出品人

曹兴斌

青和文化
 杜尚與莊子

夏可君 著 Xia Kejun

謝 飛 譯 Trans.by Jeff Crosby
 可能性是一種虛薄 ；
可能含有生成的意思——自身向著他者過渡，
發生在虛薄之中 ；
虛薄是忘記的寓意。
——杜尚

哲學家 ：
由於膨脹 ：尼采 ；
由於呼吸 ：莊周。
——加內蒂

“The possible is an infra-mince,

The possible implying the becoming – the passage from one
to the other takes place in the infra-mince.
Allegory on ‘forgetting’.”
——Marcel Duchamp

Philosophers:
Out of expansion: Nietzsche
Out of Breath: Chuang Tzu
——Elias Ganetti

001
 目 錄

006 第一部分 杜尚與莊子：虛薄的切片

007 薄片 1：空白的皺褶
009 薄片 2：現存品的危機
012 薄片 3：通道
014 薄片 4：第四維
016 薄片 5：現存品的哲學
019 薄片 6：
《大玻璃》
021 薄片 7：
“虛 -薄”的提出
022 薄片 8：虛薄作為通道
024 薄片 9：處女性
026 薄片 10：虛薄作為可能性
028 薄片 11：虛薄的繪畫
029 薄片 12：繪畫藝術的三階段
031 薄片 13：邊界的消失
033 薄片 14：自然化
035 薄片 15：水性
037 薄片 16：平面性
039 薄片 17：抽象表現主義的平面性
041 薄片 18：虛薄的平面性
044 薄片 19：平淡的悖論
046 薄片 20：水墨的虛薄
048 薄片 21：時間的餘像
050 薄片 22：庖丁解牛

117 第二部分 虛薄的褶子：中國式繪畫

118 邱世華的繪畫：虛白的虛薄
134 尚揚繪畫對自然的恢復：時間之虛薄的包漿
152 幾微的“虛薄”：梁銓對山水畫的抽象轉化
172 江大海的虛薄式繪畫：氤氳之氣的渾化與伸縮
191 張羽的指印：幾微的接觸
208 沈勤的水墨庭院：純淨夢想的虛薄
224 蘇新平的大風景：亡靈的回眸與世界的剩餘物
242 劉國夫的繪畫：光氣融合的虛薄
262 姜吉安的繪畫與裝置：物化的虛薄
280 陳光武書法的虛薄：呵氣如蘭與剛健雄強
302 關晶晶的繪畫：迷人而透氣的間薄

318 藝術家簡歷

002 003
 Contents

054 I Duchamp and Chuang Tzu : Slices of Infra-mince

055 Slice 1: Blank Folds
058 Slice 2: The Crisis of the Readymade
062 Slice 3: Passage
063 Slice 4: The Fourth Dimension
066 Slice 5: The Philosophy of the Readymade
070 Slice 6: Large Glass
073 Slice 7: Proposal of the “Infra-Mince”
075 Slice 8: Infra-Mince as a Passage
078 Slice 9: Virginity
080 Slice 10: Infra-Mince as Possibility
083 Slice 11: Infra-Mince Painting
085 Slice 12: Three Phases of Painted Art
088 Slice 13: The Disappearance of Boundaries
091 Slice 14: Natural Naturalization
093 Slice 15: Wateriness
096 Slice 16: Flatness
098 Slice 17: The Plane in Abstract Expressionism
101 Slice 18: The Flatness of Infra-Mince
105 Slice 19: The Paradox of the Prosaic
109 Slice 20: The Infra-Mince of Ink Painting
110 Slice 21: The Infra-image of Time
112 Slice 22: The Dexterous Butcher

117 II The Folds of Infra-mince : A Chinese-Type Painting

130 The Painting of Qiu Shihua: The Infra-Mince of Infra-White
146 The Infra-Mince Patina of Time: Shang Yang’s Restoration of Nature
166 Delicate Infra-Mince: Abstract Transformation of Landscape Painting in Liang Quan
184 The Infra-MInce Painting of Jiang Dahai: Metamorphosis of Qi and Plasticity
202 Zhang Yu’s Fingerprints: Minute Contact
220 Shen Qin’s Ink Gardens: Pure Dream Infra-Mince
236 Su Xinping’s Large Landscapes: Departed Souls Looking Back and the Remnants of the World
256 The Graphic-Painting of Liu Guofu:Infra-Mince Fusion of Light and Qi
274 Jiang Ji’an’s Painting and Installation: the Infra-Mince of Remnants
294 The Infra-Mince of Chen Guangwu’s Calligraphy: the Breath of the Orchid and Vigorous Strength
313 The Painting of Guan Jingjing: an Enchanting and Breathable Interval

319 Artist Curriculum Vitae

004 005
 薄片 1: 空白的皺褶

從空白開始，以空白來開始，開始於空白。
這似乎意味著 ：如下的沒有什麼可看，如下的沒有什麼可說，甚至，沒有什
麼如下，甚至，沒有這個沒有（pas sans: without this with-out）。
老子《道德經》的第一章不就是如此開始的？戰國時代書寫在竹簡上的這一
句句箴言，不就是薄片的書寫？並且一直保持為薄片式的 ：
道，可道，非常道 ；名，可名，非常名。無名天地之始 ；有名萬物之母。故
常無欲以觀其妙 ；常有欲以觀其徼。此兩者，同出而異名，同謂之玄。玄之又玄，
眾妙之門。
第一部分 杜尚與莊子：虛薄的切片
這個語段還可以切得更薄，甚至，《道德經》的整個閱讀，就是要不斷削薄，
直到幾乎沒有，但這個削薄的過程卻接觸了“道”。“道自身”的生成，對“道”
的言說，有著如此的幾個基本層面，這也是思想最為基本的三個步伐（pas:step/
not，without: with -out/with-out ）：
一，第一個“道”字，僅僅標記一個永遠不可知的 X，它絕對的不可道，一
直處於混沌之中，一直在變化之中，那個不可知的絕對的“道”是不可“道說”
的（道的自身否定），要肯定這個不可知，被動地經驗這個不可知。
二，第二個“道”字，可以道出的道，則是“強名”（勉強為之命名），如同
老子自己也寫到對於“道”的強名為“大”，強為之“容”（形容），僅僅是臨時
性的標記，這個標記也可能是不確切的，或許還有著其它的可能性。那個不可命
名的絕對的道，其命名是不可能被道出的，倒不如以“無”來命名（進入這個語
段的第二個層次），即便命名留下了蹤跡，也要自身塗抹。
三，第三個“道”字，既然命名了（已經“有名”了），但要明確——這個
臨時性的命名並不是那個絕對的道，既然對那個變化的道有所思及了，就留下了
蹤跡，後來的思想與人類也只能沿著開始的蹤跡，後來的言說都被之前的言說所
限制了 ；但道之道化的過程是要抹去這些已有蹤跡的，不讓已有說出的“道”限
制與妨礙對那個絕對道的思想，就必須抹去學習到的各種思考，已有的步伐是要
徹底抹去的，但在那個步伐的抹去之間，是要去追蹤歷史上不同面對那個混沌之
道的“抹去方式”，是進入各個斷裂的裂隙之中，在歷史的還原之中，要去發現
那些打斷歷史回到混沌之中的裂隙，而非已有的歷史連續性。這個不斷發現裂隙
的過程，也是“玄化”的過程，不斷玄化，就進入了道化的那些端倪（“門”），
玄化也是旋轉（revolve，rotate），並且保持為眩暈（syncope） ①。如同杜尚
的那些“門”的現存品作品。
道，也是道路，是思想與書寫的步伐，也是藝術創作的方法，這個語段要翻
譯為外語，比如法語，借用布朗肖和德里達對 pas 的思考 ②（同時具有“否定”
與“步伐”兩個意思），而且與否定（sans，without）相關，就是 pas sans
杜尚的“门”《给予》之局部

006 007
 pas（沒有步伐的步伐，沒有沒有的步伐，沒有沒有的沒有，等等），這個不合法 薄片 2: 現存品的危機
的虛薄的句子可以切開為三個更薄的層面，這也是異常抽象的形式指引（formal
indication）的書寫，或可以如下來翻譯，這個翻譯如此對等，但其內部卻並“不
均衡”：
1，不可知：那（The）絕對就是不可知，不可命名，任何的命名都不可能切中它，
都是無意義的，都不可能完全說出它的秘密。——如果以法語和英語的句子來寫：
pas sans pas: 即什麼都沒有，pas 的步伐都被抹去了，pas 改寫為 sans，以
英文來寫 ：without with-out without，三次書寫 sans，重複中打開了“差異”
與“節奏”，尤其是英文分開來寫的那個 with-out，打開了裂縫，這個裂縫是最
初的空間化，保持“空出”（open out），即便是徹底虛無化，也有著裂縫的展開，
如同西方混沌（chaos）的本來意義即裂隙。 西方現代性開始於啟蒙運動對個體性的喚醒，隨著尼采強力意志以及佛洛德
2，非知識（non-knowledge）：既然絕對不可知，那就什麼都不必做了？ 生命本能的泛化，這個被解放出來的本能與欲力，不再可能被西方已有的任何話
不是！而是有著針對它的指向性，既然它是非知識的，作為非知識，不可認知 語所規訓 ：古希臘的理性不再可能馴服這個自然正當的愛欲，中世紀神學也不可
（knowledge），但可“思及”（Besinnung ：如同康德與海德格爾等人區分開知 能把生命本能作為原罪來轄制並控制自由意志帶來的惡，近代以來建立在先驗主
識與思想），作為非知識的思想。——如果繼續重複那個語句，則把 pas sans 體性上的普遍性也無法擴展到個體的肉身上。
pas 切割為 Not without step，這一次強調的是 pas 之為否定的標記，有著步
伐——但步伐僅僅是虛無的步伐，是“無”在邁出步伐，即無的無化，是“無”在“空
這個被喚醒的生命意志之流，在西方大致有著三重釋放方式 ：第一是戰爭暴
開”空間。
力的方式，這是二次世界大戰，隨後的冷戰，直到 9·11 三個唯一神論之間的爭
3，不可觸知（intangible）：那麼如何思及？人類總是處於已有的歷史思想
鬥所導致的全球恐怖主義，讓血氣的憤怒（rage of thumos）得到釋放，也導
方式之中，不可能憑空開始 ；但需要逆轉，逆覺在於 ：不是人類在思及，而是讓
致生命的自我毀滅 ；第二是藝術創造的方式，賦予生命本能以各種藝術形式，從
思想來觸及我們（如同海德格爾所言，是語言在言說我們，語言在言說自身），
印象派到表現主義，從超現實主義到抽象表現主義等等，從具象到抽象，都試圖
或者讓那不可知的來觸及我們，重要的是我們不受自己認知的限制，而是我們
賦予這股無法主宰的無意識本能以形式，並且走向崇高（獻祭犧牲或者放棄犧牲
的敞開與赤裸，向著那個絕對敞開。——如果繼續重複那個語句，則是把 pas
的法則）；其三則是資本主義商業化帶來的時尚以及消費方式，隨著廣告傳媒業
sans pas 切割為 Step with-out step ：一方面，並沒有道的步伐，僅僅只是
的發達，個體的感覺享受被商業充分利用與發揮，資本與藝術的結合，也漸漸被
“路”而已，不能把“道”當做“路”；另一方面，確實人類有著思想了，但要讓
暴力所滲透。
那個無化的 not 起作用，不斷讓那不可知的 X 來道化，讓道來為，讓無來為，以
無的方式來為（不是我為，而是道以空無來化），這就是在“沒有步伐的步伐”中，
9·11 難道不是恐怖主義分子在模仿好萊塢商業大片？打擊世貿“雙塔”不
在那個 with-out 之間的分開書寫，留下了裂隙與標記。
對 縫 隙 的 三 重 標 記， 縫 隙 的 空 出 打 開 了 原 初 的 空 間 間 隔（espacement， 也是針對藝術自我複製與自身確立的那種象徵性價值？而且資本主義商業也在發

spacing），形成了空白的三重皺褶。 酵新的暴力，或者讓地方性成為資本消費的對象，導致自然環境的破壞。而藝術

這是開門見山的書寫，“道化”滲透到每一個物，也要求每一個語句都要展 的形式化在商業的軟暴力面前也喪失了內在的力量，在歐洲還有少許藝術精英在
開如此的三重皺褶，並且僅僅停留在如此抽象的表達上，也要求每一個藝術作品 勉強自我支撐，但美國的全球化則導致了三者更為徹底地被商業所同化，整個世
都體現如此的意函，藝術就成為了哲學（如同亞瑟·丹托 A. Danto 所言）。就 界被壓縮為一個商品交換的平面，商業越是發達，藝術的危機也越是巨大，這也
如同杜尚所造的三道門 ：第一道門是那個 1920 年的《新寡》（Fresh Widow， 是為什麼會反復出現藝術終結的論調。
如同一道牆，有待於打開，卻堵住了一切），1921 年的《奧斯杜裡茲的喧噪》
（Miniature window, 玻璃上的油彩有著某種旋轉的油彩的形式，似乎在傳達什 如果每一個個體是自生的（如同莊子所言，並非被造之物），個體生命的獨
麼，但並沒有明確的視覺形式，僅僅是白色的噪音），1946-1966 年的《被給予》 一性（singularity）就是其存在的絕對性，在這個現代性的進程之中，個體本身
中的舊木門（Given ：反復摸索門板上如此多的斑斑點點與裂縫，才可以尋找到 的獨一性如何得到絕對尊重？還可以自我塑造為藝術的形式，如此才能抵禦或規
那個窺視孔）。 訓資本主義？如果是一個中國藝術家，面對如此這般的一個被美國式全球化所滲
透的混雜現代性（confusion modernity）狀態，他如何來回應這個困難？

①或者改造海德格爾對“敞開”與“空無”的聯繫，林中空地（Lichtung）與虛無化（Nichtung）
聯繫，就是“玄化”，當然玄化更為玄暗，而海德格爾則更強調明亮，這是東西方思想的差異。 回到現代藝術的開端，那是杜尚的藝術創作帶來了一個分水嶺，現代藝術與
②德里達（德希达 :Derrida）在很多著作中回應了布朗肖（Blanchot）對“步伐” （pas）的思考：在《繪
畫中的真理》(The Truth in Painting )，在《明信片》（Postcard），尤其獻給布朗肖的著作 Parages 中， 傳統藝術的不同，不僅僅是兩種美學體系的差異，而且也是制度模式和生活方式
思考了 pas 的相關句法，已經直接寫出了 sans sans sans 以及 pas sans pas 的語句，思考了 pas 的蹤跡， 的差異，即藝術家與常人的身份幾乎不再存在，人人都是藝術家，藝術家是人人，
這個獨特的 X sans X 的句法，不再是黑格爾辯證法否定式的揚棄，當然也就沒有後來所言的哲學的
終結（所謂的藝術終結的說辭也是成問題的，杜尚從來不說藝術的終結之類話語），因為即便在如 藝術與非藝術的界限基本消失。而這都來自于杜尚對“現存品（ready-made）”
此否定一般的噪音表達中，還有著表達的可能性。

008 009
 的發現。而現存品就是個體獨一性之絕對性的確證，是與個體生命獨一性的發現
相當。即“每一物（everyone）”不再從屬於任何的特殊本質，不再有屬 - 種 -
類或本質的種種規定，而僅僅是這個個體獨一的絕對性，但個體如何展現這個絕
對的獨一性呢？它僅僅是任一物（whatever，quelconque），但卻是絕對唯一
與不可替代的，如何展現出它自身的絕對性？這是個體的絕對死亡與有限性，這
也是 1920 年代的哲學（比如海德格爾 [Heidegger] 在《存在與時間》[Being
and Time] 之中對此在 [Dasein]“向死而在”之唯一的的規定！），而現存品的
物性就具有如此的唯一性。
而且，杜尚一生的藝術實踐，打開了三個維度 ：
（1），到 1912 年為止的繪畫藝術實踐，在杜尚看來，僅僅是繪畫這個以視
網膜為視覺感的傳統美學的特殊模式，只是“特殊藝術（special art）”；——在
傳統，這是一個有著手藝的特殊人物，比如畫家與雕刻家。
（2），而 1913 年開始的現存品則要做的是“藝術一般（Art general）” ③，
每一個現存品乃是這個任一之物的獨一性，藝術家似乎是一個有著命名權能的亞
當（如同本雅明以《創世記》為標準對語言一般的發現），第一次讓這個事物顯
露出自身的絕對性了 ；——在現代，則是每個人都應該成為藝術家，而不是一個
有著手藝活以及特殊技術訓練的傳統藝術家。
（3），而 1946 年開始的《被給予》（Given）這個做了二十年的作品，則是
把藝術當做“非藝術（Non-Art）”來做，1937 年之後的杜尚幾乎放棄了作為藝
術家的身份，甚至連現存品藝術都不繼續做了。因此，進一步的要求，要麼是放
棄做藝術，因為現存品做得太多，也還是獲得了藝術家身份，還應該更為徹底放
棄自身（逃避自我），這不僅僅是放棄藝術，也是放棄藝術家的身份，藝術家都
是常人，回到日常狀態，但還可以做藝術，卻並非藝術家，這是沃霍爾以及博伊
斯（J. Beuys）走向公共領域的藝術政治活動。——這也導致了藝術成為“非藝術”，
導致藝術的終結，或者把藝術向著日常生活滲透時也與日常狀態無法區分了！但
杜尚的方式則是保持藝術的匿名性！ 20 年既不展覽也不宣告自己的作品，如此
的顛倒方式更為體現出藝術的博大，偉力與神秘，實際上杜尚發揚了西方傳統神
秘主義的方式，這是隱秘地做，但保持缺席，不讓自己以及自己的作品顯現出來。
infra-thin）”——保持事物在“時間裡，同一物體間隔一秒就有了差別”，不
斷 打 破 同 一 性 原 則（In Time the same object is not the same after a 1
second interval – what Relations with the identity principle?）④，就是來
面對此危機。而且，特殊藝術——藝術一般——非藝術的日常化，三者之間如何
繼續保持張力，而不導致藝術的終結，而且還有著彼此的界限？虛薄的提出是否
是杜尚在隱秘地回應現代性的困難？這也是為什麼他 1946 年之後會隱藏自己的
作品，並且取名為《被給予》，其中有著與禮物給予的隱秘關係（真正的禮物給
予都是匿名與缺席的），重建了繪畫以及現存品，現存品與日常之間的關係，因
此沒有走向沃霍爾等人的悲劇。重新思考杜尚提出“虛薄”的動機，以及沒有充
分展開的緣由，正是中國藝術重新切入的時機？
③繪畫之為特殊藝術，現存品之為藝術一般，這是迪弗的區分，參看其著作 ：Thierry de Duve:
Pictorial Nominalism: On Marcel Duchamp's Passage from Painting to the Readymade, University of
Minnesota Press, 1991. 以及迪弗所言 ： “‘現存品’不是一個東西，不是一系列東西，也不是藝術家
的姿態或意圖，而是貼在一個絕對任意的東西上的一句話——這是藝術。”見迪弗 ： 《藝術之名》，
秦海鷹譯，湖南美術出版社，2001 年，第 145 頁。
④這是杜尚論“虛薄”的筆記第 7 條，共 46 條，其中文與法文文本都來自于王海豔的博士論文附錄，
見王海豔： 《杜尚的“虛薄”》，2008 年，中國美術學院博士論文。以及臺灣學者陳蕉的碩士論文《過
渡 • 差異 • 間隔——杜象的“次薄”觀念及其實踐》，國立藝術學院美術史研究所碩士論文，2000 年。
Infra-mince，翻譯為“虛 - 薄”還是“次薄”，或者“超薄”；或者與中國藝術的平淡美學傳統相關，
是“淡薄”或者“淡泊”；與莊子相關，則是象罔；與影像相關，是“虛像”，“餘像”（與虛薄相關，
就可以翻譯為 infra-image 了）等等，有待於在具體的論述中展開。

——但是，在杜尚之後，在西方現代藝術乃至當代藝術，是把這三者混合起來，
或者尤為在第三個方面，不是隱藏與自身退卻，而是把藝術做成日常狀態，但這
個日常也具有表演性，比如在沃霍爾那裡 ：絲網版印刷還是有著繪畫門類的獨特
語言 ；死刑椅以及固定攝影作品是新的現存品製作 ；而現實日常狀態的沃霍爾把
自己裝扮為一個明星！西方文化的名人英雄必然導致被崇拜者所傷害，這是模仿
的悲劇悖論。但只有杜尚避免了這個悲劇 ：這是他把自己隱藏起來了，儘管在古
代中國藝術家看來，也許還不夠“自然”。

如果重新發揚中國文化的回歸自然與歸隱傳統，但並不如同杜尚那般隱藏，
也並非沃霍爾那麼“囂張”表演，而是讓自然性在 ：藝術的特殊門類——現存品
藝術一般——非藝術，這三個方面都起作用，就可以避免西方藝術的終結與悲劇
性？現存品的創造性啟動了藝術，但現存品本身也陷入了危機。

