好画总有一些不对的地方，不对的地方才有“意思”，有意思的画大概就是雷子人所说的“误绘”。

　　很多人觉得自己了解现实是什么样子，因为我们每天就身处其中。每个人的手机都可以拍照，每一个客户端都在实时推送全世界各个角落发生的新闻。那些抓拍的现场和晃动的影像，你真的认为那就是真实吗？

　　雷子人看到的世界跟你我都不一样：不那么精致匀称，也不那么粗暴失衡；不那么合乎比例和透视，也不那么鸡毛鸭血。艺术家带着他自己的问号观察世界，他比别人看到的更多些，也更明白一个人真要看的其实并没有那么多。

　　“误绘”展示的即是艺术家观察到的真实，那其中包含着很多决定——这个要画出来，那个必须夸张，它帮助你我更清楚地认识这个世界。

　　雷子人从很多角度思考他的绘画，历史的、时空的、社会学的，等等。他曾在渼陂古村做过六年田野考察式的绘画实践，也为将日常面孔注入罗汉尊者的形体探索了五年。他喜爱两性关系命题中嬉戏的小情态，也钟情“人迹于山”悠远恢弘的样子。对他而言，可表现的太多了，而更难得的是，他知道如何表现。

　　把目光所及之物转换成绘画痕迹，对于大多数水墨画家来说，是一个享受的过程。“我手写我心”，练得笔触迅捷潇洒，足以引发自恋和喝彩。但雷子人身上缺乏这股潇洒劲儿，这些年，他的绘画更愈发像是不知疲倦的钻研和劳作，眼、手、心协作，去解释这个世界，而不是复制它。十五世纪，欧洲的画家征服了我们观看世界的方式，他们让“整个画面变得像是镜子般地反映可见世界为止，使人感到真实”。（贡布里希《艺术的故事》，P240）而如今，艺术家最不满意的恐怕就是只表现现实，哪怕是现实主义绘画，也强调要在其中注入观念。

　　在为“误绘”展最新创作的《一河两岸》中，雷子人向元代画家倪瓒致意，不仅以他经典的“一河两岸”构图为作品命名，还以极富创意的方式将其晚期名作《虞山林壑》（1371）纳入画面中，进行重新解读。到底什么叫“一河两岸”？了解美术史的人有一套的认知，不了解美术史的也会有自己的看法，雷子人尝试把这两种可能性都注入作品中。雷子人谈过他对传统的态度——“不倦，不恋”。从气质上来说，他是当代艺术家里讲究古意的那一派，较多游戏精神，较少弑父情结。他总是希望作品呈现当代感的同时可以保持传统基因，所以会有意识地把水墨符号放到画面里，比如八大山人的某只鸟。这是敬畏之心，也是一种表现技艺和教养的方式。

　　《一河两岸》不是雷子人第一次从美术史里借词借元素，之前，他也有《屋漏痕》、《开合》等作品。把阳春白雪通俗化，是因为他反感中国画老是拿笔墨说事，绕来绕去打不到痛处。雷子人不迷信笔墨，画画也并不一气呵成，《一河两岸》整整画了一年，“今天这一笔要不要画，会纠结掉一大半时间”。这幅画充满了精密的层次感，这在中国画中实属罕见。水墨强调一气呵成，很多时候是瞬时性的，而雷子人的画中却包含了时空的层次、随着时间流动而进行一步步观察的层次。这展示了他观察世界、描绘世界的本领。

　　艺术史上有一类画家是特别“能看”的。比如伦勃朗和毕加索。伦勃朗的素描可说是这世上最好，用最少的笔画绘出千变万化的面相、衣饰和体态。而毕加索，他的画中有那么多的空间感和体积感，一定是因为他观看的方式与所有人都不相同。

　　雷子人也属于特别“能看”的类型，并且在观看中找到了对现实进行二维表达的独特办法。他的观看方式是真实的，但却不是几何性的。他的画既不完全符合散点透视，也不完全符合焦点透视，他以自己心里认定的那种真实的方式把眼里看到的真实描绘出来。

　　在渼陂古村写生时，雷子人铺好了宣纸寻找一位模特，他没有邀请裁缝家新嫁进来的小媳妇，而是拉来上街给孙子买奶粉的老村民。艺术家的眼光脱离社会流行观念和流行审美的束缚，这就是为什么我们觉得他笔下的人物面貌不俗。

