诸佛菩萨像画集

作者：  邹阳著

出版社：

简介：邹阳书画印心月－－选自《诸佛菩萨像画集》 一缕冬日的风拂过，万木悠悠苏醒。 北京香山卧佛寺门前，一棵老树横卧着——心已被岁月掏空，头也被狂风折断，大家都断定它死了，但每年从它的丫缝中又会抽出新芽。 树的真谛告诉我们，只有春、夏、秋、冬，才能检验生命的真相。 触摸香山植物园南门闲情偶寄画室的艺术家邹阳日常山居的生活，在我的生活中已成为熟视无睹的行为符号。触摸能使我们到达我们所盼望到达的那个最遥远的角落，并且最大限度地满足我们想象，使我的目光在时间的联系中，就像树叶对于树木那样亲密、坚定而且柔和的，是邹阳山居生活的状态。邹阳每天以“朋友来了喝好茶”的生命期待居住在城市的边缘将身边的许多人和事放下，每天静静地同博大的自然对话，独对自然询问人世间的是是非非，经过许多尘器侵扰的心灵，陡然回归到这旷古未有的宁静之中，而又知道周围全是绿色的森林，心里似乎也注满了一汪清涟之水，轻盈盈的，如植物园樱桃沟缓缓的溪水缓缓的流淌。 在北京植物园以及香山的幽幽青山中，邹阳的闲情偶寄画室镶嵌在香山这个世外桃源般的仙境世界，在这里邹阳夫妇（洋汐）有机缘被云门禅宗湖北赤壁圆通禅寺心觉老和尚（以光明、自在两佛子）接应皈依佛门禅林新境。他们远离尘器，那颗原本躁动的心蓦地静了下来。邹阳常于画室中结自在坐，微闭双目，参悟禅机。闲暇时，他每每颂念抄写《心经》、《楞严经》、《金刚般若波罗蜜经》、《地藏经》、等多部佛家宝典，细心揣摩释迦文佛开示三界六道众生之甚深微妙法。 在邹阳的画作前我首先要诘问的是，在这些令人无以言说地震憾的画作背后，隐藏着怎样的灵魂？在艺术史里，邹阳是突兀的进入者，是不可定义的。邹阳曾受过正规的专业训练，是个曾做过教师、茶馆老板、圆明园画家的外来者。他的画被浮躁文化颠覆的潮流所背弃。但他没有局促而褊狭的形式感。邹阳把艺术活动当作极富挑战性的生命活动，让满腔热血在画布上挥洒流淌。对邹阳来说，理性可以忽略不计，表达远远大于揭示真理。邹阳在画布上完成了生命，成就为一名艺术的求道者。以一种特殊的手段，不顾一切地表达，直接而强悍，如同天启，显示出了罕有的品质。他作品里的什么元素使他超越了普通的技法、规范和禁忌？面对这些提问，我们只能深入到他的辽阔而又虔诚的灵魂深处，发掘将他引向自在光明之路的激情，寻找邹阳佛教新艺术题材作品的源头。进入到人的灵魂最深处去游历，可以说，邹阳的《佛像典藏》是一种艺术造型，一种灵魂的姿态。如果一个人彻底地看透了世俗生活的虚无性，而又不甘屈服于这种虚无性，偏要将虚无变成意义，他就会不顾一切地去尝试另外一种可能的生活。他会发现，这种生活具有无限的可以变幻的造型。画家邹阳就是这样通过分身术，将艺术生存的内幕一层又一层地向人类揭示的。佛祖赐予艺术家恩惠，让他在活着的时候经历地狱、炼狱与天堂，同时也就赋予了他表现的权利。而表现就是造型。在这种特殊的经历中，艺术家通过那些各不相同的造型的完成，将对灵魂的探讨、认识不断向前推进。 画家“建构”书画的意义在于使这些关系尽可能地趋于和谐，最终使人类的灵魂归家，回到精神的家园中来。古老的智慧或许可以成为现代文化的解毒剂，并给人们指出了一条超越之路：回复感性。至于从哪里上路，尚属未知之域。在邹阳的《佛像典藏》里，隐喻的就是我们踏上感性之域的路标。回复的策略是重建书画与信仰的模式，使书画重返灵魂的根源，使灵魂重建信仰的隐喻世界。返回与重建不是佛家绝圣弃智式的无为，或倒退到古人的思维水平和生活状态，而是通过隐喻思维重新确立我们观察与感受的方式，与世界达到一种新的联系与认同，从而重新确立人与事物、自然的关联，建构一个新的意义世界和精神空间，或者说，一种新的文化模式。 邹阳意识到通过书画艺术的表达，是为了行道“书画与思想创造的人与世界的象征体系，而并不是人与存在的原始统一体”，因而，“书画与思想能否通过隐喻语言——一种古老而本质的思考方式——的复活而挽回这个原始统一体的世界？挽回灵魂的世界和世界的灵魂，挽回灵魂的宗教和宗教的灵魂，恢复存在跟人的本质的关联？并非一种独断式的回答所能够解决的。从世界的内在性和人之境遇及其需要出发，这一切都“只是一种召唤。”这是一种先知般的声音，两千多年前，我们的先人曾发出过这种惊世骇俗的“天问”，而今天沉寂在香山如邹阳的文化艺术家群体面对苍茫的香山和燕赵大地，他们隐遁在时代背后为中国文化的自信和自信的中国文化以殉道者的精神天启这个神秘的大千世界。 只有确立、发现并承认个体的价值与尊严，因此，中国文艺复兴的目标是发现个人，方法不是复古、不是媚外，而是内部发掘外部引进。天地之间，人为尊！只有个人的站立才有中华的真正站立。西方的发展和繁荣，首先要归功于文艺复兴运动，归功于个人的觉醒。中国的落后首先要归因于个人和个体意识长眠不醒。中国需要一场文化风暴，需要一场文艺复兴，需要一场新人文运动来唤醒沉醒的民众！唤醒的目的是为了个体的价值与尊严！创造意义意味着对死亡和虚无的否定，对自然和历史境遇荒诞状态的反抗，维护生命的尊严和权利，这正是宗教与玄学藉以产生的根据，他可能于宇宙本身无有丝毫的撼动、改变，但却足以抚慰脆弱孤寂的心灵。意义的世界是一个彼岸世界，她超然于人类的苦难现实之外，他可能是虚幻的，却又是一个可告慰于人的王国，一种纯洁无暇的美，一个观察者的幻象。对于她的可能性，邹阳通过《佛像典藏》系列佛像书画艺术对此抱有足够的信心：“也许我们可以在旧神的死亡，昔日宗教信仰衰微以后，以书画的经验或本身具有深度的经验，为人的生存找到新的意义。它既非泛神论，也非虚无主义。” 要不你怎么理解邹阳《佛像典藏》的智慧与颤粟：这无限宇宙的永恒沉默使我虔诚！ 夜深了，月光如洗。在关了灯的屋子里，点上一只蜡烛。静静地看它燃烧，你会在这温馨柔和的烛光中，看到许多往事和透明的忧伤。记忆的门总是关不住的，在黑暗所照亮的一间屋子里，时间坐在你心上，世界也在你心上变幻。此时放松的你，或静下心来，闭目养神或静思，或静静聆听大自然玄妙的天籁或私语，就像当初我们在胎盘里聆听父母呢喃的絮语，完全溶入羊水一般的氛围里。有人说“在黑暗中思索，人会亮起来”，意大利的现代画家基里科说：“真正有价值的东西是闭着眼睛看到的世界。”这时你该明白如何聆听。中国古代哲人说，芭蕉叶上无愁雨，只是听时人断肠。聆听，需要心境；聆听，使人灵魂升华。在聆听中我们原以为是在学习生活，其实是在学习怎样的新生。 在我一日凌晨的睡梦中，梦邹阳 “在月明星稀，巍峨的大雄宝殿，宝相庄严的过去、现在、未来三世佛注视着娑婆世界的芸芸众生。此刻，信香袅袅，钟磬齐鸣，仿佛在不经意间，邹阳突然进入了空境之中，四周寂然，从极遥远处，传来了像是天籁般清泠的梵呗之声。于是，恍兮忽兮，梦邹阳豁然了悟。悟道的邹阳迥然有别于往昔的心态重归他的艺术之旅，他的心从此与社会和大自然融成一个整体。