Thursday, November 19, 2015

蚁艺随想 ——读吴亚鸿“蚁聚人生”组画

蚁之旅 2015

  文/禹化兴

  开吉隆坡发来的EMS邮件,吴亚鸿先生的“蚁聚人生”组画十幅在中原省城郑州当代艺术馆展开,引来一片惊异的目光。人们围上来,面对这异乎寻常的画面,屏住呼吸,用目光搜索着,用手抚摸着,用眼神相互交流……像是在思索……像是在点头称是……,又像是在不解地发问……

蚁聚人生 2014

  什么是美?以表现美的造型艺术,究竟应该是怎样的?赏心悦目、喜庆吉祥、明净亮丽、色彩、线条、笔墨、节奏都可以是美,又都不全是。

  美是一种感觉,是心灵的碰撞与共鸣。“共鸣”即是美。 以表现人的精神世界为主旨,创造能够引起共鸣的个性化语言,就是美术家孜孜以求的全部。古往今来,无数艺术大师,莫不如此。艺术发展到今天,已有的山水、花鸟、人物,凡此种种,并非至境。随着科学的进步,人们的视野进入宏观宇宙和微观世界,必然会有更加奇异的画面让人心动。然而,今天已经习惯的审美定式,似乎已经固化了一般人的思路,成千上万的画家都在以十年、数十年同题打擂式的渐进微调,为自己定位。只有那学养深厚,胆略过人,傲骨铮铮的艺术殉道者,敢于打破常规,穿越雷池,
以石破天惊之举,为人们的视觉引来
一线耀眼的光亮。亚鸿画蚁,就是一例。

宁静 2014

  这是一幅 78cm × 78cm 的画面,在一片斑驳的土色肌理中,竟然有一千六百多只墨点似的蚁群,形成纵横交织、乱而不乱、井然有序的流动。那不足一厘米长的细小生命群体,如同一个无声的社会在运转,一切都在进行中。难以想象画家是如何以巨大的耐力伏案完成的。当我走近些,再走近些,去审视那只有几毫米长的蚁体结构时,简直被画家那精细入微的笔法彻底征服了。那千军万马般的蚁群,每一根须,每一条腿,都中峰写出,提、捺、顿、挫一笔不苟,笔到力到,形神兼备。画家以意领笔,顺手写来。在那看似类同的蚁群中,却很难找到两只相同的。这哪里是在用笔画蚁,画家是以自己的生命体验对蚁群咏叹。以自己全身心的倾注,把这常常被踩在脚下的微小生命,表现得精神抖擞,铿锵有声。那蚁群的默默劳作,精诚合作,如移山倒海之势在我心中涌动。站在画前,我似乎又看到那义无反顾奔赴战场的蚁群列队行进。为集体而战,为正义而战,那横尸遍野的蚁战沙场,那惨烈、那豪迈、那大义凛然,动天地,泣鬼神!

画蝶 2014

  亚鸿画蚁,以小见大,所表达的是天地间为生存而奋斗的巨大力量。这力量是大自然亿万年进化的本源,是人类从猿到人,乃至创造数千年文明的根本。古文字的时隐时现与时断时续的蚁群相融合,形成了虚实、动静、刚柔、巧拙多种审美元素的相济互补,亚鸿成功了。又一件深刻而厚重的艺术品进入当今画坛,世界美术史上应该增添浓重的一笔:“亚鸿画蚁从吉隆坡开始。”

生活 · 艺术 2007

  世界上“人与人之间,大人物与小人物之间,最大的差异,就在于意志的力量如何,即有没有所向无敌的决心……”。亚鸿博学而贯通,多才且出类拔萃,而今偏取一条孤寂冷僻的险道,呕心沥血,醉心其中。不迎合、不媚俗、不谋财、不邀宠,眼睛向下,只为芸芸众生代言。心裁别出,独步天下,一往无前,怎不令人肃然起敬!


2014.10.28于中国郑州四方画室




Thursday, June 9, 2011

Ant-ique impressions

Life · Hope (III) 2009 68cm x 68cm



By THO XIN YI
thoxinyi@thestar.com.my Photos by MUHAMMAD AKIF MASRI


FOR your information, do not attempt to squeeze the tiny ants “crawling” on Goh Ah Ang’s paintings displayed at Balai Seni Maybank.

