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序 言 Preface 人总是需要明白，艺术是一种信仰。 当我们不自觉开始反思自身的时候，我们实际上就与自己拉开了一段距离，这一“反思”行为如同在我们处身其间的当下社会、文化语境中开辟出一块“林中空地”，将“我”和当下隔开，让“我”得以静观沉思自身的生存境域。 只有当主体处于反思或背离自身状态的时候才作为一个当代人或同时代人真实存在，即以背反的方式契入时代。 丁泉的“背反”系列作品，就如同一声呼唤，以温柔、隽永的方式，呼唤观众“反身而诚”，真诚地凝视自身，求其放逐之心，以此重建对生活本身的信仰。 —— 周敏（学术支持） 我们从传统中衍化而来，生生不息，但在去魅化的现代世界里，我们又好像正逐渐丧失对传统的敬畏、对信仰的真诚，若即若离。 璞素浦东空间全新开幕之际，我们特别邀请艺术家解丁泉带来绘画个展——“衍化”，呈现“背反”与“万物有灵”两大系列作品。其作品在“传统”与“不传统”之间游走，以图像上的接近与图式上的陌生感，呈现出我们当下与自身文化传统、信仰之间既熟悉又疏离的状态。 中国传统绘画，往往从笔画、线条、色彩展开，一步步构成山、水、石、云等具体纹样，继而孕育生成“万物”。淡雅的笔墨、精致的线条、独立的物象，“万物”系列让我们从物质的现实世界中抽离，通过借古人之眼凝视“一物”而想象“万物”，游荡于那片中国人幽微的精神世界，体悟古人“物我和一”的“感物”之境。 如果将体量较小的“万物有灵”系列视为一块块可移动的壁画片段，那“背反”系列的《彼岸图》则如一幅巨型壁画，色彩瑰丽浓郁、气势生动磅礴。 长达二十二米八的《彼岸图》，它生发于一个传统艺术的样式和内容，衍化为一个具有当代寓意的画面。“彼岸”，在中国文化语境中，总是与“此岸”相对存在的一种理想塑造。艺术家借用“彼岸”这一空间上对立的概念，通过将《八十七神仙卷》中的人物集体反转，让画面从视觉上呈现出一种令人震撼的陌生感与当代性。 反向的背影，仿佛是人类追随神明信仰的缩影的远去，似乎也是一个对今天的我们和传统、信仰之间现实关系的写照：“是信仰背离了我们还是我们背离了信仰？” 于解丁泉而言，艺术是一种信仰。《彼岸图》的创作耗时三年之久，起稿、勾线、调色、上色、研究、比对，艺术家正是在严格遵循传统技法与日复一日的真诚“劳动”中，玩味与体悟古人的智慧、虔诚和心境。 在传统与信仰逐渐远去的当下，艺术家仿佛也开辟了一个通道，提供我们在当下重新建立与传统、信仰的对话，以及凝视、反思、回归自身的可能途径。 People always need to understand that art is a kind of faith. When we unconsciously begin to reflect on ourselves, we actually draw back distance with ourselves, opening up a 'forest clearing' in the current social and cultural context, allowing 'me' to observe and contemplate our own living environment. Only when the subject is in a state of reflection or deviation from itself can they truly exist as contemporary or contemporaries, that is, only by conforming to the times in a contradictory way can they become contemporary. Ding Quan's Backward series of works, like a call, gently and elegantly calls on the audience to 'turn back and be sincere', to honestly look at themselves, to seek their exiled hearts, and thus to rebuild their belief in life. —— Zhou Min (academic supporter) We derive our culture from our tradition, and pass down from generation to generation. However, with the disenchantment of the modern world, we seem to be gradually losing our awe of tradition and sincerity in our faith. On the occasion of the renewal of PUSU Pudong, we specially invite artist Xie Dingquan to bring his solo painting exhibition “Derivations”, presenting his two series of works: Backward and Animism. His works wander between 'traditional' and “non-traditional”, showing the familiarity and alienation between us and our cultural tradition and faith. A typical Chinese painting often develops from strokes of lines and colors, and then evolves step by step to form explicit patterns such as mountains, water, stones, clouds, and finally generates all things. Elegant colors, exquisite lines, and independent objects allow us to escape from the real world, and to gaze 'one thing' while imagining 'all things' by borrowing the ancients’ eyes, so as to wander in the subtle spiritual world of ancient Chinese scholars, and to 'sense things' in the perspective of ' the unity of things and me '. If the Animism series can be regarded as movable pieces of mural fragments, then The Other Shore from the Backward series is more like an entire mural painting, with brilliant and rich colors, which is magnificent and overwhelming. Derived from the form and content of traditional Chinese art, the twenty-two-meter-eight long The Other Shore is actually a painting with contemporary meaning. 