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艺术是艺术家的内在精神再现和对生命现象的关注甚或是对人类命运的思考。 没有一种审美是一层不变的，但艺术的核心是不变的，它会永远直指人的精神。人在做着什么并不能证明人就是什么。人，一路走来，伴随的一切活动都只是一种个人修行的方式，甚至艺术，也是。   朝圣者的队伍 1989-2014 布面油画 巴荒个展以简史的方式呈现她近半个世纪的艺术历程。 巴荒特立独行。她那种自述性的“自我探寻”，在所有画家里是最早的，我们女性艺术的自述性特征上个世纪90年代才出现，而她70年代就出现了。她最早的自画像，以及80年初和新潮美术特征相似的绘画，从潮流角度或者自我角度，都进入得都比较早。她80年代进入《中国美术报》时也做得非常好，采访编辑和写作，发过好几篇头版头条，有一篇头条下面是栗宪庭的《重要的不是艺术》。巴荒处于“85美术运动”中心的重要位置，却突然离开潮流，深入西藏，90年代又在藏学界和考古界成名。 西藏绘画，从董希文到陈丹青之后有两条线，一是风情性代替主题性，再就是朝戈、丁方、巴荒，重新寻找人的精神性、人的神性，这是一个西藏题材新走向的主调。 栗宪庭说《流》这张作品很唯美很抒情，在面对主题性的当时却是有异议的。这和上个世纪70年代末80年代初出现机场壁画、云南画派有相同点。我们感觉到在中国艺术发展中，几个点都有她的身影。 Ba Huang's solo exhibition presents her artistic journey of nearly half a century in a brief history. Ba Huang is unique. Her self described "self exploration" is the earliest among all painters. The self described characteristics of our female art appeared only in the 1990s, and she appeared in the 1970s. Her earliest self portraits, as well as paintings with similar characteristics to trendy art in the early 1980s, entered relatively early from the perspective of trend or self. In the 1980s, she did a very good job in China Art News, interviewing, editing and writing, and published several headlines, one of which was Li Xianting's "What Matters Not Art". Ba Huang was in an important position at the center of the "85 Art Movement", but she suddenly left the trend and went deep into Tibet. In the 1990s, she became famous in Tibetan academic and archaeological circles. Tibetan painting, from Dong Xiwen to Chen Danqing, has two lines. One is that the amorous feelings replace the theme, and the other is Chaoge, Ding Fang, and Ba Huang. They're search for human spirituality and human divinity, which is the keynote of a new trend of Tibetan themes. Li Xianting said that the work "Flow" was very beautiful and lyrical, but there was disagreement in the face of the theme at that time. This is similar to the airport murals and Yunnan painting school that appeared in the late 1970s and early 1980s. We feel that in the development of Chinese art, she is present at several points.  生命之父之一 1989 纸本丙烯、水粉  生命之父之六 1989 纸本丙烯、水粉  生命之父之九 1989 纸本丙烯、水粉 巴荒是一位纯粹的艺术家，她提供了一个特别值得研究的个案，这是一个真实的美术史。这个美术史是她个人体验到的，不是教科书教授下走出来的美术史。这么特立独行的艺术家，不像我们完全按照体制规则来行事，我们艺术圈还有很多可以自由呼吸的空气。 文(摘选)/彭锋 Ba Huang is a pure artist, and she offers a case worth studying, a true art history. This art history is her personal experience, not the art history taught by textbooks. Such a maverick artist, unlike us who act according to the rules of the system, there is still a lot of air in our art circle that we can breathe freely. Text (Excerpt) / Peng Feng
 生命之父之十八 1989 纸本丙烯、水粉 巴荒每个时期画的画都能够进入美术史，但是她从来没有想过我要以此为生，把画画当做职业获取功名和多大成就。她最重要的，画画也好，去阿里探险也好，写书也好，所有追求的永远都在前面，不是眼下，留下的只是她的足迹。看巴荒的东西确实像在看美术史。 文(摘选)/殷双喜 Ba Huang's paintings in every period can enter the history of art, but she never thought that I would make a living from this, and take painting as a profession to gain fame and great achievements. The most important thing for her, whether painting, exploring Ali, or writing a book, all pursuits are always ahead, not now, but her footprints are left behind. Looking at Bahuang is really like looking at art history.  藏人肖像之一 1989 布面油画 Tibetans Portrait No.1 Oil on canvas 26x21cm
