文焦俞萍 JIAO Yuping

疏柳寒煙圖 尹滄海Scattered willows in cold smoke YIN Canghai

唐代畫家張璪談及藝術(shù)創(chuàng)作時(shí)曾言：“外師造化，中得心源”；北宋畫家范寬說(shuō)：“前人之法未嘗不近取諸物，吾與其師于人者，未若師諸物也。吾與其師于物者，未若師諸心也?！逼涠丝芍^異曲同工地道出了中國(guó)傳統(tǒng)繪畫創(chuàng)作的藝術(shù)規(guī)律：外物感于心，藝術(shù)家以自己的情感、思致滲透改造物象，進(jìn)行取舍、加工、升華，創(chuàng)作出具有獨(dú)特審美風(fēng)格的藝術(shù)作品。南開(kāi)大學(xué)教授、天津美協(xié)副主席尹滄海就是一位強(qiáng)調(diào)自然，有傳統(tǒng)修養(yǎng)和藝術(shù)思考以及獨(dú)立審美追求的藝術(shù)家。他的中國(guó)畫作品涉獵廣泛，涵蓋人物、山水、花鳥(niǎo)三個(gè)大領(lǐng)域，涉及現(xiàn)實(shí)人物、佛道鞍馬、神靈怪異、名山大川、仙山瓊閣、異域風(fēng)光、花鳥(niǎo)蟲(chóng)魚(yú)、果蔬案頭、祥禽瑞獸等眾多題材。作大幅山水風(fēng)格氣勢(shì)恢宏；作人物、花鳥(niǎo)多見(jiàn)性情。作品筆墨精湛，注重書(shū)畫之一律，“密體”“疏體”“工筆”等諸法皆備，格調(diào)純正、天真自然，而又體現(xiàn)出畫中有詩(shī)、禪境入畫的審美意趣，抒發(fā)著于現(xiàn)實(shí)之外恬淡、安然之心境。

詩(shī)意的棲居

對(duì)于詩(shī)畫之交融，尹滄海認(rèn)為：“禪宗的所謂‘見(jiàn)性’以及以莊子為代表的道家思想以審美的態(tài)度追求的天人合一與儒家之互補(bǔ)，是詩(shī)畫交融的哲學(xué)根基。中國(guó)人獨(dú)特的美學(xué)觀念和審美趣味，經(jīng)過(guò)千百年文人畫家的創(chuàng)作實(shí)踐，文人畫最終具有強(qiáng)烈的移情性，以書(shū)為骨，以詩(shī)為魂，直指內(nèi)心?！庇^尹滄海的畫作，《疏柳寒煙圖》《遠(yuǎn)岸依稀初月明》《閑聽(tīng)魚(yú)讀月》等作品，畫境幽深而不晦澀，筆墨簡(jiǎn)逸而從容自然，充滿勃勃生意，畫中常有陶淵明的恬淡自然、李白與蘇軾的豪邁大氣；而有時(shí)那幾筆錚錚骨法的勾勒，透露出杜甫“沉郁頓挫”之風(fēng)骨。他的筆下，常蘊(yùn)有詩(shī)人的文韻：“東風(fēng)不解語(yǔ)，何故亂我心”“秋水無(wú)波魚(yú)自如”“月明午夜生虛籟”……透露出濃濃的畫意與詩(shī)情。

“自然”是中國(guó)繪畫的核心美學(xué)追求?！白匀弧币粍t有“自然而然”之意，要求繪畫創(chuàng)作要盡可能的消解人為做作痕跡；二則有“師造化”之意，強(qiáng)調(diào)畫家要深入自然，體察自然之本真?！白匀弧钡拿缹W(xué)追求與老莊哲學(xué)的“自然”概念以及魏晉玄學(xué)的“自然”觀有著直接的思想聯(lián)系。一言以蔽之，即是用一種具有“淡”“拙”“樸”美感的筆墨表現(xiàn)天地自然之本真。

對(duì)“自然”之親近，也是尹滄海中國(guó)畫創(chuàng)作的重要特征。他說(shuō)：“畫家在其進(jìn)入創(chuàng)作狀態(tài)之前不僅要理性地、體察入微地觀察所要描繪的物象的豐富性，同時(shí)更重要的還應(yīng)該被自然之‘大美’的和諧秩序所感動(dòng)?！彼麑?duì)自然的體察，是“以詩(shī)人之眼觀物”，是謂“登山則情滿于山，觀海則意溢于海”，潑墨揮毫間寄托著他對(duì)田園自然逸趣的向往，他以天真自然之筆，為自己找到詩(shī)意的棲居之所。