中國當代藝術的機會就在這裡？ 1937 年杜尚提出“虛 - 薄（infra-mince,

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 薄片 3 ：通道
“現存品”（ready-made），這個現代藝術的咒語，在杜尚發出之前，還是
與現代主義繪畫密切相關的。首先，藝術史的分期標誌指向 1912 年，這一年杜
尚畫完《從處女到新娘的過渡》（The Passage from the Virgin to the Bride）
不久，就放棄了繪畫。這個名為“通道”的作品無疑極為具有象徵性（象徵一個
主題以及畫面實現的過程），或者某種寓意（一種生命關係的轉變以及繪畫本身
的轉變 [transform]），無論怎麼擴展這個“通道（passage）”的隱喻都不為過
（通道也是一種有著性暗示的色情主義，一種可能或不可能的新道路）⑤，這個通
道，尤為針對的是繪畫本身，杜尚的繪畫一直面對的是繪畫自身的可能性，準確說：
也是其不可能性。
杜尚，《從處女到新娘的過渡》，1912，布面油彩，紐約現代美術館。
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如 果 繪 畫 過 快 地 從“ 布 料（canvas）”（ 儘 管 還 沒 有 明 確 地 提 出 現 存 品 概
念）——過渡到了——打上繪畫顏料的“畫布基底（painting ground-plan）”，
那麼，繪畫就還是一個藝術門類而已（僅僅是特殊性），而無法代表藝術本身的
可能性（藝術本身的一般性），如同德·迪弗所言。但，更為重要的是，這個通道，
如同 1912 年其它的繪畫所面對的問題 ：這也是如何在二維繪畫平面上打開第四
維的問題 ：
《新娘》以及素描稿《新娘和光棍》，名為《被飛旋的裸體包圍的國王
和王后》，尤其是素描稿《國王和王后處在高速穿行的裸體之中》，它們不同於之
前最為著名的《下樓梯的裸女》以及 1911 年的《火車上憂傷的年輕人》等立體
派作品，在於 ：杜尚開始思考“第四維”的問題⑥。對通道的穿越與轉換（trans/
forms）在於 ：如何在二維平面上打開“第四維度”，這還是繪畫的問題，對於放
棄繪畫之後的杜尚則是 ：如何通過“任一事物”打開“第四維度”，或者，如果
還有二維平面的繪畫，必須也要打開第四維度，而不是平面上的第三維度而已，
否則還是視網膜的視覺效果罷了。
⑤ Thierry de Duve: Pictorial Nominalism: On Marcel Duchamp's Passage from Painting to the
Readymade, University of Minnesota Press, 1991. 在該書《圖像的唯名論，論杜尚從繪畫到現存品的通
道》一書對“通道”有著充分思考。
⑥關於杜尚的透視法以及第四維的關係等等，西方藝術史家已經有所思考，參看 Thierry de Duve
(edi.): The Definitively Unfinished Marcel Duchamp. MIT Press, 1993. 以及 Jean Clair 與 Linda Dalrymple
Henderson，Craig Adcock 等人的相關研究。當然，這也是二十世紀初愛因斯坦相對論在藝術中的
普遍反映，西方對此有大量研究，也是與 X 射線的發現以及量子力學的波粒二相性相關。
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 薄片 4 ：第四維
如何從二維平面或者日常的三維生活世界穿越到第四維度的時間性場域？
或者第四維如何穿越到二維，這個“轉換”與“過渡”如何可能？這個問題在
1912 年已經開始深深折磨杜尚，這導致他放棄立體派的三維繪畫就不是偶然的
了，只有打開第四維度，才有藝術的可能性。
立體派確實打開了新的繪畫平面，儘管不是文藝復興以來焦點透視所打開的
深度錯覺，而是帶有淺浮雕效果的平面，《下樓梯的裸女們》也是如此，立體圓
柱形的肌體，儘管更為帶有未來主義的機器硬度，但還是浮雕似的視覺疊加效果。
打開了二維繪畫平面上的第三維，西方繪畫，從文藝復興以來基本上是打開這個
有著視錯覺的第三維，印象派也是從材質上做此工作，只是更為回到二維平面上
帶入了運動變化，直到格林伯格更為明確強調繪畫的二維性與抽象性。
現實生活的事物基本上都是三維的，如同我們居住的建築空間，繪畫也是在
模仿建築與雕塑而打開深度錯覺的觸感，但現實生活的三度空間，我們已經習慣
了，不如二維平面的深度錯覺給我們帶來驚訝與反省，因此需要繪畫以帶有技術
的想像來重新塑造一個深度三維，開發我們的想像力與感受。但繪畫對三維日常
生活空間的模仿與再現，也導致繪畫自身不斷衰落。因此，問題是 ：繪畫如何保
持二維平面，而不陷入三維深度錯覺，還能夠轉換到第四維？即，第二維如何通
過打開某種神奇的通道而直接進入了第四維，透視法是否可以繼續擴展？而不是
模仿第三維的錯覺？這是後來《大玻璃》產生的契機。
對於新的繪畫，是如何在二維平面上打開第四維，如同從處女到新娘的通道，
處女性代表二維平面【甚至就是第一維，杜尚在論虛薄筆記 26r 也寫道了這個，
儘管抱有疑問 ：the infra-thins (in a single dimension)?】，一直保持為第一
次的新娘性則代表第四維，處女性如何在成為新娘的通道之中，新娘性還如何一
直保持為處女的？而不再走向立體派的視覺感受，而是通向不可覺察第四維的問
題（imperceptible reality is the fourth dimension），但 1912 年的杜尚顯然
還無法做到如此，杜尚想像的那種急速的瞬間穿越，仿佛天外飛仙，就是此努力，
但這個穿越與穿過的想像來自哪裡？
如果不是繪畫，對於任一事物，平常生活的任一事物（所謂物的零度，就在
一维上），還沒有進入人類建築空間第三維的空間塑造，就打開第四維度，這又
如何可能？這就必須擺脫視網膜的限制以及手的製作程式，甚至整個人性都被懸
置起來，直接面對任一物，卻打開第四維度的想像。
這就是杜尚開始“命名現存品”，進入所謂唯名論的藝術觀的開始了。這也
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是為什麼這段時間，杜尚寫了大量如何進入第四維平面的筆記，而且畫了大量點
線面的草圖。
如果是繪畫，一方面，要守住自身的二維平面，另一方面，要打開第四維度，
而非第三維度的深度幻覺製作，古典與現代的繪畫，其實都在製作第三維度，但
如果放棄第二維度，比如後來的極簡主義與裝置藝術等等，總是試圖打開第三維
之外的現實外在空間，而且還放棄了限度。繪畫與現存品的關係就在於 ：一方面，
保持繪畫之為二維的有限性，因為繪畫的平面性不同於日常生活的第三維度，帶
來了間隔 ；另一方面，打開第四維度，是打開無限的可能性，卻不進入第三維度
的程式化，而是讓第四維度起作用，如同杜尚所言的“瞬間的穿越”，但要與第
二維度相關，即如果有著新的繪畫，一開始，就一定要打開一個奇妙的通道 ：即
在可見可觸的二維平面與不可見的第四維之間的“通道”。
或者，如同杜尚所言，為了保持第四維的連續性，甚至必須想像虛擬的第五
維度 ⑦，為此它還畫出了草圖。即如何為了保持第四維時間性的持續運動，所謂
“無限的幾何學”，讓第四維連續運動變化，這是第四維進入到了第五維，或者讓
第五維（連續運動變化的第四維即時間性）與第二維發生關聯，貫穿到第二維上，
瞬間的穿越而來，這也是他 1912 年如何反復迫切地要畫那種急速穿越的繪畫。
簡而言之，按照空白皺褶的“道說”方式，第四維也有著三重體現 ：
（1），第四維是無維度的，僅僅是對那個不可見的無限多維的暗示，那個無
限的幾何學一直保持為未知的，偶發的，到來的。（2），第四維作為發生，作為
某種可能性的發生。（3），第四維作為第三維上的投影，有著具體可見的第三維，
但要反射到第四維上。
其實我們已經看到了 ：美國抽象表現主義，如果不是波洛克（Pollock）的
滴灑繪畫打開新的可能性，是不會有其他人如此絕然地放棄之前對老歐洲各種現
代主義的模仿方式的，連波洛克自己，在 1944 年之前也僅僅是一個更為象徵性
與狂亂性的立體派畢卡索主義者而已，畫面無論多麼眩暈（如同杜尚對急速穿越
的渴望），還是被立體派的語言所限制著，即被第三維的幻覺所控制了，但一旦
開始滴灑，第四維就洞開了 ：因為波洛克踩在畫布上創作，這已經是打開了畫布
的第三維度，就是日常生活的空間，但是，一旦滴灑，而不接觸畫面，這個從外
在性帶來的那種自由感，不是筆觸在二維平面上走向第三維度的塑造，而是隔著
一段距離，似乎這個間距一直存在著，畫面是被另一種魔幻的力量所打開，而
且畫面上線條的層層旋轉是在二維平面上的無限展開。這也是為何晚期羅斯科
（Rothko）繪畫走向黑色，不再是畫面基底的色塊與表面的色塊之間的對比色差
關係，而是從黑色的基底走向畫框之外，如同《羅斯科教堂畫》，通過幾乎沒有
畫什麼的二維平面打開了周圍的教堂空間，但並非是第三維的日常生活空間，而
是進入了某種神聖冥想的第四維度。極簡主義的實物放置，打開了第三維度，以
及某種程度上的第四維度，卻基本喪失了與第二維度之間的張力。因此，如果有
著新的藝術，要保持有限性的第二維度與無限性的第四維度之間的張力關係。這
也是為什麼繪畫還是如此重要的緣故，因為它恰好是有限性的體現。
⑦ M.Duchamp: Duchamp du signe, Flammarion, 1994, p.138. 此名為“走向無限”的筆記也是集中
討論第四維的可能性。雖然杜尚有時說，通過虛薄，我們可以從第二維到第三維，但其實說的是
第四維，杜尚也反復說到幾何學所言的第三維之為第四維的投影（by the infra-thin one can pass from
the second to the third dimension）。中国书法中的“飞白”则在一维中直接呈现出第四维了。
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 薄片 5 ：現存品的哲學
要發現藝術本身的可能性，而非繪畫的繼續，這是從 1913 年開始，杜尚開
始發現“現存品”，從日常用具中的雪鏟到自行車輪胎，以及著名的 1917 年的
小便器，現存品的概念變得明確清晰了，繪畫被放棄也就更為順理成章了。因為，
現存品所代表的作品，不再受到視覺之視網膜的限制，不再受到美醜判斷與區分
的限制。當然，也不再受到材質的限制，因為現存品把任一材質，是任一材質，
無論是自然物、器物還是藝術品，都可以成為廣義的那個代表藝術本身的藝術品。
即，每一次的現存品都代表了藝術的例子（Ex-ample），這個例子的邏輯（是
那個不可知的本體的獨一的例子，每一個都是獨一性的例子），不是傳統的邏輯
模式，如同黑格爾的“個別 - 特殊 - 一般”。顯然，就繪畫的構成而言 ：繪畫的
材質可以被比喻為一種不定型的一般 ；畫面基底代表特殊 ；而在此畫面基底上再
畫出一個具體的物象，則是個別了。但現在，對於杜尚而言，現存品要一直保持
為一般，任何的繪畫，並不走向特殊以及個別的表現，任何的一個現存品，都直
接寓比一般，個別與一般之間不再有特殊的仲介。
這個寓比（analogy）或寓意（Allegory）（杜尚後來思考虛薄時所言的“忘
卻的寓意”[allegory on "forgetting"]，就是忘卻一般與特殊的區分），就是在保
持一般性的同時，任一動作代表的僅僅是當下的偶合，以及那種相遇，那種附會，
那種巧遇，巧合：如同《自行車輪子》讓輪子與凳子以不可能的方式相遇，而《折
斷胳膊之前》僅僅是把一個現存的雪鏟重新命名而已，是一個名稱與一個工具的
相遇，暗示著胳膊的可能折斷，或者事物失去功能的可能性，而《泉》的作品，
則是把小便器旋轉 90 度放置（也是讓第四維突然起作用），簽上名字與日期，也
是讓一個名稱與一個器物相遇（現存品就被杜尚定義為 ：作為一種相遇 [a kind
of rendezvous]），讓一個看起來並不雅觀的事物，成為了激發奇特聖像物形狀
以及光潔度的雕塑（因此已有藝術史家認為這個作品其實並不排斥繪畫的視覺美
感⑧），或者是富有肉感暗示性的藝術品了，而且一旦命名，就具有了唯一性，就
是它自身，而且就是唯一的一次，不再有其它修改的可能性，也不是之前的繪畫
的再現與表現等等，而就是“物”直接的呈現，但經過了命名的“唯名論”的處
理，這個唯名論（Nominalism），也是與當代哲學對獨一性，對具體的“此一性”
（haecceity/thisness）的思考相通，從中世紀的 Duns Scotus 到德勒茲的思考，
就是發現這個此一性，這個任一物⑨，成為了藝術自身的絕對例子。
那麼，任一物如何直接通向第四維度呢？只有讓第四維度起作用，才可能帶
來新的驚訝。就是這裡的這個物，獨一的這個物，不再走向第三維度（日常生活
空間與畫面錯覺製作），因為走向第三維度，過於被藝術家的主體創作與表像方
式限制，或者容易陷入程式化模式操作，或者還僅僅是某種特殊性，而不是絕對
的普遍性。獨一性與絕對的普遍性如何相關？如同莊子思想所啟發的 ：不是以此
016
物觀彼物，不是以類物來“類比”，也不是以某種規則來通觀事物，而是“以物
觀物”，或者“以道觀物”，或者“以物體道”，即，任一物都有著它自身的“道”，
它只有進入與自身的“道”的關係，並且其它物也進入與它自身的“道”的關係，
只有彼此都在“道”的層面上相遇（如同在第四維度上相遇），才有彼此的相通（打
開通道），因為各自的“道”與“道”之間有著可以相通的地方，有著變化的轉換，
也是因為“道本身”是變化著的，可以轉換的。因此，個體只有打開與自身之“道”
的關係，個體才會生成出來，才成為“此一性”（haecceity）。這也是杜尚自己
所言的“圖像的唯名論”（pictorial nominalism），這就是個體獨一性與普遍性
的貫通，就是杜尚思考的轉換，這個轉換通道如何打開呢？
有著各種方式打開這個“通道”。二十世紀的哲學與藝術，不過都是在這個
問題上展開自己的想像，打開第四維度 ：
1，這個個體不再可以歸屬於某個類，某個種屬，某個規則之下，它是絕對
孤零零的，是例外的存在，是在世界規定之外的，幾乎是多餘的，它失去了任何
的規定性。海德格爾的此在之為向死而在就是如此，薩特的自由先于本質的生存，
德勒茲的此一性，德里達的延異，南希的獨一者的身體觸感，阿甘本的任一物，
等等。它打開了另外的一種觀看世界的方式，如同女性打開了世界本身的裂縫。
2，但這個物還是這個物，有著自身的限定性，但它以自身的限定性，洞開
了世界本身，如同動物在某些時刻看到了世界的深淵，這是里爾克（Rilke）的
詩歌所啟示的。因此保持世界的敞開，但又不是走向另一個世界，而是讓整個世
界向著某種外在性敞開，又不去填滿這個空無而是保持空無敞開，這就超越了所
有宗教的幻像，即不再有天堂與地獄的第三度空間。世界的敞開並非世界，而是
世界的無根基，以及對這個“無”的經驗。這個有限的個體性要與自身的虛無發
生關係，讓無意義的“無”不斷起作用，但又不給“無意義”賦予意義，從個體
的任一差異走向無差異——這是讓“無”來出生差異，這是“無”之不可能的工作，
“無為而無不為”！
3，這個任一物與未知的關係，任一物僅僅保持與未來之未知的觸感關係，
不走向已知，其實這正是藝術要做的事情。藝術作品不是解決問題，而是如何打
開我們的生命感受與未知之物的關係，並且把我們帶入這個未知的經驗之中，一
直保持為未知的。
4，則是這個事物進入無差別之中，進入混沌，重新開始，但一直保持在開
始的端倪之中，並不進入具體的規定。
正是在這裡，我們看到了現存品的哲學意義 ：
1，任一物，自行車輪子與木凳，雪鏟，小便器，都是任一物，但也僅僅是任一物，
是一個剝離出來的存在物，還沒有被命名，還有待重新命名，這個命名要從第四
維度而來，而非從第三維度的現實作用（日常生活之物都是某種功能的產物）與
想像而來。這也是現存品很多時候，就是一個命名，一個唯名論的唯一規定，打
開了物的一個新世界，因為這個命名有著意外性，不確定性，神秘性，偶發的無
盡聯想。
2，任一物，向著外在世界敞開，向著一個空無的世界敞開，
《新寡婦》（fresh
Widow）這個法式窗戶（French window），就是如此，直接命名為新寡婦，著
實讓人意外，其實在法語中可能還有著“手淫”以及“斷頭臺”的暗示，但更為
徹底的是，這面窗戶打開的是一個空無的世界 ：新鮮就在於它第一次打開了窗戶，
017
 也打開了世界，當然還有繪畫，因為文藝復興以來總是把繪畫比作透過窗子去觀 薄片 6 ：
《大玻璃》
看。
3，有著杜尚所言的“忘卻的寓意”，與未知的關係，現存品總是處於到來的
瞬間感發之中。1920 年的《旋轉的鍍金玻璃》和《旋轉的浮雕》帶來的是某種
未知的眩暈（第四維與這個旋轉的眩暈內在相關）。還有 1916 年的《梳子》（上
面還寫著“三或四滴高傲與獸性無關”的語句，充滿了詩意的謎語特徵），而把
自己化妝打扮為女性並且取名為 Rrose Sélavy，這讓杜尚可以用另一個名字， 要更為具體解決處女向著新娘的過渡，而且讓第四維度更為徹底起作用，既
另一個替身活著，就像尼采寫出《查拉圖斯特拉如是說》之後，就開始以這個名 有著現存品，還有著某種繪畫第二維度的暗示，這就出現了 1915 年開始做的《大
字活著了，可以成為敵基督者，這本書可是杜尚的枕邊書啊！而且杜尚自己變化 玻璃》（Large Glass）（即《新娘被光棍剝光了衣服，甚至》，1923 年）這個畫
為一個異性，這也是自身向著他者轉換，是“虛薄”式轉換的開始了。 在玻璃上的繪畫作品。
4，現存品當然是杜尚對無差別的經驗，現存品就是為了打破已有的美醜區 異常奇怪的是這個作品其實還是繪畫，為何杜尚說自己放棄了繪畫？當然這
分， 進 入 漠 然的 無 差 別（indifference: 既 是沒有差別，也是在差別之中 ：in- 已經不是視網膜式的繪畫，以玻璃代替畫布，確實有著現存品的非繪畫的特性，
difference，還是“無”的差別 ：讓這個“無差別”的“無”來起積極作用！）， 這是杜尚要具體解決第四維度如何與三度空間發生關係（或者就是與二維平面發
儘管杜尚對混沌的深入並不夠，這也是現存品還不夠虛薄之處，而中國文化的虛 生關係），以及如何打開處女到新娘的通道，或者在處女“即將”成為新娘的時刻，
淡就是因為一直與混沌的渾化保持著關係，即杜尚的現存品還是太“硬”，太人 還一直保持住自身的處女性，但又有著成為新娘的快感（瞬間的穿越），這個奇
工成品，而非自然物，儘管他也有把自然物作為現存品的作品（《秘密的聲音》，
《巴 特的轉換如何可以具體實現？而且是接續繪畫——即重新研究透視法，以更為科
黎的空氣》以及《被給予》），但並不多。 學地方式實現出來，而又不走向三度的深度錯覺，這無疑是一個艱巨的任務，所
簡而言之，現存品也是有著空白的皺褶 ：
（1），現存品打開了與世界的邂逅， 幸《大玻璃》基本上解決了這個問題。《大玻璃》的繪畫裝置，打開了第四維度
不可期待的意外邂逅 ；
（2），現存品是圖像的唯名論，名稱本身具有多樣性與模 的想像，並且讓新娘一直處於處女最初幻覺的快感想像之中，
“如雲”以及“如花”
糊性 ；
（3），現存品的具體實物性，就是具體的物，但失去了其功能，有著物質 盛開的欲望一直保持著（杜尚用“電影開花 [épanouissement cinématique]”
性與經驗性，但並沒有實用性。 來形容）。
《大玻璃》的上半部分 ：作為發動機與內燃機的新娘，有著機器一般的內臟，
會分泌出一種羞怯力或動力，左下部的卵形物就是愛情汽油庫，新娘的左邊向下
垂落的部分其實就是從繪畫作品《新娘》的左邊直接仿製切割下來的，是新娘的
磁性溢死體或女性自縊者（The Bride/Pendu femelle），而橫行展開的形態，
如同“銀河”（Milky Way），或者如同電影膠片一般的雲彩，發出氣流，但這並
不是從新娘自身產生的東西，而是新娘在她自己開花時刻電影一般地顯示自身，
而這個開花時刻也就是她正在被剝去衣服的時刻，這裡有著她全部燦爛的激情，
快感的氣息與光暈，處女是以這個氣息保持為新娘的。而《大玻璃》的下半部分：
是充滿欲望的九個男性化模子（Nine Malic Moulds），在自慰與欲望的眩暈之中，
試圖通過眼科醫生的視力表（Oculist Witnesses）而進入新娘的上半區，試圖
借助於電力方式脫去新娘的衣服，導致處女開花，成為新娘。
這 個 開 花 的 隱 喻 也 是 欲 望 的 幻 想 ：一 方 面， 這 個 處 女 要 成 為 新 娘， 甚 至
被單身漢們脫光了衣服，即將成為新娘 ；但另一方面，僅僅是“甚至（even,
même ：法語這個詞既是重複我的同一性 [me]，也發生了書寫的差異 ：mê 與
me）”，僅僅是“即將”來臨，即新娘還沒有被脫衣赤裸，這個事件並沒有發生 ；
但是在第四維度之中，這個幻覺的事情又發生了，以某種開花的想像以及氣流的
方式發生。這是第四維的時間性 ：什麼都沒有發生，但又發生了最為重要的事情，
杜尚，《大玻璃》，1915-1923 年，玻璃繪畫。
似乎是在某種無意識的夢想中發生的，如同俄狄浦斯夢見弑父娶母，但這個第四
維被打開了。這個新娘即被動又主動，但僅僅是帶點惡意的空虛的欲望，既是自
⑧見 M. Camfield 的文章 ：Marcel Duchamp’ s Fountain: Aesthetic Object, Icon, or Anti-Art? In Thierry
de Duve (edi.):The Definitively Unfinished Marcel Duchamp. MIT Press, 1993. 儘管對此文章的相關討論
身感發（auto-affection）也是它異感發（hetero-affection）的，與事件的發
中，對此過於審美化的解釋有極大爭議。 生相關，這個第四維的事件性即是時間性。
⑨ 如 同 阿 甘 本 在《 到 來 的 共 通 體 》（Agamben: The Coming Community, trans. by Michael Hardt,
Minnesota, 1993.） 一 書 中 對“ 任 一 物 ” 的 思 考 以 及 英 文 版 的 翻 譯（ 英 語 ：whatever。 法 語 ： 新娘仿佛是四維物體的投影，即杜尚相信，我們日常習以為常的任何三維
quelconque。德語 ：beliebige），也可以翻譯為 ：某一，任何一個，“如一”。這也是阿甘本接續德勒
茲（Deleuze）的“此一性” （haecceity）與讓 - 呂克 • 南希（Jean-Luc Nancy）的“獨一性” （singularity）
物體可能是一種我們不熟悉的第四維東西的投影 ⑩。這個看不見的第四維，也是
所展開的思考。

018 019
 杜尚自己所言的“鏡中的耽擱（a delay in glass）”與“鏡中的發送”（renvoi 薄片 7 ：
“虛 - 薄”的提出
miroirique），這個耽擱也是返回與發送（sending），似乎是鏡子中的自我通過
第四維而回到自我的凝視時，被延遲了，似乎是從第四維中回來，如同杜尚把自
己轉變為女性的 Rrose Sélavy，就是一個鏡像的逆轉投射。
如同杜尚自己所言 ：
“新娘其實是我想像中的人物，就像一種全新的人類，
一種既像機器人又兼有四維物體特性的人物⑪。”——新娘因為進入的是第四維的
時空，因此她通過自身雲狀的氣流激發，來催發單身漢們的情欲，在似乎滿足又 如果保持現存品的特性，甚至還與繪畫相關，藝術如何可能？當然，杜尚不
根本沒有直接觸及之中，保持著某種幻覺的聯繫（遙感 ：tele-affection），電影 願意回到繪畫上來，但並非如一般人所認為的，杜尚 1912 年之後就全然放棄了
開花僅僅是滿足之前的最後階段，但這個可能導致新娘（準確說是處女）衰落的 繪畫，
《大玻璃》依然是繪畫，只不過不再是視網膜的形式美感了，但也有著透視法；
行動其實並不發生（如同量子力學微觀世界之中的那個測不准原理與坍塌之前的 而 1916 年的《梳子》和 1917 年《阿波利奈爾塗過的漆》，以及 1918 年的《Tu
無數可能性），她既是“處女”也是幻覺之中的“新娘”。第四維的時間性與第二 m'》，還是與繪畫有著關係，就如同迪弗指出的⑬，
“梳子（Peigne）”一詞與“繪
空間或者第三空間發生關係的方式在於 ：玻璃的厚度以及內在空間是三維性的， 畫（il peigne）”一詞的變位之間有著語詞上的相似性關聯，有著對畢卡索等人
上下兩半的區分是第四維的，因為新娘與單身漢們之間的接觸是通過虛幻的想像 的戲仿，杜尚的語詞遊戲也是在暗示繪畫，儘管可能是嘲諷性的，但杜尚難道不
推動的，讓第四維與第二維的平面之物發生關係。 是一直在夢想著現存品與繪畫之間之新的關係？最後的作品《被給予》難道不也
《大玻璃》也是解決“第四維”顯臨的問題，是三重的展開 ：
（1），第四維之 是在模仿繪畫？而且，
《大玻璃》儘管有著硬度與厚度，但還是過於龐大與瑣細了。
為無限維的暗示：
“銀河”以及“換氣活塞”
（Draught Pistons），水平線（Horizon/ 如果重新回到二維性平面，是否可以產生出更為豐富的張力？
Bride's garment 新 娘 衣 服， 透 視 隱 沒 點 [Vanishing point of perspetive]）。 於是，杜尚開始思考“虛 - 薄”（infra-mince）。這是他自己從 1937 年開
（2），第四維的發生 ：代表新娘的雌性溢死體，相對於繪畫中的那個部分。（3）， 始私下思考的一個概念。如果現成品打開了虛無的藝術，或者非藝術的藝術，如
第四維的投影 ：新娘開花發出的重量落到下面，下方九個雄性鑄型以及巧克力研 果繼續做藝術，並且具有藝術的豐富性，甚至保持繪畫的可能性，並且以此展開
磨機與眼科醫生的證人，發生的互動。 對整個西方現代藝術與當代藝術的重新反思，這如何可能？顯然，如同迪弗指出
但這個作品，還有幾個問題有待於解決 ：其一，作為裝置製作式繪畫，過於 的，杜尚的“虛薄”還是接續之前對那個“通道”的思考，或者如同我們所言，
複雜，過於依賴科學 ；其二，它過於硬朗，過於龐大，而並不日常，或者說沒有 如何保持第四維度與第二維度之間的張力關係，而且還有著微妙的過渡？
現存品的那種任一性的單純與簡明。如何既要保持轉換的通道，還能夠有著簡易， 在這個意義上，“虛 - 薄”並不能夠“倒推”到前面的現存品的作品上，很
輕易，乃至微妙呢？這是“虛薄”即將來臨的前兆了 ；其三，《大玻璃》這樣的 多如此的研究是我們要警惕的，在我們看來，“虛薄”的提出，是為了解決現存
裝置繪畫，似乎是畫，但已經不再是繪畫，也是因為大玻璃帶來的空間厚度與深 品與繪畫的關係，現存品與藝術的關係，從“虛薄”的第一條筆記是關於修拉
度，但卻並沒有二維平面的限定，儘管杜尚在做這個作品時，花費了大量手工勞動， （Seurat）繪畫的可能性就可以看出。如果認為之前的現存品就已經是虛薄的了，
也畫了很多平面草圖，寫出了很多筆記，但並不是繪畫。因此，如何有著二維平 這就抹去了杜尚自己的危機以及“虛薄”出現的重要性了，也導致“虛薄”被簡
面與第四維時間性之間的張力，這個張力的通道如何更為微妙地打開，而且還保 單地泛化了。
持龐德在《詩篇第四十九》所言的詩意地“日日新”⑫？這還是一個新問題。
而到了 1936 年左右，杜尚把自己所作的各種現存品收集起來，做成了《綠
盒子》（1934 年），以及隨後的《手提的盒子》，這實際上在對自己現存品作品系
列進行自我“總結”？乃至於自我“終結”？
正是在這個節骨眼上，杜尚開始寫關於“虛 - 薄”的筆記，這也是一個合成詞：
infra-mince，似乎內在對應著“現存品”的組合 ：ready-made，但這兩個單
詞都是形容詞，也一直要保持為形容詞，永遠不要把它變成實詞，這是杜尚的命令，
但現存品難道不已經成為了一個實詞？乃至於實物了？
即現存品似乎無以為繼，不是不能繼續做，而是杜尚的現存品系列，已經打
破了所有物性的邊界，甚至包括男女性別的界限，自然物，人造物，藝術品，禮
物等等界限都已經打破了，而且也做了相關的作品了，藝術還如何可能？

⑩皮埃爾 • 卡巴內 ：《杜尚訪談錄》，王瑞芸译著，中國人民大學出版社，2003 年，第 57 頁。 杜尚關於“嗅覺地虛薄”(olfactory infra thin) 的筆記第 11v 或第 33 條 ：

“吸煙時，嘴吐出
⑪裘蒂特 • 伍澤：《杜尚傳》，袁俊生譯，重慶大學出版社，2010 年，第 262 頁。同一頁作者還寫道：
煙，煙散發出嘴的味道，煙味和嘴味地結合在一起。”
“即一個四維的人在感受人類的時候，就像單獨從一個側面感受軀體一樣，既感受不到外面，也感
受不到裡面，如同克萊因瓶那樣令人迷惑不已。”
⑫龐德《詩章第四十九》：卿雲爛兮 
糾縵縵兮 
日月光華 
旦復旦兮 

日出而作 
日入而息 
掘井而
飲 
耕田而食 
帝利于我何有哉？ 

第四維度，安寧的空間。
其威制伏野獸。 ⑬ Thierry de Duve ：Kant After Duchamp, MIT Press, 1998.pp.168-169.

