【艺术家访谈】张伦：一个基督徒绘画隐者_基督灵修
，有如刀剑或者建筑脚手架，给人以严厉的肃杀之气，那是基督的荆棘冠冕吗？那是人世间苦痛和苍凉的象征吗？抑或灵肉争战的艰难？基本的点线面等画面元素所营造出的，是一种救赎精神的显现，一种悲天悯人的壮阔之感，一种人类罪性及罪行的深沉忧虑，正如约翰福音十六章八节所昭示的：为罪，为义，为审判，自己责备自己。有的作品全部用只硬的长方形色块组成，色块边缘处理成锯齿的效果，像是着锈的钢条，又像是剪成的纸条，在脆弱和破败之中给人以苍凉和挺壮的感觉。难道这不是基督徒生命的象征吗？神的儿女在肉身的软弱之中降服于主恩，在灵性的救赎中得到生命的释放，在信心之中得以战胜整个世界，我们在世是脆弱的，但靠着基督为我们流出的宝血，我们从软弱中变为刚强。耶稣基督本是神子，却谦卑虚己，道成肉身来到充满的黑暗的世间，成为光却不被世间的黑暗接受，他在世间尝尽了人类软弱的滋味，最终却在荣耀中复活并彰显神的权能。正如哥林多后书十二章九、十节所说：“祂对我说：‘我的恩典够你用的，因为我的能力，是在人的软弱上显得完全。’所以我更喜欢夸自己的软弱，好叫基督的能力覆庇我。我为基督的缘故，就以软弱、凌辱、急难、逼迫、困苦、为可喜乐的，因我什么时候软弱，什么时候就刚强了。”软弱与刚强的辩证法，应当在神儿女的身上得到充分的证验，基督徒的软弱因为神爱的信实而在恩典之中变为刚强。值得注意的是，张伦作品中的线条虽然有的凌乱而多变，但是背后总有一个隐约的架构在支撑着，这个架构仿佛就是一个十字架的造型，在整体构图上是呈现十字形的，这寓意着基督恩典的根本性和实在性，人世的一切现象只不过是神恩一步步彰显的结果，这些现象的背后却有一个绝对他者的恒定在场。</P> <p STYLE="pADDinG-BoTToM: 30px; TexT-TrAnsForM: none; TexT-inDenT: 28px; MArGin: 0px" PADDING-TOP:="" FONT-FAMILY:="" PADDING-RIGHT:="" PADDING-LEFT:="" MARGIN:="" PADDING-BOTTOM:=""><br /> <a HREF="http://photo.blog.sina.com.cn/showpic.html" TARGET="_blank"><img src="FileUploadarticle/199.jpg" ALT="【艺术家访谈】张伦：一个基督徒绘画隐者" TITLE="【艺术家访谈】张伦：一个基督徒绘画隐者" /></A><br /> <strong>张伦作品 120x70cm <wbr>布面油画</STRONG></P> <p STYLE="pADDinG-BoTToM: 30px; TexT-TrAnsForM: none; TexT-inDenT: 28px; MArGin: 0px" PADDING-TOP:="" FONT-FAMILY:="" PADDING-RIGHT:="" PADDING-LEFT:="" MARGIN:="" PADDING-BOTTOM:=""> 张伦的作品虽然抽象，但依然包含着隐微的叙事，只不过他作品中采取的是无机叙事，而不是有机叙事。无机叙事与有机叙事的一个很大区别就是，无机叙事不是根据一个既定的结构和逻辑来进行，而只是进行客观而全面地描述；有机叙事则是在背后隐含的逻辑基础之上沿着一条叙事脉络来进行。相比于有机叙事，无机叙事包含着更大的真理性成分，无机叙事等于将艺术家的自我全部倒空，艺术家纯粹成为了真理和叙事的载体。艺术家在无机叙事中悄然退却自身，得以用内在之眼窥见神性的在场，扮演者类似于先知的角色。张伦并没有将一个艺术主张或者艺术理念作为创作的前提进而对其加以演绎，而是抛开这一切，避免受到知识符号和理论符号的阉割，试图在真实神性的在场之中将内在的艺术生命和信仰生命完整而生动地表现出来。他平时的阅读也主要集中在圣经以及其他属灵书籍，借着圣灵的引导更多地明白神的真理。张伦的信仰更多地强调一种真实的参与，不是摆着一副学究的审判姿态只身事外，而是真实地参与到神的做工和恩典之中，参与到神的救赎计划之中去，参与到充满神性的时间之流中，在参与中圣化自己的思想、情感和意志，启悟灵性，模造更真更纯的信仰生命，与上帝建立更为紧密的关系，让上帝更多地介入到自己的生命之中。</P> 张伦是一个单纯的基督徒，是一个生活中的悟道者，是一个基督徒绘画隐者，他的作品中饱有神性的光辉。正如法国著名哲学家、神学阐释学家保罗·利科所言，宗教是文化的一个维度，而不是一个方面。