沵 力

擁抱“歷史”的溫度

沵 力

讓我們來(lái)談?wù)劇皻v史”—

似遠(yuǎn)遠(yuǎn)近近明滅不息的星辰，在都市霓虹的恣意歡逐中，隱遁于無(wú)形；似大海臂彎一方沙筑的城堡，風(fēng)雨潮汐中不斷被重建，又不斷傾頹。歷史，這個(gè)充滿深意的大詞，懷抱數(shù)千年凝重的承載與現(xiàn)代化迅疾的遷變?nèi)谌氘?dāng)下，卻奇跡般地幻化作“70后”“80后”心間一團(tuán)柔軟的云朵。它，漫無(wú)目的地浮游于天際，馱著蒼茫的歲月與少年難言的心事，在指顧間，散落一地淡漠、浮夸、支離的影。

將這影子般游蕩無(wú)著的身世，入墨，暈染，生發(fā)……于是，在“70后”“80后”青春期的畫作中，部分觀者感受到了無(wú)限膨脹的自我與漂泊無(wú)依的虛無(wú)。手握畫筆，他們?cè)陟o穆的時(shí)空中與自我相守。時(shí)常，濃重敷施的墨彩下，寄托的情感卻細(xì)膩幽微。在“大”與“小”、“重”與“輕”充盈的張力間，“心象”被不斷放大，三千大千世界俄而宛如圍繞自我不斷旋轉(zhuǎn)的幻象……基于這一特質(zhì)，“70后”“80后”的藝術(shù)創(chuàng)作常作為“缺乏歷史意識(shí)”“拒絕成長(zhǎng)”的典型，被納入媒體和大眾接受的視野。

過(guò)于沉溺于當(dāng)下即時(shí)性的私我，疏離自我更新、改造社會(huì)的功用，固然會(huì)使表達(dá)喪失及物的可能，然而，“70后”“80后”的筆墨抒寫是否真如一些論者所擔(dān)憂的那樣，滿足于在歷史虛無(wú)主義的迷霧中建筑孤芳自賞的空中樓閣？

屠鴻輝 “失”系列之—糾（局部）

蔡 亮 春到人間草木知（局部）

一代人能夠提供什么樣的藝術(shù)，不僅有關(guān)天賦教化，更取決于歷史變動(dòng)所塑造的人的命運(yùn)。在匆匆的流逝里，在時(shí)間的無(wú)涯中，“70后”“80后”不過(guò)是一粒粒微小塵埃，駐足而望，唯見來(lái)路茫茫、去路滔滔。然而，他們所流經(jīng)的歷史風(fēng)景卻又如此不同。

他們的世界是豐饒的。20世紀(jì)80年代，中國(guó)正處在咸與維新的變革之中。那些舶來(lái)的思想與蒙塵的遺產(chǎn)，那些相互纏繞甚至彼此矛盾的觀念，打破疆域、錯(cuò)亂時(shí)空紛至沓來(lái)。在經(jīng)歷文化沙漠的饑餓的頭腦當(dāng)中，每一棵樹仿佛都結(jié)滿風(fēng)味各異的飽滿漿果。它們散發(fā)著曠世已久的蓬勃香氣，勾起真誠(chéng)、狂熱的追捧。而出生未久即面對(duì)這場(chǎng)哲學(xué)與文化盛宴的“70后”“80后”，顯然難逃因“營(yíng)養(yǎng)過(guò)?！倍跋涣肌钡乃廾?。學(xué)堂上的“強(qiáng)歷史教育”，拋給他們一個(gè)遠(yuǎn)去時(shí)代的背影，而市場(chǎng)和欲望的法則卻透過(guò)日常生活無(wú)所不在地滲透，促使他們身心投入。在歷史與書本等失去體溫的二手資料中，他們用指尖反復(fù)觸摸、分辨，卻依舊難以捕獲那遙遠(yuǎn)時(shí)光的復(fù)雜紋理。沒有現(xiàn)成的資源可以撿拾，亦沒有共識(shí)可以容納當(dāng)下經(jīng)驗(yàn)。太過(guò)“豐盛”的文化資糧讓“70后”“80后”的味蕾未及充分打開便已疲乏麻木，于是，他們向往單純與空白；不同理念在意義的追問(wèn)中彼此解構(gòu)，還原出一派混沌天地，于是，他們選擇傾聽內(nèi)心的聲音。

