吳志強(qiáng)：在畫里窺視英雄內(nèi)心

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2018年8月16日下午，吳志強(qiáng)中國畫《閑話水滸》作品展在重慶市文聯(lián)美術(shù)館開展。

60多幅古樸典雅、形象生動的水滸人物躍然宣紙之上，引來到場文藝名家和觀眾的無數(shù)點(diǎn)贊。

其中，收獲贊譽(yù)最多的要數(shù)“劍膽琴心”。這與吳志強(qiáng)筆下的水滸英雄不無關(guān)系，同時也說明了吳志強(qiáng)的另一個身份，除了畫家之外，他還是渝中區(qū)公安分局的一名警察。

On the afternoon of August 16, 2018, Wu Zhiqiang’s Chinese paintingFreely Painting about Water Marginworks show was held at the Art Museum of Chongqing Federation of Literary and Art.

More than 60 simple, elegant and vivid figures in theWater Marginwere showed on the rice papers, attracting countless praises from famous literary artists and audiences.

Among them, the most praised painting was named“Sword and Lute”. The idea of creating this painting portrayed by Wu Zhiqiang was related to the heroes in Water Margin. And this painting also revealed that Wu Zhiqiang is also a policeman of Yuzhong District Public Security Bureau in addition to a painter.

“換娃兒書”換出連環(huán)畫家

“Exchanging Books for Children (picture-story books)”Casts a Picture-story Painter

8月底，我們在渝中區(qū)公安分局再次見到吳志強(qiáng)。剛忙完公事，吳志強(qiáng)還沒來得及脫下白色警服，便把我們領(lǐng)進(jìn)了他的辦公室。

辦公室一面墻上，掛著一幅中國傳統(tǒng)人物畫。吳志強(qiáng)說那是他早年畫的高坐道人，《世說新語》里非常有意思的一個人物。

關(guān)于傳統(tǒng)中國人物畫的話題，由此展開。談及正在展出的水滸人物畫展，吳志強(qiáng)說要從兒時與梁山英雄的結(jié)緣說起。

當(dāng)時因?yàn)殚喿x資源有限，他對“娃兒書”（連環(huán)畫，編者注）格外著迷?！爸苣┖凸?jié)假日，我鐵定要去兩個地方。”吳志強(qiáng)向后靠在椅背上，陷入了兒時的回憶，“我一般是先到地?cái)偵先タ磿迌簳?，再去解放碑的新華書店門口‘調(diào)娃兒書’?！?/p>

見我們對“調(diào)娃兒書”有些疑惑，吳志強(qiáng)解釋，就是“換小人書”。每到周末，喜歡看小人書的小孩都會不約而同聚集到新華書店門口，大家誰也不認(rèn)識誰，只要雙方愿意，就可以互換小人書。

“可以用《聊齋》換到《岳飛傳》，也可以用《岳飛傳》換到四大名著，我家里還保留了二三十本換來的‘娃兒書’?！眳侵緩?qiáng)喜歡梁山好漢，常常在那里換到《水滸傳》，“小孩子都有英雄情節(jié)，水滸一百零八將不單單是武藝高超，他們愛憎分明、見義勇為、扶危濟(jì)困、重義疏財(cái)?shù)男袨槎伎胺Q英雄。”

吳志強(qiáng)不但愛看，還喜歡照著連環(huán)畫里的樣子學(xué)著畫，并沉浸在穿越宋朝成為一名江湖英雄和“風(fēng)風(fēng)火火闖九州”的莫大滿足中。

從二十世紀(jì)70年代起，吳志強(qiáng)開始跟隨徐曉邨、黃寇新、高濟(jì)民先生學(xué)習(xí)中國畫、西方畫和連環(huán)畫，并出版了《一代風(fēng)流·圣地》《狄公案·斷指案》《史記全集·孟嘗君》等多部連環(huán)畫。

At the end of August, we met Wu Zhiqiang again in the Yuzhong District Public Security Sub-bureau.After he finished his business, Wu Zhiqiang had no time to take off his white police uniform and led us into his office.

On the wall of his office, there is a traditional Chinese figure painting. Wu Zhiqiang said that it was a high-fowler Taoist priest printed in his early ages,and he continued to say that it's a very interesting person inA New Account of the Tales of the World.

The topic on the traditional Chinese figure painting began then. Talking about the exhibition of the figures in theWater Margin, Wu Zhiqiang said that he should start telling from the relationship between his childhood and the heroes of Liangshan.

