都市女性浮世绘——黄海燕作品浅析

　　解熙宇 《画廊》2006年5、6期 p258 《都市女性浮世绘——黄海燕作品浅析》一文
　　青年男性油画家黄海燕这两年画了一批以都市摩登女人为题材的布面油彩作品。他为什么要画这些“漂亮”的女人呢？他为什么会去选择这个题材呢？我想所有看到这些作品的观者，不管是专业人士还是普通人士都应该会在脑中形成一个问号。尽管这个问题对于二十一世纪的画坛已经象家居中的煤气、日用水和电一样成了不能成为问题的问题了。如果提到这个问题的话，中国当下的状态已经足以可以称的上“中国特色”了。“五四”时期本来险些与西方同步的全球化审美被战争及其带来的后果打乱，“文革”后的突然开放使中国出现了某艺评人所说的古典、现代与后现代并置的现象，甚而在某些艺术的尖端领域出现了令世界都刮目的新新艺术现象。此时的中国当代艺术阵营中现代主义就象一班迟到的列车，而后现代又成为早到的预订票者。面对这样的情境，中国出现了极端分化的审美群体。这其中包括占社会绝大多数的非美术类社会普通审美和以高等院校及其派生群体为对象的所谓受过西方（这里的审美标准以西方为主，中国传统古典美学在新时期的急剧变质也可包括在内）美学标准训练的专业群体。这样非此即彼的硬性划分，画家黄海燕当然要被归档到专业队伍。但这其中读者想要了解画面就“必须”要知道的是，黄海燕这个诗意柔美的名字后面是一个五大三粗的山东男人，他来自传统礼教森严的山东，且是一个自小在村庄里长大的孩子。我记得有次当我和画家在花家地北里附近的一个小饭馆闲聊，黄海燕曾貌似一本正经的回答过我上面提到的问题。笔者所能记忆起的他描述的大意是：他出生在一个内陆的村庄里，那个村子与其它相似的村子一样住着相似的村子中的人。生于七十年代初期的人都会有这样深刻的记忆，电视机的普及带来了不同于以往生活经验的图象。而这种在当时给所有人都带来强烈感官刺激的事物中，大头的都市美女图象占大多数。这些都市制造的时髦美女和农村的平时里司空见惯的农村妇女形成了极大的对比。直到现在这种强烈的视觉调换还在影响着画家的选择，他觉得那些电视中的时髦女人太美了。这样的经验对于其他人的影响是怎样的，至今也没有人去做定向研究，事实是好像也没有这个必要。但那时的刺激却深刻的影响黄海燕的审美。以至于若干年后当画家在山东的一所地方名校毕业并分配至大学教书过上准小康生活之后，黄海燕还是义无反顾的决定要到首都来进行再学习和生活。或许这次中国艺术研究院的生活是其艺术上的分水岭，与中国绘画界的重要人物葛鹏仁先生的相遇、相识，再到多年的积累受其点拨成为日后海燕定下画风的重要契机。之前多年的片面的学院教育使画家“穿”上了灰调子、重笔触的外衣，好像只有这样才不会被同辈的画友讥笑为画行活儿。外衣包裹起了海燕本真的自我，当葛先生慧眼点迷津之后，黄海燕象是打开了什么心结一样，完全放下了包袱，开始了他自我完善的自主创作期。面对大量的北漂艺术青年进京现状，笔者以为重要的不是过来学到了什么技巧，因为异地进京者大都很难在短期内得到什么真传，倒是那些在地方上有很厚积累的人被北京的师友打开了心结才是真正的得胜者，尽管这之后还有很长的路要走。笔者以为那时的黄海燕就正是在这样的道路上。
　　黄海燕在中国艺术研究院学的是美术理论，其间对法国印象主义大师劳特雷克的定性研究为其今后个人画风的形成奠定了基础。此一时期画家的内心是矛盾的，一方面是大师所创的从艺者的清规戒律，另一方面是一颗青年进取不肯按谱填词的自主心，也许是直接指引了黄海燕，画家在一个短暂的试验期过后，慢慢放弃了苦涩，碰撞中找到他所认为的“完美”。因为变化过快，有一时期画家对自己的选择曾经疑惑过，但这种疑惑马上又被自己的直觉给予了肯定，画面上某些元素的再组合使它的味道更醇厚了。
　　于是乎，黄海燕真的就变成了一个画美女的画家了。人们很自然会问，若要画她们，就要观察她们，就要关爱她们，关注她们的甜美与苦楚，欢笑与泪水。在画面需要的情况下也要关注女权主义的一些问题，更要关注美丽的女子和画面长久的联系。二十世纪下半叶以来，艺术品的多解性成为一个有趣味且更深奥的门类，或许是如此吧，海燕在最近期的作品中出现了图示化的特征。当图象化在时下的中国学界成为显学时，海燕没有去回避这种影响。虽然这时期黄海燕的作品已经受到了不少收藏家的青睐，但此时小有成绩的海燕看重的却是绘画上自己未被探索的“远方”。那是一位艺术家作品取之不竭的源泉。我觉得海燕还不想过早把自己定位到某个模式上，但他对都市女性这个题材的研究应该是这辈子也不会放弃了。

