我最近这两年的绘画作品一直醉心于描绘心中的风景，希望通过画面与大家达到心灵上的共鸣，让观者感受到一种不一样的风景。

　　在物质文明极大丰富的今天，城市人生活在钢筋水泥浇铸的丛林，艰辛的跋涉着：肺部不停的净化着被污染的空气，耳膜被各种声音撞击着，冲击眼球的是铺天盖地的媒体广告、网络信息，令人眼花缭乱、真假难辨，只觉得生活在一种烦乱又虚假的真实之中。于是想逃跑，在假期拼命的奔向名山大川、瀚海幽林，然而感受更多的却是旅途劳顿、人多拥挤、食宿难安。城市态已然象如来佛的掌心，强力粘吸着这些被异化的躯体，让精神疲惫挣扎。

　　每每旅游归来，我总是对童年往事产生更多地的眷恋。那些宁静而美好的日子象河水一样流远了，只在我的记忆中留下一些叮叮咚咚的执着的音符，奏响在城市喧嚣的闹音之中，最近的这些风景作品，想用图式化的语言来解构现代人的生活空间，裸露出人们对宁静和谐的向往，凸现人类原始的本质的精神需求。画面中的鸟与兽，它们是我的精神化身，是灵魂深处独处的“我”。是现实中精神的渴望，更是心灵深处记忆的真实。我是想将现代人从现实的真实之中拽出，融入记忆的真实，从而获得一种灵魂的真实。我在画面上努力表达着这一想法，我就是试图用这种蒙太奇似的手法去描绘现代人在城市态的焦虑之中对精神家园的追求。

　　在这个消费文化、流行文化、信息文化充溢的文明世界里，人们生活在快节奏的忙碌中，行色匆匆，追求一种当下即得的快感。很少去问“我为什么要这么做”、“这样做是否具有人生价值”，而是循着社会拟定的轨道无奈又执著的前行，缺失了自我的感知与判断，成为接受的机器。更有甚者，为了实现其所谓的人生目标，不择手段，扮纸老虎，演假大空，而这样却也颇能得到世俗的肯定，于是，在各个角落活跃着一个个的跳梁小丑。他们用谎言伪装自己的躯体，以夸夸其谈证实自己的“学养”，然后在人际关系之中醉心地舞着长袖，搅乱了处世原则、道德规范、学术制度、竞争机制……面对名利人生，心存清醒的人并不能超然物外。带着镣铐起舞，于是我们的心无比沉重。于是我们向往古人的无为，在忙碌的现实生活中寻找思想的自由。

　　最近的这些风景作品，是为心灵描画的安顿之所。枝头娴静的鸟儿、打斗的麻雀、夕阳下翩翩起舞的野鸡、这些沉淀在我心底的精灵时时叩响我的心扉，催促我去倾诉。作品《空山独语》、《斜阳》、《栖息的诗意》、《王》等都是我心中风景的真实表达。于是，画面上呈现的是被剪辑的双重信息：往事与现实，虚幻与真实，理想与当下，交织在一起；自然物象和文化元素相互混合，传达出的是我眼中的真实、手中的真实、心中的真实。我希望面对拨不开的生活的粘稠，我能象鸟一样地独立枝头，象虎一样归隐于山林。

　　英文译文

Landscapes in My Heart: Interpreting My Recent Work

Dai Zengjun

​　　In the last two years, my paintings have been devoted to representing all of the landscapes in my heart. By depicting scenes from my heart and finding a spiritual resonance with others, I hope that the viewer will experience a different kind of landscape.

　　In today's extremely rich material culture, urban people live in a jungle of reinforced concrete, arduously trudging onward. Our lungs are constantly cleaning polluted air, our ears are assaulted by all kinds of sounds, and our eyes are attacked by ubiquitous advertisements and online information. All of this is confusing, and it is difficult to distinguish the true from the false. I simply feel like I'm living within a confusing and false reality. I sometimes felt like escaping, and on vacations, I rushed to famed mountains, grand rivers, barren deserts, and secluded forests, but I often felt the fatigue of the journey, the crush of people, and the difficulty of food and lodging. The urban condition is like the palm of Tathāgata Buddha, forcefully drawing in these alienated bodies and exhausting the spirit.

　　Every time I return from a trip, I always have a greater attachment to things from my childhood. Those peaceful and happy days have, like the waters of a river, flowed far away; only a few persistent notes remain in my memory, resounding in the noise of a clamorous city. In my recent landscape works, I wanted to use a schematic language to deconstruct the living spaces of modern people, exposing their desires for peace and harmony and highlighting humanity's primitive and essential spiritual needs. The birds and animals in the images are incarnations of my spirit, the solitary "me" in the depths of my soul. They reflect my longing for spirituality in reality, but they also represent the truth of memory in the depths of my soul. I want to pull modern people out of the truth of reality, and immerse them in the truth of memory, in order to find a spiritual truth. In my paintings, I work to express this idea, and I attempt to use this montage to depict modern people's search for a spiritual home amidst the anxiety of the city.

　　In a world overflowing with consumer culture, popular culture, and information culture, people's lives are fast-paced, busy, and hurried, lived in the pursuit of immediate gratification. We very seldom ask "Why did I do it this way?" and "Does doing this have value for my life?" We helplessly yet persistently follow the path set by society, losing perception and judgment; we simply become receiving machines. Furthermore, we use any means necessary to realize our "life goals," setting up paper tigers and puffing ourselves up. In this way, we receive worldly affirmation, but there are scoundrels lurking in every corner. We cloak ourselves in lies, exaggerating our "cultivation," and we love playing games in our interpersonal relationships, throwing personal principles, ethical standards, academic systems, and competition mechanisms into disorder… When confronted with fame and fortune, even the clear-eyed among us cannot remain aloof. We dance in our shackles, which makes our hearts unbearably heavy. We look to the ancient principle of inaction, a way to find the freedom to think within busy lives.

　　These recent landscape works are resting places for depictions of my soul. Birds demurely perched on branches, sparrows fighting, and pheasants gracefully dancing under the setting sun lay in the depths of my soul, often knocking on the door to my heart and urging me to let them out. Empty Mountain Soliloquy, Setting Sun, and King are the true expressions of the landscapes in my heart. Therefore, the images present a montage of two kinds of information, interweaving past and present, illusion and truth, ideals and reality. Natural things and cultural elements blend together, conveying the truth in my eyes, the truth in my hands, and the truth in my heart. I hope to confront the unavoidable viscosity of life. I can stand alone on a branch like a bird or live in seclusion in a mountain forest like a tiger.

作者：戴增钧