在为《罗博报告》“中国精品前传”主题特别创作的封面作品中，雷子人用“自在脱俗”表达了中国传统意义上的精致生活方式，在他看来，与西方人物质化的、充满感官享受的精品意识不同，中国人一直以出世为高，也即“万物都好，但好不过天界的美妙。”

　　对精致生活的终极追问，往往催生精品，这概念应该是来自西方。品牌、工艺和历史，西方人的精品生活是具体的、摸得到看得着的，从某种意义上来说，也是易于得手的。而刚应邀为《罗博报告》“中国精品前传”主题完成封面创作的雷子人却说：“当我们去追求某一个具象的精品时，就已经远离了精品的意义。”这，应该是中国人特有的精致生活概念吧：对精神生活的终极追问。

　　在雷子人还带着墨香的画作上，一片荷叶载着四个人，其中两人捧书，一人持龙旗，一女子揽镜自照。荷叶翩翩，游于太虚之中，四件人自在自得，天空有花飘落，周遭似行云似流水，又似雾似烟，总之不是人间景象。

　　“此创作的灵感来自一宋代无名氏的册页，描绘的是精神中产生的幻觉。”雷子人解释说。他的画，一贯具有很强的超现实意味和浪漫主义色彩，但却又是纯中式的，饱含传统中国画的含蓄、写意和冲淡之气。“画的是人间景象，想的是神仙世界。”雷子人说，便是要留住实体感觉中，那转瞬即逝的一刻。

　　在画家看来，传统意义上的中国精致生活方式，概括起来，超不过“自在脱俗”四字，与西方人物质化的、充满感官享受的精品意识不同，中国人一直以出世为高，正如雷子人所言，“万物都好，但好不过天界的美妙。”

　　在这位擅画世俗生活的画家笔下，搂抱在一起的市井男女，身边站着一只白鹤梳羽；身裹绫罗的女官展开画册，挡住身后一尊佛。世俗，于是又是神话；大俗，于是又是大雅。人在生活，但必须超越生活，在他看来，“好的东西都不在人间。”甚至，“好的东西也不在当下。”记忆之所以美好，因为它有过滤功能。

　　画家对“精品”的理解，听起来，虚而又虚。虚而又虚，其实也未必。画再出尘，还是要落到笔墨纸砚。这文房四宝便是中国文化里最最亲民的精品概念。“笔墨纸砚，都是质朴的材质，单用文化概念理论分析的话，全是精品。古时，人们对材料的崇尚达到了近乎苛刻的地步，甚至精细到纸上的磨痕，因为它是唯一的，又是时间累积的。”雷子人摸了摸这幅封面作品的纸张说道。似乎，无论是材质、手工艺，还是品牌意识，中国传统中的精品概念又不那么虚幻。

　　然而在物与灵之间，中国人常常被自己折磨。从鞋底上繁复的雕花，到山水画里大面积的留白；从书法中的狂草，到鼻烟壶内画中的细密；从晋代的尚简、清明，到唐朝的繁琐华贵；我们为无用而繁复的细节痴迷，但在本质上，精神诉求却又空灵而严肃。“我们希望把东西制造得精致，但又常对此表示不屑，矛盾无比。”雷子人笑道。

　　而矛盾产生美。适度的、控制得恰到好处的矛盾，往往是一种美妙的平衡。中国的传统美学里，“好”便意味着有教养，有节制。中国人常说的物我合一，天人合一，大抵如此。回到当下，雷子人说，“一个时代有一个时代的风尚，当我们远离，概念中它可能已经过时，而我们的艺术便是在矛盾中产生自救系统。”

　　在中国传统文化中，一直被推崇的文人气质的生活，即是所谓“精致生活”，其实也是文人制造出来的，跟老百姓有距离，“好像一个游戏”。在普罗大众对它的抚摸和追寻中，精致生活不仅是一种境界，更是一种想象。

　　陶渊明的诗和生活，本没有器物上的精品-虽然在如今，他的作品和状态绝对是精品。没了魏晋风度的依托，“心远地自偏”只能是一种自我标榜。而明代文人的逍遥的生活作派，全面呈现在那时的山水画中，只要有人，就有他们的精致生活。“在画中，他们喝茶、旅游，品鉴，‘沧浪之水浊兮可以濯我足’，甚至去水边洗脚都很时尚，在如今这已经成是现代人所追求的终极精致生活。”雷子人感叹道。然而我们无法让整个时代回到过去，再度制造出那种游戏所需要的气氛。“我们现在忙于制造经典，反而远离了本源，”雷子人说，“那种古老的、纯中国意义上的手工艺品，因为沾染人气而具有独特的芬芳，却早已不再。”而现在作为物质的精品，在他看来，只是欲望，或者是进入某一阶段后，物的象征替代了自我。而这些所谓的精品“一旦拥有，就想抛弃”。然而，除非如此，我们又回到茫然，因为当今的游戏并不知道是怎样的规则。这便是雷子人所说的“又想靠近又不能靠近，一靠近就已经远离”。

　　一幅画，一席谈，对精品、对精致生活，雷子人说，不下判断，就让它停留在我们对自己生活的质问和对现代生活的理解上。疑问在增加，但暂时没有答案。有画，有思索，有记忆，有对文化的想象，有对当下的批判--这些便是我们今日之所得。

　　Approaching, Far Away

　　Ye San

　　Hight lighting freedom and extraordinary, Lei Ziren expresses the traditional Chinese delicate lifestyle in the cover painting which is specially-designed for the theme of Robb Report , Prequel of Chinese Best Products. In his eyes, different from the West people's materialistic and sesual consciousness of the best,Chinese people always think even everything is good, it will not supass the beauty and wonder of nature.