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 白色的畫布”之間，有著很細微的區分與差別嗎？如果能夠打開此差別，“虛薄”
薄片 8 ：虛薄作為通道
不就能夠在其間作為可能性生長出來了？如何打開一塊空白布料與一幅白色抽象
極簡主義繪畫之間的差別呢？其中的間隔如何打開？這個“間 - 薄”如何可能？
這不就是藝術再次發生的地帶？或者尤其是繪畫發生的區域？而且還有著“雌雄”
的差別？如同“陰陽”的差別？這也不就是中國傳統的“氣化”所打開的宣紙的
虛淡空間？這是中國傳統美學可以使“物”在自身與它物之間轉化？這就是“物
化”，物化即是寓意或類比的別名！

西方的當代藝術，一直在現存品與繪畫之間擺蕩，沃霍爾的絲網版政治波普
頭像就是如此，只是後來更為走向非藝術了，沃霍爾不過是把絲網版的繪畫製
“虛薄”的提出，還是為了回應那個通道與轉換的問題，繪畫的通道還是走
作——現存品的攝像——非藝術的個人偶像化生活，這三者都統一起來了。而對
向了三維空間以及視覺感受（也僅僅是藝術的特殊門類），而現存品則過於硬實
於杜尚，繪畫藝術——藝術一般——非藝術的日常化，三者之間還是有著張力，
與自身確立（每一次都確立藝術一般），但卻並沒有打開細微過渡變化的可能性，
虛薄就是要找到三者之間內在關係，並且形成豐富的過渡的皺褶，但西方當代藝
如何讓第四維進入第二維時，更為微妙與豐富？《大玻璃》過於複雜與技術化，
術，顯然在藝術向著“非藝術”乃至於消費大眾藝術走得太遠了。美國方式的全
如何可能更為簡易與輕鬆地轉換？而且與日常的非藝術相關？這是虛薄要打開那
球化在於 ：在沃霍爾這裡，在 1980 年代之後，基本上三者合流了，已經被資本
幾乎並不存在的間隔與可能性。虛薄是藝術之可能性的別名。
主義的商品消耗所滲透，藝術成為了商業的附庸，藝術本身已經無法形成事件。
如果重新回到繪畫，就可以在藝術的有限性——藝術本身的邊界——藝術的非藝
杜尚不願意回到繪畫上來，如同迪弗指出的 ：因為現存品打開的是藝術一般，
術化，三者之間打開更為豐富關係，而現存品則成為相互轉換的條件，堅持現存
而繪畫還僅僅是特殊門類，對於杜尚而言，虛薄的口誤把“我應該繪畫”的潛在
品之為繪畫與非藝術的條件，可以形成虛薄的新藝術？日本的“物派”
（Mono-ha）
性隱藏在現存品物件的名義之下，而這個物件是不可能被叫做繪畫的⑭。
還是從現存品過於走向了非藝術，而且還並不日常，與個體生命的呼吸並不相關，
而這正是中國當代藝術可能需要重新發現的東方性。
值得思考的問題是 ：比如，把達芬奇《蒙娜麗莎》的繪畫塗上小鬍子，這是
現存品還是繪畫？“現存品”是否可以叫做“繪畫”是一個難以決斷的問題，以
如何從繪畫開始打開新的通道，並且把非藝術收斂到藝術本身上，這是“虛薄”
至於迪弗認為現存品的出現，標誌著不再有繪畫而只有藝術了，這也是為什麼後
的過渡的連接作用。而且僅僅結合三者也是不夠的，中國當前的混雜現代性在美
來的藝術家要放棄繪畫。反過來呢？對於繪畫呢？是否必須具有現存品的特性？
國式全球化的影響下，尤為具有三者的混合。如何結合三者，但並不陷入混亂？
1912 年後期綜合立體主義的拼貼已經使用了報紙等等現存品了，其實比杜尚還
能否在三者之中要融入一個新的要素？使虛薄的虛化可能？還不陷入個體藝術家
要早！當然那還是繪畫，美國抽象表現主義也許過於二維平面繪畫了，因此有了
的迷狂與偶像崇拜？這是——“自然性”，也許在藝術作品——現存品——日常化，
極簡主義走向現存品與越出繪畫邊界的反動，日本的“物派”（Mono-ha）也是
三者之間都融入自然性，可以給藝術帶來新的可能性？“虛薄”與“自然性”有
更為走向與自然物這樣的現存品的相遇，對現存品與繪畫的關係有所擴展，因此，
著內在關係？
如果要重新建立現存品與繪畫的關係，如同杜尚從 1912 年尋找繪畫走向現存品
的通道，那麼，1937 年，也許杜尚在尋找現存品走向繪畫的通道？以及面對現
存品作為藝術一般在杜尚那裡，還走向了非藝術（他自己一直在下國際象棋或試
⑭ Thierry de Duve: Kant After Duchamp, MIT Press, 1998, p.184.
圖過一種侍者一般的生活）。如果前一個方向過於斷裂，過於激越，如同一個隔
板帶來了隔閡（cloison），後者則是要在繪畫之中打開一個間隔（intervalle），
這個差異難道不就是杜尚所言的虛薄的區分？對於杜尚，這是不可決斷的，有著
來回的遊弋。如同《大玻璃》杜尚在第 9 條筆記中寫道 ：
“虛薄的區別——比隔
膜這個詞好，因為它指間隔（一方面）和隔膜（另一方面），區別有雌雄兩個意思。”

也許杜尚夢想過一幅空白的布料也是一幅最為完美的繪畫，如同迪弗所設想
的，但美國抽象表現主義卻主要地走向了黑色繪畫，當然，也可能走向白色，比
如後來 R. Ryman 等人的繪畫，在英國的臺灣畫家林壽宇（Richard Lin）在
1960 年代也一直以白色為主，這對於西方也許有些困難，但對於中國傳統而言，
宣紙不就一直保持為空白的？當然這還需要以受過現代性抽象畫洗禮的目光來觀
照。如果中國人來回答這個問題，也許更為有趣 ：在“一塊空白布料”與“一幅

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 薄片 9 ：處女性 因此唯一神論有著多重的差異性開端 ；另一方面，即便有著印跡，留下了蹤跡，
這個蹤跡是可以無限繼續儲存，還可以保持開放與敞開的，需要被塗抹的（in
erasure）。需要反復重新開始，這不就是藝術的目的？杜尚對此最為徹底進行了
思考，這就是通過對任一物打開第四維度。

在這個意義上，後來做了二十年的《被給予》（Given，1946-1966），可
以是最後階段的某種嘗試，緩慢，沉默而孤獨地，試圖在保持虛薄的同時，還有
著 ：繪畫 - 現存品 - 日常，三者之間的內在關係。一方面，這是禮物，並非藝術
品，對物性的思考更為進了一步，“禮物”是不在場的，自身隱藏的 ；另一方面，
也是試圖重建現存品與繪畫的關係，但就如同《大玻璃》一樣，但還是不夠日常
讓我們回到最初繪畫的通道轉換上，如果我們以另一個更為杜尚的“色情主
也不夠自然！儘管杜尚提及過“軟化的現存品”（soft readymade）。
義（Eroticism）”的主題展開問題，會更為清晰 ：
已有的繪畫過快地 ：從處女（布料）——過渡到了——新娘（畫布基底），
這個最後的大作品，其實是現存品與繪畫的結合，儘管更加靠近現存品 ：窺
每一次的繪畫都無法讓處女一直保持為處女，而是都過快地，甚至暴力地，走向
視的方式是反繪畫的 ；裸體是模仿庫爾貝的繪畫，依然保持著處女一般的乾淨與
了畫布。每一次繪畫的重新開始，或者新的繪畫手法與風格的發現，都是要打造
裸露的誘惑（儘管光潔與乾淨得有些虛假，有著模擬 [simulation] 的效果），或
新的新娘，“布料”不再被看到，而僅僅看到作為畫面背景的“畫面基底”與前
者說不同於《大玻璃》“裸露的耽擱”（delay of the nude），已經被徹底脫去
景的“物象”。
了衣服而裸露了 ；瀑布以及樹枝等等背景也是有著繪畫性的（也許處女或新娘一
直是“樹 - 女”[tree-woman]）；煤氣燈等其它現存品確實保持了現存品的特
現存品的要求在於 ：如果一直保持處女性（The Virginity），繪畫還是否有
性。畫面上試圖給人釋放出某種愛欲與人工氣體，以及自然氣息相關的氣氛，就
著可能？而且這個處女性之為處女性，還同時讓藝術一般有著可能，讓繪畫不僅
如同筆記中思考的水蒸氣在光滑的表面帶來虛薄（Condensing vapors -- on
僅是特殊藝術而是絕對藝術（抽象繪畫試圖如此做），即在處女性與新娘性之間，
polished surfaces）， 產 生 虛 薄 的 光 滑 現 象（the polished phenom of infra
同時兼具二者 ：即一直保持處女性的同時，還有著新娘的唯一性。
thin），但其實並不“虛薄”？這就是問題所在，也許杜尚並沒有實現自己要做出
虛薄藝術作品的夢想？
甚至，繪畫的三個層面都有可能 ：
（1），首先，保持處女性，材質要餘留著 ；
（2），其次，新娘的基底性要向著處女性還原與後撤（retrait），而不是從基底走
這個女性或者新娘性，在西方，乃是“永恆新娘”的形象，這永恆的新娘也
向物象的表現，即打開現存布料與基底之間的間隔空間，這個間隔空間本來並不
是那個希臘悲劇英雄中的安提戈涅（Antigone），也是聖母瑪利亞，也是但丁的
存在，而是有待於發現出來的 ；
（3），最後，則是把基底的背景與前景的物象的
貝雅特麗采（Dante‘Beatrice），也是歌德《浮士德》（Faust）中那個作為永
相關性都減去或者去除，而是把物象向著基底還原，繼續把基底向著布料還原，
恆之女性的海倫，還是克爾凱郭爾（Kierkegaard）重疊了安提戈涅與聖母的那
這樣，才可能減少物象的傳統視覺再現。
個永恆的新娘。

一旦現存品被發現出來，保持現存品，即保持處女性，如何讓繪畫繼續可能？
甚至，西方對這個處女性的思考，除了杜尚自己的某些私密的想法（如同迪弗等
人以精神分析發現的他與他妹妹的關係），其實是西方本身最為徹底地面對藝術
⑮德里達： 《書寫與差異》，張寧譯，三聯書店，2001 年，第 400-401 頁，第 407 頁。Derrida: L'Écriture
的態度，就如同德里達討論佛洛德分析無意識的書寫蹤跡時所言，無意識的書寫 et la différence. Seuil, 1967,p.329, p.324。 相 关 的 法 語 原 文 为 ：Innocence toujours offerte et réserve des
機制就在於⑮ ：一方面是無限的儲存力，一方面是無限的接納力（a potential for traces.

indefinite preservation and an unlimited capacity for reception.）。或者 ：

一方面是一直有可提供的純真，另一方面是印跡的無限可餘存（a perpetually
available innocence and an infinite reserve of traces），這也是因為書寫的
條件在於 ：既要在各個層面間既不能有永恆的接觸，也不能有絕對的斷裂（The
condition for writing is that there be neither a permanent contact nor an
absolute break between strata）。德里達所言的這個“童貞性”或“處女性”
就是杜尚試圖保持的那種永恆的帶有處女性的新娘，如同《大玻璃》上與新娘那
開花一般的電影雲狀氣流與窗子所暗示的。因此，西方的智慧在於 ：一方面，要
永遠保持那個原初的童貞，不可觸及，如同基督教福音書的聖處女的懷孕事件，

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 薄片 10 ：虛薄作為可能性 當然，自身與他者的過渡之說，有些過於跨文化解釋了，並非藝術解釋。杜
尚的問題是 ：現存品無法繼續，而又不可能回到架上繪畫，不可能成為新的新娘，
處女性只能一次性，成為新娘——這是怎麼做都可以！而處女性的保持——則是
怎麼做都不可以！“虛薄”，乃是在處女的現存品之下或者之上，再做點什麼？
但並非繪畫也並非新藝術。

因此，必須重新理解現存品與繪畫之間的關係，後來的空白抽象畫，其實已
經在開始接近這個問題，如果就是把一塊白色布料，以現存品方式裝框掛起來，
被命名為“無題”之類的名稱之後，是否就是一幅畫了？如同極簡主義所為！或者，
杜尚關於虛薄 46 條筆記的第 1 條是關於虛薄的可能性⑯ ： 把一塊白色布料，打上白色顏料之後，也如此掛起來進行展覽，是否也是繪畫？
“可能性是一種虛薄。幾管顏料成為一幅修拉（Seurat）畫的可能性是可能 現存品依然在打破繪畫的界限，也在超越繪畫。或者說，如果繪畫可能，難道不
作為虛薄的具體解釋，可能含有生成的意思——自身向著他者過渡（le devenir- 就一直在面對自身的超越？為何還要討論繪畫問題呢？既然現存品已經成為問題
le passage de l'un à l'autre），發生在虛薄之中。是忘記的寓意。” 的核心了？這是因為藝術的邊界問題，繪畫恰好可以為藝術的討論提供某種邊界
與有限性，而從現存品到裝置以及媒體藝術，藝術本身喪失了邊界，也導致了自
虛薄作為一種可能性，是不可能訴諸於任何理論的！如同杜尚筆記所為，僅 身的終結。
僅只能通過實際的舉例，當代藝術理論不同于傳統美學的本質主義恰好在於，僅 重新處理繪畫與現存品之間的關係，乃是如同丹托在《尋常物的嬗變》第一
僅是給出關於例子（example）的“例子”
（ex-ample），並沒有絕對合一的例子， 章思考《藝術作品與純然之物》所設想的情形⑰：從一塊黑色布料到一塊紅色畫布，
並沒有最好的例子，只有獨一的例子，複多的獨一的例子，並沒有“例子本身”！ 可以概括物性與藝術史的基本問題：
“歷史畫、心理肖像畫、風景畫、幾何抽象畫、
如同現存品所啟發的！這也是中國傳統繪畫藝術理論很多時候也是舉例，而不成 宗教畫、靜物畫。其中還包括來自喬爾喬內作坊的敷了底色的畫布，以及無意步
為一般性的理論。 入藝術神聖殿堂的純然之物（mere thing）。”丹托對這些物性的思考，當然是被
思考“虛薄”的第一段筆記，就是思考修拉的點彩畫，即從印象派開始，不 杜尚的現存品所觸發的，但因為沒有涉及第四維度就無法展開而顯得不充分，而
再如同之前古典油畫需要藝術家自己製作顏料，很多作坊大師的秘密都在顏料的 Jean Clair 的研究集中於《大玻璃》時注意到了這個第四維，還有著對精神氣化
製作之中，但到了工業顏料生產時代，藝術家直接從顏料管裡擠出顏料，不也是 （Gaz, geest, esprit）的關注⑱，那麼，如何在現存品與繪畫之間重新建立聯繫？
成為了現存品？如果繪畫到了馬列維奇那裡，繪畫的手藝不再重要，僅僅是黑色 既要保持布料作為現存品的處女性，也要有著畫面之為新娘性的新生成？
方塊而已。但為何修拉的畫可以解釋虛薄呢？如何從繪畫的特殊性到現存品藝術 一個方向是明確的，如同迪弗所指出的 ：首先，首要的是讓現存品成為繪畫
的一般性？這是直接擠出顏料，點彩畫有著色點的細微過渡與變化（比如修拉名 的條件，而不是相反，即繪畫的超越與繪畫的不可能性（作為現存品）——是繪
為 Jeune-fille 的作品上影子微暈一般的點畫處理就異常美妙），儘管還並不充分 畫可能性的條件，只有保持現存品的特性，繪畫才不會僅僅是一個藝術門類以及
（修拉可惜去世太早），只有充分展開自身向著他者過渡的微妙性，虛薄就可以在 一個古老手藝活的行當，因此，要把繪畫的基底以及繪畫的物象，都向著現存品
其間發生。 這個層面上還原，還是現存品，有著某種處女性，但已經並非處女了 ；其次，繪
通過虛薄，是要實現從第二維到第三維，當然其實是從第二維到不可見，不 畫也是現存品以及藝術一般的條件，因為繪畫可以更好地體現出藝術的邊界，以
可表現的第四維的過渡，如同《大玻璃》所渴望的。虛薄，不可能被科學定義， 及個體性及其身體性活動的痕跡與氣息，如果杜尚的現存品幾乎都是一個瞬間
如同量子力學來思考測不准的波粒二相性，僅僅保持為形容詞而不是名詞，永遠 的概念乃至意念附加到器物上，當然《大玻璃》有著艱巨的工作，如同後來做了
不會變成實詞（虛薄筆記第 5 條 ：infrathin (adject.) not noun – never use 二十年的《被給予》現在，個體勞作的時間性通過繪畫可以更好地體現出來。
as a substantive），保持為微妙過渡與變化的通道之中。 顯然，以此看美國抽象表現主義的繪畫，主要還是走向了畫面基底的重新打
開，儘管波洛克的滴灑是有著現存品的特性的 ：踩在帆布上滴灑，確實是某種即
甚至，如果把虛薄的觀念進一步泛化，在跨文化的語境中展開，虛薄既是在 興的現存行為，使用工業塑膠丙烯顏料也是如此，但還是過於在畫面本身上展開
分離兩個相同事物之間的間隔（"to try to pass into the infra thin interval that 色塊的豐富性，現存品並不明晰。而到了極簡主義，走向外在實物的呈放，又過
separated two identical things."），也是從自身到他者的微妙過渡，如同杜尚 於放棄了繪畫，如同日本的物派所做的 ：那木棍浸泡墨汁後綁在畫布上，有著現
喜歡表達的 ： 存品的痕跡，但二維畫面本身並沒有重新打開。
從布料到畫布，或從處女到新娘之間，處於現存品的“虛無性之有”與藝術
家“創作的行為之無”之間——的微妙難測的過渡，這是打破“自身”與“他 修拉，《年輕女子》，1884-1885，龔黛色粉筆，紙，
31.2x16.2cm ⑯諸如相關的條目 ：reflection from a mirror or glass（鏡像的反射），第 9r 條 ：the people who go
者”之間邊界的微妙活動，是餘痕（虛薄第四條所言的 ：
“起身時坐墊上留下的 through (subway gates) at the very last moment（地鐵的小門，剛剛過去的人 / 虛薄）, velvet trousers
their whistling sound is an infra-thin separation signaled（天鵝絨布料相互摩擦時產生虛薄的聲音）。
熱量”[The warmth of a seat (which has just been left) is infra-thin]）。而
⑰丹托 ： 《尋常物的嬗變》，陳岸瑛譯 . 江蘇人民出版社，2012 年，第 2 頁。
這個過渡的微妙性以及可能的張力，還有待展開。 ⑱ Jean Clair:Marcel duchamp ou le grand fictif, Galilée,1975, p.90.

