回答:章水(Jonathan Kearney)


JK: I have always lived in cities but in Britain it is easy to visit the countryside. When I was a child, living in Liverpool, if the weather was good there was one place near where I lived, where I could see the mountains of north Wales. Often we would visit them and even if the weather was bad they were always spectacular.

JK: 我长期住在城里,但是在英国要访问郊区是很容易的。我很小的时候住在利物浦,有一个离我住地很近的地方,天气好时从那儿可以看到北威尔士的山脉,我们经常会去爬山,甚至天气不好的时候这些山看起来也依然是那样的壮观。


JK: I go often, I feel it is important to see the contrast between city and countryside. When I lived in Kunming we would often go to countryside areas and here in Britain it is also easy to get the coast and spend time beside the sea. It reminds me of how glorious creation is and how small and yet strangely significant one person is.

JK: 我经常去郊区,我觉得了解城乡之间的差异是很重要的。我住在昆明的时候会经常去农村,而在英国,去海滨消磨时间同样也很容易。这时刻提醒着我世间的创造是多么的辉煌,人的存在是多么的渺小,以及一个人的奇妙存在有着意味深长的意义。


JK: A few weeks ago I went with my family to a nearby river and rowed a small boat. Floating in nature is a wonderful experience.

JK: 几周前我和家人到附近的小河划船,漂流在自然当中是一种绝妙的体验。


JK: Dialogue often suggests words or verbal language, my own experience is much more a dialogue of silence. Dialogue also has to be 2 ways, it cannot be just one person communicating. I find that after being in the city it takes time to listen to nature and then join in with the dialogue, the real challenge is to carry that quiet dialogue back into the city.

JK: 提起“对话”,就会令人联想到书面语言或者口头语言,而我的个人体验更多的是一种寂静的对话。而且对话必须是双向的,单个人起不到交流的作用。我发现住在城里之后需要花更多的时间去倾听自然,才能融入到对话之中。而真正的挑战是我们如何将“寂静的对话”带回到都市生活当中。


JK: Yes it is valuable. As more and more people live in cities I think that a connection to the land will be become more important, one way this connection can be made is via art as most people will actually live in tall buildings literally disconnected from the earth. It is also increasingly important to understand the damage we are causing to creation and maybe landscape art can play a role in this. However it should avoid being didactic.

JK: 是的,这是很有价值的。我觉得当越来越多的人住进城市时,一种与土地的联系变得越发重要,当大部分人都住进高楼大厦直接和土地断绝了关系时,通过艺术建立起某种联系可以成为一个解决方法。这也能让我们越来越重视人对自然所造成的破坏,也许风景艺术能在这个中间起到一定作用。不过这必须避免说教的方式。


JK: Yes, it effects the way I see and also the rhythm of my work. In the city it seems that speed is important but nature has its own rhythm and I find my own work is simply observing that rhythm which is often much slower than modern day city life.

JK: 是的,这影响了我的观看方式和我的工作节奏。在城市里速度是很重要的,但自然中有它自己的节奏。我也发现我的作品是单单留意到那种节奏,就是很明显比现代都市生活更缓慢的那些事物。


JK: Of course being from Britain I must say JMW Turner! His ability to paint skies and seas was amazing and this reflects living in a small island country like Britain, the seascape is as important as the landscape. However, I also really enjoy ancient Chinese scholars and their landscape paintings, they challenge so much of western thinking it is very difficult to understand but at a heart level I somehow connect with them.

JK: 因为来自英国,所以我必须要提到透纳(JMW Turner)。他画天空和海景的能力是十分令人惊异的,海景和风景同样的重要,其作品反映着弹丸岛国的生活,如英国。然而,我还是特别喜欢中国古代文人和他们的山水画,他们对西方思维提出了如此大的挑战,以至于难以理解,但在心灵层面我莫名其妙地能理解他们。


JK: Audiences often see my work in ways I have not thought about and that enhances my own and the corporate experience. I simply observe and present those observations, I hope it gives people a different view of the world.

