在都说自己比别人更现代更前卫的当今美术界,说点儿不那么骇人听闻的话就显得很平庸。我希望和见到了我的那些画的同行们说点儿实话。刚到西藏时,我把塞尚和毕加索的事告诉了我的学生,他们还知道了有一帮人把观念也当成了艺术;还有,宣称摧毁博物馆的人的“作品”已被收进了博物馆,象古董一样展出。三年过去了,我变成了现在这样子,被我那些都是牧人的儿子的学生们说成保守、陈旧,可能是真的保守、陈旧,我只相信我没骗自己。我也画过来过西藏的人都画的那种牦牛、朝佛的牧女、喇嘛、寺庙。一年以前,我的画变了,自从我去了西藏西部一个叫阿里的地方。那里是真正的西藏,是个有西藏灵魂的地方。阿里有很多无人区,很多荒原、雪山、湖泊,被几千万年的风化剥浊塑造的土林,有血浴一样的日落。我不善于描述,只有一个最强烈最集中的感受,象是自己的心灵被 In today’s fine arts, who say they are more modern and avant-garde than others, it is mediocre to say something less shocking. I hope I can tell the truth with the colleagues who have seen me. When I first arrived in Tibet, I told my students about Cezanne and Pablo Picasso. They also knew that a bunch of people regarded concepts as art, and that the “works” of people who declared destroying the museum had been taken in. The museum is on display as an antique. Three years have passed, and I became like this now, being a conservative, old-fashioned student of my shepherd’s son, who may be really conservative and outdated. I only believe I did not lie to myself. I also painted the kind of yaks, dynasties, lamas and temples drew by people in Tibet. A year ago, my painting changed. Since I went to a place called Ali in western Tibet. There is a real Tibet, a place with the soul of Tibet. Ali has many no man’s land, many wilderness, snow-capped mountains, lakes, earth forests that have been weathered by tens of millions of years of peel-off, blood-bathing sunsets. I am not good at description, only one of the most intense and most concentrated feelings, like their own mind is