澳门微尼斯人手机版散子赏析

  万物皆有道,是小道。天地、自然是大道。第一次走近散子老师的作品,心中就感到一种豁达,仿佛每件作品都有着一种生命力,不张扬、不浮华、只是静静地自我生长着,我们看到的不是开始,而是过程。迷雾、纯色、彩画三个系列,似乎在表达的三种心里的状态。道,心刚入定,还感受得到周遭的环境,以及那个模糊不清的方向。空气中弥漫着一个个捉摸不定的颗粒,走过天涯,求源问道,乘风观云;当心已完全沉淀下来,此时,一切都变得安静,整个世界只剩下黑与白,以及越来越清晰的光,在生长着,《天开》、《天源》、《天舒》,对自然的感悟,就如同破开的天空,豁然开朗。道,始于此。经过漫无边际黑暗的探索,顿悟之后,再回首看着现实,原来一切都是那样美丽,霜晨随伴,静听松风,菊说细语,美玉于斯,看樱花纷落,与梨花有约,梅红,又至,秋静,梅清,美随四季而变,轮回不止,银满地,月如钩。

  From Liu Xiaodong*s oil painting The Metropolitan Hunter (1992, on
canvas, oil color) came Xia Xing, a hunter carrying a shotgun and
leading a hunting dog. This is not the only time Xia Xing has shown up
on Liu Xiaodong*s oil paintings. Xia Xing lives in a metropolis that is
undergoing legal rationality and orderliness, and in a society immersed
in the modernism movement.

  Everything has its Tao, is limit one, world and natural themselves
are the ultimate. I felt about generosity when I first saw sanzis
artwork. Like every piece of work has its vitality, Not publicize or
vanity, but just growing up in silence. What we saw is not the beginning
but the process. Cloud series, pure oil painting, and colorful oil
painting, those three series seems to express the state of the three
kinds of mind. Tao, heart just calm down, still can feel the impact of
the surrounding environment, also with an unclear direction. Dust was
all full of the air, cross the corner of the earth, Asking about Tao and
seeking the source, Go with wind and Watching clouds. When the heart was
completely settle down, nothing left but the silence, the world became
white black and a gradually clear light. Opening sky, Original sky,
Stretching sky, Perception of nature is as enlightenment as the sunshine
after the rain. Tao , starting now. After exploring through the endless
dark, suddenly comprehend, looking back and discovering everything is as
beautiful as the original. With the morning frost, Listening to the Pine
wind, Chrysanthemum is whispering, Beautiful jade is here, See cherry
blossoms falling down, Dating with pear flower, Red plum blossom, Reach
again, Autumn stop, The pure of plum blossom, Beauty changes as the
season changes, and never stop as a circle. Earth has been covered by
snow, and moon was the same as a hook.

  Xia Xing first jumped into my radar screen because of a dazzling
girl beside him. She was always seen coming in and out of the China
Academy of Fine Arts. The gorgeous girl was soon seen again in the
painting he modeled her at the Marching Forward China Youth Painting
Exhibition 1985 at the Chinese Art Gallery. An ancient Chinese saying
would say it was a peach blossom destiny.

  无论是迷雾中的孤山奇松下,还是只见得一点光芒的混沌之中,亦或是泉石中、江渚上、高墙顶、山花烂漫里的的文人雅集,散子老师的作品中一直有着如符号般的白衣文人,似魏晋时期的风流才子、又仿佛苏轼这般居庙堂之上而处江湖之远的士大夫阶层,更如同山中的仙人一般。三两结对,或临崖危坐,或策杖而行,或信手弹琴,或乘舟畅游。所有人都只是白衣白巾,看不出衣纹,看不到表情,只能感受到在浩瀚的宇宙中,渺小的自我。如同苏轼的《赤壁赋》中所说:寄蜉蝣于天地,渺沧海之一粟。哀吾生之须臾,羡长江之无穷。

  Xia Xing was portrayed as a sort of wolf in another painting
entitled Lovers (1991, on canvas, oil color) by Liu Xiaodong, featuring
Xia Xing and his girlfriend. Liu Xiaodong*s wolf in my heart was
probably made to resemble Xia Xing, expressing a migrating love
relationship through a miraculously precise composition, yet in a
satirical style.

