被罂粟之光照亮的幻影世界—关于洪磊的札记

差不多历时十年之久，真让我惊奇—洪磊断断续续地以他的梦为主题向我们所展示的隐秘内心，说

不定仍然是一道幕布，在它背后还存在着另一个世界。当达利带着他的作品去寻访弗洛伊德时，弗洛伊

德的当头棒喝一下子把达利的超现实狂想赶回到理性世界……从此一种新的精神分析方法诞生了：被自

觉创造的梦不再是梦，无意识不可能被艺术家自行窥破……在艺术家的梦幻作品内面，一定还有别的…

…

　　但是我宁可回到作品中来，那呈现在面前的“影像”……名垂千古的范本和被篡改的景观……洪磊

可能是一个谜，尽管关于谜底他似乎说得太多，我也愿意相信他的自述是诚实的……我还是告诫自己：

不要去猜！

　　对古代生活单相思般的沉迷，生不逢时的悲叹，为文化的湮没而伤怀……这一切已经跃然纸上……

不朽之作在画家死后继续存在，在时代灰飞烟灭后继续存在，当代生活和当代艺术份量如此之轻……还

有什么可说的！

　　让我列一份对照表：《我梦见我迷失在潇湘图卷里》脱胎于《潇湘图》（五代，?董元）；《312国

道》受启于《虎溪三笑图》（北宋，佚名）；《仿赵孟頫〈鹊华秋色图〉》戏仿自《鹊华秋色图》（元

，赵孟頫）；《长江大桥》的原型是《长桥卧波图》（宋，佚名）；《我梦见我的前世是个女人》脱胎

于《游春图》（唐，展子虔）；《我梦见我在苑遨游时被我父亲杀死》源自《苑女仙图》（五代，阮郜

）；《长江三峡大坝》改画了《千里江山图》（北宋，王希孟）；《我梦见外星人登陆渐江画轴》（三

幅）分别模仿了《黄海松石图》、《林泉图》和《松石风泉图》（清，渐江）。

　　这份对照表清晰地表明：洪磊为之神往的古代绘画之“灵晕”已经消逝，当代生活中的景观（哪怕

在梦中）已经不足以“回应”我们的“凝视”。凝视随着工业时代的到来和灵晕一起死亡了……主导我

们眼睛的只有“闪视”：快速、易朽、即生即灭的客观世界和我们的目光十分对称地共存亡。瞬间不再

永恒，它不过是一张工业相纸上的稀薄影像，将很快消失于无形……

　　洪磊内心世界的纷乱错综与他对宁静和谐的渴望构成了一个不稳定的磁场：互为排斥的两种力量使

他的幻想充满了对立和紧张，而那种与生俱来的敏感和思虑又过于显豁地让他得以返观自身……啊，我

不应当揣度洪磊的内心世界，哪怕他很坦率地回顾并分析了他在《我梦见我在苑遨游时被我父亲杀死》

中流露的俄狄浦斯情结，还有《我梦见我的前世是个女人》与那喀索斯情结的关系。

　　这些都不重要！太显而易见了……还有许多不可解释部分，它如祭祀仪式，因短暂而虚幻，因恍惚

而忧伤。洪磊的作品总是笼有一种苍凉无望的雾气，它马上要随风而逝，易破碎的、评注之外的和散发

着罂粟迷香的含露之风，以及在风中的一线光芒……

　　灵晕永逝，现实肆虐，心智生活已遭腐蚀和败坏，时代坠落于虚空……工业浩劫不过是一个外因，

与之绝望相持的惟有内心仅有的若干幻影……回撤至古代，那个传说中灵晕曾经统治过的古代，使它驻

留在影像、幻景之中……用矫饰、优雅、迷狂甚至粗鄙触目的通俗风格去迎接它们，把它们纳入怀抱，

可能就是洪磊作品留给我们的内心迷思，一种使我们为之惊悚、疑惑、麻醉和不知所终的末世预告。

　　The Illusory World Lit by Papaverous Glow--Notes on Hong Lei

　　By Wu Liang

　　It has been almost ten years. It really surprises me – that the inner self Hong Lei

has been revealing to us on and off in the motif of dreams might still be a curtain, behind

which there exists another world. When Dali visited Fraud with his work, Fraud mercilessly

hauled Dali' s surreal fantasy right back to the world of reason…Since then, a new

methodology of psychoanalysis has been established: dreams born out of consciousness are no

longer dreams; unconsciousness is impossible to be interpreted by the artist himself…there

must be something else in an artist' s illusive work …

　　But I' d rather return to Hong Lei' s work itself, the "images" that are upfront…

classic models for painting and distorted landscapes…Hong Lei might be a riddle, even

though he seems to have given out too much about the answer. I would rather believe that

his self-statement is truthful…I still warn myself: Don' t guess!