As lifelike as they might appear, the insects were actually drawn on the canvases with paintbrushes.

The ants seemed to be passers-by on his paintings, crawling beside or over weathered glyphs, ancient characters and calligraphy.

Ribbon cut: Amirsham (second from left) launching the art exhibition at Balai Seni Maybank. On the left is Mohd Salleh.

Goh , who is the founder of Top-Art School of Art in Klang and chief consultant of the Federation of International Colour-Ink Artists in Taiwan, said he is the first artist to choose ants as a painting subject, and it had become his identity.

Thirty years ago, he painted a sparrow sitting on a window frame, looking at an ant on the curtain.

Although it was only a minor character, the ant piqued the viewers’ interest and that inspired him to continue capturing the ants on his canvases.

“I personally love Piet Mondrian’s pieces with vertical and horizontal lies forming objects in a very artistic way.

“I adopted this concept and drew window frames with ants crawling into them for a couple of years, then decided to free the ants from the frames in 1983,” he said.

Deviation: Goh and his paintings titled Contemplation (IV).

A painting Life as Ants, in which Goh painstakingly drew an army of over 3,000 ants, won him a Young Contemporaries Minor Award from the National Art Gallery of Malaysia.

Goh said his paintings portrayed the civilisation of humankind with ants present throughout the process.

“It demonstrates the strong survival instinct of the ants and shows how tenacious they are.

“We see them as a small creature, but if someone were to look at the Earth from space, humans are as small as ants, too,” he said.

On ants of two different colours appearing in the same painting, Goh explained that it reflected the different state of mind two people have when they travel on the same path.

“Imagine two people walking in the dark. One sees the beautiful starry sky while another only sees the muddy path he is treading on,” he said.

National Economic Advisory Council chairman Tan Sri Amirsham A. Aziz, who launched the exhibition, congratulated Goh for his series of works on one of nature’s most intriguing social insects.

“Ants are tiny creatures and to depict them as a work of art requires the dexterity of an expert’s hands,” he said.

Maybank vice chairman Datuk Mohd Salleh Harun, said the art community, like the ants, has an important contribution to the society.

“The artists and their arts give a balance to the life of a community. While our nation strives to be a developed society, we must also preserve and advance the rich cultural diversity we possess,” he said.

Goh’s works had been exhibited in Taiwan, China, Japan, Hong Kong, France, the United States and South Korea. Maybank had previously hosted his works in 1995 and 1999.

This exhibition will be on till Friday. The gallery is open from 10am to 5pm on Monday to Thursday and 10am to 4.45pm on Friday.

It is located at Level 1, Menara Maybank, 100, Jalan Tun Perak, Kuala Lumpur.

Monday, May 23, 2011

Combination of the East and West, Grace of A Million Ants

To analyze and appreciate the works of Malaysian Artist Mr. Goh Ah Ang
  
by  Huang Chao Hu
(Chairman of the Federation of International Color-Ink Artists, Taiwan and the Visiting professor of Purlinton University, USA)
  

Conversation  Ink on papar  2007
  

  For the past ten years, while promoting the eastern art of color ink in the international arena, I met renowned artists from more than 30 countries. They were from different levels of professionalism such as the heads of art institutions, deans or lecturers, historical artists, commentators and professional artists. We normally met at annual international art exhibitions and the pieces displayed greatly enhanced our relationship. Among these artists is one Malaysian by the name of Goh Ah Ang. He is one of my most admired and appreciated friends.

  Mr. Goh’s works titled “Ants” have made him popular in Malaysia and even in the international arena. He is highly respected and in fact he assisted in organising international art exhibitions. Hence he was awarded ‘International Award for Contribution to Art’ by the Federation of International Color-Ink Artists of Taiwan. At the same time he was invited to serve as the Honorary Secretary and Chief Consultant by the Federation of International Color-Ink Artists of Taiwan, which is very deserving of him.

