
“作为新中国成立后现实主义的代表作品,《收租院》 受到极高的评价,受到各级媒体的关注,甚至到国外展出过。《收租院》泥塑与音像制品让一代中国人为之流泪,艺术作品营造的氛围让任何人站在它面前也会忘记怀疑。据“地主庄园博物馆”老馆长介绍,《收租院》作品公开展出后,全国各地游客络绎不绝。每天需要排四路纵队买门票。在泥塑群像前,游客打堆堆,既不能前进,也不能后退,每天闭馆后都要捡到许多双鞋子,这种场面当然是文革时候。”
via 关于大地主刘文彩的传奇故事_老驴友的BLOG_新浪博客.——
在無綫電視看到由香港電台製作的”想一想中國”特輯, 介紹陳桂棣與吳春桃夫婦兩人寫的《中國農民調查》. 這個寫實報告文學在德國獲得了德國著名文學期刊Lettre頒發的優利烏斯報告文學獎. 套用BBC在其中文網站上的用語: “該期刊特別提及這對中國夫婦是在面對巨大政治壓力下, 以極大勇氣向世界展示中國工業化過程的陰暗面.”
記得少年時受到當時中國政治文化的影響, 對農民在舊社會受地主階級壓迫的狀況非常同情, 同時又覺得, 國家解放以後, 農民真正翻身了, 當國家的主人了, 生活從此不會走回頭路. 當時, 國內的當權者為了宣揚其在這種階級鬥爭中的英雄功績, 推出一件名為收租院的大型泥塑”藝術作品”, 到處巡迴展出, 旨在激發國人對舊社會的憎恨, 對新中國的熱愛.
看過以上引讀的國內博客文章後才知道這個作品的後面原來水份甚多, 大有弄虛作假, 顛倒是非之嫌. 不過這只是一個文藝作品, 其文化意義比事實真相重要. 但有一點令人唏噓的是, 由《中國農民調查》這份報告裡可以看到, 這個收租院其實在新中國並沒有消失, 只是角色轉移了而已; 而農民所受的災難也並沒有完結, 亦只是換了個模式而已.
中國的問題很複雜, 在溫總及胡主席的慈祥面孔背後, 我們看到的事有多少是真實的? 有多少是虛假的? 有多少我們能夠改變? 又有多少我們根本改變不了?
——

The Chinese Peasant Study
The Chinese Peasant Study written by Chen Guidi and Wu Chuntao shocked me quite emotionally as it was introduced and referenced in a documentary shown on Jade. Never before had I been aware that our peasants were so bitterly exploited and oppressed in so-called New China era. I was also greatly impressed by Chen and Wu for their bravery in unraveling the truth under the apparently acute political pressure present in China mainland today.
The study stroke me of the art show, The Rent Collection House, which had been propagated with raw political fervor during the 70’s by the contemporary regime.
The irony is that the House has not been demolished figuratively as well as literally after the Liberation. Our peasants have not been blessed with a much better life than their counterpart in the Old Society. The House which the art show was modeled on in the art show is still there curated as a tourist sight, while the real show is on as ever outside its walls, except that the role of the landlord is played by a different identity with same relentlessness if not even more.







