尽管从地域性出发并不是唯一考察艺术实践及其可能的角度，但由于东北尚未形成多元的艺术赞助模式以刺激创作的多元化，艺术创作的导向是官方及学院以制度化的方式强行推动的——尤其是作为传统绘画形式延伸的水墨画。因此在整体性的地域意识及文化的形态下，一种相关的地域艺术特征的分析便成为可能：很长时间里东北水墨画创作一直处于整体性的单调、沉闷中，以此作对照，近时段的东北艺术家们以何种水墨表现应对外部环境和自身背景，其实践本身带来何种实质性因素介入当代文化情境，就都显得清晰了。
对于东北，有关地域文化模式的分析都尝试指出，某种制度性依赖对于其生存气质的影响，简单的形容就是人与人、与社会的关系安于现实制度的硬性结构，性格体现为滞重，保守以及求全意识。可以说，这是来自地区政治、经济的特殊性的要求渗透到文化意识层面的结果，这种来自外部的现实因素的确起到了塑造集体性格的作用：似乎所有的北方气质中都具有过度节制的厚密，体现为黏稠的、隐忍的自我抑制以及随之而来的存在性的不安;同时另一面，作为它的反动，则是冲决一切的个人主义。而这二者的结合，构成了东北当代水墨叙事的基本结构。
2002年，居住在沈阳的诗人苗强(1964-2004)，写下这样的诗句：
“这两年是我的中世纪 这种阴霾
是不幸的 同时也让我感到隐匿者的
幸福 如同苦修士生活在自己的坟墓里”
(《沉重的睡眠》六五)
苗强因病在近两年时间里丧失部分行动和语言能力，他的大部分诗行记录了失语状态下的模糊回忆，展现了个人主体性的脆弱和世界实体性的无名之间的冲突。“中世纪的阴霾”象征着世界实体恶性的虚无，被克制的主体于其中是无名、隐匿的，然而他企图在实体的空无中刻写自身主体的意义与幸福。其中可以看到，一个孤独的个体是如何通过隔绝的方式与现实及文化对话，去了解、认识自身与世界的。苗强的诗歌所体现的问题，不仅是一个患病诗人的直感，更是一个关于东北生存气质在艺术表现上的隐喻，即：隐匿者的自由。
虽然水墨绘画在今天仍然纠缠在传统形式与文脉的关联上，但对于东北地区来说，这也许并非十分真切的艺术问题，几个时段以来水墨形制的变化对东北的作用力是微妙的。事实上东北水墨绘画实践缺乏实质性的理论话语和艺术赞助的关注，未能形成有效的、公允的认识，从而生成了极为简单概念①。因此东北艺术家如何通过水墨自由表达以及如何使之合法化，就不仅仅是自身的问题，更是外部艺术环境接纳与否并以何种态度进行干涉的问题。究其实质，东北实际的艺术语境是某种文化硬结，所给与的出口过于狭窄或者缺乏可能性，艺术的自由表达很难获得良性的支持。作为应激意识，东北艺术家在水墨的艺术取向上，就转向一种从个体出发的真理指认角度，强调自我存在的绝对气质，期以达到艺术表达上的绝对，来对抗或间离外部压倒性的艺术环境。柔和的说，则是作为敏于感受的艺术家个体，自由表达的向往被阻碍，不得不退守到可以自我掌控的个人世界进行有限的艺术改造——既然外部环境是困难的，那么便在困难中激发求克服的主体能量，在自身内部完成关于自由的可能。在这个意义上，东北水墨绘画关于自由的表达实践一直是孤独且匿名的，这使得东北新世代的艺术家像是“苦修士”般隐匿在自己的艺术世界中。
陈苏平是较早把一种自由气质带入东北水墨绘画实践里的——在东北，他是个孤绝的特例。他把简单和直接的语言及表达作为审美目的，从个人生命力的意识出发突破概念性笔墨，以求得一种笔墨的解放。多年以来，从《花盆村》到《北方史诗》再到《知鱼》，在他貌似寥落荒率的画面里面，有草根般的旺健与自在气息，而几个时段流行的各种水墨主义，都并未影响到他自我与水墨语言之间对话的注意力。他是一个专注自身置于生活的艺术家，不论现实的变化还是相关文化情境的变化，都在他那里被调和、消移并转化，成为生活与自身可见的血肉注入笔墨间，这些笔墨表达了个人化的鲜活，通达，平凡与奇异，以及诸种情绪伸延的变体。通过陈苏平的水墨实践，除了守成与革命，或可看到水墨绘画进而中国画沿革的第三条路向，即从生活出发的、具体的、健康的个人主义艺术态度。
