自2005年以来，刘长春创作了一系列关于国际共产主义题材的油画作品。作者持严肃的态度，用绘画的形式对国际共产主义题材进行了表现，作品体现出深刻的反思精神。这完全不同于当代艺术中那些为了取悦西方意识形态而对国际共产主义进行肆意和肤浅的谩骂的艺术家。浅薄的谩骂掩盖不了共产主义作为一种信仰和意识形态在中国发生过的重大影响。
作为一种意识形态，共产主义影响和塑造了整个20世纪的中国。有研究者指出，对现代中国影响最大的文献是不到两万字的《共产党宣言》。它的影响甚至超过了任何一部中国传统的思想文献。共产主义理论在中国的实践，不能用市井酒徒撒泼放刁的伎俩来思考和表现。尽管刘长春的作品在形式上也具有漫画性质的“戏说”，但是，从内在的精神方面它决不同于那些为向西方意识形态献媚而“骂街”的作者及其作品。刘长春作品表现主题及其表现方法从本质说是严肃的。
刘长春的作品对国际共产主义题材的艺术表现超越了社会实践层面，带有强烈的历史感和书卷气。他的作品似乎让我们越过那些腥风血雨，去体会具有凭吊意味的历史感伤。毕竟，那些耳熟能详的故事陪伴着我们几代人成长起来。
刘长春作品中的人物都是在国际共产主义运动史上发生过重大影响的代表人物。他们曾经为社会的公平、正义，为造福全人类的理想进行了令人崇敬的奋斗。在资本主义的成长阶段，社会各阶层发生了根本性的变化。社会财富分配的极度反差，引起了像马克思这样具有强烈正义感的知识分子的关注。在书斋中进行理论探索的同时，马克思和恩格斯还组织和参与了大量的社会实践。在不到30岁的年龄，马克思和恩格斯在1848年发表了《共产党宣言》。其中，消灭私有制的理论主张，以及阶级斗争和暴力革命的学说，引起了资本家的恐慌。《共产党宣言》的感召力在于它反映了弱势群体的呼声。
有着红色家庭背景的刘长春对国际共产主义的理解完全不同于那些出身于被“无产阶级专政”的家庭的艺术家。他的出身和成长经历有别于后者，因而他对国际共产主义的理解是复杂的。所以，在刘长春的作品中，既可以看出他对国际共产主义的肯定，也可以见出他的批判和疑惑。在国际共产主义诞生后的近百年时间里，它一直是一种前卫思潮和运动，造反和反主流的反叛精神是其核心。甚至在1968年法国“五月风暴”运动中也可以清晰地见到共产主义思想的影响。在刘长春的内心深处，仍然生长着强烈的叛逆精神。这是他对国际共产主义大师们作出正面刻画的原因。
刘长春对国际共产主义大师们表示了足够的敬意。从社会道义的角度，刘长春秉持公平、正义的人道主义精神。因此，在作为艺术家的刘长春身上体现着一种“侠义”古风。侠义在于除暴安良和扶弱济贫，在于它所倡导的公平和正义。从此角度观察，刘长春与国际共产主义大师们有一种神会。所以，才会有借用达.芬奇（Leonardo da vinci 1452-1519）《最后的晚餐》的构图而创作的《团结起来到明天》这样的巨幅作品。对应犹大的位置是戈尔巴乔夫，反映出刘长春对国际共产主义发展史的情感取向。
创作这件作品花用了作者很长时间。作品的构思非常精细。马克思位于耶稣的位置上，背后是象征着马克思主义理论在实践中取得胜利的图像：1917年十月革命前夜，奉命开炮发出向冬宫进攻信号的阿芙乐尔号巡洋舰。这也是十月革命的象征物。十月革命宣告了马克思主义在生产力落后的农业国的胜利。
在这里，刘长春描绘了一幅被称作“社会主义大家庭”的国际共产主义阵营的画面，这也可以被视为国际共产主义的“英雄谱”。相信受过中小学以上教育的、出生在20世纪60年代以前的中国人应该能够清楚地叫出画面中每个人物的名字。在这个阵营中，马克思、列宁和毛泽东是三位博学的知识分子，但是，他们不是坐在书斋里钻研学问的知识分子，而是充当社会实践中披荆斩棘的政治冒险家的知识分子。与西方社会的民主政治体制不同，这三位政治家符合东方社会所易于接受的精英政治的体制要求。马克思、列宁和毛泽东被当作偶像而受到崇拜。刘长春的这幅“大家庭”或“英雄谱”也基本反映了这样一种人们心目中的精神架构。不过，刘长春把其中的个人崇拜成分进行了亦庄亦谐的处理。这种处理方式恰到好处地展现出作者的批判精神。
刘长春在这幅作品中没有沿用达•芬奇的文学叙事性，因而每个人物之间的关系是平列的。因此，该画具有形式构成因素，这使得作品更富有历史感。由此可见刘长春的匠心。
