最近这半年，谈论绘画很多，从写实绘画到非具象绘画，不一而足。在中国谈绘画，果然是一件雄伟的事情：因为从事绘画的画家难以数计。因为难以计数，就无形中抵消了很多可以谈论的绘画，比方说，如何评价一些绘画，如何阅读若干绘画，做某类绘画到底有没有意思（还不说有没有价值）。如果在绘画上没有清晰的立场和眼光，看到绘画都说好，那就有问题了。我们也看到很多画评，对绘画没有判断，导致很多的绘画是盲目的绘画，画了太多无效的绘画。这也是促进当下的中国绘画发展最为可怕的。

　　丁力是张家口老乡，去年才在北京认识，才知道来北京已经十多年了。这十年来一直在尝试绘画，从开始的有些具象的图案到后来的任意发挥，走过了一场蜕变的过程。他虽然画着，却始终不敢拿出来示人，总觉得不够绘画，或者说，还没有达到自己想要的目标。一般来说，画家重视手上的训练，那么手与技巧这双重关系又是由什么来决定的？它到了这样的层面就绝不是说技巧在决定着。如果不能解构、廓清它们的关系，那么，画家的目标就是可能总是重心放在技术的淬炼上，越淬炼，也越精致，磨得人的眼睛也细密起来，最后竟容不下粗粝的东西。实际上，眼睛被看坏了，手也变朽了。

　　丁力第一没有走科班的路，这个非常值得重视和重新思考。科班是什么？它绝不是一种绳索，束缚住画家的手脚，不敢逾越很多条条框框。章法是什么？是从心所欲不逾矩，达到自由的境界。自由是内心世界的真正自由和感受，不是手头说说的自由。人的束缚经常不是不想打破，而是心灵已经磨了老茧，对自由已经没有感觉，不知自由为何物。我们接触到多少优秀的画家，就是在自由上实在是百般努力也超越不了手头牢笼的限制。现代美术教育对自由创作达到了很深入的实践，在释放人的自由想象与心境上，做到了心到手到、意周笔全。

　　那么，我们陈述了这么多，其实想说的是，丁力一不小心走到了自由发挥的地步，画画全凭自己来，但又与绘画的形色块面亲近不已，好像这些色泽律动因为了自由的发挥，一个一个地从无有乡里蹦了出来，不在视觉惯性的轨迹里，但又穿插成面、纵横形骸，看似凌乱，实在内心的契合就在笔笔不断中。所谓笔迹即是心迹，丁力在这方面没有障碍，也没有顾忌，唯有求自由发挥。

　　他画完自己的画，开始在脑海里想象另一个世界，这就是他的那些画名：西域楼兰、神秘诱惑、金戈铁马、永恒之城、透明物叠趣、诙谐与奥秘、记忆中的蒙马特高地等，是另一个他思绪自由的呈现，实际上看的画，全不用理这些画名，这些画名是题外诱饵，是画面和画意的一道障碍。它们看似引导观众去看明白画，实则不然；它们是引观者去唤起自己的文字理解力，想到的不是眼前的画面，而是让观者去自我想象世界的一种启示。这些画名不实，但与自由相关；与画面无关，但与刺激思维有关。这些画名衬托了丁力绘画的自我独立，更主要的是我们看到了丁力的画，就说上一句：怕什么，就要这么画。

2016年3月14日 于北京望京花家地北里

Ding Li's Painting: A Free Development

Wang Chunchen

　　In the latest half of the year, I have talked quite a lot about painting: realistic painting and non-figurative painting. It is an overwhelming task to talk about painting in China, since there are numerous painters. As huge as the number is, many cannot be commented. For sometimes, it is meaningless (not to mention worthless) to evaluate, read and study on some of them. Without a clear position and insight, one may say "Yes" to all paintings. We once read many reviews absent of basic judgments, which led to blind painting for the purpose of painting, and consequently too many ineffective paintings. This is the biggest disaster in the development of Chinese painting.

　　Ding Li is one of my folks from Zhangjiakou. When we met in Beijing, he has already lived in the city and dedicated to painting for more than 10 years. From the figurative depiction at the beginning to the free development later on, he experienced a great change. He kept painting, but seldom showed to others. He believed they were not good enough, or say did not meet his goal. Usually, painters pay attention to training of hands, but what determined the relationship between hands and techniques? If the relationship cannot be deconstructed or defined, a painter may focus on technical training always. More training he/she receives, more refined the painting becomes. Then, his/her eyes will get more used to exquisiteness, less tolerant to roughness. Actually, the eyes are spoiled, and hands are handicapped.

　　Ding Li didn't receive any academic training in fine art. The fact deserves our attention and consideration. What is an academy about? It is not a rope, shackling painters with conventions. What is a rule about? It is a ladder to a truly free world under certain rules. Usually, we are not unwilling to break the shackles, but our hearts are callused and lost the sense of freedom. We have met many excellent painters, who failed to break the shackle of rules and realize freedom, although they had been trying hard. Modern art education emphasizes practice of free creation, unity of will and hands, completeness of meaning and depicting.

　　I have talked a lot, but my true intention was to say: Ding Li has already inadvertently realized free development in painting, but he can still get so close to shape, color, mass and plane of painting. The colors jumped out from none into the inertial vision, because of the free development. They crossed each other in a seemingly messy way, but followed the painter's heart always. Brushstroke reveals the trace of mind. Ding Li ignores all barriers and taboos, and seeks for free development only.

　　When a painting was finished, he starts to imagine something else, i.e. the name of it. For example, The Ancient Lou Lan in the West, Mysterious Lure, Spear and Armour, The City of Eternity, Overlapped Transparency, Humor and Mystery, Montmartre in Memory. These are another demonstration of his freedom. You don't need to look at those names before watching his paintings, because they are only lures and maybe barriers between painting and meaning. Seemingly, they are hints enlightening the audience, but actually they are not; they are waking up the audience's comprehension, and imagination to an imagined world. They are irrelevant to paintings, but relevant to freedom and way of thinking. They demonstrate Ding Li's independence. Having watched his paintings, we would say, "Yes, that it is. Paint in this way, there is nothing to be afraid of."

Mar 14, 2016

Hua Jia Di Bei Li

Wangjing, Beijing

作者：王春辰