文/鄧平祥
在十八世紀(jì)法國(guó)的偉大啟蒙主義運(yùn)動(dòng)之后，法國(guó)畫壇產(chǎn)生了一批具有新的審美思想的風(fēng)景畫作品，其中科羅和盧梭的作品最為耀眼。藝術(shù)史在評(píng)論二位大師時(shí)，將科羅的作品定義為“詩意的風(fēng)景”，將盧梭的作品定義為“史詩的風(fēng)景”。
在美學(xué)品格上，徐曉燕的沒畫風(fēng)景就具有有盧梭的意味，顯現(xiàn)出了可辨的史詩性品格。由于這種可貴的史詩性，徐曉燕的油畫在當(dāng)代油畫風(fēng)景體裁的作品就獨(dú)樹一幟，顯示出了很大的精神張力和藝術(shù)感染力。
風(fēng)景畫何以有史詩性？——詩史作為一個(gè)文學(xué)概念，是文學(xué)的一種形式或方法。系指文學(xué)中（詩歌）那些結(jié)構(gòu)宏在，反映有重大意義的歷史事件、傳說、人物的長(zhǎng)篇敘事詩。而史詩性則是對(duì)具有意義的其他文藝作品的美學(xué)評(píng)價(jià)。
在人類精神文化史上，史詩性作品豐富的內(nèi)容、深遠(yuǎn)的意蘊(yùn)、悲壯地精神，畫家在風(fēng)景作品中表達(dá)的并不是一般風(fēng)景的自然母題，而是以風(fēng)景為載體，來表達(dá)人在歷史性活動(dòng)中精神和情感，是人的精神和情感在對(duì)應(yīng)物上下的象征和隱寓。
徐曉燕的《秋季風(fēng)景系列》、《原》、《野》，以及《樂土系列》等作品，作為她的風(fēng)景主題的代表性作品，都不是表達(dá)一般美學(xué)意義（例如自然美學(xué)等）的風(fēng)景畫。人們?cè)谒淖髌分兄饕惺懿皇且话阕匀伙L(fēng)光的怡然感覺，而是一各精神的震憾、一種情感的升華，甚至是一種痛感，徐曉燕作品這中審感受和精神沖擊，使人感到畫家在抗拒流俗，贊美它，并給予它以意義，因此，面對(duì)一個(gè)“價(jià)值失衡”“情感沙化”以及人的精神平面化的世象，人們?cè)谛鞎匝嗟乃囆g(shù)中感覺到了一種久違了的崇高走向，一種久違了的壯美。在徐曉燕的作品人們可以讀出歷史，讀出信念，讀出苦難、讀出堅(jiān)毅。
徐曉燕作品中的美學(xué)意義和精神力量，使人意識(shí)到精神的慰藉，精神的寄寓，精神的幸福和精神的追求，仍然是 勻所生存的世界中一種更為崇高的價(jià)值。
在徐曉燕的作品中并置著兩大母題，即歷史母題和處然母題。
對(duì)于歷史母題的表達(dá)，徐曉燕是通過形象的崇高和深沉來象征的。我們的現(xiàn)實(shí)世界是一有關(guān)深度的價(jià)值就被不斷貶低，而有關(guān)平面價(jià)值不斷被抬高的世界。所謂深度的價(jià)值，它的內(nèi)含是，歷史、精神、信念、理想等， 以及它相關(guān)的慨念。“找不到北”是時(shí)下很流行的口頭禪，它反映了當(dāng)代人普遍的精神盲然，為什么出現(xiàn)這種狀況？ 這是因?yàn)槿藗兊臑榫褡鶚?biāo)中失去了一個(gè)縱坐標(biāo)，而縱坐標(biāo)是與人的深度價(jià)值相關(guān)聯(lián)的，這樣人的行為就失去了精神的引導(dǎo)和激勱，而只有欲望成為人們的導(dǎo)盲犬。
通過作品，我們可以感油印到徐曉燕的精神中有一咱深度的歷史情緒和歷史感悟的形式投向，因此從這個(gè)意義上說，徐曉燕是一個(gè)很有自覺歷史承擔(dān)的人。
徐曉燕的自然母題，是她的藝術(shù)的感生表達(dá)的前提，這也是一個(gè)象征的母題，它的內(nèi)涵是：記憶、母土、親情等。徐曉燕通過象征自然母題的最典型的感性符號(hào)：秋天、收獲后的玉米地，秸稈、土地，來實(shí)現(xiàn)她的藝術(shù)表達(dá)，但她的表達(dá)成功地使上述感性材料都具有形象意義和價(jià)值，這樣玉米地、秸稈不再尋常的感覺對(duì)應(yīng)物，而是畫家精神的象征物，它們成為了人、成為歷史、成為詩。
