王波：流年里的吊腳樓存著老家

◇ 文|見習(xí)記者 胡 婷 圖| 游 宇 受訪者提供

王波：流年里的吊腳樓存著老家

◇ 文|見習(xí)記者 胡 婷 圖| 游 宇 受訪者提供

王波Wang Bo

1985年畢業(yè)于四川美術(shù)學(xué)院。1986年至1995年任教于西南大學(xué)美術(shù)學(xué)院，1996年后從事建筑、室內(nèi)設(shè)計(jì)和環(huán)境藝術(shù)研究，自由藝術(shù)家。先后出版《王波作品案》《委內(nèi)瑞拉——中國(guó)當(dāng)代品油畫藝術(shù)展》《向度與別望》《重現(xiàn)的風(fēng)景——城市黃頁》《方物亦非?重現(xiàn)的風(fēng)景》《一門一世界》等。

Graduated from Sichuan Fine Arts Institute in 1962, Wang Bo is a freelance artist. He was once a teacher in School of Fine Arts, Southwest University from 1986 to 1995. In 1996, he devoted himself to architecture, interior design and environmental art. His masterpiece includes Wang Bo’s Works, Venezuela—Contemporary Chinese Oil Painting Exhibition,Returned Scenery—City Yellow Pages, Nothingness—Returned Scenery,etc.

如果讓你想象一幅最有山城味道的畫面，你會(huì)選擇吊腳樓嗎？或者，說到吊腳樓，你會(huì)否最先想到洪崖洞？

也許，于大多數(shù)人而言，吊腳樓最真實(shí)的記憶都已模糊。

十多年來，畫家王波一直醉心于老山城的吊腳樓。在他的油畫布上，黑褐色的調(diào)子中吐露著歲月的痕跡，偶爾淡淡的用色平添詩意，還原出山城青澀時(shí)光的線條與氛圍。“所有的人都在背井離鄉(xiāng)。”王波執(zhí)著于吊腳樓，只因這些筆觸將他帶回童年，讓他看清一顆赤子的心。

Will you regard stilted buildingsasa a symbol of Chongqing, or to mention stilted buildings, will Hongya Cave be right off the top of your head?

Perhaps most people’s impressions on stilted buliding are faded away.

For more than ten years, Wang has been keen on Chongqing’s stilted buildings. Dark brown lines on his canvas reveal wisdom of the ages, and occasional plain hues add poetic charm to Chongqing. “Everybody displaced from their homes.”Yet Wang persists in picturing stilted buildings, because these lines andhues remind him of his childhood.

吊腳樓里的煙火氣

Harmony and Peace in Stilted Buildings

王波的油畫大多以川東南、渝東南的古場(chǎng)鎮(zhèn)建筑為主題，那里曾是盛極一時(shí)的古鹽道，湖廣填四川的移民節(jié)點(diǎn)。座落于此的古場(chǎng)鎮(zhèn)依山傍水，錯(cuò)落有致，如同一個(gè)時(shí)間容器，盛滿了碼頭文化和巴渝人生存遷徙的印記，也承載了王波對(duì)舊時(shí)回憶的不舍。

王波的老家在瀘州，孩提時(shí)代，他住在老院子里。那個(gè)時(shí)候有老城墻，堂屋，小胡同，磨得光溜溜的青石板路。老人們最喜歡擺張竹椅，在院門口喝茶，抽煙，擺龍門陣。

1981年，王波到重慶求學(xué)。寫生的時(shí)光里，他走過了菜園壩、千廝門、朝天門、十八梯……畫了數(shù)不清的山城街巷，依山而建的吊腳群樓，記錄了老重慶的生活。

“那時(shí)候，在菜園壩火車站旁的山坡上，可以看到重慶最大最集中的吊腳群樓，漫山遍野層層疊疊。在山坡上走著，一不小心還會(huì)踩到別人家的房頂。我在那種‘江景房’里待過幾個(gè)晚上，感受過半開放式的鄰里溫情，特別是做飯時(shí)間，鍋碗瓢盆聲伴著百家宴的香味，環(huán)繞穿梭在不同形狀的房間里……”回憶起這些生活片段，王波如數(shù)家珍，饒有興致。

Most of Wang’s canvases are themed with ancient town architecture in southeast of Sichuan and Chongqing, where then they were ancient salt road and immigration spot from Hubei and Hunan to Sichuan. The ancient town is situated beside a river at the foot of mountains with proper distribution. It not only manifests culture of piers, the life and immigration of Chongqing citizens, but also records Wang’s memories of his past life.

In Wang’s childhood, he lived in his hometown in Luzhou, Sichuan. There were old city walls, central room, small alleys, and smooth flagstones. Sitting in bamboo chair, the aged preferred to drinking tea, smoking, and chatting with their neighbors.

In 1981, Wang pursued his studies in Chongqing. In his painting career, he has painted numerous streets, lanes, stilted buildings built down the hillsides, and also paintedold chongqing’s peaceful life.

