余启平绘画
正黄昏 At dusk
纸本设色 Color on paper
30.7×63.5cm，2020
不止午后
文/付晓彤
“我要在你身上做，春天对樱桃树做的事情”，喔，原来那只是春日午后伏案小憩的一场梦。是一场冗长又清醒的梦。梦中的我依然在那间文雅的书房，只是不再是翻书的我，那个我是欢愉的，我透过“我”的身体，灿烂之景，不可名状。那是一个完整的朝夕。
“I want to do to you, what spring did to the cherry tree,” oh, it turned out that it was just a dream of having a nap at the desk in the spring afternoon. It was a long and lucid dream. I was still in the elegant study room in my dream, and it’s just that I’m not reading anymore, but enjoyable. I see through my body, the splendid scenery is indescribable. That is an entire day and night.
琴瑟春风 Playing an instrument with the spring wind
纸本设色 Color on paper
16×89.3cm，2020
余启平的画，是文雅之地的一场欢愉，魅惑又稚拙。红色的，是沉静又喜悦；绿色的，是内敛又明媚。那间书房，是一个正经儿读书人的标配书房，明镜娟洁，案牍纷纭，文房用具一应俱全，家具，时玩，瓶花，俱有情致。那个庭院，是一个正经儿读书人理想中的庭院，春可赏花，夏可纳凉，秋可听松，冬可踏雪的无穷天地。那座城池，是一个正经儿读书人总会惦记的城池，兜兜转转，远游四方，归来满是亲切。画中人是读书人，他自适、狡黠，与其说沉浸读书之乐，不如说得意于自己经营布置的安身之所。画中的那个人不顾及画外的观看，在自己的“桃花源”或怡然自得，或纵情声色，再看一眼柔情蜜意的画作名字，还真是勾引着画外的我们做“武陵人”，走进画中那个光怪陆离的世界一看究竟。
Yu Qiping’s paintings are a joy in an elegant place, charming and naive. The red one is calm and joyful; the green one is restrained and bright. That study room is a standard study room of severe scholars. It is beautiful and clean, with a wide range of case books, a complete set of writing utensils, furniture, antiques, and vases, all with affection. That courtyard is an ideal courtyard of severe scholars. It is an endless world where you can enjoy flowers in spring, enjoy the coolness in summer, listen to pine in autumn, and step on snow in winter. That city is a city that serious scholars will always miss, and it is full of kindness when they return from a long journey. The person in the painting is a scholar. He is comfortable and cunning. He is not so much immersed in the joy of reading as he is proud of the place he manages and arranges. The person in the painting ignores the viewers outside the image. He is comfortable or indulgent in his own “Peach Blossom Spring”, and then glances at the tender and sweet painting name, draw us outside the image to be “the person from the county of Wuling”, seduce us into the bizarre world in the painting to see what happened.
尺素惊艳 Poem in spring
纸本设色 Color on paper
42.5×31.6cm，2020
并置，余启平营建了平行时空，制造了戏剧冲突。在他的画中，那些我们在艺术史画册上常见的屏风、围墙、城门、楼阁、花窗，都成为他实现场景转换的道具；而那些我们在明代文人笔记里读到的笔墨纸砚、史书小说、假山、清玩、棋盘，都成为他将不同场景聚合在一起托物。这种转换场景是并置，聚合氛围感也是并置。重要的是那些人，是两个“我”的并置。前者是“自我”，后者是“本我”。或者说，前者是被圣贤书规训的随心而不逾矩的“我”，后者是释放天性追求享乐的“我”。前者的“我”伏案疾书，之乎者也，不染一尘，克制谦逊。后者的“我”解衣般礴。
Juxtaposed, Yu Qiping built parallel time and space and created dramatic conflicts. In his paintings, the byobu, walls, gates, pavilions, and windows that we often see in art history albums have all become props for him to realize the transformation of the scene; the pen, ink, paper and inkstone, historical novels, rockery, antiques, and chessboards that we read in the notes of the literati in the Ming Dynasty have all become his support for bringing together different scenes. This kind of transition scene is juxtaposition, and the sense of aggregation atmosphere is also juxtaposition. The important thing is those people who are the juxtaposition of two “me”. The former is the “ego” and the latter is the “id”. In other words, the former is me who is disciplined by the sages and does not overstep the rules, and the latter is the me who releases my nature and pursues pleasure. In the former, I am obsessed with reading, praising the great principles of ancient gentlemen, spotless, restrained, and humble. The latter I untie my clothes, presumptuous unfettered.
红墙落照 Shadow on the red wall（左/Left）
纸本设色 Color on paper
65×12cm，2020
墙里墙外 Inside the wall outside the wall（中/Center）
纸本设色 Color on paper
65×12cm，2020
不问春风 Spring breeze（右/Right）
纸本设色 Color on paper
65×12cm，2020
《琴瑟春风》里墙内的抚琴者是我，墙外踮脚瞭望美腿的人也是“我”；《遇酒逢花且又醉》里屏风一侧醉酒的人是我，屏风另一侧独醒的人亦是“我”；《芙蓉熏风》里的持莲的人是“我”，调皮的人还是“我”。《试问卷簾人》里的卷簾人是“我”，试问人同样是“我”。孰是前者，孰是后者，画外的你是否有了答案？
In “Playing an Instrument With the Spring Wind”, the person who plays the instrument inside the wall is “me”, and the person who stands on tiptoe and looks at the beautiful legs outside the wall is also “me”; In “Drunk and Flower”, the drunk person on one side of the byobu is “me”, and the lonely person on the other side of the byobu is also “me”; the person holding the lotus in the “Hibiscus in the wind” is “me”, and the naughty person is still “me”. The person who rolls the curtain in “The Person Behind the Curtain” is “me”, and these people are all “me”. Who is the former and who is the latter? Do you have an answer outside the painting?
