单从画面风格上来看，林春岩的作品和伊灵的作品貌似风格迥异，但其根本是一样的，即同是在描绘和表达人的一种下意识状态。这种下意识状态是不受任何东西控制的，随意性的，自发性的，并且是无序的。它没有一个固定的形态，也不拘泥于一种程式，是流动的，漂浮的，游离的。在他们的作品中也都体现出一种道教思想，即存在的事物是可以对等的。所以我们看到在他们的画面中植物、动物与人是对等的；语言文字是画，画也是画；民族的、个人的、抽象的、具象的、传统的、现代的等等都和谐共存在同一个画面中。

澳大利亚批评家和艺术史学家John McDonald曾经评说林春岩的画是“创造的是一种纯粹的感觉艺术”，在他的画中察觉到一种“生活乐趣”和“极度狂喜的自由”，通过一定的技法林春岩表现了人体推动自己跳跃、俯冲、下潜或跃入空气与水中时的感受。实际上，这种所谓的“感觉艺术”在伊灵的作品中也同样存在。伊灵运用自己的“图像书写”，将自身的内心世界不加掩饰的坦诚地呈现在观众面前。我们看到画面出现的“多”、“满”与“叠加”实际就是他对自己的狂欢心理、即兴、联想的情不自禁地心灵表达和精神流露，这也正是我们感受到伊灵的作品好像是无休无止的原因。而他完成一幅作品的过程，其实就是他思绪情感无序流动与叠加的过程。

民族性是二者的另一个相似之处。伊灵有过长达四年多的环国旅行的经历，在这次旅行中，他吸收了太多的民间艺术的营养，在他密集繁复的笔触中，隐隐约约透露出来类似动物图腾的象征符号，非常抽象，却极富民族特色。正如诗人何路所说“将先锋的艺术形式与民族传统文化的结合达到了一种和谐和完美”。另一方面，他的民族性还体现在其对油画民族化的情有独钟上。在林春岩的研究计划里有这样一条，即“探索油画与中国传统水墨之间在组织与技法上的特定区别，目的是在绘画上发展出一种能够反映出综合油画和中国水墨画内在哲学或宗教观念的新的关系和表现手法。”这一点，他做到了。在国外学习了各种油画技法，回到国内又研究了大量古代佛教雕塑、中国古代哲学。就是这样不断的出国考察体验，回国深入研究、学习，中西并置糅合，他的绘画步步深入，从而找到自己成熟而稳定的图式。通过看似简单的图式塑造一种巨大的能量。虽然都有民族性，但却是当代的，个人的。

林春岩和伊灵都不是宗教信仰者，但是，对他们来说绘画就像是一种宗教。通过绘画他们可以平静的诉说自己的心灵，流露自己的情感。他们对于绘画的执着与投入就像基督徒对于上帝的虔诚。对于艺术的追求，他们默默坚守，始终如一。我相信，一个真正把绘画当作自己生存信念和理想的人，一定会成就一番大事业。

Written and translated by Xu Sheng

Only from the screen style, Lin Chunyan’s works seemingly are very different from Yi Ling’s, but they are the same. They both described and painted people’s subconscious state. Such kind of unconscious state is uncontrolled, random, spontaneous and out-of-order. There are neither fixed forms, nor rigidly adherence to a rule, but mobile, floating and free. Taoist ideas are shown in their works, that existed things can be reciprocal. So, the plants, animals and human being in their pictures are opposite; language is painting, painting is painting; national, personal, abstract, figurative, traditional, modern and so on all can exist harmoniously in a picture.

John McDonald, Australian art critic and historian, said that Lin Chunyan’s works “created a kind of pure sense of art”. In his paintings we can observe a kind of “joy of life” and “extreme ecstasy of freedom”. Through certain techniques, Lin Chunyan represents many kinds of feelings, like jump, dive and submerge into the air or water. In fact, such so-called “sense of art” also existed in Yi Ling’s works. Using a kind of “image writing”, Yi Ling shows his inner world to the audience frankly without hiding. The “abundant”, “full” and “repeated” in his works are actually his own spiritual expression without control that his reveled mind, improvisation and association of ideas. That is why we can feel his works endless. The course that Yi Ling created a works is the course that his thoughts and feeling flow and repeat disorderly.

Nationality is another similarity between them. Yi Ling traveled around the country more than four years. In the tour, he has absorbed so much nutrition from the folk art. In his serried complex strokes, many similar animal totemic symbols disclosed from it subtly, which are full of national characteristics. As the poet He Lu said, “Combined the pioneer art form with traditional national culture to a harmonious and perfect.” On the other hand, his nationality also embodied at his deep loving with nationalization of the oil painting. There is an item in Lin Chunyan’s study plan, which is “to explore some specific differences on organization and techniques between the oil paintings and Chinese ink painting, in order to develop a technique that can reflect inherent new connection of philosophy or religion between them comprehensively.” He did it. He studied a variety of painting techniques abroad and researched a large number of ancient Buddhist sculpture and the ancient Chinese philosophy when he return to China. Through constant studying abroad and research at home, he can find his own mature and stable language. With some simple graphical language， he shaped a kind of huge energy. Although there is national in there works, but it is contemporary, personal.

Lin Chunyan and Yi Ling are not religious believers, but for them, painting is like a kind of religion. Thorough painting, they can tell their hearts, reveal their feelings calmly. Their dedication and devoting to painting just like a Christian’s piety to God. As for pursuit of art, they insist quietly. I believe that one can real put the painting as his own survival beliefs and ideals will have a great success.

 

 

 

学术支持：栗宪庭、杨卫

协办单位：中国当代艺术网(www.artc.net.cn)、《艺术经典》杂志

媒体支持：世纪在线中国艺术网、99艺术网、视觉天下、大观园艺术网、美术同盟、中国艺术新闻网、艺术国际、卓克艺术网、浙江艺术网、《艺术地图》、《世界艺术》、《当代艺术》、《ART概》、《涂鸦街》

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地    址：深圳市宝安区宝城22区公园路「深圳22艺术区」一号楼二层

 

 

Curator: Huang Long

Academic supports: Li XianTing Yang Wei

Organizer: Ge Feng Contemporary Art Museum

Support Organizers: www.artc.net.cn, Art Classic

Duration: 2008.12.5-2009.1.5

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