侯寶川：守望大涼山

◇| 文本刊記者 陳科 龍實習(xí) 生朱江 怡| 圖 劉一 周 受訪者提供

侯寶川：守望大涼山

◇| 文本刊記者 陳科 龍實習(xí) 生朱江 怡| 圖 劉一 周 受訪者提供

Hou Baochuan: Looking out Daliang Mountains

Article | Chen Kelong Zhu Jiangyi Pictures | Liu Yizhou Interviewee

走進位于虎溪公社的侯寶川畫室，仿佛置身于一片芳香馥郁的田間地頭。畫室四壁，掛滿了一幅幅意境悠遠的田園風(fēng)景畫，田野、溪水、池塘、遠山、白楊、梯田、冬雪……對于久居城市的人來說，這一切都讓人心馳神往。

Walking into Hou Baochuan studio in Huxi Art Commune is like walking into fields full of fragrance. There are many pastoral landscape paintings hanging on the wall. Fields, streams, ponds, mountains, white poplars, terrace, and snow, all make residents in cities long for them.

一句話鎖定一生

One Piece of Suggestion

不到1歲，侯寶川就隨父母去到了大涼山生活。父親在涼山州文化館任館長，侯寶川從小就認識很多藝術(shù)家，自然而然喜歡上了畫畫?！靶r候就是畫著玩，真正開始學(xué)習(xí)畫畫是在1974年?！焙顚毚ɑ貞浧?3年前的那段往事。

16歲那年，侯寶川和親朋好友到成都看畫展，在藝術(shù)館恰巧見到了正在創(chuàng)作的錢來忠老師(錢來忠曾任四川省藝術(shù)館館長、四川省文化廳副廳長、四川省美術(shù)家協(xié)會主席）。一番交談后，錢來忠建議侯寶川把畫畫作為一技之長，可以在那個特定的年代當(dāng)作踏入社會的“敲門磚”。當(dāng)時，錢來忠還給侯寶川畫了一幅頭像，送給了他一把炭筆，囑咐他要勤加練習(xí)。

“錢老師那么一說，基本上就鎖定了我的一生，勢必要與畫畫相伴?！睆哪侵?，侯寶川就開始臨摹練習(xí)、訪師問道，一刻也不敢停歇。

恢復(fù)高考后的第一年，在榮昌下鄉(xiāng)當(dāng)知青的侯寶川就報考了川美，只是結(jié)果不盡如人意。

布面油畫《回鄉(xiāng)路》130x162cm 2017年

布面油畫《融雪系列2016NO5》200x200cm 2016年

布面油畫《急轉(zhuǎn)彎No6》180x160cm 2013年

“那時的高考，千軍萬馬過獨木橋，幾千名考生，只招幾十人。許多考生都在城里受過專業(yè)訓(xùn)練，我是自學(xué)，第一年沒考上?！睂λ囆g(shù)的愛透進了骨子里，侯寶川沒有灰心，他一年接一年地考，第五年終于考上了川美。

Less than 1 year old, Hou Baochuan went to Daliang Mountains with his parents. His father worked as curator of Liang Shan Zhou cultural centre, so he had known many artists since childhood and naturally liked to paint. It was in 1974 that Hou Baochuan started to learn painting systematically.

At the age of 16, Hou Baochuan visited an art exhibition in Chengdu with his relatives and friends where he met Qian Laizhong, then curator of Art Gallery of Sichuan Province, who was painting. After talking to him, Qian Laizhong suggested he should learn painting as an important skill to live at that age. Qian Laizhong also drew a portrait for him and gave him a charcoal pencil to encourage him.

From then on, Hou Baochuan began to practice copying, visit artists，lean from them and wouldn’t stop for a second.

At the first year after the college entrance exam mechanism was reinstated, Hou Baochuan who was teaching in Rongchang Workers’ Children School took the entrance examination of Sichuan Fine Arts Institute but failed.

