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我在读父亲的油画作品时发现:一幅艺术作品,解读它的秘钥不在作品本身,而是隐藏于作品背后那个圣徒一般默默耕耘的灵魂,以及承载这个灵魂所属的年代。是的,我以一个舞者的本心观照面前一幅幅厚重且具鲜明态度的作品,仅观赏是远不足够的,而应剥离于画作表面点、线、面的交错以及凹凸不平之斑斓颜料,以敬畏之身心去读、去品、去冥想,遂于罅隙间搜寻有关这个圣徒的生命消息、乍现即隐的蛛丝马迹,以期触碰他的灵魂,与他的灵魂对话。1995年的一幅油画旧作《古风》,父亲望它多日,意欲在作品的暗影面做做文章。我处一旁思忖再三,提出:这幅画的问题不在暗影面,而在它布局过满:并建议父亲当忍痛截去画面以下的
When I read my father’s oil painting, I found out: a piece of art, the key to interpretation of which is not the work itself, but the soul that the saints generally worked silently behind the work and the age to which the soul belongs. Yes, it is far from sufficient for me to watch a thick and sharp work in front of me with a dancer’s heart. It should be peeled off from the surface of painting, the intersection of lines and surfaces, and the uneven Pigments, reading in awe, meditation, and meditation, searching for information about the life of this saint in the gaps. At first glance, clues were hid in the hope of touching his soul and conversing with his soul. In 1995, an oil painting old saying “ancient style”, his father looked at it for many days, intended to make an essay on the dark side of the work. After thinking about it again and again, I put forward that the problem of this painting is not on the dark side, but when it is overfilled, it is suggested that when the father reluctantly intercepts the picture