罗小珊的纸上世界

                     Luo Xiaoshan's paper world

与别的孩子不同，画画是罗小珊自小的游戏。从五岁起，她就在一张张白纸上随意涂抹，看着线条与色彩蔓延生长，然后自成一个世界，这是多么快乐与神奇的事情！

最初的横冲直撞未免幼稚，却也有令人叫绝处。多年后，罗小珊“翻看起儿时的画作仍惊讶于当年有如天赋的奇绝的想像力与组织庞大场面的能力”，虽然只是一些儿童习见的“游乐场、动物园、海底世界”，但“符号化的方式轻松完成了对庞大场景的构建说明，而且主次分明，情绪传达到位。时空交错、散点透视、平面造型”，所有这些可以用学术语言来概括与表述，也是后来才通晓的认识与技术，居然生而知之，让她自己也觉得不可思议。

那是一种与生俱来的热爱与才能。无缘得识罗小珊彼时的作品让我觉得遗憾，里面一定有许多瑰宝。孔子说：“生而知之者上也”。

她后来进中国美院读了十年书，成了博士，即“学而知之者”。以孔子的说法，这只能属其“次”，却是一种重要甚至具有根本性意义的举动。

罗小珊读博，选择的是“中国思想史与绘画”，而非进一步去钻研技艺。

中国人物画强调“传神”，即表达对象的精神气质，这就不能不了解其思想背景，除个人特异的部分之外，历代思想沿革也就成为不能不弄清楚的东西和不能不具备的修养，尤其如果想涉足历史人物画的创作。

人物画不在传统文人画范围之内，是因为它需要更加精细的技艺，没受过专门训练几乎无法实施，而这是一般文人做不到的，只能交付工匠来完成，而他们的整个素养通常又不足以更加精准与深刻地表现人物的精神层面，因此造成中国画中人物画发展较之山水画与花鸟画迟缓的原因。

当初硕士生导师尉晓榕在看过她各种取向的画稿后，单单挑出其中两张，觉得罗小珊可以“把历史画当作一生的大事来做”，显然是知人之论。

而罗小珊的抉择背后，也透出一种野心，即试图让人物画也进入文人画的范畴，而这只能通过画家本身的文而化之来实现，她知难而进，深知其价值。

对罗小珊来说，作画仍是欲罢不能的游戏，“因为生性喜欢庞杂的场面，所以移山填海，不破不立，往往仿佛作到一个完满就被我解构，插进了另外的因素，又生发下一个可能”，“真可谓惊心动魄，狼烟四起，往往一块地界安顿了那里又要开辟第二战场，真是不亦乐乎。”

她作画的这么一种状态更多出现在早先的学习阶段，我当然也没见过，却于其文字描述中有所体察：生猛，自然而无比惊艳。

事实上，生而知之可以无须着力，学而知之则不能不用一点力，困而学之，闯关夺寨就不是人人可为的了。

读完博士学位，在历史的大框架下，罗小珊摸索找到了自己的定位，下笔显然更加理性，有了思想的厚度与某种对前人的追究与理解，其中也渗入一些现实的因素。

至于具体作品，画面整体上不再纷扰。她还是喜欢排兵布阵，但把本来向外的冲突，弄成内在的纠缠和揉合。这个小女子提起笔来，仍时有老将军施展韬略与胆识的冲动。

而她面临的困境不只在绘画内容与题材上，更大的挑战是处理笔墨与造型的关系，传统中国人物画在传神写照上，注重的是前者，至于后者，始终没能发展出一种比西画更强的造型能力，两相对比的基础上，罗小珊作出的选择是：“透彻地了解人物结构和准确把握对象内在精神性，找出与画者笔墨的共鸣之处即发笔之处后，胸有成竹，落笔无悔，一气贯之，笔笔生发，以笔线为主去解决造型上的障碍”，即传承浙派新人物画的基本做法，她认为，中国画不能没有笔墨，笔墨是中国水墨画的主要语言特征。

“作为传递绘画信息的媒介与载体，笔墨本身不仅是一种语言，而且包含着丰厚的文化涵量，即这种语言本身积淀和浓缩了中国文化特有的意蕴和气质，水墨人物画不能没有这种意蕴和气质。”然而要恰到好处，却也绝非易事。

近来，她把更多功夫用在历史人物尤其是历史人物集体画的创作中，说自己这样做“是对上个世纪的回望，是留给新世纪的声音，是为那些已然无法言说的魂魄，诉说着他们饱经的沧桑与心底的困惑，叩问着整个世界”，这实在是一种很大的抱负。

Unlike other children, painting is Luo Xiaoshan's own small game. Since she was five years old, she has been smearing on a piece of white paper, watching the growth of lines and colors, and then becoming a world herself. What a happy and magical thing it is!

