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Article | Chen Kelong Li Tingting Pictures | Interviewee

2017年12月的一個(gè)午后，法國(guó)南部小城阿爾比陽(yáng)光甚好。

圖盧茲?勞特累克博物館內(nèi)，一位來(lái)自重慶的畫(huà)家，背著手，彎著腰站在一幅油畫(huà)前，盯著一幅油畫(huà)看得入神。

畫(huà)家名叫陳航。那幅油畫(huà)，出自西方現(xiàn)代繪畫(huà)立體主義先驅(qū)保羅?塞尚之手。親眼看到“偶像”的真跡，陳航興奮得忘記了時(shí)間，看了整整一天。

It was a sunny afternoon in Albi, southern France, in December 2017. In Musée Toulouse-Lautrec there stood a man. Hands behind his back and bending, he fixed his eyes at an oil painting, quite entranced.

The man is a painter named Chen Hang from Chongqing, and the oil painting enchanted him is a work of Paul Cézanne, the modern western cubism painting pioneer. Chen Hang was so excited to see the authentic masterpiece of his icon that he planted himself there for a whole day.

把“家”安在敦煌Settling in Dunhuang

到法國(guó)之前，陳航剛在重慶辦完個(gè)人創(chuàng)作展。第一次見(jiàn)到陳航，正是展覽開(kāi)幕那天，2017年11月18日。

瘦瘦高高的陳航從人群中走來(lái)，笑容滿(mǎn)面。一副無(wú)框眼鏡，一身黑色衣褲，邁著大步走進(jìn)了重慶兩江美術(shù)館，與來(lái)賓一一寒暄。

一樓的展廳面積不大，不過(guò)每面墻上都掛著陳航的作品。它們有一個(gè)共同的主題：“西部”。

正廳的墻上，一幅長(zhǎng)2米、高1.2米的國(guó)畫(huà)《岡仁波齊》，尤為攝人眼球。畫(huà)面中，白紅黑三種色彩，層次分明，明快筆直線條下的岡仁波齊，巍峨雄壯。

國(guó)畫(huà)上方，懸掛了一條紅色橫幅——禹跡西望，逐夢(mèng)絲路：陳航西行寫(xiě)生創(chuàng)作展。

2016整整一年，以及2017年近半年的時(shí)間，陳航流連忘返于遙遠(yuǎn)的大西北。不但自己西行，

他還帶著妻子和年幼的兒子，把家安在了敦煌， 過(guò)起了日子。早上，妻子出門(mén)買(mǎi)菜，陳航就把兒子送到飛天幼兒園，然后自己帶上畫(huà)筆，游走在敦煌。

行書(shū)對(duì)聯(lián)

Before heading for France, Chen Hang just finished the exhibition of his own works in Chongqing.

The first time we saw him is the very day of the exhibition’s opening, November 18, 2017.

Chen Hang, slim and tall, wearing rimless glasses and in all black, strode into the Galaxy Museum of Contemporary Art and greeted the guests one by one with all smiles.

Over 40 Chinese paintings were hanging on each wall of limited exhibition space at the first floor. All of these paintings have a same theme, “Western China”.

On the wall of the main hall hangs a quite eyecatching one—Mt. Gang Rinpoche, with a length of 2 meters and a height of 1.2 meters, which depicts the majestic and magnificent mountain with white, red,and black, distinct layers and straight lines.

Over the painting hangs a red banner saying “Pursuit along the Silk Road: Chen Hang’s Sketch in the Journey to Western China”.

From 2016 to 2017, Chen Hang spent a year and a half lingering in Northwest China.He even took his wife and son to settle in Dunhuang. In the morning, his wife went out for groceries, and he went out for sketching around the city alone after sending his son to kindergarten.

浪漫的西行寫(xiě)生Romantic Sketching Journey to the West

陳航從法國(guó)回來(lái)后，我們?cè)谝患铱Х瑞^再次相見(jiàn)。聊得最多的，是他那些西行途中的故事。

第一次入藏，是陳航跟隨畫(huà)家段七丁先生去寫(xiě)生。那是1991年的夏天，陳航還是個(gè)28歲的小伙子。年輕跳躍的心，一到了西藏，便沉靜了下來(lái)。

《經(jīng)行》

見(jiàn)我們對(duì)西藏很陌生，陳航主動(dòng)拿過(guò)我的本子，翻開(kāi)一頁(yè)白紙，簡(jiǎn)單幾筆就勾畫(huà)出了一張地圖。

