前言

自我與意識的表達(dá)要發(fā)生聯(lián)系，就必須有一個把兩者聯(lián)系起來的“衍場”，這個場域就是東方宗教哲學(xué)中的無。有與無的場丶相對與絕對的場、認(rèn)為絕對無的場域才是真無的“衍場”，在有與無之間像鏡子一樣反射我們的日常，把符號與圖像直接地反映在視覺之中。

從存在與時間出發(fā)追問存在的意義，在“衍場”中依據(jù)“時間性”和“空間性”進(jìn)行存在的闡釋。“衍場”是意識與圖像形成的空間，也是情智、意志共同形成的所在，主觀界與客觀界的一切現(xiàn)象都在其中成立。

在中國的思維秩序中表達(dá)空間性、時間性、禪意、道德性以及色彩、符號與介質(zhì)關(guān)系；在質(zhì)覺美術(shù)概念的基礎(chǔ)上探索后現(xiàn)代藝術(shù)的自律問題；在精神內(nèi)核與質(zhì)的本體問題中建構(gòu)獨特的視覺樣式；在超越視覺中研究形態(tài)的關(guān)系問題；進(jìn)而思考在視覺領(lǐng)域如何破解抽象圖式中的機關(guān)消息并重新回歸天籟。

“禪意”也是視覺體驗在禪學(xué)、科學(xué)與神秘主義中激起的對“衍場”的一種普遍興趣和讀解可能。

“衍場”關(guān)注藝術(shù)的當(dāng)代性和歷史性及其關(guān)“衍場”關(guān)注藝術(shù)的當(dāng)代性和歷史性及其關(guān)系問題；在東西方思想的碰撞中萊布尼茲發(fā)現(xiàn)了伏羲在八卦圖式中的01的概念，這次相遇非常重要，它帶來了人類共享的數(shù)字時代，同時也帶給我們在視覺藝術(shù)中無限的創(chuàng)作空間。

今天“衍場”再度回歸，絕非下沉，而是相反，是按照歷史時序的發(fā)展，并提示我們在當(dāng)下被強大的科技掩蓋，我們的大腦除了裝下統(tǒng)一配給的網(wǎng)絡(luò)信息之外，已常常被扭曲而無法自己思考。此次“衍場”回歸的目的是重新認(rèn)知數(shù)字的意義，發(fā)現(xiàn)新空間并將可能改換我們今后的命運。

Preface

Liu Xuguang

The “Prime Field” is the key to associate of self and consciousness expression. It is nihility in oriental religious philosophy. There are lots of field between being and nought， relativeness and absoluteness， just absolutely nihility is the real prime field. it is like a mirrior reflectour daily life between being and nought. so then the symbols and images directly in the visual.

From the existence and time to ask the significance of existence. It is accoding to “time” and “space” to explain. In the prime field， not only the space which foundmental consciousness and image， but also affection and ambition. the subjective and objective world in which all phenomena are established.

Expression of space， time， buddhist mood， morality， color， symbol and essential in Chinese thinking order based on concept of art essence. And explore on the selfdiscipline of modern art. The ontological problem of spiritual core and essence， construction of a unique visual style in the study of the relationship  between the shape of the visual， think about how in the visual field of news organs crack Abstract schema to return to nature.

“Buddhist mood” is also avisual experience in Zen and science and mysticism arouses a wide spread interest and reading of “prime field” solution. And concerned about the relationship between the contemporary and historic of art. In the collision of the eastern and Western ideas， Leibniz found the 01 concept in the Eight Diagrams. This encounter is very important to bring the digital age of human sharing， At the same time， it also brings us infinite creative space in the visual arts.

Nowadays， “Prime Field” return again， is not a sink； the contrary， is in accordance with the historical timing and development. And that in the moment is to conceal the strong science and technology. Our brains in addition to the uniform distribution of information on the Internet， it has often been distorted thinking， The return of the significance of our understanding of the number of new， and found that the new space will be possible to change our future fate.