獨(dú)有豪情 尹滄海Unique Confidence YIN Canghai

無(wú)法而法

中國(guó)繪畫藝術(shù)的創(chuàng)作尤為重視生活的真實(shí)感受。尹滄海認(rèn)為：“生活感受包括‘感受——感知——覺(jué)悟’，它不是面對(duì)生活素材不加思索，不去用心領(lǐng)悟，就能憑空生發(fā)的。不然，縱使‘眾里尋他千百度’，也難以獲取。這其中包含‘親見(jiàn)’與體驗(yàn)，包含著回憶與思索，更包含著長(zhǎng)期的思想的、生活的、知識(shí)的積累。”正是在這種對(duì)于生活實(shí)感的反觀與沉淀中，畫家將原本瑣碎、繁雜、無(wú)序的個(gè)體情緒，加以凝練化與秩序化，構(gòu)成了足以孕育創(chuàng)作實(shí)踐的藝術(shù)個(gè)性。

自我生命體驗(yàn)的自由表達(dá)是中國(guó)繪畫“寫意性”的旨要所在，但是這種自由表達(dá)并非是筆墨的胡涂亂抹，畫家主體狀態(tài)的洋溢仍需依據(jù)并借助法則與秩序。尹滄海認(rèn)為，辯證地認(rèn)識(shí)、處理自然秩序與藝術(shù)秩序的關(guān)系是極為重要的一個(gè)方面?！罢莆兆匀恢碚撆c知識(shí)，對(duì)于繪畫過(guò)程來(lái)講是必要的。但是有了這些理性知識(shí)，并不等于我們就能夠畫好一幅畫，重要的是在作畫時(shí)以‘坐忘’‘離形’‘去智’的非分解性、概念性的純知覺(jué)活動(dòng)，對(duì)于自然之理進(jìn)行化解與融通。在這樣創(chuàng)作狀態(tài)下所傳達(dá)的藝術(shù)精神，雖然是一己的個(gè)性表現(xiàn)，卻能夠直達(dá)物象本質(zhì)，因而，也就體現(xiàn)了自然之秩序，并表達(dá)了藝術(shù)秩序?！彼f(shuō)。

談到寫意花鳥(niǎo)畫與禪宗寫意畫的關(guān)系，尹滄海表示，禪宗的“自用智慧常觀照故，不假文字”，如老莊“道法自然”“復(fù)歸于嬰兒”一樣，都是旨在講述人的自然本性回歸的途徑，而寫意花鳥(niǎo)畫自身的自然性的特點(diǎn)，首先要求寫意畫家回歸到自心，回歸到萬(wàn)物齊一的境界。尹滄海的書(shū)畫作品都表現(xiàn)出禪宗寫意之風(fēng)。他的《達(dá)摩面壁圖》《形容出造化 想象成天地一荷花翠鳥(niǎo)》《空山無(wú)人 水流花開(kāi)》《莫謂無(wú)心便是道》《莫道山中歲月長(zhǎng)》《心閑便是神仙》等作品，以禪宗寫意畫的精神、形式、語(yǔ)言為特點(diǎn)，筆勢(shì)飛揚(yáng)的同時(shí)把握墨色的韻致，自由揮灑中編織出一個(gè)寂靜淡雅的水墨藝術(shù)世界。

When the artist of the Tang dynasty ZHANG Zao talked about artistic creation,he once said: "Stemming from natural environment, arts are created by artists’ inner minds". The Northern Song dynasty painter FAN Kuan also said: "The method for painting landscape of predecessors is by observing environment.Rather than learning from them, I should observe the landscape carefully. Rather than observation, I had better choose the technique and genre I prefer. " The two artists have stated the artistic rules of China’s traditional creation of painting through different means: the artist infiltrates and transforms objects with his own emotions and thoughts,creating artistic works with unique aesthetic styles through selecting, processing and sublimating. YIN Canghai, professor of Nankai University and vice-chairman of the Tianjin Artists Association, is an artist who emphasizes nature with traditional cultivation, artistic thinking and independent aesthetic pursuit. His Chinese paintings cover a wide range of subjects, including characters, landscapes, flowers and birds, involving people, Buddhist and pommel horses, deities, famous mountains and rivers, holy mountains and pavilions, exotic scenery, flowers, birds and fish,fruit and vegetable, the benevolent and many other topics out of the real life. His large landscape style paintings were magnificent while featuring genuine temperament in paintings about characters, flowers and birds. The works are exquisite in writing and focusing on paintings and calligraphy especially in the form of "compact body", "dispelling body" and "work brush". The style of YIN is pure, innocent and natural, while embodying the aesthetic interest of poetry and Zen-style in the painting,presenting sound and safe mood out of the reality.

