中文版:

  Heart Sounds from A Loner

Film Analysis: “Eternal Sunshine of the Spotless Mind”
Posted November 17, 2012 by Wael Khairy in Film Analysis. 99 Comments
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Every couple of years I stumble upon a film that transcends its
traditional entertainment purposes and goes for something more divine,
ambitious and philosophical. When a film like this comes along, it
reassures me that film is indeed the greatest art form of our time.
Movies that had that awe-inspiring effect on me include: “Last Year At
Marienbad”, “The Exterminating Angel”, “Persona”, “2001: A Space
Odyssey”, “Dark City”, “Enter the Void”, “The Thin Red Line”, “Eyes Wide
Shut” and “Synecdoche, New York”. I like to call them life-changers.
The first time I watched Michael Gondry’s “Eternal Sunshine of the
Spotless Mind” it felt like a life changer. I remember the night I saw
it, too. I couldn’t sleep all night due to perpetual thoughts rushing
through my head. I used to experience that during the last minutes of an
exam I couldn’t finish on time. That night, I needed more time to grasp
the film’s brilliant originality and fascinating implications. The
second time I saw it, I had a few friends over and it wasn’t as
impressive. Now, six years later I’ve given it another shot.
Surprisingly, it had that same initial effect on me. This almost never
happens to me, and I think I understand why it enchanted me the first
and last times. It is one of those rare films, I’d rather watch alone
than with an audience.
It reaches for something personal like troubling memories buried deep in
our psyche. It is a film that demands the presence of thoughts we put
aside when surrounded by people, things we only think about when we’re
alone, buried in everlasting thoughts. “Eternal Sunshine of the Spotless
Mind” is the rarest of all films, a therapeutically liberating work of
art.
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Charlie Kauffman’s marvelous screenplay revolves around Joel (Jim
Carrey), a soloist stuck in the repetitive formula of everyday life till
he meets the spontaneously carefree Clementine (Kate Winslet). Their
relationship escalates into a supposedly dead-end when he learns that
she had him erased from her memory. Furious and confused, he contacts
the inventor of this advanced process, Dr. Howard Mierzwaik (Tom
Wilkinson). Out of sheer desperation he resorts to the only logical
solution at the time, removing her from his memory as well. But as he
re-experiences the passionate days of their earlier relationship, he
falls in love with her all over again.
The film then takes a Hitchcockian turn and becomes a man-on-the run
film, only this time the protagonists are running from an untouchable
entity. They race from one memory to the next desperately escaping the
inevitable erasing process. It’s one of the most original and fresh
ideas ever shot on film. If you haven’t seen this modern masterpiece, I
strongly suggest you stop reading at this point, as I will explore some
of the film’s more thought provoking themes.
One of the philosophical questions this film asks is whether we are
merely the sum of our memories or if there’s more to us than a summation
of past experiences. Would erasing an incident from our micro-history do
us any good? Would a woman erasing the memory of a rape make her happier
or would removing the incident do more damage to her life than the
actual incident itself? Hence, she wouldn’t have learned anything from
it or become the stronger person she is today. Is ignorance indeed
bliss?
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The film ultimately arrives to the conclusion that no, having a spotless
mind does not bring eternal sunshine. You may forget a past memory but
you can’t forget the impulses, instincts and emotions that arose from
that past incident. They are in some sense untouchable because they
shape who we are. Take for example, the simultaneous subplot involving
Mary (Kirsten Dunst) discovering that she had her love affair with Dr.
Mierzwaik erased. She arrives to that discovery through her love to him.
The weak link in Lacuna’s process is that it successfully erases
memories but can’t erase feelings.
Another heartbreaking scene that explores the system’s imperfection is
when Joel and Clementine finally bid farewell inside his head. She leans
in and whispers, “Meet me in Montauk.” You see, the Clementine guiding
his escape is merely a projection in Joel’s mind. She represents his
will to hold on and he does so through what he knows of her spontaneous
personality.
When they challenge the erasing process by hiding in childhood
remembrances and other “off the map” memories, the escape route is
always suggested by Clementine. Joel would never arrive to such
conclusions himself, but he subconsciously asks himself what would
Clementine do and acts upon it. So when she whispers that final line
inside his head, what he’s really doing is implanting an impulse;
something Lacuna can’t touch.
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The film opens with a post-erasing scene. On Valentine Day, Joel feels
the impulse of going to Montauk instead of working and there he meets
Clementine. She too implanted that impulse during her erasing process
and it’s such a beautiful encounter. That cold day on the beach, they
fall for each other all over again. Both Joel and Clementine do in fact
win at the end, implanting that impulse defeats the system in a final
attempt of desperation.
