玫 瑰 园

文/马安娜

从诞生以致死亡，玫瑰常用于表达情感。

在某些文化中，玫瑰被赋予不可思议的魔法力量。概观不同世代，玫瑰已成为各种礼拜仪式之装饰品。

玫瑰的蓓蕾象征着新生命。

玫瑰更融入我们的语言中——生命并不如玫瑰般美丽。

纵横历史，由于玫瑰外表美丽且带神秘感，众人皆把玫瑰誉为花中之后，并给予玫瑰许多含意。玫瑰源自亚洲，从远古时代起已存在。到了罗马帝国时期，玫瑰才开始在欧洲繁殖。

在神话故事里，爱神维纳斯之子丘比特，也送上玫瑰给沉默之神哈伯克拉底斯，请求沉默之神对他的风流韵事守口如瓶，不可让他母亲知悉。

埃及艳后克丽奥佩托拉，不仅把玫瑰花瓣撒满她路经之处，还在一间玫瑰花瓣堆积及踝的卧室中，接见安东尼。

古罗马人以玫瑰花瓣来覆盖宴会厅。尼禄王在帕拉庭山丘之金殿，举行极尽奢华的宴会。宴会厅之天花板，也悬挂着玫瑰花作装饰。

希腊诗人亚奈科理翁曾颂扬，以玫瑰提炼之香膏，对苦恼而引起之心跳悸动，起镇静作用。

文艺复兴期间著名画家波提且利，把爱与灵性加以演化。在《维纳斯的诞生》这画中，尽情展示出完美之女性美。可是，我们却常常忽略了画中被风吹卷之玫瑰花。

日本古典文学《源氏物语》曾提及红玫瑰。在江户时代，俳句诗人松尾芭蕉和小林一茶的作品内，亦有描述玫瑰花。

我老是喜爱玫瑰花，因在许多生活片断中，玫瑰拥有不同的象征意义。因此，在罗发辉的花园看到玫瑰花，不足为奇。然而，他选择成都市郊作为工作室之地点，实在意想不到。成都总是给人阴沉寒冷的感觉，很难想象如玫瑰般美丽及芳香的花，生长在这样的城市里。

事情总不可先入为主。纵使罗氏的绘画以玫瑰为题，但他不是绘花的画家，尽管主题及概念独特，他的玫瑰却不一样，别树一帜。

罗发辉1961年生于重庆，时值中国遭受天灾。1967年考进小学，正巧毛泽东发动红卫兵。

当时社会秩序大乱，并没有所谓传统家庭生活。在挣扎求存的过程中，罗氏开始喜欢上绘画，天天跑到街外写生。

当时许多房子外墙涂上白色，颜色既吸引又富诱惑性。我把木枝烧成碳，用作画笔在墙上乱画，之后又抹掉。在这期间，我听闻和目睹文化大革命残酷和了不起的一面。

对于1994年之画作，罗氏说：绘画是我在自己的空间里企盼希望的升华。艺术创作使我体验思想自由、生命的完美、语言之创意和探索内心深处。因此，绘画给我自由且无忧生活所需的元素，延生命的流逝。

在1978年，罗氏考入四川美院附中。三年后，考入四川美术学院（现为高等美术学院）继续进修。

这三年里，罗氏的同僚兼好友冯斌，对他有以下的评价：在艰苦的生活中，他仍十分勤奋。当时学校的伙食糟透，每周只提供一餐有肉的饭菜。在上午，我们很早便往扬子江岸边写生，之后疾步如风跑回学校，免得错过了午饭。

罗氏于1981年首次往北京，看到德国表现主义派画展。

翌年，罗氏的作品在中国美术馆展出，并由馆方收藏。在高名潞著的[中国当代美术史1985-1989]，罗氏亦被收录其中。罗氏在国内及国际间享负盛名。在这本场刊的背面，列载了他的详尽履历。

在1999年，他放弃绘画风景，改画女孩及玫瑰花。有时，这两主题同时并置，但作者总以观赏者的身份，做一种有距离的叙述。

楚桑在其文章[罗发辉的变异]中指出，很明显罗氏借用了奥基弗（Georgia O′ Keeffe）的原创，但却按照他所理解的后现代形式进行了精心改造。

事实上，罗氏颠覆了奥基弗朴素的想法——曾经引发弗洛依德主义者之论证——但罗氏的玫瑰花更具说服力，它们已不再拥有纯洁的爱。

随着时间变迁，罗发辉的玫瑰起了许多变化。

他的玫瑰很大，颜色灰暗、沉重和冷淡。栗宪庭认为这些玫瑰花远离现实。

在罗发辉的近作里，玫瑰花变得更透亮，再不是暗淡沉重。花的体积变大，更肉欲及成胶状。渐渐地，玫瑰花的喻意力增强，变得愈来愈情色。

在中国，虽说女人与性属敏感题材，但也非全然，看看明代的言情话本和春宫画卷，也有赤裸裸直来直去的。

罗氏最新的玫瑰用色浅亮、像巧克力透明体。如星利所说，充满诱惑与眷恋。

罗发辉的玫瑰园现已移植到澳门东方基金，园内充满了含意各异的玫瑰。

马安娜
东方基金会澳门——中国代表处
展览协调员

A GARDEN OF ROSES

Rose are used as a way of expressings feelings at various occasions from birth until death.

