关于翟墨的最新作品：做为一个出生在海滨的孩子，我想要跟一只信天翁做朋友。

关于翟墨的最新作品

       我们都是某一片热土养育的子女，而我们当中的少数人则是大海抚育的后代。
       那些少数人的祖先最先知道海鸟实际上是去辽阔的海上觅食，然后只是回到陆地来筑巢休息。他们的祖先认为辽阔的大海是对他们勇气的终极考验，并相信在地平线的另一端存在着更美好的生活。
       当然，他们不一定是靠海生活的祖先的直系后裔。
       海洋的召唤会在时隔几代人之后，传到一些原本从事静坐工作的人的耳朵里，以一种神秘的方式把他们召集起来。从那时起，他们会仍然属于自己的故乡，但同时也属于大海。没有人能够阻拦他们，他们也永远不会接受在陆地与海洋之间做出选择。
       翟墨，就是这一类具有“双重身份”的人的典型代表。
       这一类人即使是为了履行社交的职责，例如推广他们的新作或者发布他新的探险之旅的消息，他们不得不抛投露面，去展示他朴实的内心世界，而人们仍可以感受得到他们已经迫不及待地去登上船的甲板。
…
       做为一个出生在海滨的孩子，我想要跟一只信天翁做朋友。
       我知道，这种鸟喜欢长距离飞行，来避免与人类相遇——它们不是都市的鸟儿。
       我认为它们对于航海家很有启发性。
       当你看到一只信天翁展翅高飞时，你意识到它的飞行要求它达到体力的极限，而海风和海浪则可能是它的盟友。
       我的家乡布列塔尼是西欧具有最鲜明海洋特色的省份之一。 记得，我参加过一次每四年在圣马洛港和加勒比海的瓜德罗普岛举办一次的跨大西洋”朗姆之路”独人帆船赛的起航仪式。
       当你想到参赛选手在起航线上准备好出发时所需要的巨大力量，可否想到信天翁每开始一次飞行之旅的时候，也同样如此，可否想过在这种大海鸟在开始一次海上飞行之后，它们每天都要飞行将近一千公里。
…
       翟墨已经成功进行了环球航行，像信天翁一样，他熟悉了大海的宽广与浩瀚。正如我经常说的，如果说人类是一种钟爱社交的种群，我相信海员则可以被划分为这一种群当中的一个热爱迁徙的特殊子群。
      我见过的大多数水手都不健谈，但是另一方面，他们又迫切地要把自己在海上的经历与别人分享。一些人写小说、日志或者诗歌，另一些人摄影或者绘画。他们当中的很多人，在可以获取设备的条件下，会通过网络聊天的形式实时地将他们对大海的印象、所遇到的来自自然的挑战和他们需要忍耐的孤独与外界分享。他们希望可以做为探知自己体力与精神极限的个体，而并非 现代社会的英雄来获得外界的理解与支持。
…
       翟墨既是为出色的画家，又是出色的航海家。
       中国的画家通常不会面对一座大山，支起画架来写生，更多时候，他们会到访一座大山，将重要的元素定格在头脑中。这些重要的元素中包括山峰如何连接天地，给艺术家升华精神，增添智慧和精神求索中的顿悟。在访问结束之后，画家会回到自己的住所或者画室闭门创作，有时候要花费一天，有时候则要花费数月甚至数年的时间来完成他们的画作。他们付诸于纸上的不仅仅是他们所看到的风景，更是他们内心的感悟，并将这些感受转化成为能量与和谐的凝聚力。
       翟墨并不画山峰。
       他画海洋，并以岛屿或者灯塔为背景。
       翟墨虽然不画山峰，但在他的笔下，大海却也显示出在中国文化里如此之重要的三山五岳朝圣之地一般的庄严感。
       他无需用他航行过的每个大洋或者海域的名称来给他的画作命名。尽管许多海域没有特定的名称，但每个海浪都讲述着独特的故事：以整体的形式，而非个体。对于我们而言，海洋是令人生畏的。面对连绵不断的海浪，我们感到海洋的广袤无限实在大大超出了我们所熟悉的范围。
       但是，对于翟墨来讲，海洋是寻常和令人放松的。
       他经历了多次海上风暴的洗礼，在严酷的海上度过了如此之多的日日夜夜，因此，即便是回到了陆地上，甚至是面对他的画布时，他依然经常感受到大海的悸动。  
       当我站在翟墨的一些画作前时，我宁可先穿上救生衣，再去近距离仔细欣赏他的作品。
       我在他的作品上看到，大海变得像岩石一样，显现出大理石般的纹路，渐淡的深蓝色笔触和暗淡的光线，代替画面其他部分的灰色暗影。
        在他的画作里，你能够看到那种冬日里胡同里的光线。
       也许，对于翟墨来讲，大海就像胡同一样，部分的海域又像胡同里零星分布的老宅子一样，依然使人联想到往昔日子的光辉。在遥远的地平线上显现出美丽的海岛，仿佛占据了风景线的全部。
       我既欣赏他做为航海家的进取心，又喜爱他的画作。我是他的崇拜者之一。
       信天翁，字面上的意思是“相信上苍的人”。这也正是艺术家们全心全意从事的。
       感谢你，翟墨！