The initial rampage is childish, but also a stunning place. After many years, Luo Xiaoshan "through childhood paintings still surprised that have the ability of talent" such as wonderful imagination and large scenes, although only some of the children of common "amusement park, zoo, underwater world", but "the symbol of the easy way to complete the construction of a large scene, and prioritize mood in place. Time staggered, scattered perspective, graphic ", all of these can be used to summarize the academic language and expression, knowledge and technology, but also later know actually born with knowledge let her feel unbelievable.

It is a kind of innate love and talent. It is a pity that I don't know Luo Xiaoshan's work at the same time. There must be many treasures in it. Confucius said: "people are born with knowledge".

She later went to the Chinese Academy of beauty to read for ten years and became a doctor, the "man of learning." In the view of Confucius, this can only belong to its "times", but it is an important and even fundamental act.

Luo Xiaoshan read the blog and chose "the history of Chinese thought and painting", rather than further studying his skills.

Chinese that figure painting "vivid", namely the expression of object spirit, which can not understand the ideological background, in addition to individual specific part, the evolution of thought has become not clear things and cannot do not have the training, especially if you want to get involved in the history of figure painting.

Figure painting is not within the scope of the traditional literati painting, because it requires more sophisticated skills, not trained almost can not be implemented, and this is the ordinary people can not do, only to complete the delivery of craftsmen, and their whole quality is usually not enough to more precise and deep character's spirit. Therefore, the cause of Chinese painting figure painting development of landscape painting and painting slowly.

The original master tutor Wei Xiaorong watched her various orientation drawings, single out two of them, think Luo Xiaoshan can "take history painting as a lifelong event to do", but the theory is obviously.

But Luo Xiaoshan's choice behind, even a kind of ambition, which is trying to get into the painting of literati painting category, and this only by the artist of the text and to achieve her, despite difficulties, fully aware of the value.

For Luo Xiaoshan, the painting is still unable to stop the game, "because a complex love scenes, so often seem to be reclaimed and There's no making without breaking. a perfect, was inserted into the deconstruction, other factors, and find a possible", "really thrilling, smoke, often a piece of territory settled there is also the opening of the second front, it is awfully."

Such a state of her painting appeared more in the early stages of learning, of course, I have not seen, but in the text in some sense: vigorous, natural and amazing.

In fact, you can not learn to born with knowledge, and knowledge is not something, it is not trapped to learn checkpoints wins, Zhai for everyone.

Doctorate, in the framework of history, Luo Xiaoshan found his own position, write clearly more rational, the thickness and the ideas of the previous investigation and understanding, which has penetrated some realistic factors.

As for the specific works, the picture is no longer on the whole. She still love Paibingbuzhen, but the original outward into the inner conflict, entanglement and blend. The little girl picked up a pen, still have the old general vision and courage play impulse.

Her difficulties not only in the content of painting and the theme, the bigger challenge is to deal with the relationship between style and form, the traditional Chinese figure painting in the vivid portrayal, attention is paid to the former, the latter has not been able to develop a stronger than Western modeling capabilities, based on the relative ratio of two, Luo Xiaoshan make a choice is: "a thorough understanding of the character structure and accurately grasp the inner spirit of the object, and find the ink painting the resonance that made them, ready to have no regrets, a cross, Bibi hair, with a pen main line to solve other obstacles on the", namely inheriting the basic approach Zhejiang new painting in her view, not China no ink painting, ink is the main language features of China ink painting.

"As a carrier of information media and painting, ink itself is not only a kind of language, but also contains rich cultural connotation, namely the language accumulation and concentrated Chinese the unique cultural connotation and temperament, ink painting can not be the connotation and temperament." It is not easy, however, to be right.

Recently, she put more effort on historical figures especially collective historical figures painting, said he did so "on the back of the last century, the new century is to sound, for those who are already unable to speak about the vicissitudes of life and my soul, they suffer the confusion of inquiry of the whole world" this is really a great ambition.