宗教门户网:“书写世界：王川、张浩、田卫三人当代水墨作品展”参展艺术家简评_-宣纸-画面

　　王川部分　　王川以毛笔带有抽象性的书写，让“线条”重新获得了生命的“情感”或“身体感&rdquo

　　王川部分

　　王川以毛笔带有抽象性的书写，让“线条”重新获得了生命的“情感”或“身体感”，让平面空间震荡着呼吸的“颤栗”，看似西方网格子的抽象空间，但在紧缩与拉长之间，带入了转折的停顿。王川的墨线总是在寻找在颤抖，有着呼吸的语调，时而纠集时而转折，并不轻易折断，墨线的痉挛颤栗回应个体生命的创痛，其意外的顿挫则打开了平面空间的深度，这承受现代性灾变压力的停顿让王川的线条获得了抵抗虚无的品格。随着画面上出现带有生命体感的箱子与椅子等物象，这些如同废墟一般的残剩躯体，这些锯齿状的线条宛若生命体被时间割锯着，有着阵痛与痉挛，既是对人类身体皮囊的反讽，又传达了生命惊人的忍受力。这留给世界的最后剩余物，暗示了生命在这个世界上的痛楚，暗示人世的苦难与修行，艺术家把这些人世间的道具转变为佛教修行的法器，绘画成为我们在这个世界上坚韧存在的见证!

　　Wang Chuan

　　Wang Chuan uses the hairbrush to develop an abstract form of writing, revitalizing the lines of the ink with life-emotions and body-sensations, endowing the flat space with the shiver of breaths. At first glance, it may look like the western grid-style abstract painting, however, by the tensions and releases in the movement, it brings the dwellings of the turn-point into the strokes. The lines of Wang Chuan’s ink paintings are always seeking and shivering, endowed with the vocal tones of breathing, sometimes resounding, sometimes modulating, yet not breaking off easily, the convulsion and shiver of the ink lines respond to the trauma and agony of human life, the spontaneous pauses and transitions lend additional profundity to the plane space. The pauses, bearing the pressure of the catastrophe of modernity, provide the lines of Wang Chuan with a quality to surpass nothingness. When the sensible objects, such as boxes and chairs, appear in the picture, they are like the remainders and mutilations of human body. The jagged line, seems like a life entity sawing by time, meandering with throes and spasms, is the irony of the mortal human body, also shows the formidable endurance of life. Those are the final residuum left for the world, the hints of human agony, and the evidences of the woes and spiritual practices of mortal life. The artist transforms those mundane objects of daily life into sacred instruments of Buddhist practice, the paintings are the testimonies of the tenacious efforts of existence!

　　张浩部分

　　张浩以其独有的毛笔思维充分展现了精神漫游世界之后的记忆铭刻，纯粹依靠笔痕在空白宣纸上的移动，整合个体的梦想、视觉的残留幻象、建筑物的简化结构、图像的文字原始还原，还有在宣纸上书写时留下的意外痕迹。毛笔思维乃是唤醒我们面对世界的原初直觉，画面上就是几块带有身体姿态的墨块彼此交叠着，悬置在空间中，赋予空白以重量。一旦我们进入细节的观看，就可以倾听到那些笔痕用力书写时撕开宣纸留下的裂痕，这些空白的丝丝裂痕还在呼吸震颤，画面上隐秘喧嚣的是这些回响着的空白余韵：裂白，破白，开白，空白，让空白活化起来，让精神在行走中获得了身体的灵韵。这些交织的墨块既非抽象也非具象，既非文字也非形体，在似与不似之间激发了我们无尽的联想，这是西方抽象绘画所不可能具备的灵感与爆发力，这是一首首世界的散文诗，这是精神的逍遥游。

　　Zhang Hao

　　Zhang Hao’s hairbrush thinking reveals sufficiently the imprinted memories after the spiritual journeys of the artist, depends exclusively on the movements of the brushstroke on the fiber paper, integrates with the reveries of the individual, the residual vision image, the simplified silhouette of architecture, the primordial text extraction from image, as well as the inadvertent brushstrokes left on the paper. Hairbrush thinking awakens our primitive instinct of personal experience. Several ink blocks, with body gestures, interwoven with each other, as if suspending in the space, endowing the blank space with solid weightiness. Seen from the details, we can hear the husky tones of the stroke marks on the fiber paper, feel the breaths and quivers of the cracks on the blank space. The secretive noises reverberate on the painting like the lingering charms of the blank: cracks, splits, wounds and voids, vitalizing the whole space, endowing the space with an aura of body through the mind-meandering activity. Those dialoguing ink blocks on the works are neither abstract nor figurative, neither text nor image, this ambiguity between likeness and unlikeness stimulates the imagination of the spectators, the inspiration and intuition of Zhang Hao’s works transcend the boundaries of the oriental and western abstract painting, thereby poeticizing the earthly world, leading us onward for a spiritual journey.

　　田卫部分

　　田卫以其佛教修行的内观来塑造自己的画面，艺术家在反复摺叠宣纸，不断以单色或者色彩渲染反复数十遍之后，保留了折缝处的那道空白，利用了中国传统“不画之画”的至高原则，不去画这道折痕，而是任其空白，在周边画，打开后，在画面上就生成为“一道”白光，那似乎就是打坐之间闪耀出来的一道道灵光，来自于艺术家边念咒边作画，一个神奇的出窍时刻。这道空白发出的光，是舍利子的光，具有内在的永恒性，既炙热又静冷，既空灵又活跃，因为这是由无数道笔触涌逼出来的，周边涌动的笔触逼出了空白无尽耀眼的光芒，可以洗涤一切，照耀世界，净化我们的念头。这道内在的白光，无疑是通过内在的修炼所获得的灵视：整个世界如同画面，被这道闪耀的白光所主宰，一切都被它引导与净化，它或者是佛光，或者是基督教的启示之光，或者是道家的空灵之光，净化着我们的心念，或者就是自然物理的宇宙光线或双弦，加入金粉与中国色之后，形成了无尽涌动着的美妙浑色与明亮灼热的那道世界的地平线。

　　Tian Wei

　　Tian Wei’s vipassana Buddhism practices is embodied in his work, through the folding and refolding of the fiber paper, and dozens of times of color rendering, thereby leaving a blank streak of the creases on the paper, this technique of painting enshrines and reflects the supreme principles of the traditional Chinese ink painting, that is to paint without painting, the crease line on the paper was not deliberately painted, the artist only paints the peripheries, then unfolds, inadvertently left a blank space on the paper, like a streak of white light. The artist chants mantras while painting, reaching to a moment of spiritual enlightenment, striked by a flash of illumination after the zazen meditation. This is a streak of white light filtered out through the blank space, a light of shariputra, of internal eternity, fervent yet calm, ethereal and vivacious, surging and pushing forward by the brush strokes, a streak of light dazzling out, illuminates the world, purifies our mind. This internal light is an aura of guidance to our thoughts: the whole world was implicated on the painting, dominated by the white light of purification and guidance, perhaps it is the Buddha’s light, or the light of enlightenment in Christian religion, the light of calmness purifying our thoughts in Taoism, or the melodic sequences of the cosmic rays. Covered in gold dust and traditional Chinese painting pigments, the mixture of color traces out an ever-surging horizon line, vivid and fiery.

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