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馮放：現代主義的畫鶴

雷家林书画 2023-07-07 09:52:04 湖南

圖文來源丨馮放雷家林書畫丨友情轉載

画鹤 Crane Painting文 / 冯放 Feng Fang我童年成长于长沙窑岭的文艺剧团大院，9岁的时候舅外公翟翊在剧团做舞美，他是30年代上海美专潘玉良那拔学西画的，母亲便叫我跟着他学画。小孩子坐不住，舅外公就给我放他创作的皮影戏《龟与鹤》，里面的鹤特别灵动、美丽，太吸引人。因为喜欢上了鹤，我开始给舅外公交作业，这是我画画的启蒙。I grew up in the courtyard of a literary and art troupe in Yaoling, Changsha. When I was 9 years old, my grand uncle, Zhai Yi, was in charge of stage art in the troupe. In the 1930s, he had studied painting under the tutelage of Pan Yuliang at Private Shanghai Academy of Fine Arts, so my mother invited him to teach me how to paint. At that time, I was too young to listen attentively, and therefore he would show me the shadow play Turtle and Crane created by him. Being especially alive and beautiful, the crane displayed was quite intoxicating. Gradually, I had fallen in love with cranes and I started painting pictures of them as my homework. This is how I got started in painting.

舅外公翟翊（1908-1981）后来14岁去到湖南艺校学舞台美术，83年考上北京电影学院美术系。毕业后没有直接画画，在广州做电影美术、拍广告，然后到深圳教育局任美术专干，再转到文化项目的装修，做了湖南省博物馆、湖南卫视电视台等项目，在设计省博物馆时看到了古人画的鹤，之后兜兜转转到08年觉得很疲累了，想重新拿起画笔，动手画点不假思索的试试，就画了一只鹤，我想这是缘份吧。Later, at the age of 14, I went to Hunan Vocational College of Art to study stage art. In 1983, I was admitted to the School of Fine Arts of Beijing Film Academy. After graduation, I did not become a painter directly, but found some jobs responsible for film art and commercials in Guangzhou. Then I worked as an art specialist at the Shenzhen Education Bureau. Afterwards I shifted to decoration of cultural projects, including those with Hunan Museum and Hunan Satellite TV, during which I had come across with crane paintings by ancient artists. After that, with all these years ups and downs, I felt somehow exhausted. Until 2008, I decided to pick up my paintbrush again and to paint something, or anything, then I painted a crane. It must be fate.

于工作室创作开始画鹤也开始更多地了解它，以前只觉得它美丽，二千多年来，太多人画它，它是佛的涅槃符号，是得道成仙的寄予，也是闲云野鹤的文人形象。在官方它代表品序，民间象征美好吉祥。如今，则已是濒临灭绝的候鸟，像是仅存于中国的丹顶鹤便只有一千多只了。亲自去考察，发觉鹤的生存非常不易，因为迁徙，南飞北返中的不可预测，它们大多死在路途上了，老弱病残被淘汰，这是它们物种优胜劣汰的延续方式，也是它们的宿命，候鸟都是如此。With the start of painting of crane, I have also begun to learn more about it. I used to be merely indulged in its beauty. It has been the subject of painting for numerous painters. It is known not only as a symbol of Nirvana in Buddhism, a hope of attaining Taoism and becoming immortal, but also as an image of detached and independent Chinese literatus. In imperial court, it demonstrates official rank and salary level; in folk, it symbolizes auspiciousness and happiness. Unfortunately, it has turned into an endangered group of migratory birds nowadays, such as the red-crowned crane, its quantity has decreased to just above 1000 in China. I have made field investigation myself and found that it is quite difficult for cranes to survive. A lot of unpredictables have existed along their migration flyway from north to south or from south to north. Most of them, especially the old, the weak, the sick and the disabled, have died on the road. It is their way of selecting the superior and eliminating the inferior. It is their fate, the fate that all migratory birds must face.每年迁徙前振翅待飞时所有的鹤都在欢快的鸣叫，尽管很多并到达不了终点，这一景像比它们起飞后的翱翔更令我着迷。我是湖南人，现在再理解“闲云野鹤”，让我想起毛泽东在长征过雪山时写的诗句“万水千山只等闲”，那种对艰难的豪迈，是浪漫壮怀。古人讲鹤，讲鹤的遗世独立，喻为“士”的精神，确与当代独立之意志、自由之思想相合。