应该说，李彦伯的水墨绘画是切入当代情境的有针对性的工作。与他柔和空静的画面效果相异，李彦伯经常制造出一些心惊的刺点，它们把具体的社会的或文化的问题和复杂的情绪微妙地糅杂在一起，其中社会的、人以及绘画本身的灰色问题均被触碰并提出，知识分子或者当代人的普遍境遇被巧妙的揭示出来。在语言上他悬置了符号化的水墨范式，代之以压抑书写性的平涂和匀差灰色系的中和性语言系统;另一方面，这种语言系统和人的内在情感构成了奇妙而直接的关联性，这意味着他获得了水墨切入现实的更大表意空间。而一种水墨当代叙事的框架的建立便得以可能：基于艺术家对现实清晰的视力和艺术问题意识，水墨表现可以自内而外地介入当下情境并加以反映及处理。但由于李彦伯颇为疏离的个性，使他在作为一个机智的视觉思辨者的同时，又使他的水墨画具有了幻无味道的优美。
疏离特性作为东北艺术家的心智共同点，在女性艺术家身上体现尤为明显。这种疏离感令她们远离中国画形格而另辟蹊径。作为女性，她们总是会在生活与自身的交际中发现某种无法填平的间隙——现实的蒙骗感、伤痛感与试图镇静同时降临在个体身上，就会产生这种世界间隙。女性艺术家张萍，以一种柔和的女性视角投向世界，把经历化作清丽温存的感触，是事过境迁之后的晴朗与明净;相反，在李佳那些冷峻得一目了然的画面上，则是存在性的焦虑形成接受的惯力，把欢乐的企图压制、吞噬，连带着毫无愉悦气味的扁平笔墨，去展现荒芜世界的伤害本质。个人经验内在地、明确地转化为语言警觉，并将疏离经验成功地渗透到语言的肌质之中，这是张萍与李佳绘画的独到。对于阎盈汐、孙源来说，她们是在努力地建设一种画面的乌托邦，以直接的、欲望的投射赋予使用语言的强度及耐久性，把画面和世界之间的通道封闭起来，试图给与画面迥异于世界的干净、协调以及完美的可能。
这是一种执拗的信念，对语言以及表达的信赖导致了避世于画面的渴望，并取代了对现实的关注：在她们的绘画里，她们通过画面上每一元素进行或然虚拟化的生存。她们作品的美丽非关语言与观念的纠结，而来自幻想与实践幻想的能力，情感与画面元素结合的紧密性。
王煜强调一种生存勇气的醉感冲决，而任海丁希图处理矛盾的意识源头，达到勇气与知性的结合。在王煜的几乎血色淋漓的画面中，水墨被当作痛觉神经的末梢使用着，以相应的自我扩张应对世界的无穷大，以疼痛的倔犟来提示自我存在的完整，用来医治伤感带来的无力症。存在的硬结与麻木是首先要被克服的，因此任海丁通过那些尴尬的情色人格描述，见证个人与世界交往中的荒谬伤痕，见证欲望与在场的不实，进而观察其他更具坚实方式的真实性是否可能幸存。于是水墨的异样呈现甚至自反，就是真实性道路上的一个标尺：陌生化，失落的边缘，神经症状以及无所依傍，则是此道路上的必然遭遇。在任海丁和王煜的非常态的画面情境中，世界与自我同时展现出它们坚硬的一面——如果说现实所带来的存在性的不安，隐忍至于无法派遣，那么一种痛感哲学便会在抗争与忍耐之间壮大。
“隐匿者的幸福”的另一个例是长期处于“蜷伏”状态的刘红果，他是自己生活的猜谜者。在超越了不堪现实的诘问和解答之后，他的绘画充满了失落谜底的遗憾，来自时空漫游的迷惘，虚无之声落实在有形的画面上：他以自我遣放的方式寻找自由，定义一种在孤独中幸福的实现方式。与此相反，杨大治全面地迎接生活，无厘头的黑色幽默取代了感伤与愤怒，鲜艳的乃至粉饰的表象在他绘画中变本加厉地增殖，并抛还给问题本身。伤害与冷酷本身就是孪生，对世界的态度有多角度可供解决，杨大治的水墨绘画以自我乔装的方式介入“童”话世界——作为与现实一样虚伪的构造，他开始双重的揭发。重要的不是样式，而是如何使水墨更紧密地介入自己的生活，介入周遭的生活。于是，不管是自在态度，辩证批判，伤害史与仙境建设，冲决与见证，自我遣放或乔装揭发，水墨绘画必然要经遇如许复杂的当代情境，走入个人与公共视域相融合的集体心灵史。
可以看到，在当代语境中，水墨方法论的转化具有很大的困难，道统与旁支，中西之辩，民粹主义的立场使水墨画封闭于传统形式及其内核的圈地运动中，唯名论的水墨画已然丧失了实践本身的实质性因素。这提示了水墨画的概念胀满，而继续从概念角度(无论守成还是革新)填充内容不会提供任何实践意义。与之相对照，以个体生存直感的直接生成绘画，走向绘画行为的存在性理解，这是这些东北艺术家在水墨表现实践上的特别之处。
