《东庄图》之朱樱径 160x190cm 布面油画

　　我在《朱樱径》中漫步，便想到了绘画特色与语言的问题。我注意到有人在关注这一命题：说其实语言不只是一种表达工具，它跟一个民族的文化心理，思维方式密切相关，它记录了一个民族的文化踪迹，成为延续历史与未来的血脉。如果任何文化特性都展示有自己的语言性，那么要认识一种文化，只能从语言出发。放弃了便意味着放弃自己的传统和历史，放弃自己赖以生存的文化基因。我同意的。

　　我也注意到有一些艺术家，也在作相同的思考，记得其中有一位说了一句相当有意味的话;“当艺术出现在金钱与灵魂相互指控的法庭上，而最终判罪受罪的不仅仅是一种艺术现象或某种艺术思潮，而更为重要的是民族语言精神乃至整个民族文化的价值”。真是很有意思。

　　汉语以自己的文本为人类文化保留提供阐述着自己特有的经验、感受和知识。如汉语的“气”，似有似无。说无，它因人因时因地扑面而来，说有，可又不见踪影。“气”是一种精神沟通，“气”是一种生命的体验，“气”是一种生命的辐射。中国人十分能领悟“气”的韵味，而且能从自然观和人文观出发，进而不断地发展变化成一个充满活力的思辩场，于是汉语中有关“气”的词义就显得格外的丰富，如：傲气、霸气、帮气、憋气、才气、粗气、刁气、大气、恶气、风气、疯气、匪气、粉气、浮气、佛气、腐气、骨气、鬼气、古气、贵气、龟气、寒气、黑气、火气、豪气、浩气、横气、骄气、奸气、贱气、僵气、狂气、老气、灵气、浪气、牛气、暮气、蛮气、神气、死气、燥气、商气、杀气、骚气、童气、武气、仙气、嫌气、喜气、乡气、小气、闲气、雄气、阴气、油气、阳气、硬气、洋气、郁气、野气、怨气、英气、紫气、朝气、浊气、瘴气、焦气、种气……凡“气”种种可达三百五十之多，可以说中国之“气”缠绵绯恻直到永远。

　　对此，我的朋友、复旦著名教授顾晓鸣认为：“人们讲了多时的中国人的文化心理，中国文本和风格等等，其实它们就深埋于作为中国语言的主要部分的汉语之中。”

　　文化人谢冕也说：“当前汉语的境况实在令人担忧，社会一步一步向前发展，而一代又一代的中国人正在一步一步地走出中国古代文明的灿烂”。这不能不让人深思。

　　重视民族语言不仅是重视民汉文化的表述工具，而是重视民族文化的精神家园。我正在演译的《东庄图》也是在自觉地维护民族文化的精神家园。不是吗?

　　于是我对我三十多年的亦师亦友王劼音的油画作品也有感悟，并几成一词：

　　话劼音，笔，提了几次又垂下。再提笔，不由得添了些迷离情感。都只为相识相知二十有几载，才惹下雾推“悠然”，观海望山之窗的启开。

　　这劼音，性情内润而朗静外溢、才思涌奔而冷峻自持。为师、为友、为兄。数十载，持彩笔，绘心象。若胄甸醉眠芯蕾烂灿“青花”一朵。不管浪疯花骚、鬓篷无松， 兀自稳坐舟中且慢摇，渐入霞天香浓“兰屋”岛。只引得众看官，懒眼朦胧又用几回脑。“春山清晓”“山居图”卷展开为师的随心放漾、清闲自在、任意淹留快意漕。揽不住为友心源之马，直奔魏晋七贤，明阳竹林那条道。天籁仙音、月朗风清、万顷松阴、翠叠瀑边、乱红深处、操琴品萧，早已声声化入为兄“青峰凌宵”。只见得：“山河里”“秋山独秀”“古刹黄昏”“红土映天”实在的好。

　　百年三万六千日，哪个曾经一百秋。若经一百又一秋，懒眼人定将恨煞笑语归来的识货佬。事功道德、名利花场、宦海恣意，似成归牧钟吕。恰不如，有甚腔调，更甚那无人品尝的破画烂稿。

　　(有引号之句，均为王劼音画作标题)

　　Zhu Ying Jing

　　——What I think, feel and act during the creating process

　　The painting Zhu Ying Jing (Zhu Ying Jing Path) arouses my reflection on the topic of art characteristics and language. Someone believes that language serves as more than a simply expression tool. It is closely related to the culture psychology and think mode of a nation. To learn a culture, one probably should start from the language. The abandonment of the language means giving up the tradition and history, thus giving up the cultural gene that we live on. I totally agree with this point of view. And I also notice that a few artists pay attention to this topic too.

　　As a matter of fact, Chinese language and its writing system have made great contribution to preserve the culture for human beings. Take Chinese character Qi as an example. Qi could mean a kindly of spiritual communication, a living experience or simply the life itself. Chinese has a profound tradition of understanding Qi. We start from the nature and the culture, turning Qi to be a diverse platform. As a result, in Chinese language you will find more than 350 kinds of Qi, including  Ao Qi (pride), Cai Qi (talent), Fo Qi (Buddha-nature), Gui Qi (ghost), Fu Qi (corrupt), Huo Qi (rage), Lao Qi (old-fashioned), Ying Qi (female), Yang Qi (male), etc., which reflect almost all the conditions of life.

　　The famous professor of Fudan University Mr. Gu Xiaoou once said, “the essence of Chinese culture psychology is actually rooted in the Chinese language.”

　　The famous scholar Xie Mian also said, “The current situation of Chinese language is worrying. The society is rapidly developing, while the contemporary Chinese are leaving the splendid Chinese civilization behind with each passing day.” We cannot ignore the severe situation indeed.

　　The respect and preservation of Chinese language not only lies in the protection and development of expression tools, but also depends on the respect to the spirit of national culture. My Dongzhuang Drawings exactly shows my respect and appreciation of this spirit.