In that “second” first encounter, it’s almost like a hidden magnetic
force pulls them together. This is portrayed cinematically through
brilliant use of music. Music plays when they talk and pauses when they
pause. Joel and Clementine click in a disguised coincidence, a natural
encounter.
In another simultaneous subplot, Patrick, one of the Lacuna technicians,
uses the dialogue he knows from Joel and Clementine’s real initial
encounter to sweep her off her feet. The plan backfires on him and only
fuels her confusion and anger. I believe that we as human beings have an
uncanny ability to detect bullshit and truth in words. We think spoken
words is the only way of communicating but there’s an invisible energy
that comes from body language, the way we say things, and the way we
look at a person that tells us if there’s any truth in what is being
communicated. This energy is something beyond what we hear or see; it’s
something we feel, a feeling of truth.
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My favorite scene in the film is when they’re stuck in their first
memory, which is also the last memory they helplessly witness getting
erased. Both characters recite some of the dialogue of his memory, but
occasionally, Joel becomes self aware, looks at Clementine and pours out
his commentary thoughts. As they sit in front of the ocean, she looks at
him and says, “This is it Joel, it’s gonna be gone soon.” A sad smile
eclipses his face when he replies, “I know.” But it’s the last exchange
that really hit the mark with me. “What do we do?” she asks. To which he
replies, “Enjoy it.” Joel gives up fighting instantly and chooses to
enjoy the little time they have left together and it’s utterly
heartbreaking.
Ironically, this reminded me of one of my childhood memories with my dad
who’s a doctor of nuclear medicine; it’s when they use nuclear energy in
a positive way to cure cancer. I remember when he told me that not all
cancer patients choose to fight the disease and there’s nothing he can
do about that, it’s their call. As a young kid, I couldn’t get that
through my head. It just seemed inconceivable at the time. Whatever
reasons they may have, I think it’s their right to do so. Whether it’s
never-ending surgeries that constantly fail or hectic chemotherapy that
leaves them miserable in their potential last days, it’s their right to
let go and enjoy the little time they have left in this world.
Letting go is one of the hardest things a person can do. It doesn’t mean
they’re giving up, it means they’re moving on. We hold on to things we
value as if they will cease to exist when we let go. The truth is they
won’t. Letting go or giving up isn’t an act of cowardice; quite often
it’s an act of supreme bravery. “Eternal Sunshine of the Spotless Mind”
tells us to accept things as they are and make the most of what we have
when all hope is lost.
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I remember seeing my dad sitting on the living room couch as he watched
the news. He’s one of the most positive and cheerful people I know and
it often puzzled me knowing what he does for a living. I asked him if
dealing with dying people on a daily basis is a depressing job. He
replied something along the lines of “We tend to keep a lighthearted
environment at the hospital.” When I asked him if breaking the bad news
is the worst part of his job, he told me that it was, but every once in
a while he breaks out great news and it makes it all worth it. The ups
and down of life apply everywhere. In the case of this film, it’s in a
relationship. As Joel discovers throughout his mental journey, the ups
are sometimes worth all the downs.
“Tears, idle tears, I know not what they mean, Tears from the depths of
some devine despair Rise in the heart, and gather to the eyes, In
looking on the happy autumn fields, And thinking of the days that are no
more.” – Alfred Tennyson
After a break up, the very memories you once cherished, the ones that
drew a smile on your face whenever you remembered them seem none
existent. That’s probably due to the recently bad incident towering and
blocking all things wonderful from your thoughts. I think it’s an act of
self-preservation to let the bad memories stick and allow great ones to
slip through our fingers. It makes moving on easier.
“Two roads diverged in a wood, and I,
 I took the one less traveled by
And that has made all the difference.” – Robert Frost
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After Joel and Clementine learn they’ve had their memories erased
because things just didn’t work out, they somehow choose to travel that
same road again anyway. I think it’s a perfect ending to a perfect film.
As we’re so often told, it’s about the journey not the destination. They
know what is waiting at the end of that road and they choose to walk
through it anyway. The journey has been erased and therefore, they
choose to re-experience it. Perhaps it’s to arrive at that conclusion
because that’s the only way they’ll understand the nature of their
previous destination. Or maybe, they share a tiny ounce of mutual hope.
After all, they know the pitfalls and hidden traps on that road from
listening to their Lacuna tapes. Dodging them is all that needs to be
done to arrive at a different destination. This is precisely how second
chances are meant to be taken.
Whenever, I watch this film it steers my eyes away from the empty half
of the glass of water and makes me acknowledge that there’s a full half
right below. For that very reason, I’m eternally grateful for its
existence.

