Temperament / 心性

最近三年多我的作品是在复杂状态中生长出来的,说来才短短三年,但个中的种种问题都是被浓缩过一样。也可以说是人的时光,活到四十多对于世道之事还是知晓不少,可是不明之事随时增加。往回确认的事更加确定,比如社会发展是前进了许多又倒退了许多,有些几乎固步,所谓现时选择凡人所致,现世显现前因所应。往回模糊的事有些可以确认了有些渐渐清晰起来,比如人要衰老乃至要顺其自然,心性和身体都要自然,心性可以学佛,身体可以锻炼。心性包括清心,健康饮食益身体,这样就可以事事悠然。

三年前我画了前二十年想画的想法,完成那个阶段后,对自己当然有很好的交代。而后不到两年我有些厌倦,歇了一年思考了一年,当然没这样准确的时间段。新的想法和良好的状态有得益心性的明朗,我还是热衷于绘画的深度提取更深度的底部的形相显现,那样我不断的延续,以至于不再厌倦。要做到这点不可缺失的是心灵背景,是一个没有边际宽阔且纵深和圆融的。

这些新画仿佛不是当下,可是那是哪里呢,可以确认的是我曾见过的显现,也是我画面上的也可以是画里的。有什么意思呢,没意思就是手绘了前因所应。我不觉得这个所应一定是美好或一定是苦涩难熬的,有些复杂性。

所以人有时有两种生命,一是现实的一是虚无的,虚无的含有艺术和灵性,可能还有梦。现实就是什么时候去想去的地方看看,因为能看见的就是现实的且可触摸。虚无就在画里,不可触摸,摸到的是亚麻丙烯,可以想可琢磨,其实那就真有艺术的意思,所以艺术也是生命的一种。

本来写这段文字是为了言说新画心得,可是一写就没了新画而自然来了心性,那也只好说明绘画是一种不好言说的且具有崇高感的,我怕说深了到了玄虚,说浅了到白了,所以我画的人见皆知就那么点事,伪事。

 

陳聯慶

 

Temperament

Chen Lianqing

Over the last three years, my works have developed out of a complex state. Though it is only three short years, the various problems therein seem to have been condensed. It can also be said of people’s time, i.e., when you’re over 40 years old, you may know a lot about life and the world, but things that you don’t know also increase at any time. When you confirm things in the past you get more certain about them, such as whether society has developed a big step or has moved back a big step, or has just kept still for a time, and this is just as the saying goes: the current selections are all made by mortals, and what appears in this life is the refection of antecedents. Some of the fuzzy things in the past may be confirmed now, and some have gradually cleared up, such as the facts that all people will get aged, and people have to go with the flow, and the temperament and the body must be in accordance with their natural course; to cultivate your temperament, you may resort to Buddhism, and to cultivate your body, you may do exercises. Temperament includes a pure heart, and a healthy diet benefits the body, in such a way everything can be leisurely.

Three years ago I drew pictures which I had wanted to draw two decades ago, and after the completion of that stage, I was of course quite satisfied with myself. Thereafter, I got a little tired in less than two years, and rested for one year and thought for one year. Of course, “one year” was no exact time. New ideas and good condition were the benefits of the clearing of temperament, and I’ m still keen on the depth of painting, on the extraction of images of deeper depths, so that I may continue ceaselessly, and so that I may no longer be tired. To achieve that, a mind background, which is margin-less, wide, deep and harmonious, is indispensable.

These new paintings seem not to be about the present, but what are they about? What is certain is that they are images that I have seen, and they may be what appear on my paintings or they may be what hide in my paintings. What do they mean? There is no meaning; they are just hand-painting of the refection of the antecedents. I do not think this reflection should definitely be beautiful or be bitter and tough, it is a bit complex.

So sometimes people have two kinds of life, one real and one nihilistic; the nihilistic one contains art and spirituality, and maybe dreams. Reality is to go to see the place you want to go and see, because what you can see is real and tangible. Nihilism is just in the painting and intangible, and what you can touch is only the linen propylene. You may think, and you may ponder, and that is what the art is all about, so art is a kind of life.

This text was originally written to state my attainment from the new paintings, but as the writing went on, it was no longer about the new paintings and naturally went on to the temperament. It in a way testified to the fact that painting is hard to explain and is sublime, and I’m afraid that if I go into depth, I may go into the mystery, and if I put it simple, I may put it shallow. So everyone who sees my painting will see it is just about some trivial things, things that are false.