  The art pieces of Mr. Goh Ah Ang, are creative and have won many prizes. He has been invited to participate in the exhibitions in the US, Europe and Asia. At the same time, he is very successful in teaching art to young children and he has won numerous International Art Educator Awards. He is the Chairman of the Association of Artists, Klang of Malaysia and the principal of Top-Art School of Art. He writes art critics in the media and is considered a man of many talents.

  Mr. Goh is simple and easy of approach, passionate, responsible and fully respected by other artists. He is polite and always honored his words. He is extraordinarily intelligent. Without any doubts he deserved his present achievements.

  From Mr. Goh’s art pieces, we can safely categorize him as a compassionate person who cares about human beings, living things and the cultures that we live in. He uses traditional eastern ink paintings to highlight the surroundings, especially little creatures such as sparrows, cockroaches, chickens, ants etc. This can be reflected in his paintings like sparrows resting on the window, cockroaches in the frame, the ‘dancing’ chicken and groups of ants, also the combination of lotus, the surrealistic structure of art and calligraphy, which drew praises from the general public.

  All these while Mr. Goh loves to draw ants, whether be it a lonely ant or in a group. Ants eventually became the main subject in his paintings and ant has become his visual language. If we were to analyze his ant series, we should be able to divide them into three stages:

  The early ant paintings of Mr. Goh started back in the 80s. He adopted a very casual approach in rendering the ants. Using ants as the elements of visual art, a single ant makes a ‘point’, ants moving in lines creates ‘lines’ and the colony of ants that spread out on the painting pictures planes. All of this dominates the specific appearance of his paintings. Mr Goh has a special favor for the ants, he allows the painted ants to move on special surface that he created, where paper is creased, torn or folded. Mr. Goh wove magic with his ants. In his paintings, the ants get together from all directions, moving alone or head to head, are actually dramas of our real life. The ants in his art pieces are able to reflect the different human feelings such as happiness and sadness and even the essence of human kindness. This has greatly attracted and affected the viewers and perfected the idea of ants as the visual language of Mr. Goh.

  In the mid 90s, Mr. Goh began to associate ants with cracked walls surface and some ancient writing stone inscriptions, allowing ants to appear on the void or the painted part of a painting. This create a multi dimensional effects out of a two dimensional structure. The unsophisticated look of the ancient writing together with the effects of ink marks, fill the works with imagery of cherish for the past. This series of ‘Cherish’ and ‘Legend’ became his master piece for that era.

  The recent works of Mr. Goh has extended expression of three dimensional effects in his paintings. He adopts diversify ideas and techniques, using the concept of compare and contrast of black and white. He emphasize on reconstructing the appearance of his painting. Earlier, the white part of the painting was the stage of the little ants, now is the inked and painted parts. The contrast of black and white, ink marks and little ants, the echo of inked surface and writing, all contributed to a combination of eastern and western esthetics in his master pieces. This has made the imagery of ants even more distinctive and unique. And the works has clearly reflected the fact that Mr. Goh is broadening his scope.

  Thirty years on, has made Goh Ah Ang, an artist as hard working as the ants, who speaks through ants, has become a creative, outstanding and philosophical artist. He established Top-Art School of Art , which is an influential and outstanding art learning institution. I sincerely hope and bless that Mr Goh along with Top-Art school of Art , will continue to flourish, just like the Ants series, for which he has painted for over 30 years.


  View more works
  
  
  

Thursday, October 28, 2010

黑墨团中天地宽——— 有感于吴亚鸿先生及其“蚁言世界”

  
·禹化兴(中国第七届、第八届全国美展评委)



《色·空》 水墨画
  世间一切,没有永恒。以平常看无常,无常中见平常。



  15年来,由于国际书画评奖工作的需要,每年我都要对数千名书画家和艺术启蒙教育工作者的情况进行分析,以便从总体上把握发展趋势,并发现其中的领军者,借以带动更多的人。令我欣慰的是:在诸多平庸之中,确有一批德艺双馨、堪为师表,非常专业的艺术启蒙教育家;一批具有真知灼见,才华横溢的书画艺术家;一批热情、智慧、胸襟豁达的社会组织者团结在世界和平书画展这个舞台上,成为当今国际间的一道靓丽的风景线。其中,能够集这三项优势于一身者,首推马来西亚博雅艺术中心的创办人 —— 吴亚鸿先生。
  