就这样到此为止了,与恩师们的同行之路。

  – The Ramble of Mr. Jin Yides Art Education and Creation

在这里曾经这样走过:很早的起床吃饭,再跑到新东方,听课直到下午。

  (一)三十年记忆

并不是严酷的训练,恩师们汗水铸造了欢乐的课堂。仅仅19天的经历,却足以引发人生的一次转折。

  (I) A Memory of Thirty Years

李春亮老师的讲台上的潇洒,朱殿勇老师眼神里的真诚,周斌老师言语中的诙谐,王帆老师故事中的诗意,这一幕幕早已刻在脑海里了。

  那是1979年的夏末秋初,湖畔的蝉鸣尚未退尽,热稠稠的暑褥伴着新学期的好奇,让校园漾着一层令人心思浮荡的激情。新教室的门口,走来一位先生,微笑地为我们讲课。语调不高,浓重的绍兴口音,从印象派讲到后印象主义,从素描的本质讲到线的表现。这些内容对于一班从文革劫难与混乱中走出来、情思中同时荡漾着求学问艺的热情与文革无政府革命的散漫余绪的青年,显得格外新鲜。这位老师正是金一德先生。那一幕过去已近三十年,却依然镌刻在我的心中。当我们在记忆中淘洗学术经历、从那里确认思考和传承的渊流之时,都会发现这一幕叠映在精神资源的深处。

希望回忆不会变浅,不会模糊了恩师们的容颜,即使岁月的变迁再也回不去从前,拿起练习册的一瞬间,耳边还能响起老师们的教诲。

  It was in the late summer and early autumn of 1979 when the cicada
singing was not faded away at the lake bank, with the very strong summer
heat, the campus was poppled with some exciting passion and accompanied
with the curiosity of a new term. A teacher came to the door of our new
classroom, and then he started his lecture with smiles. His sound of
voice was not high, and in a very strong Shaoxing accent, he made a
lecture from impressionism to postimpressionism and from the nature of
line drawing to the representation of lines. For the youth of the whole
class who came out from the disaster and chaos of the Cultural
Revolution and who were filled with the enthusiasm for study and the
loose sentiment left from the Cultural Revolution non-government
revolution, such contents were particularly fresh. The teacher was right
Mr. Jin Yide. Thirty years have been passed since that scene, but it is
still engraved in my heart. When we wash off the academic experience
from memories and from which we determine our thought and the lineage
source, we can find this scene is overlaid in the deep spiritual
resource.

该上路了,紧迫的路,孤独的路,挑战的路。《再别康桥》的眷恋,留到凯旋的那一天。

  金一德老师是中国美术学院油画系的老教授。在他的身上,集中体现了那种尊重艺术语言修辞和理论思考的品质,这种品质是美院传统谱系中的重要传承。上述的那一幕,并不仅是往昔难忘的回首,对于记忆来说,她的意义更在于其中叙说的某种学术的精神,某种关于技艺的可见与不可见的背景和脉络的叩问。这种精神的叩问源远流长,她源自于林风眠先生那一代人的以艺术拯救国民性的澎湃的文化激情,源自于那之后一代代先师将美术艺术视为专门的学术来进行长期研究的凝重的敬业精神。

凯旋的那一天,我们的面孔也许已融合在千万弟子之中,却有一张凝结着恩师们汗水的成绩单作为见证,还有那永远不会绝望的眼神的传承:

  Mr. Jin Yide is an old professor of the Oil Painting Department
China Academy of Fine Arts. What has intensively revealed on him is the
quality that shows respect to artistic language rhetoric and the
thinking on theories and that has been a significant lineage of the
tradition of China Academy of Fine Arts. The said scene is not an
unforgettable retrospect of the past only; as for the memory,
furthermore, its significance lies in the spirit of some academy in the
narration and the inquiry on the visible and invisible background and
venation of some techniques. The inquiry of such spirit is of long
standing, is originated from the surgent cultural passion to Rescue the
national character by art from Mr. Lin Fengmian generation and
originated from the dignified professional dedication that one and
another generations of ancestors treated fine arts as an exclusive
academy to have long-term research since then.