026 027
 薄片 11 ：虛薄的繪畫
既要余留現存品的特性，還要豐富地打開畫面，二者兼顧，就成為新的繪畫
的可能性，如同我們上面所言 ：
1，余留現存品的特性，如果是繪畫材料的亞麻布，就保持亞麻布的特性，
如果是宣紙，就餘留宣紙本身的特性。這是處女性的保留。
2，並不試圖給畫面打上基底顏色，但也並非什麼都不做，而是在做基底或
者塗上顏料的同時，要把這個新娘性的衝動克制，向著材質的現存品特性還原，
還是要看到現存品的存在。
3，並不刻意去表現物象，把物象向著基底還原，而基底已經向著材質的現
存品特性還原了，而且打開了物象——基底——現存材質，三者之間的厚度，虛
薄之為虛薄，其實並非僅僅是“薄”而已，而是有著幾乎看不見的豐富的厚度，
藝術家就是在這個處女性與新娘性之間的不可見的“間隙”處，打開了一個根本
不可能的“間 - 薄”的透氣空間。
因此，虛薄的繪畫在於 ：
1，保留現存品的特性，突出繪畫的材質性，現代主義藝術其實就是如此，
但又過快地走向了新娘性的畫面構造。
2，要余留現存品的處女性的同時，打開第四維度 ：這是現存品——畫面基
底——畫面物象三者之間的間隙被打開，但要向著現存品還原，突出現存品的特
性，而不是對物象的表現，但並不拒絕物象。但要在材質與物象之間，讓第四維
起根本作用，打開與這個材質之間豐富的關係，讓第四維來接觸材質，觸動材質。
如同中國傳統山水畫，以空白的餘留來觸及已有事物的形狀，使空白作為第四維
度還有著起伏的變化，帶來生動，氣韻生動是因為空白在觸及之中，在物象上體
現為氣化運動的形態。
3，杜尚的現存品打破了物性之間的區分與界限，但又導致了藝術本身的死亡。
如何在自然物，人造物，藝術品，禮物，乃至物自身之間重新找到新的轉換關係，
這就是“物化”的作用！杜尚對虛薄的思考，還是過於堅硬了，而不夠柔和與物化，
而“物化”才是可以貫通物性之間區分，使之可以更為徹底相互轉換 ：從現存品
到繪畫基底，從繪畫物象到現存品之間，來回轉化。
必須進入那個永恆的處女性，但又不可能斷開聯繫，如何同時做到二者？即
杜尚所言的永恆的處女性以及成為新娘的熱望，愛欲主義藝術的秘密在於 ：永遠
保持處女的鮮活與不可觸，但又要有著愛欲的切身與可觸性？這個看似不可能的
張力如何可能？
波洛克的滴灑再次示範了這個可能性，但是我們不可能按照格林伯格的解釋，
這個行動繪畫的方式，還遠沒有得到闡明，如果聯繫杜尚對繪畫色欲主義的理解：
那麼，滴灑就是斷開——不接觸畫面——保持其處女性，但是卻帶來畫面層次的
無限豐富性——斷開了新的畫布平面或生成為新的新娘——更為徹底接觸了畫
面。其實，這個矛盾的方式，中國禪宗已經有所演示了。
028
薄片 12 ：繪畫藝術的三階段
要形成自己的繪畫語言，或者形成某種新繪畫，重要的是要有某種機緣，使
畫家離開畫面，這個“斷開”就如同禪家的頓悟。
新繪畫的出現，一定要放棄已有的手法，處於不會畫畫了的手足無措的境地，
這是擺脫習規或習氣的苦惱的自由的經驗，既苦惱又自由，不在自由的煎熬中展
現新的自由的姿勢，就不可能出現新繪畫。如同波洛克放棄立體派的模仿，開始
自由滴灑，已有的繪畫物件、繪畫手法以及已有的風格面貌都必須被放棄。
僅僅只有“斷開”還是不夠的，那很容易把繪畫變為一種行為藝術，一次性
的表演，當前有些中國的極多主義畫家，尤其是抽象畫家，都僅僅停留在這個斷
開的階段，把一個簡單的符號或者動作反復自我複製，卻無法重返繪畫的豐富性
或藝術的多樣性，反而被自身簡單的動作所限制了！如同在梁楷牧溪等人的禪畫
的粗筆之後，水墨文人畫還得回到自然，打開世界的豐富性。
那麼，如何把這個“斷開”的打斷轉變為一種積極的藝術手法呢？波洛克離
開畫面之後的滴灑，並不是一次性的單一動作的重複，而是有著舞蹈一般反復遊
走以及手腕對顏料多少等等的複雜控制，也加入了其它混合材料的偶發視覺衝擊
力，中國傳統的草書是對已有字體尤其是楷體的擺脫，無論稱之為“大寫意”還
是“筆斷意不斷”，都是某種斷開之後還有著“寫氣”（Qi-graphics）和“寫機”
（Kairos-graphics）的新指向 ：即傳統文人畫不僅僅是一次性的即興書寫，而
是把書寫性從寫線和寫意的規範中解脫出來，具體充實在“氣機”上，寫的是自
身生命的氣息以及情緒，更是回應事件變化的時機上，因此不再受到字形字義和
線條美感乃至風格程式與意境等等的限制，這個氣機是一直變化的，是不定型的
混沌一般的材質（非材質的材質，僅僅被激發之時，在草書書寫中才偶發出現的
氣機：contingency，字面意義就是 con-tangle，一種相互觸動之中帶來的機會）。
這實際上把一種新的繪畫手法與姿勢帶入了繪畫，這個離開與重返的方式決
定了繪畫新的方向。一種新繪畫的出現，都會經歷這樣一個“斷開”與“重返”
的過渡過程，沒有波洛克滴灑的自由揮灑（畫筆不再接觸畫面——這個絕對斷開，
哪怕只有一點點，都是一個無限距離的打開），沒有這個自由滴灑的姿態及其激
發的幻像，不可能有美國抽象表現主義，紐曼（B.Newman）的“拉鍊（zip）”
也是一次偶發地撕開，關鍵的是它打開了自由的經驗。如同日本的“物派”，就
是在離開了畫面之後——不再在畫面本身上琢磨各種繪畫形式語言，而是要讓繪
畫進入與自身生活、與周圍世界的事物的互動關係之中，他們尤其選擇了木塊等
等材質，繪畫——美自然和日常現存物來到了畫面上，材質——日常所見之物，
藝術家身體——手感，繪畫的各個要素進入非藝術的世界，當然這些事物不是任
029
 意的事物，而是與自己的生活經驗相關的事物。但“物派”的問題是，不夠虛薄！
即還沒有徹底回到物性自身的物化，還是外在疊加，不夠氣化。
因此，當前中國繪畫，必須找到自己的斷開與重返以及新的語言，美國抽象
表現主義是以美國自由的表現形成了自己的抽象，重新打開了二維平面，日本物
派則是回到自然以及日常空間。如何徹底打開繪畫的外在性？即如何讓第四維度
起著根本作用，這也是中國傳統的無為或者空無的發生。中國當代藝術對“外在
性”的第四維度的打開，如何不同於“物派”的使用自然與物質性材料，還具有
日常性？這可能是與人體生命的呼吸相關。這個轉換與借用，具有極為重要的意
義，因為中國文化與傳統藝術更為強調氣息，無論是書法書寫的身體，還是水墨
材質，還是繪畫上表現的山水，繪畫的各個環節都是氣息的交流，當然所謂的陰
陽觀也是事物的氣化觀，中國文化的生命場，在於營造一個氣場，只有進入氣場，
把繪畫帶入一個與生活場域相關的日常空間，才可能擺脫繪畫的已有程式。而打
開繪畫與生活的關係，就是打開繪畫新的機會，這個機會不是來自純粹藝術史的
邏輯，而是與個體的生命記憶，與日常生活相關的事件。
藝術的這三個階段，我們還可以以杜尚為例展開說明 ：
1，首先是“以藝術的方式做藝術”：繪畫之為藝術，還是一種藝術門類，還
是有著已有的技術條件，作為繪畫，有著現存的顏料、畫布畫框等等，材質，手法，
物件都是繪畫的元素，需要學習訓練的。因此還是畫匠，儘管不是工匠，不是工
藝品。哪怕是立體派，也是繪畫的方式，儘管後期立體派借用了現存品。杜尚則
是以其《下樓梯的裸女》的立體派作品，並且已經帶入了運動，但畫面語言依然
還是立體派的語言。
2，隨後，則開始“以非藝術的方式做藝術”：這是以已有的現存品來做藝術，
不再是繪畫了，而是邊界的擴展，越出了繪畫的邊界。《泉》等代表作品。還有《大
玻璃》這個偉大作品——還有著某種在玻璃上作畫的激情，儘管已經是裝置了。
但還是藝術品，不可複製，不可重複，甚至不可能重複展覽，可以收集，但卻不
可能被反復展覽，不可能被固定展覽。顯然，藝術品已經不僅僅是繪畫作品，而
是藝術品，是給出的禮物，只有一次。
3，最後，
“以藝術的方式做非藝術”：還是藝術，不是不藝術，否則會成為工藝，
成為其它行為，比如政治行為。只是藝術要做的不是藝術品了，而是自我取消的，
隱藏的，日常的，不可見的，更為大藝術的行為。杜尚早期未完成的《大玻璃》
的破裂效果以及對灰塵的收集，以及後期的《禮物》那個裝置作品，其實是不可
能在生前給出的禮物，不可能被觀賞與評價。這樣一個私密性，其實與中國文化
文人畫的“退藏於密”的品鑒有著某種相似性，但可惜杜尚的作品並不自然與日
常！當然，因為杜尚後來並沒有回到繪畫本身上，而是走向了裝置藝術，這不等
於他的這個發展模式不可以啟發繪畫，其實任何一種新的繪畫模式都是如此經歷
過三個階段的。
當然，並沒有以“非藝術的方式做非藝術”的方式，否則那就是自然了，自
然並不把自身所作當做藝術品 ；當然，這也不是上帝，上帝自己創造，也不需要
條件。人類做，需要條件，當然，最終是——“讓無來做”，“無為之為”也是非
藝術的，但“無為”卻是最困難與高超的技藝。而且，杜尚的私密性如同傳統文
人的“退藏於密”的個體把玩和觀摩，無疑在當代公共性的背景下需要有所改變。
030
薄片 13 ：邊界的消失
現存品的“邂逅（rendez-vous）”——本身就是一件可遇不可求的機遇，
就是一種解構的剩餘物，或者一種事後的發現，現存品，儘管一直在那裡，任何
時候都可以與之邂逅，但卻一直有待於事後的來臨。一般而言，我們可以說，現
存品 ：
1，打破了“物”的區分 ：現存品是任一物，不再有著可以歸屬于某個藝術
家之類主體的產品的創作活動及其產品。對於杜尚，現存品可以是“自然物”
（《巴
黎的空氣》，1959 年的《劇照 - 雕刻》，
《給予》中的樹枝，他自己的女性化形象），
可以是“人造物”（實用的雪鏟與小便器），可以是“藝術品”（《下樓梯的裸女》），
甚至是傳統藝術品的挪用與塗改（有著鬍子的蒙娜麗莎），可以是“禮物”
（《給予》
本身的標題就暗示法語的禮物，而且不同於藝術品在於並不展示，而是自我隱藏
與規避，即如同德里達所言：禮物並不在場，禮物並不存在！），可以是“物自身”
（1912 年的《從處女到新娘的通道》，以及著名的《大玻璃》）。
2，現存品，來自於一次意想不到的邂逅，把任一物從其固有的功能與語境
中移置（displace）出來，被給出另一個名稱或概念，與這個物相關，但其所指
被空置，其能指符號被置換，僅僅成為指向某個模糊曖昧的“概念（conception）”
或記號，這個記號一直可能被再次標記（remark），而且有著偶發性與即興。這
個簽名和標記的方式帶有極少的特點，就是在物性上增加一點點的想像，就打
開了另一個世界。如同佛陀的世界與世俗的世界只有那麼一點點的差別（just a
little），差別在於一次奇異的命名與題簽。這個命名的權能有著西方上帝一般的
創世的戲仿，當然一直是帶有某種嘲弄的創世。
3，現存品，之為打破邊界，既是打破了物性之間的所有邊界，也打破了藝
術家主體與創作客體等等的界限 ：藝術家主體不參與制作，現存品可以是自然物
和商品，並非自己創作，自己根本不參與制作過程，而是借用或者挪用 ；打破了
展示空間、畫室空間以及日常空間的差異（與裸女下棋），打破了原創與複製的
差異（L.H.O.O.Q.），拒絕藝術品的展示性（隱秘做二十年的《被給予》），拒絕
作品本身的創新性，作品似乎也並不具有唯一性。而且還可以逆轉，把藝術品製
作為器物，藝術品放棄自身的唯一性。
4，現存品被置於無名的境地，放棄對物的判斷，放棄是非美醜等等的判斷，
這個無差別的漠然態度是對判斷的懸置。物性之為物與虛無之無內在相關，現存
品指向物性的虛無性，因此，結合“物性”與“無性”，也是現存品所暗示的，讓“無”
生長，這也是讓第四維生長出來。
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 現存品尤為打破了藝術品與禮物的界限，禮物之為禮物，不同於藝術品在於，
藝術品需要展示，需要顯露，有著給予者，但是禮物乃是隱藏的，越是顯現越是
隱藏，禮物並不在場，禮物不存在，但有著禮物的發生，杜尚的給予就是如此，
生前隱藏起來，並不顯露。而且，現存品的物性，一方面如此隨意，如此虛無 ；
另一方面，又如此充滿巧計，宛若魔法師，現存品之為物自身打破了造物與被造
物的界限 ：上帝之為造物，可以一瞬間讓物生成，從無創造，對於杜尚的現存品
的命名而言，也可以如此，只要藝術家足夠的保持敏感度，杜尚的《大玻璃》實
際上是一個新的帶有抽象性的《創世記》。現存品的點石成金的效果，似乎讓藝
術家成為了上帝，只不過區別在於 ：上帝是從無創造，一瞬間讓任一物出現 ；而
現存品的命名者，是利用已有之物，輕輕點撥就夠。同樣都是借助於虛無的力量，
杜尚的虛無性更好地與物性結合起來。
隨著現存品打破一切的界限，也導致了現代藝術的悖論。其悖論在於：一方面，
從杜尚開始，不斷打破物的界限，而且，讓材質本身不斷顯露它的特性，對材質
的發現就是對藝術品新的可能性的發現，但最終，導致藝術邊界的消失，即藝術
品與器物，藝術品與禮物，藝術品與創造主之間的關係都消失了，因此這裡已經
隱含了一個矛盾——藝術之為藝術的創作活動失去了自身的合法性與獨立性。另
一方面，從杜尚開始，藝術處於 ：怎麼做都可以——以及——怎麼做都不可以
的——張力之中，同樣，這既是悖論也是張力，因此，除了不斷打破界限，還需
要進入“怎麼做都不可以”的自我限度的經驗，這個自身限度恰好可以重新帶來
藝術的可能性。
要解決這個悖論，或者進入這個雙重的悖論，並不是讓之解決，這是不可解
決的解決，而是要保持住張力，現代性藝術的困難在於，不僅僅是不斷出現藝術
終結的驚恐，而是面對藝術終結的可能性，面對藝術自身的“不可能性”，還一
直讓藝術可能，一直有著餘地。
因此，重要的是在面對這個悖論之時，還能夠保持張力，不是使之斷裂，而
是保持張力，是張力的保持，這個保持就是有著空餘，讓這個張力不斷發生。
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薄片 14 ：自然化
與物性相關，這就是“物化”，這個來自於莊子哲學的詞彙，也來自于莊周
自己的蝴蝶之夢，儘管有著蝴蝶與莊周之夢中與醒來的差異，但還是通過夢來相
互轉化。夢，就是中國文化對第四維的發現，因此，中國藝術那些經典的山水畫
與花鳥畫，都帶有夢幻一般的餘韻與微暈。夢，也是隱秘拯救的時刻，是對消逝
之物的回憶，沒有哪個文化如同中國文化對夢有著如此之多的想像與再創造，直
到二十世紀，佛洛德才發現夢的無意識，喚醒猶太人先知性的精神分析能力。
物化，既是讓物性不斷有著自身邊界的同時，還能夠不斷轉化，如同從自然
物到器物，從藝術品到禮物，等等，可以不斷轉化 ；但同時，還有著“怎麼做都
可以”以及“怎麼做都不可以”之間的張力，而保持張力的變化與柔和彈性，則
是“活化”（vivid metamorphosis）。
物化之為物化，乃是保持事物鮮活的變化，是與自然性相關的，何為自然性？
在中國文化中有著如下的幾重規定性 ：
1，自然界的自然：自然界的變化有著基本的規則，比如春夏秋冬與周年變化，
還有氣候變化。中國文化一種以這個自然的自然為前提，並不與之對立，而是與
之建立其類比，仿生，時間節奏的壓縮與提取，是時間節奏之可塑性（plasticity）
的模仿，與西方根本不同。
2，自然的突變：自然不斷打破著規則，有著突變，有著新物種的生成與消失。
但還承認自然的瞬間變化，比如煙雲變化，試圖以此瞬間的變化來重新想像一個
新的節律。
3，自然之為每個個體的天性 ：每個事物都有其天性，按照其天性來成長有
著其自然正當，而並沒有等級乃至於好壞區分。中國式教化，是儘量讓這個天性
得到生長，即便在人際關係的社會領域，也讓自然起作用！或者把人際關係退回
到自然環境之中，或者在人類社會塑造一個自然領域，比如盆景，園林建築等等。
4，自然之為隨性而為 ：人類做事情要自然，要不刻意，隨意與隨性而為，
中國文化尤為追求這個泰然任之，這是西方文化基本上沒有的，因為西方文化追
求優秀以及優勝地人為塑造。
5，自然之藝道 ：還能夠把這種隨性隨意的作風做成某種藝術風格，某種自
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 然之道，這是更為藝術化的行為，這是把自然隨性——做成了不做作的藝術，即
中國文化並非沒有教化的塑造，以及氣質變化的改造。
6，道法自然 ：即便把自然做成了自然化的藝術，好要讓這藝術也保持自然，
即這個藝術之“道”還得變化，而且自然地變化，讓自然來為！因為自然總是有
著豐富的變化，而且是變化不測的，只有變化是無常的，是非常道！能夠讓自然
進入人類活動，或者以技術來讓自然更為起作用，這是——對自然的泰然讓之。
——中國傳統藝術能夠把以上六個方面的自然性內在貫通起來，而西方基本
上是分裂的，而且中國文化讓自然一直保持自然化，從自然到人造物，這是“物化”，
“物化”也是讓自然一直保持自然化，讓自然來為！
中國文化及其藝術的奧秘在於 ：萬物的變化無常，連帶有主宰性的天命也是
靡常，因此，只能隨之而變化，在隨機應變的同時，還得保持這個變化繼續變化，
變化不可能有著規則，即便出現臨時性的法則，這個法則必須繼續保持變化，而
且不可能有著法則變化的法則，還得回到變化無常之中。對於藝術的要求就至為
高妙 ：一方面，要無時不刻不回應那個無常的變化 ；另一方面，所有的要求都在
於藝術家必須隨機應變，保持應變的同時，還必須有著精微的控制 ；此外，還得
讓自己的控制變得“無意”，隨意與輕逸，如果過於控制，也會成為習慣與風格。
顯然，中國藝術的物化方式與杜尚所渴望的處女的通道性或“虛薄”的變化性內
在相契。
只是杜尚之前現存品的作品，哪怕是偉大的《大玻璃》，也還是太機器化，
欲望機器還是太硬朗，而不夠活化！還是西方籌畫（projection）與計畫的目的性，
而中國文化的滲透與通透則更為與“通道”相關，這也是水墨山水畫可能具有的
現代性意義。
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薄片 15 ：水性
物化的可能性，已經被傳統水墨的水性很好地展現出來了。即通過水墨的物
化，也許可以啟發我們思考一種新的現代性。水墨的重要性在於對物性界限的打
破 ：即水，即是自然物，西方幾乎沒有如此把自然物當做繪畫材質或者藝術品的
現存物，當然西方現代藝術已經打破了如此的界限，廣泛接納自然物，比如日本
的“物派”，但是，有一個關鍵的區別在於 ：物化，讓自然物參與進來，即在藝
術創作的每一個環節，都有著自然物的參與。
此外，物化的奧秘在於 ：讓“物性”與“無性”內在地結合起來，相互起著
作用，即“自然性”與“空無性”的結合，在王維受到佛教影響之後，以“色即
是空，空即是色”的理論下，僅僅是在自然界那裡，而非在人性那裡，結合了“自
然性”與“空無性”，儘管當代中國藝術，還必須重新思考這個自然性，重新面
對人的肉身唯一性，不然也取消了現代性，或者說多重的被動的自然性 ：個體肉
身的疲憊與厭倦，自然界的災變，物性的自然環保化。
對於水墨而言，尤其是“水性”而言 ：一旦王維開始的文人畫傳統自覺選擇
水墨作為材質，水性就成為山水畫與水墨花鳥畫的核心 ：
1，“水”，首先是自然物，為何文人畫會選擇此自然物？因為水的流動變化，
尤其是水的無色無味，在王維那裡，這來自於佛教“色即是空 - 空即是色”的理念，
但中國文化並不放棄世間性，佛陀的涅槃世界與人間的煩惱世界只有那麼一點點
的差別，這個差別需要一個要素來過濾、來顯示，這就是“水”，水之無色無味，
甚至是“裸露的”（但並沒有杜尚那樣的愛欲，或者說，當代水墨作品需要接受
西方的這個愛欲的裸露？），既可以顯示“無性”（無色無味），也可以顯示“物性”
（水的自然流動以及氣化與固化的元素性狀態），而且最好是自然物，而非人造物，
因為人造物帶有太多人的意願。水，可以在余留自然物的特性的同時，還顯示出
無性。
2，“水”，進入人造物的融匯，與“墨”這個來自于自然但已經成為人造物
的材質相遇，
“墨”尤其帶有現存品特性，是書寫的現存工具，但是選擇這個現存品，
也是有著獨特性的：因為“墨”並非僅僅是黑色，也是玄色，即墨在書法書寫之際，
不僅僅是黑白對比，以及墨與死亡的關係，“墨”還在書寫之中，帶來了玄之又
玄的那種旋轉變化的活力，使死物似乎重新鮮活過來，如同漢代以來墓碑的刻寫
以及書法藝術面對死亡的書寫方式。
3，“水”，成為藝術品的核心要素，則是通過無色無味的水與玄色的墨彼此
相破，水破墨，墨破水，帶來了中國水墨繪畫不同於西方藝術品的根本差異，形
成了水墨獨有的藝術形式與觸感方式，只有“水”才可能帶來“水暈墨章”的墨
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 暈與滲染效果，這個水暈的視覺形式語言是水墨獨有的，但如此的藝術語言，是
“水”之自然性所帶來。因此，描繪的對象主要是山水畫，描繪的手法是水墨的
相互滲透，而且帶來的也是煙雲淡蕩的形式語言，這三者之間有著對應關係，從
而形成了獨特的水墨語言或水性語言。——在這裡，自然性依然還在起著作用。
4，“水”，不僅僅是藝術品，也是禮物，即水之為水隱含著一種給予的德性，
一種水自行運作的元素性，“柔弱處下”以及“泰然任之”的謙讓德能，而且可
以走向水的氣化狀態，啟動了水的元素性，這也是讓自然繼續發揮作用，這也是
與水的德性相通。在畫面上，則是水的平淡美學意境，這個平淡與淡然，乃是給
予的自身放棄（abandon），是不追求給予的自身確認，是抹去自身的給予，因此，
要讓水性更為徹底顯露出來。這讓我們想到海德格爾在《藝術作品的本源》中所
言的人造器物的工具物與藝術品的區分，因為藝術品有著世界與大地的爭執，尤
其是隱藏的大地性，已經與自然物相關，後來又走向《物》中對酒壺之為敞開的
給予的思考，但依然還有待於走向無化的物性。
5，“水”，不僅僅是禮物，也是物自身的顯現，這是水與宣紙的相遇所帶來
的空白或余白，即水與宣紙與墨的接觸，通過藝術家的筆墨，但藝術筆法的最高
境界卻是“不畫之畫”，是給出更多的空白。這個空白的顯露，也是“水”帶來的，
因為水對宣紙的滲染，僅僅是淡墨的渲染，乃至於無為之際，打開了一個新的無
化的經驗，即給出更多的空白，給出一個不斷被筆墨所暗示的新的“無”，
“物性”
與“無性”得到了內在的共感。自然性之為自然性，並非僅僅是自然自身，而是
自然的生成以及在人類“讓與”所打開的敞開之中，讓自然保持繼續生成。
中國藝術的空白也許直接就打開了第四維，或者說沒有維度！如同 Jean-
Christophe Bailly 所言 ：
“沒有維度，即是圖像最為隱秘的觀念。”中國傳統山
水畫的留白就是此思想最為隱秘的一個體現？
或者說，杜尚對物性界限的打破，還是過於硬朗，過於機械化！還是生命的
技術化，而現在需要“技術的生命化”！杜尚自己在筆記第 28 條也寫到了“虛
薄的撫摸”（Caresses in infra minces ：Infra thin caresses），還有什麼比
撫摸更為輕柔的？這也是中國藝術為何要大量用水的緣故。而中國山水畫 ：對象
是自然山水，材質是自然材質，主體與畫面意境追求飄逸，都是自然性的變化，
而且三者都被生動的活化的元素性所貫通！這個活化的流動感，生動感，生變方
式，才是虛薄的內在條件。
足夠地讓自然在三個方面起作用 ：繪畫作為特殊藝術門類如何接納自然 ；超
越繪畫的現存品如何更為自然柔和 ；非藝術的藝術與自然有著密切關係，而非僅
僅是反藝術的暴力行為。
宣紙向著水墨的裸露與坦露，具有某種未來的敞開性？在這個意義上，傳統
水墨的物化，有待于與杜尚的那個永恆的過渡之中的“處女性”邂逅，打開一個
新的機遇。
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薄片 16 ：平面性
杜尚於 1937 年開始思考虛薄，也是面對現存品內在的問題。如果繼續做現
存品，顯然數量有限，而且現存品並不足夠活化，還過於僵硬。回到繪畫，又是
他所不願意的。1960 年代的波普藝術不過是遲到的杜尚復興，但這個遲到卻很
快與資本主義商業合謀了。即便走向公共領域，也是後現代的個體偶像化，而沒
有走向個體生命藝術修養與教化的全面展開。
那麼，回到繪畫呢？也還有待于重新聯繫現存品，只有保持現存品的基本特
性，還能夠重新打開平面，繪畫才有可能。那麼，如何重新打開平面？與杜尚同
時的美國人格林伯格（C.Greenberg）於 1940 年代開始面對繪畫的平面性以
及拼貼的現存品問題，因為 1912 年的後期綜合立體派已經開始出現拼貼，
“拼貼”
不就是現存品？但格林伯格必須超越這個階段。
繪畫之為繪畫，這是如何面對二維空間的問題，那麼，如何看待二維空間？
為何人類需要平面感？這是否是某種切近的觸感的需要？平面帶來了隔離或仲介
性？與後現代的無深度有何關係？
因為現實世界是有著深度的，有著體量與塊面的，但為何人類會走向平面的
技術呢？從早期岩洞的牆壁上的刻畫圖像，到後來壁畫的自覺，以及走向平面的
繪畫理念，為何人類會形成平面感，包括現在的平板電視與電腦等等。為何平
面，對於繪畫藝術尤為基本？即，如何在繪畫與藝術一般兩個領域思考平面性
（planeness）的問題 ：
1，為何是平面？平面來自於人類史前爪子要抓住大地的那種安穩感，但一
旦離開大地的地面，直立行走，空出的雙手需要恢復之前對平面地面的抓穩感，
因此重建一個可以代替大地的豎起來的，直立起來的平面。這是平面的生命本體
論原理 ：一是與安穩性的觸感相關，一個還與意志主體在直立起來的保持需要注
意力的培養，也是與意志主體的塑造相關的，尤其是頭部對應，平面的直立對應
於直立起來的頭部的正面觀看性。但這個直立起來的平面，也導致視覺的疲憊。
一方面，是直立，正面凝視，集中注意力，注意力與意志力的培養 ；另一方面，
因為導致注意力的過度集中與消耗。西方的物件性也是與之相關的，並且導致地
平線等等的形成。平面與視網膜的生理上的關係也與之相關。
2，切近 ：與前面相應，遠離了大地的穩固平面，空出的手需要觸感，而且
需要把遠離的大地拉近，面對深淵，直立起來的人類面對敞開的無法抓握的虛空
（天地之間的無限虛空），需要把遠處的拉近，同時又由近及遠，因此，一方面是
037
 拉近，而立起來的平面最為切近，同時打開深度錯覺，也是去遠，模仿那個虛空 薄片 17 ：抽象表現主義的平面
的空間，不過賦予了其形式。這個切近感，乃是平面對平穩的根本要求。因為這
個拉近，人類可以觸感遙遠的世界，形成遙感 ；但另一方面，這個切近如何去遠
也成為問題。因此有了透視法的深度打開與模仿。也打開了可觸與不可觸之間的
張力。

3，隔離 ：但平面也構成了一個隔離的仲介，人類只能通過這個隔離的仲介
來感知世界，現實世界的日常感受與平面上經過技術處理的感受是不同的，對於
仲介材質，牆壁，甲骨，畫布等等，這些不同的仲介，既帶來了隔離，也帶來了
認知世界的媒介，只有經過這些媒介，對我們感覺的塑造與封閉，來與世界發生 關鍵是格林伯格的重新思考，他在《論拼貼》（On Collage），
《美國式繪畫》
關係。因此這個仲介媒材，是隔離的還是滲透的，就成為關鍵。西方是隔離的， （America-Type Painting）以及《現代繪畫》(Modernist Painting) 等文章中
中國則是滲透的。 集中討論了平面的重要性。

4，表面 ：進入後現代，沒有了現象與本質的區分，一切僅僅是在表面上的， 現代藝術要求回到繪畫本身的材質性，就是平面性。不同於其它材質以及藝

沒有深度，一切都是現象，僅僅來到表面，呈現為表面的就可以，是表面本身的 術門類，只有平面性是繪畫本身獨具的材質性。現代性平面感的演變或平面性的
皺褶。這個皺褶的展現方式，最為徹底打開了表面的豐富性。 譜系 ：從早期立體派，綜合立體派對拼貼的使用，淺浮雕的視覺效果，到超現實
主義的自動書寫，再到回到平面的平面性，擺脫文學敘事性以及對其它藝術門類
而歷史上對平面本身的表現，有著三個階段，對於平面的表現 ：就繪畫而言， 的模仿。對於格林伯格，重要的是如何減去幻覺，如同平面性本身在抽象表現主
為何會走向透視法，打開深度錯覺？就二十世紀繪畫而言，為何會走向平面性， 義的體現，還有著平面以及對平面的擴展，超越畫框的限制 ；平面感，平塗，以
如同格林伯格的理論。在之後，新的平面如何可能？中國當代藝術是否可以貢獻 及對早期幾何抽象的繼承，等等。因此，格林伯格區分開幾重的平面：布料平面——
出一種新的平面感？ 小截面——繪畫平面，側面的同時性等等，picture surface（繪畫表面即畫布），
最為關鍵的是，如何處理物象，比如一隻蘋果的各個截面或者小平面（planes），
首先是文藝復興以來，焦點透視法與深度錯覺的出現 ：受到建築影響。打開 與繪畫表面（surface）的關係，不再有深度錯覺來處理物象的各個截面。
深度觸覺。打開一個接納的容器。畫面本身如同教堂的建築，打開一個接納的空間，
這個空間的敞開，也要求平面畫布打開一個深度空間。受到光學或者光錐的影響。 格林伯格認為平面性侵入了立體派繪畫，而且淹沒它，即把可見之物解剖為
光線的聚焦，也是注意力，主體意志的實現。如同沃爾夫林的《藝術風格學》中 一些小小的截面，這些截面被安置在與繪畫表面平行的位置上，每一個截面都與
對平面與縱深的對比範疇的評論⑲。 相鄰的截面結合起來。被刻畫的平面性（depicted plane）得與實際的平面（literal
plane），即與畫布平面保持足夠的分離，以便使三維空間最低程度的錯覺在二維
平面上保存下來⑳，1910 年，立體派帶來了一種深度空間的逼真畫。
⑲沃爾夫林 ： 《藝術風格學》，潘耀昌譯，中國人民大學出版社，2005 年。H. Wölfflin:Principles
of Art History. The Problem of the Development of Style in Later Art, Trans.lated by M D Hottinger , Dover 立體派的拼貼帶來了什麼呢？是接觸現實？還是模仿印刷術？最後走向了模
Publications, 1932.
擬活版印刷，依然保留著淺浮雕的錯覺形式。格林伯格反思到 ：如果畢卡索等人
保留三維性，使三維性最小化，導致三維性概括化，成為了空洞的屬性與充公財
產 ㉑，這導致畢卡索處於兩難之中 ：錯覺與再現之間。最後立體派藝術家選擇了
再現，走向剪影式扁平面，彼此耦合的剪影的事件。格林伯格寫道 ：
“在畫布表
面上的紙片或布條，無疑宣佈了表面就是表面，相比之下，他們也將表面的任何
其它東西擠進錯覺主義的深度。不過，當拼貼語言變成更大以及更為緊密地交織
在一起的形狀的語言時，想要通過這一手段來開啟表面的平面性，就變得越來越
困難了。黏上去的材料凸顯於表面，從而達到淺浮雕的效果，不久之後，又徹底
消弱了繪畫表面，成為了一種構成，成為一種雕塑等等廣泛化的視覺語言㉒。”