布面油畫《黑山白雪》100cmx80cm 2014年

“Taking the college entrance exam at that time was like thousands of horses and soldiers passing through a single-log bridge. Many candidates had been trained in the city but I learned painting by myself, so I didn’t pass the exam.” Hou Baochuan said. He was finally admitted by Sichuan Fine Arts Institute at the fifth year.

畫筆回歸大涼山

Brushes Back to Daliang Mountains

侯寶川是班里年長的學(xué)生?！拔业睦蠋煆垥詣偤腿~永青和我是同年出生的，我們既是師生，也是兄弟伙?！鄙鲜兰o(jì)八十年代，西方當(dāng)代藝術(shù)傳入中國，張曉剛和葉永青把西方當(dāng)代藝術(shù)的理念、表現(xiàn)手法等引入課堂，直接影響了侯寶川早期的風(fēng)景畫創(chuàng)作。

侯寶川的風(fēng)景畫創(chuàng)作，最早是在平面裝飾畫上取得的突破。裝飾畫講究規(guī)范，注重唯美的視覺效果，侯寶川的平面裝飾畫創(chuàng)作越來越得心應(yīng)手，有一次他的一幅作品竟然被老師的夫人誤認為是老師的作品。侯寶川意識到自己的風(fēng)格和老師走得太近，反而難以凸顯自己的特色。于是，他開始尋求轉(zhuǎn)變。

俗話說，一方山水養(yǎng)一方人，侯寶川想到了自己生長的土地——大涼山。

“如果不畫自己最熟悉最了解的東西，不去追思鄉(xiāng)愁鄉(xiāng)情，作品出來以后就會顯得很蒼白?！苯?jīng)歷了這樣一番思考，上世紀(jì)九十年代中期，侯寶川將畫筆伸向了他熟知的土地。

“想到大涼山就會想到母親。我出生后，她一直留在大涼山，去世后也長眠在大涼山。每年，我都要回大涼山好幾次，去看那個地方，其實就是看我的母親。大涼山也就成了我永恒的創(chuàng)作主題?！焙顚毚ㄒ贿呎f著，一邊扶了扶眼鏡，不覺想起母親已經(jīng)離開50個年頭了。

Hou Baochuan was older in the class. “My teachers, Zhang Xiaogang and Ye Yongqing and I were born in the same year, so we can be both teachers and students, and brothers.” Western contemporary art was introduced into China in the 1980s and Zhang Xiaogang, and Ye Yongqing introduced the idea of western contemporary art and techniques of expression into class, which directly affected Hou Baochuan’s early landscape paintings.

Like old saying goes, each place has its streams in from all over the country. Hou thought about the place where he grows up, Daliang Mountains.

If an artist don’t draw what he is most familiar with and don’t go after homesickness, his worksare skin-deep. After such consideration, Hou reached the land he knows through brushes in the mid-1990s.

布面油畫《融冬·路NO3》100cmx80cm 2013年

“When I think of Daliang Mountains, I will think of my mother. She had been living in Daliang Mountains since I was born and she rests there forever after she died. Every year, I would go back to commemorate her. Daliang Mountains has become my eternal painting theme.” Hou Baochuan said, while adjusted his glasses, and his mother had left him for 40 years.

走上一條回歸的路

Deep Love and Praise for Daliang Mountains

在“大涼山”系列作品中，侯寶川大多采用直線化的分割，筆觸粗獷有力，那些斑駁的肌理豐富了畫面的情緒。

為了追求博大、恢宏的氣勢，侯寶川用全景式的構(gòu)圖，弱化對遠山與天空的描繪，反而讓其與中景內(nèi)的大地融匯在一起，從而產(chǎn)生一種混沌、蒼茫的意象。

