情緒化思考的感性顯現(xiàn)
　　The perceptual present of emotional consideration

　　在當(dāng)今這個(gè)時(shí)代，隨著我們審美觀念的不斷提高，藝術(shù)作品已不再是供觀賞的少數(shù)人物的產(chǎn)品，而日益成為每個(gè)個(gè)體存在的自我完成的天才意識(shí)。藝術(shù)作品是什么？它應(yīng)該是感情自我意識(shí)的產(chǎn)物，這意識(shí)由于不脫離感性，成為了一種個(gè)體的領(lǐng)會(huì)，而這種個(gè)體性獨(dú)立的品格以藝術(shù)的形式展現(xiàn)，又確乎反映著人類的“共同感”。因而,一件好的藝術(shù)作品，總能給人以共鳴，與人的心靈深處相通相合。所以藝術(shù)家最重要的就是善于感受生活的種種氛圍，特別是具有深刻意義的社會(huì)氛圍，因?yàn)檫@些氛圍能集中表現(xiàn)社會(huì)潮流、時(shí)代氣息、生活的本質(zhì)。它和人的命運(yùn)、需要、期待交織在一起，其中包含有熾熱的情感、冷靜的思考、甚至是實(shí)際行動(dòng)，從而也便在一定程度上揭示了生命的存在狀態(tài)下的內(nèi)在人生意味。

　　Now, art works are no longer a few persona products for admiring but gradually become the talented consciousness accomplished by each individual. What is an art piece? It should be results of self-consciousness. Since this consciousness is related to feelings, it becomes a kind of individual comprehension which is presented by the arts form reflecting the “sympathy” of human beings. Thus, a great art piece could always communicate with the inner mind of humans and result in resonance. So, it is important for artists to be great in the percept of various atmospheres in life, especially the incisive social atmospheres for they could intensively represent the social trends, time tempo and nature of life. Embracing flaming passions, calm meditations and even practical actions, it interlaces with fates, needs and expectations of human beings and thus to some extent brings to light the inner life meaning under the existent living status.

　　作為美的藝術(shù)，它應(yīng)該是透過形式的找尋和創(chuàng)造，而積淀著生命的力量，時(shí)代的激情，從而使此形式自身具有生命、力量和激情，而繪畫藝術(shù)，恰恰是通過把感性形象的素材經(jīng)過理性的分析和深入的思考，再回到感性這一出發(fā)點(diǎn)的藝術(shù)加工，去實(shí)現(xiàn)人類生存的最高精神層次，也就是人生的意味，生命的存在和命運(yùn)的悲傖。為了在人類精神空間中充分感受生命的存在狀態(tài)，為了帶給人們更深層次的哲學(xué)思考與生命體驗(yàn)，當(dāng)代眾多藝術(shù)家都在不同層面上作種種不同的探索，其中王桂勇 SanJie就是這樣一位頗為突出的具有獨(dú)特藝術(shù)面貌的畫家。

　　Fine arts should be the seeking and creation through forms depositing the strength of life and passion of times which are thus endowed to forms. And to realize the supreme spiritual level of human existence-the life meaning, existence and fate grief, painting is actually the art processing which backs to the perceptual point after the rational analysis and deep consideration on the perceptual materials. In order to bring people with deeper philosophy thoughts and life experience and also let people truly feel about the existent status, many contemporary artists strive to explore in many different aspects and among them SanJie is a prominent painter having the peculiar art style.

　　也就是從近幾年開始，王桂勇 SanJie創(chuàng)作了大量的“眾生像”系列。在他的畫室里，我第一次看到王桂勇 SanJie畫的一批頭像系列，面對(duì)那些頗有夸張意味和強(qiáng)烈表現(xiàn)力的頭像，給了我強(qiáng)烈的震撼，一種當(dāng)下人們精神生存空間的危機(jī)感油然而生。此后，這種感覺，在好長時(shí)間內(nèi)揮之不去，也許這種信息正是王桂勇所要向人們傳遞的，就此而言，不能不說王桂勇 SanJie已取得了一定的成功。

　　During recent years, SanJie created many series of “man faces”. I went there to visit his studio where I saw for the first time his series of head portraits which were very exaggerative and powerful and gave me strong impacts making me feel the crisis of human spiritual living space. Thereafter, for a very long time this feeling couldn’t be wiped off from my mind and maybe this is the just information which Wang Guiyong want to express to people. So, in viewing this, we could not but say SanJie has already achieved some success.

