我热爱西藏。

　　这是最确切的信息，也是我不愿放弃的选择。

　　在近十年，生活中我放弃了很多，但最终坚守的还是绘画，以及不停歇地描绘西藏的人与景。

　　我曾画过都市的人物和风景，但就像一个孤魂茫然地浮过城市之海，笔直地穿过拥挤的人流，没有碰撞，没有遭遇，没有回应。在这熙攘嘈杂的城市里没有我的美学。于是我的目光投向了西藏，从这陌生的起点出发，寻求属于自己的语言，每每从西藏回来后，把自己关在画室里，让颜料在画布上流淌，粘稠关于西藏的记忆与想象。

　　我认为绘画美学的指向不是时间的，而是空间的。我也不去谈及艺术史的进程，哪怕一星半点儿有关当代艺术语言的精致考量，在现代艺术瞬间变化的时间流程，却像一个观光客匆匆而过。我只是想回到梦境中的故乡，就像达利画里始终瘫软失效的画面空间。蓝天、白云、雪山、草地，还有就是那些质朴、憨厚的西藏人。那就是我的精神故乡——青藏高原!

　　西藏不仅仅代表着地理的高度，它是人类的一块飞地。它昭示了天、地、人、神合而为一的境界，它展示了也许是人类最合情合理的生活侧面，就像塔西提岛对于高更，阿尔对于凡·高一样，西藏是一个可以容纳我全部艺术和生命追求的巨大母题。要倾注对待故乡和兄弟姐妹般的情感去描绘朝圣的人群、康巴汉子和草原上美丽动人的藏族女人们，让画面涌动抒情的气息。我就属于这一类人——宿命就是还乡。

　　在西藏这个巨大母题面前，只能选择和磨炼自己的绘画语言，一方面要尊重客观物象，另一方面要听从内心的感受。在西藏与自己的感受之间具体细微地建立一种绘画美学。

　　在刻画作品的同时，让我想起塞尚提出的一个关键词——调节。在不准备放弃架上绘画，又如此尊重绘画母题的画家面前，“调节”一词意味着自己必须以全部的绘画真诚和人生体验，智慧地走完艺术的道路。

　　我现在正在路上

　　锁钧

　　2009年8月22日

　　seeKing My spirit Plateau

　　I love Tibet.

　　This is beyond all doubt and will never change.In the past ten years, I have given up a lot of things but painting. I used toportray landscapes and characters in urban areas. I was like a lonely ghostfloating vacantly on the sea of cities, penetrating directly through the crowd, however, I only collide with air and get no response there. I can not find aesthetics in the crowd and noisy city. So I came back from Tibet, and locked myself in the studio, letting the color flowing on the canvas under the memory and imagination.

　　I think painting aesthetics means the space attribute instead of time. I do not want to talk about art history. Because the process of modern art development is full of change, and any delicate consideration of art language means nothing, I only want to look for the hometown in my dreams which never changed as the constantly paralyzing space in Salvador Dali's paintings. With blue sky, clouds jokul, grassland and sincere people, Qinghai-Tibet plateau is my spirit hometown. Tibet is not only a geographical place with high altitude but also a land flying on the sky. She represents probably the most reasonable balance of a state that heaven, earth, god and man unit into one. To me, Tibet is a huge motif, as Tahiti to P. Gauguin and Aries to Van Gogh. Tibet is the huge motif containing all my art and life aspiration. I will portray pilgrimage people, khampa men and beautiful Tibetan women with the feelings that are my brothers and sisters. I am such a man. My destiny is to return to my hometown.

　　Face the huge motif of Tibet, I have to choose and practice my painting language, and establish a bridge of painting aesthetics between Tibet and my own.On the one hand,respecting the object;on the other hand, listening to the inner feelings of my own. When I am portaying, I remember that Paul Cezanne saying adjusting is necessary. This means that I must continue portrarying with all my loyalty and experience to finish my art life wisely.

　　I am on my way...

　　 Suo Jun

　　Aug 22th 2009

作者：锁钧