懒惰的意义
李津
我和阿海的联系中断了十五六年，这期间，听说过他的各种传奇，每次问及他时，总是问：这哥们还活着吗？不问别的。
我能够容易地解剖阿海的画，同样，阿海也能够轻易地走进我的绘画。记得多年不见的一次会面，阿海对我只用了四个字的评价：“你功夫好。”
现在，很多艺术家都在做一种新的尝试，阿海在这些方面都是做的比较好的，看他的画面，我觉得还是热，跟他的性格有关吧，怎么画，气质上，还是文人的，南方的。红的、绿的上去，怎么热，心里还是温文尔雅，内心还是知识分子气质。
若没有马、鹅等这些载体，没有一点过去的符号，画是会打折扣的。把它们很自然形象地搬出来，这些主体的东西一看就很远，就是他本真的那些东西，根的东西，形象放大，这种亲切感没得说，就是再遥远也有亲切感。而他呢，又把它给现代演绎了，没有给它完全定在宋、唐代时空，他又把它拽到了今天，其实他后来色彩的因素，包括小人，这种比例、这种夸张，很多这些元素都拉得很近、很模糊，火候把握得挺牛的，很当代。
他的绘画还有一种病态的美，内心的狂放不羁，时常呈现出梦幻的感觉，时间感与空间感的无限延伸。阿海是白天睡觉晚上思考的人，他画的白天热闹的场景，夜晚，已人去楼空，留下的是一个人，一匹马，一棵树，一枝花，一片湖，一种忧伤，一种南北方文化的交融， 前前后后，包括色彩，没有特别明显的界限，幽微的情绪，然后近处看吧，有很在意的东西在里面，一点就够了。一种失落，早期的失落、伤感，一种把握，观察者 看来是一件很单纯的事情，这种节制的单纯是可贵的。
阿海的画是南京人的画，他的骨子里承载了这座古城的历史感、沧桑感。历史一遍又一遍地洗刷，含混的，生命与时光不可逆转的惊惧。我和阿海接触多了以后才明白，绘画也好，生活也好，人的聪明最终都要落到他的行为上去。我们都属于一类人，经常把自己放在一种特别危险的、糟糕的境地，有时会故意伤害自己，却又特温柔、特宽厚。有时候，又把自己往坏处做，这种态度不大有人能理解，这种伤害落在宣纸上，往往比较深入，这就是阿海。
阿海的偷懒成就了他，偷懒不是贬义。其实，中国的很多东西，它最后的理念就是把两个极端缩减到中间，万物都是相对的，相生相克。这种游离是必要的，他的绘画情节最终回到他的精神赌博情节里。艺术家在追求艺术的时候，就是真正可以操控自己、肯定自己的时候。而真正赌博的人，是清楚自己的根性的，是能把握住自己的人。真正能拿出性命去赌的人，我为阿海叫好！
前几天，我看到阿海的一幅画，是一双袜子，画得非常好，真的，那颜色的感觉，呐喊的感觉，特别棒。没有人能单纯地画袜子，太简单了。哪怕是画假牙，他把图案化、日常化的东西，画出了人文情怀，以小见大，表现了他无处不在的人性关怀，这是一个艺术家的最高境界。他现在已经不需要内容，甚至内容都不 重要，只要把两者的关系表达准确，体现得细微与概括，具体地把它做好，那就很厉害了。实际上，这是很多艺术家一辈子都无法解决的事情，是有相当高度的。
The Significance Of Idleness
Li Jin
The contact with me and Ahai has been cut off about 15 and 16 years, in that period, heard of many his legendary tales, every time I asked about his situation, I was always in such tune: Is this man still alive?
I can easily analyze and comprehend Ahai’s paintings, in the same way. Ahai also can easily walk into my painting’s realm. Remembered a meeting after we didn’t see each other for years, Ahai only commented me in four characters: “You have done well”. Now, many artists are doing some new attempts, Ahai did well on this part, look at his paintings, I felt warm, maybe it has related to his personal character, whatever he paints, on the temperament, still with the quality of scholar, the one from southern China. Red, green put on the material, no matter how hot, it is still gentle inward, still with the intellectual character.If without the carriers like horse, goose, without any symbol of past, the value of the paintings will be deducted. Bring forth their natural images, this subject is far away in first sight, but it is the original and essential thing, the root of him, let’s enlarge those images, it’s incredible intimacy, even it’s remote but still it is intimate, but him, with the later color fact, including those small human characters, the proportion, the exaggeration, many of these facts drawing closer, are very obscure, but the timing is right, it’s very contemporary.
And his painting is with the beauty of morbidity, the intimate unrestrained, come out always with the feels of dreamy illusions, the unlimited extensions of time and space. Ahai is a person sleeps at day time and thinks at night, he draws the crowded scenes of days, at nights, all characters have had gone, only left one person, one horse, one tree, one flower, one lake, and one soreness, one blend of southern and northern culture, from start to finish, including the phase of color, without special boundary, just peaceful mood, look closer, there’s something mindful inside, only a bit but it is enough yet. It’s a kind of lost, an early periodic lost, sentimental, a kind of assurance, through observers’ perception they feel it is very pure , but this restrained pureness is praiseworthy. Ahai’s painting is the painting of Nanjing people, he bears within his heart the historic sense and the old souls. The history washed off and blurred the irreversible terrors of life and time over and over again. After knowing Ahai more and more, I then understood, no matter paintings or life, our intelligence must be put into effect. We are part of the same kind of people, we often put ourselves in a very crappy and dangerous situation, sometimes we did hurt ourselves, but still we are very gentle, tolerate and generous. Sometimes, we make ourselves in the disadvantaged situations, many people can not understand our attitude, and the hurt fall upon rice-paper, is relatively deep. This is the work of Ahai.
The loaf of Ahai accomplished him. Loaf is not a derogatory term. Actually, China has many things, the final concept is to reduce the two extreme points to the centre, everything is relatively mutually neutralized by each other. This state of freedom is necessary. His painting complex finally returned to his spirit complex. When artist seeking for art, it’s the time he can really manipulate himself, has certainty of himself. The real gambling man, who knows well his own root, who can control well his own life, who can really gamble with his life, I shout “Well done!” for Ahai A few days ago, I saw a painting of Ahai, it is a pair of socks, it painted very well, truly, the feel of the color, the timbre of shouting, it’s marvelous. Nobody can just simply draw socks, it’s too simple. Even if he paints false teeth, he makes the patterns of daily routine with humanism care, he sees from those trifles, expresses his ubiquitous human care, this is the highest realm of an artist. He does not need any substance, and the content is not important though, only clearly express the both relationship, the delicate embody and summary, and describe it well in details, it will be so well. Actually, this is the state many of the artists can not solve in their whole lives. It has its certain altitude. |
阿海