The limit, which we set on ourself, must be lifted. “The man who has
made up his mind to win will never say ‘impossible’.”

  60年代初,金先生在当时文化部主办的罗马尼亚专家博巴研究班中学习,后来又担任倪贻德先生的助教。在当时全国一统的苏派写实绘画的背景之下,博巴和倪贻德的画风都带着表现主义的倾向,持续地给予金一德先生以深刻的影响。尤其是他们以线为主的表现方法,穿越了阴暗法的观视方式,拆解了照相式的造型习惯,直指事物本质的分析和形式锤炼的可能。这些不仅极大地深化了金先生对造型的观念,同时又赋予他一种源于视觉表达本身的分析精神,进而在美院代代传承的学风基础之上,重塑着某种建院之初就蔚然形成的、紧扣视觉本体的思考性表现的特质。

 

  In early 1960s, Mr. Jin studied at the Romanian Expert Borba
Research Class sponsored by Ministry of Culture then, and later he acted
as an assistant teacher of Mr. Ni Yide. Under the background of the
united Soviet partys realism painting nationwide, the styles of Borba
and Ni Yide had the trend of expressionism which kept producing deep
impacts on Mr. Jin Yide. Esp. their expression approach highlighted by
lines has passes through the viewing manner of the gloom method,
dismantled the sculpt habit of photo taking type and directly targets at
the analysis on the nature of things and the possibility of shape
hammering. All these have not only greatly deepened Mr. Jins ideas on
sculpt, but have also endued him with a kind of spirit that is
originated from the analysis on the visual senses expression of an
object itself, and then furthermore, based on the academic style passed
down by generations and generations in China Academy of Fine Arts, they
re-shape some thought expression particularity that has become common
since the early period the of academy establishment and that keeps to
the thing-in-itself from visual sense.

 

  (二)金一德的灯光

 

  (II) The Lamplight of Jin Yide

 

  从1979年到1980年,金先生担任我们班的导师。从他的身上,我们深深地感受到了敏于思考、关注视觉本体问题的气质。1979年秋,全国第二次素描座谈会在美院召开,金先生作了对改革现行素描教学的一些意见的发言,第一次向全国各艺术院校系统介绍了博巴的素描教学,引起极大的关注。这种关注的影响甚至波及到全院的素描练习。在美院林立的素描架旁,金先生他们当年的素描作品照片成了必备的参考,成了那些渴望走出明暗素描、进行最早的分析与表现探索的同学们的参照。

 

  Mr. Jin acted as the tutor for our class from 1979 to 1980. We have
deeply sensed from him the temperament that is sensitive in thinking and
that shows concern to the thing-in-itself from visual sense. In the
autumn of 1979, the National Second Line Drawing Symposium was held at
China Academy of Fine Arts at which Mr. Jin made a speech Some Opinions
on Reforming The Existing Line Drawing Teaching, gave a systematic
introduction of Borbas line drawing teaching to all art colleges
nationwide for the first time and aroused great concern as a result;
furthermore, the influences of such concern even spread to the line
drawing exercise all over the academy. Mr. Jins line drawing works
became a requisite reference beside the high-rise line drawing racks in
the academy and became the reference for those students who yearned for
walking out the light and shade line drawing, and made the earliest
analysis and explorations on the expression.

英文版:

  1980年初夏,由金先生带领,我们前往浙东温岭的石塘镇写生。80年代初的石塘,朴实而漾着生机,石头垒成的房屋贴着山崖,仿佛从石上生长出来,层层叠叠,浑然一体。那整体的造型中有着一种天然的诗意。但此时我们正陷在某种写实绘画的色光摹拟手法之中,整日里躲在街角路口,重复着前人的现成的写生构图,却对眼前石塘的那种自由生发的结构性的诗意视而不见。

Was it up to here? The journey which we went with our teacher.