九華秋蓮 尹滄海Autumn lotus in Jiuhua Mountain YIN Canghai

Poetic Dwelling

For the blending of poetry and painting, YIN Canghai believes:"The so-called 'seeing nature’ of Zen Buddhism and the Taoist ideas represented by Zhuang Zi’s pursuit of the aesthetic attitude to the harmony between man and nature complement the Confucianism, which is the philosophical foundation for the blending of poetry and painting. The Chinese people's unique aesthetic concepts and tastes, after thousands of years of literary artist's creative practice, showcase strong empathy in term of the literati paintings, with the calligraphy as the bone and the poems as the soul, pointing straight to people’s heart."Viewing the paintings of YIN Canghai,Smoke in Winter,Admiring Crescent in Distance, Fish and Moonand other works are deep but not obscure with simple and natural brushwork, full of vitality. His paintings often illustrate the bleak atmosphere of TAO Yuanming, splendid ambition of LI Bai and SU Shi, and sometimes the sketches reveal the strong character of DU Fu's"sudden frustration". The rhyme of the poets is often shown by his brushes: "Inexplicable east wind disturbs my heart" "Free fish under calm water in autumn" and "The moonlight brightens at midnight."…revealing thick painting and poetic feelings.

"Natural" is the core aesthetic pursuit of Chinese painting."Natural", on one hand, has the meaning of "by the light of nature", requiring paintings to be as free as possible of artificial traces. On the other hand, there is the intention of "learning from the nature", emphasizing that the painters must get close to the nature and observe its genuineness. The aesthetic pursuit of "natural" has a direct connection with the concept of "nature"of Lao Zi and Zhuang Zi’s philosophy and that of metaphysics of Wei and Jin dynasties. In a word, it expresses the true nature of the natural world with the brushwork of "light", "clumsy" and"honest".

The closeness to "nature" is also an important feature of Yin Canghai's Chinese painting creation. He said: "The artist must not only observe the abundance of the objects to be depicted before he enters the creative state in a rational and physical manner,but at the same time he should be moved by the harmonious order of the ‘natural beauty’." His observation of nature is "a poet's perspective of the object", which means "Emotion is embedded in nature", and the splashing brushwork entrusts his enthusiasm for the pastoral nature as the painter uses the brush of innocence and nature to find himself a poetic dwelling.

Taoist Nature

The creation of Chinese painting art pays special attention to the true feelings of ordinary life. YIN Canghai believes: "Sensations of life include 'feelings-preservation-consciousness', which cannot occur without unhesitating thinking of materials of life or understanding by heart. Otherwise, even if 'looking for it forever’, it’s hard to find. It includes 'visiting' and experience,containing memories and reflections, but also long-term accumulation of ideas, life and knowledge." It is in this reflection and precipitation of a sense of real life that the artist condenses and regularizes the individual emotions that were originally trivial, complicated and unordered, and constitutes an artistic personality sufficient to cradle the creative practice.

The free expression of self-life experience is the purpose of"freehand" of the Chinese painting, but this free expression is not a mess of ink and brush, and the overflow of the painter’s subject status still requires relying on rules and orders. According to YIN Canghai, understanding and dealing with the relationship between natural and artistic order is an extremely important aspect in the dialectical manner. He said: "Grasping the theory and knowledge of nature is necessary for the painting process.However, with this rational knowledge in hand, it does not indicate that we can draw a good picture. What is important is that, during painting process, the non-decomposing and conceptual and pure consciousness of activities as 'sit still','deformation' and 'de-intelligence' resolve and integrate nature's principles. The artistic spirit conveyed in this state of creation,although a manifestation of one's own personality, is able to directly reach the nature of the object, hence, it also reflects the order of nature and expresses the artistic order. "

Upon talking about the relationship between freehand brushwork of flower and bird and Zen freehand paintings, YIN Canghai stated that Zen's "Without reminding words, he uses wisdom to observe himself to reach the realm", and Lao Zi and Zhuang Zi’s "Taoist Nature" and "Return to Baby Status" are all intended to tell about the ways for human being to return to natural status. And the natural characteristic of freehand flower and bird painting, first of all, requires artists of freehand painting to return to their own hearts and the originality of all issues. YIN Canghai's paintings and calligraphy all showcase the Zen style of freehand brushwork. HisBodhidharma Facing The Wall, Lotus and Birds, Empty Landscape with Flowing Water and Flowers,All About Ways, All About Time,God with Free Heartand other works, characterized by the spirit, form and language of Zenstyle paintings, feature flying strokes while grasping the charm of ink, depict a silent and elegant art-world of ink based upon freedom.