画家： 欢迎并感谢大家前来参观我的展览。现在我想请大家提出自己的看法和问题，关于我的画，任何问题都可以提，我将很乐意与大家交流探讨。

　　问： 很多人都说看不懂你的画，你在创作时是否从不考虑观众的感觉呢?

　　答： 你的问题很诚实，很有代表性。说实话，我在创作时从来不考虑观众的感觉，因为观众不是单一的，而是多层面的。今天来的观众也是如此。有的可能陪女朋友来逛逛，就像是在商场或集市上;可能哪位大爷遛湾，不留意就走进了这里。有的是对绘画有点兴趣，但对中国画却不怎么喜欢;有的则是传统中国画的粉丝，还是“画友”，能写能画的。再可能还有观众则认为中国水墨画是过时东西，难登现代艺术之堂。你看，我该考虑哪一个层面观众的感觉呢?我想知道你说的“很多人”是哪一类观众，这样才便于讨论。

　　问：你的画是在自言自语吗?

　　答： 你准确的说出了画家在创作过程中的一种状态。艺术创作最初始的冲动是有话要说，这一点很重要。比如中国的古典诗词作者，得意者豪情壮志，失意者牢骚满腹，悲痛者如泣如诉，超脱者笑看人生。都是胸有块垒，不吐不快。

　　艺术是相通的，我用绘画的“词语”来表达的过程中，在作品没有和观众见面之前，的确是一种自言自语状态。但是今天有了观众，就有了对话和交流的可能。举办展览就是交流的开始。

　　问：通常人们在看画时的第一反应就是像不像，或是要知道这幅画的意思是什么?你的画要传达给我们的是什么?

　　答： 如果要在我的画中得到你所说的“第一反应”，恐怕你会非常失望。如果“像不像”就是“真实不真实”的意思的话，我建议你去看看摄影展，它会很好的满足你这个要求。

　　照像机问世后，当时好多人都说绘画即将没落。因为照相机已经替代了绘画的一大功能，即真实地再现世界，现在的数码照像技术更是神奇，人们获得图像的手段更简单，成本更加低廉。绘画怎么办?还走得下去吗?我的回答是肯定的。绘画将会继续向前发展，理由是：在照像机镜头后是统一的感光技术，而在一双双眼睛的后面，是千差万别的大脑。前者无论技术如何先进，只是标准化的图像。但是，经过人的大脑过滤和重新组合后的世界，则是千差万别的图景。人类没有两张重复的脸，更没有两颗相同的大脑，我们每个人如果都能用自己的角度来看世界的话，相信图景是各个不同的。

　　我的画就是传达出我看世界的样子。选择用何色调?用何笔法和线条?用怎样的构图?人物有多少真实感，背景环境是否虚拟?利用一切绘画的“词汇”，尽可能准确地表达我的“观感”。

　　所有这些，是照像技术无法做到的。也不是大家所看到的一致的、标准的“真实”。

　　若您在我的画中感受到了模糊不清、似是而非、若有还无，那就是我的主观感受。

　　不是吗?在这个清晰世界表象的背后，有多少是我们弄清楚了的呢?

　　问： 现在不少的艺术创作都显得极为功利。听说你在创作的时候，既不迎合市场，也不考虑专家的意见，是这样的吗?

　　答： 不迎合市场，不听取专家的意见，我个人认为这是画家的十分可贵的品质，可惜我做得并不彻底。一个创作者应该首先忠实于自己内心的感受，专注于自己独创性的工作。

　　不迎合市场，并不是说不要市场。如果有一天观众都喜欢我的作品，争相收藏，那我是太高兴了。但是这样的事情勉强不得。为了讨观众的喜欢，就改变自己的初衷，这不是一个艺术家应有的品质。至于专家的意见，就大可不必完全当真了，我自己也是“专家”，有时也会由于种种原因，而发表言不由衷的意见。

　　问： 那你的画到底准备给谁看呢?

　　答： 我一厢情愿地希望，我的画能给不同的群体欣赏。我认为创作有三个层面：

　　(一)“趣”：有趣的线条、色彩、墨韵，有趣的氛围，有趣的形象在现实和非现实之间沉浮和游走。总而言之，是一张有趣味的画。

　　(二)“趣”+“技”，这个层面是发烧友所喜欢的。有严谨的造型和表现的自由。色块与墨色重新组合与编排，富有特色而有技术难度。经过长时间的磨练，心手合一。掌握其精准的火候，有水到渠成炉火纯青的绘画技术表现，令观众赏心悦目。

　　(三)、“趣”+“技”+“理”。这部分的观众会比较少，他们有闲还得有心情，有文化素养和美术史的基本常识。有读画的嗜好，喜欢探究画背后的含意，在深入欣赏中和画者进行精神上的对话和交流。

　　Dialogue with the Audience

　　Artist: Welcome to my exhibition and thank you all very much. Now I would like you to present your views and questions about my paintings. Any kind of questions is OK with me. I would be very pleasant to discuss and communicate with you.