At that time, because of limited reading resources, he was particularly fascinated by the“Books for Children”(picture-story books,editor’s note).“On weekends and holidays, I must go to two places.”Wu Zhiqiang leaned back on the back of the chair and fell into childhood memories.“I usually went to the wayside stall firstly to read the‘picture-story books’, and then went to the gate of Xinhua Bookstore to ‘exchange picture-story books with others’ at Jiefangbei. ”

Noticing that we have some doubts about the“exchanging picture-story books”, Wu Zhiqiang explained that it means“exchanging picture-story books with others for reading.”Every weekend,children who liked to read picture-story books would gather at the gate of Xinhua Bookstore coincidentally.No one knows anyone. As long as both parties were willing, they can exchange picture-story books for reading.

“You could useStrange Tales of a Lonely Studioto exchangeThe Legend of Yue Fei, you could also useThe Legend Of Yue Feito exchange four great classical novels. I still retain twenty or thirty exchanged‘picture-story books’ in my house.”Wu Zhiqiang liked heroes of Liangshan, and often exchangedWater Marginthere.“Children were obsessed in heroes. 108 heroes inWater Marginnot only had superb martial arts, but also understood what to love and what to hate. They were brave, often helped the poor,helped those in distress and aided those in peril, and paid more attention on personal loyalty rather than money.”

Wu Zhiqiang not only loved to readWater Margin,but also liked to learn to paint figures according to the pictures in the picture-story books. He was immersed himself in the great satisfaction of crossing the Song Dynasty to become a hero and“striking out in style to the world.”

Since the 1970s, Wu Zhiqiang began to study Chinese paintings, Western paintings and comic strips after Xu Xiaocun, Huang Kouxin and Gao Jimin, and published several comic strips such asThe Generation of Merry and Holy Land,Di Gong Case·Broken Finger Case, Complete Works of Historical Records, Lord Mengchang.

劍膽琴心閑畫水滸

Painting the Figures in the Water Margin with Courage of a Warrior and Soul of a Musician

從小習(xí)畫，吳志強(qiáng)說自己童年就有個小夢想——成為一名畫家，繪出梁山好漢的英武與豪氣。

但命運(yùn)的行程往往南轅北轍。長大后，吳志強(qiáng)沒有如愿以償成為他夢寐以求的職業(yè)畫家，卻陰差陽錯地當(dāng)了一名公安民警。充滿血性與陽剛的職業(yè)，堅(jiān)定了他的意志，也豐富了他的閱歷，更沉淀了他的思想。

閑暇之余，吳志強(qiáng)總喜歡鋪開宣紙，揮毫潑墨，“每個人都有不同的生活方式，我選擇把業(yè)余時間用來寫字畫畫?！?/p>

在重慶警界開個人畫展，吳志強(qiáng)是首例。

之所以選擇《水滸傳》作為畫展的題材，吳志強(qiáng)說一是為圓自己的夢，二是想對社會正義的倡導(dǎo)做出努力，“《水滸傳》的精髓是‘義’，用我們當(dāng)代人的理解，應(yīng)該是講道義、大義和正義。它提倡人與人的相互尊重，相互幫助；它提倡面對邪惡要伸張正義和見義勇為；它提倡在義和利的矛盾處理上，要舍利以取義。”

“為籌備這次畫展，費(fèi)了不少心血，就拿這本書來說吧，就做了兩年多。”吳志強(qiáng)翻開一本今年4月出版的《閑畫水滸——吳志強(qiáng)中國畫作品集》，“畫展里的作品都在這本書里?！?/p>

細(xì)細(xì)翻看吳志強(qiáng)的作品集，會發(fā)現(xiàn)每幅作品里都有多個水滸人物，并非傳統(tǒng)的一人一畫。

“我是以關(guān)鍵人物為主線，再串出相關(guān)命運(yùn)人物在一幅畫上?！闭劶八疂G，對《水滸傳》頗有研究的吳志強(qiáng)滔滔不絕，“就拿王進(jìn)與史進(jìn)這幅畫來說，他們都是八十萬禁軍教頭，還有師徒關(guān)系。史進(jìn)可不單單是個名字，還有‘以史為鏡’的意思，這和《紅樓夢》里的賈雨村表示‘假語村言’、甄士隱表示‘真事隱’是一個道理?！?/p>

Wu Zhiqiang learned painting since childhood and said that he had a small dream in his childhood - to become a painter and paint the soldierly bearing and heroism of Liangshan heroes.

But the fate of the journey acted in a way that defeat his purpose. After growing up, Wu Zhiqiang did not attain his wish to become a professional painter he dreamed of, but became a public security policeman. The bloody and masculine profession has strengthened his will, enriched his experience,and precipitated his thoughts.

In his spare time, Wu Zhiqiang always spreads the rice paper and wields his writing brush.“Everyone has a different way of life. I choose to spend my spare time writing and painting. ”

Wu Zhiqiang was the first person who held exhibits in the Chongqing Police Circle.

