錢磊：不安分的“穿行者”

張琰

錢磊出生于藝術(shù)世家，四川美術(shù)學(xué)院國畫系畢業(yè)，畢業(yè)后參加了全國美展和全國新人展等重要展覽。早先的創(chuàng)作題材離不開川藏題材，藍天白云、藏民藏獒牦牛組成“牧歌悠悠系列”，浪漫且抒情，《牧歌悠悠》曾入選中國《群星獎》，獲文化部銀獎。

隨著年歲的增長，生活閱歷的增加，錢磊對生活有了更加真切的感受，創(chuàng)作題材也發(fā)生了轉(zhuǎn)變，通過艾蕪先生的《南行記》，翻閱過很多關(guān)于茶馬古道的資料后，“蜀道馬幫系列”“川江碼頭系列”應(yīng)運而生。而馬幫出川的路途中，會有一些零星的古鎮(zhèn)分布，有人的地方就有故事，“城南舊事系列”主要就描繪了古鎮(zhèn)的舊人舊事。

上世紀九十年代錢磊開始在海外推廣中國文化藝術(shù)，法國政府授予他蒙彼利埃市榮譽市民的殊榮，在頻繁的出國學(xué)習(xí)交流中，對中西文化的差異，他從早期的困惑到贊賞，最后轉(zhuǎn)變?yōu)槲幕淖孕拧！拔鞣轿幕蜄|方文化都很優(yōu)秀，我們不該用一種模式去單一粗暴地評判東西方文化的優(yōu)劣，西方的地域、飲食習(xí)慣等，培育了他們理性偏重的思維模式，而我們可能感性更多，就像中西餐的對比一樣，兩種不一樣的審美標準?！?/p>

外出學(xué)習(xí)研究的那段時光對錢磊的創(chuàng)作影響很大，西方繪畫材料的特點造就了他們的表達方式，中國的筆墨紙硯的特性又帶來了不一樣的形式。錢磊說中國畫最吸引他的便是意向，意味無窮?！袄L畫不管是哪一種形式，都是對一個時代的解讀，主要是我們需要掌握一種語言方式來解讀這個時代，或者是解讀這個時代對我們本身產(chǎn)生的一種心理變化?！?/p>

《歷代名畫記》有云“外師造化，中得心源”，錢磊一直行走在這條路上。

Born in an art family， Qian Lei graduated from the Department of Chinese Painting of Sichuan Fine Arts Institute. After graduation， he participated in National Fine Arts Exhibition， National Exhibition for Young Artists， and other exhibitions. In his former works， the themes were always about Sichuan and Tibet， with idyllic and romantic elements like blue sky and white cloud， Tibetan， Tibetan mastiff and yak. His work Pastoral Song was selected by China’s Qunxing Award and won the silver award of the Ministry of Culture and Tourism.

As he grew older， he gained more life experience and deeper understanding of daily life. As a result， he changed themes of creation. After reading Heading South of Ai Wu and many documents about Tea Horse Road， he created painting series of “Horse Caravan along Shu Road” and “Wharfs at Sichuan Rivers”. Along the route via which horse caravans exited Sichuan， you can find sporadical ancient towns and stories. “Stories in South of the City Series”describe ancient people and stories in these towns.

Since the 1990s， Qian Lei started to promote Chinese culture and art in overseas market. French government titled him as an honorary citizen of Montpellier. In frequent overseas study and exchanges， his attitude towards cultural differences shifted from bewilderment to cultural confidence.“Both western culture and oriental culture are excellent， and we should not judge their merits and demerits with a single mode. In the west， the territory， diet habit， and other factors shape their rationality； while Chinese are more sentimental. Just like Chinese and western food， they should be judged with different standards of aesthetics.”

During his overseas study， Qian Lei was much influenced in terms of creation. Features of western painting materials shape the unique expression method， different from that in China， which features brushes， ink， paper， and ink stone. He said that the most interesting thing about Chinese painting is artistic conception. “Whatever the form， painting is the interpretation of times. The point is that we need to master a language to interpret the times and the mental changes endowed by the era.”

Here is a sentence quoted from Famous Paintings of the Past Dynasties， “Artistic creation is the imitation of nature”， which describes what Qian Lei is engaging in.

【畫家檔案】

錢磊，四川省詩書畫院（四川省畫院）專職畫家、展覽部部長，中國美術(shù)家協(xié)會會員，四川省美術(shù)家協(xié)會理事，成都市美術(shù)家協(xié)會副主席，四川省工筆畫會黨支部書記兼副會長。美國藝術(shù)科學(xué)院教授，法國蒙彼利埃市榮譽市民。

Profile of the Artist

Qian Lei， a full-time artist and the head of exhibition department of Institute of Poetry Calligraphy and Painting of Sichuan， member of China Artists Association， Director of Sichuan Artists Association， Vice Chairman of Chengdu Artists Association， Party Branch Secretary and Vice Chairman of Sichuan Province Meticulous Painting Society. He is also a professor of American Academy of Arts and Sciences and honorary citizen of Montpellier， France.