内容提要
梁光泽的画,毋论大小,最抓人眼球的,必然是其色彩。
而我们要读懂梁光泽的情绪、感情以及技巧,目光要流连的,也正恰在他画幅所凝固的流荡的色彩那里。
充满着自由笔法的梁光泽有着他独特的不羁,与所谓学院派的画家不同,梁光泽从不肯定自己属于什么流派,虽然在他的周围有若干志同道合展开
梁光泽的画,毋论大小,最抓人眼球的,必然是其色彩。
而我们要读懂梁光泽的情绪、感情以及技巧,目光要流连的,也正恰在他画幅所凝固的流荡的色彩那里。
充满着自由笔法的梁光泽有着他独特的不羁,与所谓学院派的画家不同,梁光泽从不肯定自己属于什么流派,虽然在他的周围有若干志同道合的油画家,组成了广州一个叫做“麓湖派”的民间画家群落,但这个画家群体除了艺术经历相似和对艺术同样疯狂之外,在画风上并不尽然相同。
诚然,这群曾经是青年的画家都在文革十年那样一个封闭年代中,如饥似渴地从印象派的片鳞吉羽中吸收过艺术的营养,但同时,以画领袖巨像来谋生,几乎也是他们演绎自我的唯一的艺术之路。
中国的文化列车是开放改革之后才回到了正常的历史之轨的。这群自称彻底叛逆的民间艺术家从7、80年代回归传统艺术教育那一刻起,就彻底摈弃了学院派的艺术沿革和技法框框,他们不与学院派艺术家为伍为荣,积极从大自然当中汲取丰润自己的艺术营养,这样一群画家从来未被“官方”肯定过,但是,他们每隔两三年都有自己的画展,而梁光泽则是这群画家当中的领袖和佼佼者。当然,他们也走了很多弯路,但他们成了一群最早市场化的中国画家,他们的画作,通过艺术市场这唯一无法阻挡管道,流往世界各地。
梁光泽的画作,是其中最受欢迎的藏品之一,特别在美、加的艺术画廊。早在1988年,梁光泽的小型油画《道路》参展于加拿大国际小型艺术品展,获绘画一等奖。当时参展画作来自世界几十个国家,几千幅作品,而梁光泽的《道路》突围而出,受到关注并获得一等奖,在小小画幅里,道路两旁风雨过后的大树在静的画面里动着,而泥泞道路延伸向那未知的远方。作品的色彩丰富与笔调的灵动,在小小的空间里喻意着作者对自然、生活、命运、理想的渴求,并自由畅快地抒发情感。
梁光泽从不否认自己是个风景画家,常说自己只会画风景。他单纯质朴,从不刻意给自己的画作冠以微言大义的名字,永远是你看到什么就可以命名它是什么。然而,也许令你感动或者刹那间令你共鸣的地方,就在于梁光泽画中的大自然,仿佛并不是他摹绘的对象,相反,成为了熔铸了表现梁光泽心中情绪和眼中所见的道具,唯有丰沛张扬的色彩和捕捉到的光线斑斓,能简练地固化成为一种存在和永恒。
如果画框往往是研究画家艺术空间的一个维度的话,那画家创作中的作品集合,则往往可构成画家创作史的时间维度。把这两个维度交织之后,往往能够定位画家的艺术探索轨迹。梁光泽亦不例外。作为有幸追踪梁光泽艺术创作轨迹的友人,我读过这位画家近三四十年来的画作。
梁光泽在年轻的时候就很善于用自己独特的方法去捕获光影交织的活跃和生命,但那时他恨不得拿天幕作画布,表现蓝天之下光与影对话的壮美和纷繁,那个时候他是青涩的,他也只在广东身边的红土丘陵徘徊。在他的艺术意象中,红土、木麻黄、相思树、浅浅的河流、淡淡的远山、鱼肚白般的高天⋯⋯总是他情绪的赋值音符。
然而当游历了法国、美国、澳大利亚等地之后,梁光泽开始成熟地走自己的路,他有相当长的时间钻研微型油画,干起了螺蛳壳里做道场的艺术探索。这时他的画风是属于中年的,他把所有他感兴趣的自然意象都搜罗入画,仿佛不再明朗而隐隐有着沉思般的忧郁,但却又在不经意间流露出不可遏止的生机。
到了这几年创作巅峰期,梁光泽的画风隐隐从大自然的景观的追逐当中,流露出一种不容置疑的霸气和大气来。在他的作品当中,大自然的任何时间和任何光线,都能够通过他的画笔和画刀,信手拈来。在画作当中,我们看到大自然景观的种种表现,是随着画者的感悟情绪流转的。内中微妙的融会贯通,给人以意想不到的震撼。在那里,画者眼中所“见”与大自然所“显”以及画者手中所“现”三者间,通过梁光泽式有序的肆意油彩涂抹,形成了和弦般的对话:天啊!要有光,就有光;要有影,就有影⋯⋯要有万物,就有万物!
