你的第一句话是：光！

　　有的是时间。于是你久久沉默。

　　　　　　　　　　　　——里尔克

　　绘画是存在的一方截面，摄影是存在的一个空格，影像是存在的一片视阈。

　　物的亮部是对外部的敞开，这种敞开，既包含了迎接又展示了自身，并藏匿其本性。当来源于外部的启示之光越强，物本身的存在便消隐在一片光亮之中，其藏匿性也就越强。镜像是这个特性最具明显之物，反射的光，成为耀眼的光亮，镜本身却藏匿在光之后，素描本身的要素是由亮部、暗部、阴影、线条、造型等组成。公元前3世纪的希腊绘画和后来的罗马绘画就用过明暗法。在这一发现的使用过程中，暗部与投影一直作为主体的描述而始终被注视，而物的光亮在使用的图式上也一直为环绕在光亮部分周围的暗部与阴影所显现。它“照亮”与“点燃”了画面，但是这个“照亮”与“点燃”却将物像自身遮蔽起来。

　　在普桑的《三个仙女》（约1633-1635年）中，造型阴影与投影所环抱的人体，将这个“照亮”引入到在这个存在之外的制约之物或是使存在之物中，被忽视的问题是：亮部在常规下是使视觉观看变得清楚的条件。“实际的使然是希腊人早就知道，光亮比幽暗更有掩蔽作用。” 《三个仙女》人物肌肤被光亮所照亮，这个质感代替和藏匿了人体本身的质感，而画面左侧的裸女的躯干与大腿的亮部和右下方半跪着、头却略略回望丛林的裸女，形成一个光亮的支撑，而这个支撑又由这个裸女左手伸展的小臂和微妙的手指与右侧裸女的膝盖谨慎而坦然地构造这个画面，这个谨慎是由暗部投影使之相遇，而这个隔断，才是我们区分这个光亮的尺度。中间上方的裸女使这个光亮在复叠上丰富了这个藏匿性，共同指向环绕这个光亮的周围的暗影与幽暗的光亮环绕——丛林的亮光。从裸女前面的阴影中我们可以知道如同丛林的光亮一样，画面之外还存在光亮的照耀。“比这种幽暗还更有掩蔽作用的，乃是最明亮的光亮。” 这个隐蔽与暗影的藏匿具有不同的意思，前者，在开放与迎接的使用中确立自身，在普桑的素描草图中：空白对于物本身，纸张成了使命的载体，如同中国水墨画的空白与飞白一样。而仅仅的一点线成为这个实体的限制。当暗部消失时，限制仅以轮廓的形式承载造型。中国传统绘画的线描，尤为重视这个形，即将物纷繁与琐碎藏匿于空白——这个光亮之中。这个光亮的使用，使素描的去蔽性与物的繁复性表象只存在于对象本身之中，并为光亮所掩蔽、迎接与展示，形成了物的特定的质，而这个光亮随时“照亮”与“点燃”每个阴影或暗部。物的自我本质不仅仅以自身的存在而存在，更被这个光亮与本体的遭遇所“照亮”与“点燃”，另一个素描的因素从而也就被展示，造型在这个时刻豁然成形。

