《有距無(wú)離》

文/韓祺

晨陽(yáng)的作品，以距離擔(dān)禮貌，奉禮貌以距離。他以作品背景與主體畫(huà)面有距無(wú)離的相攜方式謙和的來(lái)駐守。他作品的背景與自身的背影如“人跡板橋霜”的層霜疊疊，撫慰了所有人的游子思鄉(xiāng)。

The sense ofdistance plays a subtle role in Chen Yang‘s works. It can be the structure of aerialperspective， as well as an incarnation of courtesy. The peculiar spacialinterrelation between the main subject and the background turns his paintingsinto a massive carrier of artistic conception and philosophical meanings. Throughthe brush and canvas Chen Yang comforts many of us who have been wandering in nostalgiaover the years.

有距無(wú)離，之于晨陽(yáng)自己：絕不僅僅是設(shè)置繪畫(huà)技法層面的障礙，如在奔跑時(shí)跨欄，也許，設(shè)置障礙是更好的關(guān)懷。當(dāng)然，設(shè)置因被詩(shī)意眷顧而斑駁的蒼茫背景，也絕不僅僅作為個(gè)人繪畫(huà)語(yǔ)言確立的儀式感的直觀化，盡管儀式和節(jié)日可以強(qiáng)化儀式過(guò)程和節(jié)日那刻的人生感。這種距而不離是晨陽(yáng)揣度自己和作品最穩(wěn)妥的斟酌。

By making the erratic sense of distance Chen Yang not only sets up technical obstacles in finishing the picture， but also brings about some humanistic care. And， of course， the vast and mottled background is not merely the visualized rituality of the personal painting language， although rituals and festivals can enlarge our life experience. The sense of distance isthe surest way of feeling himself and his artistic creation.

有距無(wú)離，之于作品本身：首先解救了油畫(huà)畫(huà)面背景生來(lái)即是被覆蓋的悲情，畫(huà)面背景不再面臨因覆蓋而被否定所需承受的失落。其次，晨陽(yáng)把背景從之于畫(huà)面的牽絆中騰挪出來(lái)，使得既可以春風(fēng)拂面般的輕盈存在，又可以擊掌慨嘆對(duì)畫(huà)面主體無(wú)處不在的支撐與印證，主體畫(huà)面每一層的生發(fā)綻放都來(lái)自背景的呈現(xiàn)，收獲層進(jìn)的生生不息！挽留繪畫(huà)過(guò)程中的過(guò)往，晨陽(yáng)禮貌而克制的體貼背景，這是一種冷靜而理智的關(guān)懷，把背景從先天用來(lái)被覆蓋的“實(shí)用”中解救出來(lái)，而呈現(xiàn)背景的“直覺(jué)”和“自覺(jué)”。使作品中背景和主體“長(zhǎng)幼有序”。再次，晨陽(yáng)對(duì)作品背景由“處理”轉(zhuǎn)為“無(wú)所為而為”，使作品中的背景不在有成為問(wèn)題和出現(xiàn)問(wèn)題的可能，這恰恰成就了一種恒久惦念。

You will find yourself standing somewhere within the distance. The antinomy of the space rescued the background from being covered completely， which avoided its sense of loss and alienation due to the negative coverage. Then， Chen Yang migrates the background from the constraint of the whole painting， endowing it with the relaxed existence and equal rights with the subject. Thus the vivid blossom of the subject comes from the collaboration and interaction with the background， which can generate the endless and harmonious rhythm. The emphasis of the background doesn’t despoil the importance of the subject. It is such a calmand rational concernandrestraint. On one hand， the background has been rescued from its “practical” use of covering， on the other， the balance of the picture reflects the “intuition”， “consciousness” and the “seniority” of the background. Again， the process of painting the background here is “doing for nothing” in Chen Yang’s point of view. The background is as alive as the subject. It has lost all the possibilities of being the target of public criticism， and has become an independent creation.