鹤01100*140cm 布面丙烯 2014Despite the fact that most of them are not able to reach their destination, they will flap their wings and chirp cheerfully before each migration, which fascinates me even more than their soaring after take-off. As a native Hunanese, if I am to explain the phrase “Xian Yun Ye He” (which means idle clouds and wild cranes literally, and a state of detachment and self-independence figuratively), I will quote a poem by Chairman Mao – “Thousands of rivers and mountains are barriers slight.” – which was written during crossing the snow-capped mountains in the Long March. The heroism towards hardship expressed in it is an embodiment of romantic spirit and great aspiration. When speaking of cranes, the ancients would praise their spirit of detachment and self-reliance and compare it to that of “scholars”, which is indeed in chord with the will of independence and the ideal of freedom in contemporary times.开始画鹤是从熟悉的油画入手，画鹤群春天北返时的雀跃，飞过险境山林的鸣唳。受学院训练的影响我用写实的画法自然开始，但或许与童年的经历和学习舞台美术有关，从小看的戏曲都是意象的，我的画面也下意识地用写实手段在做意象表现。之后随着对鹤认识的深入，对意象持续的研究，绘画语言上的思考也在推进。I have started painting cranes by using familiar approaches of oil painting. I have painted the joyfulness of cranes when flying back from the north in spring, and also their sadness when flying over dangerous mountains and forests. Influenced by my previous training, I tend naturally to employ realistic painting methods, but perhaps it is actually due to my experience of growing up in the troupe. The plays I have watched since I was a child are all of imagery, thus when I am painting, I have been subconsciously inclined to use realistic methods to express images. Later, with the deepening of understanding of crane and the continuous research on imagery, I have also been pondering over how to improve the language of painting.

寒露120*140cm 水墨 2022意象是中国绘画的主脉，不仅是绘画，我们的戏剧、诗歌都如此，它有关中国人的生死观，是中国人看世界的方式。几千年来，我们的生存环境都非常艰难，但是我们的绘画、戏剧、诗歌基本上都是表现美好，且都是以意象方式呈现。我理解这是困苦中文化人要传达给人们生存的希望，这可能也是我们这个历经灾难的民族得以延续的原因。Imagery constitutes the main thread not only of Chinese painting, but also of Chinese drama and poetry. It is linked to the Chinese people’s outlook on life and death, and represents the way how Chinese people see the world. In spite of the fact that our living environment has been enormously terrible for thousands of years, what have been shown by our paintings, plays, and poems are something basically warm and lovely, and are presented by means of imagery. I think that this is the hope that those scholars in the hardship have wanted to convey to people for survival, and this may also be the reason why our nation, after having gone through all the vicissitudes, has survived.我们没有统一的宗教，多神敬拜，也总是寄托于身边摸得着看得见的形象。而鹤的形象从商周时就已出现，它不似龙凤，它真实存在于生活中，鹤是中国意象的重要符号，蕴含丰富的文化内涵。2013年开始，我一边做鹤的研究，一边在绘画语言上尝试。中专我学过一些国画，大学上了书法课，因而水墨有些基础，毕业后又导演反映湖南历史的电视片《三湘风流》，拍摄蔡伦故居，感受古法造纸，我于是想回到中国画的原点——纸和矿物质浸染，从这里出发，表现鹤的题材并找到绘画语言的契点。Since we do not have a unified religion, we worship multiple gods and tend to place our faith on those visible images around us. The image of crane has appeared since the Shang and Zhou Dynasties. Unlike dragon and phoenix, it does exist in real life. It is regarded as an important symbol of Chinese imagery and contains rich cultural connotations. Since 2013, while doing research on cranes, I have tried to make some breakthroughs in the language of painting. I have studied Chinese painting in technical secondary school and calligraphy in college, and therefore I have learned some basic skills in ink painting. After graduation, I have directed the television series Heroes in Hunan, which reflected the history of Hunan, and filmed Cai Lun’s former residence and learned about the ancient method of papermaking. Then I have been thinking about returning to the start point of Chinese painting – paper and mineral dyeing, and starting from here to make creations on the subject of crane and to discover the integrating point of the language of painting.

