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《青青故國山》二千零五年李虛白山水畫冊序言

(2009-07-19 04:37:08)
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《青青故國山》2005 年李虛白山水畫冊序言

 

作者:Michael Sullivan

翻譯:張英嫘

  

 

     十分欣喜能有機會就李虛白近期的作品寫如下的文字,長期以來我就倍加贊賞其作品。這位藝術家的不同凡響之處,在於其默默地尋求創造自己的藝術境界:既受北宋藝術大師們豐碑式的山水畫所影響,又受加拿大的山脈所激發而成的意境。如果我們設想,郭熙當初發現了這樣的巖石山脈,他或許也會畫成這樣!通過這個中國藝術家的眼睛,我們感觸到了在巖石,林木,和流泉的形式掩隱下的自然界生生不息的永恒真理。

 

     個別批評家曾質疑李虛白的拒絕加入現代藝術匯雜的潮流,說他只是在重復自己。其實,這是對中國繪畫的屬性,甚至對藝術本身的誤解。如果藝術家之風格變化是來自真實的奔湧的藝術創作靈感,那是好事。但日下無論東方還是西方,很多的藝術家不是本身在風格上有轉變的內在需要,而是市場和批評家促使,不得不放棄自我,追求名利而隨波逐流。風格之改變是迫於壓力,與藝術本身毫無幹系。當然,歷史上許多藝術家由於難於言表的原因,屈服於外在壓力,而改變自己的風格,並非罕見。

 

     顯然,李虛白不屬於此類藝術家之例。他從古典傳統繪畫的熏陶中,演變出自己現代的抒情語言,而且對他來說,完全是出於自然,到了爐火純青的地步。他的作品不是奔放震撼式的,而是細膩,富有詩意的。當我們駐足在他的畫前,凝視他的山水景物,我們能夠深深地感到其詩情畫意:我們仿佛聽到流瀉的泉響,輕柔飄灑的雨聲,甚至,初雪上的足音。我們知道,他的山水並非荒蕪的。如果我們稍加留意,不難發現,屋舍樓臺隱現的山坳處,似乎是畫家為自己所創造的世外桃源。如果你懂中文,你會通過畫面上的詩詞,由畫家李虛白自己撰寫,並用他那獨特典雅的書法抄於畫面的,來了解詩人與畫家的情懷。在一幅作品中,三件藝術如此完美地交織在一起,詩情畫意互為呼應,正是傳統所謂的三絕:詩書畫熔於一爐,從而達到了繪畫的最高境界。面對李虛白這樣的藝術,我們不需要就其有什麽不同和新異之處,提問任何問題,而是去享受藝術本身的真和美。就如早期山水詩人威廉.華茲華斯(1770 1850,英國詩人)的詩歌一樣。在現今這艱辛的時代,我們應感謝李虛白給了我們這樣的機會,通過他自己的作品,讓我們去領略生活中那最純真的樂趣。

 

麥可‧蘇立文Michael Sullivan 系牛津大學教授,國際知名東方藝術評論家


附原文:

Preface
MIchael Sullivan

 

It is a great pleasure to write these words in appreciation of the recent work of Li Xubai, whose art I have long admired.  What is remarkable about him is the quiet way in which he pursues his vision, inspired both by the monumental landscape of the Northern Song masters and by the mountains of Canada.  If we could imagine Guo Xi discovering the Rockies, he might have painted them like this!  For it has taken the vision of a Chinese artist to see the reality that lies behind the forms of the rocks, trees and waterfalls, to bring us in touch with the eternal.
 
One or two critics have questioned Li Xubai's refusal to give in to the complex trends of contemporary art, saying that he repeats himself. But this is to misunderstand the nature of Chinese painting, and even of art itself. Today, pressure on artists -- though not, for some reason, on composers or writers -- to change their style is unrelenting. This is not in response to any urge in the artist, but rather to the market, and the critics who demand it. Many artists today -- Eastern and Western --. surrender to, or exploit, this tendency. If it comes from a genuinely restless creative imagination, well and good, but too often it is a reaction to pressures that have nothing to do with art.
 
It is obvious that Li Xubai is not one of these artists. He has evolved from within the classical tradition a modern language of expression_r_r that is entirely natural to him. It is not strident or emphatic, but subtle and poetic. As we contemplate his landscapes we come to feel his lyrical vision, we begin to hear the hushed waterfall, the soft fall of the rain, and -- almost --the sound of footfalls on the fresh snow. We know his landscapes are inhabited, for if we look carefully we discover houses here and here hidden in the folds of the hills, evoking the private world that the artist seems to have created for himself. Those who can read Chinese will find these ideas and feelings echoed in the poems which Li Xubai himself composes and writes in his exquisite hand, thus bringing together in a single work the three perfect things, san jue -- painting, poetry and calligraphy. Confronted with an art such as Li Xubai's, we should not ask questions about difference or novelty. It is simply itself, speaking in a language as beautiful and true as the early landscape poetry of William Wordsworth. In these strenuous times, we should thank Li Xubai for giving us the opportunity to feel, as we contemplate his landscapes, pleasure of the purest kind.

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