马科斯-里卡多-巴纳坦
汉学家弗朗索瓦·于连在他的著作《来自本质或裸体》中曾经说过：“相对于在中国传统绘画中缺少的对人体艺术的表现，是欧洲绘画的一大亮点。从原型的完美到自然主义的绘画手法或者是线条刻意的简明化，所有出现在绘画史和雕塑史上的作品皆可以展现这一点。”哲学家马内尔·欧莱在接受采访时直言不讳的表示：“裸体和希腊思想之间有一种直接的联系，因为希腊人思考事物本质，思考人类自身和人类在自然界中的独立。裸体可以被认为是自然的，但这不是绝对的，裸露本身才是自然的。如果说服饰是对自然体的一种突破，那么裸体便是一种对自然的双重突破。接下来他还说：“裸体艺术是欧洲产生的一个特定流向，却被中国忽略了很长一段时间。”
我承认，面对浩瀚的中华文化，由于各种有差异的文化不断更替了整整五千年，我并不敢断然下结论说裸体艺术在中华传统绘画中从不曾存在，我觉得当我们欣赏中国画家罗发辉的作品时，恰恰让我们感受到了这一点。这位我将要致意的画家正在多洛来斯得席埃拉画廊展出他的作品。之所以这么说是因为我觉得这个展览的中心作品恰恰描绘的是一具裸体。从现代的甚至更超前一点的视角看，这都是一具非常奇特的裸体。画中裸躺的女子白色的肉几乎模糊得晕染到了画的其它部分，特别是面容部分有多次的重叠和适当的交叉。面容部分通过对这种主导的白色色调的被动表现，呈现出了一种隐形的裸露。这是一种降低了甚至掩藏了色情意味，却具有潜力和颠覆性的裸露。
我并不是说色情是中国文化的一个禁忌。恰恰相反，在他们的传统文化中有我所知道的最具潜力的，同时也是最明确、最具想象力和最复杂的关于性的书籍。比如李云的《天爱的织锦》，或《金荷花》和《金瓶梅》的残卷，这些十六世纪的艳情小说，和《红楼梦》和《梅花杯》一样，都受到墨西哥诗人奥克塔维奥帕斯高度赞赏。这些文本不可避免的遭受了封建时代的大清洗，包括在西方也一样；但是，不像大多数欧洲享乐主义的小说，尽管这些小说逃不开说教和表达身心痛苦的用意，其中却已经把性看做一种对幻想和快乐的开放，这似乎摆脱了仅仅描绘色情场景的单调性。
可以说色情，尽管是以一种常规的谦逊的、掩藏了裸体的方式存在，却深深根植于中国文化。但它恰恰是罗发辉作品中很特别的一个重点。比如当他画花时（《玫瑰园》，2004）展现的带着令人惊讶的肉的花瓣和有着张开的雌蕊和雄蕊的玫瑰。比如他现在策划的直面欲望、肉欲和高潮的无限推迟的主题（2005到2007），表现爱的怀抱的复杂性。
弗朗索瓦-于连还谈到，围绕着希腊的楷模，裸体在西方是不可或缺的，是一个不可避免的对本质的追寻。服饰的作用是描绘出整个社会中的归属系统，是表明身份的迫切需要。但是，这在现代主义时期彻彻底底的被颠覆了，归属系统被打破后，人的身体在字面意义上被“发现”了；不再遮蔽身体，不只意味着表现，还意味着对某些自然层面的和文化层面的东西的征服：自然。卸下这真实而具体的肉体所承担的深重罪孽，任由色情尽情泛滥，虽然还不是完全自然的，但至少已经不再是一个秘密：这就是现代主义所要描绘的扭曲、罪恶、升华、美化或那些从前被楷模所禁止的人体的胜利。在这个现代的游戏中，罗永辉的画作占据了一个远远超出了色情范围的位置。
罗发辉（中国重庆，1961）是一位画家中的画家，主攻油画，他的作品有一种奇特的完美性。在他2008年四月在“脸和面孔”小组中崭露头角之后，这次的个人画展能让我们深化对其作品的理解，给我们提供了一份更详尽的关于中国绘画的资料，展现了这个不可阻挡的热潮中产生的丰富的流派和手法，使我们跟这块伟大的大陆和中国文化之间产生了一种新的、空前的联系。现在处于四十到五十岁之间的这一代画家，既是相当成熟的一代，具有稳定的价值；又是相当年轻和多样化的一代，能呈现出这个国家的艺术产业概况。此外，恰恰是罗发辉的一幅画让我希望能用中国化的眼光去解读，好全力感受他的颠覆和深刻的、正式的、最终道德上的革新，这些就是人体的裸露所应该达到的目的。
我非常喜欢这个在西方世界里无法发现的惊喜。但我更希望看到这富有感染力的裸体能够以其他的方式感染到其他的面容；这些粉红色、紫红色和深红色的斑点能够燃烧并且给予白色大理石以生命；这些形象能够变成有趣的、张扬庄严的爱情的私密印章。
马德里，2008年10月
LUO FA HUI:Assault on the nude
Marcos-Ricardo Barnatán
According to sinologist Francois Jullien in his book"On essence or the nude",artistic representation of the human body,ranging from archetypal perfection to naturalism or rhe most artificial schematic depiction - all of which exist in the history of art and sculpture -is one of the features which distinguishes Europe,compared with its absence in the traditional plastic arts of China. In his interview with Manuel Ollé, the philosopher appeared even more specific:"There is a direct relation between the nude and Greek thought, because Greece believed in essences, in man as himself,the isolation of man from nature.One could think that the nude was something natural,but that is not the case at all,it is nakedness that is natural .Clothes constitute a rupture with the natural being,and the nude is a double rupture with what is natural."And then:"the nude corresponds to a certain option Europe has chosen and one which China has side-stepped."
