沵 力

拥抱“历史”的温度

沵 力

让我们来谈谈“历史”—

似远远近近明灭不息的星辰，在都市霓虹的恣意欢逐中，隐遁于无形；似大海臂弯一方沙筑的城堡，风雨潮汐中不断被重建，又不断倾颓。历史，这个充满深意的大词，怀抱数千年凝重的承载与现代化迅疾的迁变融入当下，却奇迹般地幻化作“70后”“80后”心间一团柔软的云朵。它，漫无目的地浮游于天际，驮着苍茫的岁月与少年难言的心事，在指顾间，散落一地淡漠、浮夸、支离的影。

将这影子般游荡无着的身世，入墨，晕染，生发……于是，在“70后”“80后”青春期的画作中，部分观者感受到了无限膨胀的自我与漂泊无依的虚无。手握画笔，他们在静穆的时空中与自我相守。时常，浓重敷施的墨彩下，寄托的情感却细腻幽微。在“大”与“小”、“重”与“轻”充盈的张力间，“心象”被不断放大，三千大千世界俄而宛如围绕自我不断旋转的幻象……基于这一特质，“70后”“80后”的艺术创作常作为“缺乏历史意识”“拒绝成长”的典型，被纳入媒体和大众接受的视野。

过于沉溺于当下即时性的私我，疏离自我更新、改造社会的功用，固然会使表达丧失及物的可能，然而，“70后”“80后”的笔墨抒写是否真如一些论者所担忧的那样，满足于在历史虚无主义的迷雾中建筑孤芳自赏的空中楼阁？

屠鸿辉 “失”系列之—纠（局部）

蔡 亮 春到人间草木知（局部）

一代人能够提供什么样的艺术，不仅有关天赋教化，更取决于历史变动所塑造的人的命运。在匆匆的流逝里，在时间的无涯中，“70后”“80后”不过是一粒粒微小尘埃，驻足而望，唯见来路茫茫、去路滔滔。然而，他们所流经的历史风景却又如此不同。

他们的世界是丰饶的。20世纪80年代，中国正处在咸与维新的变革之中。那些舶来的思想与蒙尘的遗产，那些相互缠绕甚至彼此矛盾的观念，打破疆域、错乱时空纷至沓来。在经历文化沙漠的饥饿的头脑当中，每一棵树仿佛都结满风味各异的饱满浆果。它们散发着旷世已久的蓬勃香气，勾起真诚、狂热的追捧。而出生未久即面对这场哲学与文化盛宴的“70后”“80后”，显然难逃因“营养过剩”而“消化不良”的宿命。学堂上的“强历史教育”，抛给他们一个远去时代的背影，而市场和欲望的法则却透过日常生活无所不在地渗透，促使他们身心投入。在历史与书本等失去体温的二手资料中，他们用指尖反复触摸、分辨，却依旧难以捕获那遥远时光的复杂纹理。没有现成的资源可以捡拾，亦没有共识可以容纳当下经验。太过“丰盛”的文化资粮让“70后”“80后”的味蕾未及充分打开便已疲乏麻木，于是，他们向往单纯与空白；不同理念在意义的追问中彼此解构，还原出一派混沌天地，于是，他们选择倾听内心的声音。

刘筱静 霜降（局部）

蔡 明 飞吧（局部）

当喧嚣流淌入性灵的深河，他们的世界亦是孤独的。伴随着社会剧烈的原子化运动，“70后”“80后”的青春记忆里，个人与历史、个人与社会、个人与群体之间的连接被无情割裂，于是冷静，于是茫然，于是孤独、焦虑、逃离等词语无可辩驳地成为时代症候。在陌生化的境遇面前，年轻的生命被暴露为一个个孤单个体。灯火阑珊处，他们奋力抵抗的身影更显单薄和落寞。在艺术中的求索又何尝不是如此？“今天的艺术家苦思冥想，千方百计地调动艺术内的以及艺术之外的种种手段来企图对应大众的口味，但除了艺术品的成交价格外，谁还会关心艺术家在他的画室里干些什么？在他们的展览里想说些什么呢？”（叶永青）美术馆频繁上演的展事、名作前熙熙攘攘的人群、耳边纷纷按动快门的声响……纷繁热闹的表象下，究竟有多少知音的心赏？