  作为人子,亚鸿先生至孝。从博雅成立25周年的一本纪念册中看到:母亲在他心中占有至高无上的位置。孝为百德之本,从那一刻起,我便认定,这是一位品行中正的良师益友。

  作为导师,亚鸿先生至诚至爱的教导每一位学子。15年来,“博雅”青年一直坚持严谨扎实的画风。吴老师给他们的,不是急功近利的鲜招,而是未来腾飞的丰满羽翼。“博雅”30年风雨历程,又一次验证了“诚可动天”这句名言。

  作为画家,亚鸿先生有胆、有识、敢破、敢立,激情似火而又耐得寂寞。他倾心30年打造的蚁言世界,可谓寓意深刻,小中见大的极品力作。用“小生命隐喻许许多多活在地球上的人”,精辟的思想感悟和独一无二的视觉语言,足以让所有的大师为之一惊;一目了然的画面分割,神秘莫测的肌理复合,残缺美、古朴美、奇异美、肃穆深邃,对比和谐,令人过目不忘;一旦进入“蚁言画境”,悟得其中哲理,会通佛、道、禅意,透过那浓重的墨绿空间,似乎可以想见宇宙洪荒,人世百态……。

  当今世界,在东西方相互渗透的大变革中,万花筒般的艺术界,鱼龙混杂。缺乏思想深度,追求表面华美的哗众取宠,具有很多的诱惑。亚鸿先生能如此保持沉静心境,表现出足够的人格定力,尤为难能可贵。


《天地间》 水墨画
  天地间的生物,空中的飞鸟,地上的蝼蚁,上天都是心心爱念。
  
  
  亚鸿先生的蚁言世界,在传统水墨韵味中,借助了制作技巧。但是,他的刻意,不是为了媚俗。恰恰相反,他是为了打破常规,超越平庸,弄险求变,进入音高和寡的更高层次。为此,需要胆识,需要百折不挠,需要付出很多牺牲。  

  1995,我初访南韩,在千米高空,回眸那云层下蠕动的黑点,顿生悲天怜人的酸楚。今日看到亚鸿先生通过蝼蚁的“团结合群”“崎岖艰辛”“奉献分享”点化出一个令人感奋的精神境界,眼前豁然开朗。  

  艺术的力量,植根于作者的人格气度;成就于作者的功力、修养;凑效于读者的共识、共鸣。“蚁言世界”可谓又一经典。  

  20世纪中页,一代宗匠,山水画大师李可染先生,以“黑墨团中天地宽”几个字,道出了传统水墨的无穷魅力;21世纪的今天,亚鸿先生的“蚁言世界”又从现代审美角度扩展了这句话的内涵。艺术无限,创造无限。水墨天地,如大海无垠……。





Friday, September 3, 2010

小生命大哲学——吴亚鸿蚂蚁走过人生路

      
  • 牛忠



  吴亚鸿十分激赏小小的蚂蚁所蕴藏的坚强生命力。他把蚂蚁画在弄皱的纸面上,代表人生的道路是那么崎岖不平及艰苦,蚂蚁就像许许多多活在地球上的人……….


吴亚鸿向马来亚银行副主席拿督何文翰及星洲日报总经理古玉樑
讲解《同心协力》创作观念 1995


  马来亚银行总部的画廊看吴亚鸿的《心血来潮》画展,是因为我还在念念不忘六年前所看过的,他画的水墨蚂蚁图。

  一九八九年在马华大厦,有个代表马来西亚参加《国际现代水墨画联盟》国际巡回展的本地水墨画家展。在那个画展里有几幅水墨画作令我留下良好印象。其中两幅是画蚂蚁的,这两幅画很有创意,令人过目难忘。那个画蚂蚁的画家就是吴亚鸿。那是我第一次接触吴亚鸿的画。

  一九九一年,本地有个画展,是一群本地画家去中国旅游回来,大家联合举办的画展,展出对中国之旅给他们所留下的印象的水墨画创作。在这个画展中,其中两幅特别吸引我的画作也是出自吴亚鸿的笔墨。一幅画的是一个老人拉胡琴,另一幅画的是钟楼。