他坐守闲情偶寄画室，看云飞霞渡，看星斗满天，看人情冷暖，岁月更迭，看得他满眼泪水盈盈；云门文偃禅师云：“人人尽有光明在，看时不见暗昏昏”。而邹阳分明已经看见，这是他禅悟的高处，那么，“流水三万六千尺，月在波心说向谁”？于是，全部身心已融入“无缘大慈，同体大悲”的邹阳拿起画笔，他要把人生的感悟诉诸他视为生命的艺术《佛像典藏》系列佛像书画艺术。 国际友人画评－－选自《诸佛菩萨像画集》 邹阳所绘之唐卡，系省略背景之繁杂人物与事物之单独佛像，下笔稳健，着色艳丽，且均为平面，无浓淡渲染，故主题佛像无视觉干扰，观之特别明快，对膜拜之善男信女具特殊感染，诚为艺坛之奇葩。 西班牙国立大学建筑设计师 米格尔.张 二O O七年早春于马德里 Zuo Yang’s work has always been very special to me. When we were in Beijing for the first time one May and discovered Selena (his wife) and his first café venture in Haidian it was like a Chinese jewel in a hutong crown. Everything seemed to work so organically as an artistic whole: café with clambering climbing plants, songbirds in bamboo cages, artwork hanging all over the walls and chairs giving onto the street. We immediately wanted to live in that section of Beijing. Zuo Yang’s work seemed immediately very traditional and also very open to outside influences at the same time. I suppose it was the blend of East meeting West that first attracted me. This was an idiom I instantly understood. When the hutong was bulldozed I felt a terrible loss. It was amazing that they could recreate another such café in another part of Haidian in such a short space of time. These are gentle and generous people. I still treasure a jade dragon belt ornament that Zuo Yang gave me. His fish painting adorns my office in England (although the fish symbolises prosperity, to me it is more like a generosity of spirit). We often had fish and rice with them in their home. I also treasure an early gift of a delicate ink-brush painting of iris flowers that is loosely attached to a bamboo background and hangs in our place in France. The slightly dilapidated quality of this work, together with the ease of the brushstrokes, is what gives it its charm. It reminds me of the beautiful irises in Qing Hua University precincts in the warmth of late Spring and I know I miss China and our friends. Recently – on the birth of their child – we have been sent two more pictures. One of blossom (a reminder of hiking on the Great Wall for me, with all the wild plums in flower) which I know I will frame and hang and another of a Chinese version of ‘mannequin pis’ from Brussels, symbolising the new infant. This is likely to be significant to us, too, but I am not sure when and how. What Zuo Yang (and Selena) have achieved in their cafes and artwork is to marry simplicity with real artistic range and depth, drawing on the best of ancient Chinese and Western art to create a nostalgic fusion. It is not without its modern side, however – abstract and semi-abstract sculptural pieces rubbing shoulders with traditional calligraphy and Western-style caricatures. Their café was always a real hotch-potch, a potpourri, a treasure trove of artwork that we will surely revisit on any return trips to China. We might hope to see them in Europe some day, too. 