劉筱靜 霜降（局部）

蔡 明 飛吧（局部）

當(dāng)喧囂流淌入性靈的深河，他們的世界亦是孤獨(dú)的。伴隨著社會(huì)劇烈的原子化運(yùn)動(dòng)，“70后”“80后”的青春記憶里，個(gè)人與歷史、個(gè)人與社會(huì)、個(gè)人與群體之間的連接被無(wú)情割裂，于是冷靜，于是茫然，于是孤獨(dú)、焦慮、逃離等詞語(yǔ)無(wú)可辯駁地成為時(shí)代癥候。在陌生化的境遇面前，年輕的生命被暴露為一個(gè)個(gè)孤單個(gè)體。燈火闌珊處，他們奮力抵抗的身影更顯單薄和落寞。在藝術(shù)中的求索又何嘗不是如此？“今天的藝術(shù)家苦思冥想，千方百計(jì)地調(diào)動(dòng)藝術(shù)內(nèi)的以及藝術(shù)之外的種種手段來(lái)企圖對(duì)應(yīng)大眾的口味，但除了藝術(shù)品的成交價(jià)格外，誰(shuí)還會(huì)關(guān)心藝術(shù)家在他的畫室里干些什么？在他們的展覽里想說(shuō)些什么呢？”（葉永青）美術(shù)館頻繁上演的展事、名作前熙熙攘攘的人群、耳邊紛紛按動(dòng)快門的聲響……紛繁熱鬧的表象下，究竟有多少知音的心賞？

鄒 荃 哥特新娘（局部）

董開文 孤芳自賞（局部）

張民生 小憩為高飛（局部）

“到底是‘70后’‘80后’拒絕進(jìn)入世界，還是世界拒絕、閉合了‘70后’‘80后’的進(jìn)入？”（金理）固然沉重的“歷史意識(shí)”已不再是“70后”“80后”畫家頭上的緊箍咒，但歷史卻已悄然將他們鍛造為充分張揚(yáng)的個(gè)體，讓其伸出靈敏觸角在須臾萬(wàn)象的世界中擁抱變化，并通過(guò)個(gè)性化的表達(dá)予歷史以回應(yīng)。即便是“巴爾扎克式”的文藝創(chuàng)作，也必須借助非常獨(dú)特的個(gè)體來(lái)完成。對(duì)個(gè)體真實(shí)情感的表達(dá)本身就蘊(yùn)含著對(duì)現(xiàn)實(shí)的評(píng)價(jià)和批判。在“70后”“80后”的畫作中，我們可以看到對(duì)文人傳統(tǒng)的追憶與皈依，那是一方心靈的凈土，因時(shí)光遠(yuǎn)走而濾去雜塵，它洗滌著現(xiàn)實(shí)生活的污垢與疲憊，在鋼筋水泥叢林的上方，展開湛藍(lán)天空的幕布。有時(shí)，在傳統(tǒng)經(jīng)典的圖式中，我們會(huì)發(fā)現(xiàn)點(diǎn)綴其間的工業(yè)化產(chǎn)品以及戲謔的人物和情態(tài)，如局外人一般，“70后”“80后”畫家在囚籠似的歷史內(nèi)部冷眼旁觀，不斷反思、消解并試圖顛覆。更有對(duì)當(dāng)代生活與自我形象的直接抒寫，泛溢著青春的躁動(dòng)、對(duì)理想的憧憬與對(duì)現(xiàn)實(shí)的妥協(xié)……撕開偽裝，將每一個(gè)在意的時(shí)刻聯(lián)結(jié)成屬于自我的體悟，這一切，正是對(duì)歷史境遇最本真的映現(xiàn)?！?0后”“80后”畫家在探索一種形式，那形式切合一顆居于時(shí)代的心靈的律動(dòng)。它佇立在那里，使一切語(yǔ)言、理念、分析都噤然無(wú)聲。