同时，这样一种态度正是向世界开放的绘画态度：孤独沉浸的隔绝看似无法和当下现实作有效的互动，而实际上，切实于具体的个人化生存，当代性或必将通过隔绝或非隔绝的主体性产生，通过不断的自我叙事产生。时至今日，艺术家要处理的，是更为细微且复杂的生活及其认知，艺术是一个到达它通道，不同的艺术表现代表了不同的认知的可能及道路，无论是艺术家个人或者是观者的主体性，都将在彼此互为歧路的碰撞中找到自己生存的价值与意义。在东北气质中，那些莫可开解的存在焦虑和冲决一切的勇气并存，本身就是去诚恳生存的反应;惟有去诚恳生存，才会拥有一种值得注意的生活;而注意生活——从个人直到公共领域的生活，或者才是艺术最基本的目的。
在这个基础上，东北当代水墨叙事落实到实际层面，是绘画形式处理的能动性交给艺术家个人，交给进行局部认识的行为主体;这些在绘画行为中的局部认识具有模糊的碎片的特征，却缓解了对水墨画整体概念判断的焦虑;最重要的是，使认识与方法的局部建设具备了切实的可能性。这意味着偏离相关范式和风格的预设，强化个人主体性与之作试探性的对话，于其间触碰绘画行为的动因及其与水墨画形式的交互影响。其中，近似绘画的现象学方式，艺术家主体作为检验与反省的材料，通过绘画行为与自我的双重审视，通过反射与应激，激起的是某种原在的主体能量，而这种能量可以视为生活及绘画更加本然的原动力与推进力。
天平.2009.1
注释：①
在东北，功利态度的社会主义现实主义一直是官方艺术话语的激励模型，这干扰了观察东北水墨绘画实践的角度。85新潮以后，东北地区的水墨艺术现象并不活跃，其原因不仅是实践中的问题，也是观察角度过于单一的缘故。因此理论话语和艺术赞助在艺术实践实质层面上的关注，以及何种角度、方法的关注，才是对其进行准确认识的重要的因素。
Hiding.Openning
----Notheast Contemporary Ink and Wash Narrative
Translator:Renee
Despite starting from the regional study is not the only artistic practice and the possible point of view.It has not yet been formed the multi-sponsor art model to stimulate the creation of diversity in Northeast China. The art creative direction forced oriented by official and college , especially as a traditional forms--chinese ink and wash is the extension. Therefore, in a holistic sense of the geographical and cultural form, a kind of art related to the geographical characteristics of the analysis will become possible: in a very long time Northesat Chinese ink and wash creation has becomed overall, monotonous and boring. Comparison with this, the last time Northeast artists to show what kind of Chinese ink and wash to deal with the external environment and their own background, the practice itself, what substantive factors involved in the contemporary cultural context, it seems clear.
