（文）葉永青　四川美術(shù)學(xué)院教授

怪才羅旭的妄想和異行

（文）葉永青四川美術(shù)學(xué)院教授

這些年我在云南結(jié)識(shí)的朋友中，羅旭一直被視為怪杰，他的傳奇般的經(jīng)歷和言行，他建造的建筑群落和他創(chuàng)造的那些數(shù)量驚人的作品，他那種大隱于鬧市的浪漫情懷以及獨(dú)立特行的夢(mèng)想本身，常常遭致各種議論和評(píng)價(jià)。昆明是邊遠(yuǎn)的小城，它的文化和歷史受到現(xiàn)代空襲的沖擊力度，比之許多中國(guó)中心城市的病灶原發(fā)點(diǎn)來(lái)，自是更加觸目。而另一方面，卷地烈焰來(lái)不及細(xì)微爆透的地方，在草根層極處還留有些許農(nóng)耕時(shí)代燼余。則未嘗不是幸事。在質(zhì)疑現(xiàn)代化的聲音里，經(jīng)常能聽(tīng)到對(duì)古老手藝的懷想，許多時(shí)候還應(yīng)和著對(duì)自然和泥土的謳歌，大致上采取這種姿態(tài)的人士遠(yuǎn)處兩端：一頭是真正在深山荒野間，仍然靠著手傳心授的舊藝勤勉度日的匠人，另一頭卻是城市書(shū)齋內(nèi)纖塵不染的浪漫文人，而羅旭卻能集兩種品質(zhì)為一身。

制造神話是人類的天性，對(duì)那些出類拔萃的人物，如果他們生活中有什么令人感到詫異或者迷惑不解的事件，人們就會(huì)如饑似渴地抓住不放，編造出種種傳言，而且深信不疑，近似狂熱，這可以說(shuō)是浪漫主義對(duì)平凡暗淡的生活的一種抗議，這樣的傳奇和神話，被追加在一個(gè)個(gè)我引以為榮的云南人身上：羅旭、跳舞的楊麗萍、拍電影的吳文光、蓋房子的趙青、搞音樂(lè)的田豐。傳說(shuō)中的一些小故事和事實(shí)一道成為他們通向成名之路的最可靠的護(hù)照。

羅旭的身上兼有一種肉欲的狂燥和悲劇性的憂郁混合的特質(zhì)，仿佛作為永恒的犧牲似的把自己靈魂的秘密呈獻(xiàn)出來(lái)，給予了十年前的一片土地。一個(gè)藝術(shù)家--雕塑也好、詩(shī)人也好、建筑師也好，以他充滿想象力和創(chuàng)造力的美麗作品把世界裝點(diǎn)起來(lái)，滿足了人們的審美意識(shí)和好奇心，但這也同人性的本能不無(wú)相似的地方，都有其粗野狂暴的一面，在把作品奉獻(xiàn)給世人的同時(shí)，藝術(shù)家也把他個(gè)性才能和遺憾呈現(xiàn)在你眼前。探索一個(gè)藝術(shù)家的秘密，令人費(fèi)解和迷人，這個(gè)奧秘同大自然極相似，其妙處就在于無(wú)法找到答案。羅的最不足道的作品也使我們能模糊地看到他的奇特、詼諧、復(fù)雜、受著折磨的性格，包括那些不喜歡他的藝術(shù)的人之所以不能對(duì)他漠不關(guān)心，肯定是因?yàn)檫@個(gè)原因。也正是這一點(diǎn)，使得那么多人對(duì)他的生活、性格充滿了好奇心和濃厚的興趣。