格林伯格指出了幾種深度方式 ：首先，在拼貼中看到了所謂的逆向縱深，也
就是說對畫面的附加，而不是畫面以外的幻覺性後退。視覺變換的第二種形式是

038 039
 緊湊感，或者將前現代繪畫深度幻覺空間擠壓進淺浮雕當中。第三種取代深度的 薄片 18 ：虛薄的平面性
方式，就是將幻覺縱深轉換為橫向擴展。美國抽象繪畫巨大尺寸就自有其道理了：
抽象表現主義畫家必須創作這樣大幅的作品，因為他們不停地宣稱放棄那種縱深
的幻覺，其中，他們可以發展出繪畫事件而不用去堆砌，畫布的平面令他們沿著
這個畫面在實質尺寸當中卻尋找一個空間，以此來展現這樣的繪畫解構。
而在格林伯格看來 ：寫實主義與自然主義藝術掩蓋了藝術的媒介。構成繪畫
媒介的局限性——扁平的表面，基底的形狀，顏料的屬性，對於老大師們還是消
極因素。而他自己則對繪畫表面那不可避免的平面性有著極端地強調，對現代主
義繪畫藝術是最為具體的，不與其它藝術共用。三維性屬於雕塑的地盤，因此繪
畫需要從雕塑中分離出來，而一直以來雕塑對繪畫的影響太大。現代主義在反雕
塑方向下持續下來，越來越自覺，繪畫走向扁平的形式而告終。哪怕抽象畫，在 虛薄，作為非繪畫的材質性，與現存品的關係如何？是否通過思考現存品，
蒙德里安那裡，還是有有著對三維錯覺的暗示。 可以重新打開繪畫之新的可能性？虛薄與繪畫平面相關，如何重新發現新的材質
性？虛薄的微妙性，可以打開一個新平面之虛薄的厚度？
美國繪畫巨大畫面的橫向延展，是與波洛克繪畫的“心理深度”相關，美國
繪畫試圖在視覺特性與情感狀態之間試圖建立聯繫，平面感被想像為情感的一種 有著三個層面 ：
聚集與壓縮。在《架上繪畫的危機》一文中，格林伯格指出了美國繪畫的平面性 （1），基本材質。比如僅僅是布料。這也是現存品。
特點 ：滿幅的，去中心化的，複調的，建立在將完全等同於或者非常接近的因素 （2），布料上塗上顏料，但可能僅僅是抽象的底色。如同一層暗底色似乎不
編制在一起的表面之上，這些因素不斷重複自己，從繪畫的一個邊緣到另一個邊 可見。
緣沒有任何明顯的變化。哪怕是接近於裝飾的牆紙圖案 ㉓。滿幅畫家似乎因為他 （3），布料基底畫面再上顏色，即再加上對物件的描繪，有著前景與基底的
們的統一性，因為徹頭徹尾的單調而獲得成功，並且形成了強有力的表面 ：
“尤 差異。
其是波洛克的巨幅作品，從畫布的封閉的長方形政治逃避出來。而紐曼與羅斯科
的空白區域，以及白熱化的色域打開了一種新的扁平性，一種會呼吸的和顫動的 進一步展開，“虛薄”有著三個層面 ：就是一層層的疊加，這個套層，其實
扁平性，而史蒂爾的作品尤為不會打破這一拉緊的表面㉔。” 是三個折疊著的，壓縮著的，有著間隙的薄層，但卻可以無限地厚實 ：
（1），即一個外表面（似乎是圖像可見的層面），必須被壓縮，退縮，僅僅是
即立體派的問題在於 ：依然有著淺浮雕的模仿 ：截面與截面的關係上還是有 無所顯露的顯露 ；——表層的蹤跡化。
著視錯覺。就拼貼而言，試圖減去浮雕深度，帶來現實觸感，但走向了現實再現。 （2），一個中間層（一個時空疊加的層面）：把外表層向著內在表層轉化，而
或者更為抽象，如同蒙德里安，但還有著深度的視覺暗示。或者走向了剪影以及 且其中有著空隙，這個幾無的空隙卻具有無限的厚度。——幾無的厚度。
後期畢卡索與馬蒂斯的剪紙拼貼等等，過於裝飾性。而對於格林伯格而言 ：不可 （3），一個內表層（一個內在的深度空間），可以內在滲透，向著一個更為內
能繼續立體派，不可能走向具象或者再現，只有回到平面本身時，走向抽象。 在的內在性滲透，無限退隱，這是餘讓（Rest-Lassenheit）的無限暗示。——
我們不大知道杜尚如何面對 1940 年代末期開始的美國抽象表現主義繪畫， 餘讓的暗示。
他也在這個時期思考了“虛薄”，當然格林伯格在當時是不可能知道這些筆記的，
格林伯格當然不會同意杜尚的現存品，如果那樣的話，就打破了繪畫乃至藝術的 詳細地展開 ：
邊界，這也是格林伯格為何要反對沃霍爾。 （1），外在表層的蹤跡化或者抽象化 ：外在表層的壓縮，退縮，或者這個壓
縮僅僅是抽象性的，或者是蹤跡的書寫。
對於我們，問題在於，面對抽象表現主義走向極簡主義，走向黑色繪畫，導 1．1，外在表層不應該是具象的，或者即便具象，也僅僅是模糊的痕跡化，
致繪畫材質更為徹底地突破邊界，平面性消失，繪畫走向終結，走向了沃霍爾的 更為模糊，更為痕跡化。
波普藝術，那麼，新的平面性如何可能？杜尚的虛薄可以帶來新的平面性嗎？ 1．2，抽象性，一定有著美國抽象表現主義以及極簡主義的簡化處理。
1．3，或者就是表層的徹底虛無化，並不給出任何具體的形象，圖像，圖示，
任何的圖示都是變化的。
1．4，如何讓外在表面保持為“最薄”，最為表淺，這成為藝術家風格的標誌。
⑳格林伯格 ：
《藝術與文化》，沈語冰譯，廣西師範大學出版社，2009 年。第 86 頁。
㉑格林伯格 ：
《藝術與文化》，沈語冰譯，廣西師範大學出版社，2009 年。第 92 頁。
㉒格林伯格 ：
《藝術與文化》，沈語冰譯，廣西師範大學出版社，2009 年。第 179 頁。 （2），內在層面，無限後退，似乎是無底的，但又有著自然性的深度，材質、
㉓格林伯格 ：
《藝術與文化》，沈語冰譯，廣西師範大學出版社，2009 年。第 194 頁。 現存品與自然性之間的關係，尋找虛薄的材質。
㉔格林伯格 ：
《藝術與文化》，沈語冰譯，廣西師範大學出版社，2009 年。第 260 頁。
2．1，要保持處女性，即無限的童貞與不可接觸性，以及無限的儲存性與敞

040 041
 開接納，如同德里達所言。
2．2，自然性。中國文化增加的是自然性，比如水的加入，讓筆墨紙硯等等
現存品得以更為虛薄化，墨被水沖淡，才有潑墨與破墨。向著自然性材質的還原，
才可能更為虛薄。杜尚對這一點有所意識（多孔性與吸納性），但並不充分，中
國文化的水墨材質可以增補，因為水之自然材質，帶來更為虛薄的虛化，關鍵是
自然性材質，帶來呼吸感。
2．3，虛化 ：這個虛化，乃是虛淡，加入那種微妙性，但“薄”。
2．4，在我們這個年代，如何加入新的自然性材質？畫家如何發現新的自然
性材質？呼吸感？在水性之外還有其它材質嗎？
（3），中間層面 ：幾無的厚度。
3．1，似乎並沒有一個中間層，因為外在表面的壓縮或者餘化，與內在層面
的無限退隱與虛化，似乎不需要一個中間層。
3，2，中間層面的出現，是一個幾乎不存在的間隙空間，間薄被打開，而且
需要具有厚度，這就是虛薄恰好是具有最為微妙過渡的厚度，如同以西方繪畫的
光感打開中國水墨的氣感，或者把氣感加入到光感之中，比如趙無極的繪畫。
3．3，而且具有張力，傳統平淡的內在張力，就是來自於——下筆如有凸凹
之形，以及平淡水墨層次的細微過渡。正是這個看起來幾乎不存在的幾無的厚度，
決定了作品的豐富性，內在的張力。如果傳統的間薄不夠厚，過於單薄了，那麼，
接納西方的視覺感以及對“間薄”加厚，比如接納“光之感”！增加厚度。因此，
如何增加厚度，成為各個不同藝術家可能有所貢獻的地帶。
對幾個平面的重新理解 ：
一，bare or literal surface（布料平面）：
（1），布料就是布料，已經是現存品。
（2），布料的皺褶化。（3），布料的保持，儘管有著附加物，但依然保持為布料感。
二，picture surface（畫布平面）：
（1），成為有著顏料等等處理的布料了，
成為基本的基底。（2），布料本身不可見，成為背景。（3），畫布被覆蓋，但僅僅
是畫布的平面感，比如美國抽象繪畫。
三，depicted planes（物象平面）：
（1），畫布不可見了，全然是厚厚的顏料。
（2），塑造深度等等空間，忘記畫布等等。（3），畫布的邊界被超越了。
如果我們以水墨繪畫為例，尤其集中在水與宣紙的關係上，保持宣紙這個材
質的材質性，虛薄或者“餘像”（Infimage，infra-image）藝術的啟發性在於，
只有打開第四維度，讓第四維度更為徹底觸及現存品的材質性，而通過人為地想
像與技術，打開其間的豐富性，但又不陷入第三維度的程式化，這是自然性帶來
豐富的時間性變化，乃至於每一個瞬間都在變化（即第四維的展現），
“氣化”（比
如雲煙變滅的形式）就是如此 ：
一，保持布料或宣紙本身的餘化特性（空白性，吸納性等等），宣紙本身一
直是空餘化的或餘外的 ：
（1），布料的處女性，比如宣紙，還是宣紙，儘管已經
是現存品了。（2），儘量保持宣紙的本性以及空白化，平淡化。哪怕加入顏色，
比如黃色，也是時間增加的古舊色澤感。（3），增加附加物時，比如增加水，還
是淡水，保持淡然，因為水被宣紙吸納，而且水也是自然材質。如果增加材質，
最好是自然性材質，比如茶。
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二，畫布或者宣紙被顏料等等的餘化處理——顏料等等是多餘的 ：
（1），儘
管加入水，墨，等等，但空白的基底被保持住，而不是被徹底覆蓋。顏料或者
水墨是多餘的。（2），基底材質的空白不是孤立的，而是成為了畫布，並不是什
麼都不做，而是有所為，但即便染色，也是要考慮到宣紙本身的存在。依然要保
持為多餘的。（3），畫布或者宣紙本身有著內在厚度，並非簡單地不處理，也可
以有著硬度與厚度。比如下筆如有凸凹之形（杜尚筆記第 17 條寫道的 ：
“一張
凹陷的紙——不必有兩張紙就產生了虛薄的間隔。”[Hollow paper (infra-thin
space and yet without there being 2 sheets)]），比如倪瓚簡皴或者折帶皴帶
來的留白，幾乎不是皴法，或者是積墨法帶來的厚度。是讓多餘本身增厚，因此
是餘味。
三，宣紙上畫像的餘化或者抹去——圖像僅僅是剩餘的 ：
（1），還是有著宣
紙的餘化特性，儘管有著圖像的呈現，但圖像並非自身獨立，而是與宣紙相關。
通過還原到宣紙本身的特性上，即任何圖像的呈現都必須還原到宣紙本身的特性
上，以及水性、筆性墨性上，因此物件性不再重要。（2），物件呈現的時空並不
破壞宣紙本身，而是把物件抽象化，減到最低。抽象性是一個關鍵方式。（3），
圖像呈現帶來了布料或者宣紙本身的厚度，比如傳統的雪景圖與煙雲淡蕩，顯然
倪瓚對此最為明確。——傳統山水畫的圖像性要減弱，或者低微化與幾微化，或
者抽象化，或者殘餘的痕跡化。但要向著材質本身靠近，或者充分的水性，或者
充分的墨性，但是要通過書寫性等等來增加厚度。書寫 - 塗抹 - 刻畫，等等帶來
厚度。
如此形成的藝術圖像，就是“餘像”（法語的 Infra-image:Infimage, 英語
的 Mimage, 德語的 Rest-Bild），這個餘化處理的哲學原理在於 ：
（1），充分發
揮了宣紙的淡白與水的玄色。水性的水準，宣紙的平面感。（2），材質的自然性。
這個宣紙與水墨的材質乃是通透的，可以與自然進行能量轉換。（3），煙雲淡蕩
與生命氣息。打開了“之間”的豐富變化以及微妙性，虛薄最為關注這個過渡的
微妙性。（4），近處的身體與遠處的天地，打開“之間”的觸感，通過書寫性。
這個仲介是通透的，可以觸感的。（5），不區分開表面與深度，這是因為中國文
化並不追求本質與形象的區分。
異常奇妙的是，與虛薄和水墨相關，杜尚也在筆記第 26a 條上思考過“虛
厚 ”(épaisseurs in fra les infra épaisseurs: Thicknesses infra The
infra-thicknesses.)， 甚 至 提 到 過 裱 畫 操 作 的 方 式 來 打 開 虛 厚（relining
[operation useful in the exploitation of the infra things]），也更為敏感地提
到了 ：
“多孔性與浸透感，比如吸墨水紙，對水和空氣的浸透性（皮革）（筆記
第 26v 條）”[Porosity -- imbibition (blotting paper) Permeability to water
and air(leather)]，這難道不是水墨宣紙之間的多孔性與浸透性的關係？
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 薄片 19 ：平淡的悖論
杜尚的現存品藝術，在美學上，對於藝術品的製作，帶來了這樣一個奇怪的
悖論 ：一方面，怎麼做都可以 ；另一方面，怎麼做都不可以㉕。
如同傳統文人的平淡美學，以淡為宗，追求平淡天真，從王維開始，經過董
元，到倪瓚，再到董其昌與漸江，傳統山水畫的至高境界就是平淡 ㉖。而在具體
的美學實踐上，則呈現出一個內在的張力，這就在於 ：怎麼做都可以，越是日常
隨意，越是自然而然，就越是超然 ；但是，又有著內在的要求，即怎麼做都不可
以，當然這要求也是自身淡化，自身去除的，不畫之畫，無為之為，才是技藝的
至高境界。這也是與德里達所思考的“不可能性”與“可能性”之雙重約束 (double
bind) 的絕境邏輯（aporia），但平淡的美學更為柔和，使這個張力保持得更為具
有可塑性（plasticity）。
具體來說，與平淡相關 ：
（一），一方面，怎麼做都可以 ：
1．1，任一物的對象性 ：隨便的某一物，僅僅是某一物，就是物本身！沒有
任何規定，失去了功能，不再有任何具體的功能。是物，僅僅是物，是物本身的
還原，就是物之物性。是可生髮與生長性之物。幾個還原 ：失去功能——任一物
的偶發——可生長性。
1．2，現存品的材質 ：一切都是現存之物。三個最為重要區分的懸置 ：沒有
造物與被造之物的區分，沒有藝術品 - 非藝術作品的區分了，沒有人為與自然的
區分了。其實，一切的區分都被懸置了。
1．3，隨意地姿態 ：通過最為簡單地方式來做 ：做，僅僅是姿態，一種放鬆
輕盈地姿態。一切時間空間的區分都被打破。在做，僅僅是最為簡單地製作，一
次挪用，一次並置，一次顛倒。但做的僅僅是一次性，唯一的一次，不再重複。
這個怎麼做本身就是事件，就是唯一的。三個還原 ：隨意做——簡單做——只做
一次。這是偶然的相遇。
——因為是任一物，是現存品，是隨意的，所以不再是傳統的優美與崇高範疇，
當然也不是逆轉而追求醜陋與暴力！也不是壯麗莊嚴等等，而是散淡，逸動，是
一種遊弋的逸動，面對崇高與犧牲獻祭的衝動，以及藝術的專業化與職業化，尤
為需要這種姿態。
——其實這是“有餘”之剩餘而已 ：是有餘被還原到極端，還是簡化的。
（二），但同時，另一方面，怎麼做都不可以，而且這個“不可以”，不是強制，
不是悲劇性的，不是神聖的禁令，而是無意之意，無念之念，困難就在這裡，不
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同於西方的方式，也在這裡 ：
2．1，減縮的姿態：不僅僅是克制，更是減縮，輕鬆退縮，收縮。要遺忘——
要退縮——要塗抹。簡單做已經夠簡單了，但還要塗抹。
2．2，不做之做 ：就是不做，做的是——這個不做之做。是無為之為。是無
意義保持為無意義。這也是為什麼道家與禪宗影響如此之大。在這裡，道家與當
代西方藝術合流了。無意義保持為無意義——被動地經驗——無力無能的經驗。
表現出這個無能，無意義，被動，很認真地做這個無意義。無意義就是再次塗抹！
這是幾次的塗抹。而且，塗抹得細微，異常細微，這是平淡開始發生，內在發生，
豐富性是在無意義之中的豐富。
2．3，空無之生髮：讓空無顯現出來，僅僅是讓空無來顯現。空無之發生——
空無之生長——空無之空無。不成為作品。空無的生長——所以是豐富，是空無
化的技藝。
——但這不是虛無主義，儘管一直在虛無與深淵的邊緣進行不可能的工作，
有著更加超逸的要求，而且這個“要求”也被散淡，散逸化了。
——這是“無餘”之剩餘 ：僅僅是“餘燼”一般的存在。
（三），二者之間總是有著某種關聯，形成褶皺 ㉗。平淡並非境界，並非超然
一切之外，而總是召喚某種新事物的生成，生成出一個他者或者新的事件，這是
新的平淡，即與虛薄相關的虛淡，是生成新勢的淡然（結合西方對大事件的追求
以及中國文化的潛移默化或海德格爾所言的“存在的孵化”！）。
3．1，作品的未完成性。作品一直有著尚未完成的敞開。看起來還是有著作
品的，但似乎一直未完成。或者說，似乎還可以向著觀眾與未來敞開，要求觀眾
的參與。
3．2，非作品性：並非作品，不可能成為作品，沒有功效（désœuvrement，
unworking）。
3．3，非主體的事件性 ：一直有待于未來的參與，僅僅在每一次的事件與行
動中再次發生。一直有待於再次發生。
——這是“有餘”與“無餘”之間的折疊，形成了褶皺 ：看起來如此簡單，
其實是三層折疊的。有著更加困難的“非工作（désœuvrement）”，而且不讓困
難顯露出來。
——或者說，裝飾以及設計，主要是把第二個層面折疊在第一個層面，儘量
遮蓋或者簡化第二個不可能的層面，或者使之成為裝飾性的花邊（Cartouches）。
㉕對這個悖論，迪弗已經有所涉及，參看德 • 迪弗 ： 《藝術之名——為了一種現代的考古學》，秦
海鷹譯，湖南美術出版社，2001 年。迪弗的思考可能也受到利奧塔 (J-F.Lyotard: Duchamp's Trans/
formers) 的影響，利奧塔也是從佛教“八不”邏輯出發來展開杜尚在無心的扯淡（cunt）與窒息的
論斷（sententious）之間的張力，機器與肉感，堅硬與柔軟，垂直與水準，左與右，上與下，等等
之間的顛倒與反轉的結合出發，展開了杜尚的淡然（放棄一切審美評價）態度，儘管如此，但我們
還是認為杜尚還是過於堅硬了，不夠淡泊與柔軟，柔和的可塑性還有待更為東方化。
㉖參看拙著對此的詳細分析。夏可君 ： 《平淡的哲學》，中國社會出版社，2009 年。
㉗德里達很好地揭示了這個可能性與不可能性的雙重約束（double bind）的邏輯，杜尚自己在筆
記中也思考了與之相關的“可能性的形象（the figuration of a possible）”： “（不是作為不可能的對立面，
也不是作為極大可能性的相對性，也不是作為對一般可能性的從屬。）可能性僅僅是腐蝕的物理（如
同硫酸）燒掉所有的美感或美學。”（M.Duchamp: Duchamp du signe, Flammarion, 1994, p.104.）这段
英 文 为 ：not as the opposite of impossible nor as relative to the probable nor as subordinated to the likely.
The possible is only a physical corrosive(like vitriol) that burns away all aesthetics and all callistics.
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 薄片 20 ：水墨的虛薄 視覺追求。如果物件性是抽象性的，是保持虛白的暗示性，即畫面的物件性，物
件與基底的關係，如果描繪的物件並非具象，僅僅是抽象的痕跡，是淡痕的塗寫，
是非物件的，那麼餘留的還是水與宣紙的現存性，還是宣紙材質的空白，只是這
第三層空白，還有著水墨渲染的豐富性，但還是餘留了材質本身現存品的空白性。
——這就是空白或虛白的多重皺褶，這也是莊子“虛室生白”的奧秘。或者
如同法國哲學家 J-C. Bailly 所言 ：
“無維度是圖像最為隱秘的觀念。”這個無維
度就是空白的延展！

繪畫是二維平面，三維是第四維的投影，如果把第三維（不再有深度錯覺）
與第四維都投射到二維上，就是把第三維向著第二維還原，層層還原到第二維上，

因此，從中國文化自身的虛淡出發，中國文人美學的“平淡”，一直與“虛像” 因此在表面上就看到了時間性的細微變化，傳統水墨就是如此，而且就是在一维

之“虛化”相關，如果我們回到中國文化的文人美學傳統，尤其是董其昌的平淡 上打开空白的第四维，或即是无维度的，儘管也有著皴法的凸凹感，但在倪瓚更

天真以及虛淡沖和，煙雲淡蕩與煙雲供養的觀念，也是與莊子的淡然、虛化的思 為平淡的山水畫那裡，有著三重的空白 ：第一，“一河兩岸”的總體構圖是宣紙

想相關。傳統中國山水畫以及文人花鳥畫，已經很好地在水墨宣紙上展開了幾微 空白的空出 ；第二，折帶皴把皴法減到最低，近處的坡岸以及遠山皴法之內，有

的過渡，這一點，也是被于連（F.Jullien）所注意到的（見其《淡之頌》㉘）。傳 著書法“飛白”疾澀書寫帶來的空白，這是虛淡的暗示 ；第三，空白觸及線條的

統平淡美學要打開的是一個虛薄的幾無（presque rien, almost nothing）場域。 邊緣帶來水紋的輕微震盪，讓淡遠更為富有生機。從宋代巨然的《雪景圖》，經

傳統繪畫的材質已經是三重的現存品 ：材質的現存品——毛筆與紙硯，身體 過倪瓚，到明代的董其昌，直到晚明的漸江，這個空白的皺褶得到了充分展開。

的現存品——身體的氣息及其呼吸轉換！物件的現存性——範式或者程式化，但
是如何又不僅僅是現存品？水作為自然元素的加入，氣息作為生命元素的作用，
所畫對象與材質和身體的相互作用，帶入了自然的變化！ ㉘ F.Jullien:Éloge de la fadeur, À partir de la pensée et de l’
esthétique de la Chine, rééd. Le Livre de
Poche, « Biblio », 1993.【Praise of blandness: proceeding from Chinese thought and aesthetics (New York :
傳統水墨如何打開虛薄？不是走向物件的豐富表現——那是盛唐繁盛的顏色
Zone Books, 2004)】也參看何乏筆（F.Heubel）等人更為深入的討論。
體系，而是減少（老子所言的“損之又損”），“色即是空”與“空即是色”，即讓
空無起作用，如同杜尚打開第四維度的空無性，讓此空無性（無維度），穿越過來，
觸及二維平面上的事物（乃至一維的線條），帶來異常微妙與奇妙的觸感，但是
要讓第四維充分起作用——即讓“空白”無處不在。

1，宣紙的空白性。宣紙也可以是有著顏色的，但是，從選擇絹，到宣紙，
主要是保留其空白性，宣紙是現存品，這個宣紙的空白，一直要保持空白，要餘出。
因為漢語在“空無性”與“空白性”之間建立了奇妙的生命觸感上的關聯。

2，從墨之為“玄色”
（而非黑色）出發，保持此現存品的材質特色，做得很少！
在這些現存品與可能出現的圖像或者繪畫之間，打開一個間薄的場域 ：這是水的
作用，水來沖淡，更加沖淡已有的墨，使之更加虛淡，所謂的淡墨渲染，水與宣
紙的吸納性相關，更為內在，而不是走向外在性的表現，即對材質現存性的再次
餘化。水之滲入宣紙，水之無色，水之泛白色，再次餘留了宣紙的空白感。而且“水”
是自然材質，這是杜尚的現存品所沒有觸及的。而水之渲染，或者塗抹，塗寫，
淡淡的塗寫，在似有似無之間，就是呵氣，
“呵氣如蘭”，就是其間的細微呼吸感，
生命感與舒緩感，而且是吸納萬物。

3，圖示的再次弱化，有著多重的平淡化 ：而一旦畫雪景圖，不再彈粉，而
是僅僅畫出山形輪廓邊緣，大雪覆蓋山巒大地，雪之白以留白方式畫出，墨色簡
單勾出的輪廓對比山體的大片空白，帶來畫面上更為虛白的視覺感受，還是回應
第四維度的空白，傳統山水畫的一系列《雪景圖》最好地回應了這個“余白”的

046 047
 薄片 21 ：時間的餘像 以此看 ：杜尚的虛薄觀念以及他自己作品的製作，還是過於“實 - 薄”，即
無論是他的現存品還是他的《大玻璃》，雖然試圖進入自身與他者之間的過渡，
進入微妙的氣息靈氛之中，但還是在過於硬朗與明確的事物之間展開 ；而中國文
化的虛淡則過於“虛 - 弱”，無論是水墨宣紙的材質還是沖和淡然的追求，儘管
本身是自足的，但與西方對比之後，顯得過於單薄了 ；以此，必須在二者之間彼
此加強，聚集多重的空隙，充分讓第四維發生，這就是“餘像”：在極為稀薄或
者幾無的所在，讓“幾無（almost nothing）”充分展開自身的內在張力，一直
保持為剩餘狀態，讓餘地不斷擴展或者有著內在豐富地皺褶。

這還需要加入時間性。架上繪畫的限定性就在於可以加入更多時間性的褶子，

如此虛薄的地帶如何被個體短暫地打開？這個場域是實在的嗎？要明確這個 讓虛薄有著時間性的厚度。這是幾重時間性的皺褶 ：其一，畫家自身對自己年歲

空餘的打開，需要一種獨特的修煉方式，這是莊子的“心齋”。 與生命感懷之切身的時間性經驗 ；其二，作畫過程的時間性，即製作藝術作品的

過程必須充分有著時間性的過程，即便是一筆書，也有著持久練習 ；其三，材質

心齋的“聽之以氣”，並且以此“心空”之中的“聚氣”，才可能打開一個“心 本身的時間性，隨著現代藝術回到材質本身，藝術家選取的材質本身是否有著時

齋”一般的場域，這是一個並非那麼實在的場域，如同南希所言的“非實在空間 間性的積澱也成為關鍵，比如用幾十年的老茶，比如用古墨等等 ；其四，藝術作

（areality）”，是一個虛空的軸心，因為“氣”是有待於聚集的，尤其在看似並不 品上所打開的時空的深度，這是作品的形式語言本身所具有的時間感，所激發的

存在的空間處，因為氣息的虛薄（還有什麼比“氣”更為虛薄的？），在一個空 時間感。因為有著如此時間的多層皺褶，虛薄才尤其有著內在的厚度。

隙之處，可以聚集起來，但以什麼樣的方式呢？這就是打開一個“虛室生白”的
場域，這個生白的虛室是打開一個內外可以感通的所在，即打開一個通道，只有
這樣，才可能鬼神來舍，這也是萬物所化的條件！這個通道的打開，就是虛薄的
㉙德里達在《繪畫中的真理》以及之前的《喪鐘》 （Glas）一書中，似乎都有著對杜尚的隱秘回應，
虛室。這就是以極薄的空餘來集虛，並且打開迎候的場域。莊子把它比作鏡子—— 前者有 +R 一章令人想到杜尚女性化名字中多出來的那個法語舌音 R，而喪鐘無疑也是對杜尚大
玻璃（glass）的多重書寫，還有在 Parages 思考布朗肖的著作中，對 reste 的思考（甚至寫出了 reste
如同《莊子·應帝王》所言 ：
“聖人之用心若鏡，不將不迎，應而不藏，故能勝
sans reste ：沒有剩餘的剩餘），一直還沒有得到學術界深入研究，而這是與虛薄的觀念潛在相關的，
物而不傷。”不送走與不迎候，有著回應但並不收藏事物的鏡子，也是杜尚所設 我們將會在別處更為深入展開。
㉚ 德勒茲在《千高原》中思考了這個“不可覺察”的區域，在《反 - 俄狄浦斯》中對“欲望機器”
想的帶來虛薄的鏡子？
的思考無疑是對杜尚《大玻璃》愛欲與機器關係最為直接的哲學回應了。而這無疑與杜尚的美學觀
念在歐洲 1960 年代的復興密切相關。只是有待于與虛薄聯繫起來，尤其可以聯繫德勒茲的《褶子》
一書進一步展開。
極薄又極厚，這個微妙的“間性”空間就以“非實在場域”的模態建構起來。
如何打開這個有無之間的幾乎不存在的幾無場域？中國文化的氣化就在此聚集！
虛氣在其間的聚集，將打開精神的厚度，時間的厚度。因此，只要打開一個虛空
的虛室，即空餘之地，就可以打開新的機會。

在 我 們 這 個 時 代， 擁 擠 的 生 活 以 及 沒 有 空 隙 的 交 往， 只 有 發 現 並 且 敞
開 這 個 幾 乎 不 存 在 的 虛 薄 地 帶（ 海 德 格 爾 的 Gegend）， 才 可 能 泰 然 任 之
（Gelassenheit），打開餘地（Restraum），進入自由呼吸的空間。

莊子已經對空餘與象罔都有所發現，與杜尚的虛薄相關，就可以生成為“餘
像（Infra-Image）”，而且德里達已經把“餘（reste）”與邊緣邏輯（parergon）
相聯繫 ㉙，德勒茲已經思考了生成的不可覺察的區域（與第四維之為虛薄的不可
覺察相通）㉚，重新以虛薄或虛淡的場域來結合，就是“餘像”。

