前 言： 学者艺术家与后文人画的实践 纵观新中国六十年美术，中国美术既不缺乏技艺高超追求形式美感的艺术家，也不缺乏能紧跟形势抓住题材的艺术家。而少见的是学养深厚并有自己独立思想的艺术家。这种现象在中国绘画历史上周而复始，明代董其昌倡导文人画，自有其历史的合理性。然而其是否具有当代性呢？ 而在西方，现当代涌现出一大批耳熟能详的“学者”型艺术家，例如康定斯基，博伊斯等，他们既是大学教授，有丰富的人文知识，自身又是艺术实践者。他们把其独到的艺术理想付诸创作，在观念、思想上开一代先河，并成功地在理论上进行了总结，从而启示后人。他们的成就是有目共睹的。然而在当代的中国，其经验是否具有普适性呢？ 我以为，以当前中西方艺术的现状来看，在当下真正有学术价值的艺术家，恰应该是既具有深厚中学功底，而又能化合中西，善于学术追索和理论总结的“学者艺术家”，亦可称之为“后文人画”的艺术家。 近代中国画坛上，“学者艺术家”不乏其例，如黄宾虹前六十年潜心研究中国美术历史和理论，编撰了大量书籍，认真揣摩学习中国传统艺术，在其人生的后三十年，则厚积薄发，专心绘画创作，将理论与实践融会贯通，浑然一体，而终成一代宗师。 从谭天这次展览的作品中，亦可以清晰地看到他把自身的艺术实践和艺术理论追求相结合的努力。谭天早年于中央美术学院攻读中国美术史，又一直在大学从事美术理论教学，并撰写了近两百万字的理论文章。可以说，在长期的美术研究中，他比较透彻地明晰了中国传统绘画之优长，进而自然地致力于寻求中国绘画新的生发之关节。 他先是用油画材料，创造性地摹写中国古代的山水画名作，用色彩的观念重新观察和转换传统山水画的水墨世界。接着他将中国山水画家观察自然的观念，将“平远、深远、高远”“三远”的表现手法，运用到油画风景写生之中，创作了一批心象、意象和景象相互交融的作品。 例如他画荷花，已突破前人折枝荷花的局限，而将荷花当作山水，把万亩荷塘当层峦叠嶂来画，故而有一种御风飞翔、凌空俯瞰的视角。他的荷花作品，画面比传统更开阔更壮观，可远观气势，近品笔墨，随意赋彩，有形有色。将初夏深秋之景，艳丽浑然之境，欢欣苍茫之情，自在随意之态一一呈现于画布之上。 他的“油画山水”作品系列，在中国绘画传统的“三远”基础上，又提出“五远说”，加进了“宏远”与“微远”两个概念。古之“三远”说，是古代画家根据他们观察自然总结出来的经验，受其观察位置的局限。至今日，人类航天技术的飞跃发展，人类观察地球自然的位置起了革命性的变化。山还是那座山，但变成了一个点，水还是那条水，则变成了一条线，既使采取写实的手法，山水画也自动地趋向抽象绘画。这种写实抽象的方法，谭天称其为“宏远”。“微远”顾名思义，则是微观地考察事物的结果。自从人类发明了电子显微镜，人类观察自然的视野达到了原子结构的水平。在显微镜之下，人类身体的各种结构和液体，呈现出山川河流的景象，谭天将这种自然景象称之为“微远”。 令人叹为观止的是，在某一个相当的级别上，“宏远”和“微远”的景观竟惊人的相似！故而谭天创造性将宏观和微观的世界有机地结合，表现在同一个画面之中，使中国山水画景观的疆域进一步得到拓展。通过“宏远”与“微远”的融合，谭天将中国古代哲学中的“天人合一”的思想，用一种新的视觉形象呈现出来，赋予了新的时代意义。其作品的价值随着时间的推移将会更进一步显现。 自觉地紧随历史的发展，充分利用现代科学技术的知识，成为当代“学者艺术家”的必然选择。艺术家随着历史的进步拓展自己的视野，开拓绘画的题材，虽然不是每一个人都可以做得到，然而更重要的是通过绘画表现艺术家个人对世界的看法，而不仅仅是表现客观现实。 通过对“宏远”和“微远”的阅读、研究、陈述和表现，谭天进一步深化自己的艺术哲学观念，在其主持的“软现实主义”哲学研究中又提出“缠绕”的理念。世界现象除了可用“对立统一”、“多元”、“熵”、“解构”、“破碎”等哲学概念来解读之外，还可以用“缠绕”的概念来解读。阴阳、男女、贫富、时间空间、唯物唯心、理性感性、帝王百姓、资本主义社会主义等等都处于一种“缠绕”的状态之中。他这批绘画中的“缠绕”系列，就是这种理念的感性显现。 本文前面追问董其昌倡导“文人画”的理念，是否具有当代性。笔者认为格守旧的“文人画”理念当然过时，但经过扬弃，结合当代有关“学者艺术家”的概念，结合中国的文化艺术传统，顺应当代中国文艺复兴的态势，提出“后文人画”的概念或许恰逢其时。 谭天的实践，或可作为“后文人画”的又一个案例。 中国美术馆馆长中国美术家协会副主席范迪安 Scholar Artist and Post Literati Painting Practice Take a throughout view on six decades of New China Art history, there is neither lack of skilled artists pursuing the form of beauty, nor lack of artists closely following the situation and grasping the time’s theme. However, artist with deep culture and his own independent mind are rare. This phenomenon cycled in the history of Chinese painting. When Dong Qichang of Ming Dynasty advocated “Literati Painting”, he has his own historical reason, but if “Literati Painting” still has a contemporary rationality? In the West, we are familiar with many scholar artists emerged contemporarily, such as Kandinsky, Boise, etc. They are university professors with rich cultural knowledge, and they themselves are artistic practitioners as well. They carried out their own unique artistic ideal in creation, open a generation in art concepts and ideas, and they even summarized them into art theory to inspire others. Their