Some cultures bestow magical powers on roses,and over the centuries they have become a form of adornment at many different places of worship.

The rose bud itself symbolizes new life.

Roses have even become part of our language-life is not a bed of roses.

Throughout history , the rose has been considered, by many, to be the Queen of all flowers because of all flowers because lf its beauty ,and whilst remaining a mystery it has had a variety of meanings attributed to it. Roses originated in Asia, where they existed from a prehistoric period and were only brought to Europe during the time of the Roman Empire.

In mythology, Cupid was given responsibility for hiding the romance of his mother, Venus, and he did it by sending roses to Harpocrates, God of Silence, asking him to keep his lips sealed so as to keep the secret.

Cleopatra had rose petals strewn in her path, and once received Mark Anthony in a bedroom knee-deep in rose petals.

The Romans covered their banqueting halls with carpets of rose petals and Nero had roses hung from the ceiling of his Golden palace for one of his most extravagant banquets on the palatino hill.

The Greek poet, Anacreon, sung that the balsam made from roses calmed any heart beating in anguish.

The Renaissance painter, Botticelli, evokes love and spirituality and projects the perfect female beauty in the ″Birth of Venus″, a work in which we often ignore the roses thrown into the wind.

In classical Japanese literature, the red rose is mentioned In the Tale of Genji. During the Edo period, the rose can be found in the haiku of the poets Basho and lssa.

I have always loved roses since they have a symbolic representation in many aspects of life, so I should not have been surprised to find them in Luo Fahui′s garden. Perhaps the surprise was to see the location of his workshop in the outskirts of cold, grey, Chengdu, a city which, at first site, seemed to me to be no place for the beauty and perfume of flowers.

But, contrary to how things can seem at first sight, Luo Fahui is not a painter of flowers, even if the theme of his paintings is roses. Whilst the theme and concept is unique, his roses are not-they are very different.

Luo Fahui was born in Chongqing in 1961, at the time when China′s greatest natural disasters were happening. He entered primary school in 1967, at the time when Mao Tse Tung launched the Red Guard Campaign.

Society, at that time, was in chaos, family life was far from traditional and it was whilst struggling with all these questions, that Luo discovered his love of drawing and he passed his days in the streets making sketches.

At that time many houses were painted white and the white was both an attraction and a temptation. ″I burned sticks into carbon and drew things on the walls-doodling, coaxing, destroying, Saw and heard various and fantastic cruel affairs during the Great Cultural Revolution.″

Talking about drawing in 1994, Luo said″Drawing is a sublimation of desires in my own space. The creation of artworks lets me experience the liberty of thinking, perfection of my innermost heart. Consequenlty, it will lead to that I seek for a carefree life, continue the life′s passing away in time.″

In 1978 he was admitted to the Sichuan Affiliate School of the institute of Fine Arts and three years later entered the institute of Fine Arts of that province (now the Academy of Fine Arts).

During the following three years, his friend and colleague, Feng Bin, describes him as being a colleague who studied hard, when life was not easy. We were rationed with only one meal with meat every week. But we studied even harder. Many times, we went to paint alongside the Yangtze in the morning and walked back the school for cheap lunch.

It was when he visited Bingjing for the first time in 1981,that he saw an exhibition by German Expressionists.
The following year, he exhibited for the first time at the Chinese National Museum Art, which bought his collection. Gao Minglu included him in his ″History of Chinese Contemporary Art 1985-89″. The extensive curriculum, presented at the back of this catalogue, leaves no doubt that his national and international recognition is far reaching.

In 1999 he abandoned landscapes in his paintings. It was at this that women and roses emerged. These images which were sometimes juxtaposed but always from a distance, as if the artist considers himself to be a spectator.

Chu Sang observed in his article entitled ″The Variation of Luo Fahui′s Art, that it is obvious that the artist had borrowed the original idea from Geogia O′Keeffe, carefully reformulating it according to his own understanding of post-modernist forms.

There is, in fact, a subversion of O′Keeffe′s simple ideas-once a cause of Freudian arguments-but still his roses prevail easily since they are no longer pure love(……)

As time passes Luo Fahui′s roses have been subject to various changes.

His first roses were enormous, grey, heavy and cold. Li Xianting speaks of these roses as being flowers distant from reality.

Luo Fahui′s most recent roses have lost their dark, heavy greyness, becoming more transparent and brighter. Their volume has increased and they have gained a more sensual and gelatinous feeling. Little by little the rose have greater expression and are increasingly sexual.

Women and sex are delicate subjects in china, but even in this question there is contradiction when we consider the love stores and erotic images of the Ming Dynasty.

The latest roses have become light, translucent acrylic bodies and in the words of Xinli, full of temptation and affection.

Luofahui′s rose garden is here, full of its various connotations, at the Casa Garden, to be visited for the garden that it is.

Anabela Maia De Pablos
Coordinator of Exhibitions
Macau-China Delegation·Orient Foundation.