85时代生命写意杨树峰333件（1979——1989）艺术作品展的九个乐章，真实生动地记录了杨树峰八十年代生活和创作的整个过程。
作者作为一名视觉艺术家，他的艺术作品比任何其他交流形式都更具有说服力。杨树峰的这批作品，反映了作者在当时特殊社会背景下的真实情感、精神和意识，具有广阔的交流能力。
这批作品，在其艺术形式下，潜藏着巨大的生命力和精神性，具有人类艺术价值！
The above is the nine movements of 85 times•life Impression —333 pieces of works of Yang Shufeng exhibition, vividly and truly recorded the whole process of living and creation of Yang Shufeng.
As a visual artist, his art works have more persuasiveness than any other exchange manner. These works of Yang Shufeng reflect the true emotions, spirits and awareness of author in the special social environments at that time, possessing wide exchanging capacities.
These works hides great vitality and spirit under the art forms, possessing artistic values for the whole human race!
We hope appearing more pioneer artists with different styles and taking life as topics!
第一乐章 风景写生——迷失在大自然的情怀里
自然风景画在绘画诸门类中的地位无可替代，返璞归真、回归自然是生命的本性。大自然给予艺术家温馨的爱，在大自然面前，艺术家回归为一个乖孩子。
受到家庭和成长环境的影响，杨树峰在六岁时开始迷恋上绘画，绘画艺术慢慢启蒙了他幼小的心灵，使他对艺术世界充满了美妙又浪漫的向往。
从到农村插队到走进艺术学校，杨树峰越来越迷恋大自然。他到大自然中去捕捉阳光和色彩，去谛听潜藏在天地山川间的诗和歌。自然界的一草一木、阴晴圆缺都让他欣喜和热爱。在充满活力和乐趣的写生过程中，杨树峰提高了眼力、悟性与绘画技巧，实现了色彩、技法、情感与大自然在作品中的完美结合。
在这个乐章中，作者用稚嫩却又坚定的笔触、热烈的色彩、深情的造型，表达着对大自然的仰慕之情，如同婴孩依恋母亲乳汁的甜蜜温暖，作者迷失在大自然纯真洁净的情怀中。每幅作品都是在自然中的一次感通，一次孕育、一次创造生命的过程。它们是儿童般的真情流露，更仿佛恋人慢慢开启心扉，让自然与艺术的永恒气息融入血液。
这个时期的作品没有任何的学院派气息，也看不到僵硬的学术性技法，每幅作品都是在用它的稚嫩美深深打动着每一个人。代表作品有《校园写生》、《红古写生》、《东北写生》、《甘南写生》、《新疆写生》等，创作时间基本是在1979到1981年之间。
The first movement: Landscape Sketch—lost in feelings of nature
The status of natural landscape pictures is irreplaceable in the field of painting, returning to innocence is the original nature of life. Nature supplies warm loves to artists, and artists return to poppet in front of nature.
Influenced by his family and living environment, Yang Shufeng began to be infatuated with painting, and painting slowly enlightens his young heart, making him full of wonderful and romantic longing for the art world.
From going to live and work in a production team in a rural area to entering into art academy, Yang Shufeng become more and more being mad for nature. He catches sun shine and colors, listens to the poems and songs hidden in nature. Everything of nature all makes him joy and loving. In the sketching processes full of vitality and funs, Yang Shufeng improved his discernment, savvy and painting skills, realized perfect integration of colors, skills, emotions and nature in his works.
In this movement, the author applies tender but firm strokes, warm colors; soulful styling to express his worship to nature, just like babies relying on mums’ latex, and the author lost himself in pure and clean thoughts and feelings to nature. All works are emotion exchanges with nature, and process of gestating and creating lives. They are child-like true feelings, but more like lovers slowly opening hearts to infuse the eternity of nature and art into our blood.
His works at this stage have no academic atmosphere and no rigid academic technique; each work all deeply affects everyone with its immature beauty. Representative works includes “school painting”, “Honggu painting”, “Northeast China painting”, “Gannan painting”, “Xinjiang Painting”, most of which were created at the period of 1979 to 1981.
