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【评论】恩和记忆

2015-05-05 14:21:44 来源:艺术家提供作者:马强
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  据说,这里曾居住着蒙古人的先祖。就在离恩和不远的根河湿地,有个蹄状的小岛,当地人说那是成吉思汗战马留下的足迹。

  时光流转,昔日的金戈铁马早已化为了历史的尘埃。今天的恩和,静卧在北国的一隅,沉郁、安祥,每日守候着额尔古纳河最后的日光从这片土地隐去。

  北纬51°的恩和,属于高寒地区。是内蒙古俄罗斯族的一个小镇,隶属额尔古纳市,四面环山。

  这里是远离尘嚣的所在,这里是水草丰美的天堂,这里与俄罗斯仅一水之隔,这里似乎被时光遗忘——张小纲静观着这里的日升月落、草木山川,用水彩描摹着一个静谧从容的恩和,一个生生不息的额尔古纳……

  《乡野一望》铺展开的具象世界,让我想起作家迟子建在《额尔古纳右岸》中的文字描述:“在那片辽阔而又寒冷的土地上,人口稀少的他们就像流淌在深山中的一股清泉,是那么的充满活力,同时又是那么的寂寞。”

  只是,《乡野一望》是水彩点染而成的诗卷,是用画笔写就的乡愁。

  农舍、木栅、高天、流云、夕阳下的白桦林、蜿蜒流转的额尔古纳河……《乡野一望》中简约数笔勾勒出的恩和意象,许是多在深秋、初冬的缘故,越发显出清冽寂寥、纤尘不染。他们是朴拙的,冲刷着现代城市文明所赋予我们的喧嚣记忆。他们是内敛的,江水长或是秋草黄,破旧栅栏或是溪边小桥,临江屯的木屋或是逆光下的村道,统统地不事张扬。他们也是寂寞的,日升月落,春去秋来,他们默默无语,静对着时光的流逝。

  《乡野一望》里,张小纲似乎有意规避着人间的烟火气:没有农耕的场面,没有民俗的节庆,即便有人的出现,也只是形单影只,成为乡野风景的点缀。

  然而凝神观照,你会发现,形式上的疏离,绝不意味着心灵上的忽略。那农舍的炊烟、闲置的农机、栅栏边的奶牛、冬妮娅家的后院……你分明可以感受到人的气息存在。

  或许只是想出逃于都市过度的拥塞和浮躁,或许只是不想搅扰了恩和沉淀于岁月的凄清和寂寥,张小纲沉浸于水彩世界中的天地、树林、河流、小路、白雪、残阳……他刻意制造着一种疏离。我的理解,就在其间,或许彰显着张小纲艺术或是人生的理想:人与自然之间,是距离在呈现着美与永恒。而刻意的疏离,只是为了保有心底的一份温存。

  没有宏大的叙事,没有夸张的铺排,张小纲留恋于恩和的细腻和辽远,恩和的清幽与空旷,在小世界里寄放着大温暖。

  恩和乡野,寄予着人类的乡愁。一望之间,张小纲用瞬间留住了隽永。

  (作者系文艺评论家,专栏作家)

 

The memory of Enhe

  It is said that the ancestors of Mongols used to live here. Not far from Enhe, there is a small hoof-shaped island in the Genhe Wetland. It is the footprint left by Genghis Khan's horse, according to local residents.

  As time goes by, the old war time have passed as dust in the long history. Today’s Enhe nestles in peace in the north of China, profoundly and quiently, watching the last sunlight on Argun River fading away from the land every day.

  Enhe, located at fifty-one degrees north latitude, is part of the high cold region. It is a small town of Russian ethnic group of Inner Mongolia in the city of Argun, surrounded by mountains.

  This is a location far from madding crowd, a heavon of rich grass and water, a neighbor of Russia separated by just a river, and a place seemed to be forgotten by time - from the sunrise to moonset, Zhang Xiaogang watched silently everything of this place, and used watercolor to draw a tranquil Enhe and an endless Argun ...

  The concrete world shown in "Sight on the Field" reminds me of a section of discription by a writer, Chi Zijian, in "The Rightside of Argun" - "On the vast and cold land, the people at a small population are like a clear spring snaking in the remote mountains, so vigorously, but so desolately in the meanwhile."

  But, " Sight on the Field " is like a volume of poems smeared by watercolor, a nostalgia written by paintbrush.

  Many imagies are contoured simply in a few lines in " Sight on the Field ", such as the farm houses, wooden fence, high sky, flowing clouds, birch forests in the sunset, wandering Argun river and so on. Probably because many of the backgrounds are set in late autumn or early winter, they appear to be more clear and quiet, without a speck of dust. They are simple - washing out our noisy memory given by modern urban civilization. They are implicit - all being away from ostentation, no matter the long river or the blighted yellow grass in autumn, no matter the broken-down fence or the bridge accross river, no matter the woolen lodge in Linjiangtun or the backlighting country road. Also, they are lonely - keeping silent day by day, quietly facing the flying of time.

  Zhang Xiaogang seemed to avoid the reality and activity of humanbeings on purpose: there is no farming scene, nor folk festival in his " Sight on the Field ". Only single person may rarely be found, but as an ornament of the countryfield scenery.

  However, when take a careful look, you'll find that the formal alienation is by no means an ignorance of spirit. From the cooking smoke of cottage, the idle farming marchine, the dairy cow near the fence, to the backyard of Donia's house, you can surely feel the existence of people.

  Probably, Zhang Xiaogang wished to escape from the overly crowd and impetuous city, or merely not to disturb the peace of Enhe, he was immersed in the sky, earth, forest, river, path, snow, sunset and many others in his watercolor space - intentionally, he tried to produce a distance. From my point of view, it may tell us Zhang Xiaogang's dream of art, in other words, his dream of life - it is the distance between human and nature that presents beauty and eternity. The purposive alienation is just to maintain the warmth in heart.

  Without grand narration or exaggerated decoration, Zhang Xiaogang was deeply attached to Enhe’s exquisiteness and remoteness and its silence and hollowness, where there is great warmth emitting from the small world.

  The countryside of Enhe suggests human's homesickness. Following his looking, Zhang Xiaogang saved the beauty for ever with a momentary imagery.

  Written by Ma Qiang, a culture scholar and art columnist

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