陷景—秦蓁的油画

        油画从另外一个地方传到中国时，中国人使用的颜料是不带油性的，用水调，至多加一点胶，所以很干净，植物颜料和矿物颜料通过研磨然后画在纸上或绢上百年不变色，不脱落。在清代时，应该是郎世宁在那个时候把油画这种方法和技术带到宫里，当时被称为油彩画。因为郎世宁画得很认真，除了西画中光影问题遭到明显反对外，油画鲜艳的颜色感觉和画在画布或硬板子上的质感也让人们喜欢。油画除去了光影，所以成了平涂，现在看那些画也就是用油画画的中国画而已。再后来真正的带光影的油画被一些早期出国留学回来的画家在中国使用以后，遭到的境遇是不同的。油画特有的心理感受，明暗关系，笔触，肌理，质感等等，在视觉上挑衅者当时的欣赏者，而且欣赏者也很少，油画成为了那个时代多少有点可怕的东西，那些先驱的油画家们真是很苦闷，没有出路。直到今天有些人在阅读油画时还会被油画本体语言的技术问题而障碍着。
        当然，不管怎样油画在今天已经成为人们不得不关注的视觉习惯，无论欣赏者或是收藏家出于何种目的。

        无意当中从眼前掠过秦蓁的油画，她起先轻扫我眼球的恰恰是那些从心底涌出的清新、自然和生动。她的油画不象是画出来的，而恰是画出来的，用“化”出来更像。和秦蓁美丽可人的外表相比，她的那些画如果和人相对应的话反差真是太大了。秦蓁给人留下的印象是喜悦、谦虚、客气、彬彬有礼，是个懂事的女孩子，当她拿起笔画画，则完全变成了另外一个人，那些颜料在她手下全部变成了向外流淌的生命音符，高、低、飞、扬、肆意、不拘小节、一发不可收拾，她的画打动我。
        秦蓁学习油画是在南京解放军艺术学院，军艺出来的学生有个特点，一方面由于学校格守部队传统，所以他们都比较规范，也因为穿过军装，经过无数次队列的训练，身上自然带着军人的气质，严谨、服从、自律。另外一方面就是作为艺术家的他们对自由飞翔的渴望也更加强烈，这是一种反弹。不知秦蓁的这种画风是源自于她自身对艺术的理解和渴望，或是由于反弹，还是她的天性就是如此。
        画布是个空间，也是个战场，那些硝烟没有在心里滚过是不会在真的战场上震撼人心的。在画布的每个角落，都应该是惊心动魄的肉搏才会更精彩和深刻。战场不是舞台，战场是真的枪林弹雨，不能犹豫。画布也不是为了挂在墙壁才需要在上面涂抹颜色，那一定是心灵的呼唤直泻于画布的景象。
        所以，秦蓁执意描绘风景就有了充分的理由，那些风景是硝烟散尽的风景，是和平安宁的风景。即使她画了很多类似戏剧的人物和门神，你也可以从他们身上看到群山飞渡，暮云吻湖的风景意趣。画家笔下的人物这个时候已经从那些自身的形体中脱离出来，在自然中洗礼，沐浴和狂舞，直到满身色彩，心满意足回家，那些人是活的。