菲利浦･勒加尔
塞舌尔驻华大使




About Zhai Mo’s latest works
By Seychelles’ Ambassador : H.E. Mr. Philippe Le Gall

We are all sons and daughters of a given land, and a few among us are also the adopted children of the sea.

They are the descendants of the first men and women who understood that seabirds are fetching their food through the vast ocean and return to the land only to nest.

Of the first men and women who guessed that the vast ocean was the supreme test to their courage and that there was a life, probably a better one, beyond the horizon.

Not the descendants in direct paternal line, of course!

The call of the sea may skip generations and be heard by people who belong to sedentary groups and who are co-opted in a rather mysterious way. From then, they still belong to the land where they grew up but they also belong to the sea. You cannot stop them as they will never accept to choose between the land and the sea.

Zhai Mo is a good example of such "dual identity".

Even when social obligations, to promote his book or his next adventures, bring him out of his shell and show his earthy side, you can feel the Man is impatient to stand on the deck of his boat.

…

As a child born close to the ocean, I wanted to have an albatross as a friend!  

I knew the bird is a long distance traveller avoiding the company of human beings: there is no “urban” albatross.

I think it is very inspiring for all navigators.

When you watch an albatross taking off you realize this is the part of its journey that demands the maximum of energy, then the wind and the waves may be its allies.

My native Brittany is one of the most sea-oriented provinces of Western Europe. I attended once the departure of “ La Route du Rhum “ a transatlantic single-handed yacht race organized every four years between Saint-Malo harbor and Guadeloupe in the Caribbean.

When you think of the incredible sum of efforts needed to be ready on the starting line of the race – and this is also the case prior to any major scientific sea trip – you imagine the big wild bird able to cover almost one thousand km a day once it has defeated gravity.

…

Zhai Mo has circumnavigated the globe like an albatross and he is familiar with the immensity of the sea. If mankind - as I often say - is a social specie, I believe sailors may be classified as a migratory sub-group.

Most sailors I have met are not talkative but at the same time they feel the urge to share with others part of their experiences at sea. Some write novels, diaries or poetry; others take pictures or make sketches. Many chat online when they have the equipment to stay in touch with the outside world: they want to communicate in real time their impressions and talk of the natural challenges and loneliness they have to face. They hope they can be understood and supported, but not like modern heroes, rather like individuals questioning their physical and mental limits. We all have this capacity. Few are willing to explore it.

…

Zhai Mo is as much a painter as a sailor.

A Chinese painter will not unfold his easel in front of a mountain and paint from nature. He will pay a visit to the mountain, fix its key elements in his memory, this includes the way the mountain seems to connect earth to heaven and elevates mind, adding wisdom and spiritual awareness to the artist's quest. Then he will go back home or his workshop and the next day, sometimes months or years later, paint what he has felt, more than what he has seen, and how, in his inner self, this has been transformed into energy and harmonious cohesion.



Zhai Mo does not paint mountains.

He paints the sea, with eventually islands or lighthouses in the background.

He does not paint mountains but under his brush the sea seems to have the same sacred meaning as the 5 mountains and pilgrimage sites so important in Chinese culture.

No need for him to give to his paintings the name of each of the oceans he sailed through. However it is neither generic nor anonymous: actually each wave tells a different story: oceans are plural never singular. It may be frightening for us. It is so much out of proportion with what we know that we see seismic waves everywhere!

But it remains common and casual for him.

Zhai Mo has weathered so many storms and  he has spent so many days and weeks in the intimacy of tormented waters, that even on land, even facing his canvass, he continues feeling the often hectic pulse of the sea.

In front of some of his paintings, I would like to wear a life jacket before giving a closer look!

I am less cautious when the sea becomes rock and gets the texture of marble, dark blue with fading touches and pale rays replacing the shades of grey present elsewhere.

In his paintings, there is something of the light you experience in winter while walking in a hutong.

Maybe the sea is like a hutong for him, and here and there, like hutong secret mansions, still reminiscent of the lustre of bygone days, colorful islands emerge on the line of horizon and seem to occupy all the landscape.
I like his enterprises as a sailor and his work as an artist. I am one of his admirers.

Literally xintianweng means “ believe-heaven-old man “. This is also what artists do, with all their heart.

Thank you, Zhai Mo !

