弥金GENE｜苏州博物馆｜庞飞个展《云起》
品牌视觉传达支持 Visual Support：
可集Kollektiv工作室（上海）
以活性之笔造空濛之境
——庞飞山水的性格与质感（节选）
文/吴洪亮
庞飞于画上题跋时，特别钟爱沈括《梦溪笔谈》中关于“败壁张素”的典故：“……张绢素讫，倚之败墙之上，朝夕观之。观之既久，隔素见败墙之上，高平曲折，皆成山水之象。……则随意命笔，默以神会，自然境皆天就，不类人为，是谓‘活笔’。”这种对于“活笔”的歆羡和自然之趣的追求塑造了庞飞的山水性格。与此同时，他的作品往往朦胧混沌，空灵自然，恰如南朝诗人谢朓《观朝雨》中之句：“空濛如薄雾，散漫似轻埃。”空濛，正是庞飞山水画的质感。
活笔的性格、空濛的质感与艺术家偏爱的山水题材不无关系。在传统山水画中，夜景和雨景都属于相对特殊的切入点，虽然存在，但并非山水画的最常态，而庞飞对此却表现出浓厚的兴趣。无论是昏暗天色下的大山，还是雨雾当中的景色，其共同特征就在于朦朦胧胧的似是而非。山形可见而又轮廓模糊，云雾有别却又浑如一体。一方面，这样的山水给画家对物象的准确描绘带来了一定障碍，但另一方面，对象的模棱两可也为画家提供了更加广阔的想象空间。面对夜山、雨山，艺术家的渲染可以更加自由，笔调亦可更具活性，这便为庞飞追求的活笔提供了更有利的条件。加之特殊的环境使山水树石与自然天象形成了更为统一的交融，整体、和谐、混沌的气象反映到画面之上，也更易造就出空濛的气质。
西湖素有人间天堂之称，恰如世间的桃花源。庞飞就曾创作过一幅《桃源新境》，作品以泼墨、泼彩描绘山中春景，桃花点点，春水倾斜，清新雅致，平淡天真。事实上，对于艺术家来说，他们笔下的山水无不是自己心中的桃花源。中国山水画自古就有“澄怀观道”、“卧以游之”的精神追求，时至今日，这一主题仍未改变。对于山水画家而言，无论他们的风格面貌如何变化，对于笔墨境界的追求与探索亦是不变的主题。“欲把西湖比西子，淡妆浓抹总相宜。”在新时代沉潜于山水创作的笔端西施，即使风格各异，面貌层出，却都是以不同的方式向着共同的山水精神不息迈进。就像庞飞此次展览的苏州博物馆专门设置了现代艺术厅一样，传统与现代并非水火不容的对立关系。事实上，二者并不违和，传统精神自有其在当代语境中生存和延续的恰切方式。
2021年4月11日于江苏江阴
A Mystic Mood with a vivid Touch:
The character and texture of Pang Fei’s landscape work（Selected）
Author/Wu Hongliang
When Fei puts down the inscriptions for his paintings, he often alludes to a story in Meng Xi Bi Tan, an ancient Chinese encyclopedia written by Shen Kuo in the Song Dynasty, “… you could hang a piece of silk against a broken wall, and observe it day after day. After a while, you could see through this piece of silk, the sags and cracks, the twists and turns in the wall would all become landscape … you internalize it, follow it, and brush freely. Art will then come naturally and authentically, nothing contrived at all. This is called ‘a vivid touch’.” The story was later summarized in a traditional Chinese idiom “Bai Bi Zhang Su” (Hanging a piece of white silk against a broken wall). The characters of Fei’s landscape work are rooted here, at the admiration for the vivid touch, and at the pursuit of nature. His works are often hazy and misty, free and natural, just like what was described in the famous ancient poem “Guan Zhao Yu” (Watching the morning rain), by Xie Tiao, a poet active in the Southern Dynasty, “Mysterious and vast like a mist, loose and free like a dust”. The sense of mystery and vastness is the texture of Pang Fei’s landscape work.
The character and the texture relate directly to landscape art, which our artist adores. In traditional landscape painting, the depiction of nights and rains are relatively rare. They exist, but are not the usual themes in landscape paintings. However, Fei has shown deep interest in those images – mountains in a dim light, or views in a foggy rain, where obscurity is the common character. We see the shape of the mountain, but the contours are vague; we see the difference between the cloud and the mist, but they merge as if they are one. On one hand, landscape like these would make it difficult for artists to portray the sceneries accurately. On the other hand, the obscurity allows much broader room for imagination. Facing nightly mountains and rainy hills, an artist could apply colors freely with lively brush strokes. These themes allow Fei to better pursue the “vivid touch”. In addition, these special themes connect the mountains, the rivers, the trees, and the stones together naturally. Coherence, harmony, and unity are reflected in the paintings, creating a mystic mood.
The West Lake is often referred to as paradise on earth, a perfect place for a sequestered life. Fei has painted a piece called Tao Yuan Xin Jing (A new view of the paradise on earth). With ink-splash and color-sprinkle, the piece shows the mountains in spring, with dotted peach blossom and winding rivers, fresh, elegant, natural, and simple.In fact, the landscape works are all depicting the paradises in the eyes of the artists. In tradition, Chinese landscape paintings would seek to allow the audience to clear their minds and experience the spirits of the sceneries through the artwork. This has never changed. For landscape artists, there is always a theme of exploring new ways of mastering the ink and brush work, no matter how their personal style would change. “Beauty of the West Lake is like that of Xi Shi, looking fantastic however much makeup she wears.” The artists in this new era, focusing on creating art of landscape, are all forging their way forward with a same spirit and love for landscape, despite their differences in style and appearance. Just as Suzhou Museum, where Pang Fei’s solo exhibition is held, has set up a hall of Contemporary Art, the traditional and the contemporary are never incompatible, yet in fact, they go well with each other. The traditional spirit has found its own way of existence and continuance in the contemporary context.
April 11th, 2021
Jiangyin, Jiangsu Province
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