英国旅行家、文化比较学专家 Ewan george Dow England I first met Selena and Zouyang when I was teaching at Tsinghua University, in 2001. At that time, they ran a tea house in the area between Tsinghua and Bei Da. Zouyang also worked at an art museum, I believe. The area then held the former homes of the Blue Bannermen who had once been guards at the Summer Palace, nearby. Some of the houses were rather grand. Selena’s and Zouyang’s was not grand outside, but very pleasant inside. One visitor said it reminded him of the better sort of village tea house. It was decorated with the portraits of customers which Zouyang had made. They also tried to sponsor intellectual or artistic activities, as well as just selling tea and snacks. There were informal talks by professors on the future of religion in China, calligraphers helping people design handsome signatures – it was a classroom itself, like one of the ancient Greek stoas, although not a formal school. I learned to write my Chinese name in an artistic way from a visiting calligrapher, and still sign all my letters that way. I had many interesting conversations about art, history, and so on. Visiting their tea house was a pleasant break from what was otherwise a difficult year for me. Since then, the Blue Bannerman’s village has gone, turned into modern classrooms and the like. Selena and Zouyang have earned their living in other ways. I have moved from Beijing, sojourning in various cities in China, teaching English and trying to understand China. Selena and Zouyang have been very faithful to stay in touch with me. It has been a touching example of friendship. Zouyang has been quite a busy painter, in a style not quite like anyone else that I know. Modern painting in the West has been moribund for most of the last century, it seems to me. Painters have been more interested in ideas and “shocking the bourgeoisie” than in paintings. Similar things have happened throughout the world. Orhan Pamuk’s recent novel, _Red_, is about how Turkish traditional painters react to modern Western painting, for example. Zouyang has done many Buddhist paintings, in his version of Chinese and Tibetan traditions. But he has not been slavish. His paintings are original, but not hostile to the older tradition. Moreover, he has innovatively put most of them on to the Web, making them visible to people who will never come to Beijing. Now I rejoice that he his putting his work in to a book! A book is semi-immortality. We mortals come and go, living only slightly longer than insects. Web sites are ephemeral, too. But a book lasts, often for centuries. _Vita brevis, ars longa_, as the Roman poet, Horace, put it, “life is short, art is long.” Zouyang’s mind, via his paintings in his book, will be reaching out to other minds for centuries to come. 美国历史考古学家 Lester Ness （郝禹） Kunming China