第二乐章 人物写生——用情造形的初期尝试
1980年，杨树峰进入艺术学校已经两年，他已完成了大量素描和油画的课堂作业。此时的他非常苦恼，画画本来是件快乐的事，完成作业却那么枯燥无聊，似乎只是在对象上重复地涂抹颜料，画这些画不是他的真正兴趣。入学的第三年，杨树峰感觉好似被圈在笼中快要窒息了，精神情绪极差，苦恼得失眠、脱发，他提出休学，却没有得到校方批准，无奈继续留校。
在此期间，杨树峰游历了新疆等地区，被当地少数民族的淳朴热情深深地感染，开始创作人物写生和速写，用情感爆发的短暂时间、简练的笔触、单纯的色彩来表达这种炙热的情感。
这期间的作品在表现形式上具有自由感，不苛求形与色的关系，重在情绪宣泄，重在反应内在心灵，更富有审美意义。每幅看似不完整的形象都能将人带回到那个原生态特殊美的情愫之中，耐人寻味。
作者在创作时进入一种忘我的自由驰骋的艺术境界，在这种境界下创作出的艺术作品是珍贵的、本质的、也是其价值所在，具有独特的光彩和魅力。从这些肖像人物作品里，我们已能感受到潜藏在作者内心深处那股极强的破坏力。代表作品有《少女头像》、《同学头像》等。
The second movement: Character Sketch—first attempt on characterizing figure with emotion
In 1980, Yang Shufeng has been in art academy for two years and finished plenty of homework on oil painting & sketch. He was very distressed at that time, for painting is an original funny deed, but finishing homework is so boring, just like repeatedly coating on targets, painting like this is not his true interests. In the third year in art academy, Yang Shufeng felt nearly stifled as in a cage with bad spirits and emotions, appearing insomnia and hair loss. He submitted to suspend his schooling without losing one's status as a student, but was not permitted by the school, so he had to stay in the academy.
In this period, Yang Shufeng visited Xinjiang area, and was deeply affected by honest enthusiasm of local minority. He began to create character paintings and sketches, expressing the hot feelings with concise strokes, simple colors in the short emotional outbreak time.
Works in this period have freedom feelings on expression, requiring less on relations of figure and color, emphasizing on emotional catharsis and reflecting inner spirits, and with more aesthetic significance. Each seemingly incomplete image all could introduce us to the feelings to the original ecological special beauty, and is intensely interesting.
The author entered a selfless art realm with complete freedom when painting. The art works created in this realm are precious, essential and valuable, possessing special brilliance and charm. We could feel the strong destructive power hidden in author’s heart in these character works. Representative works include “girl head portrait”, “classmate head portrait”, etc..
第三乐章 纯艺术的创作——生命力在这里找到了归宿，变形的人物回到表现绘画里，很多人性问题体现得淋漓尽致
1982年6月，杨树峰从师大美术系毕业。在两年多的等待分配的煎熬中，他感慨于四年大学生活学院式教学体制的压抑，社会的残酷现实，创作欲望急剧膨胀。他将对社会、人性、命运的绝望，对纯艺术绘画不可能观念的挑战，通过神奇的、变形的、甚至粗野的表现形式，从体内顺着肌肤流入到作品里。
1983年，杨树峰被分配到兰州园林局，居住在金城盆景园。盆景园里遍地郁郁葱葱，无限的生机盎然。果树在阳光下昂扬生长，铺满了青草馨香的纤纤小路，都令他深深迷恋。他好似一个笼中野兽摆脱了束缚，突然之间回归自然，找回了精神才智，从此无拘无束、自由独往、傲视一切，犀利的目光和手在画布上敏捷地操作，六年多积蓄的能量瞬间爆发。
此时的作品不同于以往任何时期，它们更像是一群自由的野鸟终于挣脱了牢笼，凭着直觉找到了艺术无限的可能性。大部分作品是变形的人体和带有象征表现意义的画面，包括人性、生死、天地等主题，内容涉及动物、风景、人物等。大量的形体及色彩是超感性的，以红黄蓝为主色调，热烈而浪漫，透着青春的冲动和血性，比如奔跑的红色小男孩、血红色的三口之家、硕大的金色女人体、成熟期、儿歌、风中儿童、教皇式的自画像、拳击手式的青年画像、宗教般恢弘的圣家族等等。每一幅作品都透着血气，是任何人无法模仿的——包括作者本人。
这一时期，作者处在一种不拘于形色、身心愉悦的创作状态，过去的压抑生活逐渐淡化在作品中，烘托出恰到好处的成熟色。作品中形和色的结合日臻完美，对形的探索、对色彩的掌握都达到了近乎超自然完美的地步。纯艺术绘画和纯精神在这些作品中体现得淋漓尽致，生命在这里找到了归宿，艺术生命蓬勃爆发。
The third movement: pure art creation—vitality found the destination, deformed figures returned to expressing paintings, many human natures are expressed completely
In June, 1982, Yang Shufeng graduated from art department of Normal University. In the suffering of waiting for allotment, he sighed with emotion the suppression of academic teaching system in the four year university life, and harsh social reality, his creative passions rapidly expanded. He expressed despair to society, human natures and destiny, and challenges to impossibility concepts of pure art painting in his spirits in his works with magic, deformed, even crude expressions.