同样的，任何的艺术只有当其具备了一定的神性维度之时，才会显得伟大而深刻，才是完整而真实的艺术。要想让我们的艺术品被神性充满，艺术家必须倒空自己，在神面前以一颗赤子之心活着。 <p ALIGN="left"> <wbr></P> 张伦的作品能够启发人思考，光影和色彩的自由变幻中透露出一种永恒与时间的辩证法。的确，当我们初读其作品时，会感到茫然而无所适从，不知从何读起，我们那带有艺术及灵性渴求的内心会被眼前画作的巨大不确定感吞噬进而变得茫然而不知所措，但是当我们抛开任何固有的观念，进而以“纯真之眼”对其加以观赏和品读并步入其中时，会感受到在琳琅满目的形色之下有着一种崇高的艺术意向。张伦的作品能够启发人思考，光影和色彩的自由变幻中透露出一种永恒与时间的辩证法。的确，当我们初读其作品时，会感到茫然而无所适从，不知从何读起，我们那带有艺术及灵性渴求的内心会被眼前画作的巨大不确定感吞噬进而变得茫然而不知所措，但是当我们抛开任何固有的观念，进而以“纯真之眼”对其加以观赏和品读并步入其中时，会感受到在琳琅满目的形色之下有着一种崇高的艺术意向。 <p> <wbr></P> <p>（注：以上文章出自-基督时报）</P> <p> <wbr></P> <p> <wbr></P> <p> <wbr></P> <p><br /> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr> <wbr><strong> <wbr> <wbr> <wbr>更多生命见证</STRONG></P> <p><strong> <wbr></STRONG></P> <p><br /></P> <wbr /><wbr /><wbr /><wbr /> <p STYLE="TexT-inDenT: 2em"><wbr /><wbr /><wbr /></P> <p ALIGN="center"><a HREF="http://blog.sina.com.cn/s/blog_03fdf0550100be3l.html" TARGET="_blank">周杰伦鲜为人知的信仰生活</A>（图）</P> <p 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【艺术家访谈】张伦：一个基督徒绘画隐者_基督徒明星名人见证_
2014-11-25 12:42:16
来源:[网络收集]
作者:基督徒明星名人见证 【大 中 小】 浏览:40次
评论:0条
【艺术家访谈】张伦：一个基督徒绘画隐者张伦的作品能够启发人思考，光影和色彩的自由变幻中透露出一种永恒与时间的辩证法。
与画家张伦谈论信仰与艺术已经很长时间了，那是一个炎热的夏日午后，当我走进他的画室，端坐于茶桌前，时而抬眼环顾周边那围绕着灵韵之气的绘画作品时，我想那时的自己的内心一定是半盲目的。面对那些画作，我感觉自己仿佛站在了一间密室门外，画作中所孕育的精神气息没有向我开启，我想要轻轻地叩开门扉，于是端起茶桌上的茶杯，尽量地敞开自己的心门，与画作的主人张伦开始了布满关节的谈聊。
我们聊天的过程之所以说是布满关节的，原因在于当我凭借插满手术刀的解析思维来与一个浑然而生动有力的艺术家心灵进行对话时，我既感到无力，又感到茫然，聊天的过程磕磕绊绊，当张伦向我诉说自己的艺术感悟时，颇为简单的语词中总是富有深度的意涵和感悟，这是我的头脑所难以把握的，它们就像是清澈而富有活力的水流，我的知性之网无法笼络住它们。于是，时间便在这样的意识苍白中流淌，以至于自那次谈话后直到今天，我在点滴思索中逐渐对他的作品有所认知和体悟后，才开始写下这篇所谓的评论文章。评论即阐释，评论即创作，对于张伦的作品，我想这篇文章肯定是无法穷其“艺意”的，但如若它能帮助读者发见画家作品中的丁点灵性之光，好让它的艺术生命有半丝透露于世间，我的任务也就算作完成，于此，我的走笔定要在愧意中前行了。
张伦作品