地圖上有四根彎曲的線條，分別是滇藏線、川藏線、青藏線和新藏線?！八臈l進(jìn)藏線，我都跑過(guò)。”陳航扶了扶眼鏡，略帶自豪地說(shuō)。

“這里，岡仁波齊雪山?！标惡皆诘貓D上圈出來(lái)，回憶起了與岡仁波齊的相遇，“2016年，我到岡仁波齊，前后經(jīng)過(guò)四次，前三次都沒(méi)見(jiàn)到雪山，云霧太大了。第四次，返程路上，我才有幸見(jiàn)到它的真容?！?/p>

談起西部的風(fēng)土人情，陳航更是眉飛色舞。“陽(yáng)關(guān)外，看著蒼茫的塞外，我真是不自覺(jué)就念出了‘前不見(jiàn)古人，后不見(jiàn)來(lái)者。念天地之悠悠，獨(dú)愴然而涕下’這首詩(shī)?！?/p>

浪漫與摯愛(ài)，溢于言表。

玉門(mén)關(guān)的蕭索、古格王朝遺跡的悠遠(yuǎn)、岡仁波齊的神圣、托林寺的古拙……寫(xiě)生路上的每一處，對(duì)他來(lái)說(shuō)都是生命的奇遇。

After his trip back from France, we met up again in a café. He talked most about the stories of his journey to western China.

He first went to Tibet in the summer, 1991,following painter Duan Qiding sketching there.As a 28-year- old boy, young and restless, he surprisingly felt calmness down upon the entrance into Tibet.

Noticing that Tibet is strange to us, Chen Hang took my notebook and drew a fairly simple map.

On the map were four curving lines, showing four highways to Tibet from Yunnan, Sichuan,Qinghai and Xinjiang. “I tried all of them.” He raised his glasses, and said somewhat proudly.

Chen Hang outlined Gang Rinpoche on the map.He recalled that he missed any sight of it for the first three time and made it till the fourth time.

He went into raptures at the mention of landscape in western China.

Indeed, his love for the west is beyond words.

For Chen Hang, every single place on the sketching journey is a treasure in his life.

以直為曲的美Straight Lines in Painting Creates Beauty

《青藏日記》

與塞尚的“相遇”，則是陳航的另一大收獲。塞尚對(duì)于線條的運(yùn)用，直接影響了他在傳統(tǒng)國(guó)畫(huà)上的創(chuàng)作。

傳統(tǒng)水墨丹青中的線條，多以曲為直，為了在國(guó)畫(huà)創(chuàng)作上不落窠臼，陳航在線條上做出了改變。他近年的作品，線條多以直為曲，《岡仁波齊》正是代表。

“美，將萬(wàn)物歸納為直線 。”陳航喜歡塞尚作品呈現(xiàn)出的立體感，也喜歡同樣愛(ài)用直線的清代畫(huà)家虛谷，“在虛谷的畫(huà)作中，直線雖多，而境界空靈。”

陳航浸潤(rùn)傳統(tǒng)中國(guó)畫(huà)多年，如何在傳統(tǒng)國(guó)畫(huà)上推陳出新，一直是他思考的問(wèn)題?！耙幌鹿P就是古人，我不愿一直重復(fù)古人?！标惡教寡裕胗霉湃说恼Z(yǔ)匯超越古人，實(shí)非易事。

西部的游歷寫(xiě)生，讓他開(kāi)始有意放下傳統(tǒng)，遠(yuǎn)離傳統(tǒng)中國(guó)畫(huà)慣用的表現(xiàn)手法。不過(guò)，打破傳統(tǒng)并非丟掉傳統(tǒng)，陳航明白，“傳統(tǒng)是我的根基，已經(jīng)內(nèi)化于心。我的創(chuàng)新，在于打破國(guó)畫(huà)傳統(tǒng)的題材界限?！?/p>

“在他近年創(chuàng)作的作品里，那種‘宏大敘事’般的大開(kāi)大合、渾然幽深、氣勢(shì)撼人的圖式漸漸地少了，而更多地以一種近乎‘臨景’的圖式表現(xiàn)大西北的所見(jiàn)所聞?！彼拇ù髮W(xué)藝術(shù)學(xué)院院長(zhǎng)、教授黃宗賢，對(duì)陳航的“創(chuàng)新”如此評(píng)價(jià)。

一如我們?cè)陉惡絺€(gè)展上，看到的那些作品，無(wú)物不可入畫(huà)。

Paul Cézanne’s use of lines exerted direct influence on Chen Hang's work in traditional Chinese painting.