《解剖课》源自于伦勃朗(Rembrandt 1606-1669)的成名作《杜普教授的解剖课》。一如对《最后的晚餐》的挪用，刘长春让国际共产主义运动的经典人物又围拢在马克思博士的周围，有的聚精会神，有的谈笑风生，有的甚至露出略嫌轻浮的嘻笑。而美国的自由女神像成了被解剖的对象。这幅画寓意颇为深刻。尽管从世界历史的角度看，马克思主义以及由此而孕育的国际共产主义运动已经归于终结。但是，这并不能说明资本主义的完美。所以，对“自由女神像”的“解剖”仍然具有深远的意义。刘长春就对立的两种意识形态进行了双向的嘲讽。这里延续了《团结起来到明天》的亦庄亦谐风格，这种风格由刘长春的侠义精神与幽默感混合而成，具有鲜明的个人特色。
作品《东方新天地》的题目借用了北京一个规模庞大的商业建筑物的名称。国际共产主义大师们沿着广告牌林立的商业街道“胜似闲庭信步”。通过时空置换的假设，将这些共产主义领袖们放在了这样一个象征着资本主义市场经济的情景之中。当然，这仅仅是一个假设。共产主义理论建立在对资本主义经济结构的批判之上，而这些共产主义者们漫步在这条充满了商业气息的大道上时所思所想又会是些什么呢？我们无从得知。我们每个人或许可以通过推论找到自己的答案。在这幅作品面前，很容易让人想起《共产党宣言》对资产阶级的指控：“它使人和人之间除了赤裸裸的利害关系，除了冷酷无情的‘现金交易’，就再也没有任何别的联系了。”“资产阶级抹去了一切向来受人尊崇和令人敬畏的职业的神圣光环。它把医生、律师、教士、诗人和学者变成了它出钱招雇的雇佣劳动者。”所以，这些共产主义大师们走在这样的道路上的心情肯定是复杂的。其实，面对这样的情景，我们的心情又何尝不复杂？
刘长春其他的作品如《新的长城》、《星期六义务劳动》等等，像以上两件作品一样，都反映了对国际共产主义的思考。对资本主义、帝国主义进行了嘲讽，但是，又不是完全的否定。毕竟，作者也像大众一样享受着由物质的丰富所带来的便利甚至快乐。然而，这个世界毕竟又不是一个完美的世界。“我们已经看到，至今的一切社会都是建立在压迫阶级和被压迫阶级的对立之上的。”（《共产党宣言》）所以，富有理想主义精神的共产主义思想不能说完全没有了用武之地。人类社会在实现真正的公平与正义之前，暴力革命仍然存在可能性。因此，我们重新审视国际共产主义运动或许仍能找到不少真理。
《共产党宣言》强调，共产党人的目的“只有用暴力推翻全部现存的社会制度才能达到。”但是，这里没有告诉我们，在下面这种情况成为现实后怎么办：“过去一切阶级在争得统治之后，总是使整个社会服从于它们发财致富的条件，企图以此来巩固它们已经获得的生活地位。”（《共产党宣言》）我们要继续革命吗？
刘长春的作品是一曲国际共产主义的挽歌。在这首挽歌中包含着一些困惑，也有缕缕的感伤。刘长春的作品是一篇国际共产主义的寓言，其中昭示着警告。
郭晓川 中国艺术研究院 博士 美术批评家
Red Allegory
Guo Xiaochuan
Since 2005, Liu Changchun has created s series of oil paintings about communism. With a serious attitude, the painter expresses the theme of communism using the method of painting and his works show a deep spirit of self-examination. This is completely different from those artists who wantonly hurl invectives to international communism just in order to please Western ideologies. Those shallow abuses cannot hide the fact that communism, as a kind of belief and ideology, has much influence in China.
