精神贵族,品读南超的士大夫情节
0条评论 2015-02-02 10:40:43 来源:99艺术网 作者:张健夫
中国现在还有真正的贵族吗?如果排除所谓的红色贵族之外,我个人认为拥有"士大夫精神"的人才是真正的精神贵族,所谓士大夫精神是指那些有高贵人性的人,有自己的脱俗的信仰和理想,生性高贵、伟大,任何困厄痛苦都不会减损这种高贵的人。简单地讲,指的是一种高尚的人格理想、高贵的精神气质和高雅的审美情趣。"士大夫"在周代都是对有官位者的称呼,自春秋以后,"士大夫",事实上便逐渐成了中国传统读书人和知识分子的代名词。士大夫精神是文以载道,这个道,就是精神的所在, 不为五斗米折腰,《论语·卫灵公》:"子曰:'君子固穷,小人穷斯滥矣'"。 君子:有教养、有德行的人;固穷:安守贫穷。指君子能够安贫乐道,不失节操。天地情怀,你可以分三部分论述, 天、地、人,何为天,何为地,人在天地中是个什么状态。这所涉及的是中国古代文人的终极价值,这是士大夫精神的根本所在。人的社会性决定了一个人必须拥有明确的文化基因与价值取向,这是每个人安身立命的精神支柱,一旦缺失,其苦痛将远甚于物质匮乏的折磨。今天,物质生活已是飞速发展,精神世界却一片贫瘠。于是,我们开始反观中国传统文化的可贵。中国传统文化千年传承,万古沿袭,它已将中国人精神中最宝贵的品质淬炼成型,成为中华民族的脊梁。这就是"士大夫精神"--胸怀天下、安贫乐道、通达生死……找回我们丢失的珍宝,重塑我们的精神家园,这也是士大夫精神存在的意义所在。
 
艺术家南超先生就是一个有着深沉的情怀和高尚审美情趣的当代士大夫,他身上兼具着坚韧的力量和野望,同时又有纯粹光明的情感,南超先生自己有句哲言:"精进勇猛,孤行一意,胸怀天下,斯文霸气"。这正是一个充满智慧与力量的时代精英的写照,他喜欢哲学崇尚武道,自己也是从不间断的研习拳法,不断地从拳法中领悟深邃的奥义,他也喜欢饮茶,在煮茶品茗的时候仿佛思绪得到缓释,抑仿佛沉浸在自己精神世界,与很多艺术狂人一样他也是个地道的工作狂,连续几天的在工作室内创作作品,甚至忘记吃饭是常有的事。在生活中南超是一个简单纯粹的人,他不善言辞,喜好安静,与他交谈常常因为过度冷场而尴尬不已,他不会与人计较得与失,也不在意生活中的很多琐碎,但他却珍爱生命,尊重大自然中的万物,记得一次与他饮酒,我们的桌案上方正是一巢燕子,三只雏燕在嗷嗷待哺,雄燕与雌燕辛勤的觅食来哺育自己的孩子,南超仰头注视了良久,眼神中满满是仁爱,艺术在于发现,在于不断地用真性情去体会世间万般感触。
 
走近艺术家南超的作品,尽是那些极静冷峻的山石昏鸦枯木虫苓,南超通过极端复杂的方式去"妙手偶得"了每一件精神遗留物,作品中蕴含的精神力量是巨大的,与这些作品对视的时候你甚至能感受到那几乎存在着一种大得听不见的声响,时而极静,时而如同岩浆般宏大,能如此自如的把握这种能量的使用,真的需要的不仅仅是对世界的细心观察和发掘,更重要的还有高超的技术表达。
 
在形式感上,南超的作品气质是"冷""空灵""微言大义""极静"。涉及的题材大都是"生长""静止""时空""死亡"。南超运用了微弱空灵的极简主义视觉体验 和东方文化意境,通过对"注视"的强调,将细微提高到更重要的层面上来,并且制造出了一种听不见但可感的声场,智慧的富有冥想气质的氛围。在这种隐喻、抽象、冷淡的人造风景中,充满了士大夫的文人情致和高雅。
 
再深一层地观看,你又会发觉,南超用不断超验自己的方式去实验,去理解及感悟东方哲学思想的抽象概念。疏落的颓意, 水墨般画黑留白。重要的,不在于这个形式而是一种可以超越各种形式的精神力量,于空白位置所留下的氛围所造就的冥想空间。憩静而平和得近乎禅的意味。甚至乎是一种近乎无为的精神指涉。同样地画黑留白, 透过的是对于虚空的参悟冥想。南超的作品重实验感而又兼具观赏性,概念化之余又不流于理论化。一切,都能从视觉的角度以聆听的方式细意体会及感悟。一种完完全全地道的东方士人品格和风骨。
 
