張繼渝：在高原盛開(kāi)的熱情

◇ 文| 本刊記者 胡 婷 圖| 受訪者提供

左上：《雨后偏巖之一 》 布面油畫 80×65cm 2017.4

左下：《龍?zhí)栋素跃?布面油畫120x80cm 2015.10.20

右：《摩梭村寨之五》 布面油畫 80×80cm 2017.4

那是個(gè)晚秋的黃昏，陽(yáng)光和煦。長(zhǎng)江邊，東水門大橋和建筑物的玻璃反射著橘紅色的光。南濱路上，張繼渝穿著黑色短袖，拿著畫筆，在畫布上記錄下這落日余暉浸染著的寧?kù)o。

在我們見(jiàn)面的四天前，他剛忙完了自己的第十個(gè)畫展，本打算休息幾天，可他卻說(shuō)：“幾天沒(méi)畫，手癢，過(guò)下癮。”

教書之余，張繼渝喜歡無(wú)拘無(wú)束地行走在山野、江邊寫生，“我喜歡田園風(fēng)光，喜歡尋找那些偏遠(yuǎn)處的花草樹(shù)木，喜歡那些曾一度點(diǎn)燃我激情的向日葵?！?/p>

It was at nightfall in the late autumn, cozy and genial. Standing by the Yangtze River, the East Gate Bridge and other buildings were shining with orangecolored light of sun. On the Nanbin Road, Zhang Jiyu,wearing black T-shirt and holding a paintbrush, drew down on the canvas this tranquil scene.

He had just finished his tenth art exhibition four days before the interview and told us that there was no need to rest now and he should start painting immediately.

Besides teaching, Zhang Jiyu enjoys a carefree ramble between mountains and sketching by rivers.“I like idyllic scenery, like hunting for flowers and trees hiding afar and like the sunflowers which have once ignited my passions”.

“泥水工”的偏執(zhí)

A Plasterer’s Obstinacy

初見(jiàn)張繼渝，他正在展廳里布展。微胖，中等身材，棕色夾克的袖口、衣角滿是各色顏料，灰色的褲子有些肥大。朋友們經(jīng)常調(diào)侃他為“泥水工”。

張繼渝戴著一副黑框眼鏡，鏡框松動(dòng)，眼鏡已經(jīng)滑到了鼻尖。鏡片后的眼神卻極為專注，凝固在他的作品上。他表情隨和，話不多，慢條斯理地和策展人討論著怎樣擺放油畫。

“這幅畫上油漆還沒(méi)干呢?！彼呑哌叢唤?jīng)意地說(shuō)著。畫中，湛藍(lán)如洗的天空下，草原上整片的格?；ㄩ_(kāi)得極為艷麗熱烈，遠(yuǎn)處皚皚雪山若隱若現(xiàn)，畫布右下角寫著“2017.9.17”。

這是張繼渝最近一次的繪畫作品。這一次外出寫生，還有一個(gè)插曲。張繼渝自駕去川西寫生，從康定翻過(guò)折多山途中，車胎爆了。反正要等待保險(xiǎn)公司和維修公司，張繼渝索性在距離最近的新都橋住了三天。于是，他在這里畫下了九月川西花開(kāi)遍地的景色。

寫生途中的意外波折并沒(méi)有澆滅張繼渝對(duì)川西的癡迷。“太美啦！那些明亮的色彩，不用藝術(shù)升華，只要真實(shí)地畫下來(lái)，就是一幅絕美的油畫?！被貞浧鸫ㄎ鞲咴?，張繼渝一改常態(tài)，顯得興奮極了，遇到的困難似乎也被拋諸腦后。那時(shí)，嚴(yán)重的高原反應(yīng)，他覺(jué)得自己快不行了，告訴同去的幾個(gè)伙伴，“如果我死了，不要把我?guī)Щ厝?，就把我葬在這里?！?/p>

When we first met, Zhang Jiyu was fixing up the exhibition. He was a little fat and of medium height, with his gray pants somewhat loose, the sleeves and the lower hem of his brown jacket tinged with various pigments. His friends frequently tease him as“plasterer”.

Zhang Jiyu bore a pair of black framed and loose spectacles which had slipped to the tip of his nose.He was extremely dedicated to his works. Easygoing and quiet, he was discussing the arrangement of these paintings with the curator in a leisurely manner.