'The other shore', in the context of Chinese culture, is always an ideal space that exists opposite to 'this shore'. Borrowing the opposite concept of 'the other shore' in terms of space, the artist reversed all characters in the classic Taoist theme painting The Eighty-Seven Immortals, which leads the painting to give a shocking visual sense of strangeness and contemporaneity. The reversed back seems to be the receding of the ancients following the belief of gods, and it also seems to be a portrayal of the realistic relationship between us and our tradition and faith today: Did our faith deviate from us or did we deviate from our faith? For Xie Dingquan, art is a kind of faith. It took the artist three years to complete The Other Shore by carefully sketching, outlining, coloring, layering, and researching. It is in the process of using traditional painting techniques and sincerely 'working' day after day, Xie is able to ponder on the wisdom, piety and state of mind of the ancients. At a time when tradition and faith are gradually drifting away, Xie Dingquan seems to have provide us with a possible way to re-establish dialogues with our tradition and faith, and to gaze, reflect on, and return to ourselves. 策展人前言 Words of Curator 纹，万物，以及面壁者 文／杨梦娇（策展人，中央美术学院博士，中国艺术研究院学者） 马尔库塞在其最具批判力的著作中形绘出一种当代社会的典型存在——单向度的人，意指在高度发达的技术、资本控制下，失去了批判和超越能力的、失去了自我和想象能力的人。无须辩驳，被卷入巨大机器齿轮的卓别林、以24小时直播间为真实世界的楚门，他们的幽灵正在我们的意识版图中不断复现，提示着我们的私人空间和“内心自由”正在如何被技术现实所蚕食。如何逃逸这个“被设计的世界”？我想带着这个老生常谈的问题，来考察解丁泉和他的艺术作品。 解丁泉是一个几乎成熟的艺术家。所谓“几乎”，意在强调他并没有堕入完熟：一方面是没有困顿于创作思维的僵化与重复，另一方面则是有意识地去跨越不同的艺术媒介和文化形态。从绘画、碑刻、陶瓷，到现成物、声音、身体，形式的边界并未阻碍其创作意识的流动。同样地，从“彼岸计划”中对神仙群像、药师佛会、孔圣人像的横跨儒释道的三次反转，到“自然书写计划”中对民族国家、种族阶差、语言文化三重隔阂的挑战，以及《皮肤》中以人造物对自然物的模拟和克服而实现的痛苦的生存之问，都向我们展示了他令人咋舌且值得褒扬的创作野心。所谓“成熟”，一方面在于他创作技术的考究和精致、艺术表达的完整和准确，另一方面是他实践了艺术家的核心价值——社会现实的“特殊处理器”——以真实的肉身（《礼物》）和真诚的思辨为中枢，持续性地将自己摆置于迫切的社会问题面前，并力图提供一套与主流信息相异质的、更具有挑战性的回答。 回顾解丁泉过去约十年间的创作履历，会发现以基于线性时间向度的演进观念予之籀读的方法是失效的。要达到领悟和理解，所要做的不是分期、不是推演，而是要找准一处切口，深入进去。这个切口，正是绘画。观众将在展览中看到《彼岸图》和《万物有灵》这两组绘画作品，准确地讲，两组壁画作品。 相信大多数人在初遇高达两米四、长达二十二米八的《彼岸图》时，即刻就会被鸿衣羽裳、虚步太清、盛大浩荡的八十七神仙仪仗，被精湛的传统绘画技艺、浓厚的传统美学氛围所震撼并吸引，立即信服于艺术家的“魔力”。这种信服是必然的、必需的，它来源于功力的累积、心血的耗费、神思的修炼。然而，一旦沉溺于“信服”，就会错过真正理解艺术家和他的作品的机会。因此，我邀请观者首先逃离“信服”的笼罩，继而在观看这些绘画时尝试放弃线性逻辑的惯性，比如查索图绘对象的历史资源、绘画风格的类比溯源、画中元素的叙事关联等等。因为那是观看传统绘画的方法，是观看以再现（representation）为目的的绘画的方法。而参考培根所提供的关于当代绘画最为精妙的描述之一种：绘画是将自身神经系统的模式投射于画布之上。我们所要做的，是发现这张隐没于绘画表面的神经网络中，最突出、最茁壮的那些神经元，接收其所搭载和传递的信息。这样的方法才能够让我们真正明白，为何解丁泉的绘画如此传统、如此当代。  “纹”应当首先得到关注。原因在于，“纹”的存在方式太过于隐性，而其所承载的信息又极为重要。《万物有灵》系列不同于《彼岸图》，它们不具备完整意义上的壁画形式特征，有限的体量使得它们更接近于壁画的片段，一块可以移动的片段。艺术家在画框上制作了一层泥底，并有意识地通过调配土、水、胶的比例，在泥底干燥的过程中形成自然龟裂，这些裂交织、连缀，形成“纹”。除了作为特殊工艺的证明，这些“纹”事实上已经成为贯穿于《万物有灵》系列的重要绘画语言，其特殊性尤其在于它不仅介于绘画的底层和表层之间，它更是一种间性（inbetween）的绘画语言。与绘画表面的色彩、线条、形状等显性的绘画语言不同，“纹”这种间性绘画语言的能指和所指之间的关系显得不定、弥散而难于觉察，我们必须辨识那些跨文本性（transtextuality）的和文本关涉性（infertextuality）的材料来尝试读取和分析。 《说文解字》说，“文”的本义是“象交文”，即“交叉的线条”，也就是“纹”。“纹”源自于中国人对自身生存、生活所处时空的认识和理解，是对于中国人原始表象思维的呈现，以象形、摹仿、描绘、简化等方式创制，形成在平面空间之上沟通的笔画之纹、线条之纹、色彩之纹，并构成“图”，进而转为“画”。而在《灵台》《同辉》《天宫》中，间性的“纹”和显性的水、山、光之纹样同时得到表达，两者的交织和叠化，不咎是对于从隐性的“纹”到显性的“画”这一中国传统绘画的根基性脉络的当代性思辨。 《诗经》中也有关于“纹”的经典意象：有匪君子，如切如磋，如琢如磨。所谓切磋、琢磨，意指对玉石进行打磨，从而使其自然纹理得以显现。可以说，纹即为自然呈现的秩序中属人的形态。文字学意义上，纹、文同源，因而人文，指的就是人的秩序，文化所指就是用人的秩序让自然的人变成守理的人。从“纹”到“文”，可以被概括为从自然之纹到人化之纹（即“文饰”），再从审美性的人化之纹转捩为礼乐教化、宇宙道化的“文”的过程。 无需意外，《万物有灵》系列中的“纹—纹样—图绘”三重视觉语言结构正与中国传统的“纹—文饰—文化”三重观念演进形成同构。从“纹”至“纹样”我们已经有所讨论，接下来要考察的显然是“图绘”这一层。《万物有灵》图绘的内容，显而易见，就是“万物”。