（转自翟墨微博）

喜欢翟墨～

关于翟墨的最新作品

       我们都是某一片热土养育的子女，而我们当中的少数人则是大海抚育的后代。
       那些少数人的祖先最先知道海鸟实际上是去辽阔的海上觅食，然后只是回到陆地来筑巢休息。他们的祖先认为辽阔的大海是对他们勇气的终极考验，并相信在地平线的另一端存在着更美好的生活。
       当然，他们不一定是靠海生活的祖先的直系后裔。
       海洋的召唤会在时隔几代人之后，传到一些原本从事静坐工作的人的耳朵里，以一种神秘的方式把他们召集起来。从那时起，他们会仍然属于自己的故乡，但同时也属于大海。没有人能够阻拦他们，他们也永远不会接受在陆地与海洋之间做出选择。
       翟墨，就是这一类具有“双重身份”的人的典型代表。
       这一类人即使是为了履行社交的职责，例如推广他们的新作或者发布他新的探险之旅的消息，他们不得不抛投露面，去展示他朴实的内心世界，而人们仍可以感受得到他们已经迫不及待地去登上船的甲板。
…
       做为一个出生在海滨的孩子，我想要跟一只信天翁做朋友。
       我知道，这种鸟喜欢长距离飞行，来避免与人类相遇——它们不是都市的鸟儿。
       我认为它们对于航海家很有启发性。
       当你看到一只信天翁展翅高飞时，你意识到它的飞行要求它达到体力的极限，而海风和海浪则可能是它的盟友。
       我的家乡布列塔尼是西欧具有最鲜明海洋特色的省份之一。 记得，我参加过一次每四年在圣马洛港和加勒比海的瓜德罗普岛举办一次的跨大西洋”朗姆之路”独人帆船赛的起航仪式。
       当你想到参赛选手在起航线上准备好出发时所需要的巨大力量，可否想到信天翁每开始一次飞行之旅的时候，也同样如此，可否想过在这种大海鸟在开始一次海上飞行之后，它们每天都要飞行将近一千公里。
…
       翟墨已经成功进行了环球航行，像信天翁一样，他熟悉了大海的宽广与浩瀚。正如我经常说的，如果说人类是一种钟爱社交的种群，我相信海员则可以被划分为这一种群当中的一个热爱迁徙的特殊子群。
      我见过的大多数水手都不健谈，但是另一方面，他们又迫切地要把自己在海上的经历与别人分享。一些人写小说、日志或者诗歌，另一些人摄影或者绘画。他们当中的很多人，在可以获取设备的条件下，会通过网络聊天的形式实时地将他们对大海的印象、所遇到的来自自然的挑战和他们需要忍耐的孤独与外界分享。他们希望可以做为探知自己体力与精神极限的个体，而并非 现代社会的英雄来获得外界的理解与支持。
…
       翟墨既是为出色的画家，又是出色的航海家。
       中国的画家通常不会面对一座大山，支起画架来写生，更多时候，他们会到访一座大山，将重要的元素定格在头脑中。这些重要的元素中包括山峰如何连接天地，给艺术家升华精神，增添智慧和精神求索中的顿悟。在访问结束之后，画家会回到自己的住所或者画室闭门创作，有时候要花费一天，有时候则要花费数月甚至数年的时间来完成他们的画作。他们付诸于纸上的不仅仅是他们所看到的风景，更是他们内心的感悟，并将这些感受转化成为能量与和谐的凝聚力。
       翟墨并不画山峰。
       他画海洋，并以岛屿或者灯塔为背景。
       翟墨虽然不画山峰，但在他的笔下，大海却也显示出在中国文化里如此之重要的三山五岳朝圣之地一般的庄严感。
       他无需用他航行过的每个大洋或者海域的名称来给他的画作命名。尽管许多海域没有特定的名称，但每个海浪都讲述着独特的故事：以整体的形式，而非个体。对于我们而言，海洋是令人生畏的。面对连绵不断的海浪，我们感到海洋的广袤无限实在大大超出了我们所熟悉的范围。
       但是，对于翟墨来讲，海洋是寻常和令人放松的。
       他经历了多次海上风暴的洗礼，在严酷的海上度过了如此之多的日日夜夜，因此，即便是回到了陆地上，甚至是面对他的画布时，他依然经常感受到大海的悸动。  
       当我站在翟墨的一些画作前时，我宁可先穿上救生衣，再去近距离仔细欣赏他的作品。
       我在他的作品上看到，大海变得像岩石一样，显现出大理石般的纹路，渐淡的深蓝色笔触和暗淡的光线，代替画面其他部分的灰色暗影。
        在他的画作里，你能够看到那种冬日里胡同里的光线。
       也许，对于翟墨来讲，大海就像胡同一样，部分的海域又像胡同里零星分布的老宅子一样，依然使人联想到往昔日子的光辉。在遥远的地平线上显现出美丽的海岛，仿佛占据了风景线的全部。
       我既欣赏他做为航海家的进取心，又喜爱他的画作。我是他的崇拜者之一。
       信天翁，字面上的意思是“相信上苍的人”。这也正是艺术家们全心全意从事的。
       感谢你，翟墨！

菲利浦･勒加尔
塞舌尔驻华大使




About Zhai Mo’s latest works
By Seychelles’ Ambassador : H.E. Mr. Philippe Le Gall

We are all sons and daughters of a given land, and a few among us are also the adopted children of the sea.