　　高光与闪烁

　　《洗礼》（17×22.8cm，钢笔，褐色墨水，黑粉笔）是普桑的一幅素描，画中的一种光亮的一个另外形式是：为众多纷繁的阴影与暗部所包围环绕的零星的、少量的光点，在关联上是散落在众多物上，却以点状进行结构的光亮，这个光亮具有闪烁的、支离破碎的特点，它只“点燃”存在之物，却不照耀，此时，物始终存在于暗影之中。在《洗礼》中，我们辨析每一个人物，因为人物沉浸在阴影之中，轮廓与周边浑为一体，作为一个整体的凝塑之物。而占据画面极小面积比例的光亮部分失去了作为主体光亮所具备的那个打开与迎接，而转化为一种突显的闪烁；对在素描来说，这个闪烁仍具备形状的特性。如果我们注视这幅《洗礼》，这里的光亮只向我们展示这个故事的瞬间，它只“点燃”而不“照耀”，而这个“瞬间性”使我们感到即将的一个失去与整体的一个藏匿与躲避，即使画面作为绘画，并以这样一个姿态恒知在那里，这个若显若隐的图像，随时向显或隐的双重相反的界限发生，并把它预留给观看者。闪烁即将消失，而又一次闪烁即将到来。它唤起画面的生命之诗，与物性在整体境遇的发生，这个整体又是世界的整体。从同时期的画家鲁本斯[Rubens]的作品《少女像》我们看到另外一种闪烁所具有的点状与滑动性，它是一个区别于以体面构造的造型的局部闪烁或光亮，它却存在于这二者之中；它就是高光。高光以物的最外延点的假设与认定发生在几乎所有的凸形上。女孩头发上圆韵而滑动的高光舒展与击活着这个流畅的卷发，而鼻部的点状高光使并没有明确体面的转折表现出具有较强的立体感。读图，使我们发现一个高光的闪烁不仅仅发生在形体的高点。小女孩右眼内角与鼻梁侧的最低点同样呈现出一个光的闪烁。在实际素描的写生与观察中，也同样存在这一点。这个命题如同光亮的“点燃”与“照亮”一样，问题是：“纯然的光亮倒是更会危害表现活动，因为光亮在其闪现中随带着这样一种假象，好像只有它已然确保了视见。”

　　调性与幽暗

　　当光亮并不是直射在物上，或在光亮并不处于纯然的光芒之中，物形状的清晰为幽暗所环绕，在素描的词语要素上称为调子，从造型的非几何意义上，具体地、间接地证实着区别于它性的自身质感与物性和空间的所处位置。调子从素描的初始就被广泛使用，而文艺复兴的明暗法使这个要素变得极为细致：既使形体浑圆饱满，又与周围融合为一体。我们从达·芬奇《裙子的褶皱》（25.7×19cm，金属尖笔，木炭，褐色颜料，铅白红色纸）[图14]这幅素描中，可以看到调子的复杂性塑造着物的每个细节，不同于光亮与阴影的决然。而这个调性也是一种闪烁：“不过，诗人看到一种闪烁，这种闪烁是通过它的幽暗而得以闪现的。幽幽的光芒并不否定清晰性，但却否定光亮的过度，因为光亮越是明亮，就越是坚决地不能让人视见，过于灼热的光不仅使眼睛迷乱，而且，过大的光亮也会吞噬一切自行显示者，并且比黑暗更为幽暗” 。这段文字赋予以我们的判断或现象是，调子本身具有闪烁，并通过这个幽暗得以闪现，它使物变得清晰。由于调子具体地、间接地证实的着细切，从而拒绝过分的光亮，也就更加描述着物的自身。也就是说，只有这种清晰性才能使有待表现的物的本性实现具体化，“诗人才‘自由地’使用本己之物，即表现的清晰性。光芒……，它作为这样一种赠礼依然在曾在者的问候中成其本质；而诗人的话语必须先行顺应于神圣者的光芒。”  海氏在这里“自由地”应释为无条件的与无拘束的状态面对这个清晰性，而调性又是这个清晰性在光芒多重造访下的存在，这成为描述者的基础。问题是这个清晰性并不是由光芒的直射所形成，而是由“光芒”多重造访而确立。那么这个多重造访是什么呢？光的特质是，使照亮者照亮并映亮周围，映照着大地，并形成相互的映照，这种映照并非直接的，而是从四面八方之涌现出的光，形成物本身的清晰性，使光亮与暗影的藏匿得以显现。而这一切，成为描述者自然而然的场景。“只有这样，诗人才能够让显现者自行显示出来，并且——在它显示它物之际——本身成为标志。” “诗人请求幽之光芒的损赠，在其中，光亮已经得到了缓和，但这种缓和并不是削弱光亮的光芒。因为黑暗把起遮蔽作用的东西显现开启出来，并且把在其中被遮蔽着的东西保藏在起遮蔽作用的东西中。黑暗为光芒，保藏着光芒在其闪现中必须发送出来的那个东西的丰富性。”  作为素描中的调性，承担了这所有的一切，并不断使用在改变与稳定之间。

　　2006年于杭州五云山居

　　Your very first word was: light!