邹 荃 哥特新娘（局部）

董开文 孤芳自赏（局部）

张民生 小憩为高飞（局部）

“到底是‘70后’‘80后’拒绝进入世界，还是世界拒绝、闭合了‘70后’‘80后’的进入？”（金理）固然沉重的“历史意识”已不再是“70后”“80后”画家头上的紧箍咒，但历史却已悄然将他们锻造为充分张扬的个体，让其伸出灵敏触角在须臾万象的世界中拥抱变化，并通过个性化的表达予历史以回应。即便是“巴尔扎克式”的文艺创作，也必须借助非常独特的个体来完成。对个体真实情感的表达本身就蕴含着对现实的评价和批判。在“70后”“80后”的画作中，我们可以看到对文人传统的追忆与皈依，那是一方心灵的净土，因时光远走而滤去杂尘，它洗涤着现实生活的污垢与疲惫，在钢筋水泥丛林的上方，展开湛蓝天空的幕布。有时，在传统经典的图式中，我们会发现点缀其间的工业化产品以及戏谑的人物和情态，如局外人一般，“70后”“80后”画家在囚笼似的历史内部冷眼旁观，不断反思、消解并试图颠覆。更有对当代生活与自我形象的直接抒写，泛溢着青春的躁动、对理想的憧憬与对现实的妥协……撕开伪装，将每一个在意的时刻联结成属于自我的体悟，这一切，正是对历史境遇最本真的映现。“70后”“80后”画家在探索一种形式，那形式切合一颗居于时代的心灵的律动。它伫立在那里，使一切语言、理念、分析都噤然无声。

居 瑢 莫名哭泣之一（局部）

许 可 印象长安（局部）

向历史敞开，即意味着向当代敞开。在这个时代，无论再如何沉湎于个人世界，只要认真地生活、真诚地感受，那么其艺术创作就必然在某一层面折射时代的力量，以及与这力量相碰撞的源自心灵的花火。不必故弄玄虚地塞进“寓言”与“意象”，从人生的大海中提炼出属于自己的盐粒，放在平凡日常的舌苔之上，咀嚼，品咂，感悟，让生活中的每一处实存成为艺术更新的源泉，让情感在笔墨的表达中变得清晰可见，便是最动人的深刻，也是一个画者承担时代责任的最好方式。

诗比历史更永久。历史终将远去，而内心的体验却不断从光阴醺醺中走来，鲜活而生动。如梦想的林泉，如轮回的花事，如青春鼓荡的诗意与彷徨，它们被一一倾泻于笔端，营造着“70后”“80后”与时代共居的殿堂。听，历史正穿堂而过！

Let us talk about “history” ——

It seemed as if the far and near flickering stars are hidden in neon lights of city， without a trace； like a sand castle on the sea gulf， it is constantly rebuilt and pushed down in the rain and tide. History， this meaningful word， is incorporated into the present life with bearing of thousands of years and modern rapid transition， but it turned to a soft “cloud” in the heart of “70s”and “80s” painters miraculously. The “cloud”floats in the sky without aim， carrying with the “time” and the secret matters in young person’s heart. During the moment of glancing back and moving of a finger-instantly， an apathic，flatulent and fragmented shadow is left.

The wandering “origin” like a shadow is put into ink， dyed and born…therefore some viewers felt the expansible ego and nothingness that no one to depend on， in the paintings of “70s” and “80s” painters at their puberty. They stay alone under the solemn and quiet space-time， with the brush in their hands. Often， the emotion in the heavy grisaille painting is subtle and refined. “Mental imagery” is gradually enlarged under the stress filling with “big” and “small”， “heavy” and “light”. The wide world is like a vision that rotates around self…Based on this， the artistic creation of “70s” and “80s”painters are always considered as the model of “lack of historical consciousness” and “refusing to grow up”， by the media and the public.

刘亚璋 秋湖（局部）

周 颢 鸣琴（局部）

张秋桔 澜亭清音（局部）

If you are addicted to the real-time ego so much and get away from self-renewal and transforming the society， your expression must not be sufficient. However， whether the painting of “70s” and “80s” painters is only the narcissistic “castle in the air” in empty “dense fog”， as some peopleworried about？