For the Northeast, the geographical analysis of cultural patterns are trying to point out that a system dependent for its survival and the effects of temperament. It described simplely that relationship is between people and people, people and society, which sourced from the rigid structure of the system, reflected in the character of dignified, conservative, as well as the overall situation awareness. It can be said this is from the region political and economic requirements, that specify of cultural awareness to the level of infiltration.The results from outside reality factor has played a role in shaping the collective character: it seems that all of the temperament of the north have over - thick restrained, reflected in a viscosity, bear patiently, self-inhibition ,as well as the existence of disturbed; while the other side, as it is reactionary, it is all burst individualism. This combination of two constitutes form from the North-east contemporary narrative and the basic structure of Chinese ink and wash.
in 2002, living in Shenyang Miao Qiang poet (1964-2004),
wrote this poem: "This is my two-year haze of the Middle Ages
Unfortunately, same time I feel the hermit’happiness
like suffering friar living
in his grave "
(" a heavy sleeping5)
Miao Qiang illness in the past two years ,loss some of the actions and language ability, most of his lines were recorded under a state of aphasia fuzzy memories, demonstrated the fragility of individual subjectivity and the world of unknown entity conflict. "The haze of the Middle Ages," a symbol of the vicious world of nothingness entities was the subject of restraint which is unknown in hiding, but his attempt to empty the entity in writing their own meaning and well-being of the subject. One can see that a lone individual is the way how isolated from reality and cultural dialogue, to understand, recognize their own and the world. Miao Qiang’s poetry embodied in the question, is not only a direct sense of the poet's illness, but also a temperament to survive on the north-east in the metaphor of artistic expression, namely: the freedom of hermit.
Although the ink painting are still entangled in the traditional form and the associated context, but for the northeast region, this may not be very real problem of art, several time changes in shape since the ink in the Northeast is a subtle force. In fact,the Notheast ink painting artsts lack of substantive theoretical discourse and artistic sponsorship concerns not to form an effective, fair, thereby generating a very simple concept ①. Therefore northeast artists how to use the ink to express freely and make it legalize.It is not just artists’own problems, it is accepted or not the external environment and the arts in what manner the issue of interference. If we try to identify the essence of the art of the actual context of the Northeast is a kind of cultural induration, the export is too narrow given the absence or the possibility of the free expression of art .It is difficult to obtain positive support. As stress awareness,artists in the north-east orientation on the art of ink on to a departure from the individual to identify the perspective of truth and stressed absolute self-existence of qualities, a view of artistic expression in order to achieve absolute, to resist or indirectly from an overwhelming external.
In the Art of the environment,mildly speaking the individual artists yearning for free expression ,after having been impeded they retreated into self-control of the personal world ,to alteration their limited art .Since the external environment is difficult, then it order to overcome the main body of excitation energy, in their own house make the freedom come true. In this sense, the Northeast ink drawing on the practice of freedom expression has always been a lonely and anonymous, which makes the new generation of artists in Northeast like "Bitter hermit " as the art of hiding in their own world.
Chen Suping is one of the first arts which put the free spirit into the northeast ink painting practice - in the northeast,he is uniqe to make the simple direct language and expression as an aesthetic purpose.From a sense of personal vitality consciousness,he breakthrough the conceptional ink paiting which make a line release.Over the years, from works "flowerpot village", "Northern epic" to" knowing fish", you can find grass-like and comfortable breath in the sparse and desolate tableau.Several sessions of a variety of popular ink which not affect himself and the dialogue between ink. He is a dedicated artist's living in his own life. Regardless of the changes of the reality or the relevant cultural context, it was reconciled and eliminated ,then it transform into the ink line, that express individual of fresh, accessible, ordinary and exotic, as well as many variant of the emotion extension. Through Chen's ink paiting practice,in addition to built with the revolution, or ink starting from the living, concrete, and healthy attitude towards individualism art.
It is obviously that you can find characteristic isolation in female's works.It is the common phenomena on northeast artists' mind.This made their feeling alienated from the Chinese painting form ,then they open a new path-shape.For a woman,they always find the gap can be not filled in their life and communication,that is a sense of reality which mixed beguilement, grief,calmness come in the individual.Zhang Ping use a soft anqle of view to the world, she made her experience into tenderness and beautiful feeling,that is bright and clear after her experience.Against Zhang's works, there is an anxiety feeling existence in Li Jia's works.You can find joy of attempting was suppressed,swallowed.She used peaceful and flat line to express injury world.From her personal experience, Li translate alienated actions into a clear language, she successfully penetrated into a muscle quality language .That is Zhang and Li's original ways. Also it same as other female artists Yan Yingxi,Sun Yuan, they all strive to build a picture of utopia.They use an painting language to close the channel between picture and world.They try to make a clean, perfect, harmony drawing be possible which different from the world.