  Whether it is under the misty mountain or fantastic pines, in the
spring water, on the river, on top of walls, in the romantic poetry
anthologies. His paintings always have some literates who are wearing
white clothing as his symbol, like Wei and Jin dynasties romantic
brilliant scholar, or like scholar-officials who are above politics and
outside of congress like Su Shi, also like celestial beings who live in
the mountains. They travel with companions, sitting on the cliff,
walking with crutches, playing music casually or traveling in boats. All
the people in his paintings wear white clothing. We cannot see any fold
in their clothing and their expression. We just can feel how small we
are in the vast universe. Like Su Shis The cliff wall said: Spend our
short life between heaven and earth, we are very tiny just like one
grained wheat in the ocean. Bemoaned our short life, envy the endless
Chankiang River.

  As a matter of curiosity, I would like to borrow the pair of sharp
eyes of the wolf in my heart from Liu Xiaodong to glance over painter
Xia Xing and his works.

  个人最喜爱《惊霜》一作,满幅的红叶,闲散的白衣文人,三两结伴,策杖而行。上善若水,厚德载物。画面疏落大方,既表现了自然的雄伟瑰丽,又体现出文人般可贵心境,仿佛漫步在世外桃源一般。可是桃源不是寻来的,桃源只在心中,吾师心,心师目,目师华山,散子师心中之道,何为道?天地、自然是大道。

  1. Love Characters

  Cream-Red is my favorite, maple leaves all over the painting,
disengaged literates who are wearing white clothes. They travel with
companions, walking with crutches. Water is like Infinity, Great virtue
can carry all things. The scenery is loosely and generous, not only
performed the magnificent natural, but also performed the valuable mood
like literates, as if walking in the heaven. But heaven is in our
hearts, not somewhere we can find. I learned from my heart, my heart
learned from my eyes, my eyes learned from Hua Mountain. Taoism in
Sanzis heart, what is Taoism? World and natural themselves are the
ultimate.

  The theme in Xia Xing*s paintings relates to women. These women
live in a world of illusion and reality, and they are nude and open.
This is an overt expression of the erotic affections in the works of the
classic Chinese literati. With the classic western realistic approach,
he expressed the privacy of the classic Chinese men of letters and their
poetic passions.

  The Eastern Chamber Happiness (1996, oil painting) provides the best
example. The Eastern Chamber Happiness came out of an imagination of the
popular Chinese classic drama West Chamber. The imagination was realized
through the illustration by Chen Laolian in late Ming Dynasty for the
West Chamber of the playwright Wang Shifu in Yuan Dynasty. The free love
story of Student Zhang and Cui Yingying is widely known in China. With
Chen Laolian*s illustration as a backdrop, Xia Xing*s Eastern Chamber
Happiness featured maid Hong Niang in the absence of mistress Yingying.
Cui Yingying has, according to the painter, walked out of the picture to
engage herself in a clandestine rendezvous with him. The painter is,
however, tattooing her, implying that she is in his possession.

  Xia Xing*s attitudes toward women are embedded in the stereotype of
male chauvinism. He gazes women with warmth, recalling the love
experience of the past Chinese literati. He lives in his own world of
fulfillment, a world with almost no other men but him.

  The most typical male-centric painting is the Moonrise Joyous Union,
a triptych oil painting in 1995. The painter puts himself at the center
of the triptych in the form of self-portrayal. Beside the painter lie
various poised women to whom he is handing out the same heart K he is
tearing up. The egocentric philosophy runs through most of his works,
and it serves to strengthen the power and will of the artist. The
painter has an obvious tendency towards self-love. In his world of
subjectiveness, incremental change and tranquility, there is no sunshine
and bright sky. All his paintings are enshrined in an indoor stage. The
landscape setting, if any, seems quite closed, indicative of his
intention to repel the realism and truth that emanates from exterior
light.