鸟鸣02 局部244*488cm 综合材料 2015这次改变是有准备的，但进入创作是率性的。我把整块的夹板铺在地上，以画舞台和电影布景的方式进入，材料以胶兑纸浆，在板面上铺开，刮擦肌理，矿物色粉浸染，线条勾勒则让我更自由和释放，羽毛、工业胶、铁钉，反反复复，试图在混沌中寻找鹤带给我的灵动美与坚毅悲怆交织的韵律，画面也从无序逐渐走向有序。后来也在综合材料的基础上尝试了一些更追求气韵的水墨，是为拓宽，也是揣摩前人，体会中国文脉审美的思考吧。创作时更多凭着感觉走，不知不觉中走向了综合材料，也从意象逐渐走向了更多的表现。I have made preparations for this change, but none for further creation. I spread the whole piece of plywood on the ground and embarked on creating in the way of painting stage and movie sets. The material used was a mix of glue and paper pulp. I spread it out on the board, polished the texture, dipped in mineral toner, and then I drew its outline with even greater facility and with a sense of liberation. During the repeated application of feathers, industrial glue and iron nails, I was trying to find, in the chaos, the rhythm of an integrated beautiful aliveness and sad perseverance composed by cranes. At the same time, the picture was gradually changing from disorder to order. Then, on the basis of comprehensive use of materials, I tried some ink washes with more lingering charm, not only to broaden material range, but also to try to figure out what the predecessors were thinking, as well as to apprehend the evolvement of Chinese aesthetics. When painting, I tend to follow my heart. As a result, I have begun to use a variety of materials unconsciously and gradually shifted from single imagery dimension to a multi-dimensional expression.

太极01 局部122*340cm 综合材料 2013

鸟鸣06 局部120*170cm 布面丙烯 2013从一只随手的鹤再次开始绘画，以写实的手法表现意象到以综合材料走向意象的表现，我用了十余年时间，做综合材料的过程里感觉找到了自己，耍得开，有自在的节奏，也想继续在这上面纯化着走下去。It has taken me more than ten years from restarting painting a crane, to representing images in a realistic way, and to depicting images with diverse materials. In the process of painting with various materials, I feel that I have found myself. I am quite good at it, and I feel at ease. I also have the willing to stick to it and try to take it as my exclusive focus.收录于《鸟·道》冯放艺术作品集翻译 / 龚骞▶︎附文章：雷家林书画

