俞洁以其女性的敏感及其思维的灵异，让古典的神秘家园以简约而梦幻的方式得以复现，看似一个人的孤独游戏，却以雅似工笔其实现代材质描摹出一个一个暗香浮动，烟气缭绕与树影横斜的梦幻世界，让古典的线条具有当代人的含蓄情韵。那是一个久未的诗意秘境，带有一个女性永远守护最为珍贵的艺术遗珠的纯洁！也许，俞洁是一个现代隐秘的梦中拾珠人。

俞洁画中的蒙面人，这个身份不确定、性别模糊的中性人，是从早期绘画的女性形象慢慢消隐而渐渐显现其轮廓的。这也是俞洁对于绘画主体思考的艺术轨迹。最初多见是半身雕塑与各种符号的拼接：昆虫的翅膀、半截松枝、麋鹿、电话机、塔、飞机等等，这个玩偶般的人物与其他符号共同组成了俞洁对于世界重新组装的剧场，如同一个幕布升起、光怪陆离的声色剧场。观者的目光被颜色与形式的强烈感受所引导。梦幻的剧场游戏因为现代器物与古典传统以何种方式彼此存在的吊诡而隐隐散发出某种危险的气息：利刃的刺穿与入侵，黑色的强行遮盖与涂抹，形体的切割与拼接。这可能是奇幻有趣的魔术变法，也可能是拙劣无奈的障眼法而已。俞洁对于这个吊诡的回应是重新以个人语汇书写这个面目与形迹都已经模糊与可疑的古典传统，即她的蒙面人。

可以发现，这个蒙面人渐渐从绘画对象这个以观看目光作为中心的维度回撤到绘画主体本身这一维度上。在这些2010年之后的绘画中，蒙面人甚至更大比例地占据绘画尺幅，然而却并不呼唤观者目光的焦点，也就是说消隐一切、只剩眼睛的蒙面人却并不看着我们。裹挟衣袍，遮隐面容，或如游心于烟云松风的隐士，或如跳脱在黑夜中的夜行人，或如喃喃咒语点顽石成珠玉的术士巫师，蒙面人的目光一直不在此处，并不与观者的目光直接相交，而是转向一侧，凝神远处，哪怕接近正面的回眸，也稍微偏斜了，错开了我们目光对对象的猎奇与探询。蒙面人一直在出神、沉思。顺着这道目光，终究是要一无所获。不要看，而是手掬一缕云烟在鼻息发肤之间，游心方外；不要看此处之物，而仅仅凝视着那些并非此处之物，那些被世人错失遗落的美丽珠玉；不要看，而直接闭上眼睛，成为绘画的平面本身，构成这个平面本身的细密线条，构成了这个平面，又消失于这个平面。这就是蒙面人，眼睛仅仅是标记，指引着别处之物，我们错失的松间之风，那个遥远的古典梦园。

在新近的绘画中，这一双黑色的眼睛更是幻化为黑夜中梦的场景。这个梦的场景有着强烈的超现实主义的色彩：焰火、松枝、珠玉、蛇、台阶等的组合并置在黑暗中闪烁着诡异不定的光芒。这是现代个体欲望深处的记忆，譬如蛇所暗示着的诱惑与危险。蜿蜒的蛇同时又与虬曲的松枝形成某种镜像般的影像加强，这是现代性个体重新面对古典所显现出来的不确定性：可能的关联与断裂的危险。艺术家似乎相信有某种东西被遗落了，如同她试图通过对这个遥远古典那莫可名状的迷茫书写来重新发现，细细的工笔书写，书写那太湖石孔洞间迷离的云烟之气，书写那松针间的风过无痕，书写树枝点触水面刹那的风云澹荡。在俞洁许多绘画中都有着古典工笔的典型意象——松，然而当那松枝伴随着稍纵即逝的焰火而闪烁，既是光华也是叹惋。遗珠既是失落于历史与记忆深处美丽之物的喻指，也是艺术家重新塑形，令其生发、生长的一物，作为静物一般的珠玉在黑夜中闪烁着光芒。

如果说对珠玉的经验来自贝类对于闯入自身内部异物的痛苦生长，那么这也是如同蒙面人背上生长出来的芒刺。似乎这是将古老生物触须与人脊柱的并置，这也意味着身体内部生长着的刺痛，支撑着身体同时又是不可拔除的刺痛——艺术自身生长、内在转化的力量在于面对自身内部的疼痛。遗珠碎散一地，有待于撷取，重新放置它的位置，这个位置是欲望花朵的深处？古典的松枝旁边？艺术探索那孤独无人的台阶上？需要寻找方向的丛林幽境？绘画如是探索。