They are the descendants of the first men and women who understood that seabirds are fetching their food through the vast ocean and return to the land only to nest.

Of the first men and women who guessed that the vast ocean was the supreme test to their courage and that there was a life, probably a better one, beyond the horizon.

Not the descendants in direct paternal line, of course!

The call of the sea may skip generations and be heard by people who belong to sedentary groups and who are co-opted in a rather mysterious way. From then, they still belong to the land where they grew up but they also belong to the sea. You cannot stop them as they will never accept to choose between the land and the sea.

Zhai Mo is a good example of such "dual identity".

Even when social obligations, to promote his book or his next adventures, bring him out of his shell and show his earthy side, you can feel the Man is impatient to stand on the deck of his boat.

…

As a child born close to the ocean, I wanted to have an albatross as a friend!  

I knew the bird is a long distance traveller avoiding the company of human beings: there is no “urban” albatross.

I think it is very inspiring for all navigators.

When you watch an albatross taking off you realize this is the part of its journey that demands the maximum of energy, then the wind and the waves may be its allies.

My native Brittany is one of the most sea-oriented provinces of Western Europe. I attended once the departure of “ La Route du Rhum “ a transatlantic single-handed yacht race organized every four years between Saint-Malo harbor and Guadeloupe in the Caribbean.

When you think of the incredible sum of efforts needed to be ready on the starting line of the race – and this is also the case prior to any major scientific sea trip – you imagine the big wild bird able to cover almost one thousand km a day once it has defeated gravity.

…

Zhai Mo has circumnavigated the globe like an albatross and he is familiar with the immensity of the sea. If mankind - as I often say - is a social specie, I believe sailors may be classified as a migratory sub-group.

Most sailors I have met are not talkative but at the same time they feel the urge to share with others part of their experiences at sea. Some write novels, diaries or poetry; others take pictures or make sketches. Many chat online when they have the equipment to stay in touch with the outside world: they want to communicate in real time their impressions and talk of the natural challenges and loneliness they have to face. They hope they can be understood and supported, but not like modern heroes, rather like individuals questioning their physical and mental limits. We all have this capacity. Few are willing to explore it.

…

Zhai Mo is as much a painter as a sailor.

A Chinese painter will not unfold his easel in front of a mountain and paint from nature. He will pay a visit to the mountain, fix its key elements in his memory, this includes the way the mountain seems to connect earth to heaven and elevates mind, adding wisdom and spiritual awareness to the artist's quest. Then he will go back home or his workshop and the next day, sometimes months or years later, paint what he has felt, more than what he has seen, and how, in his inner self, this has been transformed into energy and harmonious cohesion.



Zhai Mo does not paint mountains.

He paints the sea, with eventually islands or lighthouses in the background.

He does not paint mountains but under his brush the sea seems to have the same sacred meaning as the 5 mountains and pilgrimage sites so important in Chinese culture.

No need for him to give to his paintings the name of each of the oceans he sailed through. However it is neither generic nor anonymous: actually each wave tells a different story: oceans are plural never singular. It may be frightening for us. It is so much out of proportion with what we know that we see seismic waves everywhere!

But it remains common and casual for him.

Zhai Mo has weathered so many storms and  he has spent so many days and weeks in the intimacy of tormented waters, that even on land, even facing his canvass, he continues feeling the often hectic pulse of the sea.

In front of some of his paintings, I would like to wear a life jacket before giving a closer look!

I am less cautious when the sea becomes rock and gets the texture of marble, dark blue with fading touches and pale rays replacing the shades of grey present elsewhere.

In his paintings, there is something of the light you experience in winter while walking in a hutong.

Maybe the sea is like a hutong for him, and here and there, like hutong secret mansions, still reminiscent of the lustre of bygone days, colorful islands emerge on the line of horizon and seem to occupy all the landscape.
I like his enterprises as a sailor and his work as an artist. I am one of his admirers.

Literally xintianweng means “ believe-heaven-old man “. This is also what artists do, with all their heart.

Thank you, Zhai Mo !

（转自翟墨微博）

喜欢翟墨～