鹤――赵佶PK加山又造

雷家林

鹤在中原是高洁长寿的象征，其毛羽在白黑红三者间，诗经中的白鸟（王在靈囿,麀鹿攸伏。麀鹿濯濯,白鳥翯々。）亦是指鹤，其寿在50与80年之间，在动物界是命长者，画者往往与松柏诸耐寒树并在一起画，有延年长命之意，其声嘹亮，传之悠远，其有冲霄之心，往往是志士的一种胸襟与征象，凡中原影响之所在，没有不把鹤作为优美的意象来描绘，来比拟的。我们中原的中心，最能让人注目的鹤画莫过于赵佶的那幅《瑞鹤图》，画二十只仙鹤云集东京的宣德门顶上，十八只飞飞在其上，另两只伫立于青顶，如你所见，宋朝的天空，蓝蓝的，没有雾霾，且祥云萦绕在宫庭周遭，姿态不一的仙鹤们大部分是进入飞舞的状态，展示各自的优雅与美丽，纵是在飞飞中亦有顾盼徘徊之心，至于伫立者，仿佛有跃跃欲试的冲动。宋朝上下有人见此仙禽翔集，心情是可想可知的，此时的宋朝尚在天下太平的状态下，虽然不久王朝南迁，北方的寒流冲击了一个温馨的社会，沉香环绕的世界忽然充满胡人腥膻。从艺术的角度来说，作为皇帝，在构图上是大胆的，或者有点无法无天，好在他就是天，万人之上。所有的视线只停留在宫庭建筑的上部，青顶摩苍穹，建筑之顶占了三分之一的位置，另三分之二的天空万里无云（不算下部的祥瑞云气），正好是仙禽们展示身手的空间，亦是布置各种形象的鹤舞的空间。所有的白鹤在赵佶的笔下细谨，毛羽刻画一丝不苟，并用生漆点睛，传神生动，类似写生主义的风格，事实上宋画与西方的现实主义还是有点距离，没有过分的立体化，只是浮雕化的，亦是他绘其它禽类的手法。当然我们知道的赵佶绘制此图，是目识心记的，飞动的鹤有时会是有点程式化的造型，仅多一点方位向背的变化，比如或在上，或在下，或向左，或向右，或向上，或向下，展示鹤姿的千姿百态，丰富多变。宋朝的绘画是中原与周边绘画的一个影响所在，其中对于东洋绘者的影响是明显的，这样我们可以再引出另一个鹤画的比较者，日本的加山又造先生。他的著名作品是《千羽鹤》，由十二屏障构成，在格式上确实较之《瑞鹤图》巨大一些，而且他的风格有点装饰性，用了一些金箔等材料，相对观看起来有点富丽堂皇的。加山的作品在总的风格上是继承日本琳派的传统，崇尚装饰意味，大量并善于运用金银箔的材质，实际上亦是承传了武士时代那种富丽堂皇的桃山障壁画的风格。在构图上取长横式，左右有较大的日与月的意象，背景是一种翻涌的浪纹，恍然是海浪，若结合日月意象，仿佛又是处于天上的银河中，在这种朦胧的，一种动荡的漩涡暗涌的背景下，一群群的鹤影有序地，成队地飞，而且被画者组织得很有节奏感。鹤队是朝着一个方向飞去，队形往往有时聚合，有时散开，在画面形成两个大一点S形的飞漩状态。在艺术手法上，增添了一些现代感，简明与细致结合，比如水纹，细谨而明晰，浪头粗豪而模糊，鹤影亦相对的用平面的手法，同样有类似赵佶之鹤的那种程式性，只不过更加严重，简明罢了。两个东方的画者，一个古代中原中心，一个现代东洋，两者有一种地域的精神相通（东方精神），同时亦有其民族的差异与不同，尤其是在装饰性的浓郁程度上，日本绘者加山先生走得远，当然亦是他们国家的绘画一个大致相同的倾向。但我们知道日本的画者是崇唐崇宋的，尤其是宋画，对于日本绘者在形式上与精神实质上产生过深远的影响，至少对于加山来说，不仅仅是鹤的题材源自中原或者唐宋，他对于宋之山水与花鸟作品，亦是倾心，并心追手摹，画了大量类似风格的水墨画，但仍然渗入了日本重视装饰与纹理的民族风格。中原与边区的东瀛，或者相对于日本，大唐是西土，日本是东土，尤如我们相对西域是东土一般，相当长的时间在文化交流上密切的，互相之间的影响亦是频繁的，而且印度的佛教西来，在两国中生根超过原产地的印度，似乎是相仿佛的。这样的同，便影响到艺术风格的追求上有相同的趣味，但东洋毕竟是岛国，海洋地域，而中土是一半的海一半的陆，事实上是陆土意识占主流，所以两者之间的风格，总会有差异，虽然日本的绘者获取唐宋的艺术营养，但他们喜好装饰与华丽的意愿加重了他们民族艺术的特色，与中原区别开来，事实上宋之后，中原的绘画主流是戏墨的时代，而日本的绘画，则是装饰的时代，这便是两个东方艺术国度的和而不同的所在，在唐宋时或许差异不明显，在宋之后，则是泾渭分明起来。

编者：雷家林（方雷大野迦陵），1964年生，1977年至1980年就学于湖南省艺术学校舞台美术科，从师李朋林，王新隆诸人，1981年入长沙西区文化馆学习半年从师朱辉，陆露音，1982年至1985年毕业于湖南省广播电视大学汉语言文学专业，毕业论文《王维山水诗画境浅探》。书法以自学为主，受湖南名家史穆，颜家龙诸人指导。

主要文章：《中国艺术散论》、《家林读苦瓜和尚画语录》、《完美的女神--品读安格尔的《泉》》、《张旭与怀素的草书展示的唐朝浪漫精神》等

友情合作：

黄楷夫（舞台美术师）王黎莺（台湾戏剧服装设计师）

马勇（雕塑师）、梁慧强（公共建筑美学师）

艺术家、画家：冯放、闵丝、张方白，陈宝琴、李创、刘建威、岳建洪、史向彬（美国）、李泽民（设计），王敏（记者）

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雷家林书画

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