其實(shí)在許多人眼中，羅旭不僅是一個(gè)失敗的經(jīng)營(yíng)者，也同無(wú)數(shù)落魄的藝術(shù)家沒(méi)什么不同的。的確，生活中的羅旭與我們想象中的天才相去甚遠(yuǎn)，他永遠(yuǎn)只會(huì)對(duì)那些慕名而來(lái)和偶然闖入的訪客抱以微笑，多年前我第一次見(jiàn)他時(shí)，羅旭細(xì)小的眼睛里閃耀的就是這種微笑，這其實(shí)是一種經(jīng)歷過(guò)風(fēng)雨也看見(jiàn)過(guò)彩虹的平和與透亮，也許正是這種平和謙虛掩蓋了他的思想和野心，也使人們?cè)跐M足了短暫的好奇心之后，卻與這片紅土房子的締造者和守望者，一位真正獨(dú)特的天才和大師失之交臂。

羅旭出生在云南紅河州的彌勒，那片干燥的紅土地上，盛產(chǎn)中國(guó)最好的煙草和葡萄，或許，是這個(gè)地域因素熏染了他的心性，造就了其旺盛多產(chǎn)的創(chuàng)作欲。雖然成長(zhǎng)在中國(guó)社會(huì)徹底學(xué)習(xí)西方的時(shí)期，但他鐘情的還是鄉(xiāng)野風(fēng)。他早年干過(guò)建筑小工，在文化館工作，為掌握藝術(shù)技巧，艱苦奮斗，并到中央美院進(jìn)修雕塑。羅還一不小心就下海經(jīng)商幾年。自任董事長(zhǎng)、總經(jīng)理、建筑師、舞臺(tái)演出編導(dǎo)、餐廳老板、伙食大廚和制做桌椅板凳、鍋碗瓢盆的工人……幾年間，羅旭經(jīng)歷了自己的“土著巢”和有限公司從有到無(wú)，從興到衰的過(guò)程。這個(gè)過(guò)程也使羅既“閱盡人間春色”，同時(shí)又倍感人世艱辛。 生意場(chǎng)上的失敗和豐富的人生閱歷使羅旭不得不退守到這片占地十余畝的房子中。這是1996年他根據(jù)兒子的靈感和藝術(shù)家的意志修建的外形酷似女性乳房和原始磚窯般的建筑群。以藝術(shù)家的狂想和手工式制作方式施工造就的土著巢使許多造訪這里的各界人士感到震憾。對(duì)于有建筑師提出老羅的房子是對(duì)現(xiàn)代建筑的挑戰(zhàn)的說(shuō)法，老羅也不謙虛：“我最大的挑戰(zhàn)就是不用米達(dá)尺！”這個(gè)回答意味深長(zhǎng)且歪打正著，當(dāng)初羅剛畫(huà)完建筑設(shè)計(jì)圖，曾認(rèn)真地去找建筑設(shè)計(jì)院審批，院方的結(jié)論是“這房子沒(méi)法造！”老羅賭氣回來(lái)自己找了施工隊(duì)，親自手提一藍(lán)石灰布線、按線定基，等磚砌達(dá)了人高，老羅拿根竹桿、左指右劃，指南打北，硬是口傳和身教三百個(gè)工人把最高為16米的建筑數(shù)十座蓋成了，羅旭以自己的直覺(jué)和知性無(wú)意間突破了現(xiàn)代建筑以數(shù)學(xué)和結(jié)構(gòu)為準(zhǔn)繩的繁離，為自己的幻想開(kāi)啟了一個(gè)新鮮的奇異的境。

Among the friends I have met in Yunnan these years， Luo Xu has always been regarded as a maverick genius. His legendary experience and actions， the building groups and the astonishing amount of works created by him， his reclusive and romantic sentiments， and his maverick dreams are the subject of constant debates and comments. Kunming is a remote small city. The impact of modernism on its culture and history is more striking than many central cities in China， where the focus of infection originates. On the other hand， in places where the roaring fame has not completely burned down， at the grassroots level， there are still some remains from the agrarian age. This is a somewhat fortunate thing. Among the voices that question modernization， we often hear the reminiscences about old craftsmanship， sometimes along with the praise of nature and earth. People with this attitude are generally located at two ends: craftsmen in the mountains and wilderness， who makes a diligent living with their old skills， and romantic scholars in urban studies， who are unafected by the environment. Luo Xu has both of these qualities.

