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我的繪畫起點與那個時代的愛好美術(shù)的人一樣，也是從涂鴉描摹開始的。當(dāng)時的范本大多都是《紅燈記》、《智取威虎山》之類的小人書。后來參加學(xué)校的美術(shù)宣傳組，再后就找一個專業(yè)的老師學(xué)畫畫。當(dāng)時并沒有什么美術(shù)院校可以考試，對繪畫完全是出于愛好。從父母的角度認(rèn)為學(xué)門手藝，到時看能否進入居委會從事宣傳工作，避過上山下鄉(xiāng)這一關(guān)。
As with other art lovers at that time, I started painting from scrawling and portraying. Back then, models for painting available were picture-story books like “The Legend of the Red Lantern” and “Taking Tiger Mountain by Strategy”. I joined the Art Publicity Team of the school and learned painting from a professional teacher later on . There were no tests offered by fine arts colleges and universities and painting is totally out of interests. But from the perspectives of my parents, commanding a kind of skill would become a key to be a member of the neighborhood committee under the capacity of propagandist and avoid settlement in rural areas.
我繪畫的啟蒙老師是曾松齡老師，在我所在的城市里他是一位傳奇人物，廣州美術(shù)學(xué)院油畫本科畢業(yè)，在那個時代這種人是了不得的。我從他那里學(xué)到繪畫的基本技能，他的為人處事對我也產(chǎn)生很大影響。當(dāng)時學(xué)畫畫不像現(xiàn)在，要交學(xué)費。記得到了年底的時候父親會拿幾包“金鹿”香煙送老師，而老師有時會轉(zhuǎn)送幾包“大前門”作為回禮。可以說這時才是我繪畫歷程的真正開始，知道了繪畫需要寫生和明暗比例之類的技巧。最早對繪畫的認(rèn)識就是列賓之類的俄羅斯式寫實繪畫。當(dāng)時繪畫對我是一件嚴(yán)肅的事情，寫生一定要在晚上進行，打上燈光才能開始繪畫。文革時期經(jīng)常停電，只能點上煤油燈，父親為我在小小的閣樓上安上一塊活動的木板，算是我的寫生臺，擺上皮鞋書包之類靜物，時間長了閣樓的屋頂被熏出一團濃濃黑跡。對繪畫的狂熱在這時也慢慢顯現(xiàn)出來了，我自制了一個小油畫箱，恰好能放進書包，下午4點放學(xué)后就直奔海邊的一個工地，而且要步行四五公里，那個工地可以說是當(dāng)時學(xué)畫畫人的寫生基地，每天最少都有四五人到此寫生，大家最熱衷寫生的景色是用豎插杉排圍成的一個鋸木坊，前面有一個小水塘，黃昏時煥發(fā)出金色微波，草地上堆放著各類木段，這些本是普通不過的場景，卻令我們著迷，只因為那黃昏色調(diào)能喚出俄羅斯式的深沉?？梢哉f我少年繪畫基調(diào)就是俄羅斯式的自然風(fēng)光。
My abecedarian of painting is Mr. Zeng Songling who is a legendary figure in the city I lived and graduated from Guangzhou Academy of Fine Arts majored in oil painting, truly an exceptional person at that time. I learned basic skills of painting from him. In the meantime, his way of doing things and treating others has impacted me a lot. It was a totally different scenario to learn painting than today when tuition fee is required. I recalled that at the year-end, my father would present several packets of “Golden Hind” cigarette to Mr. Zeng, as a return, he would give some “Daqianmen” cigarettes. It makes sense to say that my painting course was started right at that time when I knew that painting calls for techniques of sketching from nature and focusing on the proportion of light and shade. My earliest knowledge about painting was the Russian style true-life painting of Ilya Repin. Back then, painting was a very serious thing for me and sketching from nature must be carried out in the evening and only with lighting, can I start painting. Power failure was of common occurrence during the Cultural Revolution. I had to lighten the kerosene lamp. My father installed a movable board in the small attic as my painting table. Leather shoes, bags and other still lives were placed. For long, the rooftop of the attic was smoked black. My enthusiasm for painting was demonstrated over time. I made a small oil painting box on my own which can contain my school bag. I went straight to the construction site in the beach at 4:00pm after school each day after walking four to five kilometers. The construction site could be seen as a base for people learning painting to sketch from nature. Every day, at least four to five people came here. The most favorable scenery was a saw mill workshop encircled by vertical China firs. There was a small pond before the workshop, golden wave was radiated before dark. Various kinds of wood blocks were put on the grassland. This is nothing but a common scene, but we’re impressed by it only because the twilight tone could arouse the Russian deep sense. So my painting tone in my teenage is Russian natural landscape.