梁光泽的画幅里的世界,就是梁光泽创造的世界,而这个世界,则是我们现实世界和理想世界的共同体。
梁光泽从不讨论自己的笔法和技巧。但梁光泽的油画具有鲜明的性格特征。你在任何一个画展群中,都可一眼就认出梁光泽的画作。
严苛地说来,梁光泽在使用色彩时对蓝白和各种绿及黄是有偏爱的。而在所谓表现自己独特感悟的方法论上,梁光泽仿佛使用哪种方法都无所谓,但却隐隐地又求索着什么。在梁光泽画作里,无论是亮丽的高光点还是隐晦难言的低调子层次,总是寥寥数笔下去就活灵活现,梁光泽对色彩表现所控制的自由度,具有独特的方法,他的方法没有鲜明的渊源,也无法赋予传统的西洋画绘画法理论,你可以在那里看到塞尚,也可以看到凡高或高更。
但是,我们能够在过去和现在的画坛中找到一个擅长绿色的“印象派前辈”吗?说实在话,梁光泽画作中最令人感动的绿色,就是梁光泽艺术生命老而弥坚的写照。一个60岁的男人,每天不倦地去研究画笔和油彩以及画布对大自然、特别是绿色的表现,到底为了什么?我总觉得,在梁光泽心目中,有一种近乎神明般不可亵渎的,但也确难以表达的自然之美存在着,而他的使命,就是要通过自己的笔触表现,使世俗的人们,能够触摸感受和欣赏那神祗们的自然之美态,直到永远,直到永恒。^_^The most eye-catching aspect of Mr. Guangze Liang’s paintings, regardless of size, is its color. In order to understand Guangze Liang’s sentiment, emotion and skill, our eyes should linger at exactly the place where the flowing colors congeal.
Mr. Guangze Liang’s unique Bohemian style leads to his brushwork exhibiting great freedom. Unlike the so-called painters from academism, he has never been sure to which school he should belong. Although the “Luhu School”, which is a small folkpainters’ community in Guangzhou, formed by him and other oil painters who share the same ambitions and purposes, the respective painting technique & style of each is not very much alike. However they have a similar overall art experience and the same enthusiasm for art. Admittedly, such a group of painters who were young in the locked ten years of Cultural Revolution, having been inspired toward painting by the earlier precious relict of impressionism, had to make a living by painting the political leader’s portrait, which was almost the only way for them to self-interpret in art at that time. Although never admitted officially, they held their own exhibitions every two to three years. Their works have travelled all over the world via the art market, the only unstoppable channel, while Guangze Liang’s paintings are the most popular among them. His works have been kept by collectors and galleries throughout China, France, US, Australia and Canada.
In all the works of L. Luhu School, one of the mostly welcome collection is the oil painting of Guangze Liang, which is especially welcome by the galleries of America & Canada. One of the miniature oil painting named《Road》won the first prize in the Canada International Miniature Exhibition early in the 1988. From thousands art works of over seventy countries in the competition his picture of《Road》broke through and won the champion. Inside the tiny picture, the big trees after wind and rain are quietly standing by the muddy road, which is stretching into the unknown distant place with the rich color, sensitive and dynamic brush stroke. The painter has implied meaning of his hunger for nature, life, destiny and dream and expressed his passion smoothly and cheerfully.