居 瑢 莫名哭泣之一（局部）

許 可 印象長(zhǎng)安（局部）

向歷史敞開，即意味著向當(dāng)代敞開。在這個(gè)時(shí)代，無(wú)論再如何沉湎于個(gè)人世界，只要認(rèn)真地生活、真誠(chéng)地感受，那么其藝術(shù)創(chuàng)作就必然在某一層面折射時(shí)代的力量，以及與這力量相碰撞的源自心靈的花火。不必故弄玄虛地塞進(jìn)“寓言”與“意象”，從人生的大海中提煉出屬于自己的鹽粒，放在平凡日常的舌苔之上，咀嚼，品咂，感悟，讓生活中的每一處實(shí)存成為藝術(shù)更新的源泉，讓情感在筆墨的表達(dá)中變得清晰可見，便是最動(dòng)人的深刻，也是一個(gè)畫者承擔(dān)時(shí)代責(zé)任的最好方式。

詩(shī)比歷史更永久。歷史終將遠(yuǎn)去，而內(nèi)心的體驗(yàn)卻不斷從光陰醺醺中走來(lái)，鮮活而生動(dòng)。如夢(mèng)想的林泉，如輪回的花事，如青春鼓蕩的詩(shī)意與彷徨，它們被一一傾瀉于筆端，營(yíng)造著“70后”“80后”與時(shí)代共居的殿堂。聽，歷史正穿堂而過(guò)！

Let us talk about “history” ——

It seemed as if the far and near flickering stars are hidden in neon lights of city， without a trace； like a sand castle on the sea gulf， it is constantly rebuilt and pushed down in the rain and tide. History， this meaningful word， is incorporated into the present life with bearing of thousands of years and modern rapid transition， but it turned to a soft “cloud” in the heart of “70s”and “80s” painters miraculously. The “cloud”floats in the sky without aim， carrying with the “time” and the secret matters in young person’s heart. During the moment of glancing back and moving of a finger-instantly， an apathic，flatulent and fragmented shadow is left.

The wandering “origin” like a shadow is put into ink， dyed and born…therefore some viewers felt the expansible ego and nothingness that no one to depend on， in the paintings of “70s” and “80s” painters at their puberty. They stay alone under the solemn and quiet space-time， with the brush in their hands. Often， the emotion in the heavy grisaille painting is subtle and refined. “Mental imagery” is gradually enlarged under the stress filling with “big” and “small”， “heavy” and “l(fā)ight”. The wide world is like a vision that rotates around self…Based on this， the artistic creation of “70s” and “80s”painters are always considered as the model of “l(fā)ack of historical consciousness” and “refusing to grow up”， by the media and the public.

劉亞璋 秋湖（局部）

周 顥 鳴琴（局部）

張秋桔 瀾亭清音（局部）

If you are addicted to the real-time ego so much and get away from self-renewal and transforming the society， your expression must not be sufficient. However， whether the painting of “70s” and “80s” painters is only the narcissistic “castle in the air” in empty “dense fog”， as some peopleworried about？

What kind of art that one generation can provide not only has relation with the talent， but also depends on human’s destiny shaped by the historical change. Over “the ocean” of time， “70s” and “80s” painters are only the “l(fā)ittle dust”. They stop to see the distant past and future. However， history they experienced is so different. They have the plentiful world. In the 1980s， China was in the reformation for all. The imported and traditional thoughts， and those ideas that are entangled and contradictory each other， all appeared by crossing the territory and slipping the time. In their “hungry” mind that experienced cultural desert， those thoughts and ideas are like trees with different-flavor full fruits. These fruits smell so sweet，fanatically pursued by people in the good faith. “70s” and “80s” painters faced this “feast” of philosophy and culture not long after they were born， so they must become “dyspepsia” due to “overnutrition”. The “focusing on history education”in school has been away from them， however， the rules of market and desire are infiltrated into everywhere in daily life， taking their all energy. They try hard to “touch” the old secondary data such as history book， but still cannot identify the “complex texture” long time ago. There is no existing resource for reference and no consensus for the present experience either. Too “wonderful” culture “food”makes “taste buds”of“70s” and “80s” painters numb before it is aroused fully. Therefore they long for the pure and blank； different ideas were “de-structured”each other in questioning， obtaining a “chaotic world”， so they selected to the voice inside their heart.

