楊維民

 

品味那些用心創(chuàng)作出的藝術(shù)品時(shí)，可以通過其特有的氣質(zhì)領(lǐng)略創(chuàng)作者本人的個(gè)性。有些畫家的作品給人驚鴻一瞥的震撼，有些則在細(xì)節(jié)中隱藏著妙趣橫生的“機(jī)關(guān)”。身材魁梧的戴增鈞有著北方漢子的實(shí)在與豪爽，而在他的作品中我們卻總能發(fā)現(xiàn)他細(xì)膩而敏感的情懷，在不動(dòng)聲色中用“瞬間”講述韻味綿長的故事的本領(lǐng)令人贊嘆。

 

將一個(gè)又一個(gè)的瞬間在觀者的腦海中拓展為五彩斑斕的故事是繪畫藝術(shù)最大的魅力，“故事性”也成了戴增鈞創(chuàng)作的一大亮點(diǎn)：在芳草繁花中，如嬰兒般赤裸的主人公陶醉地呼吸手中鮮花的芬芳；自溺于池塘中，仿佛在尋找失落之物的男人；在平靜的池水中，看不出是游弋還是掙扎的人，撲打出的水波慢慢散開；與池塘中的金魚嬉耍的看不清面容的孩童；在浪漫的玫瑰園中一次完美的野合……這些故事被一幅幅“鏡頭感”十足的畫面呈現(xiàn)著，如同《桃花源記》中武陵人對(duì)世外桃源的窺視，又仿佛畫家站在他人的視角審視自己的夢境。站在畫面前似乎可以聽到自遠(yuǎn)方傳來枝頭飛鳥的鳴叫之聲、孩童清澈的笑聲、擊打水花之聲，喘息之聲……

 

    反復(fù)品讀畫家為他這系列作品寫下的文字：“于是想逃跑，在假期拼命的奔向名山大川、瀚海幽林，然而感受更多的卻是旅途勞頓、人多擁擠、食宿難安。城市態(tài)已然象如來佛的掌心，強(qiáng)力粘吸著這些被異化的軀體，讓精神疲憊掙扎。”由衷地贊同！

 

這個(gè)社會(huì)掙脫了“存天理，滅人欲”的枷鎖還沒多久就迅速奔了另一極端，一切打著“提高人們生活質(zhì)量”旗號(hào)——實(shí)則滿足人類欲望的活動(dòng)——都是被允許的。我們高速進(jìn)入了消費(fèi)社會(huì)、娛樂社會(huì)、媒體社會(huì)、城市社會(huì)、工業(yè)社會(huì)……在這過程中，我們失去的未必少于我們獲得的。

 

也是因?yàn)榇耍谒漠嬛杏兄吧贌o適俗韻，性本愛丘山”的追憶，亦有著“誤落塵網(wǎng)中，一去三十年”的喟嘆……在對(duì)心靈自由無限眷戀的驅(qū)使下，畫家用畫筆描繪出如同陶淵明筆下的世外桃源和梭羅筆下的瓦爾登湖一般的歸隱之處。

 

當(dāng) “每個(gè)人都有自己心中的什么什么”這種萬能型句式被用在各種各樣的地方之后，我們是否有足夠的底氣說“每個(gè)人都有自己心中的世外桃源”？而將這種“對(duì)田園生活的向往”視作普世價(jià)值的想法已然成了自作多情。更多的今人在讀陶淵明的詩句時(shí)，讓他們向往的早已不是“采菊東籬下，悠然見南山”的恬靜，而是“方宅十余畝，草屋八九間”的闊綽。更可悲的是這世上究竟還有多少世外桃源能讓我們心馳神往？還有多少瓦爾登湖能讓我們滌蕩心靈？

 

在政治波普型的作品當(dāng)?shù)赖臅r(shí)代，戴增鈞在用個(gè)人化的畫面語言“不談風(fēng)云，只談風(fēng)月”。看著他畫筆下的那些有故事的地方，總能讓仍然心存詩情之人感到一絲慰藉與期望。

 

 

 

When we gaze at a work of art, we don’t just look at the picture as a mere painting, more often than not, those who really appreciate art can’t help but get bent on trying to unravel what the image is really all about, what is more to those figures, lines, hues, curves, blocks, etc. and then when we have come up with a specific interpretation of the piece, we tend to inquire about  what the artist was thinking about when he created such piece of art, then we sometimes ask, could this work have something to do with the creator’s personality? We, by and large have the tendency of associating that creation with the painter, every so often, even with his life.

 

Some visual artists impress their audience by their work’s astounding beauty whereas others tickle by keeping them wondering what the real concept of the image is. Among them is the creator of the series of painting you are presently marveling upon, Dai Zengjun. Zengjun as his friends call him is a typical northern gentleman in China.

 

In these paintings, Zengjun, enthused by his subtle feelings and sensitive emotions depicts awe-inspiring, never ending stories of the past forever buried in his bosom. As we delve into his work, we will be able to perceive his thoughts of the wonderful past he treasures in his memory.

 

       In these Dai’s series of painting, one can delight himself with the eye-soothing scenes of folks enjoying the cuddles of nature. Depictions of childlike heroes naked like new-born babies savoring the sweetness of flowers’ scents while afloat the cool waters of ponds, children amusing themselves with fishes that swim away and fade from a distance are the rationale of these  works. Romantic scenes in lovely gardens can also be seen and be sources of elation. Simply gazing at stunning pictures can make one feel as if he really is being touched by the gentle caress of nature.

 

        If you try to delve into what the paintings are trying to reveal, you can picture out the message that man has got so exhausted by the rush of city life and is wanting to escape from its grasp and run far, far  away into the woods and the mountains and relish the beauty of oceans and rivers, flowers and trees, and all. The quiet life of the country can’t really be paralleled to the struggling life in the city. One can’t help but agree to the adage that “The city is like the palm of Buddha; it clutches the exhausted bodies of men and strangles their struggling spirits.” Man has indeed been enslaved by the desires of seemingly irrelevant things that provide earthly pleasures but rid one from good physical condition and mental and spiritual soundness.

 

 Dai, in his paintings is offerings his own a la recherché du Temps Perdu, and presents his own version of Chinese traditional heavenly Eden portrayed by Chinese classical poet Tao Yuanming. With this series of canvasses, the painter exhibits a hiding place similar to the Chinese Eden and the Walden Lake.

 

      There are people who, though they long to be in communion with nature and are incredibly thirsty of its embrace, have no choice but to stay engulfed by the suffocating conditions in cities because of certain reasons such as vocation, career or livelihood. The creator of these paintings is very vocal about being one of those people. And so he finds refuge in devoting much of his time in creating pictures of the paradise he perceives the countryside to be. Hence he comes up with this series of canvasses that folks like him might take pleasure in laying eyes upon. Indulge into the sweetness of gazing at the exquisite scenery captured by the artist’s hands inspired by his passion towards that long lost paradise he only keeps alive in his memory of yore…Just take a look at these works of art and you’ll find yourself in communion with sweet, sweet nature again…..