這需要結合杜尚的“虛薄”與傳統美學的“虛淡”，即要做到——怎麼做都可以 -
怎麼做都不可以，既不落入虛無也不落入實有，而是保持在一個“之間的”間性
狀態，而且，讓這個間隙具有無限的豐富性與厚度，極度的“薄”又極度的“厚”！

048 049
 薄片 22 ：庖丁解牛 的“大郤（great crevices）”與“大窾（great cavities）”，都是縫隙（gaps），
而在關節筋骨錯雜之間，幾乎沒有縫隙之處，卻以“極薄”的刀刃，打開一個“恢
恢乎遊刃必有餘地”的無限厚度的空間。

因此，奇妙在於——如何打開這個看似並不存在的空隙（interval）？而且
無限地（恢恢乎）放大開來？一個極薄或無厚（刀），一個極其擴大（牛關節之
間的空隙），那麼，這之間的張力如何打開？或者說，只有打開如此的空隙，刀
刃才不可能碰到骨頭而折損。這個空隙的敞開，難道不是一種幻覺？或者說為何
需要打開一個餘地的空隙，刀才可能不碰到牛骨，只有有著如此的空餘空間，無
處不在的空餘，一個生命才可以自由地穿行。

虛 薄， 要 以 放 大 鏡 來 觸 摸 的 虛 薄（Magnifying glass for "touching" --

infra thin），在莊子《齊物論》的文本中，是有著寓意性的罔兩（或“象罔”）， 如果整個世界都是一頭碩大無比的大牛，那麼，通過放大其間的空隙，我們

即事物之影子的影子，莊子虛構了一個“影子”與“影子的影子”的對話或爭論 就可以自由穿行，既不碰到骨頭而損傷牛骨（如同對法則的運用並不損害法則），

（杜尚筆記第 40 條異常有趣 ：影子在它與虛薄的關係中的爭吵 ：The quarrel 也不碰到牛骨而傷害自身（不讓法則傷害自身），因此，這就是為何宰牛的過程

of the cast shadow in its relationship with the infra-thin），即重影之間的 可以悟到養生的道理了，西方是通過法則（總是與懲罰與傷害的保護相關），中

對話 ㉛。當影子的影子或影子的微陰，與其影子開始對話時，打開的是話語之虛 國則是通過食物吸取的方式。把看起來幾乎不存在的空隙加以放大的想像力，以

薄的皺褶，因為那是一個幾乎不被覺察的物件，有著杜尚所言的小秤砣任意性一 及不斷保持擴大的能力，是如何可能的？

樣搖擺（gratuitousness of the little weight）的特性，如同南方晴朗夜空中

未圓月亮旁邊的色暈（aura），就有著虛薄的氣息，這是重影化（re-double 或 打開空隙（interval），並且放大這個空隙，以此空隙建構一個世界，這如

doubles）。 何可能？“虛薄”或“自由”就發生在這個看起來並不存在的“空隙”之中！
這裡有著三重的空隙，這“三重空隙”就是莊子的“三言”（重言 important-

在莊子虛構的這個對話中，奇怪的是 ：既然罔兩是影子的影子，更為依賴於 discourse，寓言 allegory-discourse，卮言 mysterious-empty discourse）

影子，為何反問影子的依賴性？當然，影子的影子或其微陰的變化可能並不依賴 書寫所打開的場域 ：

於影子或者影子的原物，而是周圍光線等在施加變化效果，但顯然它也依賴於影
子。這個有趣的追問，其實有著妙趣 ：
“影子的影子”追問影子，這其實是暴露 第一重空隙 ：這是在已有的各種關係之中，減少關係之間的關聯，比如社會

自己更加徹底的依賴，或者挑明這個依賴。這些卮言式的對話，也涉及莊子其它 關係，無非是由“名利”所建構起來，而且以等級制的方式穩固下來，要打開之

文本中關於象罔的玄思，即黃帝遺失玄珠，最後僅僅被象罔獲得的卮言，其實是 間空隙，要麼死守規則，要麼是鑽空子，要麼是搞特殊化即搞關係，即讓自己進

對時空敞開的形式顯示，因為“影子的影子”——是對無限虛空變化的回應，如 入例外狀態，佔便宜，但這樣的“空子”其實是為了更好地得利，反而最後被關

同夜空中的殘月在無垠夜空映照下出現的月暈（aura），其虛薄是如此多彩與柔和。 係越套越緊。對於莊子，發現關係之間的空隙，乃是減少自己的欲求，讓自己成
為關係的多餘人（這是莊子的重言，對古代各種“重要”人物之間關係的“重新”

這也是“餘像”（infimage）的生成，需要打開一個虛薄的空間（餘地），一 改寫），游離出來的多餘人知曉關係的規則，但並不進入關係的交換之中，尊重

個根本不可能看到的地帶，並且能夠把這個區域以生命感受的方式放大，在這個 法則但並不任意利用法則。——這是看到社會關係網路之間的空隙，以便自己從

虛薄的餘地之間生成出來的形象，就是“餘像”（我們甚至就可以用 infra-thin 中可以出來，而不是利用例外，鑽空子而為了更好地進入關係。在莊子那裡，這

來翻譯“余像”）。這不是以“目視”，而是以“神遇”的方式，來觸及虛薄，讓 是個體從人際關係之中的退出，退隱出來。——這不是不知道規則，也不是反對

虛薄變得透明起來，這是莊子《養生主》中庖丁解牛的寓意！庖丁解牛一直是一 與僭越規則，而是在規則之外，讓自己成為規則的例外或餘外，即自己保持在餘

個寓意或類比，那把解牛的刀不過是杜尚筆記中所言的“虛薄的銼刀”(the infra 外狀態，並不進入規則的束縛之中，從而可以發現規則之間的空隙。第一重空隙

thin file ) 罷了。 也是與自然相關的，因為人性的天然多樣性，根本不可能被任何的社會規則所約

束，需要有著一種“任然”與“任勢”的態度來面對這些擺脫利益關係的個體，

“庖丁解牛”，這是一個殺生的事情，但卻被莊子轉化為養生的寓意，這個轉 因此，“自由”要與“自然”結合，才更為尊重個體的多樣性。

換是如何可能的？庖丁描述自己宰牛的過程經過了三個階段，我們思考的重點不
在這個解牛的過程，而在於庖丁自己的解釋，為何可以十九年殺牛，刀還如此之 第二重空隙 ：則是從社會關係的空隙之中多餘出來的這些個體，讓自己保持

新沒有任何挫痕，他自己是如何看待牛的，這個解牛的方法如何可以啟發一種養 多餘狀態，一直保持在外面，與一個個如此孤立出來的個體（singularity）相遇，

生的普遍性？庖丁自己解釋的獨特性在於 ：
“依乎天理，批大郤，道大窾”，這裡 並不進入已有的各種關係之中（如同杜尚的現存品以及相關藝術行為）。這些個
體並不結合，而是繼續打開彼此之間的空隙，以不連續以及不融合的關係，打開

050 051
 新的間隔（spacing，espacement），並且使這個間隔擴大。在莊子那裡，這 （parergon）。
是通過超越各種人際關係（乃至超越人性本身），而進入自然，但也並不進入自
然的各種已有的有機關係，而是發現自然的空隙，即變化的那個關節或者災變時 庖丁解牛，其“遊刃有餘”的寓意就在於 ：從牛關節之間的空隙——如同解
刻（這是莊子的“寓言”），比如山谷之為空無的丘壑，讓個體在那裡以無名的方 剖圖的分解，到牛成為被分解的可口食物——如同一道重新組裝起來（dispositif）
式相遇。這並不是重建人際關係，而是以自然空穀所象徵的空無性——吐納的節 的新鮮菜肴，再到整個世界是一直有待於以空無來重新組裝的網路——這不就是
奏（比如煙雲來填充山谷，顯然這煙雲僅僅是經過與通過而已），打開不斷更新 我們這個虛擬化的網路時代？這些看起來似乎並不存在的空隙，不就是有待於發
的關係。顯然，自然空隙的敞開，取決於個體如何發現自然變化的關節以及對空 現的“虛薄”空間？
無的想像，因為如果使自然物件化，成為可以測量的空間，就並不是空隙了，而
是再次對象化了空間。——餘外的個體與個體在這個中間的空隙之中相遇，不斷
擴大這個空隙，就是相遇的法則，讓偶然與意外成為法則，並不形成新的法則，
而是把空隙的擴大，彼此之間的間距擴大——成為法則，越是接近（approach） ㉛如同杜尚筆記第 13 條 ：現成品影子的照片。已經是影子，還被拍攝成照片，即影子的影子。
莊子的重影被當代攝影藝術實現出來了，“餘像”無疑也與攝影的餘像（after-image）相關，有關現
越是遠離（distance），彼此分享（partage/sharing）的是分離（depart）與 存品與攝影的關係，我們這裡不再展開，參看 Rosalind Krauss 的相關研究。杜尚筆記中有大量關於
距離（distance），這仍然是為了擴大空隙。新的自然性也許在於個體走向自身 “影子”與鏡子的思考，也與照片的影像相關。
㉜利奧塔試圖在《杜尚的轉換》一書中打開一種新的政治，即以力比多的愛欲能量以及欲望機器
更為內在的氣感，即個體生命氣息與自然氣息的“元素性”交流，每一個個體都 的生產，來補充馬克思的資本主義批判理論（如同德勒茲在《反 - 俄狄浦斯》Anti-Oedipus 中所為），
走向氣化的元素性，是在元素性的氣化之中交流，是讓氣化進入這個空隙之中， 而杜尚與莊子都是如此的轉化者（transformer），而且是利奧塔所言的多變的“轉化者”。在這裡，
三重空隙形成的生命場域將打開一個新的政治思考空間，而這與“虛薄”相關，形成一種生命呼吸
而並不填滿這個空隙，如同傳統山水畫的留白所為，這也是中國山水畫所具有的 的新形式以及與自然進行能量交換的新方式，當然需要重新發現一種新的自然性，也許不僅僅是西
現代性啟發。 方式的愛欲的生命，而是更為自然化的生長的生命，中國的現代性轉換，需要如此多樣的轉化者，
與新勢的生成一道，中國當代藝術也是新勢的“造勢者”，三重自由的空隙打開的是新勢的時空，是“不
戰而屈人之兵”的妙用，也許杜尚與莊子思想的創造性結合，可以打開新的事件，造出新勢。
第三重空隙 ：則是更為廣大的空隙，個體從社會人際關係出來，發現自然的
空隙，或者是個體在空隙之間穿行，但這還是受到自然場域的限制，為了繼續擴
展空隙，保持空隙的無限性，就需要個體徹底來到世界的邊緣上，當然並沒有另
外一個世界，而是讓那個無限的世界——作為無限的空無——來觸及自身（這是
空言的“卮言”），這個無限的場域也是自然宇宙的無限性與無限的生成性。這其
實是讓孤獨的個體來到世界邊緣時，超越之前的所有關係，僅僅與不可知的無限
發生關係，與絕對的陌異發生關係，或者與絕對的變化發生關係，這才是無限虛
空的敞開，有限人類對此沒有感受，僅僅通過無限自然的類比，以精微的技術，
來被動觸感（遙感）。——不再有法則，但這個“無法則”卻奇妙地以“無”作
為法則，即讓無限來觸及有限，如同德里達在《聲音與現象》中所言——“無限
的延異是有限的”（La différance infinite est finie），如同中國傳統藝術是以空
白的餘留來觸及有限之物的邊緣，帶來幾微的生動變化。

——因此，個體在世界之中要打開的是世界之外的關係，這個三重的空隙都
與自然性相關，而且也是不可見的，按照三重空隙，也是三重空白的皺褶，被更
為具體展開，這也是自由的敞開，形成一個可以內外翻轉與折疊的暢通空間，一
個虛無的軸心，這也是自然性與自由感的結合，空隙的通道可以穿越內在世界與
外在世界，虛薄就是一層薄膜而已㉜。

一旦打開通往無限的通道，發現關係網絡之間的空隙，以個體性的想像力擴
展此空隙（最好的方式是進入自然），不斷保持此空隙通向無限的敞開（open），
保持此通道（passage）之通暢，這就是杜尚所夢想的“第四維”，這第四維永
遠不封閉自身，而是走向無限。整個世界應該圍繞這個“虛空的軸心”旋轉，讓
這個不可見的第四維滲透到世界的每一處，這就是莊子寓意卮言的卮器（漏斗），
或者就是“得其環中，以應無窮”，這是德里達在《繪畫的真理》（The Truth in
Painting）中所言的那個以虛無切口（without, sans）來展開邊緣的解構邏輯

052 053
 Slice 1: Blank Folds

Beginning with blankness, in blankness, at blankness.

This seems to imply that below, there is nothing to be seen; below, there is
nothing to be said; even that there is nothing below; even that there is no nothing
(pas sans: without this with-out).
Isn't this how the first chapter of Lao Tzu's Dao De Jing begins? Are these
strings of sentences written on bamboo slats in the Warring States period not a
sliced form of writing? They've even been preserved in their sliced form:

I Duchamp and Chuang Tzu : Slices of Infra-mince
Ｔｈｅ　Ｄａｏ　ｔｈａｔ　ｃａｎ　ｂｅ　ｓｐｏｋｅｎ　ｉｓ　ｎｏｔ　ｔｈｅ　ｔｒｕｅ　Ｄａｏ；　ｔｈｅ　ｎａｍｅ　ｔｈａｔ　ｃａｎ　ｂｅ　
ｎａｍｅｄ　ｉｓ　ｎｏｔ　ｔｈｅ　ｔｒｕｅ　ｎａｍｅ．　Ｎａｍｅｌｅｓｓｎｅｓｓ　ｉｓ　ｔｈｅ　ｏｒｉｇｉｎ　ｏｆ　ｈｅａｖｅｎ　ａｎｄ　ｅａｒｔｈ；　
ｔｈｅ　ｎａｍｅｄ　ｉｓ　ｔｈｅ　ｍｏｔｈｅｒ　ｏｆ　ｔｈｅ　ｍｙｒｉａｄ　ｔｈｉｎｇｓ．　Ｔｈｕｓ，　ｃｏｎｓｔａｎｔｌｙ　ｗｉｔｈｏｕｔ　ｄｅｓｉｒｅ，　
ｏｎｅ　ｃａｎ　ｏｂｓｅｒｖｅ　ｉｔｓ　ｗｏｎｄｅｒｓ；　ｃｏｎｓｔａｎｔｌｙ　ｆｉｌｌｅｄ　ｗｉｔｈ　ｄｅｓｉｒｅ，　ｏｎｅ　ｃａｎ　ｏｂｓｅｒｖｅ　ｉｔｓ　
ｍａｎｉｆｅｓｔａｔｉｏｎｓ．　Ｔｈｅｓｅ　ｔｗｏ　ｅｍｅｒｇｅ　ｔｏｇｅｔｈｅｒ　ｂｕｔ　ｄｉｆｆｅｒ　ｉｎ　ｎａｍｅ．　Ｔｈｉｓ　ｕｎｉｔｙ　ｉｓ　ｔｈｅ　
ｍｙｓｔｅｒｙ．　Ｍｙｓｔｅｒｙ　ｏｆ　ｍｙｓｔｅｒｙ，　ｔｈｅ　ｄｏｏｒ　ｔｏ　ａｌｌ　ｗｏｎｄｅｒｓ．

This passage can be sliced even thinner. The entire reading of the Dao
De Jing is an act of constantly thinner slicing, to the point that there is virtually
nothing, but this slicing touches on the“Dao.”There are a few basic levels
regarding the production of the“Dao itself”and speaking about the“Dao,”which
are also the three most basic steps in thought (pas:step/not, without is a verb:
with-out/with-out）:
The first“Dao”character (Tao: 道 ) is a mark that denotes an eternally
unknowable“X,”something that absolutely cannot be spoken, which is in a
constant state of chaos and change. That absolute, unknowable“Dao”is the
“Dao”that cannot be spoken (the self-refutation of the Dao). One should affirm
this unknowable, passively experience this unknowable.
The second“Dao”character is the Dao that can be spoken, and so it is a
forced name (a name that was forced to be given). Lao Tzu himself said that
he is forced to call it“Dao,”and to describe it as“great,”but that it was merely
a temporary marker, one that perhaps was not precise, so perhaps it would
be better to call it“nothing”(wu/ 無 ); any traces left by this naming should be
erased by itself.
The third“Dao”character is already named, but it must be clear that this
temporary name is not the absolute Dao. Since it touches on that changing
Dao, it has left its traces, and later ideas and people could only follow these
traces, and later discussion was limited by this earlier discussion. But the“Dao-
ization”process of the Dao sets out to erase these extant traces to keep the
already spoken“Dao”from limiting or impeding thoughts about that absolute

054 055
 Dao, and for this, previously learned ideas must be erased and previous steps
must be completely obliterated, but between the obliterations of these steps, it
sets out to trace the various“obliteration methods”towards this chaos through
history. This entails entering the crevasses of each break, discovering within the
restoration of history, those crevasses that have cut off history's return to the
chaos, rather than discovering the extant continuity of history. This process of
the constant discovery of crevasses is also a“revolving mystification”process,
constant revolving mystification in order to enter into those inklings (doors) of
“Dao-ization.”Mystification is also rotation, one which maintains syncope, ㉝ like
Duchamp's“door”readymade(s).
“Dao”also means way or path. It amounts to the steps of thinking or
writing, as well as the method of artistic creation. To translate this meaning
into a foreign language, such as French, we would use Blanchot and Derrida's
thoughts on“pas”㉞ (which can mean both“to negate”or "stop" and“steps”),
and is connected to negation in“pas sans pas”(step without step, step without
without). This illegitimate, infra-mince sentence can be sliced into three thinner
layers, which is an abnormally abstract formal indication composition, which can
be translated in the below ways. These translations are equal, but internally, they
are“unbalanced”:
Unknowable: “The” is absolutely unknowable, unnamable. No name
can possibly hit the mark, and so they are meaningless; none of them can
completely speak of its mysteries. If we write it out in French and English,“pas
sans pas”means there is nothing at all; if the steps of“pas”are erased, and
“pas”is changed to“sans,”then it becomes without with-out without (sans
sans sans). This repetition opens up“differences”and“rhythm,”especially with
the separated“with-out,”which opens up a crack, a crack that is the earliest
spatialization, maintaining“open out.”Though this is complete emptying, there is
also the opening of a crack, just as the earliest meaning of the word“chaos”is
“crack.”
Non-knowledge: if it is absolutely unknowable, then is there no need to do
anything? No. There is directedness towards it. Though it is non-knowledge,
as non-knowledge, it is something for which we cannot have knowledge, but
there can be“awareness”(Besinnung, just as Kant, Heidegger and others
distinguished between knowledge and thought) as a kind of non-knowledge
thought. If we continue repeating that sentence, cutting“pas sans pas”into“not
without step,”then this time it emphasizes pas as a marker of negation. There
are steps, but the steps are void steps,“nothing”taking a step, the“nothing-
ization”of“nothing,”
“nothing”
“opening up”space.
Intangible: so how do we become aware? Mankind always exists within
existing historical thinking methods. Nothing can spring from thin air. But we
need to turn our thoughts and awareness around: it is not mankind becoming
aware but allowing thoughts to touch us (just as Heidegger said, it is language
speaking us, language speaking itself), or allowing that unknowable to touch us.
056
Duchamp, Dust Breeding, 1920,Photo by Man Ray
杜尚，《奧斯獨杜裏茲的喧噪》，1921 年，窗、木。
玻 璃。 油 彩，62.8X28.7x6.ccm， 德 國 斯 圖 加 特
美術館藏。
What matters is that we do not allow ourselves to be limited by our knowledge,
and that we are open and naked towards that absolute opening. If we again
repeat that sentence, and cut“pas sans pas”into“step with-out step,”on the
one hand, there are no steps of the“Dao,”only the“path,”and the“Dao”cannot
be treated as a“path”; on the other hand, mankind really does have thoughts,
but we must allow that“nothing-ized”
“not”to come into play, to constantly let
that unknown X be“Dao-ized,”to let the Dao become, to let nothing become,
to become according to the methods of nothing (it is not I becoming but the Dao
taking place through emptiness). This is the crack and mark that was left within
that“step with-out step,”within that split of“with-out”
The three types of markings of the crevasse have opened up the earliest
spacing in space, forming three folds in the emptiness.
This is very direct opening writing.“Dao-ization”permeates into every
thing, requires that every sentence opens up such a triple fold, and that it only
stops with such abstract expression, and that every artwork has such content
of meaning. Thus, art becomes philosophy (as Arthur Danto said), just like the
three doors Duchamp created: the 1920 Fresh Widow (like a wall, waiting to be
opened, yet blocking everything), the 1921 Brawl at Austerlitz (the greasepaint
on the glass has a certain revolving greasepaint form, as if it is transmitting
something, but it doesn't have a clear visual form. It is merely white noise),
and the old wooden door in the 1946-1966 piece Given (only after repeatedly
searching among the many cracks and marks on the door can you find the
peepholes).
㉝ Or perhaps the alteration of Heidegger's relationship between“open and empty,”of the connection between“clearing”
(Lichtung) and“destruction”(Nichtung) is“mystification.”Mystification, of course, is darker, while Heidegger emphasizes
brightness. This is a difference between Eastern and Western thought.
㉞ In many of his writings, Derrida responded to Blanchot's ideas on“pas.”In The Truth in Painting, Postcard, and especially
Parages, which was written for Blanchot, he considered related sentence structures related to pas, in which he wrote“sans sans
sans”and“pas sans pas,”pondering the traces of pas. This unique“X sans X”structure was no longer a selective adoption of
Hegel's dialectic negation, and of course there was never the so called end of philosophy (even the idea of the end of art became a
problem. Duchamp never said anything about the end of art). That is because even in these noisy, negative expressions, there was
still the possibility for expression.
057
 Slice 2: The Crisis of the Readymade having been created), the singularity of individual life is the absoluteness of
its existence. In this progression of modernity, hoe does the singularity of the
individual gain absolute respect? Can we shape ourselves into artistic forms, and
in this way tame capitalism? If a Chinese artist faces such a state of confusion
modernity infused with American-style globalization, how can he respond to this
predicament?

Let us return to the beginning of modern art, which reached a watershed

Western modernity began with the awakening of the individual in the
with Duchamp's artistic creations. The difference between modern art and
enlightenment movement. With the spread of Nietzsche's will to power and
traditional art is not just in the discrepancies between two different aesthetic
Freud's eros instincts, these instincts and forces of desire, once liberated could
systems; there are also differences in the systemic methods and ways of life,
not be tamed by any discourse in the West: the rationality of ancient Greece
in that the distinction between the identity of the artist and that of an ordinary
could no longer subjugate this natural, just desire for love; Middle Age theology
person ceased to exist. Everyone is an artist, and the artist is everyone, and the
could not control the evil brought by the will for freedom by controlling life
boundary between art and non-art has basically disappeared. All of this stems
instincts by treating them as original sin; the universality built in the recent era
from Duchamp's discovery of the readymade. The readymade is a testament to
upon a priori subjectivity could not be expanded to the body of the individual.
the absoluteness of the singularity of the individual, on par with the discovery
of the singularity of the individual. That is to say,“everyone”no longer belongs
The flow of this awakened will to life is basically released in three ways in
to any particular essence, and is no longer subject to the various regulations of
the West: the first is the violent method of war, the rage of thumos released by
types, categories, classes or essences. They exist merely as the absoluteness
the Second World War, the Cold War which followed, and on to the terrorism
of individual singularity. But how does the individual develop this singularity?
of 9/11 brought about by the clash between three monotheistic religions, which
It is just any object（whatever, quelconque, but it is absolutely unique and
also led to the self-destruction of life. The second way of release is artistic
irreplaceable. How is its absoluteness developed? This is the absolute death
creation, bestowing the life instinct with various art forms, from impressionism
and limitedness of the individual. This is also seen in 1920s philosophy (such
to expressionism, from surrealism to abstract expressionism, from the figurative
as Heidegger, who in Being and Time, listed being-towards-death as the only
to the abstract, they all try to bestow this uncontrollable unconscious instinct
requirement for Dasein), and the materiality of the readymade possesses such
with form and to shift towards the sublime (sacrifice or principles that discard
uniqueness.
with sacrifice). The third way of release is the fashion and consumption brought
by capitalist commercialism. With the development of advertising media, the
Furthe rmo re , D ucha mp's life lo n g artistic practice opened up three
perceived enjoyment of the individual has been utilized and developed by
dimensions:
commerce, and the fusion of capital and art has been gradually permeated by
1. In Duchamp's eyes, painting practice up to 1912 was merely a special
violence.
mode of traditional aesthetics based on the vision of the retinas, a mere“special
art”– in tradition, this was done by people with skilled crafts, such as painters
Were the terrorists behind 9/11 not just imitating the big commercial movies
and sculptors.
of Hollywood? Was the strike against the“twin towers”of the World Trade
2. Beginning in 1913, readymade set out to make“Art General.” ㉟ Each
Center not directed at the symbolic values of artistic self-reproduction and self-
readymade is the singularity of anything, and the artist is like Adam, with the
establishment? Also, capitalism is fermenting yet more violence, or turning
power to name (as in Benjamin's use of the Book of Genesis as the standard for
localism into a subject of capital consumption, leading to the destruction of the
his discoveries about language general), and to allow this thing to reveal its own
natural environment. Furthermore, the formalization of art has lost its internal
absoluteness for the first time – in the modern, each person should become an
power in the face of the soft violence of commerce. In Europe, there are still
artist, rather than artists in the traditional sense who have undergone special
a few artists who are grudgingly able to support themselves, but America's
skills training.
globalization has led to a more complete assimilation of the three by commerce,
3. Given, which the artist began in 1946 and worked on for twenty years,
so that the entire world has been concentrated into a platform for the trade of
treats art as“non-art.”After 1937, Duchamp virtually discarded his identity as an
goods. AS commerce grows increasingly developed, the crisis of art grows
artist, not even continuing with readymade art. For this reason, it further required
greater, which is why the argument that art is dead repeatedly emerges.
either giving up on making art, because he had made too many readymade(s),
If each individual is self-produced (as Chuang Tzu said, rather than

058 059
 yet he still gained the identity of the artist, or a further discarding of the self avoiding Warhol's tragedy. Is this not the time for Chinese art to get involved in
(escape from the self), which was not merely discarding art but also discarding rethinking Duchamp's motives for proposing“infra-mince”and the reasons that
the identity of the artist. Artists are all ordinary people, and should return to the have not been fully uncovered?

everyday state, but they can still make art, though they are not artists. This was
the artistic political movement towards the public realm that Warhol and Beuys
engaged – it also led to art becoming“non-art,”and led to the end of art, or to
the point that as art moved to permeate everyday life, it became impossible to
distinguish between art and the everyday state. But Duchamp's method was to
maintain anonymity. For twenty years, he did not exhibit or announce his own
㉟ The distinction of painting as special art and the readymade as art-general was made by Thierry de Duve in Pictorial
Nominalism: on Marcel Duchamp’
s Passage from Painting to the Readymade, University of Minnesota Press, 1991. As Duve
says,“The‘readymade’is not a thing, or a series of things. It is not the artist’
s stance or intentions. It is a sentence pasted onto
absolutely anything – this is art.”Quoted from Duve, The Name of Art, Qin Haiyan, trans., Hunan Fine Arts Publishing House,
2001, p. 145.

artworks. This subversive method was an embodiment of the vastness, might
and mystery of art. In fact, Duchamp was carrying on the methods of Western
traditional mysticism, working in secret, maintaining an absence, and not allowing
the self or his works to emerge.
㊱ This is note number 7 from Duchamp’
s notes on the infra-mince. There are a total of 46 notes, of which the Chinese and
French versions were found in Wang Haiyan’
s doctoral thesis appendix. See Wang Haiyan, Duchamp’s Infra-Mince (Dushang
de Xu Bo), 2008, China Academy of Fine Arts Doctoral Thesis. See also the master’
s thesis by Taiwanese scholar Chen Jiao in
2000. Infra-mince has also been translated into English as“infrathin,”and can also be connected to the prosaic aesthetic tradition
in Chinese art, where it would be“light and thin.”In connecton to Chuang Tzu, it is the figure Xiang Wang (false image). In
connection to film, it is the“after image”or“infra image.”This will further be expounded upon below.