比抽象和東方更多

劉旭光藝術(shù)中的古典修辭

李鎮(zhèn)

抽象藝術(shù)不好聊。抽象藝術(shù)有一個強大的傳統(tǒng)，整個20世紀(jì)幾乎就是一個抽象藝術(shù)的世紀(jì)，格林伯格所說的現(xiàn)代主義藝術(shù)其實就是抽象藝術(shù)。今天我們在西方說一個藝術(shù)家是抽象畫家就好比在中國說一個藝術(shù)家是文人畫家，二者其實都很古典。而且關(guān)于抽象，格林伯格已經(jīng)聊得我們幾乎無話可說。另一方面我們說抽象藝術(shù)不好聊，恰恰是因為她的抽象性。因此康定斯基、蒙徳里安、馬列維奇、青騎士、橋社之后，藝術(shù)史家在描述一個抽象流派時總是把抽象和地域、民族、國家結(jié)合起來，比如美國抽象表現(xiàn)主義、德國新表現(xiàn)主義、意大利超先鋒派、日本物派等等。即便是奧利瓦也不能免俗地以“東方抽象”闡釋他所謂的“偉大的天上抽象”。這樣描述一個流派當(dāng)然沒有問題，但是如果我們試圖深入解讀一個藝術(shù)家的個案，就會發(fā)現(xiàn)這樣籠統(tǒng)的概括性描述是遠(yuǎn)遠(yuǎn)不夠的。

我在劉旭光的藝術(shù)中讀到了比抽象和東方更多的東西。這些東西構(gòu)成他更加獨特的古典修辭系譜?！吨芤?middot;系辭上》中說：“子曰：‘書不盡言，言不盡意。’然則，圣人之意，其不可見乎？子曰：‘圣人立象以盡意，設(shè)卦以盡情偽，系辭焉以盡其言，變而通之以盡利，鼓之舞之以盡神。’”這是中國典籍中關(guān)于意象較早的闡釋之一。語言文字不能表達(dá)的東西往往通過圖像表達(dá)，這種圖像就是意象?！吨芤住分械呢院拓扯际且庀螅訄D洛書是意象，甲骨文是意象，中國書畫也是意象。劉旭光選擇了一個來自甲骨文的“卜”字和一種來自《周易》的數(shù)理邏輯，借此闡釋他對“意象”這一概念的終極追問。與《周易》不同，《山海經(jīng)》以另一種時空維度呈現(xiàn)了中國人關(guān)于“意象”可能性的無限想象。“酸與”“蠪蛭”和“鼓”這些我們認(rèn)為荒誕不經(jīng)的東方精靈也曾通過劉旭光的影像作品出現(xiàn)在美國密西西比河畔。在劉旭光看來，卜筮和巫術(shù)是中國文化的源頭和修辭的起點。因此，與其說他是一位以古代文字和數(shù)理為母題的當(dāng)代中國抽象水墨藝術(shù)家，不如說他是新千年新世紀(jì)以來中國藝術(shù)家中通過回到源頭的方式走向未來的代表。不止于此，劉旭光20世紀(jì)80年代深受“傷痕美術(shù)”、“鄉(xiāng)土寫實”、“新中國裝飾風(fēng)”和“85新潮美術(shù)”的影響，90年代留學(xué)日本又深受日本物派和德國新表現(xiàn)主義的影響，然而他念茲在茲的依然是那條古老的黃河及其孕育的文明。于是從《天眼》到《懸空界》，在兩件尺度驚人的大型裝置作品中他完成了一次精彩的修辭轉(zhuǎn)向。此后劉旭光在清華大學(xué)完成了他的博士論文《論質(zhì)覺》，進(jìn)而在北京電影學(xué)院開始了他新媒體實驗電影的教學(xué)與創(chuàng)作。隨著他的學(xué)生逐漸走入公眾視野成為初露鋒芒的新銳藝術(shù)家，他自己的藝術(shù)也在回望本體的林中路上越走越遠(yuǎn)。我們可以從劉旭光一系列以中國墨為元素的影像作品和此次展出的繪畫作品《痕跡》與《衍場》中看到一種海德格爾與禪宗思想之間帶有某種比較文學(xué)意味的對話?！段鍩羧珪分杏涊d玉林通琇曾問旅庵本月：“一字不加畫，是什么字？”答曰：“文彩已彰。”劉旭光在“文采已彰”的“一”字上加了一畫，機鋒重重之間仿佛是對臨濟禪師和存在的再次追問。

學(xué)術(shù)史很吊詭，從“甲骨四堂”的甲骨文研究到陳夢家的《殷虛卜辭綜述》，中國現(xiàn)代學(xué)術(shù)的誕生從考古開始。同樣，藝術(shù)史也很吊詭，有時候藝術(shù)家的精神越是先鋒，其藝術(shù)的修辭就越是古典，比如現(xiàn)代藝術(shù)之父保羅·塞尚之于古典主義，又比如現(xiàn)代設(shè)計之父威廉·莫里斯之于中世紀(jì)。我想，劉旭光也是這樣先鋒而古典的藝術(shù)家，他的藝術(shù)比抽象和東方更多。

