《马莉的画》
文：包林
By Bao Lin
有好几年，马莉来美院上我的课，她的写生与众不同，只是将模特作为自己的意象标识，不描摹细节，很快就能将对象转换为一种跃然的生动。
For several years, Ma Li came to the Academy of Fine Arts to take my class. Her sketch was different. She just used the model as an imagery, and did not depict the details, but quickly transformed the object into a vivid one.
马莉对形的敏感和作画的勤奋令人惊讶，她的累积很多，有人体、风景、静物、自己的镜像和表情，还有乡忆。这些年她的时间大都给了绘画，我看到的是她刚整理出来的作品系列，更像是绘本，宛若一曲曲生活的吟唱，将抽象的音符转化成了可视的形象。其中，颇有戏剧感的表情包已在微信登台，被她的粉丝和朋友们喜爱。这些表情包大都是马莉长期从事戏曲和影视的在场体验里提炼出来的。无论是金鱼、猫还是她自己，如舞台上的亮相，定格于潜意识的人设，表情被理想化、符号化，例如宝石蓝的眼眶噙着泪花，黑眼珠子眸着观者，让彼此都觉得有话要说，不得不说。
Ma Li's sensitivity to form and diligence in painting are amazing. She has accumulated a lot; including human bodies, landscapes, still lifes, her own reflections and expressions, as well as memories of her hometown. Over the years, she has devoted most of her time to painting. What I see in her newly collated series of works, is more like a picture book, much like a song of life; transforming abstract notes into visual images. Amongst them, the dramatic Internet meme package that has appeared on WeChat App and is loved by her fans and friends. Most of the contents of this meme package are extracted from Ma Li's early experience of opera, film and television. Whether it is goldfish, cat or herself, such as stage characterization, human subconsciousness, the expression is idealized and symbolized; such as sapphire blue eyes with tears, black eyes staring at the viewer, so that each other feels that there is something to say and yet to say.
马莉在课上无拘束地写生，课余她的话题也很多，单就她对色彩颜料的认识，我看得出她早已在悄悄画画，这是她一个人就可以搞定的事情，而在别的圈子却难做到。去年新冠疫情爆发后，马莉就来不了学院了，她将自己隔离在南城的住所里，房里房外摆满了画具，在大尺幅的画布上直接写生，看着窗前的花开花落，产生了她的《禁闭春天》系列，这组画记录了2020年春的孤寂，也带着马莉在阳台上的惆怅与期盼。
Ma Li sketched freely in class, with various topics outside school. From her feel of color pigments, I could see that she was already experimenting. This was something she could explore by herself, unlike other fields.
After the outbreak of the COVID-19 epidemic last year, Ma Li was unable to come to the college. She isolated herself in her residence in the south of the city. The room was filled with painting tools. She sketched directly on the large canvas and watched the flowers bloom and fall in front of the window, resulting in her series of "Closed Spring". This series of paintings recorded the loneliness of spring 2020, and also showcased both melancholics and expectations on the balcony.
马莉无论画什么都画得很有情色，这也本是数字化技术发达的今天绘画得以延续的内在价值。例如她在法国画的系列组画《冬日巴黎》，我曾在巴黎多年，一直觉得冬日的巴黎并不浪漫，我也见过很多法国画家笔下的冬日巴黎，大都萧瑟、阴沉。马莉2017年冬季创作的巴黎组画是她的恋情之旅的自白，画自己、画爱人，背景是塞纳河、埃菲尔铁塔、小巷里的咖啡馆等，大量的纸本速写也是随性的日记。感性、率性、玫瑰欲望、不雕琢，色彩饱和、透明，不反复涂抹。看得出，这组《冬日巴黎》是马莉人生中最缠绵的一段，也是画得最多的一段，且一气呵成。
No matter what subject matter Ma Li paints, she paints passionately，splendidly and “erotically”, which is also the intrinsic value permeating into today's digital art. For example, she painted a series of paintings "Winter Paris" in France. I have been in Paris for many years, and I have always felt that winter Paris is not romantic. I have also seen many winter Paris painted by French painters, mostly bleak and gloomy.
Ma Li's Paris paintings in the winter of 2017 are confessions of her love journey, painting herself and her lover, with the background of the Seine River, the Eiffel Tower, cafes in alleys, etc. A large number of paper sketches are her personal diaries. It reflects sensibility, frankness, rose-tinted romance, spontaneity, color saturation, transparency, with no repeated smearing. It can be seen that this group of "Winter Paris" is the most touching part of Ma Li's life, and it is also the most painted part, and it was completed at one go.