With the painting language and trust to the expression , they have such stubborn belif ,then they aviod the reality.You can find the elements which they live in the virtual life.The works are so beautiful that not a tangle of language and the concept ,which come fome their fantasies and practice ability, close combination feeling and elements.
Wang Yu accentuate a sense of burst drunk feeling living in a courage, Ren Haiding from the source of contradiction to make the courage and intellectual together.In Wang Yu's bloody painting , ink and wash likes peripheral nerve which respond the self-expansion to the world.With a painful stubbornness feeling he show himself the existence, face to the sad disability.Since we must conquer the ankylosis and numb ，Ren Haiding using the embarrassing sexal personality painting , to be the witness between individual and the world's intercourse, also witnessed the desire and the presence fake.It is a solid way to observe the possible surviving.The ink and wash was strange and even a reflexive, that is, a mark on the authentic road: strange, lost edge, neurological symptoms, and nothing to depend, it is inevitable in the road.In Ren Haiding and Wang Yu's works,which show us themselves and the world is so rigid .If we say the reality of life bring anxiety of existence ,then the philosophy will be a pain In the struggle between the strength and patience.
Another example Liu Hongguo is "The well-being of hermit", he crouched in a long-term state, he is a guessing man who live in his own life. Liu's work is full of lost answer to enigma after beyond the situation of asking and anwsering to the reality.There always a loss wandering in time and space, a sound of nothingness on the tangible form.Liu released himself seeking the freedom. He definited a way to achieve happiness in loneliness.On the other hand, Yang Dazhi face the life roundly, with the unreasonable black humor instead of sadness and wrath, there are lots of bright color and cosmetic appearance in his painting. Injury and cold is a twin, and we have many attitudes face the world to solve problems.Yang's ink and wash, posing as a self-disguise way into the "child" world - we can find a hypocritical structure to reality.He expose doublely. The style is not the important thing , but how to make the ink and wash more closely in their own lives and around them. Whatever there is comfortable attitude, dialectical criticism, injury history and fairy-building, burst with the witness, self-repatriated or disguise, Chinese ink and wash must bound to complex contemporary context, come into the individual and the public spiritual history.
We can see a great difficult in the translation of ink and wash , in contemporary methodology .From position of orthodoxy and ramus, debating between Western and Eastern ,nation-puritism, the ink and wash obturated in the traditional form and enclosure movement.It lose its core factor in practice.And it still stand in the traditional form of the enclosure movement of core.This prompted the concept of the ink and wash filled in that paintings.It continued from conceptional point of view (tradition or reformation) to fill the content. As the contrast,a sense of individual surviving in the painting, also it become an act of existent understanding, which is a special practice for Notheast artits.
Meanwhile, we can find it is an open attitude to the world: a lonelyness seems don't interact present reality, that is completely isolated.In fact, through the effective individual living way,the painting's comtemporary nature comes from isolation and non-isolation of mian body.It comes from the unceasing self narrative.To nowadays,things artsts must dealing with are imperceptible and complex lives and understanding to them.The art is a channel to the things.Different artistic expressions represented different meanings and roads.Whatever the artists themselves or the main body of the audience,they all want to find the living meaning and value in the works.There is anxiety and courage in the northeast temperament, which is a response to the life.To live sincerely you could own a worth life.Pay attention to life which individual to public, it is the basic purpose of art.
The northeast contemporary artists carry out their ink and wash narrative.It is a initiative way for themselves to cognize locally.We can find debris feature in the fuzzy paintings.The feature reduce people's anxiety which in overall concept.And the most important thing is that make the cognition and methods of local building be possibile.This means that departured the relevant model and styles as their want.And it also strengthened the individual character.They trying to talk with it. In which acts of touching paiting with ink and wash cause effect.In phenomenological way of drawing,the artists as the main material of test and introspectiveness.Through the acts of painting and for artists themselves' scanning, we can find a reflect and stress in the painting.There will be an original energy in the main body of pictures, and the energy can be used as motivity and propulsion for the life and paintings.
Tian Ping, January 1st
Notes:
①In Northeast, utility attitude of the socialist realism is the official art discourse.It has interfereed with observation of the practise anqle in the northeast ink and wash. After 85 New Wave, there is not so lively in the northeast ink and wash painting.The reason for that is the consern of theoretical discourse and artistic sponsorship in artistic practise. And we judge from which way and which point of view to corncern the ink and wash painting, that is the important factor to understand.
【编辑：张瑜】