In 1983, Yang Shufeng was allotted to Lanzhou Bureau of Parks and Woods, living in Jincheng bonsai garden. Everywhere in bonsai garden is green and luxuriant with infinite vitality. Fruit trees growing robustly in sun shines, slender paths paving with grass made him infatuated. He was like a beast without constraints, suddenly returning to nature and finding his spirits, and he operated his paint brushes and sharp eyes on canvas swiftly without any limitations from then on, energies accumulated for 6 years instantly broke out.
Works in this period are different from any previous stage. They are more like a group of free wild birds escaped from constraints, reaching the infinite possibility of art with intuition. Most works are deformed human bodies and pictures with symbolism, including topics of human natures, life and death, sky and earth, contents referring to animals, landscapes, character. Plenty of shapes and colors are super emotional, taking red, yellow and blue as dominant tones, hot and romantic expressing impulse and bloody of youth, such as running red boy, bloody-red three-member family, huge golden woman body, maturity, children’s songs, children in the wind, pope-style self-portrait, boxer-style portrait of youth, holy family with religious-like brilliance. Each works all express with bloody, impossible to be imitated by anyone, including author himself.
In this period, the author was in an enjoyable creation status without any limitations of shape and color, previous suppressing living has faded in works slowly, expressing appropriate mature colors. Integration of shape and color in works becomes flawless day by day. Author’s exploration to shape and controlling on color both reach a super-perfect status. Pure art paintings and pure spirits are completely expressed in these works; life found its destination, art life broke out.
第四乐章 线描人体——黑白灰轻柔之风吹我走进梦的故乡，抚摸人体美，体会线的爱
初到金城盆景园的创作冲动稍稍平息后，艺术生命不会停止。此时的杨树峰顺手捏来一张纸，用一只单色炭笔无意识地在纸面上轻轻流淌，笔锋就像长了翅膀的天使在无与有之间飞翔。他在不知不觉中绘出三十几幅线描人体题材的单色画，像风、像云、像水、像气，体味着唯美的美妙。
用线拥抱着想象，一张张的作品正是在这种情绪下孕育而来。这批作品将作者带回梦的故乡，生命力的情感在此时显得如此流畅、如此细腻，从不曾想过强烈的情感竟也有如此温婉的一面。他相信，很多时候，艺术是可以疗伤的，能够祛除那些仿佛留在生命里的永恒的伤。
这些好似宠物的小作品，带给人们无限美好的畅想。
The fourth movement: line-drawing human body—soft wind of black, white and grey blows me into dream homeland, fondling body beauty, feeling love of lines
When creation impulses of originally reaching Jincheng bonsai garden quelled a little, art life would not terminate. At that time, Yang Shufeng just took a piece of paper, and drew unconsciously with a charcoal monochrome on it, his strokes would fly between emptiness and substance like angles with swings. He drew more than 30 monochromes with topics of line-drawing human body, like wind, or cloud, or water, or air, expressing aesthetic beauty.
Embrace imaginations with lines, pieces of works are just created in this emotion. This patch of works bring author back to homeland in dream, emotions of vitality are so smooth and exquisite at this time. It is never imagined that so strong emotions even have so gentle aspect. He believed art could heal at many times, being able to dispel those permanent injuries seeming leaving in life.