1978年我考上廣州美院附中，當(dāng)時在汕頭是一件了不得的事，周圍許多人都知道某某阿弟考上了。廣州與家鄉(xiāng)有著天壤之別，相比省城汕頭簡直就是鄉(xiāng)下，有天晚上同學(xué)帶我到北京路逛夜街，商店的櫥窗讓我覺得好像身處電影里的香港街道。我在師兄的宿舍遇到一位穿白襯衣，滿頭銀發(fā)，帶著金絲眼鏡手扶拐杖的老人正在指點師兄，說一些我聽不懂的學(xué)術(shù)問題，后來我才知道這是副院長楊秋人。剛到廣州時總有許多令我激動的時刻，總之最初的感覺就是我與學(xué)術(shù)已經(jīng)很近了，心中充滿激情和忐忑。當(dāng)時附中還流傳著《初升的太陽》的傳記小說，是有關(guān)列賓美術(shù)學(xué)院附中一位早逝天才學(xué)生的生平，更撩起我心中奮斗的力量，少年激情的力量是無限的，但這種力度被引向了一種刻板的學(xué)習(xí)，手中緊握著4H最硬的鉛筆，緊瞪著眼前的石膏水果模型，我要畫出最豐富最細(xì)膩的質(zhì)感和明暗變化，連石膏翻模時沒有修好的接口縫隙都畫出來了，當(dāng)時對這些方法并沒有太多地抵觸反而其樂無窮，覺得惟有這樣才是攀登藝術(shù)高峰的基礎(chǔ)，倒是現(xiàn)在想起有點感慨。
I was admitted by the Middle School attached to Guangzhou Academy of Fine Arts in 1978, a great achievement in Shantou back then, which was made known to many people in my neighborhood. Guangzhou and my hometown had a world of difference. Compared to the provincial capital, Shantou was just a countryside. One evening, my classmate took me to Beijing Road to go window-shopping and shop windows rendered me a feeling that I was on a Hong Kong street in the film. I encountered an old man at the dormitory of my senior who wore a white shirt and gold-rimmed glasses, had white hairs and leaned on a crutch. They discussed about academic issues which I couldn’t understand. Later, I learned that it’s Yang Qiuren, Deputy President of Guangzhou Academy of Fine Arts. I was excited when I came to Guangzhou. After all, the first feeling was I was very near to academics, making me passionate and sperturbed. A biography novel “Rising Sun” was circulated in the Middle School, describing the lifetime of a talented student of the Middle School attached to Repin Academy of Fine Arts who died at an early age, which stimulated my power for fight. The strength of enthusiasm of a youth is endless, yet such a vigor was led to an inflexible learning. I held the hardest 4H pencil and stared at plaster model of fruits, aiming to paint the most colorful and exquisite texture and changes in light and shade. I even drew up the gap of port which wasn’t repaired well when the plaster model was rolled over. I didn’t strongly oppose to these techniques, yet I thought it was a great joy as it is the foundation for me to scale new heights of art. It’s still a mixed emotion when thinking of it now.

譯員：Joanna（品格資深綜合類英語翻譯）
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