　　His one-sided obsession with the ancient life, his lament over having been born at a

wrong time, his sorrow over the annihilation of culture…all become evident on the paper…a

masterpiece continues to exist after the death of a painter, after the collapse of an age.

Contemporary life and contemporary art weigh so little…What else can be said!

　　Let me draw some comparisons between his works and classic models: "I Lost Myself in

the Painting Album of 'Xiao and XiangRivers' " was born out of "Xiao and Xiang Rivers"

(Dong, Yuan,Five Dynasties ); "Interstate 312" was inspired by "Three Smiling Men at Huxi,"

(Anonymous, Northern Song Dynasty); "After 'Autumn Colors on the Qiao and Hua Mountains'

by Zhao Mengfu" was a playful imitation of "Autumn Colors on the Qiao and Hua Mountains"

(Zhao Mengfu, Yuan Dynasty); "The Yangtzi River Bridge" was modeled on "A Long Bridge Lying

On Waves" (Anonymous, Song Dynasty); "I Dreamed I Was a Woman in Preexistence" was after

"Traveling in Spring" (Zhan Ziqian, Tang Dynasty); "I Dreamed Of Being Killed by My Father

When Roaming In Langyuan" has been derived from "Female Fairies in Langyuan" (Run Hao, Five

Dynasties); "Yangtzi River Three Gorges Dam" has evolved from "Mountains and River" (Wang

Ximeng, Northern Song Dynasty); "I Dreamed Of Aliens Landing On Jian Jiang' s Scroll"

(three pieces) were three respective impressions of "Pine Trees and Rocks in Huanghai,"

"Pine Trees and Springs," and "Pine Trees, Rocks, Wind and Springs."（Jian Jiang, Qing

Dynasty）

　　This comparative study clearly indicates that the "spirit and ambience" in ancient

paintings that Hong Lei is charmed by have vanished, while the landscape in contemporary

life (even in dreams) fails to "respond" to our "gaze." With the arrival of the industrial

age, the gaze has ceased to exist together with the spirit and ambience…What dominates our

eyes is nothing more than "glimpses" – the fast-moving, perishable, temporary external

world lives or dies in perfect symmetry with our gaze. An instant is no longer timeless. It

is no more than the thin image on a piece of industrial printing paper and will disappear

without a trace in no time…

　　The turmoil in Hong Lei' s inner world and his longing for tranquility and harmony

constitute an rocky magnetic field: these two forces that reject each other fill his

fantasy with opposition and tension, while his inherent sensitivity and thoughtfulness push

him too much to reflect on his own…ah, I shouldn' t be conjecturing Hong Lei' s inner

world, even if he openly reviews and analyzes his Oedipus Complex as revealed in "I Dreamed

of Being Killed by My Father When Roaming in Langyuan" as well as the link between "I

Dreamed I Was A Woman in Preexistence" with the Narcissus Complex.

　　None of it matters! It' s too obvious…There are many parts that can' t be interpreted.

It is like a sacred ceremony, illusory because of its temporality, mournful because of

being in trance. Hong Lei' s work is always swathed in a desolate and hopeless mirage. It

is about to fade away with the wind. It' s fragile, beyond scrutiny and radiates the poppy

-scented, dew-soaked wind, as well as a ray of light in the wind…

　　Spirit and ambience are gone forever; the reality runs riot; the spiritual life has

been corrupted and ruined; the times have fallen into nihility…Industrial catastrophe is

simply an external cause. What still hopelessly confronts with it are no more than some

illusions in his heart…Back to the ancient times, the legendary spirit and ambience have

once governed the ancient time, stationing it in images/illusions…to receive them, to

welcome them with open arms, with strained, graceful, enchanting and even stingingly coarse

popular styles, might be the ultimate fascination that Hong Lei' s work gives us – a kind

of apocalypse that alarms, confuses, dopes and attracts us.

　　Translated by Carol Lu