JK: 观众通常会用各种我未曾料到的方式看我的作品,这能加强我个人和观众互动的经验。我单单留意并展示那些观测的结果,希望通过这种方式给人以看待世界的不同视野。


JK: This is such a big question and it probably takes a whole lifetime to even begin to understand! The idea of stewardship is strong in the bible. The idea of the cosmos created by a good creator who describes it as good but then gives it to humans to steward, the adapt, to explore and play with. Stewardship carries the implication of improving and handing back to the owner in a better condition than when it was received. This is a daunting thought but with the biblical vision of ‘new creation’, a role of anticipating this future event in our present becomes clearer.

JK: 这是一个如此大的疑问,或许要花费一生才能开始有所领悟!《圣经》里有着很强的关于治理的理念,宇宙是由一位优秀的创造者创造并称为好的,然后它被交由人类管理、改建、探索和游戏。治理的职责暗示着这个世界必须得到改进,并以一种更好的状态交还给其创造者。这是一个令人生畏的想法,但却是圣经里关于“新造的人”的思想,期望这个未来事件的角色在我们当下变得越加清晰。


JK: The biblical narrative begins in a garden but describes a city as a goal of new creation. However, it is a city that integrates nature, with a remarkable river running through the centre and trees that produce fruit every month, with leaves that bring healing to the nations. Maybe this vision begins to describe my own thinking in answer to this difficult question.

JK: 圣经的叙述起始于一块园地(伊甸园),但以描述一座城邦作为“新造的人”的目标。然而,这座城邦融入了自然,有流过城市中心的具有标志性意义的河流,以及月月结出果子的树,还有能够治愈伤痛的树叶带给各国。在回答这个艰难问题的时候,也许这幅图景正开始描述我自己的想法。


JK: Again several biblical visions best describe my own dreams. Isaiah talks about mountains singing, tress clapping their hands and instead of weeds, beautiful trees (Isaiah 55). The writer also describes a wolf living with a lamb and concludes with a stunning vision of ‘the earth full of the knowledge of the Lord as the waters cover the sea’. How can water cover the sea, the sea is water already?! It has to be a vision of overflowing abundance.

JK: 有好些圣经里的图景最能够描绘我的梦想。以赛亚先知讲到大山小山发声歌唱,田野的树木也都拍掌,而不是杂草和美丽的树(以赛亚书55章)。作者也写道豺狼与绵羊同居,并以一幅绝妙的画面结尾:认识上帝的知识要充满遍地,好像水充满洋海一般。海里不是已经满是水了,水又怎能充满海呢?它必定是一幅丰富满溢的画面。


JK: In English the words ‘sanctifying personality’ can be understood in many ways but in relation to previous answers, it appears that renewed creation is an achievement of one individual, the ‘Son of Man’ as Jesus described himself in the bible. It is this achievement that we now have the role of implementing, as stewards of creation, which of course includes all humans.

JK: 英语里“成圣人格”这个词可以有很多理解方式,但联系到先前的回答,它发生在“重新创造”已经完成了的个体身上,就是圣经中“人子”耶稣的自我描述。正是这种成就,我们现在获得履行“成圣人格”的角色,作为造物的管家,当然包括所有世人。


JK: Gerard Manley Hopkins, the English poet who first used the word ‘inscape’, never gave a precise definition of its meaning but we can say the term represents the individuality, or unique inner nature of any being or thing. He also used inscape as a form of prayer – the way every being and every thing gives praise to God even if they are unaware of it. If the English concept lacks a precise definition, for me as a foreigner with only basic Chinese language skills, the Chinese concept is even more imprecise. However, the pursuit of art is often about exploring the unknown, dealing with questions that might not produce clear answers. For me this is all part of the adventure of art.

