陳進(jìn)軒
Chinese paintings are created from the dialogue between human and the Spirit. One can experience the mysterious yet natural sensation from appreciating Jiang Yuchuns artworks. There are persistence, resilience, and freedom in Jiangs artworks. He extracted abstract meanings from the visual images and delivered his aesthetic tastes beyond shapes. Jiang has practiced painting for decades. He has achieved a lot through practicing various skills of painting. The essence of Chinese painting is to go beyond the object and oneself. It is the Zen and the unity of human and nature which generations of Chinese people pursue and one can experience that in Jiangs artworks.
我一直信奉著一種關(guān)于中國(guó)畫(huà)的命題,即中國(guó)畫(huà)是人神共語(yǔ)的產(chǎn)物。神是大道,神是大覺(jué),神是心中的一方天地。畫(huà)家借筆墨畫(huà)符,符即神語(yǔ),語(yǔ)著山語(yǔ)著水,山就是神了,水就是神了,于是畫(huà)家就成了山成了水。神是心之境,境是神之心;境無(wú)造而自設(shè),心不言而大篇。山人水人一體了,山便突兀,水便嫵媚;山吶喊無(wú)聲作渾然天成嶙峋狀,水呢喃有息化嬋柔六昧通靈竊。擱筆佇立,或舞之蹈之,或投懷送抱,或閉窗趣步,或掏胸一拋。大有大無(wú)之中,那山那水以神眼看你,你看那山那水以神眼勾連,雙神合一妙,偃息中便有了圓覺(jué)之境。
品讀姜玉春先生畫(huà)作,品讀出執(zhí)著,品讀出堅(jiān)韌,品讀出灑脫,品讀出性情,品讀出圓融,品讀出靜穆,品讀出逸致。他在勾山皴石中施以小象,他于散水點(diǎn)染里略加意氣,使“道、理、性”均在山水面前頓悟圓覺(jué),以終成情性。他以山為樂(lè),以水為知,以空為悟,以遠(yuǎn)為覺(jué)。他把視圖審美超以象外,從而使言外之意、弦外之音、韻外之致的美學(xué)意蘊(yùn)發(fā)揮到極致。他讓品讀人在不著一語(yǔ)的整體情境中知覺(jué)物我合一,知覺(jué)象于無(wú)形,知覺(jué)大音稀聲,知覺(jué)大巧若拙。這是慧的境界,這是通的境界,這是靈的境界,這是匯聚了“慧、通、靈”的神的境界。進(jìn)而推演郭熙之“三遠(yuǎn)說(shuō)”,則“高遠(yuǎn)”形澀,“深遠(yuǎn)”形拙,“平遠(yuǎn)”形怠。何以乎?實(shí)為由“三遠(yuǎn)說(shuō)”架設(shè)的空間構(gòu)成于大象有謬也。
姜玉春先生修墨數(shù)十載,全通有無(wú),已達(dá)大成,是他慧根使然,非仗赤橙黃綠青藍(lán)紫勾勒?qǐng)D象者所能及。虛實(shí)、濃淡、大小、留白、守墨等構(gòu)圖法則,已離他漸行漸遠(yuǎn);畫(huà)家為之探求并遵守的奇、絕、巧、妙的構(gòu)思本領(lǐng),已于他通身一體。于是就有了他筆下的線、點(diǎn)、墨之大聚,勾、皴、染之融匯,致使山水隨心,心到山水悅。
