编者按
2021年10月26日至11月28日，“正青春——九江学院青年教师美术书法作品展”在江西省美术馆开展。
此次展览集合了九江学院10位青年骨干教师和12位从中央美术学院、中国艺术研究院、列宾美术学院引进的新锐教师组成，展览作品形式极为丰富，涵盖了国画、油画、版画、雕塑、壁画、书法、水彩、综合材料等，力图展现九江学院青年美术教师群体近几年来的艺术思考和艺术水准。
何 微 1989 年生于湖南衡阳。2013 年毕业于中国人民大学艺术学院中国书画专业，获文学学士学位，2019 年毕业于中国艺术研究院，获艺术硕士学位。现为九江学院副教授。
砚边随想 世间也许有很多不如人意的事情，但身为画家无疑是幸运的，在面对一张白纸的时候，可以恣意挥洒，跟随自己的心意去组织、去安排、去创造。每当我拿起毛笔时，仿佛全世界都安静了，那是一种淡然忘我，不悲不喜的感觉。画画于我而言，就如同静心的一剂良药，能安抚我内心的狂躁和不安！There may be many unsatisfactory things in the world, but being an artist is undoubtedly fortunate. When facing a blank sheet of paper, he can paint freely, following his own heart to organize, arrange and create. Whenever I pick up the brush, the whole world seems to be quiet. It is a kind of self-forgetting, a feeling beyond sadness and happiness. Painting for me is like a good medicine to comfort my irritated and uneasy mind!
很多人在画画前，喜欢谈想法。我认为“想法”固然重要，但它终究要落到实处，否则就是纸上谈兵。画画来不得半点虚假，情感须是真挚的，大量的实践和练习更是一切的前提和基础，虚情假意的“假把式”是没有意义的。中国画所讲究的“笔精墨妙”，并不像看上去的那么潇洒。如果不通过磨练技法，也没有大批量作品的积累，是不可能达到“心手相应”的。
Many people like to talk about ideas before painting. I think that “ideas” are important, but it should eventually be implemented. Otherwise, it will just engage in idle theorizing. Painting allows no acting. Emotions must be sincere, and a lot of practice and exercises are the premise and foundation. The deceptive “trick is meaningless. The “fine brushwork ”that Chinese paintings pay attention to is not as unrestrained as it seems. If one does not practice skills and creates a large number of works, it is impossible to “coordinate the heart and hands”.
只有在不断的实践中，才能找到自己的“法门”。我在创作《云山系列》作品的时候，研究并临摹了很多画云山的高手。在临摹的过程中，我更多的是去体会前人作画时的心境，而不是单纯学习他们的笔墨技法。Only through constant practice can one finds his own “laws”. When I was creating “Yunshan Series”, I studied and copied many masters of Yunshan paintings. In the process of copying, I tried to understand the mood of the predecessors while they were painting, rather than simply learned their ink and brush skills.
下乡写生时，每当下起山雨，烟云袅袅时，我会冲进云雾中，冒雨展开画纸，下雨天才是我心仪的“好天气”。与临摹时追望古人不同，写生是在与自然相望相化的过程中找寻自己。When I go to the countryside to sketch, whenever it rains in the mountain and the clouds and fogs raise, I will rush into the clouds and fogs and start the painting in the rain. It is my favorite “good weather”. Copying is like pursuing and looking up to the ancients, while sketching is to find myself in the process of facing and merging nature.
这是一个漫长的过程，需要不断的实践和体悟，才能从所观照的事物与所创造的画面中找到差异，并不断地纠正。在这个过程中，你会越来越清楚自己想要达到的画面效果，并明白自己哪方面的功夫不够，有目的性和针对性地去磨练和提高。如此一来，对于山水画传统就不再是被动的接受，是主动的学习，效果将事半功倍。This is a long process that requires constant practice and understanding to find the difference between what is being observed and the painting, and to constantly correct it. In this process, you will become aware of the painting effect that you want to achieve, understand what you have not done enough, and train and improve with purposes. In this way, you no longer passively accept the traditional landscape painting but actively learn it. The effect will be better and the effort will be less.