　　两性关系是雷子人绘画的一个重要主题。在他与友人合作的《女人味》一书中，文字不能阐明的复杂情况，都在画面里很好地解决了。自2004年开始创作的《折翅系列》中，他设置了很多水淋淋的戏剧性画面，那些场景和复杂的动作设计，很像电影的分镜头脚本。但是很难说清雷子人讲了一个怎样的故事，很难说清故事的主角到底是一个男人还是一个女人。那只折翅的鸟，如果仅仅理解成失落的情感就太过直白了。

　　在所有男性的、女性的身体背后，是雷子人对人性的思考，也是他对自我生存状态的描述。画家通过画中的角色来观看自己，他不必体验这一切，但他超越了这一切。

　　雷子人有一种能力，不管在怎样的图式和情境内，他总是能够准确地画出“当代人”。在他的画面里，始终洋溢着我们时代的狂欢和低落、窃喜与悲哀。其中的情节很难一目了然，其中的情绪却令人感同身受。艺术家的画越画越大，为什么？

　　盖茨比豪华宴会上的女客对男伴说：“我喜欢大party，因为有隐私，小聚会毫无隐私可言。”雷子人的大画中说不定也潜藏着这一层心理动机。在占据整面墙的画面上，不知隐藏了多少欲说还休的秘密，来自他的知识结构，来自他的人生阅历，来自他对未来的期望。

　　他的画几乎要把观众吞没了，观众被卷入画中。你感觉自己不是站在展厅的一角，而就是《名字叫春》中那个在台球桌边漫无目的游荡的无聊人。你在画里，你可以清楚地看见其中的细节——大块的色彩，书法一样自由的笔触，手臂迅速运动所产生的痕迹。其中有很多很多的规划，但是现在都被结果所覆盖。最初的一笔在什么地方？那一定是一个随意而又艰难的决定。

　　《名字叫春》与《一河两岸》不同，它还把经典的和庸俗的并置。画里头有新罗山人的八哥、沈周的猫和陈老莲等人的蝴蝶，以及经他改编的梅、桃、柳、石等等，画面的中心是两个打台球的男人，还有那个莫名其妙的在场者。这不合常理的情境几乎就是一种现实批判了。

　　雷子人的作品展示了一种图像史本身的可能性，正切“误绘”的题。他画中解剖学意义上的和空间意义上的不合理之处俯拾皆是，但是在看似不合理的设置中，雷子人成功地创造了独属于他的艺术语言。

　　他“误绘”了真实，还好没有错过观众。

　　"Mis-painting" is Beyond Reality:

