蓝充画鸡——蒋书庆
www.zg-xbwh.com   2016-07-25 20:15:40   浏览次数:

 
  鸡是人类最早驯养和利用的禽类之一,其历史可以上推到新石器时代,鸡的寓意象征与人类生活息息相关,也存留于漫漫长的历史文化之中。距今三千多年甲骨文“鸡”,就是鸡的象形符号;作为驯养和利用的信息,“三代”彝器青铜文字的 “彝”字,为鸡被捆绑捉弄的形态,充满了深长的意味。公鸡打鸣报晓,为判定时间迎接光明的方式,也常作为男女往来婚姻关系的媒介,更是生命终结引导灵魂升天的使者,赢得“天鸡”的美誉为“凤”的原型。家禽的鸡,超越其驯养的自然属性,变为宗教崇拜祭献的神圣,并升华为“吉祥”的化身。鸡的深厚文化积淀,也成为艺术表现的重要内容,存在于漫长的历史文化之中,鸡是中国花鸟画常见的题材,颇受人们的青睐,蓝充画鸡发自传统但不同于过去,呈现出个性追求与现代的气息。
 
  蓝充的画中塑造了鸡的不同形象,展示了鸡的各种姿态,但又不是简单地局限于鸡的形象本身,而是将其拟人化,展现人的情怀心理与时代精神,显示了比拟与象征的特点。鸡的的华丽与多彩的时代相对应;工业属性符号的穿插与现代意识相呼唤;羽毛洒落漂荡是毛色更新的变化,却暗示着生命转换的信息;迷乱的线条是无序的告白,却是境界的思虑牵绊,有对生存的环境的担忧,有对现实状态的批判。通过华美形态的营造,把抽象的观念转化为可视的形象;用超现实主义和后现代意味的情趣,深情的呐喊与呼号,显示了叛逆性与隐喻性的表达方式,显示了比拟与象征性的手法。艺术是美的倾诉方式,不论是从欢快、愉悦的切入,还是孤寂、苍凉的突破,都为创作的形式提供了探索的条件。
 
  蓝充画中的鸡选择了油画的表现形式,但没有依附于西方绘画的传统手法,而是依据主题表现的需要,采用现实性与象征性相结合的手法,另找出路而自辟蹊径。画中的鸡并没有刻意描写鸡的整体形态,而是选取其典型的特征,着重于头部形象以及华丽羽毛的挥写,专注于其情调状态的渲染,无论是争斗的状态,还是期待的情景,或者为冷漠的瞬间; 无论是聚集的形式,还是飞翔的姿态,或者是去来的情景……,似乎各有心态而难以述说。不同的形象处理,加强了立意的深度,也扩展了其文化内涵。与此相关,鸡的周围机械加工螺旋形花纹,或者金属碎屑的穿插,或者是水珠类状态的圈点,为画面增加了情趣也凭添了新的内容,既充满了神秘性,也显示了戏剧性的冲突。画面形式倾心于色彩情调的追求,用很纯的色彩铺垫基调与塑造形象,华丽丰满而鲜明强烈,其主体物以外的其他环境,或简约、或虚幻,或省略、或排除,显示了衬托的意义,显示了主题表现的需要,显示了选择性与取舍性的特点。 
 
  主题表现选用了油画形式,但没有采用西方油画块面结构的造型手段,而是继承传统绘画的造型手段,使用了特殊的工具与材料,创造了鸡的各种形象特征与环境气氛,透露着中国画工笔画线描的特点与影响,吸收融合了中国画的一些因素。画幅中鸡的形象是写实的,鸡的形象塑造用线的描写形式,营造羽毛的形态,画勾描抹、刮擦添补,用了许多办法,但都以线的形式来表现。这种手法,不仅不限于一鸡一毛的刻画,而是扩展到整个鸡、整幅画面的形式处理,进而扩展到主题对象以外,诸如环境背景的描写、气氛状态的渲染。有如蓬乱杂草的穿插,机械碎屑的处理,乃至水珠气泡的添加等。材料的运用,手法的革新,产生不同的效果,化解为特有的符号形式,形成洒脱的个性化语言。
 
  画面形式营造了一定的环境特点,但没有依附于一般的透视法则,而其构图形式与色彩配置的手法切入了现代设计的意向,纳入了元素组合的一些特征,形成装饰性的风格特点,以精致细微的刻画形式,产生疏密对比、张弛有度的变化,将繁复、迷乱的线条统一在平面结构的组合之中,将画面的主次关系,体现在空间结构的层次划分之中,将华丽的色彩倾注于灿烂的氛围之下,体现近观远睹的双重目标。与此相关,线的形式通过构图与色彩的设计性,显示了画面结构的律动特点,增强了鸡的飞升跳跃的动感意象,把看似无序杂乱的线条和色块感觉,通过极强的意识和观念,转化为有序存在的视觉结构,提高了可视性与观赏性。
 
  蓝充画中的鸡题为“涅槃”,火的洗礼是对生命的呼唤,是获得永生的渴望与追求。叛逆的行为是新生的基础,痛苦的磨练是成就的先驱,歌颂的是自然和美丽,向往的是自由的境界,赞许的是生命不息,奋斗不止的精神。不论是个人的自白,还是普遍的诉求,都充满着期待的目光,展现着新的境界的渴望。寄托的是热切期待的声音,流露的是期待的目光。“天鸡鸣,天下鸡皆鸣。”争斗的迷茫与无序的彷徨,也必将转化为新的力量。 “星月半山尽,天鸡出海迟”,留给我们更多遐想的空间与追逐的梦想,祝蓝充的事业获得新生,愿期待的那一刻早点到来。
 
  蒋书庆   2013.5.6.
 
