楊政

在東海之濱的浙江省臺州市三門縣，與文化沾點關(guān)系的人都認識葛敏。黝黑的皮膚、長頭發(fā)、大胡子，一看就讓人感受到一股藝術(shù)氣息，因此只要你見過他一面，就會留下深刻印象。

葛敏，1962年出生，現(xiàn)任縣文化館副館長，國家高級攝影師。他從事文化工作已30余年，油畫作品曾多次在省﹑市獲獎?wù)钩觯貏e是風(fēng)景油畫深得書畫愛好者的喜愛。

作為畫家，葛敏主攻油畫，題材包括石子路、稻稈蓬、田園、古民居等鄉(xiāng)土系列，所以曾有人稱他為“草根齋人”。葛敏對鄉(xiāng)土文化的熱愛是深入骨髓的，一方家山、一片故水、一條鄉(xiāng)路、一座古宅，乃至于一扇石窗、一口古井、一孔拱橋，都會使他雙目放光，眼睛射出七彩的顏色，就像一位餓極了的人，忽然看見可口的食物，便自然而然地失態(tài)了。那種源于血脈相承的熱愛，是長期受傳統(tǒng)文化浸潤的結(jié)果。

葛敏用顏色來描繪天地間的大美。山鄉(xiāng)古樸的家園、寧靜的田野、港汊蘆叢中的小舟、牧歸的老人、異鄉(xiāng)的少女……既透出校園歌曲般的清純與美麗，又透出土地般的凝重與厚實。那種褪去浮躁的心靈，是經(jīng)年靜悟與累積的結(jié)果，聚沙成塔，積水成河。他還是個虔誠的表述者，總是用個性的顏色表述著一片土地的安詳與寧靜以及過往的記憶，表述著消逝與新生之間那段經(jīng)歷心痛的珍惜，表述著心中難以割舍的情懷?！洞簤簟贰断钠G》《秋韻》《大地》等系列作品袒露的大地藝術(shù)，給人以回歸自然的震撼力，以時序變化為主線，以黃、綠、灰等大色塊為主基調(diào)，濃墨重彩地描繪了一幅幅山鄉(xiāng)美景圖，農(nóng)耕文明鋪展的美麗，恍如世外桃源。

然而，這片土地承載著葛敏太多的心靈重負，他像一位深諳農(nóng)事的耕耘者，在賦予他生命和靈感的土地上，踽踽前行。這是他向往和流連的土地，《村口》《老家》《靜靜的古巷》《遠去的歲月》等反映鄉(xiāng)村民居的系列作品，所折射出的厚重的歷史滄桑感，在體現(xiàn)美、禮贊美的同時，更多的是作者主動承擔(dān)的那份責(zé)任。人類在創(chuàng)造美、創(chuàng)造幸福、創(chuàng)造家園的同時，另一些美、另一些幸福、另一些家園卻正逐漸遠離我們的視線，走向消亡。葛敏尋找的是人類共同的心靈家園，將內(nèi)心的萌動寄托于真實的具象，向人們傳遞先民的智慧、追求、向往。這種情愫在《遠去的歲月》中表現(xiàn)得尤為強烈。一條典型的浙東三門灣鄉(xiāng)村古巷，石路、灰墻、黑瓦、斗檐、石花窗、隱約的遠山，斑駁的歲月仿佛瞬間凝固，悠長悠長的村巷，在心靈中永恒定格。

作為一個攝影家，靈魂渴望漂泊，葛敏總行走在異鄉(xiāng)的土地上，而所有的疲憊、孤獨、痛苦、迷茫也隨風(fēng)而散。他說，攝影與作畫息息相關(guān)。他用攝影服務(wù)繪畫，又將自己對于色彩的獨特表現(xiàn)形式運用于攝影之中。在異域他鄉(xiāng)，基于對生活生命的思考，葛敏作品中的人物也更有針對性，艱難中透出樂觀、豁達。阿婆、阿爺臉上歲月的刻痕，仿佛一本厚重的史書；孩子的眼睛充滿向往和渴望。幸福是內(nèi)心的富有，是心靈沃土上蓬勃生長的莊稼，哪怕是一片青稞，一壟土豆，幾棵迎陽生長的向日葵，都會使人喜悅無比。外表粗獷、內(nèi)心細致的葛敏像一位哲人，用思想捕捉天地間的大美、人世間的大愛。他的30多幅攝影作品曾獲得各種獎項并在各大報紙、雜志發(fā)表，其中，《彝族老人》獲十一屆全國人像攝影優(yōu)秀獎，《佛的傳說》等4幅作品在《人民文學(xué)》雜志上發(fā)表。

Ge Min， born in 1962， is a celebrity in Sanmen， a coastal county in eastern Zhejiang. He looks unmistakably like an artist： swarthy， long-haired， bearded. His is a face hart to forget.

A member of the provinces photographers association and artists association， Ge serves as a vice curator of the countys cultural center. In arts for over 30 years， he has won many awards for his oil painting artworks at the provincial and municipal art shows. His landscapes are widely loved and in private collections.

As a native artist with a passion for the scenery of his birthplace， Ge Min paints local scenes and objects in his artworks： gravel roads， rice straw stacks， farmlands， ancient houses. The artist has done systematic studies of these images. He is constantly inspired by so many things in his homeland： hills， rivers， country roads， ancient residences， stone windows， ancient village wells， arched stone bridges.

Ge Min is good at using colors in his oil painting. In vivid colors does he paint villages， serene farmlands， boats sailing in rivers flanked by reeds， herdsmen coming home at dusk， and girls who are away from home. The colors from his brush pens are pure and ethereal as well as solid and substantial. He is a sincere narrator who spares no efforts to bring back the beloved past of the homeland in his personal memory. Things that have vanished make him regret how time flies and stir his sentiments. He has painted a number of series， respectively named ， ， ， and ， to reveal a past in his memory. The beautiful Shangri-La in his retouched memory and imagination portrays a world that existed no more.

And he isnt contented with painting an overall picture of a past in his memory. He explores details： entrances to villages， home villages， quiet village lanes， and years long gone are names of his series of rural villages and houses. He believes it is his responsibility to keep the memory alive. The message he wants to deliver is that we need to look back constantly in our pursuit of happiness and beauty in future. He wants people to pause for a while and wonder whether we are sure that the past really has nothing to offer for our future.

Ge Min has firmly established himself as a photographer. If he paints real or imagined landscape in oil artworks， he as a photographer focuses largely upon people. He travels and takes photographs and gets himself distracted from the agony， solitude， and confusion that may try to bring him down now and then. As an artist， he considers taking photographs equal to painting. In many cases， he lets his photos work for his painting. And in other cases， he lets his understanding of painting into taking a photo. In the deeply wrinkled faces of old people， the viewer can read how time elapses and how history grinds slowly. In the innocent eyes of children， the viewer can feel the pulsating longing and happiness. And Ge Min never misses opportunities to photograph details of a landscape that attracts his attention. In his landscape photos， a farmland of highland barley， a ridge of potato crop， a number of sunflowers， look delightful. Like a philosopher with a wild look and sensitivity in his heart， he captures beauty and love in his photos. Over 30 photos of his have won awards and got printed in newspapers and magazines.