  In the early summer of 1980, we went to Shitang Town, Wenling at
eastern Zhejiang to draw from nature led by Mr. Jin. At that time,
Shitang Town was unadorned but filled with vigor, houses built by stones
were close to cliffs and they seemed to have grown out from stones, tier
upon tier and formed a unified entity. There was a kind of natural
poetic conception in the overall sculpt. Being restricted in some color
tone imitation technique of realistic painting then, however, we just
hid ourselves at street corners and road crossings all day, repeated the
existing life drawing composition from ancestors, and just turned deaf
ears to the naturally existing poetic conception that produced freely at
Shitang.

Here,everyday life was like this: Getting up early in the morning, I ran
to the New Oriental and learned GRE to afternoon.

  金先生看得清晰,也未多说,带了我们出海,从海船上回望临海耸立的石塘,用远望来召唤我们被现成的色光构图框住了的视觉感受,让我们从海天辽阔的视野中感受整体观视的方法。这之后,我们又去了雁荡山。雁荡山岭更加伟拔,竟让我们手中现成的苏派写生方法束然无策。金先生又带着我们月下游峰,在夜色迷蒙中阅读山岭的整体诗意。金先生的意思是要让我们从现成的西方写生方法中疏解出来,用中国山水卓然特立的风味来开启我们自己的视觉。那夜晚,金先生还同我们谈到了潘天寿、黄宾虹等先生。在当时执着的西画求新的追索中,这些话语只是轻轻舒缓我们心中固化的束缚,我们并未能够蓦然直见中国山水的自然诗意。记得当时金先生画了两张油画速写,满山青翠,构着黑线,浑浑然如若石墙石壁,浓郁得很。远处的飞瀑,是从记忆中抓将而来,在当时,直让我们觉出新奇。

It is not a severe training, but a class filled with mirth by teachers’
sweat. Only 19days experience, which is enough to alter one’s life.

  Mr. Jin was well aware of this, but didnt say much; instead, he
brought us to go to the sea, asked us to look back the soaring Shitang
on the seagoing vessel, and awakened us the visual sense through the
lookout that had been restricted by our existing color tone composition
so as to make us sense the overall viewing method in the visual field of
the vast sea and sky. After that, we also went to Yandang Mountain which
is more soaring and made us at our wits end with the existing Su Party
life drawing method. Then, Mr. Jin brought us to have sightseeing from
peaks in the moonlight and appreciate the overall poetic conception of
hills in the misty night view. His purpose was to relieve us from the
existing western life drawing approaches and unseal our own visual sense
with the particular style of Chinese landscape instead. That night, Mr.
Jin mentioned painting masters Pan Tianshou and Huang Binhong etc. to
us. When we persisted in the pursuit and exploration on western painting
innovation, such of his words only relieved us slightly from the
solidified restrictions in our heart, and actually we failed to suddenly
get aware of the natural poetic conception existing in Chinas landscape.
I remember that Mr. Jin had two pieces of oil life drawing which were
covered by dark green mountains, outlined with black lines and looked
integrated with intensive stone walls. While the distant waterfall in
the painting seemed to be grasped from memories and just made us feel
novel and astonishing.

Mr. Li’s handsome actions, Mr.Zhu’s sincere expression in his eyes,
Mr.Alick’s jesting speech, and Mr. Even’s artistic stories, which will
be always in my dearest memory.

  在我们的印象中,金先生从来都是学而不厌,诲人不倦。我们学习上遇到什么问题,如果想得到鼓舞,大都会去找他,他总能在你的想法中,找出一些值得肯定的东西。当时的第一工作室由王流秋先生挂帅,但主要的导师却是金先生和徐君萱先生。其中金先生最是宽容,常常用热语激赏学生的闯劲和独见。后来我们留在学校成为青年教师,金先生更是常常与我们讨论学术问题。同时,金先生又是油画系中笔头最为勤快的老师。他写倪贻德先生,写胡善馀先生,写林风眠先生,并把我们成功地带到了先辈的精神世界中。从80年代到90年代末美院搬迁,金先生的工作室都在油画系三楼的小亭子间。亭子间有个阳台,正对当时学校教学区与行政区的要道。每天夜晚,亭子间的灯光都亮着,逢年节也未间断。后来,我们把这持久的一幕称为金一德的灯光。那灯光照耀着金先生孜孜不倦的身影,也闪烁着学院代代传承的居敬守业的精神。

Hoping the memory won’t be forgotten and we can remember our teachers’
face forever. Hoping we can recall all what we had learned as if our
teachers are reminding us aside, alhough these day of life has passed
and we cannot return to those days.