　　王桂勇SanJie的這些怪誕的，被現(xiàn)實(shí)生活重壓和人們對(duì)生活虛假的迎合中所呈現(xiàn)給欣賞者的各種表情的百態(tài)頭像，確實(shí)讓人感知到了一種對(duì)人類生存境遇的深入思考，揭示出當(dāng)代人們的某種精神狀態(tài)，也是對(duì)當(dāng)下一群人的生存方式的思考與質(zhì)疑，《面皮》系列無疑就是對(duì)當(dāng)下人類生存方式思考與質(zhì)疑的詮釋，在生活的重壓下，（在王桂勇SanJie的筆下，還是主要針對(duì)于城市生活中的某類群體），人們不得不用虛假的面孔去迎合生存，人與人之間的這種虛假交流突破了人們的最后防線——面皮，一張張被生活擠壓下的面孔被殘酷的現(xiàn)實(shí)剝奪的僅僅剩下了一張皮，而這個(gè)皮也在被無限制的扭曲……甚至，這種虛假的迎合，使這張僅存在的面皮也沒有了容身之地，被積壓成了千姿百態(tài)的嘴巴，王桂勇SanJie的另一幅創(chuàng)作《生活狀態(tài)—嘴巴》，各種各樣扭曲變形的嘴擁擠不堪的匯在一起……生活的狀態(tài)到了如此地步，人類的生存空間該是多大危機(jī)呀！而這危機(jī)并非是真實(shí)的物質(zhì)空間，卻是源于人們的精神生活的匱乏，此時(shí)，如果我們返過頭來，再看一下王桂勇SanJie所畫的幾幅兒童頭像，更令人頓生危機(jī)之感，那種看似有幾分真實(shí)的面目中，從眼睛里透出的卻是幾分迷茫和虛假，他們也在現(xiàn)實(shí)的影響下逐步走向可怕的精神深淵……。

　　These various absurd head portraits, which although are deeply pressed by life burden but cater to life fakes, really touched people with a deep understanding of human existence and encounters unmasking some spiritual state of contemporary people. And this is also a reflection and suspicion to living ways of nowadays flocks. The “skin of face” series is undoubtedly the reasoning and suspecting on people’s way of living-under heavy burdens in life people can not help but facing life with deceptive faces and this kind of false communication between people breaks through the last line of defense-the skin of face, pieces of faces that are extruded by life are deprived by ruthless realities and remain only skins which are also distorted endlessly…even, this false catering leaves no room to the only existent faces but diversiform mouths. In another painting of him “l(fā)ife status-mouths”, various twisted mouths are jammed together…the living status is up to this point, then what a huge crisis exists in people’s living space. This crisis isn’t the real substantial space but is derived from the poor spiritual life. At this moment, if we go back, to some children’s head portraits of his would bring us even more feelings of crisis for on those seemingly real faces, we could read some perplexity and hypocrisy from their eyes and they are gradually heading to the miserable spirit hell under realistic influences.

　　面對(duì)這些表現(xiàn)力和視覺沖擊很強(qiáng)的作品，留給你和使你回味的究竟是什么味道呢？是甜？是酸？是苦？是辣？我們很難用語言描述清楚，只可意會(huì)不可言傳。生命的真實(shí)在哪里？我們?cè)撊绾稳フ覍ぃ窟@樣的生存方式又有多大的意義？也許生活的存在狀態(tài)就是重復(fù)、勞作、再重復(fù)、再勞作，偶然出現(xiàn)強(qiáng)烈的愛恨情仇，打破生活的亂碼，生命的本質(zhì)就是在這種看似“無意義”的生存中生發(fā)“有意義”，從而去體現(xiàn)更深沉的人生意味，通過觀看王桂勇的這些人生百態(tài)之面孔，難道你不覺得現(xiàn)實(shí)有太多的麻木，雖然不可否認(rèn)也存在莫大的無奈，造成了這樣扭曲的生活觀，但你不覺得自己也應(yīng)該負(fù)點(diǎn)責(zé)去喚醒人們的良知，以此去感受和體悟人生和命運(yùn)嗎？