当你创作出和别人不一样且不被认可的作品时，先不要急于否定自己，你要做的不是改变，仅仅是调整，也许若干年后你会发现这种另类是上天赐予你的天赋。When creating works that are different from others and are not recognized, you should not rush to deny yourself. What you have to do is not change, but just adjustment. Maybe a few years later, you will find that this kind of difference is a gift from heaven.
古语有云：“智者乐水，仁者乐山”，中国人在山水间寄托了更多的精神内涵。与此同时，古人认为，人的生命由精、气、神统摄，卧的姿态易于神游气散，看画要比真的去爬山轻松得多。今天来看，有点类似于我们乘坐缆车时的观察体验，视野广阔，身心放松。所以我的画面上总是有缆车，我认为缆车在某种程度上接近古代的“卧游”精神，并有一定的时代感。
There is an old saying: “The wise man finds pleasure in water, while the benevolent man in mountains”. The Chinese have brought many spiritual connotations into the landscape. Meanwhile, the ancients believe that the human life is supported by energy, breath and spirit, and the lying posture is easy to relax the body and mind. Thus, it is much easier to appreciate the painting than to really climb the mountain. It is a bit like the observation experience when we take the cable car. The vision is broad, and the body and mind are relaxed. Therefore, there are always cable cars on my paintings. I think that the cable car to some extent is close to the ancient “lying” spirit and has a certain sense of the times.
（文/何微）
一个不想做厨师的吃货不是一个好画家
我常和何微开玩笑说：“相比你的绘画，我更喜欢你的厨艺；相比你的厨艺，我更喜欢你的性格。”他每闻此言，总要佯作愠怒，辩白说自己是画家。言下之意，绘画才是他安身立命的本行。其实这几样本来也无从比较，不过在我认识的画家里，何微确实是最会做饭的一位。爱做饭，就先要爱吃、懂得吃。我和何微相识十余年，从人民大学西门外的烧烤、一手店的哈尔滨红肠到立水桥边的地摊烤鸭肠、粤菜馆的烧鹅、大碗居的鱼头泡饼……一口口自青涩少年吃到中年油腻之年，陶陶然复忡忡然于北苑的大碗粥店持排骨相对大嚼，深夜灯火犹明，此中自有真意。
据李世济说，她的老师程砚秋一晚上能吃一个大肘子外加十个鸡蛋；赵之谦“素强饭，食量兼人”被他的儿子郑重地写到行状里；张大千美食家之名号更是播扬海内外。可见，何微的“同道中人”也不在少数。归根结底，搞艺术也是个力气活儿，总要吃饱了才好施展手段。若套用水浒传里武行者的话说，便是“吃一分好，便有一分本事；五分好，五分本事；我若吃了十分好，这气力不知从何而来”。
程祖的唱腔曼妙清新，没有一丝俗气，若单看何微的作品，你也断然想不到这样清逸的画风出自一个烟火气十足的汉子之手。不过，要有这样的反差萌，才有趣，有味道，有不尽之意。湖南有衡岳，那是何微的家乡，人杰地灵，近代以来，尤其出了不少豪杰。我和何微相处越久，越觉得他轻松放任的背后，有一种顽强的韧劲，一种“不破楼兰终不还”的勇往之气。这种骨子里的认真和强悍包裹在他嬉笑放达的处世态度里，不易被人识破。他的作品是幽淡而空灵的，对应着时代的繁华与纷杂，坚守着一片“具体而微”的净土。我忽然记起大学刚毕业的时候，何微找人印制的个人名片，名片的背面只有干干净净的四个字：以戒为师。（文/赵绍华）
作品观后感&创作视频
青岩崔巍，云烟为径，引人入林下，寻寺钟，临悬亭，步村郭。山坳隐幽和缓，可行舟泉边，常闻飞泉击水，露滴细竹，其声飒然。峰崖高悬，卧缆车而游，行间霞光与日色皆明灭云后。老松岣嵝探望已逾百年，而山色未尝望尽。我行一山，我见万象和畅悠然。
（文/阳丹）作品展示
何微 热气球 绢本水墨 34×34cm 2021年
编 辑：刘自川
审 核：吴 平
核 发：雷 晨
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