More than abstract and oriental：

classical rhetoric in the artwork of Liu Xuguang

Li Zhen

Abstract art is not a casual topic. It enjoys a solid foundation， with the entire 20th century being almost the abstract art era. Modernism art mentioned by Greenberg refers to the abstract art indeed. Describing a Western artist as an abstract artist is tantamount to referring a Chinese artist as a literati painter， both being classical. Greenberg has almost elaborated everything about the abstract art. Moreover， the reason of the abstract art being a tough topic lies in its abstraction. So after Kandinsky， Mondrian， Malevich， Der Blaus Reiter and DieBrücke， when an art historian describes an abstract school， the abstraction is always linked with regions， nations and countries， such as the American Abstract Expressionism， the German New-Expressionism， the Italian Trans-Avant-Garde and the Japanese Mono-Ha. Even Oliva is no exception， explaining his so-called “the Great Abstraction from Heaven” as “the Oriental Abstraction”. It is certainly feasible to describe a school in this way， but such a general description is far from being enough if we attempt to analyze a specific case of an artist.

I ’ve perceived something more than abstract and oriental in the art works of Liu Xuguang， which is composed of his unique， classical rhetoric spectrum. According to the Book of Zhouyi： The Great Appendix， “The Master said， ‘the written characters are not the full exponent of speech， and speech is not the full expression of ideas； is it impossible to discover the ideas of sages？’ The Master said， ‘the sages made their emblematic symbols to set forth fully their ideas； appointed (all) the diagrams to show fully the truth and falsehood (of things)； appended their explanations to give the full expression of their words； and changed (the various lines) and made general the method of doing so， to exhibitfully what was advantageous. They (thus) stimulated (the people) as by drumsand dances， thereby completely developing the spirit-like (character of the Yi).’” This is a very early explanation for the ideas in the Chinese classics. What words cannot fully describe is expressed in pictures， and these pictures are ideas. Diagramsand trigrams in the Book of Zhouyi are both ideas， so are “Hetu” and“Luoshu”， the inscriptions of bones or tortoise shells， and Chinese paintings. Liu Xuguang Chose a character of “卜” from the inscriptions and borrowed a mathematical logic from the Book of Zhouyi， to explain his ultimate question for concept of “idea”. Unlike the Book of Zhouyi， the Classic of Mountains and Seas demonstrates the infinite imagination for the possibility of “ideas” in another time-space dimension. Those absurd oriental spirits like “Suanyu”， “Longzhi” and “Gu” once appeared on the Mississippi banks thought the images created by Liu Xuguang. In his eyes， divination and witchcraft are the origin of Chinese culture and the beginning of the rhetoric. He is not so much a modern Chinese abstract painter with motif of ancient characters and mathematics， as a representative of Chinese artists in the new age heading for the future by tracing to the origin. Furthermore， in the 1980s， Liu was heavily influenced by “Scar Art”， “Local Realist”， “New China OrnamentStyle” and “85’ New Tide Fine Arts”. In the 1990s， the influence was extended to the Japanese Mono-Ha and the German New-Expressionism. However， what he kept in mind was still the ancient Yellow River and its Culture. From the Eyes of Heaven to the Suspension， these two huge installation art works witnessed his fabulous rhetoric diversion. Then， Liu completed hisdoctorial paper， On Essence Consciousness， in the Tsinghua University and started his tutorial and creation exploration of new media experimental movie in the Beijing Film Academy. With his students rising as new pioneer artists， Liu’s art also went far down the road of tracing the origin. In his image works featuring Chinese colors and the paintings exhibited this time， Marks and Prime Field， a dialogue with a certain sense ofcomparative literature is observed， between Heidegger and the ideas of Zen. In the Five Light Books Collection， Yulintongxiu once asked the Master Lvanbenyue， “What is the character ‘一’ without any more stroke？” The Master replied， “The meaning has fully expressed.” Liu added a stroke on the “一” with “fully expressed meaning”， which seemed to be a further eloquent question for Linji Zen Master and the Being.

The academic history is paradoxical. From the “four scholars of bone and tortoise shell inscriptions study” to the Overview of Inscriptions in the Ruins of Yin by Chen Mengjia， the modern academy in China originated in the archaeology. The history of art is paradoxical as well. The more pioneering the spirit of artists， the more classical its art rhetoric， as Paul Cezanne， the father of modern art， to the Classicism， or William Morris， the father of modern design， to the Middle Age. As far as I’m concerned， Liu Xuguang is supposed to be such a pioneering but classical artist， whose art is more than abstract and oriental.