The reason why he choseWater Marginas the theme of the exhibition can be divided into two parts according to Wu Zhiqiang. On the one hand, he wanted to realize his dreams;and he also wished to make efforts to advocate social justice on the other hand.“The essence ofWater Marginis ‘righteousness’.According to the understanding of contemporary people,the essence should be morality, righteousness and justice. It advocates mutual respect and mutual help between people;the pursuit of justice and courage in the face of evil; the preference justice to life in dealing with the contradiction of righteousness and benefit. ”

“It took a lot of effort to prepare this exhibition. For example, I spent more than two years in finishing this book.”Wu Zhiqiang opened theFreely Painting on Water Margin - Wu Zhiqiang's Chinese Paintings Collectionpublished in April this year,and said“the works in the exhibition are all in this book.”

Through s closer look at Wu Zhiqiang’s collection, we will find that there are many figures ofWater Marginin each piece, not one figure in one piece.

“I used the key figures as the main line, and then drew forth the relevant fate characters in a painting.”Talking about theWater Margin, Wu Zhiqiang, who has conducted a lot of researches onWater Margin, started to express his ideas continuously.“Taking the painting of Wang Jin and Shi Jin as example, they both were coaches of 800,000 imperial guards, and they had a master and apprentice relationship. Shi Jin was not only a designation, but also had the meaning of ‘taking history as a mirror’. This is in line with Jia Yucun who ‘told lies’ and Zhen Shiyin who was ‘conceal the truth’ inDream of Red Mansions. ”

一扇窺視英雄內(nèi)心的窗口

A Window into the Inner World of the Heroes

在《閑畫水滸——吳志強(qiáng)中國畫作品集》內(nèi)，每幅畫作都配有一首白話小詩，對水滸人物加以點(diǎn)評詮釋，這種以“話”解“畫”的方式別有一番趣味。

白話小詩是重慶市文聯(lián)副主席楊礦和著名詩人亦子南所寫。因?yàn)檫@個原因，楊礦對每一幅畫作都很熟悉，他說自己都看了無數(shù)遍，“畫家吳志強(qiáng)的‘閑畫水滸’，從文趣的角度巧妙切入，精挑細(xì)選地把人物事件歸類關(guān)聯(lián)，為我們洞開了一扇窺視梁山好漢內(nèi)心的窗口，別開生面地演繹了一個不一樣的水滸，儼然一副梁山好漢的‘浮世繪’。60多幅水滸人物畫，人物鮮活、動感十足，情趣濃煙、意境悠遠(yuǎn)，以單純、溫馨、明凈、素雅的筆觸，古拙簡勁、淺描淡染地呈現(xiàn)出神情豐富的古韻和禪意。”

對吳志強(qiáng)作品高度贊譽(yù)的還有重慶美協(xié)副主席徐亮。在徐亮看來，“閑畫水滸”的“閑”是相對于吳志強(qiáng)的本職工作而言，“在繁忙的工作之外，從未放棄過對美術(shù)夢想的追求，最終戲劇性地展示了一百零八將的風(fēng)采，作品令人感到震撼。”

Each painting ofFreely Painting on Water Margin - Wu Zhiqiang’s Chinese Paintings Collectionwas equipped with a vernacular poem which commented on the figures of theWater Margin. Such method of using“words”to interpret“paintings”is full of fun.

The vernacular poems were written by Yang Kuang, vice chairman of Chongqing Federation of Literary and Art, and Yi Zinan, a famous poet. For this reason, Yang Kuang is very familiar with each piece of work. He said that he has appreciated those paintings for countless times.“The painter Wu Zhiqiang’s ‘Freely Paintings on Water Margin’was showed from the perspective of literary fun. Wu Zhiqiang selected figures and events to make classification and build relations, so that a window was opened for us to peep the inner world of Liangshan heroes. His paintings interpreted a different Water Margin in a new way and were worthy of an ‘Ukiyoe’ describing Liangshan heroes. In more than 60 figure paintings aboutWater Margin, the characters are lively and dynamic, full of fun, and have permanent artistic conception. With simple, warm, clear and elegant brushstrokes,these paintings reveal the archaic Chinese rhyme and Buddhist mood full of various expressions in a simple and unsophisticated way. ”

Xu Liang, Vice Chairman of the Chongqing Artists Association, highly praised of Wu Zhiqiang’s works. In Xu Liang’s view, the“freely”in the“Freely Painting on Water Margin”can be explained as follows: Wu Zhiqiang never gave up his pursuit of art dreams beyond his own work,and finally displayed the elegant demeanour of 108 figures in a dramatic way. His works are very shocking.”