　　There was the time.  Then you have remained silent for long.

　　　　　　　　　　　　　——Rainer Maria Rilke

　　Painting is a cross section of existence, photography is a space of existence, and image is a visual threshold of existence.

　　An object’s bright part is opening to the outside, which both implies welcome and presents itself and also hides its nature.  When the inspiring light from outside becomes stronger, the object’s existence would disappear inside the brightness, and it’s easier for it to conceal itself.  A mirror image is the most typical object of this character, as the reflected light becomes dazzling and mirror is hidden behind the light.  Sketch consists of bright part, dark part, shadow, line, molding, and etc.  In the 3rd century B.C., the Greek painting and the later Roman painting applied the method of brightness and darkness.  During the course of applying this discovery, the dark part and projected shadow were always focused as the main body of depiction, and the application of object’s light in pattern was also revealed by the dark part and shadows surrounding the bright part.  It “lighted up” and “kindled” the picture, however the “lighting-up” and “kindling” concealed the image itself.

　　In Nicolas Poussin’s Three Goddesses (about 1633~1635), the human bodies surrounded by molding shadows and projected shadows led “lighting-up” into the environment outside existence.  The neglected problem is the bright part is a condition to make vision clear under normal circumstances.  “The fact was the Greek had already known brightness was more concealing than darkness for a very long time.”  In the painting, the figures’ skin was illuminated by light, and this texture replaced and hid the texture of human body itself.  The bright part of body and thighs of the naked woman in the left and the half-kneeling naked woman slightly looking back towards the jungle in the bottom right corner constitute a support of brightness, and this support cautiously and unperturbedly compose this picture with this naked woman’s extending left arm and delicate fingers and the knees of the naked woman in the right.  It’s cautious as they connect with each other through the dark projection, and this partition is the yardstick for us to estimate the brightness.  The naked woman in the upper-middle part enriches the concealment of brightness through juxtaposition, and also points to the bright surroundings around the dark shadows – the light of jungle.  According to the shadow in front of the naked woman, we may conclude there is other illumination just like the light of jungle.  “More concealing than darkness is the brightest light.”  This concealment is different from the concealment of projected shadow.  The former establishes its position during the process of opening and utilization.  In Poussin’s sketches, for the blank space and the object itself, paper becomes the carrier of mission, just like the blank space in Chinese ink painting.  Only a few lines limit the essential object.  When the dark part disappears, the limitation undertakes molding in the form of outlining.  Outlining in traditional Chinese painting especially pays attention to the figure, that is, hiding complication and trivialities inside blank space – the brightness.  The application of brightness enables sketch’s revelation and object’s complicated phenomenon to only exist in the object itself, to be concealed, welcome and presented by brightness to form the object’s specific quality, and the brightness could “light up” and “kindle” every shadow or darkness at any moment.  An object’s nature not only exists as itself, but also becomes lighted up and kindled by the brightness and the object’s experiences, thus another element of sketch is presented, and molding takes shape at this instant.