As an ideology, communism has influenced and shaped the whole China of 20th Century. Some researcher has pointed out that the most influential document for China is The Communist Manifesto, which is no more than 20, 000 words. Its influence has even surpassed any traditional Chinese ideological documents. The practice of communist theory in China cannot be considered and expressed with mischievous tricks by hooligans. Although Liu Changchun’s works also have jocosity that resembles comics, judged by the inner spirit, it is completely different from the works of those artists who fawn on western ideologies. The theme and the ways of expression of Liu Changchun’s works are serious in essence.
In Liu Changchun’s works, the artistic expression of communism-related themes has surpassed the layer of social practice; it possesses a strong sense of history and knowledge. His works make us see through the reign of terror and taste the sentimental feeling of condolence. After all, those familiar stories have accompanied the growth of several generations.
The figures in Liu Changchun’s works are very influential representatives during the history of communist movement. They devoted great effort for the fairness and justice of the society and the ideal of human being. During the growing phase of capitalism, all social classes have undergone thorough changes. The extreme contrast of the allocation of social wealth drew the attention of intellectuals with strong sense of justice, for example, Marx. Apart from the discussion on theories, Marx and Engles also organized and participated in many social practices. At the age of no more than 30, they declared The Communist Manifesto in 1848. The assertion of abandoning private ownership, the theories of class struggle and violent revolution caused panic of capitalists. The strength of The Communist Manifesto lies in its reflection of the voice of the weak group.
Liu Changchun, who is raised in a communist family, has different understanding of international communism from those who were born in the families of the dictatorship of the proletariat. His personal backgrounds and growth experience are different from the latter; therefore his understanding of international communism is complicated. In Liu Changchun’s works, we can see his approval of international communism, as well as his criticism and doubt. During the nearly one century period after the birth of international communism, it has always been an avant-garde trend of thought and movement, whose core was the spirit of rebellion and anti-mainstream. Even in the French May Storm in 1968, the influence of international communism could be seen clearly. Deep inside Liu Changchun’s heart, the rebellious spirit always exists there. This is the reason why he depicts the international communist masters positively.
Liu Changchun has shown enough respect to those international communist masters. From the angle of social morality, Liu Changchun holds a humanist spirit of fairness and justice. Therefore, as an artist, Liu Changchun shows a simple and primitive manner of errantry. Errantry lies in getting rid of lawless elements, protecting the good, assisting the weak and poor, and the fairness and justice it asserts. Judged by this angle, Liu Changchun has a tacit understanding with those international communist masters.
That’s why he borrowed the composition of Leonardo Da Vinci’s composition in Last Supper to create a giant work of Unite until Tomorrow. The position of Judas is replaced by Gorbachov, which reflects Liu Changchun’s emotional orientation towards the development history of international communism.
Creating this work has taken the painter a long time. The design of this work is very delicate. Marx is at the position of Jesus, behind whose back is the image symbolizing the victories of Marxism in practice: the Aphrora Cruiser that gave the signal of attack on the Winter Palace at the eve of the October Revolution in 1917. This is also the symbol of the October Revolution. The October Revolution announced the victory of Marxism in an agricultural country with inferior productivity.