马莉生长在江南，接受的是传统戏曲教育，她获奖的吟唱会让我想起多年前读过的《浮生六记》，江南的哀怨与委婉总是在舒缓的调式中徐徐展开，那些黑瓦白墙、小桥流水、湖石青萍、黛烟斜雨，都为这种调式生成的语境。但马莉一组《无辜年代》的画则露出了自己的叛逆追求：欲从窗栏里挣脱出来的小女孩，望着云端仙女发愣的小女孩，还有着戏装端着兰花指的粉彩少女，这些记忆都被另外一幅在家乡的山道上露出的半个短发脑袋，一双瞪着的眼睛所终结，坚毅、不回头，走向远方！想必是她对“无辜年代”所作出的最好注解吧！
Ma Li grew up in the south of the Yangtze River and received traditional opera education. Her award-winning operatic singing reminds me of the "Six Chapters of a Floating Life" that I read many years ago. The sadness and euphemism of the south of the Yangtze River always unfold slowly in a soothing modal expression. Those black tiles and white walls, small bridges and flowing water, lake rocks and duckweed, and violet black smoke and slanting rain are all the contexts generated by this mode.
Ma Li's paintings of "Innocent Age" reveal her rebellious pursuit: the little girl who wants to break free from the window bars, the little girl who looks at the fairy in the clouds in a daze, and the pastel girl with orchid fingers in costume. These memories are all captured by another painting with half a short head and a pair of staring eyes exposed on the mountain path of her hometown. She is resolute and does not look back and goes to the distance! It must be her best comment on the "Age of Innocent".
除了绘画，马莉还不断写作，将自己的感受和经历变为两种呈现：画本与文本，有两只笔相互鼓励。这样的画属“中得心源”的表达，技术至上的学院训练反而不适合她，马莉用最直接的方法在画画，而我们则会从这些画中看到人性最普遍的东西——感性的逻辑与鲜活。另外，我一直质疑女性主义的标签，更不会把这个标签贴在马莉身上，如果说有许多女性的绘画包含着对镜像的追求，这或许是来自他者的目光与自己的目光互换的一种想象，但其实女人男人都一样，大都与“主义”无关，看与被看，只与好看有关，好看则多看，只与审美有关。不过我也认为，艺术从属性上讲女人占优，因为感性是形式呈现的唯一来源，因其感性，马莉的画与文则因本能而生，才可能引发他者的共鸣。
In addition to painting, Ma Li also writes, turning her feelings and experiences into two kinds of presentation; picture book and text, with two pens in dialogue. This kind of painting belongs to the expression of "getting the source of the heart", but this academic technique dose not suit her. Ma Li paints in the most direct way, and we will see basic human nature from these paintings perception logic and vividness.
In addition, I have always questioned the label of feminism, and I will not put this label on Ma Li. If many women's paintings contain the pursuit of a mirror image, it may be an imagination from the exchange of other people's eyes and their own eyes, but in fact, women and men are the same. Most of them have nothing to do with "doctrine". Seeing and being seen only relates to good-looking, while good-looking is only related to aesthetics. However, I do believe that women are superior in the nature of art, because their intuition is the source of expression. Because of her sensibility, Ma Li's paintings and articles are born of instinct, which create resonance with others.
但愿马莉能够将绘画与写作进行下去，记录自己、记录别人、记录这个世界，这些都是当下生命状态最直接的凭据。I hope Ma Li can continue to paint and write, record herself, others and the world, which are all the most existential evidence of the current state of life.
包林2021.04.30
翻译：黄卿
英文纠稿：Silent Echo
包林简历
1982 年毕业于中央工艺美术学院（今清华大学美术学院）并留校任教
1986 年赴法国公费留学，就读巴黎第一大学获硕士及博士学位，并研修于巴黎国立高等美术学院及巴黎国立高等装饰艺术学院
1995 年回国任中央工艺美术学院副教授，北京市人民政府专家顾问
2000 年至2004年任清华大学美术学院研究所所长、教授
2005 年至2008年任清华大学美术学院副院长、绘画系主任、教授、博士生导师
2009 至今为清华大学美术学院绘画系教授、博士生导师，清华大学张仃艺术研究中心副主任
Bao Lin graduated from the Central Academy of Arts and Crafts (now the Academy of Fine Arts of Tsinghua University) in 1982 and stayed at the school as a teacher. In 1986, he studied at the University of Paris I at public expense and obtained a master's degree and a doctor's degree. He also did his research and study at the National Academy of Fine Arts and the National Academy of Decorative Arts in Paris. In 1995, he returned to China as an associate professor of the Central Academy of Arts and Crafts and an expert consultant of Beijing. From 2000 to 2004, he was the director and professor of the Institute of Fine Arts of Tsinghua University. From 2005 to 2008, Professor Bao served as deputy dean of the Academy of Fine Arts of Tsinghua University and Chairman of the Department of Painting. Since 2009, he has been the deputy director of Zhang Ding Art Research Center, Tsinghua University.
