佑我后：渼陂图像史

　　雷子人

　　渼陂村位于江西省吉安市东南部，赣江支流富水河（亦称王江）南岸，古为庐陵县纯化乡七十六都，现属吉安市青原区文陂乡管辖，是文陂乡政府所在地。南宋初年，渼陂开基祖梁仕阶带领族中子孙，由庐陵纯化乡七十六都甲村徙居渼陂，始建村。基祖从绅公至今历传了33代。

　　艺术表现见之于中国乡村，在古典图像叙事中，村落图景只作为精英阶层田园诗意的虚拟消费，抑或作为政治权力话语的必要修饰。传统与现代性的矛盾以一种异在的方式抑或以不证自明的传统语汇来辨析，都难回避乡村自在的发展逻辑这样一个事实：由地方行政、宗族及外来资本合谋的权力话语与公共权力分享的矛盾；传统自发集市贸易的原始性与产业结构要求的先进性矛盾；旅游经济利益催使与传统文化资源消耗等矛盾，反映出大多数中国乡村在向往现代化过程中的发展模式。乡村现代化在某种程度上表现为对传统或传统秩序的瓦解，图像对这种矛盾性的阐释如何可能？

　　用艺术的方式来在再现这一进程，当代中国乡村则呈现许多非逻辑存在的浮世图景。审美之于乡村，一方面表现出对村民愚昧、落后的嘲讽；另一方面又表现出对乡村传统文明乌托邦式的理想诉求。村落生态极可能成为后现代式的被调侃对象。

　　村落文明的现代性显现让艺术家无法回避自己的身份及其立场，即艺术家是居高临下审视乡村既有的传统和当下特质，还是以客居或主体身份平等看待所见，甚至参与现代化进程，不仅将影响村落存在的哪些要素进入艺术家视野，还决定审美本身将对哪些要素进行质疑。

　　感伤对艺术家个体而言是一种必要的催化剂，使艺术家时刻保持某种自省力，这种自省力可以帮助艺术家更主动靠近生活本身。

　　艺术对于村落文化史的构建，同样可能修复乡村现代化进程中通常被丢弃的传统，艺术的现代性表现并不孤立在传统之外，反而拉近了艺术家认识传统的距离。

　　Bless My Offspring: Meibei Imagery History

　　By Lei Ziren

　　Meibei locates in southeast of Ji'an City, Jiangxi Province, on the south bank of Fushui river(AKA Wang Jiang), a branch of Gan River. In ancient time, it is the Seventy-Six Town in Chunhua, Luling County, now under the charge of Wenbei Village, Qingyuan District, Ji'an City, as the site of Wenbei village government. In early South Song Dynasty, Meibei's founder Liang Shijie lead the later generations moved from Dujia, Seventy-Six Town, Chunhua Village of Luling to Meibei, and found village here. There has been 33 generations since the founder till now.

　　In classic Chinese art, the village imageries present only as virtual lyric consumption by intelligent class, or necessary dressing-up for political power. In conflict between tradition and modern, neither the external theories nor the self-evident traditions can neglect the reality of village's inherent development logic: the conspiracy among local administration, patriarchy and external capital obviously conflicts with the public power sharing; the aboriginality of traditional spontaneous market trade conflicts with the advancement required by industrial structure; the economic-driving tourism development conflicts with the preservation of traditional culture resources-all these conflicts jointly reflect Chinese villages' development model in modernization procedure. From some aspect, the village modernization embodies as deconstruction of tradition or traditional order. Since then, what is the possibility of imagery illustration of these conflicts? How should we represent this procedure with art?

　　In contemporary Chinese villages, one could find many illogical life scenes. The village aesthetics on one hand present as mocking at the underdevelopment of ignorant villagers, while on the other hand, as the idealistic appealing to the Utopia of traditional village civilization.

　　The modernity in today's village civilization challenge the identity and stand of artist-as someone at a commanding position to look down at village's existing tradition and characters, or as a guest or host who shares the equal vision with villagers, even involve into the modernization procedure. The choice determines not only the elements which finally included into the artistic vision, but also the elements to be aesthetically questioned.

　　For individual artist, sentiment functions as a necessary catalyst to maintain his self-retrospection, which helps him initiatively approach to life itself.

　　Art can also possibly make up the traditions lost in modernization procedure in the composing of village cultural history. Modern expression can close the distance between artist and tradition, rather than isolate him out of tradition.

　　渼陂图记

　　渼陂图记是我对渼陂村落环境做的一个田园牧歌式的描写。

　　并企图尝试用绘画、影像、采访、手记以及文献考证等多种元素，对这个让我能见如烟往事般的村落投掷凝视的目光。

　　记忆中的儿时村落永远只是我熟视的幻像，我能用图像还原那个不复存在的小村却不能真实触摸它，我甚至能勾勒曾经玩耍游戏过的芳草树木，却不能真正闻风听雨，记忆像历史一样，却轻飘飘只属于自己。

　　渼陂反而让我遭遇了儿时所见。

　　用诗一般的柔情去图构一个村庄的风貌不是我的本意，单纯地收集一些可供日后创作所需的素材也不是初衷。纪念是一种痛。一个村落现有的人文生态、新时期农村在人文地理和风俗传承等众多层面已然发生变化将成为怎样的历史，作为外来客的我以及我的书写也将成为其中的一部分吗？对痛的纪念是一种安慰。

　　一方面通过梳理一个村落从开基后已有历史的流变，包括通过志籍、族谱、口传文化所形成的叙事文本，依据村落现有的图像遗迹，如建筑、雕刻、民间图绘等，对村落历史做一个有序呈现；另一方面，用较长较完整的时间溶入一个村落日常生活中，尽量模糊客居者的身份，尽量减弱某种先验立场，分阶段去体察并记录现有村落风情。

　　本次艺术实践和创作是以一种身心在场的方式，去检视现实与记忆中如何可能呈现的观看差异。我相信关于生存的记忆和追问不完全是个人化的事，而是整个社会变迁中的组成因子。

　　通过这次尝试性实践，我想探究艺术个体私密化进程的完整呈现，能否有效推动大众对艺术公共性的认知。

　　Meibei Picture Note

　　Meibei Picture note is a lyric narrative to the village environment of Meibei.

　　By a comprehensive employment of painting, video, interview, notes and textual research, I view my past in this village.

　　The village in my childhood memory always presents as familiar illusions, which I can represent with imageries, even outline the tree I used to play with, but can hardly touch them, nor feel the wind and rain with it. Memory exists as history, but as floating and private history.

　　However, Meibei has me confront my childhood visions.

　　It is not my original intension to compose a lyric village, nor simply collect some images for later use. Memorial is painful. So many changes happen on Meibei's existing anthropecology, on its anthropogeography in new times, and on its custom continuation. What history these changes will develop? As an outsider, will myself also become part of this history with my writing? The memorial of pain is also a consolation.

　　The work will research Meibei's history since its founding, with the reference of records, pedigrees, narrative based on oral culture, imagery remnant in the village, e.g. building, sculpture, folk painting, etc. to put the historical pieces in order. At the same time, the artist will stay a long time in the village, to be involved into the local life, blur his identity as a guest, take off any assumptive stand, observe and record existing village costumes in several stages.

　　The practice will emphasize the artist's presence with body and soul, to test the possibilities of visual discrepancy between reality and memories. I believe, the memory and question on living can never be purely private affairs, but also organic elements of the general social shift.

　　By fully presenting an individual artist's private process, I wish to explore whether the process help the mass understanding on publicness of art.

作者：雷子人