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前几天,我先旭东到达了丹青的画室,带了老照片和一些上世纪70年代的画作,像当年一样,去和他较量。小小的泛黄的老照片和纸上作品,像一堆珍宝一样散发着金光。这些作品透出我们仨人对艺术不合时宜的痴情与纯粹,即使在“文革”那样极端的环境中,也遏止不住。40年前,十几岁的我们在“文革”浩劫的混沌中懵懵懂懂地向往着遥远的未来,憧憬着一切被禁锢的美好的东西。淮海路旭东的画室,窗外法国梧桐身姿婆娑,老唱机上传出《鳟鱼》弦乐四重奏,天籁一般。画架上一张正在画的罗马大帝奥古斯都的石膏头像铅笔素描,卷发、胡须一笔一笔,一丝
A few days ago, I first Xudong reached the Danqing studio, with old photos and some 70s of last century’s paintings, as in the same year, to go with him. Little yellowed old photos and paper works, like a pile of treasure exudes a golden light. These works reveal that we are beyond our control of infatuation and purity of the anachronism, even in such an extreme environment as the Cultural Revolution. Forty years ago, in the midst of the chaos of the “Cultural Revolution”, we were longing for the distant future and looking forward to all the beautiful things that were imprisoned. Huaihai Road, Xudong studio, the window of the French Indus posture whirling, old record player on the “trout” string quartet, sounds of nature in general. An easel pencil drawing depicting the painted head of the Roman Emperor Augustus, with curls, beards,