黃山：落筆草根

◇ 文| 本刊記者 陳科龍 圖| 劉映呈 受訪者提供

黃山記得很清楚，八年前的那個(gè)冬天似乎格外冷。一天夜里，他走在解放碑街頭，一陣風(fēng)吹來(lái)，他下意識(shí)地緊了緊皮夾克的衣領(lǐng)。

忽然，一個(gè)黑乎乎的角落里亮起一點(diǎn)星火，拽住了他的目光——一個(gè)“棒棒”（挑夫、力哥，編者注）坐在花壇邊上，翹著二郎腿，手中打火機(jī)微弱的火光，照亮了他微微佝僂的身軀……

黃山站在路邊，愣是悄悄看著他抽完了整支香煙。

Huang Shan remembers very clearly, that eight years ago, it was an extremely cold winter. One night, he was walking in the streets of Jie Fangbei. A gust of wind blew, and he subconsciously tightened his leather jacket collar.

Suddenly, a little spark lighting up in a dark corner grabbed his eyes. A “Bang Bang” (porters or stick men) sat on the edge of the flower bed with his legs crossed. Flame of the lighter in his hand revealed his slightly stooped figure.

Huang Shan stood over the road and quietly saw the porter smoking the whole cigarette.

發(fā)現(xiàn)另一種常態(tài) Finding Another Normalcy

“周圍是萬(wàn)家燈火，他抽煙的形象，一直印在我腦中。”這個(gè)冬天，我們?cè)谒拇佬g(shù)學(xué)院虎溪公社見到了黃山。他身上也是一件皮夾克，只是有些寬大，包裹著他清瘦的身材，頭發(fā)蓬松、灰白。他似乎總是一臉嚴(yán)肅，若有所思。

打那個(gè)冬夜起，他的目光幾乎鎖定了這群普通人。

黃山 黃丹《茶館系列之二》130X90cm綜合材料 2014年

棒棒日記2 120X120cm 布面丙烯 2011

棒棒日記3 120cmX120cm 布面丙烯 2011

棒棒日記7 110x90cm布面丙烯2012

在他工作室的墻沿下，堆滿了人物畫。一幅表現(xiàn)“山城棒棒”的作品，色彩鮮明，獨(dú)樹一幟。這是黃山創(chuàng)作的《棒棒日記》系列中第七幅作品。畫面中三個(gè)挑夫，挽著褲腿和衣袖，蹲在一起，其中兩個(gè)抽著煙，另一個(gè)在打電話。

“不要以為他們?cè)谛蓍e享受，其實(shí)是在無(wú)奈與無(wú)聊中打發(fā)時(shí)間，”黃山的話剛起頭，又連忙從地上堆著的書里找出了他的中國(guó)畫作品選遞給我們，里面有7幅《棒棒日記》，其中6幅里畫的挑夫都蹲坐在一起，要么抽煙，要么打牌，要么發(fā)呆。

印象中描繪挑夫的畫面，總是挑著重重的擔(dān)子爬坡上坎，大汗淋漓、青筋暴露。而黃山眼中，“等待”才是挑夫們的人生常態(tài)，他們習(xí)慣等待，在四周熟視無(wú)睹的目光中等待。

畫中，力哥們身后常有著光鮮亮麗的女性形象?！拔蚁胪ㄟ^她們，與‘棒棒’形成強(qiáng)烈的對(duì)比，反襯出一種無(wú)奈?！秉S山特意說(shuō)明。

“Around him are lights of the city, so the image of him smoking alone is always in my mind.” Huang Shan said. This winter, we met him in Huxi Art Commune of Sichuan Fine Arts Institute. He also wears a leather jacket, but a little bit loose, wrapping his thin body. With fluffy and gray hair, he always seemed to be serious and thoughtful.

From that winter night on, Huang Shan’s eyes were almost fixed on those ordinary people.

In his studio, many figure paintings pile up along the wall. One of the paintings depicting “Bang Bang” in mountain city stands out with bright colors. This is the seventh work in the series of “Bang Bang Diary” produced by Huang Shan. Three men in the picture, with their trousers and sleeves rolled up, squatted together, two of them smoking cigarette and one on the phone.