　　Facing such strong expressive and visual impact works, what on earth the kind of task remained for you? Sweetness, acid, bitterness or piquancy? It’s hard for us to depict clearly by words but only comprehend some meaning in mind. Where’s the truth of life? How could we find the path to access such truth? And what’s the meaning of this living style? Maybe the state of life is repeating, hard working, repeating again and hard working again, and the occasional strong feelings of love, hatred, passion and enmity are disturbers to the random code of life. The essence of living is the up growing of “meaning” from these seemingly “insignificance” and thus further represent the deeper meaning of life. Couldn’t you sense too much numbness and also great impotence in reality that result in this distorted value of life? And don’t you think you yourself should shoulder some responsibility of waking up the consciences of people to digest life and fate?

　　從作品本身來看，王桂勇 SanJie的這些創(chuàng)作，確實(shí)存在著某種情緒化，在經(jīng)過深入思考，理性化之后，他還能回到感性的出發(fā)點(diǎn)讓情緒充分呈現(xiàn)，實(shí)在是作為一個(gè)畫家的難能可貴之處，這種情緒化的感性顯現(xiàn)，正是王桂勇SanJie這些作品的動(dòng)人之處，就此而言，我們可以從中得到一個(gè)這樣的啟示：那就是藝術(shù)是表達(dá)情感的，只有回到感性才能使感性常新，審美常新，進(jìn)而藝術(shù)常新。王桂勇 SanJie認(rèn)為：藝術(shù)家創(chuàng)作靈感應(yīng)當(dāng)植根于他的世俗生活與精神生活中，不過藝術(shù)從來不是生活的簡單翻版，更不是生活的橫向位移，它應(yīng)是生命情感的象征性形式，既然是象征性的，就必須經(jīng)過深入思考。之后，他便用簡率概括而靈動(dòng)的筆觸讓創(chuàng)作頃刻間射出，因此，他的作品大多是大色彩、大筆觸，試圖在捕捉眾生像的最復(fù)雜思考，最簡單表達(dá)的瞬間中揭示形象的潛在意義，或許有人認(rèn)為此種表達(dá)過于原始和簡單，但是就是這種簡單直接的方式，以感性夸張的風(fēng)格樣式，給了人們以視覺的沖擊和震撼，進(jìn)而拉近了與人類內(nèi)心深處的——靈魂之間的距離，啟發(fā)人們?cè)谛蕾p他此種生命狀態(tài)的描繪中，去思考我們內(nèi)在的人生意味。

　　There exits some emotional things in these works by SanJie who after the rational process of deep consideration could back to the perceptual beginning to fully express emotions. And this is the rarest quality of an artist. This kind of perceptual represent of emotions is just the moving point of his works. So, from this we could get such illumination: art is to express feelings but only the return of emotions could refresh sensibility, taste and further arts. Wang Guiyong believes that the inspiration of artists is rooted in the worldling and spiritual life, but art is never the simple copy of life nor lateral displacement of life. Actually it should be the symbolic form of emotions and since it is symbolic then it has to undergo deep thoughts. Thereafter, he transiently does his paintings by concise and vivid strokes. So most his works are in big colors and strokes trying to gain the most complicated thinking on human portraits and discovering the potential meaning of forms in the simplest expressive moment. Some may think this kind of expression too primitive and simple, but it is this simple straight way and the emotionally extravagant style that catch people by visual storms and then shorten the distance to sole-the deep inner of mankind and enlighten people to think about the meaning of life while appreciating his paintings about life status.

　　“繪畫很難談，繪畫需要看”。以上只不過是我本人對(duì)王桂勇作品的一點(diǎn)粗略看法與感受。如果你想了解王桂勇 SanJie，就來看他的畫吧！如果你能從中體驗(yàn)到一種生命的存在狀態(tài)，引發(fā)起一點(diǎn)哲學(xué)思考，我想這樣就夠了，這正是王桂勇 SanJie所要向你努力傳遞的，也正是他所期待的。

　　“It is hard to talk about art for it needs appreciating” the above is only my views and feelings about works of SanJie. If you want to further understand him, see his painting. I think it is enough if only you could experience some kind of extent living status for it’s just what he expected from the viewers.