巴荒的绘画作品特别凝固,具有重量感和符号化的象征性力量，画家将西藏塑造成天然的自在物，它在这片广袤土地上天荒地久，与时间抗衡，可以看作是在造型上对永恒的回望。巴荒作品对永恒的凝视不仅仅在雕塑般的语言体现的国度里，也可以在梦里，在超现实的幻觉里。 我佩服巴荒的是她可以不按照美术史的进程和秩序，坚持自己想做的作品，至于是流行或不流行，能不能进入美术史，都不予考虑。巴荒在作品里抓到了作为自在物的永恒品质，这种品质通过她有质感的文字、光影的摄影和雕塑般的绘画造型体现了出来。“永恒的凝视”代表了她作品的基本精神追求。 文(摘选)/徐虹 Ba Huang's paintings are particularly solid, with a sense of weight and symbolic power. The painter has shaped Tibet into a natural free object. It has been in this vast land for a long time and competes with time. It can be seen as looking back on eternity in modeling. The gaze of eternity in Bahuang's works is not only in the realm embodied in sculptural language, but also in dreams and surreal hallucinations. What I admire about Ba Huang is that she can not follow the process and order of art history and insist on the work she wants to do. Whether it is popular or not, whether she can enter art history or not, it is not considered. Ba Huang captures the timeless quality of things in themselves in her works, which is reflected in her textured words, photography of light and shadow, and sculptural painting shapes. "The Eternal Gaze" represents the fundamental spiritual pursuit of her work. Text (excerpt) / Xu Hong
在去性别化的中国女性艺术创作中，巴荒算是最早的一个。自1987年走进西藏开始，在艺术观念上，她就彻底地超越了性别意识。巴荒不以女性的生理和身体作为创作的题材和言说的基础，而是完全超越了女性性别和身份的层面，走向对人类普遍精神世界的挖掘。在中国女性艺术家中，巴荒艺术创作的精神性和去性别化的意识，在中国当代艺术界是非常独特的现象，值得我们特别关注。 巴荒的西藏艺术超出了社会学的层面，是精神的、灵魂层面的表达。巴荒的作品具有超越世俗生活的品质，属于“表达大灵魂的生命激情”。 Among the de-gendered Chinese women's artistic creations, Ba Huang is one of the earliest ones. Since entering Tibet in 1987, she has completely transcended gender consciousness in her artistic conception. Ba Huang does not take women's physiology and body as the basis of her creation and speech, but completely transcends the level of women's gender and identity, and moves towards the excavation of the universal spiritual world of mankind. Among Chinese female artists, the spirituality and de-gendering consciousness of Ba Huang's artistic creation is a very unique phenomenon in the Chinese contemporary art circle, which deserves our special attention. Ba Huang's Tibetan art transcends the sociological level and is an expression of the spiritual and soul level. Ba Huang's works have qualities that transcend worldly life and belong to "expressing the passion of life of the great soul".
巴荒作品展命名“一个人的美术简史”是有道理的。她通过行走、体验、写作、摄影和绘画，凭着生命直觉而非书本知识，再次叩击艺术的永恒之门，她在青藏高原上发现了文艺复兴的种子；此文艺复兴并非西方文艺复兴的复制，而是饱含东方文艺复兴的因素，这是一个划时代的新概念。仅仅就这一点，对于以后中国的知识界、文化界、思想界如何重写中国当代精神历史，有着重要的启示意义。 文(摘选)/丁方 It makes sense for the Bahuang exhibition to be titled "A Brief History of One's Art". Through walking, experience, writing, photography and painting, and relying on life intuition rather than book knowledge, she knocked on the eternal door of art again, and she found the seeds of the Renaissance on the Qinghai-Tibet Plateau; This Renaissance was not a copy of the Western Renaissance, but full of elements of the Oriental Renaissance, this is an epoch-making new concept. Only this point, for the future Chinese intellectual, cultural and ideological circles how to rewrite the contemporary Chinese spiritual history, has important enlightenment significance. Text (Excerpt) / Ding Fang
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