  In our impression, Mr. Jin has been insatiable in learning and
tireless in teaching all the time. No matter what problems we
encountered in our study, every one would like to ask him for help and
for encouragement, and he would always seek something that deserved
acknowledgement from our ideas. Mr. Wang Liuqiu assumed leadership of
the First Studio then, but the principal tutors were Mr. Jin and Mr. Xu
Junxuan. Mr. Jin was most tolerant and he would always encourage and
appreciate the students pioneering spirit and unique opinions with his
warm words. Later, when we remained at the school and became young
teachers, Mr. Jin furthermore discussed academic issues with us very
frequently. In addition, Mr. Jin has been the most diligent teacher at
the Oil Painting Department. He painted Mr. Ni Yide, Mr. Hu Shanyu and
Mr. Lin Fengmian and brought us successfully to the spiritual world of
the predecessors. From 1980s to the relocation of China Academy of Fine
Arts in the 1990s, Mr. Jins studio was remained at a small garret on the
third floor of the Oil Painting Department. With a balcony, the garret
was right opposite to the main roads between the teaching section and
administration section of the academy. The lamp from the garret would
light on each night and never got off even during holidays. Later, we
called this lasting scene as The Lamplight of Jin Yide, which was
shining Mr. Jins unwearied figure and also twinkling the professional
dedication that has been passed down by generations and generations of
the academy.

Way to go, a stessful, solitary, challenging journey we will face
to.Saying Good-bye to Cambridge Again, in which our nostalgia should
be left to our triumph.

  (三)艰难的另一条路

Although our teacher won’t remember us when the day of our triumph come,
the report card will identify what we’ve learned from them, and so is
the expression in our eyes, which they tought us, will never be
despairing:

(III)Another Road With Hardship

私たちは自らの上に設定するの限界を撤廃しなければなりません。「勝つと決心した男性は’不可能’を決して言わないでしょう。」

  金一德先生可能是博巴油画研究班的同学中沿着表现性绘画的路走得最远的一个。当年博巴油研班处于苏派一统的背景之下,其素描和油画可以说是独辟蹊径。博巴的方法简括地说就是素描上反对照搬明暗效果,通过线进行结构性的分析,达到整体造型的严谨性;油画上强调用单纯的色彩和富于质感的笔调,追求整体的表现力;创作观上,博巴认为每一张画都是创作,那里边存在着艺术语言的锤炼和艺术观点的铸造的根本问题,并不存在着某种主题性的绘画。金先生几乎始终都在践履着这样一条艰难的独行者之路。文革前,这被看作形式主义的路。文革后,当先锋一代热衷于现代艺术潮流的时候,这条路又被孤立在西方主脉之外。金先生能这样坚定地走着,默默地探索着,并努力地把人生的感悟化作造型问题,这在他的同代人中是不多见的。

 

  Mr. Jin Yide might be the one who has walked the longest on the road
along the expressiveness painting among the Borba oil painting research
class. Under the circumstance that Su Party brought the whole world
under its domination, it could be said that the line drawing and oil
painting of Borba Oil Research Class was unique. Simply speaking, Borbas
method is to oppose copying the light and shade effect in line drawing,
but to reach the preciseness of the overall sculpt by lines to have
constructive analysis; as for oil painting, importance is attached to
apply pure colors and the pen tone full of tactile impression to pursue
the overall expressiveness; in terms of creation, in view of Borba, each
piece of painting was creation in which the fundamental issue of art
language hammering and art opinion molding existed but actually the
painting with some subject didnt exist. Mr. Jin has almost practiced on
this road of loners with hardship all the time which was regarded as a
road of formalism before the Cultural Revolution, and which was isolated
beyond the mainstream of the western painting after the Cultural
Revolution when the pioneering generation was passionate of the modern
art trend. It was rarely seen in his generation that Mr. Jin could
remain committed to walking on such a road, making explorations quietly
and endeavoring to convert his inspiration from life into the sculpt.