当我们发现这个同构关系之后，不禁喟叹以“万物”对应“文化”是何等高妙——圣人仰观天文、俯察地理而化成人文（《周易正义》）——天地之道，就存在于万物之中，人从万物之中总结体悟道理，并最终在人的经验中呈现出来，这个过程就是文化。 “纹／文”结构在《万物有灵》系列中的不断复现，提示观者艺术家想要探讨的核心：如何理解“万物”与“文化”的关系？换言之，如何思考作为“文化问题”的“物”？以中国传统壁画绘制手法为基础的作品很自然地就会将观者带入到传统中国文化的语境中展开省思。中国古代哲学中，有关万物与文化的讨论基本围绕着“物我关系”的线索而衍化生成，与西哲强调物我的主客体关系不同，中哲的思想底色恰恰是“天人交感”“物我合一”，因此中国人审美文化的终极追求正在于从“以我观物”走向“以物观物”，追求“无我”以“得道”。  艺术家的艺术创作也因缘于这样源远流长的文脉传统，然而，作为一个自觉的当代艺术家，解丁泉选择面对的不仅是传统的问题，更是生活的问题，而且是何种意义上的生活的问题。古人讲“道在物中”，对物的体认至大至广，而今人对于“物”的理解则被狭义化为“物质生活之物、技术生活之物”，这是在后资本化社会条件下所产生的新的“感物”状况，其中最明显的特征是“物欲”的不断强化和内化以及“物化”的普遍性和现实性。更加值得为人所警惕和思考的是，这种新的“感物”状况早已从人的生活范畴溢出，进而渗透在审美、文化等曾经承担“反物化”之使命的范畴，甚至参与人类整体精神状况的建构，最终使得人成为日趋“单一向度”的存在。 考古作为天人感应之媒介的“物”，追索古人的“感物”状态，就是艺术家给出的解决之道。灵石、灵台、灵山、灵光、祥云、飞龙、双鹤、天宫、日月、仙境……解丁泉将他作为一个当代个体对物的“感兴”图绘下来——在“感兴”体验中，艺术家还魂于“天地定位，祀遍群神”的古人身体之中，假借古人的双目看到那个“万物有灵”的世界，领会万物对“道”的陈述和铺叙。站在这些作品前的观者，方才得以聆听由艺术家转述而来的，遥远而迷人的声音，短暂逃逸当代世界的控制。 《万物有灵》的每一方底板都只绘一“物”，引导观者的目光集中——凝视“一物”而想象“万物”。随着想象的延伸，承载一物的一方画框也便就延展为历史时空中的万方垣壁，观画人遂成“面壁者”。传说达摩面壁九年，走后，其入定禅思的形状竟留存于石壁之上。不知道解丁泉是否也通过《万物有灵》和《彼岸》系列留下了一个谜语——抵达本心、顿悟本来面目的观画者也将“显形于壁上”，那些背过身去的得道者即为明证。 从作品回到艺术家，我们不难发现存在于解丁泉身上的一种带有矛盾性的“向度”——有控制的自由、有边界的无界。不妨将这些令人困惑的表达置换为中国传统用语：“万变不离其宗”，语出荀、庄，“千举万变，其道一也”“不离于宗，谓之天人”。而“天人之际”，在乎道耳。其实，解丁泉一直在表达，通过艺术的门径，他真正欲求的是什么——自传统衍生前卫、以己心体悟众生、于有限处抵达无限——做当代世界的“面壁者”。 2023年4月 于北京蓬莱苑 Wen, All Things, and Wall-facing Person Written by Yang Mengjiao (Ph.D. from the China Central Academy of Fine Arts, scholar and curator at the China Academy of Art) In his most critical works, Marcuse depicted a typical contemporary existence - the one-dimensional person, referring to those who, under the control of highly developed technology and capital, have lost their ability to criticize and transcend, as well as their self and imagination. With no doubt, the ghosts of Chaplin, who is caught in the giant machinery, and Truman, who lives in a 24-hour live broadcast world, are constantly reproduced in our consciousness, reminding us of how our private space and mental freedom are being eroded by technological reality. How to escape this setup world? With this perennial question, let us critic Xie’s artwork. Xie Dingquan is an artist almost mature. So-written almost emphasizes that he has not fallen into the rigidity and repetition of creative thinking, but consciously transcends different art media and cultural forms. From painting, engraving, ceramics, to ready-made objects, sound, and the body, the boundaries of form have not hindered the flow of his creative consciousness. Similarly, from the three reversals of the gods’ portraits, the Medicine Buddha assembly, and the portraits of Confucius in The Other Shore Project, which spanned Confucianism, Buddhism, and Taoism, to the challenges to the triple barriers of national identity, racial and class differences, and language and culture in the Natural Writing Project, and the question of painful survival achieved through the simulation and overcoming of artificial objects in Skin, all show his astonishing and commendable ambition. And the so-called mature lies in his careful and refined creative techniques, complete and accurate artistic expression, as well as his practice of the core value of the artist - the special processor of social reality - continuously placing himself in front of radical social problems with his real flesh (in Gift) and sincere thinking, and trying to provide a more challenging set of answers that differ from the mainstream’s. Reviewing the