“這些年，大涼山的風(fēng)景成為我筆下表現(xiàn)的主題，因此產(chǎn)生了‘布拖壩子’系列。彝族同胞世世代代生活在大涼山，蠻荒的大山和惡劣的氣候，造就了他們粗獷的性格和強烈的生存愿望。彝族人的吃苦精神是常人無法理解的，他們的韌性也是常人無法想象的。在艱苦的自然環(huán)境中，他們頑強地與天斗、與地斗，在貧瘠的土地上辛勤的勞作，創(chuàng)造著豐收和富裕的奇跡?！焙顚毚ㄟ@樣闡釋這一階段的創(chuàng)作。

當(dāng)前關(guān)于《史記》英譯研究成果斐然，但是研究成果主要集中在翻譯學(xué)方面，鮮有從傳統(tǒng)文獻語言學(xué)的角度去研究。有中文系學(xué)者曾作為倪譯“翻譯坊”成員之一，參與了倪譯某初稿的討論，認為“嚴(yán)謹?shù)赜⒆g《史記》原文，或許會促進《史記》文本本身的進一步研究”（曲景毅2014）。倪豪士在談及他翻譯中遇到的困難時說：“真正了解《史記》的中國人，沒有什么英文的能力……問他們英文的一句話，他們都不懂。如果年輕人學(xué)了古典文學(xué)，也學(xué)了英文，那是最好的”（2015年8月22日鳳凰江蘇網(wǎng)采訪）?？梢姡嘁暯?、多維度、跨學(xué)科研究一定會促進翻譯本身和對原作的研究。

在侯寶川畫筆下，大涼山是具有象征意義的風(fēng)景，在蒼涼、苦澀、凝重的畫面背后，是他對大涼山的熱愛，以及對生活在這片土地上的人們的禮贊。

翻看侯寶川的作品集《詩意的棲居》，會發(fā)現(xiàn)許多以大涼山為主題的風(fēng)景畫，都有一條路，或者田間小路，或者山間“天路”，或者高速公路。

“那是一條回歸的路?！焙顚毚ㄕf自己上了年紀(jì)了，常常想回到大涼山，哪怕是坐在農(nóng)家院壩里喝碗水都能心滿意足。

鄉(xiāng)愁之情和民族認同，讓侯寶川在大涼山找到了自己的根，反哺他的油畫作品以濃濃的人文氣息。

侯寶川指著四幅有道路的作品說：“這是路之春夏秋冬，從早年險峻的‘天路’油畫，到如今四通八達的高速路油畫，那不僅僅是我回歸故土的路，更是當(dāng)?shù)匾妥逋赂坏穆贰！?/p>

In the “Daliang Mountains” series, Hou Baochuan uses straight lines to split the image and mottled texture to enrich the mood of the picture.

In pursuit of broad, magnificent momentum, Hou Baochuan composes with panoramic view, weakening the depiction of distant mountains and the sky and making them integrated with land, to produce a chaotic and vast image.

“Over the years, the landscape of Daliang Mountains was my composition theme, so the‘Bu Tuo Ba Zi’ series was produced. People of Yi nationality live in Daliang Mountains from generation to generation and wild mountains and harsh climate contributed to their rough character and strong desire to survive. They doggedly fight the terrible natural environment and barren earth to create the miracle of harvest and richness.” Hou Baochuan explained his composition at this stage of creation.

Under the brush of Hou, Daliang Mountains are symbolic. Behind the desolate and dignified image were Hou’s love of Daliang Mountains and praise for the people who live there.

Looking through Hou Baochuan’s collection“Poetic Habitation”, one will find roads, paths or highways would appear in landscape paintings with Daliang Mountains as the theme.

They are ways of going back. Hou Baochuan said he is getting old and often thought about returning to Daliang Mountains. Even drinking water sitting in a farmer’s house contents him.

Homesickness and national identity make Hou Baochuan find his root which were expressed in his oil paintings.

Pointing at four paintings with roads, Hou said they are roads in spring, summer, autumn and winter. From steep mountain roads to highways, they are not only his ways of going back home, but also ways of people of Yi nationality getting well-off.