  The Anthem of Life
 
  —— The cocks painted by Lan Chong
 
  The cock is one of birds firstly tamed and raised by our humans. The history can date back to the Neolithic age. The symbolic meanings of the cock are closely linked with the human life and stored in the long historic culture. The character of “cock” in Chinese oracle-bone-inscriptions of three thousand years ago is a symbol like a cock. In Shang Dynasty, the character "彝" of bronze words on wine vessels is just like a bound cock and implies a profound meaning. The cock's crow at daybreak is not only a welcome to the sunshine, but a wish for a good relationship and marriage. Even the cock is regarded as the usher leading one’s soul into the heaven with the advent of death. So the cock wins the reputation of “celestial cock” and becomes the prototype of the phoenix. Although the cock is a type of fowls, the cock beyond the definition becomes a holy representation in religious worship and sacrifice, sublimates into the embodiment of “propitiousness”. The far-reaching cultural meanings about the cock also become the important contents of art. The cock is the common topic in Chinese flower-and-bird paintings, welcomed by hosts of artists. Cocks painted by Lan Chong stem from the tradition, but they are very different. They present the painter’s personality filled with the modern atmosphere.
 
  Lan Chong’s paintings depict different images and postures of cocks. But he is not confined to simply paint profiles of cocks. He personates these cocks to express the human feelings and the spirits of the times with the technique of symbolism. The flamboyance of cocks represents the colorful times. The embedded symbols of industrial property echo the modern consciousness. The floating of the fallen feathers means that for depicted cocks the more beautiful feathers will grow up, and for viewers they are facing the conversion of life. The entangled lines represent the disorder and the scruples of the spiritual world, worrying about the living environment and thinking about the real-life status. Through the built-up splendid scenario, the paintings transform the abstract concepts into the visual images. In the created atmosphere of super-realism and post-modernism, the paintings make the mental appeals. The paintings are filled with the rebellious and metaphorical expressions through the metaphoric and symbolic techniques. The art is the revelation of the beauty, whether liveliness, gaiety or loneliness, desolation, all these feelings provide the inspirations for the art creation.
 
  Although Lan Chong paints cocks by means of oil painting, he does not totally depend on the traditional techniques of the western brushwork but adopts a unique technique of combining realism and symbolism together according to the need of the topic. The paintings do not focus on the whole profiles of cocks, yet more express their symbolic features by emphatically drawing the heads and flamboyant feathers. The paintings pay more attention to the cock’s manners, the excitement in the battle, the look full of hope, or the stony expression. The cocks crowd together, or flutter their feathers, or walk around. It is hard to name all their postures. The usage of different images strengthens the depth of the topic and broadens the cultural connotations. Around the cocks, spiral patterns of mechanical debris, or interspersed metal-chip dots, or water-drop-like marks enrich the contents of the paintings and enhance the artistic conception with some mysteries and dramatic conflicts. The drawings take advantage of strong colors to set the keynotes and portray topic images, which form an intense contrast with the surrounding backgrounds. All these backgrounds are concise yet full of imaginations, and play their parts very well to help express the meanings of the topic.
 
  Lan Chong’s pictures, although being oil paintings, do not make use of the expression means of the block structure commonly used in the western paintings, but utilize a Chinese traditional method with special tools and materials to depict the cock’s images and create a wanted atmosphere. These drawings have the characteristics of Chinese claborate-style painting and are also affected by other factors of Chinese paintings. The cock’s images depicted mainly by lines are realistic. Besides that, the painter uses many techniques to portray the cock’s feathers, such as retouching, ticking, scratching, filling. All these techniques are also used in the topic objects, even used in the depiction of the backgrounds. Within the whole frameworks of pictures, spiral patterns of mechanical debris, interspersed metal chip dots, and water-drop-like marks are inevitable. Special materials and innovative techniques make distinctive effects and create a personalized painting language of the artist.
 
  Lan Chong’s paintings build up a specific scenario without the usual perspective. The structure and color-setting reflect the features of the modern design and assimilate some properties of the element-combination method to form a decorative style. The refined and exquisite depictions are so differentiated yet so harmonious. The painter puts complicated and kind of bewildering lines on a two-dimensional plane, which unexpectedly create a multi-level spatial feeling with the explicit topic. Such colorful paintings have a good visual effect from a near or far view. Moreover, these lines show the design property of structure and color and form a dynamic feeling, as if the depicted cocks will fly away. Through the strong consciousness and conception, the painter magically changes un-orderly lines and color blocks into visual enjoyment.
 
  Lan Chong names his drawings of the topic of cocks as “Nirvana”. “Nirvana” must undergo the fire bath. It is a calling for life and represents the longing for the eternity. Some rebellious acts are the beginning of rebirth. Pains are the must of success. We always praise the beauty of the nature, yearn for freedom and envy the struggling spirits. Whether personal confession or the universal appeals are filled with expectations that we can see and we can hear. When the celestial cock crows, all cocks crow. In the confusion of the struggling process, we will find out the direction of advancement. The poetic sentence “the moon and stars fall, the celestial cock crows late” leaves us a lot to think. Wish Lan Chong to gain a leap in his careen. I am looking forward to the moment.
 
  Jiang Shuqing      May 6, 2013
 
  
 

相关热词搜索:蓝充画 蒋书庆

上一篇:生命的交响——耿广春
下一篇:评马刚山水作品——雒青之

分享到: 收藏