“The oil paint of this painting hasn’t dried yet” he walked and said casually. That painting bore clear blue sky under which the whole stretch of showy galsang flowers bloomed and the snowcapped mountain afar loomed. The lower right corner of the canvas says "2017.9.17".

上：《大足石刻系列- 十三觀音變相》 布面油畫 100cm×100cm 2012.3

下：《大足石刻系列-觀無(wú)量壽佛經(jīng)變相-大勢(shì)至菩薩》 布面油畫140cm×120cm 2012.4

This painting was his latest work with an episode in it. Zhang Jiyu drove to western Sichuan by himself for sketching but the tire blew out when crossing the Zheduo Mountain of Kangding. It would take some time waiting for the insurance and the maintenance company, so he simply decided to sojourn in the closest place, Xinduqiao for three days. Whereupon he recorded the September scenery of galsang flowers flourishing on the Western Sichuan plateau.

This unexpected incident by no means extinguished Zhang Jiyu’s obsession for Western Sichuan. “How beautiful! As long as painting it in accordance with those bright colors, without any technique of artistic sublimation, it turns out to be a fabulous painting”. Quite different from his former manners, Zhang Jiyu became rather gleeful when recalling western Sichuan plateau, and all hardships he encountered seemed to be left behind. At that time, the severe altitude sickness made him feel dying and tell his companions that “if I were to die,please bury me here.”

意外的頓悟

An Unexpected Epiphany

張繼渝成長(zhǎng)于四川宜賓，少時(shí)家貧，打過(guò)零工，做過(guò)學(xué)徒。曾經(jīng)，在路邊畫攤看看《三國(guó)演義》《西游記》等小人書，是他童年最深的精神慰藉。張繼渝最初的繪畫經(jīng)歷，也是從臨摹小人書中的連環(huán)畫開(kāi)始的。

生活的艱辛沒(méi)有動(dòng)搖少年的藝術(shù)夢(mèng)，1982年，張繼渝以優(yōu)異成績(jī)被西南大學(xué)（原西南師范大學(xué)）美術(shù)學(xué)院錄取，踏上了長(zhǎng)達(dá)一生的繪畫之旅。

如果說(shuō)少年時(shí)代對(duì)繪畫的執(zhí)著追求是為著那一方純粹的心靈凈土，那么在知天命的年紀(jì)，一次偶然的高原創(chuàng)作經(jīng)歷，則讓他更忠實(shí)于內(nèi)心的感受，在天地、色光之間追尋神靈的痕跡，探尋天地人之間的靈性，把控并激發(fā)生命的律動(dòng)。

2008年9月，張繼渝帶著學(xué)生去云南東川紅土地寫生。高原氣候，天氣瞬息萬(wàn)變。清晨，前一秒還是藍(lán)天白云，晴空萬(wàn)里。轉(zhuǎn)眼間，冰雹驟降，十分鐘后，又是七彩的霞光灑滿明朗的天空。奇妙的自然感染著張繼渝，他想以最快的速度表達(dá)內(nèi)心汩汩直冒的情緒，用大畫刀調(diào)色、設(shè)色，畫布在“手起刀落”中顯現(xiàn)出一縷縷、一片片蘊(yùn)韻別致的景象。

在這之后，高原寫生成為他創(chuàng)作的主題。今年，張繼渝兩度踏上川西寫生之旅，去年去了四次。從亞丁高原迷人的秋色，色達(dá)漫山遍野的紅房子，再到圣潔的雪域，都有他的足跡。

Growing up in a poor family in Yibin Sichuan,Growing up in a poor family in Yibin Sichuan, he made a living by doing odd jobs and also served an apprenticeship. The deepest spiritual consolation in his childhood was once reading "Romance of the Three Kingdoms""Journey to the West" or other villain books in the roadside painting booth. Zhang Jiyu’s started painting from copying comic strips in those villain books.

This young man’s art dream did not yield to the hard life. In 1982, Zhang Jiyu was admitted to the School of Fine Arts of Southwestern University with excellent grades, and then embarked on his long-life journey of painting.