JK: 杰拉尔德·曼利·霍普金斯是英文诗人里最早使用Inscape这个单词的人(注:“就地造境”翻译为Inscape On The Spot,Inscape被翻译为接近于“境界”概念的英文单词),他却从未给出一个精确的定义和意义,不过我们能说这个术语代表人格,或者任何存在或事物独一无二的内在自然景象。他也用Inscape作为一种祈祷形式,每一个人和事物崇拜上帝的方式,尽管他们只是无意识地进行。如果这个英文概念缺乏一个精确的定义,对我这个只会基本中文技巧的老外来说,中文概念可能对我来说更加不准确。然而,艺术的追求常常是关于对未知的探索,讨论的问题也可能不会产生清楚的答案。对我而言,这就是艺术的冒险经历。

Let There Be Light

Per Johansson, who was born 1984 in Sweden, is a post-1980s artist. Different from many post-1980s artists with inhospitality and indifference, Per is a mild and modest person willing to think and communicate. Per is good at seeing the enchanting moments of the mysterious nature: the sun breaking out of a cloud, a tiny part of a lake, or some vaguely seen shadows. These parts of nature are all in some way related to light: in the ripples on the lake, in the fog, in the sky over an island, or in the twinkle below the eyelid when somebody just opens his eyes. Sometimes the light is clear and sometimes it’s vague. Different kinds of light finally become paintings: the phenomenon, the illusion and the vision of light. The phenomenon of light is Per’s observation on light and shadow in nature; the illusion of light is different pictures in his mind; and the vision of light is the spiritualized light Per experiences in prayer, within his soul.

Per has been passionate about light for many years. In the process of his observation and contemplation on light, Per transforms the light into abstract paintings on canvas. They are mainly in warm colors with an atmosphere as light as air, which brings a sense of rhythm into his paintings. Per’s depiction on light is inspired by William Turners (the forerunner of French impressionists) great accomplishments on picturing
light. Different from Turner, Per omits the factors which are interrupting the natural atmosphere, such as forests, trains and bridges which often appear in Turner’s paintings. In addition, Per’s paintings are not so obviously connected to specific religious issues as Turner’s. Per focuses on the light and the reflection of light, creating a pure atmosphere of meditation for both the audiences and himself.

Per never received formal art education. He was born with his love and passion for painting. He paints by intuition and from his own experience, which makes his painting unadorned and simple. Normally Per uses black color as background and on top of this foundation he paints with warm colors to create different levels of light, which is very similar to the style of heavy color painting in Yunnan province. Due to his high ambitions, Per is still working on some technical issues, such as the grasping of drawing style and color, the building of the airy sense. All of these elements need more exquisite skills to make the pictures even more vivid.

I believe Per is a tenacious and persisting painter, very interested in the process of art creation. A metaphor can describe him: if he believes there is water underground, he will dig until water comes out. Per’s pursuit on light comes from the desire in his heart, and his natural inspiration is the dialogue between his soul and God. In this process, Per gets familiar with the phenomenon, illusion and the vision of light.

Among the so-called emerging human beings – the post 1980s people who are closer to consumption and popular culture – there are some persons who still has passion for life and enchanting scenery, which
originates from the thinking on ultimate life existence. Regardless of time, human’s have always looked up gazing for the light, this search for an answer, for light and for spirit is urgent and inevitable. Therefore it’s very valuable that Per, who is such a young artist, already has reached such a high spiritual level.

Luo Fei,January 30, 2008


Per Johansson是一位出生于1984年的瑞典80后,和很多80后的冷漠孤傲不同,Per是一名性情温和谦虚善于思考并愿意和人交流的人。Per善于留意自然中神秘感人的瞬间:一面湖水的局部、一束夺出云层的光、一些依稀可见的不确定的影。它们都和光有关系:光在云层中、在湖面的涟漪上、在海岛上空、在雾气中、在梦中、在刚睁开眼的一瞬、还有一些是在脑袋里怎么也躲不掉的,有时清晰可辨,有时只是一些幻影。那些有关光的图像在Per的画面中形成:现象、幻象和异象之光。现象之光是Per对自然中光与影的体察与凝视,幻象之光是Per在头脑里在心灵中挥之不去的一幅幅图像,而作为异象之光,则是一位人格化的光对Per灵魂的吸引,使得Per借助这光也能体察自己灵魂的角落。