫面的方法。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，尹朝宇有意識地打破“地平線”的固化結構，他開始放大近景，譬如那些有關機場、立交橋等的作品，飛機、汽車、立交橋上沿的弧形等在近景中出人意料地“插入”，不僅是一種“遷想妙得”的成果，也是畫家有意味地刻意擺放，它們打亂了畫面因為“地平線”的存在而形成的橫向平行的構成，并在很大程度上壓縮了景深以至于畫面變得更為平面化；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關“玻璃窗”的描繪，形成了“窗內”和“窗外”的兩個空間，“窗外”與“窗內”的空間是通過玻璃的通透性來加以連接的，而玻璃窗的縱向框線無疑形成了既在縱向上分割畫面的方法，又以“硬邊”式的冷峻加強了畫面結構化的效果。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.  事實是尹朝宇近期以城市為題的創(chuàng)作，還帶有更強烈的針對性，它取消了人的活動與形象，呈現(xiàn)了近乎霍默式的落寞與憂傷的當代情境。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.