陳 川 素時(shí)錦年之一（局部）

聶 松 山的構(gòu)成之一（局部）

When the “noise” flows into “spirit river”， they are lonely. With the dramatic change of society，in memories of “70s” and “80s” painters， the connection between individual and history， individual and society， as well as individual and group is cut apart ruthlessly， so calmness， loneliness， anxiety，escaping and the like become times symptom. Facing the strange situation， young life shows one and one lonely individuals. Around the corner， their figures that they insist on resisting are more thin and lonely. So is not seeking in art the same？ “Today， artists do everything to try to cater to the flavor of the public by using various means outside and inside the art， but except for the transaction price of artwork， who cares what the artists do in their studios and what they want to express in their exhibitions？”（Ye Yongqing）The exhibitions are constantly held in art gallery，bustling crowd is in front the famous work， the sound of pressing shutter appears beside the ears…h(huán)ow many bosom friends are there under the numerous and complicated representation？

翟明帥 楠溪消夏圖（局部）

沈宇翀 夢(mèng)園—環(huán)秀山莊（局部）

“Whether the ‘70s’ and ‘80s’ painters refuse to enter the world， or the world refused the entry of ‘70s’ and ‘80s’ painters”（Jin Li）. Although the heavy “historical consciousness” did not restrict “70s”and “80s” painters any more， the history has already caused their unbounded personality. Therefore they can deal with the change of colorful world with their “sensitive feelers” and respond to the history through their characteristic expression. Even if “Balzac” type literary and artistic creation， it should be completed by means of the particular individuals. The expression of true emotion of individual is imbued with the evaluation and criticism for the reality. Paintings of “70s” and “80s” painters showed the recall for a literature man’s tradition where it is a pure land of soul and eliminated dust due to the time going far away. The paintings “washed” the dirt and “exhaustion” of real life， and “opened” a blue sky above the “armored concrete forest”. Sometimes，in the traditional and classical paintings， we found that the industrial products as well as the sportivefigures and their spirit on the paintings are like the outsiders. “70s” and “80s” painters look coldly within the history as a cage， continually reflect and try to subvert it. Furthermore， their works also expressed the contemporary life and self-image， showing the restlessness of youth，vision for the dream and compromise for reality…tearing out the mask， they connected all “moments” that they care about together to express their own comprehension. All this is the most authentic reflection for the historical circumstance. “70s” and “80s” painters are exploring a kind of form which fits in with the rhythm of mind in the present era. “Standing”there， it makes all language， ideas and analysis silent. Opening to the history means opening to the contemporary era. In the present era， no matter how to indulge in your personal world， if you live in earnest and feel in good faith， your artistic creation must reflect back the strength of time， as well as “sparkle” from heart due to collision with this strength in a certain level. It is not necessary to mysteriously bring in the “fable” and “image”. If you extract out your own “salt particle” from the “l(fā)ife sea”， to put on your “tongue of daily life” for chewing and feeling， if you make every real memory of life become the source of art innovation and make the emotion expression in painting clear， it will be the most touching profundity and also the best way that a painter undertake obligations of the times.

陽(yáng) 帆 翻模工人（局部）

宋 帥 煙鎖一湖秋（局部）

The poem is much longer than history. Finally the history will “go far away”， the experience in heart will “walk out” from the time and become fresh and vivid. Like dreams， circular story as well as poetry and wandering of youth， they are expressed by the painting， to create the “palace” of “70s” and “80s” painters living with the “time”. Listening to， the history is passing through the room！

Embrace “History”

Mi Li