隱現(xiàn)生成

Hidden Appearance of Existence

——對(duì)尹朝宇油畫的闡述

                           An Expatiation of Yin Chaoyu’s Oil Painting

江銘/文

Written by Jiang Ming

 

畢業(yè)于中央美院版畫系的尹朝宇，在畢業(yè)之后并沒有從事版畫的創(chuàng)作，而是以油畫為人所知。版畫系的學(xué)習(xí)生涯無疑也給他的油畫創(chuàng)作提供了某種特殊的影響。他的作品不是沿著中央美院系統(tǒng)的學(xué)院語言而追求和完善某種精湛的技藝。由于版畫創(chuàng)作的技術(shù)性影響，使得他的作品或多或少體現(xiàn)出了版畫創(chuàng)作中才有的概括性、無明顯過渡性、簡潔的色彩，清晰明確的塊面構(gòu)圖等等特征。但是這樣一種畫面特征也只是他用來表達(dá)個(gè)人情感、觀察當(dāng)代世界的一種視角。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年畢業(yè)至今，他的作品基本上有兩個(gè)系列可以概括。一是以風(fēng)景為主題特征的系列；二是以機(jī)場廣闊的人造廣場為主題的系列。雖然他創(chuàng)作的一些作品都有各自的名稱，譬如《虹》、《夜》、《夜雨》、《橋》、《雨后》、《地平線》、《煙》、《出發(fā)》等等。這些作品都有一個(gè)總的特征，就是整個(gè)畫面的構(gòu)圖上都有著特殊的經(jīng)營，他的畫面追求平衡感、總是以人的視平線來展開構(gòu)成。這樣一種構(gòu)圖模式往往讓一般的觀者體驗(yàn)到身處一種寧靜、和諧、廣闊的時(shí)空存在。那些畫面中的點(diǎn)綴因素也被這種時(shí)空存在確定為穩(wěn)定的、莊嚴(yán)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訪談，他在談話中表達(dá)了自己希望通過畫風(fēng)景來闡述人與風(fēng)景之間的關(guān)系。面對(duì)尹朝宇給我們呈現(xiàn)的那些“風(fēng)景”畫面，也許有人會(huì)不喜歡那樣一種廣闊而又冷凝的氣氛，然而，這樣一種具有某種神秘主義傾向和形而上特征的圖像，無論它是虛幻的還是真實(shí)的，我們的確不能夠無動(dòng)于衷，它給予了一個(gè)觀者超驗(yàn)的感受，這種感受在某一個(gè)點(diǎn)上可能觸動(dòng)了我們一些東西，但是我們卻無法準(zhǔn)確說得清楚。就像在一個(gè)黃昏，我們來到一片人跡罕至的海灘，面對(duì)著空曠無垠的海面，忽然一陣太陽雨過后，一道彩虹被畫在天邊，而即將到來的暮色又使得那片無人的海灘顯現(xiàn)出一種神秘與深冷。在這樣的時(shí)刻，美妙的景致必然給我們帶來某種特殊的感受與思考。這種感受是來自那一道不期而至的彩虹給我們的愉悅呢？還是那即將降臨的夜色帶給我們的恐懼呢？也許現(xiàn)實(shí)的永存總是在希望與傷害中實(shí)現(xiàn)。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》，也是一些風(fēng)景的畫面，所不同的是他的視線是通過一個(gè)窗口放射出去。那個(gè)望向窗外的眼睛，也許是隱藏在高級(jí)賓館、寫字樓或者是某個(gè)機(jī)場候機(jī)大廳的懸窗后面。那是一雙帶有主觀判斷的眼睛，于是出現(xiàn)在這雙眼睛中的風(fēng)景也便不再具有自然主義的客觀性了。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.

 

任何繪畫都是藝術(shù)家自我之夢的隱現(xiàn)，藝術(shù)家通過色彩生成了他的夢幻圖像。通過這種圖像讓我們發(fā)現(xiàn)那些存在于我們心智深處的奇異時(shí)刻。尹朝宇的《窗外》就像一張致命的網(wǎng)，他就是那網(wǎng)中神秘的蜘蛛，當(dāng)某種外在的氣息撲入他的視界，他便像捕捉蝴蝶一樣，在冷靜的活動(dòng)中捕捉到那些一般人因無知和分心而不察的奇異時(shí)刻。這樣的奇異時(shí)刻是內(nèi)在與外在神秘撞擊的瞬間出現(xiàn)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.   

 

《機(jī)場》與《窗外》在脈絡(luò)上實(shí)際屬于一個(gè)創(chuàng)作思路。但是在指向性上有著某種差異。這種差異在于《機(jī)場》作為一種人工的場域，它所形成的那種廣闊性與我們在自然環(huán)境中所感受到的完全不同。自然的廣闊性具有天人合一的樸質(zhì)性，而機(jī)場這種人造的廣場則給人某種不確定的冰冷的畏懼的夢幻感。整齊劃一的跑道、空曠的廣場、神秘的大飛機(jī)所帶給人的是一種限定，而不是隨心所欲；飛機(jī)改變了人類的時(shí)空概念，速度與時(shí)間的改變是為了適應(yīng)人類病態(tài)的競爭需要，而不是為了使人類與自然和諧發(fā)展。于是現(xiàn)代人的生活在本質(zhì)上被改變成一種夸張的、虛幻的，消費(fèi)欲望不斷地膨脹、永遠(yuǎn)沒有安全感地遷徙讓人類變得焦慮而神經(jīng)質(zhì)。一個(gè)小時(shí)之前我們還在此地，一個(gè)小時(shí)之后卻在彼地降落。生死一瞬間。在機(jī)場遠(yuǎn)處是新建的城鎮(zhèn)與老鎮(zhèn)的融合。工廠的大煙筒依然在遙遠(yuǎn)的地平線上冒著黑煙，與遠(yuǎn)離城市的森林彼此譏諷著佇立在我們的視野中。這種印象同時(shí)攪動(dòng)著你整個(gè)的存在，好象過去與現(xiàn)在的全部生活都作為事實(shí)展現(xiàn)在我們的眼前。我們的生活仿佛永遠(yuǎn)將處于不滿足所帶來的無盡的不幸之中，而我們又找不到那種不滿足的真實(shí)意義和確定性。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，除了機(jī)械的冰冷的確定性，就不存在別的什么確定性嗎？存在心理的永恒嗎？還是只存在非永恒？人類盡管建立了成千上萬巧妙的信仰結(jié)構(gòu)來征服生命，但是生命本身最終將以死亡、以未知結(jié)束。生與死就像一枚硬幣的兩面，要想獲知生命的意義，就必須獲知死亡的意義，而生命永遠(yuǎn)不可能獲知死亡的意義，于是也就永遠(yuǎn)不可能獲知生命的意義。當(dāng)我們理解到這一點(diǎn)，便知道對(duì)人類來講，任何方向、任何層次上的自我實(shí)現(xiàn)都沒有意義。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.     

 

也許我們?nèi)祟惖哪抗庥肋h(yuǎn)只能夠看到地平線。May the sight of our human beings can only see the apparent horizon forever.