在经过现代艺术的洗礼之后，简单的美不再是艺术的主题。两次残酷的世界大战，让人们清醒地意识到，在阻止人类的残暴行为上，美的外观毫无作为。艺术不再沉湎于美的外观的塑造，而是深入对人生真相的揭示。因为只有建立在真实的基础上，美好生活的承诺才不至于是虚无缥缈的梦幻。为了揭示真相，艺术跟所有的虚假为敌，包括美。尽管当代艺术比现代艺术更加多元，甚至出现了美的回归的现象，但探求真实的步伐始终没有停止。揭示真实，是艺术一项尚未完成的使命。

　　真实有许多不同的含义。有历史的真实，也就是现实发生的真相。有哲学的真实，也就是可能发生的真理。当代艺术在真相和真理方面的探索，得到了长足的发展。但是，真相和真理本身不是艺术。对此，中国古典美学有非常深刻的认识。严羽就反对以文字为诗、以才学为诗、以议论为诗。王夫之也批评某些诗人，于诗不足，于史（或者理）有余。艺术的真实，不同于历史的真相和哲学的真理。艺术中的历史感不等于历史，宇宙感不等于宇宙，人生感不等于人生。史学中的历史、科学中的宇宙、哲学中的人生，都是同一性思维的产物，是根据具有普遍性的概念构造出来的真实，它们都是貌似真实而其实不真，就像科学理论最终都会被证伪那样，人类历史也总在不断重写中被构造。艺术中追求的真实，与具有宏达叙事特征的历史、科学、哲学不同，跟个体感受密切相关，它是一种感觉的真实，是非同一性的残余。

　　雷子人的绘画最动人的地方，就在于它们触及了这种感觉的真实。子人的画从传统文人画中衍生而来，具有文人画的一般特征。但是，它们所表达的感受，与传统文人画有了很大的区别。今天的艺术家不可能表达古代文人画家的感受，因为社会环境发生了巨大的变化，我们不再具有古人的情怀。如果某人表达的感受真的跟古人一样，这种感受的真实性就值得质疑。但是，这并不是说，今人跟古人之间无法达成共鸣。我们仍然为李白的《静夜思》所感动，这并不是说我们与李白对月亮的感受内容一样，而是说我们与李白对月亮的感受程度一样。我们与李白有了同样的不一样的感受，同样的是真实的程度，不一样的是真实的内容。换句话说，只要我们表达了自己的真实感受，就可以与古人达成超越时空的沟通。鉴于今人的生活环境与古人很不相同，我们只有在与古人不同的时候，才能够触及感觉的真实，才能与古人达成共鸣。然而，由于传统的压力，许多画家都没有触及感觉的真实。在形式语言、趣味格调、思想境界等等的遮蔽下，画家的个人感受奄奄一息。这些装在套子中的作品，很难让人感动，它们因为没有留下这个时代的信息而不能成为这个时代的见证。

　　子人的画与这些装在套子中的作品不同。在许多方面，子人敢于表达自己的真实感受。哪怕这些感受有点难登大雅之堂，但只要是真实的，就会引起观众的感动。子人的绘画，能够接通地气，让人获得一种踏实、安全、亲切感。具有讽刺意义的是，在子人的一些作品中，人物都带着面具。这些带着可见面具的人物，比日常生活中那些带着不可见的面具的人物更真实。更重要的是，在半遮半掩的形象中，子人很好地表达了今天的人们对待真实的矛盾态度：既渴望见到真实，又羞于面对真实。我想说的是，对于真实的这种半遮半掩的态度，是处于发展和开放之中的中国人的真实心态。子人的作品因为很好地表达了自己的真实感受，很好地表达了当代中国人的真实心态，而具有了明显的当代性。这种创造性的转换，在传统深厚的中国画领域，实属难能可贵！

　　2011年12月9日于北京大学蔚秀园

　　Authenticity of Feeling

　　Peng Feng

　　After the purification of modern art, the original beauty remains no longer the theme of art. Two ruthless world wars make human beings clearly realize that beauty itself is of no value in preventing any atrocity against humanity. Instead of indulging in creating superficial beauty, artists go deeper into revealing the real facts of life. Only the promise for wonderful life based on the real facts can avoid becoming illusory fantasy. In order to discover real facts, art opposes to all kinds of falsity including beauty. Compared with modern art, contemporary art embraces more diversity, even the recurrence of beauty, but steps to exploring authenticity has never stopped. Revealing authenticity is an unaccomplished mission for art.

　　Authenticity has multiple interpretations. It can refer to the reality of history, which means real facts. It also indicates the philosophical reality which is the possible truth. Contemporary art has gained significant development in seeking facts and truth neither of which is art in itself. Chinese classical aesthetics holds in-depth perception on this subject. Yan Yu  is a well-known opponent of the idea that the essence of poem lies in language, literariness and criticism. Wang Fuzhi  had also posed the critique that some poets are more equipped to depicting history (or reality) than composing poetry. The authenticity of art differs from historic facts and philosophic truth. The historic sense in art is not equal to history, just like the sense of universe is not universe and sense of life is not same as life itself. The concept of history in historical science, universe in scientific sense and life in philosophical level all come out of identical thinking. Made up from "universal notions", these concepts just appear to be authentic while actually stay far away from authenticity. The scientific theories will end up with being falsified. Likewise, human history is shaped through continuous overwriting. Different from history, science and philosophy with the grand narrative characteristics, the authenticity pursued in art is closely related with individual feelings. It is the authenticity of feeling, as well as remnants of non-identity.

　　It is the authenticity of feeling in Lei Ziren's works that render the biggest appeal. Drawing inspiration from the traditional literati painting, his works share some common features but with big difference in expression of feelings. Owing to the great upheavals in social environment, the emotion and thought of the ancients have departed from us. Any déjà-vu feeling detected in someone's works, its authenticity will be challenged. However, it doesn't mean that modern people cannot resonate with our ancestors. Up to this day, we are still moved by Night Thoughts , which doesn't indicate that we share the same feeling towards the moon with Li Bai but that we identify with his feelings when looking at the moon on a lonely night. What is similar is the validity of feeling while what it really feels like differs. In other words, as long as we are expressing what we really feel inside, we are connected with the ancients across time and space. Due the changed living environment, we can only echo with the ancients where we differ with them when we reach the authenticity of feeling. Pressed by tradition, many painters fail to express the real feelings. The painter's personal feelings are buried in modal language, taste and interest, along with ideological level. These works in unified pattern can hardly touch people's heart. Neither can they bear witness to the era as they share no characteristics of the times.

　　Ziren's works distinguish from those patterned works. In many regards, Ziren have the courage to express his true feelings. Even not regarded as noble taste, true feelings can always strike a chord in the audience. Taking root in real life, his works make people feel at ease and get intimacy. More ironically, all the characters in his works wear a mask but they are more real than people in real life wearing invisible masks. More importantly, via these half-seen characters, Ziren has revealed modern people's contradictory attitude towards authenticity. We aspire to see authenticity while shay away from it at the same time. But that ambivalent attitude reflects the true voice of Chinese people on the path of development and opening-up. In his works, you can find not only his personal feelings but also the real mentality of modern Chinese with obvious contemporaneity. This innovative conversion is rare and commendable in Chinese painting system with profound traces of tradition.

　　Dec.9th, 2011, at Weixiu Garden, Peking University

作者：彭锋