After Duchamp, however, Western modern art and even contemporary

art mixed these three together, or at least, in terms of the third aspect, did not
pursue the concealment or retreat of the self, instead turning art into an everyday
state, but this everyday had a performance aspect, for instance with Warhol:
his silkscreen prints were still marked with the unique language of panting as
a class; the electric chair and the fixed camera film works were the production
of new readymade; and Warhol, in his real everyday state, appeared under
the guise of a celebrity. The cult of the celebrity hero in Western culture leads
inevitably to the harm of the worshipped. This is the tragic paradox of imitation.
Only Duchamp avoided this tragedy: in hiding himself, though this might not
appear so“natural”in ancient Chinese art.

If we once again promote the Chinese cultural traditions of returning

to nature and seclusion, but without Duchamp's hiding or Warhol's flashy
performing, letting the naturalness occur through the application of all three
aspects – special art as a class, the art-general of the readymade and non-art
– then can we avoid the Western end of art and the tragedy? The creativeness
of the readymade activated art, but the readymade itself fell into a crisis.

Is this where the opportunity lies for Chinese contemporary art? In 1937,
Duchamp proposed the idea of the“infra-mince”(infra-thin), maintaining that
“In Time the same object is not the same after a 1 second interval,”asking,
“what Relations with the identity principle?”㊱ This was a way to face this crisis.
Furthermore, how do we continue to maintain the tension between special
art, art-general and the everyday transformation of non-art, without leading
to the end of art, or doing away with the boundaries between them? Is the
proposal of the infra-mince Duchamp's secret response to the predicament of
modernity? This is also why he hid his own artwork after 1946, and named it
Given, which has a hidden connection to the giving of gifts (the true giving of
gifts is anonymous and absent), reestablishing the relationship between painting
and the readymade, between the readymade and the everyday, and therefore

060 061
 Slice 3: The Passage
The“readymade,”has become an incantation of modern art. Before
Duchamp uttered it, was already inextricably linked to modernist painting. The
temporal division in art history points to 1912, which is the year when Duchamp
completed The Passage from the Virgin to the Bride, and gave up painting
shortly thereafter. This artwork, with its title of“passage,”was doubtless highly
symbolic (symbolizing a subject and its realization process on the painted plain)
or allegorical (the transformation of a living relationship and the transformation
of painting itself), but the implications of this“passage”cannot be overstated
(“passage”also has certain sexual allusions, a possible or impossible new
path). ㊲ This channel was particularly aimed at painting itself. Duchamp's
painting always faced the possibilities of painting itself, or more precisely, its
impossibilities.
If painting transitioned too quickly from the“canvas”(which had still not
clearly been proposed as a readymade) to a“painting plane”covered in paint,
then painting would merely be a category of art (mere specialty), unable to
represent the possibilities of art itself (the generality of art itself), as Thierry
de Duve said. But more important was the question that this passage, as
well as other works from 1912 faced: how to open up the fourth dimension
on a two-dimensional painted plane. Bride, its sketch Bride Stripped Bare by
Her Bachelors, Even, the work King and Queen Surrounded by Swift Nudes,
and especially its sketch King and Queen Surrounded by Traversing Nudes,
all differed from his earlier most famous work Nude Descending a Staircase
and the 1911 Sad Young Man in a Train, both cubist, in that now, Duchamp
began considering the question of four-dimensional space. ㊳ The traversing/
transformation of the passage was that the opening of the“fourth dimension”on
a two-dimensional plane was still a question of painting, but after Duchamp gave
up painting, the question became how to open up the fourth dimension through
“anything,”or, if there was still a painted plane, then the fourth dimension must
be opened, rather than representing merely three, or else painting would be
nothing more than visual effects on the retinas.
㊲ See Thierry de Duve: Pictorial Nominalism: On Marcel Duchamp's Passage from Painting to the Readymade, University of
Minnesota Press, 1991. This book engages in broad thinking about the concept of“passage.”
㊳ Western art scholars have already done much thinking on Duchamp’s perspective methods and the fourth dimension.
See Thierry de Duve (ed.) The Definitively Unfinished Marcel Duchamp, MIT Press, 1993, and research by Jean Clair, Linda
Dalrymple Henderson and Craig Adcock. Of course, this was a universal response to Einstein’s proposal of relativity in the early
twentieth century, and is also connected to the discovery of X-rays and the theory of wave-particle duality in quantum mechanics.
062
Slice 4: The Fourth Dimension
How to pass into the four-dimensional realm of time from a two-dimensional
plane or the everyday three-dimensional world? Perhaps the question is
how the fourth dimension can pass into the second dimension; how is this
“transformation”and“transition”possible? This question began to grate deeply
on Duchamp by 1912. His discarding of cubist three-dimensional painting was
no coincidence. Art could only be possible if the fourth dimension could be
opened.
Cubism truly did open up a new plane for painting. It wasn't, however, the
misperception of depth opened up with the focused perspective used since the
Renaissance but a flat plane with a relief effect. Nude Descending a Staircase
was like this. Though the cubist, cylindrical body had more of the mechanical
hardness of futurism, it still possessed a relief-like visual stacking effect.
Western painting has been creating the visual illusion of three dimensions on a
two-dimensional plane basically since the Renaissance, and the impressionists
did this work materially, the main difference being that there was more movement
back on the two-dimensional plane. This lasted until Greenberg, who clearly
emphasized the flatness and abstractness of painting.
The things in real life are basically all three-dimensional, like the built
spaces in which we live. Painting, in imitating architecture and sculpture, opens
up an illusory sense of depth. The three-dimensional space of real life, however,
is something that we are accustomed to, and does not lead to the same level
of astonishment and reflection as the depth of a two-dimensional plane does.
For this reason, there is a need for painting that uses technical imagination to
reshape the depth of the third dimension in order to exploit our imaginations
and perceptions. Painting's imitation and re-creation of the three-dimensional
living space, however, also led to the constant decline of painting. Therefore, the
question is: how can painting maintain the two-dimensional plane, avoid falling
into the three-dimensional illusion, yet still transfer to the fourth dimension? In
other words, how can two dimensions open up a mysterious passage straight to
the fourth dimension, and can perspective continue to be expanded? Can this be
done without imitating the three-dimensional illusion? This was the turning point
that would lead to Large Glass.
For new painting, the question of how to open up the fourth dimension on
a two-dimensional plane was like the question of how the virgin makes the
passage to the bride. Virginity represents the two-dimensional plane (or even
one dimension: in note 26 on infra-mince, he writes this, though he has his
doubts –“the infra-thins (in a single dimension)??”), and the bride, for whom
063
 it is always the first time, represents the fourth dimension. How, in the virgin's
passage to becoming the bride, does the bride stay a virgin, not moving towards
the visual perception of the cubists, but instead towards the imperceptible
reality of the fourth dimension? Duchamp in 1912 seems to have been unable
to achieve this. The rapid, instantaneous penetration that Duchamp imagined,
like a fairy flying beyond the skies, was just such an effort, but where did the
imagination of this penetration and passage come from?
If not in painting, how could any object, any object from ordinary life (the so
called zero of objects) open up the fourth dimension without entering into the
spatial shaping of three-dimensional human architectural space? This requires
an escape from the limitations of the retinas and the patterns of hand production,
even the suspension of human nature to directly face this any object and open
up the imagination of the fourth dimension.
This was when Duchamp began“naming readymade,”entering into the
beginning of so called nominalism in art. This is also why Duchamp began writing
many notes and drawing so many linear sketches about how to enter into the
fourth dimension at this time.
If it is painting, on the one hand, it must maintain its own two-dimensional
plane, while on the other hand, it strives to open the fourth dimension, rather
than producing the illusion of three-dimensional depth. Ancient and modern
painting have all been producing the third dimension, but if it discards with the
second dimension, for example with the later minimalist and installation art,
then it is always striving to open up an external real space beyond the third
dimension and discard with limitations. The relationship between painting and
the readymade lies in: on the one hand, maintaining the limitations of painting
as a two-dimensional medium, because the planar aspect of painting is unlike
the three dimensions of everyday life, bringing about a separation; on the other
hand, opening the fourth dimension is opening unlimited possibility, not entering
into the patternization of the third dimension but putting the fourth dimension into
play, like Duchamp's“instantaneous passage,”while also maintaining the link
to the second dimension. In other words, if there is new painting, then from the
beginning it will certainly open up a wondrous passage: a“passage”between the
visible, tangible two-dimensional plane and the imperceptible fourth dimension.
Or, as Duchamp said, in order to maintain the continuity of the fourth
dimension, we even must imagine a virtual fifth dimension, ㊴ and he created
a sketch for this. That is to say, how to maintain the continuous movement
of temporality in the fourth dimension.“Infinite geometry”allows the fourth
dimension to continuously move and change. This is the fourth dimension
entering into the fifth dimension, or having the fifth dimension (the continuously
moving and changing temporality of the fourth dimension) to become connected
to the second dimension, instantaneously traversing. This is why he was
064
repeatedly pressed in 1912 to paint paintings of rapid passage.
Simply put, following the blank fold method of“uttering the Dao,”the fourth
dimension also has three embodiments:
1, the fourth dimension is Un-dimension, merely an allusion to the
imperceptible infinite dimensions. That infinite geometry will always remain
unknown, spontaneous and coming. 2, the fourth dimension is a happening, the
happening of a certain kind of possibility. 3, the fourth dimension is a projection
of the third dimension. It possesses a specific, visible third dimension, but it is
refracted onto the fourth dimension.
Actually, we have already seen that in American abstract expressionist, if
it weren't for the new possibilities in painting opened up by Jackson Pollock's
drip paintings, other artists would never have so completely discarded with the
imitation of the various types of old European modernism. Even Pollock before
1944 was just a more symbolic and chaotic cubist Picassoist. No matter how
vertigo-inducing the picture (like Duchamp's desire for rapid passage), it was
limited by the language of the cubists, controlled by the illusion of the third
dimension. But once the drips began, the fourth dimension was pierced open.
Since Pollock stood over the canvas as he created, this already opened up the
third dimension in the canvas, the space of everyday life, but once the drips
began, he was not touching the canvas, which brought a sense of freedom from
externality; it was not a brush moving towards three-dimensional shapes on
a two-dimensional plane, but through a distance. It seems as if this distance
always existed, as if the painted plane was opened up by some magical forces,
and the revolving layers of lines unfolded infinitely on the two-dimensional plane.
This is also why Rothko's painting moved towards black in his later years. It
was no longer the color contrast relationship between the base color fields and
the surface color fields but the base blackness extending beyond the frame,
like Rothko's chapel paintings, which open up the surrounding chapel through a
two-dimensional plane upon which virtually nothing is painted at all. It is not the
three-dimensional everyday living space, but an entry into the fourth dimension
of sacred meditation. The placement of real objects in minimalism opened up the
third dimension, and to a certain extent the fourth, but it basically lost the tension
with the second dimension. For this reason, if there is to be new art, it must
maintain the tense relationship between the limitedness of the second dimension
and the fourth dimension. This is why painting is still so important, because it is
the embodiment of limitation.
㊴ M. Duchamp: Duchamp du Signe, Flammarion, 1994, p. 138. This note, entitled“Towards Infinity,”is also a concentrated
discussion on the possibility of the fourth dimension. Though Duchamp sometimes said that through the infra-mince we could
move from the second to the third dimension, it is actually the fourth dimension. Duchamp repeatedly spoke of the third
dimension in geometry as a projection of the fourth dimension. The note reads,“by the infra-mince, one can pass from the second
to the third dimension.”
065
 Slice 5: The Philosophy of the Readymade creation and expression of painting from before, but the direct presentation of
the“thing,”something to which has been applied the“nominalist”rendering of
naming. This nominalism is similar to the thinking in contemporary philosophy
regarding singularity and the specific“thisness（haecceity）”of things. From
Duns Scotus to Deleuze, this thinking has been aimed at discovering this
thisness, and this whatever ㊶ has become the absolute example of art itself.
So, how does this“whatever”directly connect to the fourth dimension?
Only when the fourth dimension is put into play can there be new astonishment.
The discovery of the possibilities of art itself, rather than a continuation of
This thing, this unique thing, no longer enters into the third dimension (the space
painting, begins in 1914, when Duchamp began to discover the“readymade.”
of everyday life and the painted illusion), because once it approaches the third
From the everyday snow shovel to the bicycle tire, and on to the famous urinal of
dimension, it is too limited by the artist's subjective creation and expression
1917, the concept of the readymade grew increasingly clear, and the discarding
methods, or it can easily fall into patternized modes of operation, or it is only
of painting became increasingly a forgone conclusion. That is because the
a certain specialty rather than absolute universality. How are singularity and
artworks that readymade(s) represent were no longer limited to the vision of
universality related? It is like the ideas inspired by Chuang Tzu's thinking”
the retinas or to the evaluation of beauty and ugliness. Of course, it was also
it is not viewing that object with this object, or using similar objects to make
no longer limited by material, because the readymade could take any material,
“comparisons of class,”nor is it the use of certain criteria to examine a thing,
whether a natural object, an implement or a work of art, and turn it into an
it is“viewing an object with an object”or“viewing an object with the Dao,”or
artwork that represents art in the broadest sense.
“experiencing the Dao through an object,”in that each thing (whatever) has its
That is to say, each instance of a readymade represents an example of art.
own“Dao,”and only through entering into the relationship with its own“Dao,”
The logic of this example (it is a unique example of that unknowable noumenon,
and through the relationship between other things and this thing's“Dao,”only
each being a singular example) is not the traditional logic model, such as Hegel's
when these things encounter each other on the level of the“Dao”(like an
“individual/special/general.”It is apparent, at least in terms of the construct
encounter in the fourth dimension, will there be a connection between the two
of painting: the material of painting can be compared to an indefinite general;
(a passage opened), because the reason there is a place where these“Dao's”
the painted base represents the special; when a specific image is painted onto
can be connected, can change and transform, is because the“Dao itself”is
the base, it is the individual. But now, for Duchamp, the readymade should be
changing and transformable. For this reason, only when the individual opens up
maintained as the general. The painting of anything does not move towards the
its relationship with the“Dao”can it be produced and possess“thisness.”This
expression of the special and individual; any readymade makes a direct analogy
is what Duchamp was talking about with“pictorial nominalism,”and is the link
to the general, and there is no longer the special as an intermediary between the
between singularity and universality, the transformation that Duchamp pondered.
individual and the general.
How is this passage for transformation opened?
This analogy or allegory (Duchamp, when later pondering the infra-
mince, spoke of the“allegory on forgetting”, which is forgetting the difference
There are many ways to open up this“passage.”The philosophy and art
between the general and the special) is that in maintaining generality, any
of the twentieth century primarily focused their imagination on this question,
action represents only the current coincidence, that strained interpretation, that
opening up the fourth dimension:
chance encounter, like the impossible meeting between bicycle wheel and chair
This individual can no longer belong to any category, type or regulations.
in Bicycle Wheel, while In Advance of the Broken Arm merely gives a new name
It is absolutely alone, existing as an exception, beyond the stipulations of the
to an existing snow shovel, the meeting of a name and a tool, alluding to the
world, virtually superfluous, having lost any formulation. Heidegger's Dasein as
possible breaking of the arm or the possibility that the object will lose its function.
being-towards-death is like this, as is Sartre's freedom in existence preceeding
Fountain turns a urinal 90 degrees (also putting the fourth dimension into play),
essence, and Deleuze's thisness, Derrida's infinite difference, Nancy's
which is then signed and dated, once again creating a meeting between a name
singularity, Agamben's whatever, and on and on. It has opened up a different
and an object (Duchamp defined the readymade as“a kind of rendezvous”),
way of viewing the world, just like a woman opens up fissures in the world itself.
turning an apparently ordinary thing into a sculpture that catalyzes sacred shapes
But this thing is still this thing, and still possesses its own limitations, but
and textures (for this reason, some art historians believe that this artwork does
through its own limitations, it has pierced into the world itself, just like animals
not reject the visual sense of beauty in painting ㊵ ), or an artwork full of corporeal
at certain times see the world's abyss, an inspiration from the poetry of Rilke.
allusions. Moreover, once it is named, it becomes unique, it becomes itself, and
For this reason, it maintains the world's openness, but it does not move towards
it is the only time. It will never again be possible to change it. It is not the re-

066 067
 another world, instead making the world open up to a certain externality. It does
not set out to fill this emptiness but maintains the openness of this emptiness.
This transcends all religious illusions; there is no longer a third space between
heaven and hell. The world's openness is not the world but the world's lack of
foundation, and the experience of this“nothingness.”This limited individuality
must become connected to the void of the self, allowing the meaningless
“nothingness” to constantly come into play, but without bestowing the
“meaningless”with meaning. Moving any and all individual differences towards
non-difference will produce difference out of“nothing.”This is the impossible
work of“nothing,”the“efficacy of action through non-action.”
As for the relationship between this whatever and the unknown, the
whatever only maintains a tactual relationship with the unknown of the future, not
moving towards the known. This is what art sets out to do. The artwork does not
solve problems but opens up the connection between our sense of life and the
unknown thing, bringing us into the experience of this unknown while maintaining
it as unknown.
Then, this thing enters into non-difference, into the chaos, starting anew but
always maintaining a state of beginning, and not entering into specific regulation.
It is here that we can see the philosophical significance of the readymade:
Anything, from the bicycle wheel and the stool to the snow shovel and the
urinal, is a“whatever,”but it is simply whatever, an existing thing that has been
extricated, still as yet unnamed, waiting to be named anew. This name must
come from the fourth dimension; not from the real usage of the third dimension
(things from everyday life are all products of certain functions) but from the
imagination. It is often the case with the readymade that it is merely the act of
naming, the sole regulation of nominalism, opening up a new world for this thing,
because this name has an infinite amount of accidental, uncertain, mysterious
and serendipitous connotations.
The whatever opens up to the outside world, opens up to a world of
nothingness. The French window that is Fresh Widow is like this. Naming it“fresh
widow”strikes people as surprising, but actually, in French, it can also allude
to“masturbation”and the“guillotine,”but more to the point, this window opens
up to a world of nothingness: it is fresh in that the first time it is opened, it opens
up the strange world itself. Of course, there is also painting, because since the
Renaissance, painting has always been likened to looking through a window.
With the relationship between Duchamp's“allegory on forgetting”and
the unknown, the readymade is always in a state of an arriving momentary
insight. The 1920 artworks Rotary Glass Plates and Rotoreliefs brought a kind
of dizziness of the unknown (the fourth dimension and this rotation have an
internal connection). There was also the 1916 work Comb (it was inscribed
with the phrase“Three or Four Drops of Haughtiness Have Nothing to Do with
Savagery,”which is quite a poetic riddle), and his dressing up as a woman and
adopting the name Rrose Sélavy, so that Duchamp could use another name,
068
another stand-in for life, just as Nietzsche could live under the name Zarathustra
after writing Thus Spake Zarathustra, could become the anti-Christ; this book
might have been on Duchamp's nightstand. Duchamp's changing into a member
of the other sex is a transformation towards the other, the beginning of an“infra-
mince”transformation.
The readymade is of course Duchamp's experience of indifference; the
readymade is there to break down the existing distinctions between beauty
and ugliness, entering into callous indifference (indifference can be a lack
of difference, or a state of being within difference). Duchamp, however, did
not go deep enough into the chaos, and this is where the readymade is not
infra-mince enough. The lightness in Chinese culture, on the other hand, has
always maintained a connection to the transformation of chaos. In other words,
Duchamp's readymade(s) are too“hard,”too artificial, not natural. He has used
natural things as readymade(s) (Hidden Noise, Paris Air and Given), but he
created few such artworks.
Simply put, the readymade also possesses the folds of emptiness: 1,
the readymade opens up an encounter with the world, an encounter with the
unexpected; 2, the readymade is pictorial nominalism, with the name itself
possessing diversity and murkiness; 3, then the specific substantiality of the
readymade is a specific thing, though it has lost its function, it is material and
experiential, though it has no utility.
㊵ See M. Camfield’
s essay, Marcel Duchamp’
s Fountain: Aesthetic Object, Icon, or Anti-Art? In Thierry de Duve (ed.): The
Definitively Unfinished Marcel Duchamp. MIT Press, 1993. There is much controversy, however, about whether or not this
interpretation is excessively aesthetical.
㊶ Like the“whatever”(French: quelconque; German: beliebige) discussed in Giorgio Agamben’
s The Coming Community,
Michael Hardt, trans., Minnesota, 1993. Agamben was continuing along the lines of Deleuze’
s“thisness”(haeceity) and Jean-Luc
Nancy’
s“singularity.”
069
 Slice 6: Large Glass into the upper portion containing the bride, and attempting to use electronic
means to strip the bride bare, in order to cause her to bloom and become the
bride.

This blooming flower metaphor is also an illusion of desire: on the one hand,
this virgin is about to become a bride, being stripped bare by bachelors, even; but
on the other hand, it is only“even”; it is only“on the verge of”happening – she
has not yet been stripped bare, and the event has not yet taken place. But in the
In order to provide a more specific solution to the transition from the virgin
fourth dimension, this illusory event has taken place, taking place within a certain
to the bride, and to put the fourth dimension more completely into play, there
blooming imagination and flow of vapor. This is the temporality of the fourth
needed to be a readymade that also had the two-dimensional allusions of
dimension: nothing has happened, but the most important thing has happened,
painting, and so we saw the emergence of Large Glass (i.e. The Bride Stripped
as if it has taken place in an unconscious dream, like Oedipus dreaming of killing
Bare by Her Bachelors, Even, 1923), the painting on glass that Duchamp began
his father and marrying his mother. It is both auto-affection and hetero-affection,
in 1915.
connected to the happening of the event, this fourth-dimensional happening and
Strangely, this work was still a panting. Why, then, did Duchamp say
temporality.
he had given up on painting? Of course, this was no longer a retina-style
The bride appears to be a projection of a fourth dimensional thing. Duchamp
painting. In replacing the canvas with glass, it did have certain non-painterly
believed that any familiar three-dimensional object could be a projection of an
characteristics of the readymade. This was Duchamp's specific approach at
unfamiliar four-dimensional thing. ㊷ This invisible fourth dimension is the“delay
forming a relationship between the fourth dimension and the third dimension
in glass”and“glass return”（renvoi miroirique）; this delay is also a return and
(or the second dimension), and having the virgin make the passage to the
sending, as if when the self in the glass returns to a self-gaze through the fourth
bride, or perhaps as the virgin was“on the verge of”becoming the bride,
dimension, it has been delayed, as if it comes back through the fourth dimension,
maintaining her virginity, while also having the sensation of becoming the bride
just like Duchamp's transformation into the female Rrose Sélavy is a reversed
(instantaneous penetration). How was this peculiar transformation realized,
projection in the glass.
specifically? Meanwhile, it also continued painting – it engaged in new
According to Duchamp, the bride is an imaginary figure, like a new type of
research of perspective method, realizing it through more scientific methods,
human being, a figure that is at once machine, human and four-dimensional.
while avoiding the illusion of three-dimensional depth. This was doubtless
㊸ The bride has entered into four-dimensional space, and for this reason she
a difficult task. Fortunately, Large Glass basically solved this problem. The
has used the emission of her own cloud-like vapors to ignite the passions
painting installation that is Large Glass opened up the imagination of the fourth
of the bachelors, and in this seeming satisfaction without any direct contact,
dimension, while keeping the bride perpetually within the sensational imagination
an illusory connection is maintained (tele-affection). The cinematic blooming
of the virgin's first illusion, the desire continually blooming“like a cloud”and“like
only satisfies the last part of the previous phase, but this may lead to the fall of
a flower”(Duchamp described it as a“cinematic blooming”[épanouissement
the bride (the virgin, to be precise), never actually happening (like the infinite
cinématique]).
possibilities before wave-collapse under the uncertainty principle in quantum
The upper half of Large Glass: the bride is an internal combustion engine
mechanics). She is both the“virgin”and the illusory“bride.”The way in which
with mechanical organs that secret a shy force or momentum. The egg-
the fourth dimension's temporality interacts with two-dimensional or three-
shaped object to the lower left is a reservoir of love gasoline, while the area
dimensional space is that the thickness of the glass and the internal space is
that drops down below is directly imitated or cut from the painting The Bride;
three-dimensional, while the separation between the two sections is the fourth
it is the bride's magnetically hanging dead weight, a female body hung by the
dimension, because the connection between the bride and the bachelors is
neck (pendu femelle). The shape that unfolds horizontally is like the milky way
enacted through illusory imagination, bringing about a connection between the
or like the clouds on a strip of cinema film, emitting flows of vapor, though this
fourth dimension and the two-dimensional plane.
is not produced by the bride herself; it is the cinematic emergence of the bride's
moment of blooming, a moment simultaneous with her being stripped bare. This
Large Glass also solves the issue of how to present the“fourth dimension.”
contains all of her splendid passion, the air and aura of her arousal. It is with
It emerges in a triple-fold manner: 1, the fourth dimension as an allusion to
this atmosphere that the virgin remains a bride. The lower half of Large Glass:
infinite dimensions: the milky way and the“draught pistons”, the horizon
nine“malic moulds,”full of passion, embroiled in the vertigo of self-comfort and
(the bride's garment and the vanishing point); 2, the becoming of the fourth
desire, attempting to enter, through the optometrist's eye chart (oculist witness),

070 071
 dimension: the female hanging body representing the bride, related to the
Slice 7: The Proposal of“Infra-Mince”
painted segment; 3, the projection of the fourth dimension: the mass emitted by
the bride as she blooms falls down below, and its interaction with the nine malic
moulds, the chocolate grinder and the oculist witness below.