At that time, standing on the hillside near Chongqing Railway Station, one could overlook the largest stilted buildings built tiers upon tiers. You might accidentally step on someone’s roofs when walking on the hillside. “I have lived in that kind of ‘river-view room’ for several days, and experienced half-open neighborhood friendship, especially the melody of pots and pans that had accompanied enticing smells drifting in rooms of different shapes…” Wang takes delight in recalling these harmonious lives.

在童年里沉淀的心

Childhood Experience Strengthens Faiths

上世紀(jì)80年代末期，城里的吊腳樓有的開始消失，舊的生活開始消逝。王波的生活軌跡，也曾一度偏離藝術(shù)的軌道。1985年，從四川美術(shù)學(xué)院畢業(yè)后，他做了九年的大學(xué)教師，隨后又下海經(jīng)商十年，一路遭遇失落和焦慮?！办o下來時(shí)回放人生，記憶在多次重疊中慢慢清晰，關(guān)掉現(xiàn)實(shí)繁華浮躁的大門，開啟通往虛空孤寂那扇窗，最后定格在自己既熟悉親切又遙遠(yuǎn)模糊的繪畫上?！?015年，他決定重拾畫筆，背上畫具游走在殘存的古鎮(zhèn)老街中。為了維持生計(jì)，他開過裝飾公司，辦過畫廊，經(jīng)營(yíng)過飯館茶樓。

而這一段路，他再?zèng)]有丟棄手中的畫筆。

“今天，仿佛所有的人都背井離鄉(xiāng)，無論是地圖上，語言上，還是時(shí)空上。所以，我喜歡在畫布上做一次回溯，哪怕僅僅是想象中的鄉(xiāng)愁。當(dāng)我拿起畫筆，發(fā)覺惟一能做的，也許就是記錄。我會(huì)把這個(gè)系列一直畫下去?！迸c其說這是王波的一種心愿，不如說更是一種態(tài)度。

At the end of 1980s, some of stilted buildings began to disappear, thereupon old life gradually vanished. Wang was also deviated from artistic courses. In 1985, he has been a college teacher for ten years after graduation. Then he ventured into business, yet occasional frastrations and worries came to bother him . “Calm down and recall my life, my memories become vivid after several overlaps. Giving up on flourishing and restless life, I finally focused on the familiar yet backward painting skill.”In 2015, Wang decided to resume his art career, and packed up again his painting kit wandering in the streets of ancient town. He has been engaged in decoration company, gallery, restaurant and teahouse in order to make a living.

From then on, he has never quit his profession.

“It seems that many people today have displaced from their homes whether physically or mentally. I feel like having a retrospection on canvases, even it is just nostalgia of my imagination. When I pick up a brush, the only thing I could do is to paint. I would keep on picturing this series.” It was more of an attitude than a hope to him.

編織自己的精神通道

Pave His Own Spiritual Courses

事實(shí)上，除了幾幅偏向?qū)憣?shí)的描繪外，王波的畫大部分都充滿夢(mèng)幻與詩意，對(duì)生命情感流逝的感懷。有評(píng)論說，王波的這些畫里透露著溫暖，這使得畫面超越了普通意義上的自然風(fēng)光，呈現(xiàn)了已經(jīng)消失和逐漸消失的古場(chǎng)鎮(zhèn)，飽含著城市進(jìn)化的精神命運(yùn)。

從他畫里那一片片看似搖搖欲墜卻又互為依靠的老房子里，我們看到穿斗結(jié)構(gòu)使得市井生活連綿不斷，想象著鄰里鄉(xiāng)親正在講述祖輩的恩恩怨怨與悲歡離合。這些并不是完全復(fù)刻的吊腳樓，而是經(jīng)由他的情感再現(xiàn)的產(chǎn)物。既有真實(shí)的痕跡，又展現(xiàn)了他設(shè)想的精神生命寓居之所。

“我想用畫筆重新編織一條屬于自己的精神通道，在畫布上找回我們的精神家園?！蓖醪ㄔ噲D通過解讀古老民居的密碼，重構(gòu)記憶里的生態(tài)。在他的世界里有一個(gè)“場(chǎng)”，這個(gè)“場(chǎng)”里有童年的老街，學(xué)生時(shí)代的吊腳樓，溫暖的人……一切他曾熟悉的事物，以及對(duì)畫畫單純的熱愛。

他開始習(xí)慣于在這個(gè)“場(chǎng)”中吸取能量。

In fact, except for several realistic paintings, most of Wang’s paintings are filled with fantacy, poetry, and his reflections of life and sentiments. Wang’s paintings, the destiny of urban evolution, are more than ordinary natural landscapes.

In his paintings, those interdependent houses are seemingly on the verge of collapse. We can see the building structure forms a continuous daily life, from which we can picture these neiborhoods are sharing happiness and sorrow of their forefathers. All these stilted buildings are not only productions of his reflection, but also his ideal place for spiritual life.

“I want to redraw my own spiritual course and find our spiritual home in canvases.” Wang tries to reconstruct ecological environment in his memory by exploring ancient buildings. There is a “place”in his world, where he is familiar with all the things and holds his pure interest in painting.

He begins to get used to absorbing energy from this “place”.

Wang Bo:Stilted Buildings in Fleeting Time, Containers of Memories

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