都市和乡村“心息相通”的符号

2018-09-03邓平祥

世界知识画报·艺术视界 2018年7期

邓平祥

As Jia Shiquan wrote in the preface of his painting album， “one after another peaceful or noisy moments are frozen on my oil paintings. What I depict is not an usual scene， but symbols connecting the Nature and my soul.” The confession indicates the spiritual connotation of his recent two series of oil paintings. His paintings are based on realistic painting traditions. Realistic painting faced severe challenges in the early period of modernization movement， however， it achieved modern transformation via self conversion. In terms of painting content， Mr. Jia made great efforts to shape subjects in his realistic oil paintings.

贾世泉在他个人画集的自序中写道：“我的油画把一个个安宁或嘈杂的瞬间凝固在画布上……我描绘的风景不是一般的景物，那是在大自然中采撷的与自己心息相通的符号。”这一段表白确切地说出了他的近期油画作品两个系列的精神内涵，也正是这种属于精神法则的观念，使得画家的作品获得了某种当代性。

和大多数在上个世纪80年代艺术学院美术专业毕业的画家一样，贾世泉的油画是基于写实绘画传统的。写实绘画，在现代化运动展开前期曾经面临严重的挑战。有很多人断言写实绘画“过时了” “该下课了”等等，然而，在现代化艺术的进程中，写实绘画却并没有如人们所预言的那样，而是通过自身的转换实现了现代转型，并分化出了“新具象绘画”“超现实”“新写实”等流派。而综观世界和中国艺术大势，写实绘画似有回潮之势，中国近年涌现出来一批大腕级人物，多数是以写实和具象为表达语言的。可见，写实作为一种语言和形式手段是完全可以常画常新的。尤其应当指出的是，在后现代文化思潮中，“写实”在经历了现代化的洗礼后，可以说已经进入了一个新的时期，于是，作为反驳和纠正现代艺术偏颇和极端的后现代，就使“写实”和“具象”没有不和时宜的问题了。

对于贾世泉的写实油画语言在后现代语境中的技术问题，从作品的绘画内容看，他在造型表达上下了很大功夫。但是有一个问题应该指出，即在传统中和当代环境中，面对同样的写实性造型问题，在技术处理上并不一样：在传统中，写实的要务是客观（共性）和完善，而在当代写实的课题就是主观（个性）和简化。另处，当代性和当代主义的写实油画，在手段上完全可以借助科技手段“不择手段”地达到目的。另外在当代情境中，写实在表达上并不像传统那样被动地面对自然，他完全可以、可能面对所有视觉图像进行创造和再创造。从特定意义上说，当代性和当代主义的艺术是一种探索可能性的艺术。因此，贾世泉的油画，如果能在当代观念上再务一下虚，他将会有更大的天地。

Graduated from the Department of Fine Arts of Beijing Film Academy （BFA） in 1982， Jia Shiquan worked as a senior artist at Peoples Railway Newspaper from 1985 to 2016， then served as a director of the television show Starry Sky of Fine Arts of China Central Television since 1995， and later became a professor of BFA since 2013. Mr. Jia is a national first-class artist， member of Chinese Artists Association， member of Chinese Film Arts Society， and member of Beijing Artists Association.

His works， Wandering in the Cloud， and My Camouflage have been displayed at the 7th and 8th national fine arts exhibition in 1987 and 1992. My Footprint was selected into the 2nd Chinese sports arts exhibition in 1989. Three of his works， To Mother， Old Door and Root Hair have been exhibited respectively in Beijing oil painting exhibition from 1995 to 1997. His individual oil painting exhibitions have been held in 1992 and 2009.