记得上世纪80年代初,我约几位道友来京看望北京画院王明明老师,企望能在创作上讨些教诲,不想他说自己正处“走投无路”状。余不才,直至今日方对此有较深理解。 余曾下海赶潮,也算走过些名城,然上世纪90年代中期初到京都,大有“破帽遮颜过闹市”之感,经多年磨合,自觉这座包容性很大的文化中心有它圈子里的游戏规则。细细想来,也不过如此,我把它调侃成“坑大蛤蟆多”。不论资深还是初出茅庐者,都在竭力喊出自己的存在,但这种“喊法”和“音量”的调频,则无定法,要么被“喊”声的海洋淹没,要么在“喊”声中领唱。 I remember the early 80s of last century, I about a few friends to Beijing to visit Wang Mingming Beijing Art Academy, hoping to discuss some of the teachings, but he did not want to say he was “desperation” -like. I do not have until today the Japanese side have a deeper understanding of this. I had gone tide down the sea, can be considered to go through some of the city, but the early 90s of last century, first arrived in Kyoto, a lot of “broken hats over the downtown” feeling, after years of running into, conscious of this very large cultural center There are rules of the game in its circles. Think carefully, but also so, I ridiculed it as “pit toad more.” Both veteran and fledgling people are struggling to shout their own existence, but the “frequency” of “shouting” and “volume” is not fixed or flooded by the ocean of “shouting” or “shouting” Lead singer.