achievements are obvious to all. However, whether their experiences are universality in contemporary China? In my opinion, referring to the current status of art in the west and China, the artist of academic value now should just be the scholar artist with a solid foundation on traditional Chinese culture, and could compound East and West on academic recourse and theoretical summary. We could also named them “Post Literati Painting" artists. In modern Chinese painting, there are many examples of scholars artists, such as Huang Binhong, who spend his previous six decades of painstaking research on Chinese art history and theory, and compiled a large number of books, trying to figure out the outline of traditional Chinese art. In the later thirty years of his life, he concentrated on his own painting, seamlessly melting the theory and practice together, and eventually became a great master. In Tan Tian’s works of this exhibition, we could also clearly see his efforts of combining art practice and art theory together. Tan Tian studied Chinese Art History at the Central Academy of Fine Arts earlier, and has been involved in art theory education in university, and he has written nearly two million words of theoretical articles. It can be said that in the long-term art studies, he has a more thorough clarity of the virtue of traditional Chinese painting, thus he naturally committed to finding new developing points of Chinese painting. He firstly used oil painting materials, creatively depicted the landscape of ancient Chinese masterpieces, re-observing and transforming the world of traditional ink landscape paintings with the western color concept of oil painting. Then, he adopted the “Three-Depth” concept of Chinese landscape painters to observe nature, namely “Flat-Far, Deep-Far, and High-Far”, into his own landscapes paintings and created a number of works intertwined imagery, imago and images together. For example, when he painted lotus, he has exceeded the limitations of their predecessors in painting lotus broken branches, for he regarded the lotus as Shan Shui, and painted the vast lotus pond into endlessly rising peaks. Thus, he has a volley overlooking perspective from the sky like Norikaze fly. His lotus paintings have a more open and magnificent screen than the traditional pictures. We could appreciate the momentum in distance and savour the touches in details, following the randomly assigned color, and taste the lotus gestures and colors. Presented on the canvas are scenery of early summer or late autumn, gorgeous and vigorous territory, joyful and indistinct inner condition, and the state of freedom and comfort. In his “Oil Painting Shan Shui” works series, he brought forward the new “Five-Depth” theory on the basis of “Three-Depth” concept of Chinese landscape painters to observe nature, and