　　Highlight and Glitter

　　Baptism (17×22.8cm, pen, brown ink, black pastel) was one of Poussin’s sketches.  The another form of brightness is a few scattered bright spots surrounded by lots of shadows and dark parts.  Being glittering and fragmented, these spots are spread among numerous objects in the shape of dot.  The brightness only “kindles” the existing objects but doesn’t “illuminate”, therefore, the object is always inside darkness.  In Baptism, we could discern every figure, as the figures are immersed in shadows with outlines fusing into the surroundings as a whole piece.  The small proportion of bright part loses the opening and welcoming possessed by brightness as the main body, but turns into conspicuous glitter.  For sketch, the glitter still has the feature of shape.  If we attentively watch Baptism, the glitter just presents the instant of the story to us, as it only “kindles” instead of “lighting up”, and the “instantaneity” enables to realize the concealment and hiding from the whole which remains such a pose there.  The partly hidden and partly visible image appears or disappears at any moment, and is reserved for the audience.  The glitter is going to vanish, and another glitter will come again.  It rouses the poetry of life in the painting with the substantial nature of objects in the whole world.  In Portrait of a Young Girl created by Rubens of the same era, we may see another kind of glitter of dot shape and gliding feature.  Being a partial glitter or brightness different from molding composed of volumes and surfaces, it exists between these two elements, and it is highlight.  With the hypothesis and assumption of the remotest spot of extension, highlight almost happens in all the protruding shapes.  The smooth and sliding highlight on a girl’s hair unfolds and activates the fluent curly hair, while the spot-shaped highlight on nose presents relatively stronger sense of third dimension.  In the painting, we discern that a glitter of highlight not only happens on a high spot of a shape.  The inner corner of the young girl’s right eye and the lowest spot beside the bridge of the nose also show spots of glitter.  There is the same situation in the actual sketching and observation.  This proposition is just like “kindling” and “lighting up”, and the problem is, “Pure brightness would be more likely to endanger the expression, as brightness brings such a misleading appearance that only it could ensure the vision.”

　　Tonality and Dimness

　　When light isn’t directly projected on an object, or the brightness isn’t inside pure light, then the object’s shape is surrounded by dimness, which is called tone in the field of sketch, specifically and indirectly proving its own texture and the location of its nature and space different from other elements in the non-geometrical significance of molding.  From the beginning of sketch’s emergence, tone has been widely applied, and the method of brightness and darkness during the Renaissance made this element more delicate – not only enriching the shape but also fusing into the surroundings.  From the sketch Pleats of a Skirt created by Leonardo da Vinci (25.7×19cm, metal pen, charcoal, brown color), we may discern the tone’s complication molds the

objects’ every detail different from the absolute distinctness between brightness and darkness.  Tonality is also a sort of glitter, “however, the poet sees a glitter, which is presented through the dimness.  Gloomy light doesn’t deny distinctness, but denies the excess of brightness, as extreme brightness couldn’t be visible, the excessive light dazzles the eyes and conceals all the images, and is gloomier than darkness.”  These words deliver the judgment or phenomenon – tone itself has glitter that is presented through dimness and makes the objects seem clearer.  As tone specifically and indirectly proves the details and denies excessive brightness, thus further depicts the object itself.  In other words, this distinctness could help to realize the nature of an object to be presented, “and the poet could freely utilize his own things, that is, the distinctness of expression.  Light… still returns to its nature in greetings as a gift, while a poet’s words must comply with the saints’ light.”  Heidegger used the word “freely” with the meaning of facing the distinctness in an unconditional and unrestrained status, and the tonality was the existence of distinctness among multiple projections of light, which became the premise of the describer.   The problem is the distinctness is the result of light’s multiple projections instead of light’s direct irradiation.  What are the multiple projections?  Light’s special characteristic is to illuminate the surroundings, light up the ground and form mutual projection, which is indirect.  Light from all direction is cast onto the ground, forming the object’s own distinctness, so that the concealment of brightness and darkness could be presented.  All these turn to be a natural scene for the describer.  “Only in this way, the poet could let it voluntarily show itself and become a symbol when it presents the other objects.”“The poet asks for the endowment of dim light.  Inside dimness, brightness has been relieved,

however the relief doesn’t weaken the light of brightness, as darkness reveals the sheltering　objects and preserves the concealed ones.  Just like light, darkness preserves the profusion of the object with light glittering inside to be sent out.”  As an element of sketch, tonality undertakes all these, and is continually applied between alteration and stability.

　　　　　　　　　　　　In Mount Wuyun Dwelling, Hangzhou, in 2006