“Do not think that they were relaxing, they were actually killing time.” Huang Shan said and hurriedly found his Selected Works of Chinese Painting from piled books on the floor and passed it to us. There are seven “Bang Bang Diary” and in the six pictures of them, porters all squatted together, either smoking, or playing cards or in a daze.

Under the impression, porters in pictures are always carrying heavy load while climbing up the hill, sweating and veins twitching, but in Huang Shan’s eyes, waiting is their normalcy. They are used to waiting and always wait in the blind eyes.

黃山 黃丹 《祥和-巴渝村鎮(zhèn)即景》133x170.5cm綜合材料 2014

In the paintings, behind porters are usually glamorous female images. “Through them, I make a striking contrast to express helplessness.” Huang Shan specified..

唱著凡人歌作畫 Singing Mortal Song and Painting

為挑夫作畫，并不是黃山藝術(shù)生涯中的偶然。

他從小在樂山長(zhǎng)大，小學(xué)四年級(jí)被迫輟學(xué)。兩個(gè)哥哥下鄉(xiāng)當(dāng)了知青，黃山因“留身邊”的政策，待在了父母身邊。

“那個(gè)時(shí)候，我要燒火做飯，還要撿煤渣，沒事就在家里讀媽媽或買或借來(lái)的魯迅的雜文、詩(shī)歌?！彼c(diǎn)上一支煙，“鄰居有個(gè)美術(shù)教員叫羅順貴，我整天泡在他家看列賓和黃賓虹畫冊(cè)，請(qǐng)他教我畫畫?！?/p>

稍大一些，父母讓他到鄉(xiāng)下學(xué)了一年木匠?！拔乙彩浅赃^‘撿水’的?！蹦菚r(shí)，農(nóng)村沒有水管，接水得用一截一截劈開的竹筒，把水引到家里的水缸。在木匠家，黃山一有空隙就悄悄畫畫，畫村里的人，畫村里的景。

回到樂山城里，黃山又去雜技團(tuán)當(dāng)臨時(shí)工，在糧油公司當(dāng)售貨員。

他一心想考四川美術(shù)學(xué)院。1977年，報(bào)考川美附中未果，第二年又報(bào)考川美，失敗了。1979年，他在遼寧錦西當(dāng)了兵，走進(jìn)海軍軍營(yíng)，在政治部宣傳隊(duì)里畫布景、宣傳欄、幻燈片，給戰(zhàn)士畫肖像畫速寫。兩年的磨礪，繪畫功底快速提升。1981年，退伍后，黃山終于踏入了川美校園，有幸?guī)煆鸟T建吾、蕭建初、李文信、白德松等名家。

年輕時(shí)的經(jīng)歷使然，黃山的畫筆始終落在草根之中，《棒棒日記》系列如此，《祥和·巴渝村鎮(zhèn)即景》和《茶館》系列也是如此。

It is not by accident that Huang Shan chose to paint for the porter.

He grew up in Leshan and was forced to drop out of school in the fourth grade in primary school. Two elder brothers went to the countryside to be educated, and Huang Shan stayed with his parents because of “staying around” policy.

“At that time, I had to make a fire to cook and also pick up coal cinders. I would read Lu Xun’s essay and poems my mother bought and borrowed for me.” Huang Shan lit a cigarette and continued, “I had a neighbor Luo Shungui who is an art teacher, and I spent the whole day at his house looking at picture albums of Ilya Repin and Huang Binhong and asked him to teach me to paint.”

When Huang Shan grew elder, parents sent him to countryside to learn to be a carpenter for one year. “I also ate ‘Jian Shui’”. At that moment, the rural area lacked water pipes, so bamboo pipes were used to lead the water to the water tank at home. In the carpenter’s home, Huang Shan would paint people and views in the village when he was free.

Back to Leshan, Huangshan went to an acrobatic troupe as a temporary worker and also worked as a salesman in the grain and oil company.