蒙面人是跳脱于当下对象的存在，指引着不可见的黑夜。遗珠的灵异之光是艺术家在黑暗中的敏觉，将黑暗幻化成个人的梦幻游戏，神秘的幽谧之境。俞洁以其独特的女性视觉转换了超现实主义的符号语言，以其在南京古都生活的诗意挖掘，让拾珠人具有了梦幻的诗意，当代艺术乃是去发现那些遮盖之物、遗落之物，并归还给我们一颗颗散逸在历史与个人记忆深处的珠玉。

 

A Constant Search for Hidden and Lost Poetic Flavors

by Xia Kejun

Yu Jie remade the classical mysterious garden in a concise and dreamy manner with her female sensitivity and psionic mind. Seemingly a game of solitude, yet a dream world of floating scent, lingering smoke with dancing shadow of trees depicted by a way of painting as elegant as traditional Chinese realistic painting but with modern materials, makes the classical lines loaded with modern and subtle feelings. It is the secret garden with precious pearls with a purity forever guarded by a female being. Perhaps, Yu Jie is the secret pearl-picker in the dreams of our time.  

The veiled figure, with vague identity and gender in her work, is originated from her early paintings of female figures. This reflects the painter's thinking on the subjects of painting. The early images are busts linking with various symbols: the wings of insects, half branches of pine trees, elks, telephones, towers, and airplanes. This puppet-like figure form the arena with other symbols, projecting into the screens above the lustrous and dazzling stage. The viewers are overwhelmed by the strong feelings aroused from the color and form. The dreamy theatrical games betray some dangerous hints caused by the way how the modern objects and classical tradition coexist: the penetration and invasion of sharp knives，the forceful cover and smear of blackness, the cutting and connecting of shapes. All these are interesting magic or clumsy deceits. Yu Jie's response to the paradox is the veiled figure, which reflects her own thoughts on the doubtful classical tradition with its face and form already blurry.

It is evident that the veiled one withdraws itself from the center of the eyesight to the subject of painting. Since 2010, the veiled one has occupied the painting in larger scale but without calling the focus of the viewers’ sight, which is also to say, with everything hidden but the eyes, the veiled one is oblivious of us. A hermit drifting above the clouds, a night walker bouncing in the darkness of the night, or a wizard who can turn stones into pearls. The eyesight of the veiled one aims at nowhere. The deliberately avoiding of eye contact with viewers staggers curiosity and inquiry. We can find nothing by tracing the eyesight because the veiled one is always in meditation. Don't look at it, just wander into the wilderness. No more things here but the nothing elsewhere: the beautiful pearls long lost in this worldly world. Don’t look at it. Close your eyes and become the paintings themselves, or even the fine lines of the paintings, forming the flat surface and vanishing into it. This is the veiled one, eyes only signs directing to objects elsewhere—the wind we lost in the pine trees, the distant classical garden.

In her latest paintings, the pair of black eyes turn into dreams of dark night full of surrealistic colors: fireworks, pine branches, pearls and jade，snakes and steps, in their various combinations, gleaming uncertainty in the darkness. This is the memory deep from the desire of modern individuals. The snakes indicate temptation and danger. The twisted snakes and pine branches reinforced each other in some kind of mirror images, which reveal the uncertainty of the modern individual while confronted by the tradition: the lost of linking and the danger of breaking. The artist seems to believe that something is lost. She wants to rediscover something through her indescribable misty depiction of the distant classical: the cloud covered Taihu Lake stones, the wind blowing through pine needles, and the shifting of wind and clouds when the branches touch the surface of water. In many of Yu Jie’s paintings exists the symbolic image in traditional Chinese paintings: the pine tree. When the branches shine with the fleeting fireworks, it is glamour and a sigh with regret. The lost pearls are the metaphors of beauty hidden deeply in history and memory. This is also the subject the artist's reshaped and nurtured, like the pearls shining silently in the darkness.

If the experience of pearls reminds us of the pain caused by alien objects invading and growing in the shellfish, it is also true of the thorns on the back of the veiled one. The thorns, the ancient tentacles placed alongside with the human spines indicates the piercing pain growing in the body, the power of art growing and transforming, a sharp pain which supports the body and can not be uprooted. The lost pearls scattered, where should they be placed? In the depth of desire, the ancient pine tree branches, the lonely untouched steps, or the quiet forest? Her painting continues to search.

The veiled one is the existence above the current circumstances, ushering the invisible dark night. The aura of the pearls is the artist’s sensitivity in the darkness, the dreamy games that turns darkness into an individual, and a secret mystic gardens. Using the surrealistic symbols originated from the unique female perspective, Yu Jie gave birth to the poetic pearl-picker. The modern art is to unveil the lost and hidden pearls, returning the treasures to us from a deep place of history and memory.

作者：夏可君