added the two concepts of “Macro-Far” and “Micro-Far”. The traditional “Three-Depth” concept was summed up by the ancient Chinese artists on their experience of observing nature, and limited by its observation positions. Today, with the rapid development of space technology, the position of human beings to observe the earth and nature had a revolutionary change. Mountains and rivers changed into points and lines, even if you take the realistic way to paint, your painting is also automatically tend to abstract painting. This method of “Realist Abstraction”, was named by Tan Tian as “Macro-Far”. When referring to “Micro-far”, as the name suggests, is the results of micro-examination of things. Since mankind invented the electron microscope, the vision of the human’s observation of nature has reached the level to see atomic structure. Under a microscope, the human body’s structures and fluids, show a picture of mountains and rivers, and Tan Tian named such natural phenomena as "Micro-Far." Amazingly, at a considerable level, the scenery of “Macro-Far” and “Micro-Far” is surprisingly similar! That’s why Tan Tian creatively integrated the world of “Macro-Far” and “Micro-Far” together, and painted them into a same screen, thus the boundaries of Chinese landscape painting has been further expanded. Through the integration of “Macro-Far” and “Micro-Far”, Tan Tian expressed the ancient Chinese philosophy of “Heaven and Man” with a new visual identity, and he gave it a new meaning of the time. Over time, the value of Tan Tian’s works will be further revealed. Consciously follow the historical development, and fully utilizes the modern science and technology knowledge, becoming the inevitable choice of a contemporary scholars artist. With the progress of the history, the artists should expand their horizons, and open up the subject of painting, although it is not everyone could do, but more importantly, the painting should be the performance of artists’ individual view of the world, rather than just the performance of objective reality. Through the reading, research, presentation and performance of “Macro-Far” and “Micro-Far”, Tan Tian further deepen his artistic philosophy. In his chair of “soften- realism” philosophy study, he has put forward the “Twine” concept. When defining the available world phenomenon, in addition to “the unity of opposites”, “multiple”, “entropy”, “deconstruction”, “broken” and other philosophical concepts, we could also use the “Twine” concept. Yin and Yang, male and female, rich and poor, time and space, materialism and idealism, rational and perceptual, emperors and people, capitalism and socialism, etc., all are in a “Twine” state. His paintings of “Twine” series, are the emotional show of this concept. Formerly we have asked whether Dong Qichang’s “Literati Painting” concept