  2. Plum, Apple and Peach Blossom

  The evasion of political themes is evident in most of Xia Xing*s
paintings. In his works are mostly women, kids and dogs without
political and social identity. As the most recurrent figures, dogs are
portrayed as human companions in such paintings as Awaiting Rain at
South Gate, Spring Kids Cursing Heaven, Celestial Mating on Virgin
Isles, All Quiet on the Western Gate, Lungless and Heartless, and
Overnight Plum. In the paintings Greedy Eaters and Couples in Menopause,
however, dogs are the targets of torture and slaughter (stripped for
dishes). Dogs are thus employed to reveal human issues.

  As a sex symbol, plum is conspicuously highlighted in the Overnight
Plum to convey a special message. In the painting, secret plum eating
methods are described on a green ceramic vase to reveal the implicit
meaning of the painting. The virgins beside the man are the special
tools used to ripen green plums. The relationship of clean collar to the
red jade jewelry symbolizes the relationship between the vagina and the
plum. This paining was originated in a modern legendary story about the
recipe for male health, a story that is destined to attract sharp
criticism from modern feminists. Xia Xing*s male chauvinism is latently
drifting in this painting. Green plums could be the symbol of teenage
girls. In the poem Ballard of a Trader*s Wife, Li Bai, a poet in Tang
Dynasty wrote: *On a hobby horse you came upon the scene; Around the
well we played with plums still green.* The white dog has, however,
become a bystander in the event.

  Apple is another symbol. In Xia Xing*s painting Gay at Heart, the
apples eaten by men can be traced back to the biblical story of Adam
eating apples in the western culture. The metaphysical attachment to the
apple is also evident in the painting Looking for Apple, in which two
innocent children with angel wings are searching for an apple, a
quintessentially *uneaten* apple. Uneaten apples symbolize spiritual
purity. Beside the nude girls deep in sleep are four eaten apples,
perhaps suggesting the completion of love making beforehand. The late
coming *angels* acted to witness the outcome of the sexual affair.

  Peach blossom has never been found in Xia Xing*s paintings. It is
me who arbitrarily ascribes Xia Xing to the *peach blossom destiny*澳门微尼斯人手机版,.
In the ancient Chinese culture, peach blossom refers to fairies and
romantic women. A famous Tang poem goes that: *I do not know today
where the pink face has gone; In vernal breeze still pink peak blossoms
full-blown.* In the Chinese folklore, an affair between men and women
is dubbed peach blossom destiny or sex scandal. Peach blossom has
nothing to do with revolution, which is rather related to plum (winter),
sweet-scented osmanthus (summer) and azalea.

  Interestingly, Xia Tongguang, the grandfather of Xia Xing, provided
illustrations for the drama Peach Blossom Fan by Kong Shangren, a noted
playwright in the Qing Dynasty. The drama involved nationalities, love,
literati and prostitutes. Peach blossom represents a prostitute superior
in writing aptitude and national integrity, and it resembles the
prostitute Ball-of-Fat in the works of the French writer Guy de
Maupassant. In the era of revolution, national integrity is a virtue
that cannot be overemphasized. The Peach Blossom Fan was brought onto
stage and screen after 1949, and it spread far and wide among the
masses. In fact, the ingenious prostitutes in ancient China were always
tied to men of letters.

  Xia Tongguang, the illustrator for Peach Blossom Fan and the grandpa
of Xia Xing shared the preference of eating the Beijing honey peach with
Mrs. Xia who *wore a qipao almost year in and year out*. In 1996, Shao
Dazhen, a professor in fine art history, wrote an article named
*Thinking of Xia Tongguang*. The article started with the sentence:
*Whenever the juicy peaches reached the season for sales, I would think
of Xia Tongguang. Had he still been alive, he would be 87 years old.*
It continued: *I remember that the summer we moved into the new
dwellings, Mr. Xia used to bring home a tuck net of big sweet peaches
and would praise to us how fresh and tasty Beijing*s peaches were.*

  I am wondering whether Xia Xing may employ the traditional Chinese
mentality to perceive these indirect associations. Might Xia Xing change
Lu Xun*s verse *What else do I desire albeit Hua Gai* into *What
else do I desire but peach blossom*?