有距無(wú)離，之于觀者：第一層，給了我們超然于現(xiàn)實(shí)人生困境的途徑。他把現(xiàn)實(shí)中我們的有限，具體，逼真撞開(kāi)來(lái)，指向“境生于象外”。他的著眼并非具體而有限的“象”，而是妙境，是對(duì)時(shí)間和空間有限之“象”的突圍。第二層，晨陽(yáng)背景的呈現(xiàn)方式給了我們?cè)谟彤?huà)作品面前，冥思我國(guó)傳統(tǒng)美學(xué)“妙境”的場(chǎng)地。謝赫云：“若拘以體物，則未見(jiàn)精粹；若取之象外，方厭膏腴，可謂微妙也。”顧愷之云：“四體妍媸無(wú)關(guān)乎妙處”。妙，針對(duì)于整個(gè)人生的撫慰。非具體，非有限，非逼真的背景可以與我們觀者攜手抵達(dá)無(wú)限而永恒的宇宙本體。

As to the viewer， first of all， the artist shows us a manner of detaching ourselves from the plight of the reality. He deconstructed all the finitude， concreteness and verisimilitude in our actual world， pointing to the idea of “artistic conception appears outside the image”. The focus he takes is not on the specific and limited “image”， but on the artistic wonderland and the breakthrough of the finite time and space. Secondly， by painting the background Chen Yang places a stage in front of us， where we can have some meditation on Chinese traditional aesthetics. Xie He， the very first painting theorist in Chinese history， once said， “The vividness of a painting has nothing to do with the beauty and ugliness of the body of the subject.” The excellence or the vividness is non-specific， non-limited and non-realistic that can console our life， take us to the infinite and eternal universe.

有距無(wú)離，之于我：首先是一種感召。與其說(shuō)我著迷于作品背景，不如說(shuō)我著迷作品背景的呈現(xiàn)方式，與其說(shuō)我著迷作品背景的呈現(xiàn)方式，不如說(shuō)我著迷這種呈現(xiàn)方式懷有的中國(guó)美學(xué)范疇的“妙不可言”。晨陽(yáng)從不鼓勵(lì)創(chuàng)作中偶然的意外之喜，因?yàn)槎Y貌和禮儀是在克制的前提下對(duì)一切保有適度的距離才可有所得。其次，是一種欣喜。我欣喜于他對(duì)自己作品的所有過(guò)往的看重，在他的作品面前，我清晰而堅(jiān)定的更加愿意對(duì)自己負(fù)責(zé)，對(duì)自己的此刻認(rèn)真，因?yàn)槲业拿總€(gè)“此刻”之后，就會(huì)成為是自己的過(guò)去，就成為自己的背景，而這背景是永遠(yuǎn)關(guān)照我的前景，是不會(huì)被覆蓋的，大約這是一種不離不棄的互相負(fù)責(zé)吧。

To me， the sense of distance in Chen Yang’s works is like a calling or an inspiration.I am fascinated not so much with the background itself as with the way it presents； andI am fascinated not so much with the way the background presents as with the “indescribable subtleness” in Chinese aesthetics the painting conveys. Chen Yang never encourages the occasional surprise in the process of creation because politeness and manners can be reached only under the premise of restraint and maintaining appropriate distance. Further more， I found some joy in his sense of distance. I rejoice over his attention to all the previous value of his own works. Standing in front of his works， I have a clear and firm willing to be responsible for myself， for every moment I am spending， since every present moment happening right now will become a part of my past， and will become the background of the picture of my life. And the background will always be attached to the foreground and will never be covered， reaching a steadfast mutualism.

有距無(wú)離，距而不離，一尺為度，咫尺天涯。

“Close”or“far”has lost its meaning of demarcation in somewhere within the distance. Believeit or not， it’s ingenious beyond description.

Translator：Ai Xin

丙申 四月二十二