is also contemporary. In my opinion, the old-fashioned grid of “literati painting” concept, of course is out of date, but after develops its useful elements and discards its shortcomings, then combines the contemporary “Scholars Artist” concept, and absorbs China's cultural and artistic traditions to adapt to the situation of contemporary Chinese Renaissance, perhaps it is just the right time to put up forward the “Post Literati Painting” concept. Tan Tian’s practice, may could be used as another case of “Post Literati Painting”. By Fan Di’an 谭天的画 前些年看谭天的画，觉得非常的“美术史”，搞美术史的画画，总离不开美术史。谭天早先是学国画的，还是科班出身，后来做美术编辑，转向美术史研究，出版了《中国美术史百题》，颇有影响。到广州美院后，一边负责学报的工作，一边做美术史，画画纯粹是业余。第一次看他的画，觉得很惊奇，一是他画了那么多的画，又要做学问，又要画画，时间是怎么安排的？二是国画出身的他怎么画起了油画，还那么专业，个中有什么玄机？ 最近看他的画，又有很大变化，美术史消退了，画得更专业了。说他的画像美术史，就是说他原先的画如同油画山水。他长期研究中国美术史，对山水画的章法和图式了熟于心，捡起画笔的时候很自然地把山水画挪用到他的油画。很多油画家也画油画山水，大多是用油画来仿制国画山水的效果。谭天有些反其道而用之，他不追求国画的效果，只是参照了山水的图式，色彩高调，笔触密集，对比强烈，还有几分笨拙，很有一番趣味。这是一种反差，图式很熟，而对油画的技法和材料则不太熟，画出来就有这种特殊的效果。所谓文人画就有这个意思，格调高古，画画则有些业余。 近来的作品有很大不同，那种图式化的大山大水不见了，转而雅致清新的小品。就创作来说，这是一种风格的变化，促成风格变化的原因有很多，最重要的可能还是语言的问题。系列作品《荷•和》反映出谭天在语言上的自由表达，这种自由在以前是没有的。语言的掌控体现在两个方面，一个是克服前在图式的制约，摆脱水墨山水的影响。当然，摆脱不是抛弃，而是在进入的过程中逐渐获得自己的自由，而与前在图式渐行渐远。其中的关键就是材料和技术的熟练，这个熟练不是学习油画的过程，而是寻找自我的过程。一般而言，技巧越熟练，越可能失去自我。 谭天不是这样，技巧的熟练反而使对象融入自我。“荷”是他表现的对象，“和”则是他与对象的统一。他的荷花是有象征性的，它是自然的居所，也是精神的居所，在都市的喧嚣，繁忙的事务和艰涩的理论的包围下，是他内心向往的去所。他的荷花画得很特别，他没有画出污泥而不染的娇艳，也没有画感叹人生的残荷，而是画一个整体的环境，宽阔，辽远，浩无边际，它来自于写生，却又把客观的景象理想化，自我被融化在对象之中。在这样的表现中，技法为什么重要，就在于摆脱羁绊的自由与表达的自由融为一体，笔触与线条的交织，意象与形象的组合，灵动的构图与温润的颜色，反映的不只是对象，而是他的心境。 谭天追寻的自由很令人神往，为名利所累，为命运哀伤的人，很难进入这个境界。下一次再看谭天的画，可能又有新的变化，那只怕会是由熟到生，返朴归真，一番新的天地。 易英 On Tan Tian’s Oil Paintings A few years ago, when I was reading Tan Tian’s oil paintings,I felt them very "Art Historical", for when the people engaged in art history try to paint, they are totally inseparable from art history. Tan Tian majored in traditional Chinese painting when he was in university. Later he acted as an art editor, and turned to art history studies. He has published an influencial book named “100 Questions for Chinese Art History Study”.When he went to Guangzhou Academy of Fine Arts, he is responsible for the editing of Art Journal and he is engaged in art history study at the same time. To him, the painting is purely amateur. When I first saw his paintings, I was very surprised on the following two points: The first is that he painted so many paintings. I wonder how could he arrange his time in painting and art history research at the same time? The second is how could a painter majored in traditional Chinese painting to paint oil paintings professionally enough? What is the clue in his miracle? Recently when I try to appreciate his paintings, I noticed great changes again, for the influence of art history is subsided, and more professional techniques could be seen. When I said that his