artistic career of Xie over the past decade, one will find that the method of reading with a linear temporal perspective is ineffective in understanding his work. To achieve comprehension and understanding, one must not divide and deduce, but instead find a specific point of entry and delve deeply. This point of entry is his paintings. The audience will see two sets of painting works, or more precisely, two sets of mural works in the exhibition, The Other Shore and Animism. Most people will immediately be impressed and attracted by the magnificent eighty-seven celestial beings' procession, the exquisite traditional painting techniques, and the strong traditional aesthetic atmosphere upon encountering the two-meter-four high and twenty-two-meter-eight long The Other Shore. This conviction is inevitable and necessary, deriving from the accumulation of skills, the expenditure of effort, and the cultivation of ideas. However, once one becomes immersed in this conviction, one will miss the opportunity to truly understand the artist and his works. Therefore, I invite the audience to first escape the conviction and then attempt to abandon the inertia of linear logic when viewing these paintings, such as researching the historical resources of the objects painted, tracing the analogies of painting styles, and the narrative connections of elements within the paintings. Because that is the method of viewing traditional painting, the method of viewing painting created for the purpose of representation. Instead, we should refer to one of Francis Bacon's most exquisite descriptions of contemporary painting: “painting is projecting the pattern of one's own nervous system onto the canvas.” What we need to do is discover the most prominent and robust neurons in this neural network that is hidden beneath the surface of the painting and receive the information they carry and transmit. Only such a method can truly allow us to understand why Xie's painting is both traditional and contemporary. Wen (纹) should be the first thing to be noticed. The reason is that the existence of Wen is too implicit, and the information it carries is extremely important. The Animism series is different from The Other Shore series in that they do not have the complete characteristics of murals. The limited volume makes them closer to fragments of murals, movable pieces. The artist made a layer of mud on the frame and consciously formed natural cracks by adjusting the ratio of soil, water, and glue during the drying process of the mud bottom. These cracks are interwoven and connected to form 纹(Wen, crossing lines). In addition to being proof of a special technique, these Wen have actually become an important painting language that runs through the Animism series. Its uniqueness lies in the fact that it not only lies between the bottom and surface of painting, but it is also an inter-language of painting. Different from the explicit painting language of surface color, lines, shapes, etc., the relationship between the signified and the signifier of Wen as inter-language of painting appears uncertain, diffuse, and difficult to perceive. We must identify those literature that transtextuality and infertextuality to try to read and analyze the Wen. Shuowen Jiezi says that the original meaning of 文 is crossing lines, which is 纹. 