|
《书中的风景》为毛喻原作品——乐人书系第1号，精选了毛喻原60幅木刻版画和60段精美的哲性美文。 《书中的风景》部分内容
世俗帝国的两极艺术 王 康/2012年8月2日于北京 十九世纪欧美社会绚丽夺目的光环背后，潜伏着天堂地狱两极世界之间的对峙。黑与白，爱与恨，极乐与深悲，无路可去，咸与纠缠在木刻天地里。无论丢勒的神学作坊还是柯勒惠支绝望的母爱，无论《海底两万里》以舰为命的悲情船长，还是《白鲸》滔天巨浪与庞然大物之间永恒的较量，无不透露出近代西方浮士德式的宿命与救赎冲突。 宅心圆通的李叔同和禀赋特异的周树人几乎同时将现代木刻移植中国。后者以其唯物史观将木刻喻为被压迫阶级的艺术。果然，从延安到北京，古元们挥刀抡凿，木刻成为革命文艺的不二利器。 毛喻原受野夫、世存邀请西游云南大理。路见民间手艺人刻木为生，殊受启发，遂回四川乐山遍寻旧家具市场,试图找到可刻之木。正在无觅时分，忽有黄木一方现身眼前。喻原打开背包，掏出刻刀，初试锋芒，但见黑白流动，不滞不涩，线条绝佳，功效奇妙。又闻该黄木名“吉象板”，德国技术。如此，康德、荷尔德林、海德格尔和里尔克等形象纷至沓来。如此，一百块“吉祥板”飞越峨眉岷江，老毛立即以其独有的精气与神力走锋游刃，一百余名友人神形渐丰，惟妙惟肖…… 毛喻原于是在红色帝国京都矫正木刻宗旨，以人为本。深陷浅凹，攻其轮廓，逮其魂魄，穿梭其皮囊抵达其灵台，入木永恒。 如同《永恒的孤岛》等神韵独注的作品一样，毛喻原为此俗世创制其“一人宗教画”系列，又为朋友凿开一片黑白两极之新世界。削除一切附庸，唯存神质流芳闪幽，洞开我们时代的底蕴…… The Bipolar Art of the Secular Empire Wang Kang/August 2, 2012 in Beijing In the nineteenth century, a confrontation lurked in the background of the brilliant halo of Europe and the United States. This was a confrontation between heaven and hell, black and white, love and hate, joy and sorrow. It had no resolution, and was entangled in a woodcut world. Durer's theology workshop, Kollwitz' hopeless mother love, the sympathetic captain in “Leagues Under the sea” and the eternal battle of “Moby Dick” who billowed with the huge monster, all revealed the modern western Faustian fate and conflicting redemption . The pure-hearted Li Shutong and the gifted Zhou Shuren almost at the same time transplanted modern woodcut into China. The latter thought woodcut is the art of the oppressed class by a materialist conception of history. Indeed, from Yanan to Beijing, Gu Yuan who brandished knives for chiseling, woodcut had become the preferred weapon of revolutionary literature. Mao Yuyuan was invited to Yunnan by Ye Fu and Yu Shicun. In Dali, he saw a folk craftsman carve wood for a living on the road side. He was inspired, and back in Leshan, Sichuan he searched all over the old furniture market for wood suited for carving. After searching for a long time to no avail, suddenly a black wood appeared in front of him. Mao Yuyuan opened his bag, took out a knife, and even though this was his first try, black and white flowed neatly, neither sluggish nor obscure. This black wood is called “Jixiang board”, and is made using a German technique. Since then the portraits of Kant, Holderlin, Heidegger and Rilke flowed from his knife. Later, one hundred pieces of “ Jixiang board ” travelled across the Emei Mountain and the Ming River, and Mao Yuyuan soon set the blade point dancing with his unique spirit and extraordinary skill, resulting in over 100 vivid friends’ portraits. In the capital of Red Empire, Mao Yuyuan adjusted the purpose of the woodcut to be centered on people. In the deepness and shallowness lines, he attacked their contour, caught their spirit through their skins and arrived at their soul, to let those images become eternal. As his “Eternal Isolated Island”, full of romantic charm, Mao Yuyuan made his “a man religious painting” series and opened a new black and white world for his friends. He removed all the appendages, let the essence of God shine, and revealed the foundation of our era. 发现不一样的艺术 |
|
|