试问卷簾人 The person behind the curtain
纸本设色 Color on paper
22.7×15.5cm，2020
如果你有了答案，我想也就理解了余启平画中的窥视与背影的含义，也就明白了书房里的闺房之乐是怎么回事，也就解读了无人的场景是什么意思。书房是一个读书人的安全岛，司空见惯的布局，一如既往的讲究，并不陌生。鱼水之欢是人之常情，私密又放肆，一切都是春光乍现的美好，并无不妥。然而，如此场所，如此情事，是在恰当的场所发生的不恰当的事情，恰如一出撩拨人心弦的剧目。无疑，这样的冲突感也是并置。是合理与不合理的并置，是应该与不应该的并置。这样的并置你是否感到有一丝熟悉？
If you have the answer, I think you also understand the meaning of peeping and back in Yu Qiping’s paintings, and even understand the love and joy in the study, and even understand the importance of unmanned scenes. The study is a safe island for scholars, and the usual layout is as exquisite as ever, no stranger to it. It is human nature to enjoy intimacy, and this is private and presumptuous, everything is sweet and beautiful, there is nothing wrong with it. However, such a place, such a love event, is a nasty thing happening in the right place, just like a drama that stirs people’s heartstrings. Undoubtedly, this sense of conflict is also juxtaposition. It is the juxtaposition of reasonable and unreasonable, and the juxtaposition of should and should not. Do you feel familiar with this juxtaposition?
家有书房 Home with study
纸本设色 Color on paper
24×34cm，2018
是的，余启平画中制造的那些冲突感，那些如梦里梦外变幻的情绪，是画里的故事，也是你我以及他的经历。画外的我们哪一个又敢说自己不是画中的人呢？白天“恩正”的你，夜晚软弱的你；工作日谨慎的你，休息日放纵的你；群居时内敛的你，独居时狂欢的你；单身时自立的你，恋爱时柔软的你……人总是有理性冲动和感性冲动两面，任何人无法逃离二者冲突带来的困惑、焦虑甚至是恐惧。我们总是在“应该做什么”和“想做什么”之间做出取舍，我们矛盾，纠葛，不适。怎么办？书房应该有读书之乐，谁又规定了书房不能有闺房之乐呢？这就是一场戏剧性的浪漫。浪漫的事情总会带给人愉悦感的高峰体验，这与人性的高度契合，是一场白日梦。
Yes, the sense of conflict created in Yu Qiping’s paintings, like the changing emotions inside the dream and outside the dream, is the story in the image, and it is also the experience of you, me, and him. Outside the image, which of us dare to say that we are not the person in the image? “Strong” as you during the day, as weak as you at night; as cautious as you during working days, as indulgent as you on rest days; as introverted as you when living in groups, as reveling as you when living alone; as self-reliant as you when single, and as gentle as you when in love...People always have both rational impulses and perceptual impulses. No one can escape the confusion, anxiety, or even fear caused by the conflict between the two. We always make a trade-off between “what should be done” and “what we want to do”. We are conflicted, entangled, and uncomfortable. So how to do it? The study should have the joy of reading, but who has stipulated that the study should not have the pleasure of love? This is a dramatic romance. Romantic things always give people a peak experience of pleasure, which is highly compatible with human nature and is a pipe dream.
春夜夜将央 Spring night
纸本设色 Color on paper
24.5×33.5cm，2019
春日的午后总是适合做一场冗长又清醒的梦，然而，我想拥有的不止是午后，也不能只是一个午后。我还要拥有一个《尺素惊 艳 》般开始理性的清晨，一个《似与斜阳约》般开始感性的黄昏。那是一个完整的朝夕。
The spring afternoon is always suitable for a long and lucid dream. However, I want to have more than an afternoon, nor just an afternoon. I also want to have a morning that begins to be rational like “ Poem In S pring ”, and a twilight that begins to be sensual like “With the Setting Sun”. That is an entire day and night.
西风是非 Autumn wind
纸本设色 Color on paper
16×84.6cm，2020
2021年3月8日
在黄昏的春雨落在泥巴地的声音里 读余启平绘画
The evening of March 8, 2021
Reading Yu Qiping’s Paintings, In the sound of the spring rain falling on the muddy ground.
关于艺术家
About Artist
余启平
1980年考入南京艺术学院美术系，主修中国画。1984年毕业于南京艺术学院，两幅作品入选第六届全国美展。后就职于江苏美术出版社，任《江苏画刊》编辑。1991年赴日本［取得艺术家签证的资格］，离开《江苏画刊》。举办过多次个人画展，出版个人画集，其作品参加过国内外诸多重要展览，并为国内外艺术机构及收藏家收藏。