纹 as crossing lines originated from the Chinese people's understanding of their living space. It is a presentation of Chinese primitive image thinking, created in the form of pictographs, imitations, depictions, simplifications, etc., forming strokes of lines, colors, patterns, then became paintings. In Lanting, Tonghui and Tiangong, the Wen as inter-language and the explicit water, mountain, and light patterns are presented at the same time. The interweaving and superposition of them are a contemporary thinking on the fundamental traditional painting of China from the implicit Wen to the explicit Painting. There is also a classic demonstration of Wen in The Book of Songs: 'If there is a nobleman, he is like a carved and polished gem.' It implies that polishing jade would reveals its natural texture. It can be said that Wen is the form of human beings in the natural order. In the sense of linguistics, 纹 and 文 are derived from the same source and therefore humanistic, referring to human order. Culture refers to using human order to make natural people become law-abiding people. From 纹 to 文, it can be summarized as the process from natural 纹 to humanized 纹 (that is, 文饰), and then from aesthetic humanized 纹 to the process of ritual music education and universal Taoist 文. Unsurprisingly, the triple visual language structure of pattern-line-drawing in the Animism series is isomorphic with the evolution of the traditional Chinese concept of pattern-decoration-culture. We have already discussed the transition from pattern to decorative pattern, and now we need to examine the layer of drawing. The content of the drawings in Animism is obviously all things. When we discover this isomorphic relationship, we can't help but marvel at how ingenious it is to correspond all things with culture - sages observe the astronomical phenomena and survey the geography to create culture (from I Ching Zheng Yi) - the way of heaven and earth exists in all things, and people summarize and comprehend the truth from all things, and ultimately present it in human experience, which is the process of culture. The recurring pattern-culture structure in the Animism series indicates the core that the artist wants to explore - how to understand the relationship between all things and culture? In other words, how to think about objects as a cultural issue? Works based on traditional Chinese mural painting techniques naturally lead viewers to reflect within the context of traditional Chinese culture. In ancient Chinese philosophy, discussions about all things and culture are mainly derived from the thread of the relationship between things and me. Unlike Western philosophy's emphasis on the subject-object relationship between things and me, the underlying color of Chinese philosophy is precisely the interaction between heaven and human and the unity of things and me. Therefore, the ultimate pursuit of Chinese aesthetic culture is to move from viewing things from my own perspective to viewing things from the perspective of things themselves, and to pursue no self in order to attain the Tao. The artist's creation is also due to this long-standing cultural tradition. However, as a conscious contemporary artist, Xie faces not only traditional issues but also issues of life, and in what sense. The ancients said The Tao is in things, and their recognition of things was vast and broad. However, today's understanding of things has been narrowed