Huang Shan was bent on being admitted to Sichuan Fine Arts Institute. In 1977, he took the entrance exam of Affiliated High School of Sichuan Fine Arts Institute but failed. Next year, he took the exam again and encountered failure again. In 1979, Huang Shan became a solider in Jinxi, Liaoning. He went to the marine barracks and in the propaganda team of the political department, and he painted settings, publicity columns and slides and sketched soldiers. Two years of honing, his painting skills received rapid promotion. In 1981, after leaving the army, Huang Shan finally stepped into the campus of Sichuan Fine Arts Institute and learnt to paint from Feng Jianwu, Xiao Jianchu, Li Wenxin, Bai Desong and other masters.

Previous experiences make Huang’s paintbrush always focus on the grassroots. “Bang Bang Diary” series, “Peace and villages and towns in Bayu” and “Teahouse” series all depict the grassroots.

《茶館小記之四》紙本水墨90cm×48

《茶館小記之五》紙本水墨90cm×48.5cm 2017

《茶館小記之二》紙本水墨

洞見悲喜畫時(shí)代 Seeing Joys and Sorrows and Painting the Time

《茶館》是黃山新近創(chuàng)作的一組水墨畫。為了創(chuàng)作，最近幾年，他常常到綦江東溪古鎮(zhèn)趕場(chǎng)。

“一碗茶，五角錢，就可以坐一天。茶館里的人很平靜，表情就寫著樸實(shí)、真誠(chéng)，揩嘴巴、掏耳朵都毫不掩飾。”黃山說(shuō)自己就是草根，在他眼里，心里，農(nóng)民、茶客等等都是可愛的，撩撥著他的藝術(shù)沖動(dòng)。

有人認(rèn)為水墨藝術(shù)是“自語(yǔ)自戀，疏離時(shí)代”，是令人抵觸的“文人自適”，黃山不這么認(rèn)為?！扒『檬怯螒驎r(shí)代下可貴的自語(yǔ)自戀，生動(dòng)映照出世象的光怪陸離。水墨畫透露出潔身自好的秉性和文化品格，遠(yuǎn)比那些‘主義’‘運(yùn)動(dòng)’純粹自然。”

作為中國(guó)畫的傳承者，低調(diào)的黃山坦言他有一種使命感。作為人物畫家，他的使命在于洞見和表現(xiàn)大眾的喜與悲，挖掘生活的表面下，當(dāng)代人物的真實(shí)面貌。“這也是在捍衛(wèi)民族精神，傳承文化。”美術(shù)評(píng)論家林木先生看過黃山的畫展后，曾這樣評(píng)價(jià)：“黃山是真誠(chéng)的，他深刻理解了中國(guó)藝術(shù)的情感內(nèi)核，那份誠(chéng)摯源于對(duì)生活的真情，他把從普通人們生活中得來(lái)的激情物化于畫中。”

“Teahouse” is Huang Shan’s newly produced series of ink paintings. He often went to Dongxi, the ancient town in Qijiang District to drink tea.

“A bowl of tea only costs half Yuan, so one can sit there for one day. People in the teahouse are calm, and their expressions show simplicity and sincerity. They wipe their mouths and clear ears publicly.” Huang Shan says he is one of the grassroots, and in his eyes, farmers and tea drinkers are lovely and they push his artistic creation.

Some people think that ink art is literati’s self talk and narcissism and alienates from the times, but Huang Shan does not think so. “It is precious self talk and narcissism that matters in the age of the game. It gives a vivid reflection of the bizarre and motley of the world.Ink paintings reveal integrity and the cultural character of nobility, much better than so-called ‘ism’ and‘movement’.”

As the heir of Chinese painting, Huang Shan is lowkey to admit that he has a sense of mission. As a painter,his mission is to see and express the joys and sorrows of the masses and excavate the surface of life and find the true face of contemporary people. “This is also defending national spirit and inheriting culture.” Huang Shan said.After seeing Huang Shan’s art exhibition, Lin Mu, an art critic once said, “Huang Shan is sincere and he has a deep understanding of Chinese art emotional kernel. The sincerity comes from true feelings towards life and Huang Shan puts those feelings into his paintings.”.