编辑手记

　　文∕吴宏凯 博士（山东人民出版社编辑）

　　《渼陂·渼陂：一个画家的古村落图记》(The History and people of Meibei:An Artist's Report of An Ancient Village)是一个有着田野调查风格的独特文本。

　　作为“山庄”的渼陂，在雷子人如此多重的凝视中，变得影影绰绰。

　　在雷子人看来，《渼陂·渼陂：一个画家的古村落图记》中，他要探究的是一种社会关系。

　　文字的架构能力的确是雷子人给予我们的一种惊喜，这些文字超出了作为画面阐释的意义，与画面互为补充，有时候甚至成为赋予画面以魂灵的媒介。他更多从视觉的角度入手，从感性出发，寥寥几笔，便勾勒出一幅色彩生动的画面。

　　在他的笔下，树与人得到的仿佛是同一种关照。他用至简的笔触呈现出繁复。

　　在对人物的写真与描绘中，雷子人表现出了一种意在客观的刻意控制，他天性与内心中对“诗意”的喜好于是便更多地倾泄在了这些风景的旁白中了。

　　《太阳雨》、《发屋》、《惊鸟》、《当墟日》、《花发》、《响水》、《殇》、《采食兮》，这组画完全以渼陂作为背景，雷子人意图使其成为“关于一个村落在农耕和经商交替影响中悄然变异的有年代印记的混合图像”，在这组画中，笔墨语言与形态他取朴实一路，强调“直率”，画面重视对生活冲突和矛盾的诗意化渲染，画中的人物与环境似真似幻。

　　他以这种方式描绘出了自己心中的乡村姿态并对传统的水墨品质和意境给出了自己的继承与尊重。

　　雷子人从视觉和图像的角度对这些珍贵的资料进行了记录和整理，相信这些辛苦而细致的工作对于那些关注渼陂的人不会了无意义。

　　但这种视觉观察与图像记录并非仅仅面对历史，雷子人对的“补壁”、“玻璃画”、“家有中堂”、“家当”、“遗珍”等的关注足以单独成为一个有关变迁中的中国农村的独特文本。

　　雷子人眼中的渼陂不是一个追寻古老遗梦的世外桃源，在他看来，现实中的乡村与乡村里的人才是真正赋予这个村落以生命力的根源。所以他甚至做了一些田野调查式的研究，从自己的角度记录了当下农村的种种纠结。

　　他并不是渼陂的旁观者。他已经把自己写进了这个村子悠长的历史。

　　Editor's Note

　　By Dr. Wu Hongkai (Editor, Shandong People's Publishing House)

　　The History and people of Meibei:An Artist's Report of An Ancient Village is an unique fieldwork text.

　　In the text, Meibei becomes indistinctive under Lei Ziren's multiple-gazing to explore a certain social relationship.

　　We are surprised by his composing ability. His writing goes beyond picture-explanation, but plays the role of compliment, even soul-giver to the imageries. Based on visual perceptions, he could always draw a vivid picture with a few words.

　　In his writing, trees share a common attention with people, and complicate present in simple.

　　On one aspect, an intentional control to seek objectiveness could be found in his portraiture and people-description, while on the other, his natural and inner favorite of "poetry" releases in the landscapes-subjects.

　　All his painting series in the book base on Meibei, e.g. "Sun Rain", "Barbarshop", "Shocked Bird", "Market Day", "Blossom", "Sound Water", "Dying Young", and "Food-Picking". By the series, he creates "mixed imageries of a village, with the marks of time-changing under the alternative infulence from agriculture and business". He uses plain ink language and shaping to emphasize "straightness", while presents daily-conflict into poetic semi illusions.

　　By this way, he portrays the village in his heart, and accomplishes his continuing and respect for the quality and implications of traditional wash painting.

　　Lei Ziren record and edit these rare materials and imageries from visual aspects. I believe, his attentive hardworking cannot be meaningless to those who care about Meibei.

　　However, his visual observation and imagery record not only focus to history. His attention to the various imageries, e.g. "wall writing", "glass painting", "traditional living room", "households", "left-over treasure", etc., can absolutely complete another unique text on the changing Chinese villages.

　　Instead of tracing ancient dreams in a Utopia Meibei, he believes the village and villagers in reality fill life into the place. Based on this philosophy, he even undertakes a field survey to records some disputes in today's village.

　　He has never an on-looker, he writes himself into the long history of this village.