　　Ultimate inquiries about a delicate lifeal ways give birth to the best products and this concept is supposed to come from the West. The brand, technology and history-the quality life is concrete and can be touched or felt in the western world.In a sense, this kind of life is easy to get.But according to Lei Ziren, who was recently invited to finish a cover painting for the theme of Robb Report, Prequel of Chinese Best Products, when pursuing some concrete quality good, we have gone so far from the meaning of quality.

　　This, should be the unique concept of quality life held by Chinese people, that is,ultimate inquiries about spiritual life.In a newly-painted picture drew by LeiZiren, four people rod on a lotus leaf. Two people held books, one people holding adrag flag, and a woman looked into the mirror. These four people were at ease and freely travelling in the sky, with lotus leaves swaying.

　　"The inspiration to create this picture came from a nobody's album who lived in Song dynasty, and the picture describes the visions resulted from spirit," explained by Lei Ziren.His paintings always possess a stronghy per-realit y meaning and romantic color in a sheer Chinese style, containing implicit, freehand and cozy feeling. "I drew the human vision and thought fairy world," said Lei Ziren. It is to hold the transient moment in concrete feelings. In the eyes of painter, the traditional Chinese delicate lifestyle, in a word, can be summaried in no more than four words," freedom and extraordinary". Compared to the West people's materialistic and sesual consciousness of the best, Chinese people always think even everything is good, it will not supass the beauty and wonder of nature.

　　Under this painter's brush, a white crane stands by the side of a pair of man and woman who are holding each other; a well-dressed ancient woman is expanding an album, whose body keeps a buddh aun sight. The social affairs, in other words, are fairy tales. Too secular is too elegant. People lead their life, but have to transcend life. In his eyes, "all the goodness don't exist in the world." Even, "the good things are also far from the reality." Theme mories is beautiful, because it has filtering function.

　　The Painter's understanding of quality goods sounds utterly illusory.Totally illusory is not exactly right, indeed.No matter how extraordinary it is, a pictureis based on brush, ink, paper and ink-stone.So these four treasures of scholar are the most common concept of quality goods in the Chinese culture. "Brush, ink, paper and ink-stone are all made of pristine material. If it is an alysed in cultural concepts, they are all quality goods. In the ancient times, people admired material to an ultimate level, because it is unique and accumulate das time goes by," said Lei Ziren. It seems that the Chinese traditional concept of quality goods isn't so weak, no matter it is material, technology or the awareness of brand.

　　However, the Chinese are often tortured by themselves between material and soul. From the complicated carving in soles to a large margin of blankness in a Chinese landscape painting, from the Chinese handwriting cursive script to the delicate drawing in the inner of snuff bottle, from respect for simplicity, brightnes sand clarity in Jin Dynasty to complexand luxury of Tang Dynasty, we have been addicted to useless but complicated details, but in essence, the spiritual appeal is empty and serious. "We hope to make things delicate, but quite often shrug off such idea. So contradictory," laughed  Lei Ziren.

　　However, contradictions give birth

　　to beauty. Proper and well-controled  contraditions are usually a kind of fair bala nce. In the Chinese traditional aesthetics, "the good" means educated an dabstemious. It is probably the so-call edidentity of object and self and unity of heaven and human being.

　　Back to now, Lei Ziren said that an era has a style of that time. When we are faraway, it might be out of date in terms of concept, but a self-help system is born from contraditions.

　　In the traditional Chinese cuture, the long admired scholar life, namely the so-called" delicate life", is made by scholars indeed and it is far from the common people's life." It is just like a game." In touch and pursuit by common people, delicate life is not only an ideal state, but also an imagination. There had never been objective quality things in Tao Yuan ming's poems and life indeed, although his works and state are absolutely claimed to be the best today. Without the manners of Wei-chin Dynasty, it only can be a self-advertisement to say" Everywhere is a never land, only if you get rid of the worldly matters". However, the cozy lifestyle of the Ming Dynasty' sscholars has been all displayed in the paintings at that time. As long as there is human, their delicate life come. "In paintings, they drank tea, travelled and tasted, even it was quite fashionable for them to wash feet by the side of river. In nowadays, it has been an ultimate delicate life pursued by modern people." exclaimed Lei Zi ren.

　　Whereas, we cannot bring the whole era back into the past, nor can we anew create an atmosphere in accordance with that game.

　　"We are now busy creating classics, unexpectedly, we have gone so far from the essence," said Lei Zir en, "That kind of ancient, sheer Chinese-style handicrafts, end owed with an unique charm for the sake of human's labor, never exist." While those quality goods, in his eyes, are desire. In other words, the image of material has replaced ego, after history enters some period. As for these so-called quality goods, people only want to abandon them the moment own them.

　　Nevertheless, unless so, we will return to blank, because we don't know what is the rule of today's game. It is exactly what Lei Zir en said, that is , "we want to come closer, but we cannot, once upon we draw near, we have gone far."

　　A picture, a dialogue on quality goods and delicate life, Lei Ziren said let it stay where we question our life and where we understand our life, without judgment. Questions are increasing, but no answer rturn up for the moment. Picture, thinking, memory, imagination about culture and criticism towards today: these are what we get today.

作者：叶三