down to material objects of daily life and technological life. This is a new sense of things situation that has emerged under post-capitalist social conditions, the most obvious feature of which is the constant strengthening and internalization of material desire and the universality and reality of objectification. Even more worthy of attention and reflection is that this new sense of things situation has already overflowed from the realm of human life and infiltrated the fields of aesthetics, culture, and even the construction of the overall human spiritual condition, ultimately making people increasingly single-dimensional beings. Archaeology, as the medium of the communication between heaven and man with things, is the solution that the artist proposes to explore the ancient people's sense of things state. Lingstones, Lingshan, Lingguang, Xiangyun, Flying Dragons, Double Cranes, Tiangong, Sun and Moon, Xianjing... Xie portrays his sense of fascination with things as a contemporary individual. In this experience, the artist's spirit is still within the ancient people's bodies, positioning the heaven and earth and worshipping all the gods, borrowing the ancient people's eyes to see that world of all things have spirits and understand the statements and descriptions of all things regarding Tao. Standing in front of these works, the viewer can finally listen to the distant and fascinating voice recounted by the artist, briefly escaping the control of the contemporary world. In Animism, each square depicts only one object, directing the viewer's gaze to focus on that one thing while imagining all things. As imagination extends, the frame containing the one object expands into the walls of the universe throughout history and space, making the viewer a facer of the wall. Legend has it that Bodhidharma faced the wall for nine years, and when he left, the shape of his meditative contemplation remained on the stone wall. It is unknown whether Xie left a riddle through his Animism and The Other Shore series, as those who have achieved enlightenment and understanding of their true selves through viewing the paintings will also appear on the wall, and those who turn away will be the unenlightened. Looking at the artist himself, we can see a contradictory dimension with controlled freedom and boundaries without limits. This confusing expression can be translated into traditional Chinese language: 'The myriad of changes does not leave the origin,' as quoted from Xunzi and Zhuangzi, 'A thousand variations, but the way remains the same,' 'Not leaving the origin is called the heavenly human.' In fact, Xie Dingquan has always been expressing through the gateway of art what he truly desires - to be a facer to the wall in the contemporary world, deriving from tradition to avant-garde, understanding others through his own experience, and reaching the infinite in the finite. April 2023 At Penglai Garden, Beijing 关于艺术家 About the Artist  解丁泉 XIE DINGQUAN 2005-2010 中央美术学院 本科 2012-2015 中央美术学院 硕士 2015-2016 受聘于湖北美术学院 2019-2020 康奈尔大学访问学者 2016-至今 任教于江西师范大学 Central Academy of Fine Arts, B.A. 2005-2010 Central Academy of Fine Arts, MFA 2012-2015 Employed by Hubei Institute of Fine Arts 2015-2016 Visiting Scholar at Cornell University 2019-2020 Teaching at Jiangxi Normal University 2016-now 预约观展及咨询更多展品信息 请私信客服 |
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