南超的作品往往是利用综合材料和复杂的流程创造出了一种幻景,同时也在拆散幻景中的力量,艺术家藉由雕塑载体产生中的所有机制,展示了逻辑与情感的源头,中介物和其结果,从而赋予幻景背后的脉络,这种产生的疏离感,使作品从所谓普遍审美主义中撤退,形成新形态的审美趣味,并从而获得智慧的力量。用他自己的话来说:"不能用一种稳固的、直捣根源的态度和方式去面对创作,应勇于寻找连结,应流动扩张,应持续,不应在单一的向度,不应仅仅制造一种风格,不应相信自己站在了坚实的地面上"。
 
对于南超而言,"那层透明的介质并非不存在,只是不被意识"。
 
"运用某种媒介物,达到对寻常经验(甚至极细微经验)的不断挖掘的过程--赫胥黎。"对于精神世界的探索,艺术家所使用的媒介不是药物,而是工具。作为视觉艺术家,南超无不是用双眼去丈量内心与世界的关系。用赫胥黎的话来说,借以深入心灵内最偏远的岛屿宇宙中去。它能自由游走于理性与感官、现实和虚象、主体和客体,以及主动与被动等多重层次之间,更多的反映了通过主体感受、思考、认知而产生的形而上的意义。
 
我觉得用"若水"来形容南氏的创作精神和胸怀很合适, 上善的人,应该像水一样。有水的地方意味着希望和生机,水低调却内含巨大能量, 江海之所以能够成为一切河流的归宿,是因为他善于处在下游的位置上,继而汇聚成至上的能量之源 。 世界上最柔的东西莫过于水,然而它却能穿透最为坚硬的东西,没有什么能超过它,例如滴水穿石,这就是"柔德"所在。所以说弱能胜强,柔可克刚。当我们注视那些被南氏意态重组了的时空,不自觉地被悠远深邃的精神能量所吸引,很容易陷入长久的时空注视,这种"注视"不单单是寻常视觉经验的"看",而更多的是强大的东方文化所制造的精神感染力和底蕴。当我们恍若隔世的抽离出来的时候回味一下南超又给我们的时代一种什么样的关怀与思虑?
 
The Intellectual Aristocrat--Cherish Feelings of Literati in Nan Chao
 
Author: Zhang, Jianfu
 
Are there real aristocrats in China now? If we exclude the so called RED Noblemen, I personally believe that only those who have the real feelings of literati are real intellectual aristocrats. These aristocrats are people having noble humanity, having refined beliefs and ideals, carrying the noble and great nature. None distress will destroy this kind of intellectual aristocrats. To be simple, feelings of literati refer to noble personality ideals, noble ethos and elegant aesthetics. Aristocrat is an appellation of those who hold official governmental position in the Zhou Dynasty. Since the Spring and Autumn Period, Aristocrat gradually becomes the synonymous of the Chinese traditional scholars and intellectuals. Intellectual aristocrats actually believe in literature for moral instruction. They will not bow to the superior in order to get the scanty pay. As stated in The Analects of Confucius, The Master of Confucius said, "The Person of noble character may indeed have to endure desires, but the mean man, when he is in want, gives way to unbridled license." Person of noble character are educated and virtuous people, who can stay noble and bear  poverty. They can peacefully face poverty and carry the feelings of literati. The feeling of the world can be described into three parts: the Heaven, the Earth, and the Man. What is the Heaven? What is the Earth? What is the status of the Man between the Heaven and the Earth? This is the ultimate value of the ancient Chinese literati, the essence of the spirit of the literati. Man's social nature determines that a man must have clear cultural gene and value preference. It is the spiritual pillar that everyone can rely on, without it, the misery will be far beyond the longing for substances. Today,  the material life develops rapidly. However, the spiritual world is a barren.  Thus, we start to realize that the Chinese traditional culture is praiseworthy. The Chinese traditional culture is the millennium heritage carried over from the ancient period. This culture is the Chinese Backbone that shapes the most valuable Chinese spiritual characters. This is the feelings of the literati, mind the word, endure the desires and bear poverty, understand the life and death … search for our lost treasures, reestablish our spiritual values, which is the meanings of the feelings of the literati.
 