形無(wú)常形,墨無(wú)常墨。毋庸置疑,山水情懷更多的是人文世俗的超越,它的所立之境,千百年來(lái)不過(guò)是四個(gè)字:超越物我。正因?yàn)橛辛诉@一東方式的禪境體驗(yàn),山水之形才是禪的頓悟之美,山水之覺(jué)才是人神共通的體驗(yàn)之美。人在山水面前,求索的是動(dòng)與靜的互置關(guān)系,是點(diǎn)墨人的角色轉(zhuǎn)換,從而完成中國(guó)人最古遠(yuǎn)最崇尚最神往的永恒命題:天人合一。天人合一合的是什么?合的是今即昔,昔即今;合的是滅亦生,生亦滅;合的是有為無(wú)之形,無(wú)為有之體。所有的虛實(shí)剛?cè)岫际瞧浔?,猶如大漠太豐富了湮于大白,終歸只有一個(gè)禪可以了然。見(jiàn)山是山,見(jiàn)水是水;見(jiàn)山不是山,見(jiàn)水不是水;見(jiàn)山又是山,見(jiàn)水又是水。是與非是,非是又是,焉知不是大是哉!畫(huà)山乎?畫(huà)水乎?畫(huà)禪也。
形而上謂之道,形而下謂之器。古今畫(huà)家之為大能者,至才盡方知形而下易求,形而上難逮,意象之要盡被浮躁掠去。渾沌沌以表為榮,飄飄然唯物是物,夸盡李白方遒氣,卻掩王維枝葉神。騷目的是紅綠青紫,滑落的是我禪我心。禪謂何?抱樸一真也。心謂何?大千一隙也。洞悉一真一隙,靈山何須石砌?通曉抱樸大千,安用媚俗彩筆?弛神只隨山水去,春語(yǔ)秋啼自作聲。大筆塊壘隨他起,只留殘葉獨(dú)寫(xiě)情。情是畫(huà)者魂魄,魂魄縈繞,壁峭石嶸,固守的是心境,落寞的是空靈。何謂徹悟?何謂頓悟?悟在神領(lǐng)處,落彩畫(huà)卷中。是為大家也!
緣于喜好之故,寫(xiě)作之余倒也品讀過(guò)幾人幾作,其間常有感于當(dāng)今潑墨者,不昧中國(guó)畫(huà)審美之本者大有人在。竊以為抽象無(wú)非是舍形而寫(xiě)神,具象不過(guò)是形的再現(xiàn),焉知絕對(duì)的或孤立的思維,必定會(huì)遁入失衡與偏執(zhí),這也是當(dāng)今少壯派畫(huà)家極易峰谷騰挪的緣由?;仡櫸羧?,從顧愷之的以形寫(xiě)神,遷想妙得,及宗炳的應(yīng)目會(huì)心,澄懷味像,再到吳道子的嘉陵江山水一線墨;從王維的詩(shī)畫(huà)互融,云林逸氣,及石濤的山川跡化,以至齊白石的似與不似,哪個(gè)不是與神共語(yǔ)?哪個(gè)不是我像非他像?如果說(shuō)這些都可以俱往矣,那么,除卻自心山水之外,還有能假借的嗎?
走了的是該走,留下的是該留,一如姜玉春先生的山水畫(huà)。
Jiang Yuchun was born in Henan Province. He served as a member of China ArtistsAssociation, member of China Hue Art Association, member of Henan ArtistsAssociation, and national first class artist. Jiang Yuchun has practiced oil painting in his young age, and then started his creations in landscape painting. He excelled in figure painting and mountain-and-water painting. His artworks had unique artistic conception and were able to convey sincere feelings from reality.
姜玉春,號(hào)丑石,三綠齋主,出生于河南滑縣。中國(guó)美術(shù)家協(xié)會(huì)會(huì)員,中國(guó)工筆畫(huà)學(xué)會(huì)會(huì)員,河南省美術(shù)家協(xié)會(huì)會(huì)員,國(guó)家一級(jí)美術(shù)師。
姜玉春年輕時(shí)曾致力于油畫(huà)創(chuàng)作,后攻中國(guó)畫(huà),擅長(zhǎng)人物及山水畫(huà)。其技法兼收北派之雄、南派之秀,反復(fù)錘煉,所作山水畫(huà),致力于借景訴情,融主客觀于一體,有著獨(dú)特的藝術(shù)意境,重視在客觀實(shí)際中汲取真情實(shí)感,從而抒發(fā)自己的真實(shí)感受。
世界知識(shí)畫(huà)報(bào)·藝術(shù)視界2019年11期