　　From Landscape of Mount Yu to River Banks

　　Sun Linlin

 Good paintings always include some interesting improperness, which, in Lei Ziren's words, is "mis-painting". The majority of people are convinced that they know what the reality is because we encounter it on a daily basis. Nowadays, people take pictures with their phones and each client end pushes real-time world news. But do you really take the snapshots and shaking videos as the truth? The world in Lei's eyes is different from ours: Not quite delicately symmetrical or rudely unbalanced; less proportionate and transparent but not totally ruined. The artist observes the world with a question in his mind. He sees more than other people does and is clearly aware that what one needs to see is not that much indeed. Exhibiting a truth observed by the artists, "mis-painting" involves a lot of decisions (this needs to be drawn and that needs exaggeration) and eventually helps us understand the world better. Lei Ziren has pondered over his paintings from a multi-perspective: historically, chronically and sociologically. He spent six years practicing painting skills out in the fields of the old Meibei village and studied for five years on how to infuse everyday faces into the body of venerable Arhat. He adores the playful coyness in sexual intercourses and is obsessed with the grand spectacular of "traces of human presence in mountains". For him, there is so much worth showing and fortunately, he knows how to express them. It is an enjoyment for most Chinese ink painters to turn what they see into paintings. Bearing the maxim "I write my heart" in mind, they have accomplished swift and unrestrained brush strokes and thus truly deserve the narcissism and cheers. However, Lei Ziren lack this "wantonness" and during all these years, he draws his works with nearly inexhaustible diligence and assiduities, coordinating eyes, hands and heart to reinterpret the world instead of reproducing it. In the 15th century, European painters conquered our way of seeing the world and made "the whole tableau reflect the seeable world like a mirror to give people a sense of truthfulness." (Gombrich, The Story of Art, p240). However, I am afraid that at present the artists are most unsatisfied with realityrevealing only, even the realistic painters emphasize the importance of perceptions. Lei Ziren dedicates his latest work River Banks for the exhibition Mis-painting to the painter Ni Zan in Yuan Dynasty. He not only named his work after Ni Zan's classic "River Banks" composition method but also creatively added his late-life masterpiece Landscape of Mount Yu (1371) into the tableau for reinterpretation. What on earth is "River Banks"? People familiar with art history have a set of thoughts and those who know little about it also have their own opinions. Lei Ziren attempts to incorporate both possibilities into his works. As Lei Ziren mentioned before, he is "tireless and detached" about tradition. Compared with other contemporary artists, Lei Ziren's temperament is closer and more congenial to the ancient school with more game spirit and less patricide complex. To achieve contemporary resonance while preserving the traditional genes, Lei Ziren always deliberately put traces of Chinese ink painting (such as a bird in Zhu Da's paintings) to the tableau. This approach shows not only his reverence and veneration for the tradition but also his outstanding kills and well-upbringing. It is not the first time Lei Ziren borrows words and materials from the art history. Before River Banks, there are also works like Water Stains on the Wall and Life Circulation. He vulgarizes the highbrow and the refined because he loathes the fact that people always beat around the bush by talking about inks in Chinese paintings instead of going straight to the heart of the matter. Lei Ziren has no ink-abuse and his paintings are certainly not done in one stroke. Questions as whether to add this stroke or not today will occupy his mind for a long time. therefore, it took him a whole year to paint the River Banks which is full of precise layering rarely seen in Chinese paintings. Chinese ink paintings prefer smoothness and instantaneity but Lei Ziren endows his paintings with a spatiotemporal gradation (with the passage of time, the tableau reveals one layer after another), reflecting the way he observes and portrays the world. In the art history, such painters as Rembrandt and Picasso can "see better" than the others. Sketches by Rembrandt deserve to be the best in the world for he drew a kaleidoscope of faces, clothes, ornaments and postures with the least strokes possible. Picasso was able to attach senses of space and volume to his paintings. His ways of seeing are surely different from ours. Lei Ziren is also one of them. Through his penetrating eyes, he sees a unique bi-dimensional expression of reality. He observes the world truthfully but not geometrically and presents it in his paintings in a neither cavalier perspective nor focus perspective. He draws what he sees and thinks to be true. In the old Meibei village, Lei Ziren spread the rice paper and started his model hunting. He chose an old villager who came out to buy milk powder for his grandson over the newly married wife in the tailor's house. The discerning artist successfully breaks the shackles of prevalent notions and mainstream aesthetic tastes, making his characters so original and uncommon. Another important theme in his paintings is sexual intercourses. In collaboration with a friend, Lei Ziren wrote a book named Femininity wherein the complexities that words fail to express are splendidly illustrated by pictures. In his serial Broken Wings starting from 2004, he has designed many dripping and theatrical tableaus in which the scenes and complicated stunts resemble the story board in the film business. However, it is hard to tell what story he relates and whether the protagonist is a man or woman. It would seem very superficial, if we confine the broken-winged bird to downcast feelings only. Behind the male and female bodies are Lei Ziren's reflection of humanity and descriptions of selfsurvival. The painter sees himself in the characters of his paintings. He does not necessarily experience all these in order to transcend them. Lei Ziren has a gift: he can draw "contemporary people" accurately in whatever schemas and situations. His paintings always exude ecstasy, meltdown, smug and melancholy of our time. Although the plot is confusing, the sentiments are sympathetic and synchronized to the viewers. Why the artist draws larger and larger? At Gatsby's fancy party, a female guest said to her partner: "I like big parties because they have privacy rather than small ones." Probably, Lei Ziren's large-scale paintings also harbor a same motive. One never knows how many untold secrets of Lei's knowledge structure, life experience and future expectations are hidden in the wall-sized paintings. His paintings nearly drown their viewers who get themselves so involved. At that moment, you no longer stand before the picture Spring in a corner of the exhibition room but become the bored person who aimlessly rambles around the pool table in the picture. Once you're in the picture, you can see clearly every detail of it-chunks of color, unrestrained brush strokes and the trail of arm movements. A painting includes a lot of planning and designs which are eventually all concealed by the final result. Where is the first stroke? It must have been a casual and tough decision. Different from River Banks, Spring juxtaposes the classic and the vulgar, comprising the myna drawn by Hua Yan, the cat by Shen Zhou, the butterflies by Chen Gongshou et al. and the adapted plums, peaches, willows and rocks. In the center of the tableau are two men playing billiards and a mysterious spectator. This unreasonable scene almost equals to realistic criticisms. Lei Ziren's works convey a possibility of picture history, strictly sticking to the topic of "Mis-painting". Although anatomically and spatially irrationalities are common sights in his paintings, he successfully creates an art language of his own through these seemingly irrational designs. He "mis-paint" reality but luckily he does not miss his audiences.

作者：孙琳琳