《曲高和寡》 79cm x 105cm 1991





《钟声的沉思》 69cm x 119cm 1991


  之后,我在报章上阅到吴亚鸿在巴生开画展的消息。由于我对巴生这地方不熟悉,也嫌它离开吉隆坡远了一点,就没有去看吴亚鸿在巴生的画展。

 
 肯定画坛地位

《聚会》 76cm x 76cm 1995


  八月二日吴亚鸿在吉隆坡开画展,难得近水楼台,去看了吴亚鸿《心血来潮》画展。这个画展分五个系列。一是窗的系列,二是框的系列,三是劝世系列,四是蚂蚁系列,五是怀古系列。

  蚂蚁之旅是吴亚鸿最令人另眼相看的系列。就以这个蚂蚁之旅系列,吴亚鸿在本地水墨画坛的地位即可以被肯定了,我认为。

   看画展时,吴亚鸿向我解说他画蚂蚁之旅的创作过程及他心里想所要表达的意念。他说他爱画蚂蚁,因为他十分激赏小小蚂蚁所蕴藏的坚强生命力。他把蚂蚁画在 弄皱的纸面上,他把蚂蚁人性化起来。弄皱的纸面代表人生的道路是那么崎岖不平及艰苦,蚂蚁就像许许多多活在地球上的人,他们的一生都会走过一条曲凹不平的 坎坷道路………。


 
 聚散像朵莲花

  许多时候画家们向我解释他们在画作里要表达的人生哲理的伟大理论时,我总是觉得他们‘说得到,画不到’,因为从他们画里根本感受不到一丝一毫他们所想表达的伟大概念。

  这次看吴亚鸿的蚂蚁之旅系列,一面看画一面听吴亚鸿的解说,深深的感觉到这些画里成功的表达出画家心想所传达的人生哲理。

  已经有一段时期没有收藏画的欲念了,面对吴亚鸿的蚂蚁图《聚会》和《随缘》,见到那一聚一散的的蚂蚁像朵莲花,或见到那群散布在皱纸上的蚂蚁形成好像一幅世界地图的《同心协力》,我的心又有点动摇了。


《随缘》 76cm x 76cm 1995



  
  (1995年8月13日刊登于中国报艺文大观园《牛眼旁观》)

  

Sunday, August 1, 2010

万蚁出动展力量——吴亚鸿纸上蚂蚁喻人生

直击报导/许雅文


《过客》 1996 25 x 25cm


   “每一个系列我都很用心、很努力的在画,可是当中却只有‘小蚂蚁’可以让人留下印象;当时我一直在思考这个问题:‘为什么蚂蚁体积小小,却让 人过目不忘?’然后我分析出了两个结论:第1,大家对它最熟悉,因身旁随处可见;第2,它‘小’,小到可容纳入他人的眼里,甚至到心目中………”





  吴亚鸿这名字在巴生非常响亮,画坛中人对他自然熟悉不过,即使不是行内人,也晓得补充一句:“是‘博雅’的那个吗?”

  没错,吴亚鸿即是博雅造形艺术中心的院长,他作画30余年,教画也教了19年,用‘桃李满巴生’来形容他也不为过。

  如果你心目中已经有了个‘画家款’,那么,初看之下你或许会觉得吴亚鸿‘长得’并不像画家,有人还说他看起来比较像商人,然而,这并不重要,重要的是他的画并不‘商业’,他喜欢寻求突破,超越传统;他的画也不讲‘艳’,没有很强烈的色彩,却贵在精简且趣意横生。

  吴亚鸿用‘跌跌撞撞’来形容他的30年作画岁月。他的第一幅画可追溯至1967年,但他表示,67至72年间,他的画作并不成熟,还属学习阶段,严格来说,那不算是一个‘阶段’。

  
初期着重趣味美感

  这些年来,他创作了不少系列,当中较具个人风格的,则有着五个:《箴言》、《窗的系列》、《框的系列》、《蚁之旅》和《怀古》,这其中,最具代表性、最受人推崇的,则是《蚁之旅》系列。