These small works like pets bring infinite beautiful reveries to people.
第五乐章 静物——短暂的柔情似一缕阳光爬上画面，却不能歇息
这一段强烈的创作激情过后，作者的情感得到了释放从而平缓，生活上也有了婚姻。他三次到甘肃农村两当地区创作烧制陶艺，开办了兰州特种艺术研究所，同一时期又创办了东方艺术沙龙，他和大家饮酒交流、讨论艺术，他的家和沙龙成为兰州及全国向往艺术的青年人经常光顾的聚集地。
因为有了情感的依恋，作者的身心得到了短暂的歇息，作品里自然而然流露出柔情美妙的一面。作者描绘了很多带有脉脉温情的静物作品，如金红色的丁香花、干花、婚照、水仙花、鸽子等，寻找安宁、寻找没有声息的永恒。
The fifth movement: still life—temporary tenderness climbs on paintings like a piece of sun shine, but could not rest
After the period strong creation passion, author’s emotions were released, then became gently, and author married, too. He went to Liangdang area of Gansu to create pottery for three times, established Lanzhou Special Art Institute, and also established Oriental Art Salon at same time. He exchanged with other people with drinking wines and discussed art. His home and salon became gathering places for young people longing for arts from Lanzhou and the whole nation.
For attachment of lover, author’s body and mind took temporary breath, works also naturally expressed tender sentiments. Author drew plenty of still life works with warmth, such as golden lilac flowers, dried flowers, wedding photos, daffodils, pigeons, searching for peace, and quiet eternity.
第六乐章 迷境绘画——默想的空间、宇宙和生命壮烈而安宁地交织在一起
敦煌旅游后，作者思考着宇宙哲学、佛教、文化传统等，创作了一大批迷境般的绘画。画幅较小，内容包括人物、动物等，色彩趋向于浓重深沉的灰、棕、深红色调，多采用变形构成的手法来完成，人物线描带有一种宗教气息，如夜色中的猫、空中的佛、背坐的女人体等，画面里有宇宙、有生命、有默想、有宁静的等待。
这段时间，作者更多是在灵魂的家园徘徊，凝重的深棕色取代了前一时期的血色，画面上平整的躯体代替了强烈扭曲的外形。这些作品能够引领观众畅想遥远的未来，思考人生哲学。
The sixth movement: uncharted painting—meditated space, universe and life heroically and tranquilly interlace together
After visited Dunhuang, author began to think about cosmic philosophy, Buddhism, culture and traditions, created plenty of uncharted drawings. The frames are small, contents include characters, animals, colors tend to thick and deep grey, browse and dark red tones, primarily finished with deformed structures, character line-drawing has a religious atmosphere, such as cat in the darkness, Buddha in the air, female body sitting back. There are universe, life, meditation and peaceful waiting.
In this period, author was more in the status of hesitating in soul family, the dignified dark browse replaced the previous blood, smooth bodies replaced the strongly deformed shapes. These works could introduce people to imagine the distant future and think about philosophy of life.
第七乐章 卡纸线刻画——情、性、爱的梦游者带我去了别地他乡
这个时期，杨树峰像梦游者一样在城市里漫无目的地游荡，很晚才回到盆景园开始创作。具象的形体、抽象的意境、独特的视觉形式冲击着作者的心灵，他使用特殊的工具、材料、手法，更深入地尝试着潜意识与图形的完美结合。
锐利的铁笔无数次划过纸面，作者用这种方法将自己的梦境展现出来，作品从无目的到慢慢有了形、有了色。线与色一次次地汇合交错，畅快淋漓的表现手法使这一时期的作品有了与前面作品截然不同的韵味。以至于连自己都不确定它们属于那种风格，很难用语言来解释。
无数个梦在这样的表现形式中诞生包括生命的、潜意识的、性的。这一时期的代表作《晚歌》、《生命泉》、《投生》、《母像》等等，道出了作者对时间、空间、性、爱等多种元素的感悟。
这批作品是作者在不到两个月时间里完成的，这种形式给我们的视觉艺术领域增添了新的篇章。
The seventh movement: jam-line characterization—dreamwalker of emotion, sex and love brought me to anywhere else
In this period, Yang Shufeng wandered aimlessly in the city like a dreamwalker until very late to begin creation. Representational form, abstract artistic conceptions, and unique visual forms impacted author’s soul, he applied special instruments, materials, skills to more deeply attempt perfect integration of unconscious and graphics.