布面油畫《秋野》116cmx80cm 2014年

進入對自然的靜觀與哲思

Into Contemplation of Nature and Philosophizing

2012年以來，侯寶川的作品中，出現(xiàn)了大量的大涼山雪景，如2014年的作品《黑山白雪》《長云靜山》。

“這些雪景作品，表明了畫家內(nèi)心世界的提煉與升華?！敝醒朊佬g(shù)學(xué)院教授、博士生導(dǎo)師殷雙喜已經(jīng)留意到，侯寶川的繪畫試圖超越現(xiàn)實世界的視覺盛宴，進入一種對自然的靜觀與哲思，“這是十分難得的風(fēng)景境界?！币箅p喜指出，侯寶川的風(fēng)景繪畫，接近中國古代畫家的自然觀與人生觀，可以看出古代文人與自然的心理聯(lián)系。

事實上，侯寶川寄情于自然山水，卻沒有傳統(tǒng)文人容易患上的消極避世。他的風(fēng)景畫，畫的是人們勞作和生活的家園，是春播秋收的土地，是皚皚白雪下壟埂縱橫的莊稼地，彌漫著強烈的生活氣息，有著可感的溫度。

侯寶川幾乎把風(fēng)景畫當(dāng)作了自己惟一的創(chuàng)作方向，從上世紀(jì)九十年代開始，幾十年來，他心無旁騖始終醉心于描繪山崗河流、丘壑叢林和四時景色。表面上他畫的是自然風(fēng)景，本質(zhì)上卻是人文的景象。

中國藝術(shù)研究院美術(shù)研究所研究員王端廷看過侯寶川的油畫作品后曾說，“侯寶川的風(fēng)景畫把當(dāng)代都市人對自然的向往和迷戀之情表現(xiàn)得淋漓盡致，他為自己也為我們建造了一個寄托心靈的詩意家園?！被蛟S，這是對侯寶川和他的風(fēng)景畫的另一種“素描”。

From 2012, there are many Daliang Mountains snowscape appearing in the works of Hou, for example, “Black Mountain and White Snow” and“Quiet Mountain under Clouds”.

“The snowscape paintings present the refining and sublimation of the painters’ inner world.”Yin Shuangxi, professor and doctoral supervisor of Central Academy of Fine Art has noticed that Hou’s paintings attempt to go beyond real world visual feast and into contemplation of nature and philosophizing. “It was a rare scenery state.” Yin Shuangxi said, also he pointed out that from Hou’s paintings, people can see the psychological contact between ancient literati and nature.

Hou Baochuan expressed himself by natural landscape but he didn’t have a negative attitude like traditional literati. His landscape paintings were homeland where people farming and living in, earth on which people harvest and fields under snow, which were full of life.

Hou Baochuan almost uses landscape painting as his unique composition direction. Starting in the 1990s, he was indulged in portraying hills, rivers, jungles and views in different seasons for decades. Seemingly, he was painting natural landscape, but in nature humanistic picture.

After seeing Hou’s paintings, Wang Duanting, an researcher in Art Institute of the Chinese National Academy of Arts, said: “Hou Baochuan’s paintings portray contemporary urbanite’s longing and fascination for nature incisively and vividly. He built a poetic homeland for himself and for us.” Perhaps, this is another “sketch”for Hou Baochuan and his landscape paintings.

侯寶川

Hou Baochuan

1958年10月生于四川成都，1986年畢業(yè)于四川美術(shù)學(xué)院美術(shù)教育系并留校工作?，F(xiàn)任四川美術(shù)學(xué)院副院長、教授、碩士研究生導(dǎo)師，中國美術(shù)家協(xié)會會員、重慶美術(shù)家協(xié)會副主席。

Hou Baochuan was born in Chengdu, Sichuan Province in 1958 and graduated from Sichuan Fine Arts Institute in 1986 and worked there. As associate dean, professor and master supervisor of Sichuan Fine Arts Institute, he is also vice president of Chongqing Artists Association, and a member of China Artists Association.