　　美学的探索：在传统、现代性与后现代之间

　　文∕徐迅（美国纽约州立大学社会学博士，中关村创意产业联盟首席研究员）

　　雷子人的创作在当代艺术中是一个异数。他追寻艺术的最根本的问题，即当代审美是如何变迁的，这种变迁的根源是什么，是否可以用更综合的方法，如采用了人类学、社会学的方法，对当代审美重新阐释，等等。所以，雷子人的创作充满了问题意识，由此形成了他独特的表达和风格：通过对整个变革时代及其文化传统的观照，凸显出审美的变迁及其意义。

　　雷子人力图在后现代语境中表达传统或传统秩序的瓦解，或者更准确地说，消解和转移的过程。

　　雷子人的问题意识表现为，其笔下传统意义的身份（如农民）变得越来越模糊，在传统与后现代之间所搭建的沟通也越来越复杂。同时，美学获得了更广义的解读，而有关中国当代后现代艺术的种种虚无缥缈的构想，则完全不在雷子人的视野里。至少在他的创作中，他直接面对传统，直接面对传统与现代、后现代之间的勾连和纠缠，直接介入被调侃的美学领域，直接表达被认为是没有意义的美学意涵。

　　在雷子人《渼陂》中，时间和时尚留在了家庭的墙壁上，那些东西是自在的，不是为了某种观念而刻意设计的。然而，生活中自在的节奏在改变，时间在流失，从中我们读到了历史变迁的轨迹。他似乎力图消解当代艺术所推崇的符号化。渼陂自身的文化意涵是被某种被支离的空间感来表达的，用雷子人自己的话说，这个空间是由时间对物质的空间意义转换而来的，而物质存在因不同的时间切片呈现了不同的解读可能。粗糙的手、锋锐的刮刀与渼陂人脸面交织在一起的视觉意象，当然从属于艺术表达。但也能想像：在不同的时空里，其意涵可能发生什么样的变化。造型是传统的，姿态和眼神等等都是自在的，但却传达出后现代艺术的意味。其内在是还是雷子人的问题意识，即对生存逻辑的质疑，以及表现这些质疑的表现方式的探索。原来破烂的碾米场，隐约有一些诗意情怀；尘土飞扬的一条街，好象呈现了一种特别的热情；革命的图景，透露出对时光的怀念。

　　虽然渼陂作为一种呈现性的表述，但问题意识是一种必要的催化剂，使雷子人先生时刻保持某种自省力。雷子人的艺术不再是作为某种视觉消费而存在，毋宁说是重建美学的意义，即在传统、前现代、现代和后现代之间建立互为诠释的可能。

　　雷子人的创作，强烈地让现代性和传统发生了关系，也就是建立审美意义和价值的变迁过程，让“传统”遭遇“现代”，多维地去界定它们的关联。当当代艺术高度变异的时候，我们突然看到雷子人反差很大的风格，他的创作不是自娱自乐的表达，而是对更长时间更大跨度的历史的集体式生存记忆。一言以蔽之，这就是文化。

　　Aesthetic Exploration: between Tradition, Modernity and Postmodernity

　　By Xu Xun (Phd (Sociology), The State University of New York), Chief Researcher of Zhong Guan Cun Creative Industry Union

　　Lei Ziren is an exception in contemporary art. He explores the most fundamental question in art, e.g. how contemporary aesthetics shifts, what is the origin of this shift, can this shifting contemporary aesthetics be reinterpreted by a more comprehensive methodology, e.g. anthropology, sociology, etc. This particular question sense helps him develop unique expression and style: expose the shifting aesthetic and its significance under the general background of reform time and cultural tradition.

　　Lei Ziren tries to present how tradition / traditional order collapse, or be more exact, distract and displace in postmodern context.

　　His question sense embodies as the blurred traditional identities, e.g. peasant, as well as the more complicated communication between tradition and post-modern. Aesthetics achieves wider interpretations, while the various visionary conceits on contemporary Chinese postmodern art is never into Lei Ziren's mind, at least never into his works-in the works, he directly confronts tradition, confronts the involvement and entanglement between tradition, modern, and postmodern, interpose "derisory" aesthetic field, and express "meaningless" aesthetic meanings.

　　In Meibei, time and fashion fixed on family wall in a leisure way, not designed for any particular concepts. However, with time flaps, the leisure rhythm is changing, from which we can trace the historical vicissitude. He makes quite some efforts to dissolve the symbolization popular in contemporary art. The cultural meaning of Meibei is expressed as broken spaces. As said by Lei Ziren, time has special meaning to substances, while various time pieces offer various interpreting possibilities to substances. The mixed imageries of coarse hand, edging drawknife and Meibei faces of course attribute to artistic expression. But we can also imagine how its meaning could be changed in different time-spaces. With traditional modeling, and leisure postures and eye-expressions, the imageries express postmodernity due to Lei Ziren's problem-solving sense-his doubts to survival logic, as well as explore to the expressions of these doubts. Then, the shabby mill appear some poetry; the dusty street seem enthusiastic; the revolutionary scene indicates cherish of passed life.

　　His question sense becomes a necessary activator to maintain his introspective through the presentational narrative of Meibei. In this way, his art no longer exist as visual commodities, but bear the significance of aesthetic reconstruction, viz. the possibility of mutual interpretation between tradition, pre-modern, modern, and post-modern.

　　His practices firmly associates modernity to tradition, or in another word, rebuild the shifting procedure of aesthetic meanings and values-in the procedure, "tradition" confronts "modern", and multidimensional defining of the associates. With the dramatic change happened in contemporary art, Lei Ziren presents contrary styles in his own practices. Instead of self-entertainment, he explores the collective memories across longer and wider history. In a word, this is culture.

作者：雷子人