If the persistent pursuit for painting in his young age is to find the pure soil for soul, it is one unexpected creative experience in plateau at fifty that made him more faithful to his inner feelings. He looked for trace of deities among the universe, lights and colors and explored the spirituality between human and universe so as to rein and inspire pulse of life.

In September 2008, Zhang Jiyu led his students to sketch in red land of Dongchuan Yunnan. The weather is changing rapidly. In the morning, it is blue and cloudless. Suddenly, the hail drops, while ten minutes later, the clean sky glows with colorful rays of morning sunlight. The marvelous nature was inspiring Zhang Jiyu. He wanted to express feelings as quickly as he could. By using big painting knife,he mixed colors and laid paint on canvas which then unveiled pieces of continuous picturesque scene with subtle charm.

After this, plateau has become the theme of his creation. This year, Zhang Jiyu has embarked on his journey to Western Sichuan twice, and last year,he went there four times. His has left his footprints from absorbing autumn in Yading and red houses prevailing all over the mountains and plains in Seda to the holy and pure snow mountains.

忙碌并“自由”著

A Busy and Free Life

與其說(shuō)張繼渝對(duì)川西高原有著偏愛(ài)，不如說(shuō)對(duì)自然、生命和自由的本真與坦誠(chéng)，催發(fā)了張繼渝多姿多彩的審美意趣和創(chuàng)作激情，實(shí)現(xiàn)了色彩的美感與理性的精神完美結(jié)合。有評(píng)論家說(shuō)：“張繼渝的作品彌漫著一種激情，這種激情是通過(guò)斑斕瑰麗的色彩噴射出來(lái)的，是畫家與大自然靈魂交融、真誠(chéng)對(duì)話的結(jié)果?！?/p>

上：《亞得里亞海系列之四》 布面油畫 80×60cm 2017.9

下：《兩江晨韻》 布面油畫170x140cm 2013.11.28

一株梨花、一片櫻桃林，抑或是鄉(xiāng)村僻靜的裸泳場(chǎng)，大自然里總有一物能激起張繼渝內(nèi)心的跌宕，他擅長(zhǎng)用色彩，將自然的風(fēng)情和氣韻淋漓盡致地表現(xiàn)出來(lái)。

2010年，張繼渝辭去重慶工商大學(xué)副校長(zhǎng)職務(wù)，不算多的授課時(shí)間，按理說(shuō)他會(huì)輕松一些，沒(méi)想到他卻更忙了。課余，張繼渝步履不止，漫步在那鄉(xiāng)間曠野、田塍土埂上，沿著畫筆的指引，去領(lǐng)悟大千世界的無(wú)意和無(wú)不意。

此時(shí)的張繼渝更“自由”了，他把這叫做“自由之精神”。少了條條框框，成就了他的天馬行空，獨(dú)往獨(dú)來(lái)，敢于大膽嘗試探索，無(wú)論面對(duì)什么樣的景象，都主動(dòng)去把控的狀態(tài)。“一個(gè)畫家，必須真誠(chéng)地對(duì)待自然，真誠(chéng)地對(duì)待生活，對(duì)天地、對(duì)生命要有敬畏之心，這樣，我們畫畫時(shí)才有可能達(dá)到自由的境界。”

It would be better to say that Zhang Jiyu’s substantial aesthetic interests as well as creative enthusiasm have been stirred by his true affections and frankness for nature, life and freedom, which are shown in a perfect synthesis of color beauty and rational spirit. Some critics say: “Through these gorgeous colors, Zhang Jiyu’s works spray out a passion in which he can have a spiritual connection and honest discourse with nature.”

A cluster of pear blossom, a grove of cherry trees, or a village’s secluded swimming pool...His heart would always be rippled by nature. He is perfect at using colors to fully express beauty and charm of nature.

In 2010, Zhang Jiyu resigned as vice-president of Chongqing Technology and Business University.He was busier than before. After class, he never stopped strolling in the countryside with brushes to discern these natural scenes.

Zhang Jiyu is more “free” at this moment, a state he called “the spirit of freedom”. Without strict rules, he is encouraged to create boldly and independently in the exploration where he takes the initiative in face of whatever scenery. “A painter must be sincere to the nature and life and be in awe of the universe and being, only in this way can we attain the realm of freedom when painting.”