Here, Liu Changchun has depicted a picture of international communist camp that is called “Socialist Family”. This also can be seen as the “Picture of Heroes” for international communism. It is believed that Chinese people who were born before 1960s and have taken elementary or middle school education should be able to speak out the names of every figure in this picture. In this camp, Marx, Lenin and Mao Zedong were three well-read intellectuals, but they were not intellectuals who acquired knowledge in libraries, but political adventurers who hacked their way through social practices. Different from the democratic political system of Western societies, these three politicians complied with the requests of elite political system that is more easily accepted by Eastern societies. Marx, Lenin and Mao Zedong are worshiped like idols. Liu Changchun’s Socialist Family or Picture of Heroes has basically reflected a sort of spiritual structure in people’s hearts. Nevertheless, Liu Changchun has processed the personal worship in a both solemn and humorous way.
Liu Changchun’s work did not adopt the literary narration of Da Vinci; therefore the relationships of his figures are parallel. In this way, this painting possesses a form constitution element, which makes the work more historic. We can see Liu Changchun’s ingenuity from this point.
Anatomy Class is originated from Rembrandt’s famous work The Anatomy Lecture of Dr. Nicolaes Tulp. Just as the embezzlement of Last Supper, Liu Changchun made classical figures of international communist movement crowd around Marx; some are listening intensively, some are talking cheerfully and some are even showing frivolous smirks. The Statue of Liberty of the U.S. has become the object for anatomy. This painting has a relatively deep implied meaning. Although from a world history angle, Marxism and Communist movements that were bred from it have ended. However, this cannot prove the perfectness of capitalism. Therefore, the “anatomy” of the Statue of Liberty still has profound and lasting meaning. Liu Changchun taunted the two opposing ideologies. This painting still holds the solemn and humorous style of Unite until Tomorrow. This style is constituted by Liu Changchun’s spirit of errantry and sense of humor and it has distinct personal characters.
The work “New Oriental Plaza” borrows the name of a large-scale commercial building in Beijing. International communist masters are walking along the commercial street full of advertisements. Through the replacement of time and space, he put these communist leaders in a scene symbolizing market economy of capitalism. Of course, this is only an assumption. The communist theory is based on the criticism of the structure of capitalist economy, but what are these communists thinking when they walk along the street full of commercial atmosphere? We have no idea. Maybe we can find our own answers through deduction. In front of this work, it can easily remind us of The Communist Manifesto’s charge against bourgeoisie: “Apart from the naked relationship based on interest and the cruel ‘cash trade’, it has made no other relationships among human beings.” “Bourgeoisie has erased any saint glory of respectful professions. It changes doctors, lawyers, priests, poets and scholars into labors that it pays money to employ.” Therefore, these communist masters are sure to have a complicated feeling when they walk along a street like this. In fact, faced a situation like this, our feelings are also complicated.
Liu Changchun’s other works like New Great Wall and Saturday Voluntary Labor, etc, all reflect his contemplation of international communism. They mock on capitalism and imperialism, but they are not totally negation. After all, the painter also enjoys the convenience even happiness brought by and abundance of materials just as everybody else does. Nevertheless, this world is not a perfect world after all. “We have seen that up until now, all societies are established on the opposition of the oppressing class and the oppressed class.” (The Communist Manifesto) Therefore, there is still a chance for the communism that has an ideal spirit to display its ability. Before the true realization of fairness and justice of human society, violent revolution still has its possibilities. Therefore, we may still find some truth if we re-examine the international communist movements.
The Communist Manifesto emphasizes that the purpose of communists “can only be achieved by the violent overturn of all existing social systems”. But it doesn’t tell us what we should do after this situation turns into reality: “after all classes get the power to rule, they always make the whole society obey their rules to attain wealth so that it can consolidate their living position.” (The Communist Manifesto) Should we continue our revolution?
Liu Changchun’s work is an elegy of communism. In this elegy includes some puzzlement, as well as some sorrow. Liu Changchun’s work is an allegory which also declares a warning.
【编辑：霍春常】