　　Xie Xiyu，editor of Gallery famous critic (seen in Gallery 2006 5-6 edition page 258 Urban Female Yamato-e－Analyzing of Huang Haiyan’s works)

　　Metropolitan Female Yamato-e
　　－Analyzing of Huang Haiyan’s works

　　Young oil painter Huang Haiyan created many paintings taking the urban modern ladies as the subject in those two years. Why did he picture these beautiful women? Why did he choose the female as the theme? I think all of the viewers including both the professional persons and the common ones have a doubt in their minds. Although this question has become as common as gas, electricity and running water at home in the 21st century. When we refer to this question we may call it “Chinese Characteristics”. At the May 4th times, the global aesthetic conception was upset by wars. Opening after cultural revolution made China appear as one artist called: classics, modernism and post-modernism co-existing together. But now in the contemporary artistic camp, modernism is like a late train and the post-modernism becomes an early booker. Confronted with such situation, the Chinese aesthetic groups divided extremely. The most majority is with common aesthetic conception and the minority is the professional group educated by western aesthetic standard. Of course, Huang Haiyan is classified into the latter. However, if you want to know the pictures, you must learn something of the artist that is Huang Haiyan is a hefty man of Shandong Province and also he comes from a small village. I remembered once in a small restaurant Huang answered my questions above and the brief meaning is: He was born and grown up in a small village. At the seventies, the television brought a rather different life for the villagers, which stimulated all of them. And the fashionable ladies in the city brought a distinctive contrast against the county women. Until nowadays this images is carved deeply in the artist’s minds and is influencing his aesthetic conception. Therefore, even Huang got a comfortable living condition after he graduated from a famous university in Shandong province he still decided to accept further education in Beijing. This choice made by him endows him an opportunity to meet Mr. Ge Pengren and lays a foundation for his latter achievements. Under Mr. Ge’s earnest teachings, he started to create his own works in his own way.
　　Huang was majored in artist theory in China Art Institute. His study on the works of French imagist lays a foundation for his own creating style. At this period he had to follow the rules of grand master and also he wanted to pursue his own creativity. After a tedious period he found his so-called “perfectness” after struggling and clashing.
　　Gradually Huang Haiyan becomes an artist mainly depicting beautiful ladies. People may ask if he is to do so, he should also observe them and care about ladies, care about their joys and their sorrows. Furthermore he has to pay attention to the problem of feminism and the relationship between ladies and the paintings. From the second half of 20th century, multi-explanation of arts becomes an interesting and profound subject .So in Huang Haiyan’s recent works he displays the picture characteristics. Although Huang Haiyan’s works has attracted many collectors’ interests, he is not satisfied with his achievements. He will continue to explore the far field and will never give up the study of this metropolitan female theme.