paintings are "Art Historical", what I referring is his former paintings are like Oil Paintings of Chinese Shanshui. He has studied Chinese art history for a long time, so he is very familiar with the protocols and schema of Chinese Shan Shui paintings, which could explain why he naturally picked up Chinese Shan Shui paintings elements and diverted them into his own oil paintings. Many other oil painters also paint Oil Painting Shan Shui, but mostly what they do is to imitate the effect of Chinese Shan Shui with oil painting techniques. However, Tan Tian paint in the opposite way. He did not pursue the effect of traditional Chinese painting, but refered to the Chinese Shan Shui patterns. So in his paintings we could see high color tones, concentrated brush touches, and intensive contrast, which seems a bit maladroit, and has a fairly unique taste. This is a contrast of him: he is very familiar with the schema, while not very familiar with the oil painting materials and techniques, so his paintings have this kind of particular effect. The so-called literati painting has the similar meaning, that is, painting with profound ancient style and flavour, while with somewhat amateur techniques. Tan Tian’s recent works are quite different from his former works, for the kind of schematic great mountains and rivers disappeared, and he is in favor of elegant and refreshing sketch. To him, this is a change in style. There are many reasons leading to this change, but the most important reason is probably the change of his painting languages. His “Lotus•Harmony” series reflect Tan Tian’s freedom of expression in oil painting languages. I haven’t seen this kind of freedom in his paintings before. Control of painting language is reflected in two aspects, one is to overcome constraints of the former schematics, and break away from the impact of Chinese Ink Shan Shui. Of course, breaking away do not means to abandon, but it means to get his own freedom in the process of gradually entering into the tradition, and to be farther and farther from the former schematics. The key is to be more and more familiar on materials and techniques, and this kind of familiar is not the process of learning oil painting, but the process of finding oneself. In general, the more familiar a painter is, the more possible he lost himself. This is not true with Tan Tian, to him, the familiar of techniques on the contrary help him to melt the object into himself. “Lotus” is the object he displays, and “Harmony”means the unity of his objects and him. His lotus is symbolic, which is the natural home as well as the accommodation of spirit. Though surrounded by the city's hustle and bustle, busy editing affairs and incomprehensible theory, it is the real longing place of his inner heart. His lotus paintings are very special, for he did not paint the