画家雷子人的古村落印象

　　文∕吴静（《出版人》记者）《出版人》第91－92页，2007年第3、4期合刊

　　狗不叫的村庄

　　雷子人对细节的把握很清晰，给读者描绘了一个幻觉的世界：那些古代留存的祠堂，革命时期的标语、老屋、旧街、古寺、败墙，那些梧桐花落的风景、晨耕夜读的生活……一层一层地叠在那里，没有流动过似的。

　　他写下的渼陂（mei bei）立体感很强。

　　雷子人以白描的手法，把一个个村庄的散点窜连，架构成读者可以看到的一个有八百多年历史、历经朝代更迭的古村概貌。

　　理解村民的逻辑

　　雷子人体会到一种“渼陂状态”，就是渼陂人让人觉得生活很美好，不是因为日子过得富裕，而是人心最内核里的单纯。那个地方的人们对生死、贫富不那么拘谨的看，活得快乐、大气，他们根本不会对发达城市的人仰视，也不自卑，就是没必要装什么态、做什么势。

　　Artist Lei Ziren's Impression of Ancient Villages

　　By Wu Jing, journalist from Publisher, p91-92, Publisher, No.3-4, 2007

　　A Village with No Barking Dogs

　　Lei Ziren describes an illusionary world with perfect mastery of details: the ancestral temples remained from old times, slogans in revolutionary times, old houses, naos, ruined walls, the landscapes of falling phoenix tree flowers, the life of morning farming and night reading…all layer together as if never moved.

　　The Meibei he writes is so stereo.

　　By plain description, Lei Ziren connects disperse scattered villages to present an 800-year ancient village which experienced dynasty-alternations.

　　Understand Villagers' logic

　　Lei Ziren experienced a "Meibei Condition"-the Meibei people live a good life, not by wealth but by inner pureness. Never stickling to the question of live or not, poor or rich, they are happy and easy, neither look up to people from cities, nor self-contempt, thereon never pretending.

　　渼陂，画家的文化考古之旅

　　文∕文琼（《新京报》书评人）《新京报》2007年2月23日B05书评

　　雷子人应该是在回故乡的一次写生之旅中，邂逅了这个名字有点拗口的古村落——渼陂，于是，他的写生之旅便成了一次文化考古之旅。

　　他的文笔和画笔一样，都是温润恬静的。

　　历史在他笔下，是延伸和连续的，

　　画家自身的身份，也在这样长时间的亲密相遇中，发生了一些微妙的变化，他的客居者的身份逐渐模糊，他的儿时记忆也被唤醒，甚至连他的书写本身，也成为了村庄记忆的一部分。

　　An Artist's Cultural Archeology Trip to Meibei

　　By Wen Qiong, Book Reviewer from Beijing News, Beijing News, Feb 23, 2007, B05, Book Review

　　On a sketch trip back to his hometown, Lei Ziren encountered this hard-pronouncing ancient village-Meibei, then, his sketch trip became a cultural archeology trip.

　　Both his writing and painting is mild and peaceful.

　　History extends and continues in his description.

　　His identity also experience subtle changes in this long-time intimate confrontation, with his identity as guest gradually blur, his childhood memory awakened, and even his writing becomes part of the village memory.

　　雷子人的图像记忆

　　文：柳中原 （《南方都市报》记者）《南方都市报》 2007年3月

　　绘画是慢节奏的，是可以更让心静下来的艺术方式，也就意味着旁观者必须有更多的时间停留，有更没有心机的观察，也就更能体贴到古村落不着痕迹的变迁过程。作者雷子人显然也意识到这个问题。

　　作为一名画家，雷子人的本意不在“用诗一般的柔情去图构一个村庄的风貌”，他的观察以一种文化田野调查的工作方式，既探询渼陂的历史，同时触及到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发生的变化，从而用文字、绘画与图像的方式共同构成了一个画家的古村落图记。

　　身处渼陂村，雷子人恍惚间遇到了他的儿时所见，曾经玩耍游戏过的芳草树木已然不见，记忆更像是幻象。于是，他有意识地选取不同的艺术方式来表现——准确地说是在区分——村落的真实存在与已经消逝的图景，现实与记忆之间有了暧昧模糊的呼应：对村中仍保留的建筑、民居木雕、风土人情等，用摄影；在村落风情依稀，只能凭借记忆处，用水墨；在街头突然见到曾经熟悉的一个片断，用素描；在安坐斜阳里冷眼旁观时，用油画。油画、水彩、素描、摄影，与民居房屋中的古画、木雕、香炉，甚至民居中仍保留的玻璃画、宣传画一道，构成了渼陂村中的立体影像。

　　未来的某一天，渼陂村民叙述自己的历史时，《渼陂·渼陂》大概也会成为他们叙说的一部分？那么，今日的言说也成了历史，记忆在不断的言说当中得以久远。

　　Lei Ziren's Imagery Memory

　　By Liu Zhongyuan, journalist from Nanfang Daily, Nanfang Daily, Mar 2007

　　Painting is a slow-paced art-form, which means that the longer viewers spend studying the painting, with a pure heart, and the easier for them to understand the quiet transformation of this ancient village.. Lei Ziren obviously realized that.

　　As a painter, Lei Ziren does not "present a lyric village imagery", but undertakes the methodology of cultural fieldwork to explore not only Meibei's history, but also the transformation on various levels, e.g. current anthropobiology in the village, and anthropogeography and custom continuation in new period. In this way, he comprises an ancient-village illustrated handbook with text, painting and photo.

　　In Meibei, Lei Ziren confronts his childhood vision, although the plants he played with no longer exist, and memories look like phantasm. He intentionally chooses different forms to present, or to be more exactly, distinguish the existing and the disappeared imageries, to form a vague response between reality and memory: photo for the remained buildings, woodcarving on them, customs, etc.; wash-painting for the customs and practices remained in memories; drawing for some familiar views confront on street; and oil painting for on-looking in sunset. As a result, a solid picture of Meibei structures with oil painting, watercolor, drawing, photo, together with the ancient painting, woodcarving, and censer, and even the preserved glass painting and propaganda painting in local houses.

　　Someday in future, when Meibei villagers talk about their history, may the book Meibei·Meibei be part of their talking? If so, today's talking becomes history, and memories achieve to last in continuous talking.

　　一个画家的古村落图记

　　文∕曹立伟（中国美术学院教授）《新民晚报》国家艺术地理2007年3月3日

　　雷子人写过一篇文章《再见山庄》，主客交融，若即若离，写得温润恬和，情理并茂，笔端饱含着对少年时光的缅怀，读着读着，便不由地想到自己相似的往事。那么渼陂究竟是不是他曾经怀念过的山庄呢？

　　子人对渼陂的凝神关注，使得他的视野超出了个人的情怀本身，现实与历史的投影如此巨大。

　　A Painter's Illustrated Notebook in an Ancient Village

　　By Cao Liwei, Professor from China Academy of Fine Arts, Xinmin News, National Art Geography, Mar 3, 2007

　　In "Re-Confront Mountain Village" written by Lei Ziren, his subject expression and object description perfectly blend to be mild and peaceful, passionate and reasonable. His cherishing to youth always reminds me the similar experience of myself. Is Meibei the very mountain village he missed so much?

　　His focus to Meibei enables his vision to exceed personal feelings, to project largely onto reality and history.

作者：雷子人