        现在我们单单来看秦蓁对待风景的态度，她自己曾说过，她天生热爱自然，喜欢旅游，在自然中可以体会到更多在大都市的喧嚣中被掩盖的东西，在自然中她很快乐。无形的那些风景成了她最好的朋友，她想把这些好朋友一个个记下来，画下来带回家，放在心里放在她的画布上，让它们永远存在。这是她对待风景的态度，也是她对待朋友的态度，风景是她的知己。
        《山形依旧》叙述的是她对自然的初恋，那些斑驳的笔触和书写时流淌的色迹，有些是被无机物质的溶解后留下的真实背景，瞬间挥发的松节油带走了部分油性，使得艺术家心性的剥离成为可能，这“可能”是秦蓁真正能够挥洒的客观条件，油彩再也不会太粘滞和刻板，只是轻轻的书写就完成了她对风景的拥抱和理解。
        《当风吹来》的笔触突然变厚重了，那些枝条暗合着原始生命力的勃发，色彩也有律动转为沉稳，尽管其中有一些塞尚、凡高的影子，一个看似清纯的女画家在那还有待成熟的艺术语言中，去理解和消化这两位大师的精神内涵是需要勇气的。就像让你的生命去承受轻还是承受重，她的选择是无意的，可以想见秦蓁内心深处的力度比我们看到的要重得多，也坚强的多。
      到了最近的系列作品《独语》，《山上寨》，《红军桥》，《天山田》等，她个人的真实面貌开始显现，风景的客观语言变成了想要超现实，或者说是比真实风景更加不真实的真实的风景，景象变为心象。她在描写那些山石，远景，树枝时，再也无法顾及那是否是真实的。在自然中每一个物都是真实的，太动人，也太美妙，不需你再逼真地把它画一遍，风景需要知情人去读，品，去重新抒发，这是对风景的自由博爱，这象是真谛，秦蓁正在这条路上走着。

         我要单提一下《风井》这张小画，画面中的一口古老的水井象我们想象的那样，年轮被钩子一样的东西反复垂钓，水是生命的源泉，特别在荒漠的山间，那口老井太有象征意味了，那深不可测的洞实际上是一种暗示。当我问秦蓁那口井在那里时，她说：“那是我画的一颗螺丝，我想把这个实际上被叫做螺母的东西放在自然景观中审视，让它在我的风景中”，“让它变得好玩”。阅读的真正含义在于解读，或者被误读，特别是被彻头彻尾的误读。此时我一下跌入陷阱，那个小画给我的震撼和启示是多重的。我再次回读秦蓁的那些画，我有了一种意味深长的感觉。
         漫步在意大利弗罗伦萨的街头，你会闻到满街飘着的面包香和文艺复兴时的那种油彩的香味，这是人们对艺术的珍爱和理想带来的美好想象。实际上在文艺复兴时期油画颜料并没有真正诞生，包括达.芬奇在内的艺术大师当时使用的颜料都是色粉和蛋清的调和物，那些颜料有色无味，本身并不能飘香，艺术家在寂静之中用它来悉心描绘那些惊世之作，我们所感受到的不是材料的气息，而是艺术的芳香……