I admit that the vastness of Chinese culture ,those five thousand years of cultural difference without any of the resolution that comes out of continuity ,have not allowed me to confirm the former - the absence of the nude in Chinese traditional plastic arts - but it does serve as a stimulating starting point when looking at the work of Luo Fahui,the Chinese artist whom Dolores Sierra is now presenting and whom I must now greet. For I think the central piece of this exhibition is precisely the nude. A very particular nude,seen from a modern and slightly forced perspective , where the white flesh of a reclining woman will radiate double meanings through the rest of the paintings ,especially through the recurring or intersecting faces.Faces,which with their passive expression empowered by the dominant white colour,suggest an invisible nudity.A nudity where eroticism is reduced, almost underground, but powerful and subversive.
It's not that eroticism is a problem in Chinese culture.On the contrary.Their tradition embraces some of the most sexually potent books I know,the most explicit and at the same time most imaginative and sophisticated . These include novels like Li-Yun's Tapestry of celestial love ,or the Golden Lotus and the rest of Chin Ping Mei,the anonymous cycle of XVIth century erotic narrative of which he is part,with Dream of the Red Chamber and The plum in the golden vase,both much appreciated by Mexican poet Octavio Paz.. These are texts which have suffered from inevitable censorship during periods of Puritanism, in the West as well ,and which ,unlike most European libertine novels ,open sex up to the imagination and realms of pleasure,and although not totally exempt from moralizing and the presence of physical and emotional pain,they avoid the repetitive monotony of the usual erotic repertoire.
One could say that eroticism,despite that form of conventional modesty that outlaws the nude,has a strong presence and is firmly rooted in Chinese culture.But above all,it is an important theme in the work of Luo Fahui.That is certainly the case when he paints flowers("The rose garden",2004),achieving a spine-chilling fleshiness in the petals and open pistils and stamen of the rose.And it is the same now ,when he directly confronts the themes of desire, lust and endless deferment of his climax(2005 to 2007). In other words,the sophistication of the amorous embrace.
Adhering to Greek cannon , Francois Jullien concludes that in the West,the nude corresponds to an invincible need for the absolute,an inevitable search for essence.
The suit has done the same ,with its need to narrate the whole system of property to which man attaches himself in his culture,with his overriding need to make clear who he is. Who he is in reality . But this breaks down once and for all in the modern era, where all systems of property disintegrate and the body is literally discovered: it stops being covered up ,not only in representations of itself, but within the clothes themselves ,achieving something not quite natural,more cultural: naturalness.Depriving the real,physical body of its sinful burden,allowing eroticism to flow freely,which is nor natural either ,but no longer secret:that is the procedure followed by a modernity that paints those glorious bodies -distorted,damned,exalted,embellished or simply manifest -which the cannon prohibited . It is this modern game,going beyond and approaching eroticism,to which the painting of Luo Fahui subscribes.
Luo Fahui (Chongqing,China,1961), is a true painter ,trained in oil painting ,which he raises to a rate level of perfection. This personal exhibition,which will allow us to look more deeply at the painter's work , after his appearance in the group exhibition "Face and Faces"in April 2008 , provides us with more details about the painting of emerging China,demonstrating a variety of trends and styles being produced at this moment of unstoppable blossoming,in a new and singular relationship with the great continent and great Chinese culture . He belongs to a specific generation, that of painters who are now between forty and fifty-five years old,a generation with sufficient maturity to be of safe value and young and diverse enough to represent the range of this country's artistic production. And his work is one I would like to be able to read with Chinese eyes,so as to be able to feel the full force of subversion,of profound,formal and ultimately moral innovation that this human nakedness should produce.
I should enjoy that surprise that Western eyes cannot experience,that little shiver of scandal.But it's enough for me to see how the radiant nude infects the other forms,the other faces,and how those pink ,fucsia,and magenta stains,which wound and revitalize the marble,mortal whiteness of his figures,change into coded signs of amusing and noisily ritualistic love.
Madrid,October,2008
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