   “每一个系列我都很用心、很努力的在画,可是当中却只有‘小蚂蚁’可以让人留下印象;当时我一直在思考这个问题:‘为什么蚂蚁体积小小,却让 人过目不忘?’然后我分析出了两个结论:第1,大家对它最熟悉,因身旁随处可见;第2,它‘小’,小到可容纳入他人的眼里,甚至到心目中。”

  为了做到更具真实感,吴亚鸿画中的蚂蚁都不会太大,甚至可以小到只有那么‘一点’,可是这一来,却让他有了更大的发挥空间;‘Bauhaus’的点、线、面之现代绘画构成原理,用在他的蚂蚁画中最适合不过,远看是抽象,近看为具象。

  曾经把超过3万只蚂蚁作入画中的吴亚鸿不讳言,初期的蚂蚁画他只着重在画面的趣味与美感,纯粹讲求视觉效果。之后他才发现蚂蚁本身就是一种不平凡的昆虫,除了形与面的表现外,还能借它们带出所要表达的含义。

   “从那时候起,我开始对蚂蚁产生兴趣,凡是与蚂蚁有关的故事都不会错过。我发现每个人对蚂蚁所下的评语固然不同,但却都是表扬它好的一面,比如说《圣经》里的:懒惰的人醒来吧!去看看蚂蚁的动作,你就会得到智慧;马来人的谚语‘Rajin seperti semut’,还有《南科太守传》里的‘救蚁得状元’等故事,无不是在赞扬蚂蚁的智慧、勤力及感恩知报。”

  在他力赞蚂蚁的当儿,记者抛出一个煞风景的问题:“难道你没被蚂蚁咬过吗?”听毕他哈哈大笑:“我记得女作家朵拉也问过同样问题。”

  
加入新元素去旧框

  “我的答案是:我不爱出门,喜欢躲在家里作画,所以我接触的都是室内的蚂蚁,我想,它们比野外的蚂蚁较温驯吧?另外,我也发现蚂蚁并不随便咬人,除非是被侵犯了。”吴亚鸿并没正式会回答这问题,但记者想,即使蚂蚁咬了他,他也会认为是自己不对吧!





《蚁聚人生》 66 x 66 cm 1984


  吴亚鸿的《蚁之旅》系列画作里,画面上可以看到的,除了酷似一只小蚂蚁的‘吴’字印章外,其他就是细细小小的蚂蚁群,事实上,如果你用心观看,你会发现‘纸’也是他的表现手法之一。

  “为了不要辜负蔡伦,我觉得纸不应该只是纸那么简单,它甚至可以独立的成为一个画面,尤其当它经过手掌一揉,凹凸的摺印即成了纹理,既可象征人生的坎坷道路,也可看作是大地,以它来比喻人生最贴切了。”

  从一个系列转向另一个系列,吴亚鸿从不给观众‘突变’的感觉,他会慢慢加入新元素、渐渐去掉旧框框,以最新的《怀古》为例,尽管主题是古文字,蚂蚁却没被抛弃,在适当的时候、适当的空间里,蚂蚁们还是会结群而出。

  或许你要问了,蚂蚁跟文字有什么关系?吴亚鸿倒也说得出:“蚂蚁如此小的身躯,竟也能在地球上生存达1亿多万年之久,因为它们懂得团体组织的重要性,每一只小蚂蚁的力量均不容忽视;同样的,我们也不能小看每一个单字,串成一句就是一个思想,足以影响世人的人生观。”

  吴亚鸿的画很多人欣赏;他未经正统美术学院培训而有此成就更是受到大家的赞赏。然而他从未忘记十三岁初学画的启蒙老师庄金秀,还有对他万般提拔、推荐,并把他带上国际绘画舞台的画坛巨匠锺正山,吴亚鸿特别要求借此机会向他们两位致谢,当然也不忘感激一直支持他的双亲。



  (1998年3月24日刊登于光明日报《光明专题》)

Friday, April 2, 2010

《佛语》


《佛语》 吴亚鸿水墨画



常以爲,与佛像靠得更近,可以更亲近佛陀。
靠近时,发现蚂蚁更贴近佛陀。