Since the Reform and Opening, the train of culture has got back on track in China. From the moment of returning to the standard art education in 1970s and 1980s, these folk artists who professed themselves as complete rebels have thoroughly forsaken the art evolution and rules derived from academism. It was a matter of honor for them to not associate with the artists from academia, but to zealously absorb inspiration from nature. Unquestionably having gone along many crooked roads, they’re the earliest group of Chinese artists in marketization, while Mr. Guangze Liang is the foremost among them.
Mr. Guangze Liang has never denied himself as a landscapist and always says what he can do is landscape painting only. He is an unsophisticated man and has never consciously bestowed delicate words with profound meaning on his works of art, which are named always by what is in view. Yet the natural scenery shown in his paintings is the very thing that might touch you deeply, as if the nature is not his target to counterdraw, but a stage property to manifest his feelings and what he has seen. Only the rich and blazing color and the gorgeous captured light can be expressed succinctly by him for perpetuity.
If the picture frame is a dimension for exploring a painter’s art space, then his work collection can often form a time dimension of history of his creativity. In most cases, people can locate a painter’s exploration path in art when these two dimensions entwine. There is no exception in the case of Mr. Guangze Liang. As a friend of his I’m privileged to have had the opportunity to track his path of creativity and to browse his art works during the last three to four decades.
When Mr. Liang was young, he, in his unique way, was already adept in capturing the vigor and life interweaved by light and shade. He would use the sky as canvas if he could to display the sublime and complex of the conversation between light and shade under the blue sky. Still immature at that time all he could do was wander around the red soil hills of Guangdong Province. The Red soil, coast oak, acacia, shallow river, faint distant hills, grey dawn sky ... all had musical value for his rich feelings. However, when he toured around foreign countries like France, US and Australia, Mr. Liang started to step into maturity. He spent quite some time experimenting oil painting miniature, making magnificent scenes very small. At that time, his painting technique came to its middle age and all the natural images that he was interested in were collected in his paintings, which were no longer bright, more subdued with contemplation, but still revealing an unrestrained vitality. In recent years Mr. Liang has come to the peak of his creativity. In the course of his pursuit of natural landscapes, a bearing of sovereign and master has been revealed undoubtedly through his art works. In his paintings any time and ray of nature can be seized and expressed effortless along with his feelings by his paintbrush and painting knife. When the subtleties are perceived and completely understood, an observer will be unexpectedly surprised. What the painter has “seen “ of what the nature has “shown” plus what the painter has “interpreted” become a conversation like musical notes in harmony through orderly but wilfuly smearing of oil in Mr. Liang’s style:” Oh, my God! Let there be light, and there is light; let there be shadow, and there is shadow…, let there be everything, and there is the world.” The world in his frame is the world created by Mr. Guangze Liang, it is the combination of the real world and the ideal one.
Mr. Liang has never talked over his painting technique and brushwork, yet his works display lively characteristics. His paintings can be easily recognized at any painting exhibitions. Strictly speaking, Mr. Liang favors color blue, white, various green and yellow among all the colors. Methodologically it seems that it doesn’t matter to him at all by which technique he will express his own unique insight. He can always make it come alive with a few strokes no matter it is bright highlight or obscure details. In terms of controlling freedom of motion for expressing color, Mr. Liang has got an unique manner whose origin can not be traced or found in traditional western painting theory. You might find Paul Cezanne or Van Gogh or P.Gauguin there, but are you able to find any predecessor of impressionism who was or is expert at using color green in the past or at present? Frankly, the most touching in Mr. Guangze Liang’s paintings is the color green, which is the reflection of his artistic life – older but firmer. Being a man over sixty, he works diligently and tirelessly everyday with his paintbrush and palette to express nature on canvas especially using the color green, what for? I feel that there is always a natural beauty in his mind, akin to the Holy Inviolable yet beyong expression, and his mission is to let the world touch, feel and enjoy forever the natural beauties by means of his brushwork.
2009年·夏
2009 Summer
Note: Tanglang is an editor of Yangcheng Evening News收起