What kind of art that one generation can provide not only has relation with the talent， but also depends on human’s destiny shaped by the historical change. Over “the ocean” of time， “70s” and “80s” painters are only the “little dust”. They stop to see the distant past and future. However， history they experienced is so different. They have the plentiful world. In the 1980s， China was in the reformation for all. The imported and traditional thoughts， and those ideas that are entangled and contradictory each other， all appeared by crossing the territory and slipping the time. In their “hungry” mind that experienced cultural desert， those thoughts and ideas are like trees with different-flavor full fruits. These fruits smell so sweet，fanatically pursued by people in the good faith. “70s” and “80s” painters faced this “feast” of philosophy and culture not long after they were born， so they must become “dyspepsia” due to “overnutrition”. The “focusing on history education”in school has been away from them， however， the rules of market and desire are infiltrated into everywhere in daily life， taking their all energy. They try hard to “touch” the old secondary data such as history book， but still cannot identify the “complex texture” long time ago. There is no existing resource for reference and no consensus for the present experience either. Too “wonderful” culture “food”makes “taste buds”of“70s” and “80s” painters numb before it is aroused fully. Therefore they long for the pure and blank； different ideas were “de-structured”each other in questioning， obtaining a “chaotic world”， so they selected to the voice inside their heart.

陈 川 素时锦年之一（局部）

聂 松 山的构成之一（局部）

When the “noise” flows into “spirit river”， they are lonely. With the dramatic change of society，in memories of “70s” and “80s” painters， the connection between individual and history， individual and society， as well as individual and group is cut apart ruthlessly， so calmness， loneliness， anxiety，escaping and the like become times symptom. Facing the strange situation， young life shows one and one lonely individuals. Around the corner， their figures that they insist on resisting are more thin and lonely. So is not seeking in art the same？ “Today， artists do everything to try to cater to the flavor of the public by using various means outside and inside the art， but except for the transaction price of artwork， who cares what the artists do in their studios and what they want to express in their exhibitions？”（Ye Yongqing）The exhibitions are constantly held in art gallery，bustling crowd is in front the famous work， the sound of pressing shutter appears beside the ears…how many bosom friends are there under the numerous and complicated representation？

翟明帅 楠溪消夏图（局部）

沈宇翀 梦园—环秀山庄（局部）

“Whether the ‘70s’ and ‘80s’ painters refuse to enter the world， or the world refused the entry of ‘70s’ and ‘80s’ painters”（Jin Li）. Although the heavy “historical consciousness” did not restrict “70s”and “80s” painters any more， the history has already caused their unbounded personality. Therefore they can deal with the change of colorful world with their “sensitive feelers” and respond to the history through their characteristic expression. Even if “Balzac” type literary and artistic creation， it should be completed by means of the particular individuals. The expression of true emotion of individual is imbued with the evaluation and criticism for the reality. Paintings of “70s” and “80s” painters showed the recall for a literature man’s tradition where it is a pure land of soul and eliminated dust due to the time going far away. The paintings “washed” the dirt and “exhaustion” of real life， and “opened” a blue sky above the “armored concrete forest”. Sometimes，in the traditional and classical paintings， we found that the industrial products as well as the sportivefigures and their spirit on the paintings are like the outsiders. “70s” and “80s” painters look coldly within the history as a cage， continually reflect and try to subvert it. Furthermore， their works also expressed the contemporary life and self-image， showing the restlessness of youth，vision for the dream and compromise for reality…tearing out the mask， they connected all “moments” that they care about together to express their own comprehension. All this is the most authentic reflection for the historical circumstance. “70s” and “80s” painters are exploring a kind of form which fits in with the rhythm of mind in the present era. “Standing”there， it makes all language， ideas and analysis silent. Opening to the history means opening to the contemporary era. In the present era， no matter how to indulge in your personal world， if you live in earnest and feel in good faith， your artistic creation must reflect back the strength of time， as well as “sparkle” from heart due to collision with this strength in a certain level. It is not necessary to mysteriously bring in the “fable” and “image”. If you extract out your own “salt particle” from the “life sea”， to put on your “tongue of daily life” for chewing and feeling， if you make every real memory of life become the source of art innovation and make the emotion expression in painting clear， it will be the most touching profundity and also the best way that a painter undertake obligations of the times.

阳 帆 翻模工人（局部）

宋 帅 烟锁一湖秋（局部）

The poem is much longer than history. Finally the history will “go far away”， the experience in heart will “walk out” from the time and become fresh and vivid. Like dreams， circular story as well as poetry and wandering of youth， they are expressed by the painting， to create the “palace” of “70s” and “80s” painters living with the “time”. Listening to， the history is passing through the room！

Embrace “History”

Mi Li