 李山    2008年于意大利

When Oil painting spread from another place to China, Chinese using of pigment is without oily, adjusted with water, and a little glue, so very clean, plant pigments and mineral pigment through grinding and then are drew on paper or silk hundreds of years changeless, and don’t fall off. In Qing dynasty, Joseph Castiglione at his time maybe brought the oil painting and technology into the palace, and was called paint pictures. Because Joseph Castiglione draw very earnest, lighting problem was obvious against, bright-colored feeling and painted on canvas or hard board texture also let people like. Oil painting removed light and shadows, so become flat painting, now those pictures became just oil painting Chinese pictures. Then the real oil paintings with light and shadows were used in China by some early study abroad back painter, the situation is different. Oil painting peculiar mental feeling, light and shade relations, brushworks, texture, etc, on the vision provocation, but appreciator rarely, oil paintings become a terrible thing in the era, those pioneers felt very depressed, no way. Until today some people in reading canvas still can be obstructed by the painting technical problems in language.
Of course, no matter how oil painting in today has become the visual habit people concerning about, whether appreciators and collectors for any purpose or collectors.
Accidentally skimming over Qin Zhen's the oil paintings, at first is pure and fresh, nature and vivid from the heart. Her paintings like not be drawn out, and just are drawn out, with more like "change" out. And compared with Qin Zhen beautiful and graceful appearance, her paintings is a strong contrast. Qin Zhen’s impression is joy, humility, polite and courteous, a sensible girls, when picked up a pen paint she completely became another man, those pigments in her hands all become the outward flow of life notes, high and low, fly, raise, wanton, not stick to matters, irremediable, her painting touch me.
Qin Zhen learned painting in Nanjing PLA art institute, graduated from PLA art institute students have a characteristic, on the one hand, because strict and conservative troops tradition, so they all is more normative, also because had worn military uniform, passed through innumerable queue of training, on natural with soldiers temperament, rigorous, obedience and self-discipline. On the other hand, as an artist their desire to fly also more intense, this is a kind of rebound. Don't know this style Qin Zhen is derived from her own understanding and longing for art, or because rebound, or she nature is so.
Canvas is a space, also a battlefield, those without gunsmoke in my heart is not shocking in really battlefield. In every corner of the canvas, only soul-stirring melees will be more wonderful and profound. The battlefield is not stage, the battlefield is a true rain of bullets, can not hesitate. Canvas need to be painted not to hanging on the walls, that must be the spectacle that the call of soul straight flow on canvas.
So, Qin Zhen remorselessly painting landscapes have sufficient reason, the scenery is the scenery of gunsmoke over, the peace scenery. Even if she painted many similar drama characters and the door-gods, and you can see the mountains sweep over, clouds in twilight reflect in lake. The characters come out from its own this time, in nature baptized, bath and dance, until all body have colors, contented to go home, those who are alive.
Now we only see the Qin Zhen treating scenery attitude, she said, her inborn love nature, like to travel, in nature can realize more hidden things than in metropolitan uproar, in nature she is happy. Invisible those landscapes become her best friend, she want to write down these good friends, painting down to take home, put in heart and in her canvas, let them exist forever. This is her attitude of treating scenery, also friend, the scenery is her best friend.
"Mountain forms still" narrates her first love of nature, those mottled stroke and writing flowed color mark, some are real left background inorganic qualitative dissolved, instantly volatilization turpentine took part oily, artist mentality stripping becomes possible, this is "likely" the objective conditions Qin Zhen real can dispense, oil paint never too viscous and inflexible, just gently writing finished her hug and understanding for scenery.
“When the wind blows” brushworks suddenly become massy, those branches implies that the original life force break out, color also from rhythm to steady, although some of Cezanne, Van Gogh's shadow, a seemingly innocent female artist need courage to understand and digest the two master spiritual meaning in that still-ripening artistic language,. Like let your life to go to bear light or heavy, her choice was unintentional, can see Qin Zhen inner strength much heavier than we see, and stronger.
There has been a series of works "Alone speaks", "Mountain village", " Bridge the Red Army built ", " Heaven field" etc, her personal the true face started to come, scenery objective language became beyond real, or the true landscapes more unreal than real scenery, landscapes into mental imagery. She in describing rocks, the vision, branches, couldn't care whether it was true. In nature everything is true, it's moving, also too wonderful, don't need you then realistically draw it again, landscape, need the insider to read, tasted, go to express, this is the freedom of humanity, this like the true meaning, Qin Zhen is walking on this way.I want to single mention "Wind wells" of this small paintings, in the picture an old wells as we imagine, annual rings were fished by the same thing again and again, water is the source of life, especially in the desert mountains, the old well with strong symbolic, the deep hole is actually a hint. When I asked Qin Zhen where wells is , she said: "it is my painting a screws, I want to send the stuff actually called nut in natural landscape then to examine, let it in my scenery", "let it become fun". Reading the real meaning is interpretation, or be misreading, especially be arrant misreading. The moment I once falling into the trap, the small picture gives my shock and revelation. I read again Qin Zhen those paintings, I got a meaningful feeling.
Wandering in the street of Italian Fiorentina, you will smell abound waving bread incense and the oil paint taste in Renaissance, it is good imagination people to art treasure and ideal brings. Actually in Renaissance oil paints no real birth, including Da Vinci, master of art. Then used the pigments are the concoctions with toner and egg, those pigments non-ferrous and insipidity, itself can't give off sweet smell, artist in silence use it to depict devotedly those world-shocking works, what we perceive is not material breath, but artistic aromas...

Li Shan    2008 in Italy