 

  80年代,是金先生艺术创作高产的时期。在《金与银》、《六和塔》等一批风景作品中,他的整体性的表现语言趋于成熟。《金与银》用大面积的纯然的银灰和亮黄的刮刀,有力地塑造了时代的风景。《六和塔》则用深碧的薄油,涂成百舸争流的大江,气势磅礴。与此同时,他创作了一批知识分子肖像,其中最成功的是一批画家肖像。《倪贻德》用写实的手法,抒写他对恩师的敬幕。画面使用了典型的线面结合的方式,画家卓然而立。那些线条,果断有力,既表现形,又揭示神,成功塑造了一代知识分子坚韧不拔的神情,可谓我国肖像绘画的经典之作。如果说《倪贻德》是一件纪实性的肖像作品,《林风眠》则是一件写意性的创作。林先生的面庞置乎画面一隅,背后是挥洒迷离的薄油景色。芦荡点出林先生的画境,云天上一只孤鹭象征着林先生乖悖而孤独的命运。《巴巴》则是另一件写意性作品。在突兀的黑色字符背景之上,巴巴桀骜不逊的肖像如若浮雕。这是一位孤傲的守门的人。金先生努力地寻找着不同的表现语言,来赋予肖像者某种直观的性格力量。

 

  It was the 1980s that Mr. Jin was in his high-yielding art creation
period. In a group of his landscape works such as Gold and Silver and
The Six-harmony Pagoda etc., he tended to get mature in terms of his
overall expressive language. The painting Gold and Silver has portrayed
the scenery of the times with great force with a large area of natural
silver grey and shining yellow scrapers, while The Six-harmony Pagoda is
full of power and grandeur by painting hundreds of boats competing to
win in the great Qiantang river with dark green thin oil. Meanwhile, he
created portraits for a group of intellectuals of which the most
successful were for a group of painters. With the realism approach, he
expressed his adoration to his teacher in the painting Ni Yide in which
the typical manner of combined lines and sides was applied to make the
painter become highlighted. Those lines are powerful, not only express
the shape but also reveal the verve of the figure and have portrayed the
hard-bitten look of the generation of intellectuals and this painting
can be called as classic works in the portrait drawing in our country.
If it can be said that the painting Ni Yide is a piece of realism
portrait works, then the painting Lin Fengmian is the works in
impressionistic style. Mr. Lins face was put in one corner of the
picture and what can be found behind his back is misty scenery that was
painted freely with thin oil. The reed marshes interspersed the
picturesque scene of Mr. Lin, while a solitary aigrette symbolized Mr.
Lins rebellious and lonely fate. Baba is another piece of
impressionistic works in which Babas unconventional and unrestrained
portrait seems like relief sculpture on the background of lofty black
characters. This is a lonely gatekeeper. Mr. Jin has endeavored to seek
different expressive words to endow the portrayed ones with some
intuitionistic character strength.

日文版:

  (四)孤行者的心声

ここまでか?恩師達一緒にの道と。

(IV) Heart Words From A Loner

ここでかつてこのように歩いたことがありました:とても早いのは起きて食事をして、新東方へ走って、受講は午後に至ります。

  金先生注定是一位孤行的探索者。他持续地在绘画中寻觅更为真切的表现。整个90年代,他的绘画都更倾向于写。他画了大量的秋叶红花,这些艳色的花枝与古朴的器皿形成一种对比,带出一份时光的风尘。这风尘又化作弥散的力量,让鲜花在流风中隐没,让青瓷在细处凸显。所有这一切都是这样行脚匆匆,仿佛追赶着什么。金先生心思荡漾,他想述说岁月的故事,但他的笔头却写出了日趋飘泊的心绪。新世纪,金先生突然从他的习惯的重荷中解脱出来,他的笔触变得灵动,他的花枝已然独立于背景之上,仿佛流转的自然四季的本身。那些花陡然开放,只在一瞬之间。这一瞬衬着重色的枝杆,有如在跑在飞。金先生用花去追赶时光,又用感情去承受花的表情,花开花落,写的却是他自己的心。

厳しい訓練ではありませんて、恩師達の汗は楽しい教室を鋳造しました。19日だけの経歴、十分に人生の一回の転換を誘発します。

  Mr. Jin was destined to be a lone explorer. He kept seeking truer
expressions in painting. All through the 1990s, his painting was
inclined towards true-life. He painted a large quantity of autumn leaves
and red flowers, a contrast was produced between these brilliant
flowering branches and primitive utensils and brought out traces of the
times, which again converted into disperses strength to make flowers get
disappeared in the flowing wind while the details of blue china get
highlighted. All looked like to be in a hurry and be chasing after
something. Mr. Jin was filled with ideas, he was desirous to narrate
stories of years, but his brushstroke revealed his frame of mind that
tended to be more adrift day by day. In the new century, he suddenly got
relieved from his accustomed heavy load, and his brushwork became
flexible: the flowering branches in his painting stand independently in
the background and look like the four seasons themselves in the
circulated nature. Those flowers suddenly blossom out and in the
twinkling of an eye only. Such instant is on the background of branches
in heavy colors, and seems to be running and flying. Mr. Jin was chasing
after the time with the flowers and undertook the expressions of flowers
with his feelings; flowers bloom and fade, but what he has expressed in
his painting is his state of mind.

