《有距无离》     

韩祺

晨阳的作品，以距离担礼貌，奉礼貌以距离。他以作品背景与主体画面有距无离的相携方式谦和的来驻守。他作品的背景与自身的背影如“人迹板桥霜”的层霜叠叠，抚慰了所有人的游子思乡。

The sense ofdistance plays a subtle role in Chen Yang's works. It can be the structure of aerialperspective, as well as an incarnation of courtesy. The peculiar spacialinterrelation between the main subject and the background turns his paintingsinto a massive carrier of artistic conception and philosophical meanings. Throughthe brush and canvas Chen Yang comforts many of us who have been wandering in nostalgiaover the years.

有距无离，之于晨阳自己：绝不仅仅是设置绘画技法层面的障碍，如在奔跑时跨栏，也许，设置障碍是更好的关怀。当然，设置因被诗意眷顾而斑驳的苍茫背景，也绝不仅仅作为个人绘画语言确立的仪式感的直观化，尽管仪式和节日可以强化仪式过程和节日那刻的人生感。这种距而不离是晨阳揣度自己和作品最稳妥的斟酌。

By making the erratic sense of distance Chen Yang not only sets up technical obstacles in finishing the picture, but also brings about some humanistic care. And, of course, the vast and mottled background is not merely the visualized rituality of the personal painting language, although rituals and festivals can enlarge our life experience. The sense of distance isthe surest way of feeling himself and his artistic creation.

有距无离，之于作品本身：首先解救了油画画面背景生来即是被覆盖的悲情，画面背景不再面临因覆盖而被否定所需承受的失落。其次，晨阳把背景从之于画面的牵绊中腾挪出来，使得既可以春风拂面般的轻盈存在，又可以击掌慨叹对画面主体无处不在的支撑与印证，主体画面每一层的生发绽放都来自背景的呈现，收获层进的生生不息！挽留绘画过程中的过往，晨阳礼貌而克制的体贴背景，这是一种冷静而理智的关怀，把背景从先天用来被覆盖的“实用”中解救出来，而呈现背景的“直觉”和“自觉”。使作品中背景和主体“长幼有序”。再次，晨阳对作品背景由“处理”转为“无所为而为”，使作品中的背景不在有成为问题和出现问题的可能，这恰恰成就了一种恒久惦念。

You will find yourself standing somewhere within the distance. The antinomy of the space rescued the background from being covered completely, which avoided its sense of loss and alienation due to the negative coverage. Then, Chen Yang migrates the background from the constraint of the whole painting, endowing it with the relaxed existence and equal rights with the subject. Thus the vivid blossom of the subject comes from the collaboration and interaction with the background, which can generate the endless and harmonious rhythm. The emphasis of the background doesn’t despoil the importance of the subject. It is such a calmand rational concernandrestraint. On one hand, the background has been rescued from its “practical” use of covering, on the other, the balance of the picture reflects the “intuition”, “consciousness” and the “seniority” of the background. Again, the process of painting the background here is “doing for nothing” in Chen Yang’s point of view. The background is as alive as the subject. It has lost all the possibilities of being the target of public criticism, and has become an independent creation.

有距无离，之于观者：第一层，给了我们超然于现实人生困境的途径。他把现实中我们的有限，具体，逼真撞开来，指向“境生于象外”。他的着眼并非具体而有限的“象”，而是妙境，是对时间和空间有限之“象”的突围。第二层，晨阳背景的呈现方式给了我们在油画作品面前，冥思我国传统美学“妙境”的场地。谢赫云：“若拘以体物，则未见精粹；若取之象外，方厌膏腴，可谓微妙也。”顾恺之云：“四体妍媸无关乎妙处”。妙，针对于整个人生的抚慰。非具体，非有限，非逼真的背景可以与我们观者携手抵达无限而永恒的宇宙本体。

As to the viewer, first of all, the artist shows us a manner of detaching ourselves from the plight of the reality. He deconstructed all the finitude, concreteness and verisimilitude in our actual world, pointing to the idea of “artistic conception appears outside the image”. The focus he takes is not on the specific and limited “image”, but on the artistic wonderland and the breakthrough of the finite time and space. Secondly, by painting the background Chen Yang places a stage in front of us, where we can have some meditation on Chinese traditional aesthetics. Xie He, the very first painting theorist in Chinese history, once said, “The vividness of a painting has nothing to do with the beauty and ugliness of the body of the subject.” The excellence or the vividness is non-specific, non-limited and non-realistic that can console our life, take us to the infinite and eternal universe.

有距无离，之于我：首先是一种感召。与其说我着迷于作品背景，不如说我着迷作品背景的呈现方式，与其说我着迷作品背景的呈现方式，不如说我着迷这种呈现方式怀有的中国美学范畴的“妙不可言”。晨阳从不鼓励创作中偶然的意外之喜，因为礼貌和礼仪是在克制的前提下对一切保有适度的距离才可有所得。其次，是一种欣喜。我欣喜于他对自己作品的所有过往的看重，在他的作品面前，我清晰而坚定的更加愿意对自己负责，对自己的此刻认真，因为我的每个“此刻”之后，就会成为是自己的过去，就成为自己的背景，而这背景是永远关照我的前景，是不会被覆盖的，大约这是一种不离不弃的互相负责吧。

To me, the sense of distance in Chen Yang’s works is like a calling or an inspiration.I am fascinated not so much with the background itself as with the way it presents; andI am fascinated not so much with the way the background presents as with the “indescribable subtleness” in Chinese aesthetics the painting conveys. Chen Yang never encourages the occasional surprise in the process of creation because politeness and manners can be reached only under the premise of restraint and maintaining appropriate distance. Further more, I found some joy in his sense of distance. I rejoice over his attention to all the previous value of his own works. Standing in front of his works, I have a clear and firm willing to be responsible for myself, for every moment I am spending, since every present moment happening right now will become a part of my past, and will become the background of the picture of my life. And the background will always be attached to the foreground and will never be covered, reaching a steadfast mutualism.

有距无离，距而不离，一尺为度，咫尺天涯。

“Close”or“far”has lost its meaning of demarcation in somewhere within the distance. Believeit or not, it’s ingenious beyond description.

Translator:Ai Xin

丙申  四月二十二