张伦所言不多，总是试图用整个生命拥抱真实与艺术，并在艺术中融贯事实与真理的界限，将两者纳入其中，作品中的自我、意境以及真理的话语浑然一体，消融于充满时间流动的形象色彩之中。他反对将自己纳入任何艺术史和艺术概念的范畴之中，语词沾染了太多的世俗尘垢，粘滞着权力欲望和野心的艺术史归纳，只能意味着一种苟且的招安，透露出来的只能是一个人灵魂的虚弱和迷茫。作为一个纯粹的艺术家，一个有着神的儿女身份的艺术家，张伦拒绝将自己归入任何风格流派。初次观赏他的作品，会以为他是一个抽象主义画家。张伦的作品的确抽象，但又是超象，有如唐代司空图在《二十四诗品》中所说的“超以象外，得其怀中”，借物象表达出了超越于物象之外的精髓。张伦的作品虽然抽象，但绝不是抽象主义，更不是抽象得毫无意义，其作品无法以任何主义加以定义和形容。他的作品中蕴含着一种网状的情感结构和叙事方法，是对真实生命现象的灵悟之结晶，带有主义性的单向思维和情感结构对他的作品是完全不适用的。不求一种宏大而自恋的带有虚伪性的刚性建构，只求在时间的流逝中品读生命的真理，在瞬时而绵延的物象浮现消失之际感悟时间中所蕴涵的神性之光。
张伦的作品能够启发人思考，光影和色彩的自由变幻中透露出一种永恒与时间的辩证法。的确，当我们初读其作品时，会感到茫然而无所适从，不知从何读起，我们那带有艺术及灵性渴求的内心会被眼前画作的巨大不确定感吞噬进而变得茫然而不知所措，但是当我们抛开任何固有的观念，进而以“纯真之眼”对其加以观赏和品读并步入其中时，会感受到在琳琅满目的形色之下有着一种崇高的艺术意向。纵横交错的线条，有如刀剑或者建筑脚手架，给人以严厉的肃杀之气，那是基督的荆棘冠冕吗？那是人世间苦痛和苍凉的象征吗？抑或灵肉争战的艰难？基本的点线面等画面元素所营造出的，是一种救赎精神的显现，一种悲天悯人的壮阔之感，一种人类罪性及罪行的深沉忧虑，正如约翰福音十六章八节所昭示的：为罪，为义，为审判，自己责备自己。有的作品全部用只硬的长方形色块组成，色块边缘处理成锯齿的效果，像是着锈的钢条，又像是剪成的纸条，在脆弱和破败之中给人以苍凉和挺壮的感觉。难道这不是基督徒生命的象征吗？神的儿女在肉身的软弱之中降服于主恩，在灵性的救赎中得到生命的释放，在信心之中得以战胜整个世界，我们在世是脆弱的，但靠着基督为我们流出的宝血，我们从软弱中变为刚强。耶稣基督本是神子，却谦卑虚己，道成肉身来到充满的黑暗的世间，成为光却不被世间的黑暗接受，他在世间尝尽了人类软弱的滋味，最终却在荣耀中复活并彰显神的权能。正如哥林多后书十二章九、十节所说：“祂对我说：‘我的恩典够你用的，因为我的能力，是在人的软弱上显得完全。’所以我更喜欢夸自己的软弱，好叫基督的能力覆庇我。我为基督的缘故，就以软弱、凌辱、急难、逼迫、困苦、为可喜乐的，因我什么时候软弱，什么时候就刚强了。”软弱与刚强的辩证法，应当在神儿女的身上得到充分的证验，基督徒的软弱因为神爱的信实而在恩典之中变为刚强。值得注意的是，张伦作品中的线条虽然有的凌乱而多变，但是背后总有一个隐约的架构在支撑着，这个架构仿佛就是一个十字架的造型，在整体构图上是呈现十字形的，这寓意着基督恩典的根本性和实在性，人世的一切现象只不过是神恩一步步彰显的结果，这些现象的背后却有一个绝对他者的恒定在场。
张伦作品 120x70cm
张伦的作品虽然抽象，但依然包含着隐微的叙事，只不过他作品中采取的是无机叙事，而不是有机叙事。无机叙事与有机叙事的一个很大区别就是，无机叙事不是根据一个既定的结构和逻辑来进行，而只是进行客观而全面地描述；有机叙事则是在背后隐含的逻辑基础之上沿着一条叙事脉络来进行。相比于有机叙事，无机叙事包含着更大的真理性成分，无机叙事等于将艺术家的自我全部倒空，艺术家纯粹成为了真理和叙事的载体。艺术家在无机叙事中悄然退却自身，得以用内在之眼窥见神性的在场，扮演者类似于先知的角色。张伦并没有将一个艺术主张或者艺术理念作为创作的前提进而对其加以演绎，而是抛开这一切，避免受到知识符号和理论符号的阉割，试图在真实神性的在场之中将内在的艺术生命和信仰生命完整而生动地表现出来。他平时的阅读也主要集中在圣经以及其他属灵书籍，借着圣灵的引导更多地明白神的真理。张伦的信仰更多地强调一种真实的参与，不是摆着一副学究的审判姿态只身事外，而是真实地参与到神的做工和恩典之中，参与到神的救赎计划之中去，参与到充满神性的时间之流中，在参与中圣化自己的思想、情感和意志，启悟灵性，模造更真更纯的信仰生命，与上帝建立更为紧密的关系，让上帝更多地介入到自己的生命之中。
张伦是一个单纯的基督徒，是一个生活中的悟道者，是一个基督徒绘画隐者，他的作品中饱有神性的光辉。正如法国著名哲学家、神学阐释学家保罗·利科所言，宗教是文化的一个维度，而不是一个方面。同样的，任何的艺术只有当其具备了一定的神性维度之时，才会显得伟大而深刻，才是完整而真实的艺术。要想让我们的艺术品被神性充满，艺术家必须倒空自己，在神面前以一颗赤子之心活着。
（注：以上文章出自-基督时报）
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