Mr. Nan Chao is such a contemporary intellectual aristocrat with deep feelings of literati and noble aesthetic appeal.  He possesses both tough strength and wild desires, at the same time, holds the pure bright emotion. In his philosophy statement, he says: Advance diligently and vigorously, Persistent willfully and determinedly; Understand liberally and generously, and Act decently and arrogantly. He represents the contemporary elites full of wisdom and strength. He loves the philosophy and advocates Martial arts. He studies the Martial arts continuously and comprehends its subtle secretes. He likes having some tea while relaxing his mind and enjoys his own world without interruption. As many other workaholics, he is absolutely a workaholic, as he forgets his meals often when he continuously works in his studio. Nan Chao lives simply and purely. He is not good at expressing himself. He enjoys the quietness. Sometimes, people feel embarrassed by the silence while communicating with him. Gaines and losses do not bother him, neither the trivial in life. However, he loves life and respects the natural creatures. I remember that I had a drink with him once. There was a swallow nest just above our tea table, three baby swallows in side, starving and waiting for food. The male and female swallows brought food to these babies industriously. Nan Chao watched attentively, love and charity in his eyes. The Art is to find, to find and understand millions of feelings in the world with the purest natural love.
 
At a closer look at Nan Chao's work, there are always those silent frosty mountain rocks, crows at twilight, withered woods, insects and fungus. Nan Chao gets each artistic piece as the Spiritual remnant by chance with a highly skill and complicated methods. These works contains a huge amount of Spiritual energy. While on visual with these work, people can feel that the sound is so loud that people would not hear it, sometimes it becomes extremely quiet, sometimes it becomes as big as the magma running. To use this unbelievable energy at will, it is so necessary to observe and discover the world carefully and more importantly, technically express with the highest skills.
 
In the sense of form, sarcastic, dreamlike, simple but meaningful and quiescent are qualities of Nan Chao's work. The topics are all about growth, quiescence, space-time and death. Through the visual experience of minimalist and the mood of the Oriental culture, Nan Chao made the fine points to a more important level and created a silent sound field being felt, a meditative atmosphere of wisdom. The fantasy and elegancy of the literati exist everywhere in such a metaphor, abstract and 'cold' man-made landscape.
 
At a deeper level, you will find that Nan Chao continues to try, to understand and comprehend the abstract concept in the Eastern philosophy. The sparse dispirit the black and white in ink. More importantly, it is not the form, but the spiritual power that could overcome any form, the Meditation Space created in the atmosphere of the blank. The tranquil and the peace closely represent Zen Buddhism, even the action through inaction. The blank reserved in black in the same painting is the thinking and comprehension of the Virtuality. Nan Chao's works are experimental but spectator, conceptual but theoretical. People can experience and perceive these from the virtual perspective, but in the way best of hearing. It is a pure Oriental character and vigor.
 
Nan Chao created illusions in his work through multiple materials and complicated process, at the same time, destroyed the power of the illusions. He demonstrates the origins of the logicism and Emotionalism, the medium and its consequences through the mechanics of cultures. Thus, he buries the contexts into the illusions.  The resulted alienation enables the works to retreat from the normal Aestheticism, but becomes the new form of aesthetic, from which people obtain the power of wisdom. By his own sayings: not to create using the established, the straight-forward attitude and approach, but to search for the connections, expand in all aspects,  continuously, not in a single direction, not to only establish one style, not to believe that I myself is on the solid ground.
 
To him, the transparent media does exist, but not being recognized.
 
Use something as a vehicle to reach for the continuous understanding of the ordinary experiences (even very fine experiences). - Huxley. While exploring the spiritual world, the artist utilizes the media, the tools, not medications. As said by Huxley, the tools are used to reach the farthest island in mind.  It can walk in multiple levels, such as sense and sensory, reality and virtual, subject and object, active and passive. It reflects the thinking and feeling through the subject, the metaphysics through understanding.
 
I feel that it is appropriate to say that the creative spirit and heart are just 'like that of water'. A good person should be like that of water. Where there is water, there is hope and vitality. The water has great power but behaves in a low profile. The ocean can become the home for all streams, because the ocean is the origin of the huge energy as it positions at the downstream nicely. Water is the softest in the world. However, it can penetrate the hardest subject as nothing else. For example, dripping water penetrates the stone, persistent effort overcomes any difficulty. That's where 'the soft morality' exists. Thus, softness can overcome the hardest, disabled win strong. As we see the reorganized Kansan by Nan, we are attracted to the remote and deep spiritual power, easily gazing the frozen Kansan for a long time. Such a gaze is actually the spiritual appeal and heritage of the powerful oriental culture, rather than the normal visual experience of 'look'. As we come back introspectively, can we ponder what are Nan Chao's caring and thoughts on our era?
 

编辑:郑永霞

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