Sharp stylus numerously crossed paper, author applied this method to express his dreams, works evolved from aimless to with shapes and colors. Lines and colors converge and cross, the complete expressions make works in this period possess a different aura from previous ones. Even author himself could not determine which style they belong to, it is difficult to explain in language.
Numerous dreams were created in this expression, including those on life, unconscious and sex. Representative works of this period include “evening song”, “life spring”, “reborn”, “mother painting”, expressing sentiments of author to time, space, sex, love.
These works were finished in less than 2 months, and this expression adds a new chapter in our visual art field.
第八乐章 油漆泼彩抽象具象画——飞流直下三千尺，解放的快感带来了永恒的震撼
在酒精的作用下，作者的艺术生命更加狂放不羁，灵魂与肉体在生死之间徘徊，体内本能的纯艺术激情强烈地回归了，一股无法阻挡的创作欲望冲击着作者的头脑和画笔。在短短三个月中，作者创作了大量的油画、油漆画和木雕。画面张力十足，强烈的视觉冲击力好似将积蓄了一生的能量一瞬间完全倾泻到作品上，强大的生理和精神力量使这些作品永远留有生命的迹象，更像是生命的写意。
这一时期作品的尺寸较前一时期要大一些，色彩趋于黑色，结构框架坚挺而严谨，抽象但理性成分较多，作品的视觉感知符号还是非常明确的。
1988年，作者参加了黄山现代艺术研讨会，带去了几幅木雕。可是，与会的人对这类纯艺术作品不太感兴趣，更多地关注具有模仿西方先前艺术痕迹的作品。但是没关系，作者在纯艺术的创作过程中自得其乐，艺术生命得到升华。
The eighth movement: paint abstract painting—liberation pleasure brings eternal convulsion
Influenced by alcohol, author’s art life is more unconventional and uninhibited, soul and body pace up and down between life and death, the instinctive pure art passions strongly returned. An unstoppable creation impulse impacted author’s thought and painting brushes. In short 3 months author created plenty of oil paintings, paint paintings and woodcarvings. The screen tension is full, strong visual impaction seems instantly pouring energies accumulated in the whole life into the works, the strong physical and mental powers make these works with life traces eternally, more like freehand brushwork on life.
Sizes of works in this period are larger that the previous period, color tends to black, frames are strong and tight, the works are with more abstract but rational elements. The visual perception symbols are still clear.
In 1988, author joined Huang Mountain Modern Art Seminar, and brought some woodcarving, however, the participators had less interest on this kind of pure art works, but more focused on works with traces of imitating western previous art. It does not matter for author because author enjoyed himself in pure art creation, and his art life got sublimation.
第九乐章 病床系列——肉体与精神在这里被轻轻放下，留待以后慢慢回想
经过了巨大的精神创作工程，杨树峰在生理和精神上严重消耗，他预感到生命似乎即将进入停止的状态。1989年9月，他终于倒下了，此后两年间卧床不起。他在医院的病床上创作了近三十幅病床系列、家族系列作品，内容关于生命和死亡，采用的材料比较温柔。
杨树峰在八十年代的人生历程，体现着在兰州时对艺术的执著、对生命的执著、对情感的执著，正是这种执著造就出一个特立独行、中国最具生命力和先锋精神的艺术家。
The ninth movement: sicked series—body and mind are laid down lightly, left to be recalled in the future
After heavy mental creation projects, Yang Shufeng has paid great physical and mental consumption, he had a hunch that his life would enter termination status. In September, 1989, he finally fell down, and remained in bed in the following two years. He created nearly 30 works of sickbed series and family series on sickbed, the contents refer to lives and death, and the applied materials are gentle.
Yang Shufeng’s life experiences in the eighties express his persistent to art, life and emotions when he was in Lanzhou, and just this persistent accomplished a special artist with most vitality and pioneering spirit in China.
【编辑：霍春常】
