毛喻原60幅精美木刻版畫哲性美文

《書中的風景》為毛喻原作品——樂人書系第1號，精選了毛喻原60幅木刻版畫和60段精美的哲性美文。

《書中的風景》部分內容▲

世俗帝國的兩極藝術

王 康/2012年8月2日於北京

十九世紀歐美社會絢麗奪目的光環背後，潛伏著天堂地獄兩極世界之間的對峙。黑與白，愛與恨，極樂與深悲，無路可去，咸與糾纏在木刻天地里。無論丟勒的神學作坊還是柯勒惠支絕望的母愛，無論《海底兩萬里》以艦為命的悲情船長，還是《白鯨》滔天巨浪與龐然大物之間永恆的較量，無不透露出近代西方浮士德式的宿命與救贖衝突。

宅心圓通的李叔同和稟賦特異的周樹人幾乎同時將現代木刻移植中國。後者以其唯物史觀將木刻喻為被壓迫階級的藝術。果然，從延安到北京，古元們揮刀掄鑿，木刻成為革命文藝的不二利器。

毛喻原受野夫、世存邀請西遊雲南大理。路見民間手藝人刻木為生，殊受啟發，遂回四川樂山遍尋舊傢具市場,試圖找到可刻之木。正在無覓時分，忽有黃木一方現身眼前。喻原打開背包，掏出刻刀，初試鋒芒，但見黑白流動，不滯不澀，線條絕佳，功效奇妙。又聞該黃木名「吉象板」，德國技術。如此，康德、荷爾德林、海德格爾和里爾克等形象紛至沓來。如此，一百塊「吉祥板」飛越峨眉岷江，老毛立即以其獨有的精氣與神力走鋒游刃，一百餘名友人神形漸豐，惟妙惟肖……

毛喻原於是在紅色帝國京都矯正木刻宗旨，以人為本。深陷淺凹，攻其輪廓，逮其魂魄，穿梭其皮囊抵達其靈台，入木永恆。

如同《永恆的孤島》等神韻獨注的作品一樣，毛喻原為此俗世創製其「一人宗教畫」系列，又為朋友鑿開一片黑白兩極之新世界。削除一切附庸，唯存神質流芳閃幽，洞開我們時代的底蘊……

The Bipolar Art of the Secular Empire

Wang Kang/August 2, 2012 in Beijing

In the nineteenth century, a confrontation lurked in the background of the brilliant halo of Europe and the United States. This was a confrontation between heaven and hell, black and white, love and hate, joy and sorrow. It had no resolution, and was entangled in a woodcut world. Durer"s theology workshop, Kollwitz" hopeless mother love, the sympathetic captain in 「Leagues Under the sea」 and the eternal battle of 「Moby Dick」 who billowed with the huge monster, all revealed the modern western Faustian fate and conflicting redemption .

The pure-hearted Li Shutong and the gifted Zhou Shuren almost at the same time transplanted modern woodcut into China. The latter thought woodcut is the art of the oppressed class by a materialist conception of history. Indeed, from Yanan to Beijing, Gu Yuan who brandished knives for chiseling, woodcut had become the preferred weapon of revolutionary literature.

Mao Yuyuan was invited to Yunnan by Ye Fu and Yu Shicun. In Dali, he saw a folk craftsman carve wood for a living on the road side. He was inspired, and back in Leshan, Sichuan he searched all over the old furniture market for wood suited for carving. After searching for a long time to no avail, suddenly a black wood appeared in front of him. Mao Yuyuan opened his bag, took out a knife, and even though this was his first try, black and white flowed neatly, neither sluggish nor obscure. This black wood is called 「Jixiang board」, and is made using a German technique. Since then the portraits of Kant, Holderlin, Heidegger and Rilke flowed from his knife. Later, one hundred pieces of 「 Jixiang board 」 travelled across the Emei Mountain and the Ming River, and Mao Yuyuan soon set the blade point dancing with his unique spirit and extraordinary skill, resulting in over 100 vivid friends』 portraits.

In the capital of Red Empire, Mao Yuyuan adjusted the purpose of the woodcut to be centered on people. In the deepness and shallowness lines, he attacked their contour, caught their spirit through their skins and arrived at their soul, to let those images become eternal.

As his 「Eternal Isolated Island」, full of romantic charm, Mao Yuyuan made his 「a man religious painting」 series and opened a new black and white world for his friends. He removed all the appendages, let the essence of God shine, and revealed the foundation of our era.

發現不一樣的藝術

·