delicate and charming lotus blossom emerged unstained from the filth, nor did he paint the withered lotus representing the sigh of life. What he paint is an overall environmental, spacious, distant and boundless, which comes from life, while idealized the objective nature, and melted the painter into his painting object. In this kind of performance, the importance of the technique lies in the blending of freedom on escaping and expressing, the intertwined of brush strokes and lines, the combination of imago and images, the facial composition with warm and tender colors. What they reflects are not only the object , but the state of the painter's own mind. The freedom Tan Tian's pursuing is very enchanting. People being tired with fame and fortune, or being sad for their fate are difficult to enter this spiritual realm. Maybe next time when I appreciate Tan Tian’s works again, I will find more new changes. I am afraid that he will transfer from familiar back to maladroit, and into a whole new world. By Yi Ying 艺术，请让我们自在 ——与谭天谈天 人，性，欲念，生命之竞争繁衍；天，空，自然，宇宙之浩渺壮观，是谭天给我们提供的一个“美丽”新世界。 让我们感受一下吧！感受一下在地球这个天体上，人的生命曾经是多么的微小，然而却生生不息发展到蓬蓬勃勃的强大。看来，人类生命的顽强与生俱来，因为物种的基因早都决定了一切。然而我还是非常讶异，谭天为什么带给我们这样一个“美丽”新世界？ 在二十一世纪的开头，谭天曾经带给我们的是他的另一个思想的版本——以色彩之法重写中国山水画。当我第一眼看到这些画之后，它们便进驻了我的思想阵地，并且，成为我思想的一个问题。可是时至今日，这个问题还是没有能想清楚。可见，我遇到了难题，能让我想不清楚的问题一般还不算多。 当然，想轻易地攻击和否定谭天的这种画也是极其容易的，但是可能有些鲁莽。尤其在互联网的时代，是一个比文化大革命的大鸣、大放、大字报、大辩论自由百倍的时代，什么话都能说，什么话也能听。所以，如果心不要那么急的话，就可以好好想一想，换一个方式再现一种传统的绘画样式，不好吗？梵高的画面上的笔触，就是中国画中的点、线、皴、擦的翻版，只是他采用了平面的呈现，没有深远、高远。这是外国人的眼光和外国人的趣味使然。难道中国人不能以当代人的趣味、眼光，用油彩和平头笔，对中国古代人的画做出新的阐释吗？ 然而，“一波未平，一波又起”。谭天兄连环出手，没等我把旧的问题想明白，又把新的内容重叠到一起。一时间，我的思想短路，找不到恰当的语言来说。尤其是最近以来，自己的思想忽然有了一些变化，看眼前的真实世界没了感觉，只见人来人往、车水马龙，像看无声电影一般。“问君何能尔”？难道是我有了“心远地自偏”，“而无车马喧”的境界？ 谭天的画把我摇醒。因为他长年研究美术史论的各种问题，又是研究新中国美术问题的专家。可以说，他在历史中穿梭，我们则在现实中鬼混。因此，听说他画了新画了，听说他要办展了，还听说他快要隐退了，好奇心就又来了。而且，这位长年给人做“嫁衣”的兄长，居然让我给他做一件“退休”服出展。你说，是恭敬呢？还是从命？但是，无论恭敬还是从命，都是班门弄斧，一定要小心谨慎，点到点不到都要止，这一点一定要清醒。因为中国的好多事情坏都坏在人极容易胡说八道，也就是说，总有人忽悠你：你好像很胖呐？此人必喘。 所以，对谭天的画，我的主要期待是看，而且是带着问题去看。看看在谭天兄的眼里和手下，中国山水画如何变得色彩斑斓，好让我们在千篇一律的图像和千年不变的老旧中看到一种现代人的眼神，一种现代人的旷达和洒脱，而不要把旷达和洒脱都留给范曾为李白、苏东坡饮酒的造像。否则，今人若要旷达，就必须到白云山顶，作山巅笑傲状；若要洒脱，必须到华南植物园择地，作月下独酌状。 这是我对谭天油彩山水画的解读，而且认为他清醒、坦白、大胆。居然敢不用毛笔在梅兰竹菊中讨生活。因为依他的才能，用毛笔画范宽、写石涛、泼大千并不十分难，要糊弄那些小有风雅的小老板绰绰有余。而且，这也不算是小事情，多少名人就是这样打造出来的啊！可惜，大胆谭天居然又画了一些更加奇奇怪怪的东西，又到新的一个领域走了一遭。忽然想起，曾经参观毛泽东在湖南老家一个山洞里的住所。据介绍，毛不喜欢走回头路，所以建房时就在房屋前后专修了一个两边联通的走廊，以便他往返环行。谭天也是湖南人，所以画完了油彩山水，又去仰观天体，俯察细胞，不走回头路。不过，我想，能走回头路也没有什么不好。 面对谭天的绘画，我这样浮想——我们的心情不一定要有抱残守缺的执着，不一定总是怀着已经固化的价值取向去衡量和倡导当代的艺术价值和审美趣味，一个自由自在的阳光灿烂或许更符合我们今天的生存需要。 二十世纪的世界曾是一种狂热——喧嚣、动荡、革命、颠覆、误导，风起云涌，大起大落，二十一世纪的世界则可能需要一点理性。好在金融海啸让目前一切不实之像的蒸蒸日上和轰轰烈烈暂时收敛，使我们有了一个风平浪静的间隙。 这就是我们观看谭天绘画的历史背景。这也是一个伟大的历史时代——玩的就是心跳。遥想秦皇汉武，唐宗宋祖，不过风骚如此。 以上所言，算是与谭兄谈天。扯的远了一点，说的委婉了一点，表面上散淡了一点，论画少了一点，基本上没有什么意义。如若想有些意义，则主要是让那些“在一个充满焦虑的时代我们发现了平面维度上的时光隧道交织着人性与情欲的梦魇和神圣的不可分辨的负重”之类的鬼话到其他地方去害人吧。 王 见 2009年11月9日 |
