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人不能只活在现实当中。跳出现实的方法有两种:睡觉做梦和艺术审美。前者醒来后,或捶胸顿足,或痴痴一笑,然后,生活继续。后者不甘庸碌一生,要踏着平凡日子,探究终极关怀,从审美中寻求超越。两者形似,神髓并不相通。但也有例外,譬如庄周梦蝶,譬如这张照片;它们融化了梦境和艺术的边限。斯人仰卧长椅欣赏,徒不知是梦是赏,浑不察是庄周还是蝴蝶,梦里梦外,亦真亦幻。大截像取景,那绚烂画作,倏忽晃人心魄;高处俯拍,空旷场地上的人,孤独却不落寞。画面分成两个影区,上部热烈地让人喘不上气,下面平淡而寂静。但欣赏者的舒展体态和地板暗藏的纹理走向,道出了秘密:一股心向往之的热流,正在不可遏止地涌动。在画面的双重隐喻中,一扇门正吱吱呀呀地打开;现实与超越,梦境与审美,交融缠绕乃至升华的全过程,正慢慢向我们洞开。
People can not live in reality only. There are two ways to jump out of reality: sleep dreaming and aesthetic artistry. After the former wakes up, or wobbles, or jokes, and then, life continues. The latter unwilling to mediocre life, we must march on ordinary days, explore the ultimate concern, from the aesthetic to seek beyond. Similar between the two, God is not the same. But there are exceptions, such as Chuang Chih-moon, such as this picture; they melt the boundaries of dreams and art. Si people sit bench to enjoy, only I do not know the dream is reward, Hun Zhuang is Zhuang Zhou or butterfly, dreams, but also true illusion. A large section of the viewfinder, that gorgeous paintings, ominable; overhead pat, open space, lonely but not lonely. The screen is divided into two regions, the upper part of the warm breathless, the following plain and silent. However, the viewer’s body stretch and the hidden texture of the floor lead to a secret: a stream of intense heat is surging uncontrollably. In the double metaphor of the picture, a door is creaking open; the whole process of reality and surpass, dream and aesthetic, blending and even sublimation is slowly opening to us.