Chen Hang made some changes to traditional Chinese painting lines that are mostly curved. Most of his recent works are more of straight lines, and Mt. Gang Rinpoche is one of the representatives.

“All beauty lies in the straight lines.” Chen Hang loves the cubic effect in Cézanne’s works and Chinese Qing dynasty artist Xu Gu who preferred straight lines in painting.

Engaged in traditional Chinese painting for years, Chen Hang has been always thinking about how to make innovations in the area.

The sketching journey to the west of China enabled him to put aside the conventional skills in traditional Chinese painting. But he knows clearly that it does not mean casting away the tradition.“What I want now is to break the limit of traditional painting subjects.”

“There are less heavy, grandiose depictions in his latest works, and more vivid portraits of the earthly scenes in western China instead,” Remarked Huang Zongxian, professor and dean of Sichuan University’s College of Arts.

Just as the pictures we saw on Chen Hang’s solo exhibition, nothing cannot be put into a painting.

以書(shū)入畫(huà)的功力Combination of Calligraphy and Painting

聊到午后，陳航從手提包里拿出了一本剛出版的畫(huà)冊(cè)——《當(dāng)代中國(guó)書(shū)畫(huà)大家：陳航卷》。

一幅《甘青日記》引起了我們極大的興趣，畫(huà)面中的塔寺與題跋，筆墨枯少，又奇妙地相得益彰。

《八美》之一、之二

陳航解釋?zhuān)斑@是渴筆法，塔寺一筆而就，就像寫(xiě)字一樣，不作停頓?！?/p>

畫(huà)冊(cè)中還有許多作品采用了渴筆法。陳航認(rèn)為，它非常適合表現(xiàn)大西北的蒼茫。這也要求畫(huà)家得有過(guò)硬的書(shū)法功底。

事實(shí)上，陳航青年時(shí)就隨大哥陳爭(zhēng)一起學(xué)習(xí)書(shū)畫(huà)。攻讀博士時(shí)，陳航的專(zhuān)業(yè)正是書(shū)法。

陳航的哥哥陳爭(zhēng)，現(xiàn)在是貴州省美術(shù)家協(xié)會(huì)副主席、貴州畫(huà)院院長(zhǎng)、貴州省美術(shù)館館長(zhǎng)。在他眼中，弟弟陳航“在同輩的國(guó)畫(huà)家中，無(wú)論是學(xué)理探究的廣度，文史修養(yǎng)的全面，書(shū)法歷練的精深，包括傳道解惑的能力，陳航所達(dá)到的高度，能匹敵者委實(shí)寥若晨星”。

陳爭(zhēng)對(duì)弟弟在書(shū)法上的造詣，同樣知之甚深，陳爭(zhēng)曾說(shuō)，“我們?cè)陉惡降淖髌分锌床坏叫傅∑＼浀墓P墨，而點(diǎn)畫(huà)間總是充盈著精氣神的旺健和情理之中意料之外的筆外之筆，墨外之墨，味外之味。”

In the afternoon, Chen Hang took out a newly published painting album: Contemporary Chinese Painter—Chen Hang.

In the album the painting Ganqing Diary interested us a lot, in which the pogodas and temples as well as the calligraphy inscription seemed to be finished with somewhat dry ink but very harmonious altogether.

“This technique is called drybrush. The temples and pogodas are painted with none stop, just like in calligraphy,” Chen Hang explained.

The dry brush technique is used in many other works in the album. It is perfect for depicting the vastness of Northwest China, according to Chen Hang, but it asks for a painter’s good handling in calligraphy.

Actually, Chen Hang followed his brother Chen Zhen to learn calligraphy and painting since he was young, and his doctor’s degree was majored in calligraphy, too.

His brother Chen Zhen now is the vice president of Guizhou Artists Association, dean of Guizhou Painting Institute, as well as the curator of Guizhou Art Gallery. In light of him, “No matter it is in academic study or calligraphy, accomplishment in culture and history or in education, Chen Hang exceeds a lot most of the other counterparts.”

Chen Zhen knows well his younger brother’s attainments in calligraphy as well. He remarked, “In Chen Hang’s works, there is never sluggishness but always vigor and energy. His strokes may be out of your expectation but keep within understanding,and will leave you a lingering taste.”