眾學(xué)術(shù)上說，徐曉燕好簡(jiǎn)單地歸入一般地女性藝術(shù)之列。然而在她的作品中“自然母題”以及相關(guān)的“大地”，“原野”的內(nèi)涵中，我深刻地感覺到了一種“母性”和“生命”的主題，它表達(dá)得如此地充盈、如此地深沉，使我意識(shí)到這一定是女性表達(dá)另一方式的投射，它不是流行的“小女人”式的，徐曉燕采取的是與男性平等對(duì)話，相視而立的方式。她的女性慨念首是博大和堅(jiān)忍，否則她們何以承擔(dān)女性生命的自然使命和社會(huì)使命。在這個(gè)時(shí)候你就會(huì)發(fā)現(xiàn)徐曉燕體現(xiàn)繪畫中“女丈夫”氣概。從表達(dá)方式的角度說，徐曉燕的藝術(shù)是可以歸類于表現(xiàn)主義的。但好決非表現(xiàn)主義的樣式化。將她的世隨機(jī)應(yīng)變放在當(dāng)代油畫藝術(shù)的背景上比較，就可以清夢(mèng)地意識(shí)到，徐曉燕的油畫的本土化特征和個(gè)人性特征。 從主題表達(dá)到語言方式，徐曉燕的油畫都實(shí)現(xiàn)了超越和轉(zhuǎn)換，從而有了獨(dú)特的個(gè)人價(jià)值。
還需強(qiáng)調(diào)的是，在徐曉燕的語言表達(dá)中，紅和黑的基調(diào)，以及紅和黑的豐富組合和變奏（通過沉郁、堅(jiān)實(shí)的筆法），不但成就了她的藝術(shù)主題，也實(shí)現(xiàn)了她的史詩性。
AN EPIC OF LANDSCAPES----ON THE EPIC QU ALITY OF XU XAIOYAN，S OIL PAINTINGS
In the wake of the Enlightenment in France in the 18￠ury, there appeared a number of landscape paintings distinguished by their original, fresh aesthetics, the most outstanding of which were the works of John-Baptiste-Camille Corot(1796-1875)and Theodore Rousseau(1812-1867). In the history of art, Corot’s paintings are described as “l(fā)yric landscapes”, while Rousseau’s as “epic landscapes”.
In terms of aesthetic significance, the landscapes in oil by Xu Xiaoyan, which unfailingly display and epic quality, remind us of the style of Theodore Rousseau. It is the valuable epic quality that sets Xu Xiaoyan,s works apart from all other landscapes in oil and demonstrates overwhelming spiritual tension and artistic infectiousness.
How can a landscape painting have the quality of an epic? Epic is a literary term, defined as a long narrative poem with a grand structure that tells about significant historical events, legends, and heroes. But epic quality is an aesthetic term that is used for describing other literary and artistic compositions that have the essential features of and epic poem.
In the spiritual and cultural history of humanity, works with epic quality, with their rich subject matter, broab and far-reaching significance, and tragic mood, often become the symbol of an etynic group or a nation’s spiritual and emotional history, exerting an everlasting influence on human souls like what the Holy Bible had done to the Western world.