李先生の壇の上のあか抜けていること、朱先生の目つきの中の誠実、周先生の言葉の中の冗談、王先生のストーリの中の詩情、この幕はとっくに脳裏の中で刻みました。

  金先生的心变得越发敏感了,甚至带出某种惊悸的感觉,某种嗟咤苍凉的气息。2001年所画的《冬日》,那样一株无叶的老树,独立于暖日的背景之上。《暮林》与《春曲》,一幅是满树老鸦,一幅是惊鸟飞林,都受着一种画外的惊扰,带出某种运命般的追问,金先生的四季花鸟并非写景,纯然是写心的。这心在今天变得愈加默然空寂,愈加孤独飘泊。金先生在此抒写了一颗不屈的老人的心。于是,2005年金先生创作了一批《暮年系列》,这些肖像以放拓的笔法,将中国线条与油画色彩融铸在一起,将山水与面庞交叠在一起,写出老人的沧桑,也写出老人的倔强。我们在这里读到的不仅是白发与皱纹,还有如丘壑般的磐石、如磐石般的神情。我们真正读到的是某种心迹与笔痕相叠相通的凛然和力量。

追憶が浅くなることはできありえないことを望んで、恩師達顔かたちをぼんやりさせることはできありえなくて、たとえ歳月の変遷は二度と昔に帰っていけないとしても、取って一瞬の間を練習して、辺はさらに先生達教戒が鳴り響きます。

  Mr. Jin has become more and more sensitive and he even has some kind
of horrified feeling and some kind of desolate sense. In the Winter Sun
painted in 2001, there is an old tree without any leaf at all and is
standing on the background of a warm sun. In the paintings Forest in
Twilight and Melody of Spring, the former is that old crows are
gathering in trees and the latter is that scared birds are flying into
the forest; both reveal the disturb from outside of the painting, and
bring out the inquiry on some kind of fate; actually, Mr. Jins flower
bird painting is not for describing the scenery but purely for
expressing his mood, which has become more silent and empty, more lonely
and adrift. Mr. Jin has expressed an old mans heart that is unyielding
in his painting; therefore, he created the Series of Old Age in 2005, in
which the portraits melt the lines in traditional Chinese style and the
colors of oil painting together, have the landscape and the faces
overlaid to express the vicissitudes of the old and their restiveness as
well. What we can read in these portraits is not only white hair and
wrinkles, but also the look like rocks which are standing like gullies.
What we really read are some kind of true feelings and the sternness and
strength that are empathy with the overlaid brush strokes.

出発するべきで、緊迫する道、孤独な道、挑戦の道。《再别康橋》の未練、凱旋のあの日までへ残します。

  归鸦不带残阳老,留得林梢一抹红。金先生的绘画中有凄清的飘泊之感,又有活泼泼的生命力量。这其中凝聚着他生命羁旅的重负,又隐现着他对人生止泊的释然。在这一切的后面,是他的心声,一位不断探觅人间真情的孤行者的心声。

凱旋のあの日、私達の顔はすでにくれぐれも弟子の中で解け合うかも知れなくて、1枚が凝結して恩師達汗の成績簿は残証として、それでは永遠に絶望することはでき(ありえ)ない目つきの伝承がまだあります:

  The returning crows never bring any shine of the setting sun but
leave some red for trees. There are not only desolate and adrift
feelings but also vigorous life power in Mr. Jins painting, which has
agglomerated the heavy load in his life of staying long in a strange
place and also revealed indistinctly his indifferent relief on life. But
what behind all these is his heart sound which is of a loner who has
kept exploring the true love in the world.

「所谓的限制其实是来源于自己,所以一定要打破自己的限制。“我成功了,是因为我愿意做它,我不再犹豫了”」

  许 江 Xu Jiang

  2008年12月15日December 15, 2008

  于南山三窗阁

  At Nanshan Three-Window Pavilion