　　Audience: Many people said they could not understand your paintings. Is it true that you never consider about feelings of the audience when you paint?

　　Artist: Your question is quite honest and typical. To be frank, I have never considered about feelings of the audience in creation. Because the audience is not unitary, however, they are of different levels. This is

　　the same case with the audience who came here today. Some young men may came with their girlfriends just like going shopping and an old man may came by casually when he was taking a walk. Some may have a little interest in painting but do not like Chinese ink painting so much. Nevertheless, some are fans of traditional ink painting and they can even paint and write calligraphy. What’s more, perhaps there are some people think Chinese ink painting is out-dated matter which cannot be labeled as modern art. So, whose feelings do you think I should take into consideration? It is not convenient to discuss this problem until we make clear which level of the audience you refer to by mentioning “many people”.

　　Audience: Are your paintings your soliloquy?

　　Artist: Your question precisely describes a situation during the creation of an artist. The preliminary momentum of art creation is to express, and it is very important. For example, the ancient Chinese poets were in different status when wrote poems. Poets riding on the crest of success were full of lofty sentiments and aspirations, losers were

　　full of complaints, sad poets’ poems were pathetic and touching and poets who were superior to mundane affairs frankly faced life. They all had something to say and could not help expressing their inner feelings.

　　Arts are closely linked. When I express myself by “the words of painting”, I am really in a status of soliloquy before the audience see my paintings. But today, you are here, and there exists a possibility of dialogue and communication. The exhibition is a beginning of such communication.

　　Question: People’s first response when enjoying a painting is to look whether it is vivid, or to make out what is implied in the painting. What do you want to tell us through your paintings?

　　Answer: I am afraid you I will let you down if you are going to get the first response you just said when you enjoy my works. If “vivid or not” means “true or untrue”, I suggest that you visit a photograph show, which will satisfy you in this way.

　　After the camera was invented, many people said that painting will decline. Because the camera replaced one of its function, say, to reproduce the world faithfully. And nowadays the digital camera is

　　even magical and enables us to get pictures in a much simpler way with much lower cost. What will happen to painting? Can it still make its way? My answer is definitely yes. Painting will move forward, and the reason is that, what behind the camera lens is undifferentiated photographic technology; however, what behind the eyes are different brains. The former, however advanced it is, only produces standardized images. But the world filtered and reorganized by human brains could present various images. There are no two same human faces, not to mention two same brains. If we observe the world from our own angles, we will see so different images.

　　My paintings reflect the world in my mind. I try to express my feelings of the world as accurate as possible by employing all “words of painting”, such as what color to choose, what kind of brush and line to use, what kind of composition of pictures to adopt, to what extent the human figure is faithfully painted and whether the background is fictitious and so on.

　　All these above can not be completed by photographic technology, and are not the same and standard “reality” that everyone sees.

　　If you feel that my paintings are blurry, obscure and intangible, then that is my subjective feeling.

　　Isn’t it so? How much do we really understand about those behind the superficial phenomena in a world which seems so clear?

　　Question: Nowadays many painters’ works seem to be very utilitarian. It is said that your works neither caters to taste of the market nor the opinions of art critics, is it true?

　　Answer: I personally take it as a precious quality of an artist to not cater to the market or the critics. It is a pity that I have not been in this way completely. An artist should first be loyal to his inner feelings and to focus on his work creatively.

　　It dose not necessarily mean that an artist could totally discard the market when we say we should not pursue it. If there is one day that the audience love my paintings and collect them fearing to lag behind, I would be overjoyed. But that can only happen naturally other than being pushed to. It is not an artist’s character to change his initial idea just to cater to the audience. As to opinions of critics, it is much the case that we should not take it too serious. I myself is a critic, however, I sometimes speak with my tongue in my cheeks.

　　Question: Then whom do you expect to appreciate your paintings?

　　Answer: It is my own wishful thinking that my paintings would be appreciated by different groups of audience. In my opinion, paintings can be classified into three levels. The first is being interesting. Paintings of this level have interesting lines, colors, ink, entertaining atmosphere and vivid images interact between reality and unreality. In a word, a painting should be interesting. The second level is being both interesting and technical. Such works would be loved by all art fans. Paintings of this level have meticulous modality and free

　　content. Color blocks and ink are reorganized and rearranged, thus having own characteristics and being advanced in technique. Artists have been able to combine their minds with painting brushes after long time exercise. Their brilliant

　　attainment and high degree of professional proficiency in art can please both audience’s eyes and minds. The third level is being interesting, technical and rational. Audience who can appreciate paintings of this level are rare. They have not only leisure and the mood for art appreciation, but also culture accomplishment and basic knowledge of art history. With a hobby of reading paintings, they like to probe the implication behind the paintings and have dialogue and exchange with the painter on a spiritual level.