The expression of epic quality in landscape paintings first comes in the poetic and historical significance of the images. What the painter is trying to express is not necessarily the conventional motif of natural scenery; instead, the view is being used as a medium to display the human spirit and emotion about certain historical activity, What genuinely matters is the symbolism and metaphor of human spirit and emotion reflected through certain elements in the imagery.
Of the major representative works of Xu Xiaoyan, like the “Autumn Scenery” series , “Origin”, “Wilderness”, and “Paradise” series, none are landscapes of ordinary aesthetic significance( i.e.a mere depiction of a natural spectacle). What the audience gets out of her paintings is not the pleasantness afforded by some ordinary natural spectacles, but a kind of spiritual shock, an emotional sublimation, and even something painful. Such aesthetic experience and spiritual shock make spectators see the artist’s efforts at repelling vulgarity and seeking transcendence. Xu Xiaoyan warns the world: material desires will lead to denegeration of humanity and we must pay attention to the spiritual ojfe, which should be celebrated and clearly defined. Therefore, in a world plagued by “unbalanced values”, “scarcity of genuine emotions”, and spiritual barrenness by viewing Xu Xiaoyan,s paintings, which are laden with history, conviction, misery, and fortitude.
The aesthetic significance and spiritual power of Xu Xiaoyan,s paintings hve enlightened as that the consolation, sustenance, happiness, and pursuit of the spirit are still a loftier value in the world where we live.
In Xu Xiaoyan,s paintings ,the two parallel motifs are history and nature.
In expressing the motif of history, Xu Xiaoyan resorts to the symbolism of the loftiness and profundity of her imagery. In this world, the values of profundity suffer constant deprecation while the values of flatness are gaining currency. The so-called values of profundity include history, spirit, conviction, ideals, among others. “Disoriented”, which is a popular catchphrase in China these days, reflects a widespread spiritual vacuum in people’s hearts. The reason is that a vertical axis is missing in people’s spiritual coordinated. Without the values of profundity as that vertical axis, humanity will lose their spiritual bearings and has no alternative but to follow the seeing-eye bag of material desires.
In Xu Xiaoyan,s paintings, we can feel that there is a kind of profound historical sentiment and enlightenment in her spiritual world. In this sense, she is an artist conscious of and burdened by history.
The motif of nature is a premise of the sensory expression in Xu Xiaoyan,s works. This motif, again one of symbolism, connotes memory, motherland, and family love. In realizing her artistic expression, Xu Xiaoyan has turned to the most typical sensory symbols of nature,like the autumn,corn fields after the harvest, bare crop stalks, and the earth. Her expression, however, succeeds in bestowing metaphysical significance and worth to the above sensory symbols. The corn fields and crop stalks are no longer the ordinary parallels of senses, but the symbols of the artist’s spirit. In the paintings, they have become human beings, history, and poetry.
Academically, it is simplistic and indiscriminate to categorize the art of XU Xiaoyan into the common genre of women’s art. In the motif of nature and related connotations like “the earth” and “wilderness”, I have frequently perceived the themes of “maternity” and “l(fā)ife”. There themes are conveyed in such a full, profound manner theat I’m convinced it is an alternative way of women’s expression. It is not the popular “l(fā)ittle women” style; instead, Xu Xiaoyan is communicating with the male world as an equal. Her idea of femininity is dominated by a profound fortitude, which has enabled women to take up all the natural and social missions. It is here that you perceive the “masculine femininity” in Xu Xiaoyan’s paintings. While Xu’s works can be categorized as expressionism in terms of her methods of expression, they are definitely not the mere imitation of expressionism. Putting Xu’s art against the big picture of contemporary oil painting in China, we will see the distinct locality and individuality in her works. From the expression of themes to the styling of her artistic vocabulary, Xu Xiaoyan’s oil paintings have gained a unique individual value through constant transcending and shifting.
At last, if must be emphasized that, in Xu Xiaoyan’s artistic expression, the fundamental colors of red and black and their diverse combinations and variations in the calm, firm brushwork have not only effectively convey the thems of her art, but created the very epic quality in her paintings as well.