Creating myths is a human nature. If there is anything astonishing or confusing in the life of an outstanding person， people will grab at it with great eagerness， and make up all kinds of rumors， in which they believe frmly and even madly. This can be said to be some kind of protest of romanticists about the ordinary and dull life. These legends and myths are imposed upon a few Yunnan people that I am proud of: Luo Xu， the dancer Yang Liping， the film producer Wu Wenguang， the house builder Zhao Qing， and the musician Tian Feng. Some of the stories and facts in the legends have become their most reliable passport on the road to fame.

Luo Xu has a special quality that combines sensual mania and tragic melancholia. It is as if he dedicated the secrets of his soul as an eternal sacrifice to a land a decade ago. As an artist， a sculptor， a poet， and an architect， he decorates the world with beautiful works full of imagination and creativity， satisfying the aesthetic consciousness and curiosity of people. However， similar to human instincts， it has a wild and furious side. While dedicating his works to the world， an artist will reveal to you his personality， talents and regrets. The secret of an artist is confusing and yet enchanting. Similar to the secret of nature， the beauty of it lies in the fact that it is impossible to find the answer. Even the most insignificant work of Luo Xu vaguely reveals his bizarre， humorous， complicated and tortured personality. This is defnitely the reason why those who dislike his arts cannot be indiferent about him. This is exactly what makes so many people curious about and interested in his life and personality.

In fact， in the eyes of many people， Luo Xu is not only an unsuccessful businessman， but also not much different from the great many sorehead artists. Indeed， Luo Xu in real life is nothing like the genius we have imagined. He will

always smile at the visitors who come on purpose or barge in occasionally. The frst time I met him several years ago， there was such a smile in his small eyes. This is actually a kind of peace and brightness of someone who has lived through the storm and seen the rainbow. It is probably this kind of peace and modesty that covers his thoughts and ambitions， and makes people miss the opportunity to really get to know the creator and watcher of these red-earth houses， a truly unique genius and master， after their temporary curiosity is satisfed.

Luo Xu was born in Mile， Honghe Prefecture， Yunnan. That dry red land abounds in the best tobacco and grapes in China. It is perhaps this geographical factor that infuenced his nature of mind and gave rise to his vigorous and fertile creativity. Although he grew up in a period when the Chinese society fully learned from the Western world， what he loves is the country style. In his early years， he worked as a construction worker， and worked in a cultural center. He worked hard to learn artistic skills， and studied sculpture at the Central Academy of Fine Arts. Accidentally， Luo Xu ventured into business for several years. He appointed himself as a chairman， a general manager， an architect， a stage performance director， a restaurant owner， a head chef and a worker making tables， chairs，stools， pots and pans… Within several years， Luo Xu watched his “Earth Nest”and limited company decline and fnally go out of business. This process allowed Luo to see the best things in this world and experience the hardships in life. Due to his failure as a businessman and his rich experience in life， Luo Xu had to retreat to these houses covering an area of more than ten mu. This is a group of buildings he built in 1996 based on his son's inspirations and his will as an artist， which has an appearance that resembles a woman's breasts， and looks like primitive brick kilns. The Earth Nest built manually out of an artist's wild imagination has shocked many visitors from all circles. In response to the comment from some architects that Luo's houses are a challenge to modern architecture， Luo said immodestly: “My biggest challenge is not to use the metric ruler！” This answer is meaningful and scores a lucky hit. At frst， when Luo fnished the architectural design drawings， he seriously tried to fnd an architecture design institute to review and approve them，but the conclusion of the institute was that “this house is impossible to build！”In anger， Luo came back and found a construction team on his own. He held a basket of lime in his hand， set out the lines， and fxed the foundation according to the lines. When the bricks were laid to the height of a person， Luo fetched a bamboo pole， and pointed it around to orally and physically guide three hundred workers to build several dozens of 16-meters-high buildings. With his intuition and intelligence， Luo Xu accidentally broke free from the limitation of modern architecture based on mathematics and structure， and opened up a brand new extraordinary territory with his imagination.

The Delusions and Strange Behaviors of the Maverick Genius Luo Xu