There are, however, several issues yet to be resolved with this artwork.
First, as an installation painting, it is overly complex and overly reliant on science;
second, it is too robust and bulky, not quotidian at all, or at least lacking in the
How can art possibly maintain the characteristics of the readymade while
purity and simplicity of the“whatever”readymade. How do you maintain the
continuing to be related to painting? Of course, Duchamp was unwilling to return
passage of transformation and still have simplicity, lightness and subtlety? This
to painting, but though most people believe that Duchamp gave up painting
is the sign of the coming of the“infra-mince.”Third, the installation painting that
completely in 1912, Large Glass was still a painting, it just wasn't the formal
is Large Glass appears to be a painting, but it is no longer a painting because
sense of retinal beauty, though it did still contain perspective. The works Comb
of the spatial thickness and depth brought by the glass, and it does not have
(1916), Apollinaire Enameled (1917) and Tu m' (1918) were also connected to
the limitations of the two-dimensional plane. Though Duchamp expended much ㊺
painting. As Duve has pointed out, there is a connection between the French
effort creating this work, drawing many sketches and writing many notes, it just
word for comb (peigne) and certain forms of the verb“to paint”(il peigne). This
isn't a painting. Therefore, how does one maintain the tension between the two-
connection is a play on Picasso and other people, and Duchamp's vocabulary
dimensional plane and four-dimensional temporality, and how can this passage
game also alludes to painting. Though it may be satirical, wasn't Duchamp
of tension be more subtly opened, while also maintaining what ancient poet Pang
always dreaming of new connections between the readymade and painting?
De in his Poem Forty Nine called a poetic“something new every day”? ㊹ This is
Does his last artwork, Given, not imitate painting? Moreover, though Large Glass
a new problem.
has hardness and thickness, it is also overly large and trivial. If we return to the
two-dimensional plane, could it produce richer tension?
Around the year 1936, Duchamp collected his various readymade(s)
together to create Green Box (1934) and the later Box in a Valise. Was this
actually a“summation”of his existing readymade artworks? Was this a“self-
summation”?
It was at this juncture that Duchamp began writing his notes on the“infra-
mince.”This is a compound word, seeming to have an internal connection to
the compound“ready-made,”but both words in the former are adjectives, and
remain adjectives. It is never to become a noun, on Duchamp's orders. But is the
readymade not a noun? Is it not a substantial object?

It appeared that there was nowhere further to go with the readymade. It was
not that it could no longer continue, but that Duchamp's series of readymade(s)
had already broken all the boundaries of materiality, even the boundary between
the sexes, between natural objects, works of art, gifts and everything. The
boundaries had all been broken, and related artworks had been made. How
could art still be possible?

Thus, Duchamp began to ponder the“infra-mince.”This is a concept that

㊷ Pierre Cabanne, Dialogues with Marcel Duchamp, Wang Ruiyun, trans., China People's University Publishing House, 2003,
he began privately pondering in 1937. If the readymade opened up the art of
p. 57.
㊸ Judith Housez, Duchamp Biographie, Yuan Junsheng, trans., Chongqing University Press, 2010, p. 262. On the same page, nothingness, or non-art art, how to continue doing art, art that possesses the
the author also writes, When a four-dimensional person perceives a human, it is like perceiving a cross-section of a body, in that it
richness of art, art that maintains the possibilities of painting, art that elicits
cannot perceive the outside or the inside, perpetually puzzling like a Klein bottle.”
㊹ Pang De's Poem Forty Nine: Sun up; work Sundown; to rest Dig well and drink of the water Dig field; eat of the grain new reflection on the entirety of western modern and contemporary art? How
Imperial power is ? and to us what is it? The fourth; the dimension of stillness. And the power over wild beasts.
is this possible? Apparently, as Duve pointed out, Duchamp's“infra-mince”is

072 073
 a continuation of his thoughts on that“passage,”or as we say, of the question
Slice 8: Infra-Mince as a Passage
of how to maintain the relationship of tension between the fourth and second
dimensions with subtle transitions.

In this sense, the“infra-mince”cannot be“dragged backwards”onto his

previous readymade artworks. We should be wary of much of the research
that does this. As we see it, the proposition of the“infra-mince”was in order
to resolve the relationship between the readymade and painting, between the
The proposition of infra-mince was a response to that issue of the passage
readymade and art. We can see this in his first note on the“infra-thin,”about
and transformation. The passage of painting still moved towards three-
the possibilities of Seurat's painting. If we believe that the previous readymades
dimensional space and visual perceptions (merely a special class of art), while
are infra-mince, this erases Duchamp's own crisis and the importance of the
the readymade was overly solid and self-established (every time it establishes
infra-mince's emergence, leading to an oversimplification of infra-mince.
art-general), but it did not open up the possibility of subtle transitional changes.
How do we make the fourth dimension more subtle and rich as it enters into the
second dimension? How can it then still be related to everyday non-art? This
㊺ Thierry de Duve ：Kant After Duchamp, MIT Press, 1998.pp.168-169.
is the seemingly nonexistent division and possibility which infra-mince aims to
open. Infra-mince is another name for the possibility of art.

Duchamp was not willing to return to painting. As Duve points out, because
the readymade opened up art-general, while painting was merely a special class
of art, an infra-mince slip of the tongue concealed the latency of“I should paint”
within the naming of the readymade subject, and this subject could not be called
painting. ㊻

A question worth pondering is this: if you were to draw a moustache on

the Mona Lisa, would it be a readymade or a painting? The question of whether
or not the“readymade”can be called a“painting”is a vexing one, to the point
that Duve considers the emergence of the readymade as meaning that there
could no longer be painting, only art. This is also why later artists would give
up on painting. What about the reverse? What about painting? Must it possess
the traits of the readymade? The synthetic cubism that emerged in late 1912
incorporated pieces of newspapers and other readymade(s) in a collage, even
earlier than Duchamp! Of course, it was still painting. Perhaps the excessive
two-dimensionality of American abstract expressionism led to minimalism's
reactionary move towards readymade and transcendence of the boundaries
of painting. Japan's Mono-ha artists also moved closer towards an encounter
with readymade as natural objects, expanding the relationship between the
readymade and painting. For this reason, if Duchamp was seeking a passage
between painting and the readymade in 1912, then in 1937, was he perhaps
seeking a passage from the readymade to painting? Moreover, Duchamp,
facing the readymade as art-general, moved towards non-art (he was always
playing chess or trying to live the life of a monk). If the previous direction was
overly fractious, to vehement, like the separation (cloison) created by a partition,
then the latter aimed to open up an interval in painting. Is this difference not the
distinction of infra-mince that Duchamp discussed? Just like Large Glass, in his

074 075
 note 9 on the infra-mince, Duchamp writes,“infra-mince separation – better Orientalness.
than screen, because it indicates interval (taken in one sense) and screen (taken
in another sense) – separation has the 2 senses male and female.” The role for the infra-mince transitional link is in how to open up a new
passage from painting, and to pull non-art into art itself. Moreover, merely
Perhaps Duchamp dreamed of a blank canvas as the most perfect painting, integrating the three is not enough. Under the influence of American-style
as Duve speculates, but American abstract expressionism shifted mainly towards globalism, China's current chaos exceptionally blends the three. How can one
black painting. Of course, it could also move towards white, as in the work of incorporate these three without falling into chaos? Can these three be fused into
later painters such as Robert Ryman. Taiwanese-British painter Richard Lin a new element, making the emptying of the infra-mince possible? Can it then
also painted mostly in white throughout the 1960s. This might be rather difficult avoid the infatuation and worship of individual artists? This is“naturalness.”
for the West, but when it comes to Chinese tradition, was the scroll paper not Perhaps the artwork, the readymade and the quotidian can be fused into
always white and empty? Of course, we must look at this through eyes that have naturalness, bringing new possibilities to art? Is there an internal relationship
been baptized by abstract painting. If Chinese people were to respond to the between“infra-mince”and“naturalness”?
question, perhaps it would be more interesting: is there a very subtle difference
between a“piece of white cloth”and a“white canvas”? If we can open up this
difference, would the possibility of the“infra-mince”not sprout from within? ㊻ Thierry de Duve: Kant After Duchamp, MIT Press, 1998, p.184.
How do we open up the difference between a piece of white cloth and a white
abstract minimalist painting? How is the division opened? How is this“between-
thinness”possible? Is this not the territory where art once again takes place?
The realm where painting takes place? Also, is there a“gender”distinction? Is
there likewise a“Yin”and“Yang”distinction? Is this not the thin space opened
up on the scroll paper through the“infra-vaporization”of the Chinese tradition?
Is this how traditional Chinese aesthetics can realize a transformation between a
“thing”and another thing? This is“objectification,”and objectification is another
name for allegory and comparison.

Western contemporary art has always wavered between the readymade

and painting. Warhol's silk-screen political pop portraits were like this, except
they later shifted towards non-art. Warhol merely unified silk-screen painting
production, readymade photography and the non-art individual idol life. For
Duchamp, there was still tension between painting art, art-general and quotidian
non-art, and the infra-mince was mean to find the internal relationship between
them while producing rich transitional folds, but Western contemporary art
apparently went too far towards“non-art”and even mass consumer art. The
globalization of the American method lay in the fact that for Warhol, after the
1980s, the three basically flowed together, and had been permeated by capitalist
consumption, turning art into a servant of commerce, where art itself could
no longer form into an incident. If we return again to painting, then a richer
relationship can be opened up between the limitations of art, the boundaries of
art, and the trend towards non-art in art, and then the readymade can become
the condition for mutual transformation. By upholding the readymade as the
condition for painting and non-art, can a new infra-mince art take form? Japan's
Mono-ha artists took the readymade too far towards non-art, and it was not
quotidian in the slightest, not connected at all to the breathing of individual life,
and this is precisely where Chinese contemporary art may need to rediscover

076 077
 Slice 9: Virginity alluded to by the cinematic flowing clouds and the window with the bride in Large
Glass. For this reason, the wisdom of the West is that on the one hand, it wishes
to eternally preserve that original innocence, untouchable, like the immaculate
conception in the Gospels, leading to the beginning of manifold differences in
monotheism; on the other hand, there are still marks, traces left behind, and
these traces can be preserved indefinitely, maintained in a state of openness that
must take place in erasure. There is a need for repeated new beginnings, and is
this not the goal of art? Duchamp had the most thorough thinking on this matter,
Let us go back to the earliest passage transformation of painting. If we
in the opening of a passage to the fourth dimension within ordinary“whatever”
approach the question from a more Duchamp“eroticism”theme, it will appear
objects.
more clearly:
Extant painting too rapidly transitioned from the virgin (cloth) to the bride (the
In this sense, Given, which he worked on for twenty years (1946-1966), can
canvas base). Each act of painting was unable to keep the virgin a virgin, instead
be seen as a certain experiment in his last phase, with Duchamp slowly, quietly
too rapidly, even violently shifting towards the canvas. Each new beginning for
and solitarily striving to maintain infra-mince while also forming an internal
painting, or new discovery of painting techniques and styles, set out to create
relationship between painting, the readymade and the quotidian. On the one
a new bride; the“cloth”was never seen again. All that was seen was the
hand, this was a gift, not a work of art, and the thoughts on materiality have gone
“painting foundation”as a backdrop for the painted plane, and the“image”in the
a step further – the“gift”is absent, concealing itself; on the other hand, it is an
foreground.
attempt to reconstruct the relationship between the readymade and painting, but
The requirement for the readymade is that it must maintain the virginity. Is
just as with Large Glass, it is not quotidian or natural enough.
this still possible for painting? Also, as this virginity is maintained, there must
This last major artwork is actually an integration of the readymade and
also be the possibility for art-general, making painting no longer merely special
painting, though it is closer to a readymade: the peeping method is anti-
art but absolute art (which is what abstract painting attempted to do), in that both
painting; the nude is an imitation of Courbet's painting, still preserving the virginal
virginity and bridehood are present together: maintaining virginity while also
cleanliness and the allure of nudity (though the cleanliness appears a bit fake,
possessing the uniqueness of the bride.
like a simulation), and unlike the“delay of the nude”in Large Glass, this is total
The three layers of painting are all possible, even: first, maintaining virginity
nudity; the waterfall, trees and other background features are painterly (perhaps
– the material should be retained; second, the foundational aspect of the bride
the virgin or the bride was always a“tree woman”; the gas lamp and other
should be restored and made to retreat towards virginity, rather than shifting
readymade objects preserve the traits of the readymade. The picture attempts
from the foundation towards the conveyance of images, i.e. it should open up the
to release a kind of vapor of desire and artifice, as well as a natural atmosphere,
separation space between the cloth and the base, space which doesn't exist at
just like his thoughts about condensed vapors on polished surfaces achieving
first, and awaits discovery; lastly, the connectivity between the base background
infra-thin, creating the polished phenomenon of infra-thin, but is it not infra-
and the image in the foreground should be reduced or eliminated, restoring the
thin? This is the heart of the question. Could it be that Duchamp never realized
image to the base, and continuing to restore the base to the cloth, the only way
his dream of making infra-thin artworks?
to reduce the traditional visual re-creation of the image.
Once the readymade is discovered and preserved, i.e. the virginity is
This femininity or“bridehood”is, in the West, the image of the“eternal
preserved, how can painting continue to be possible? Aside from certain private
bride.”This eternal bride is Antigone and Mary and Dante's Beatrice, as well
thoughts Duchamp had (such as Duve's discovery of Duchamp's relations with
as the eternal woman Helen in Goethe's Faust and Kierkegaard's bride who
his sister using psychoanalysis), the West's thinking regarding this virginity
combines Antigone and Mary.
amounts to the West's most total attitude towards art. Just as Derrida said
when discussing Freud's analysis of the traces of the subconscious in writing,
the subconscious writing mechanism ㊼ possesses“a potential for indefinite
preservation and an unlimited capacity for reception,”or“a perpetually available ㊼ Jacques Derrida, L'Écriture et la Différence, Zhang Ning, trans., Sanlian Bookstore, pp. 400-401, 407. French: Innocence toujours offerte et réserve
des traces.
innocence and an infinite reserve of traces,”which is because“the condition
for writing is that there be neither a permanent contact nor an absolute break
between strata.”The“innocence”that Derrida describes, or the“virginity,”
is precisely the eternally virgin bride that Duchamp attempted to preserve, as

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 Slice 10: Infra-Mince as Possibility If we further expand the concept of infra-mince, unfolding it within a broader
cultural context, then infra-mince is the interval between two identical things (“to
try to pass into the infra-mince interval that separated two identical things”)
as well as the subtle transition from the self to the other, as Duchamp liked to
express:
The shift from cloth to canvas, or from virgin to bride is the subtle,
immeasurable transition between the “something of nothingness” of the
readymade and the artist's“creative non-action.”This is the subtle action that
In the first section of note 46, Duchamp discusses the infra-mince as
breaks the boundary between the“self”and the“other,”the leftover traces (note
possibility: ㊽
4 states:“The warmth of a seat (which has just been left) is infra-thin). The
The possible is an infra-mince – The possibility of several tubes of color
tension between the subtlety of this transition and possibility still awaits opening.
becoming a Seurat is the concrete“expression”of the possible as infra-mince,
Of course, the discussion of the transition from the self to the other is often
The possible implying the becoming – the passage from one to the other takes
explained too much in cross-cultural terms, rather than artistic terms. Duchamp's
place in the infra-mince. Allegory on“forgetting.”
problem was that there was no way to continue with the readymade, but he could
The infra-mince as possibility is not something that can be fit into any
not return of the canvas; it could not become a new bride, because the virgin can
theory. As in Duchamp's notes, it can only rely on specific examples. The
only become the bride once – you can do it any way you want. The preservation
difference between contemporary art theory and the essentialism in traditional
of virginity amounts to – you can't do it any way you want.“Infra-mince”asks
aesthetics is that the former only provides examples of examples. There is no
what else you can do on or below the virgin readymade, and the answer is not
absolute unifying example or even best example; there are only single examples,
painting or new art.
many single examples. There is no example in itself, just like the inspiration
drawn from the readymade. Likewise, art theory in traditional Chinese painting
For this reason, there is a need for a new understanding of the relationship
also often raises examples, rather than forming a general theory.
between the readymade and painting. The white abstract painting which emerged
To ponder the first section of the“infra-mince”notes is to ponder Seurat's
later had begun to close in on this question: if you take a white piece of cloth,
pointillist paintings. Beginning with the impressionists, there was no longer a
frame it as a readymade and give it a name like“untitled,”is it a painting? It is
need for the painters to mix their own paints as they did in classical oil paintings.
like what the minimalists did. Likewise, if you take a white piece of cloth and cover
For many of the studio masters, their greatest secrets were about how they
it in white paint, hanging it up in an exhibition, is it a painting? The readymade is
made paints, but in the era of industrial paint production, painters could merely
breaking the boundaries of painting as well as transcending painting. That is to
squeeze the paint out of a tube. Is that not a readymade? For painting, by the
say, if painting is possible, has it not always been facing its own obsolescence?
time of Malevich, the skill of the painter was no longer important; it was just
Why do we still need to discuss the question of painting, when the readymade
black squares. But how can a painting by Seurat explain infra-mince? How do
has clearly become the core of the issue? This is because of the boundaries in
we move from the specialty of painting to the art-general of the readymade? It
art; painting can provide artistic discussion with boundaries and limitations. With
is with the direct squeezing of paint from a tube. Pointillist painting possesses
readymades, installation and media art, art has lost its boundaries, leading to its
minute transitions and shifts between the points of color (like the extraordinarily
own end.
beautiful haze-like shadows in Seurat's Jeune-fille), though it was not used to
Approaching the relationship between painting and the readymade again is
the fullest potential (Seurat unfortunately died young). Only by amply opening up
like the situation that Arthur Danto hypothesized in the first chapter of his book
the subtlety in the transition from the self to the other can the infra-mince take
The Transfiguration of the Commonplace, entitled Works of Art and Mere Real
place in between.
Things: ㊾ from a piece of black cloth to a red canvas, you can describe the basic
Going through the infra-mince is to realize a shift from the second
question of materiality and art history:“paintings that belong to such diverse
dimension to the third dimension. Of course, it is actually the transition from
genres as historical painting, psychological portraiture, landscape, geometrical
the second dimension to the invisible, to the inexpressible fourth dimension, as
abstraction, religious art and still life. It also contains pictures of something
Large Glass set out to accomplish. Infra-mince cannot be defined scientifically,
from the workshop of Giorgione, as well as of something that is a mere thing,
like the immeasurable particle-wave duality of quantum mechanics. It can only
with no pretense whatsoever to the exalted status of art.”Danto's thoughts on
be maintained as an adjective, not a noun, and never, ever a substantive (note 5:
materiality were certainly inspired by Duchamp's readymade, but because they
infra-mince (adject.) not noun – never use as a substantive), always maintained
do not touch on the fourth dimension, they cannot be further developed, so they
within the passage of subtle transitions and changes.

080 081
 appear inadequate. The research of Jean Clair, however, noticed the fourth
Slice 11: Infra-Mince Painting
dimension when focusing on Large Glass, as well as the attention to spiritual
vaporization (gaz, geest, esprit). ㊿ So how can a connection be reestablished
between the readymade and painting, one which preserves the canvas' virginity
as a readymade, while also possessing the new production of painting as the
bride?
One direction is clear, as Duve pointed out: the first thing is to make the
readymade a condition of painting, rather than the other way around – the
For painting to be possible, the characteristics of the readymade must
transcendence and impossibility of painting (as a readymade) is the condition
be maintained while also opening up the painted plane in a rich way, as we
for the possibility of painting. Only when the characteristics of the readymade
discussed above:
are preserved can painting exist as more than a mere class of art and an
ancient craftsman's trade. For this reason, the base and the subject of painting
Retaining the characteristics of the readymade. If it is canvas for painting,
should both be restored in the level of the readymade – it is still a readymade,
then maintain the characteristics of the canvas. If it is scroll paper, then retain
possessing virginity, but it is also no longer a virgin. Second, painting is the
the characteristics of the scroll paper. This is the preservation of virginity.
condition for the readymade and art-general, because painting can better
embody the boundaries of art, as well as the individual and the traces and
No attempt to apply a base color for the painted plane. This not to say
atmosphere of its bodily movements, just as Duchamp's readymades all appear
that nothing should be done, but that while the base is being covered in paint,
to be the instant infusion of ideas or even passing thoughts onto an implement –
the bridehood impulse must be controlled, pushed towards a restoration of the
though of course a large amount of effort went into Large Glass, as was also the
characteristics of the readymade. The existence of the readymade should be
case with Given. The temporality of individual labor can be better manifested in
seen.
painting.
If we look at American abstract expressionist painting in this light, it would
No intentional expression of the material appearance. The material form is
appear that it mostly shifted towards reopening the painting base, though
restored towards the base, the base has already been restored to the material
Pollock's drips have the characteristics of the readymade: stepping on the
characteristics of the readymade, and the thickness between the material
canvas dripping paint over it is certainly a somewhat serendipitous act, as is
appearance, the base and the readymade material. Infra-mince is not just the
the use of industrial acrylic, but it leaned too much towards opening up the
“mince”(thin); there is also an invisible, rich thickness. Artists have opened
richness of color fields on the painted plane, and the readymade is not clear.
up a fundamentally invisible“infra-mince”ventilated space within the invisible
Minimalism shifted towards the presentation of external objects, but it went too
“interval”between this virginity and bridehood.
far in discarding painting, as is seen in Mono-ha: that ink-soaked log strapped
to the canvas bore the traces of the readymade, but it did not reopen the two-
For these reasons, the crux of infra-mince painting is:
dimensional painted plane.
Preserving the characteristics of the readymade, while highlighting the
materiality of painting. Modernist art is like this, but it moved too rapidly towards
bridal constructs on the painted plane.

㊽ There are also similar passages, such as "reflection from a mirror or glass";Note 9r: "the people who go through (subway gates) at the very last
moment"; velvet trousers – their whistling sound is an infra-mince separation signaled"
㊾ Arthur Danto, The Transfiguration of the Commonplace, Chen Anying, trans., Jiangsu People's Publishing House, 2012, p. 2
㊿ Jean Clair, Marcel Duchamp ou le grand fictif, Galilée,1975, p.90.
While retaining the virginity of the readymade, opening up the fourth
dimension: this is the opening of the interval between the readymade, the painted
base and the material appearance, but it must shift towards the restoration of
the readymade, highlighting the characteristics of the readymade rather than
conveying the material appearance, though the material appearance is not
rejected. The key is to put the fourth dimension into play between material and
appearance, opening up the rich relationships in between, allowing the fourth
dimension to touch the material. This is like Chinese traditional landscape
（Shanshui or mountain and water） painting, which uses the retention of
blankness to touch the shapes of extant things, so that the blankness serves

082 083
 as the fourth dimension and also possesses undulating changes, bringing
Slice 12: Three Phases of Painted Art
vitality. This rhythmic vitality arises because in the contact with the blankness, it
emerges on the material appearance as the shape of moving vapor.
Duchamp's readymade broke down the distinctions and boundaries between
types of materiality, but also led to the death of art itself. How can a new
transformative relationship be established between natural things, man-made
things, works of art, gifts and even things themselves? This is the role of“infra-
objectification.”Duchamp's ideas on infra-mince were too rigid, not sufficiently
In order to form one's own painting language, or to form a new kind of
soft and objectifying. Objectification can penetrate the distinctions between types
painting, there must be a certain confluence of events that draws the painter
of materiality, leading to a more thorough mutual transformation, transforming
away from the painted plane. This“breaking off”is like the Zen awakening.
back and forth from readymade to painted base, from painted appearances to
For the emergence of new painting, one must discard existing techniques
readymade.
and enter the hapless state of one who cannot paint. This is the painful, liberating
experience of escaping norms and habits. It is both painful and liberating.
Art must enter into that eternal virginity, but must not break the connection.
Without opening up a new free stance within torturous freedom, there can be no
How can both be accomplished? This is Duchamp's idea of eternal virginity and
new painting. Just as Pollock gave up on imitating the cubists and began free
the yearning to become the bride. The secret of this passionate art is the eternal
dripping, existing painting subjects, techniques and styles must be discarded.
preservation of the freshness and untouchability of the virgin, while also having
A mere“break”is not enough. That easily leads to painting as performance
the closeness and contact of desire. How can this seemingly impossible tension
art, one-off performances. There were certain Chinese maximalist painters in
be possible?
the past, particularly abstract painters, who stopped at this phase, endlessly
self-replicating certain signs or repetitive actions. In this way, they could not
Pollock's drips once again demonstrated this possibility, but we cannot
return to the richness of painting or the diversity of art, instead being limited by
follow Greenberg's interpretation. This action painting method is far from clear. If
their own simple actions. Likewise, after the thick-brush Zen painting of artists
we follow Duchamp's understanding of passionate painting, then the dripping is
such as Liang Kai and Mu Xi, literati ink painting had to return to nature in order
a break – not contacting the painted plane – that maintains its virginity but also
to open up the richness of the world.
brings layers of infinite richness to the painted plane – breaking off the painted
How can this“break”be transformed into a positive artistic technique?
plane of the new canvas, or producing a new bride, effecting a more total contact
Pollock's dripping, after having left the painted plane, was not a one-off repetition
with the painted plane. Actually, this contradictory method has already been
of a monotonous action but a dance-like repeated movement entailing complex
demonstrated in Chinese Zen Buddhism.
control of the wrists, amounts of paint and other factors which also incorporated
the serendipitous visual impact of other mixed media. The traditional Chinese
caoshu script was an escape from established writing scripts, especially the kaiti
regular script, and whether it was called“big freehand”or“a severed brush, not
severed meaning,”it was a new direction marked by“qi-graphics”and“kairos-
graphics”after a break. The traditional literati painters were not engaging in
one-off extemporaneous writing but liberating writing from the standards of
writing lines and writing meaning, specifically substantiated within contingencies.
What they write is their own living atmosphere and sentiments, and even more
their responses to the moments of change, and for this reason they were no
longer subject to the stylistic and formal limitations of font, meaning or line
aesthetics. These contingencies are always changing, a material that is unfixed
and akin to the chaos (immaterial material, a contingency that only emerges
serendipitously when activated through the act of writing. It is an opportunity that
is brought about through mutual contact).
This actually brought a new painting technique and stance into painting.
This method of departure and return determined a new direction for painting. The

084 085
 emergence of a new kind of painting always experiences a transition process
of severance and return. Without the free sprinkling of Pollock's drips (the
paintbrush no longer contacted the painted surface – this absolute break, no
matter how small, was an infinite break), without the stance of this sprinkling and
the illusions it catalyzed, there could be no American abstract expressionism.
Barnett Newman's Zip was also a serendipitous break, with the key being that it
opened up a free experience. Likewise, after the Mono-ha group in Japan left
the painted plane, they were no longer pondering the various formal languages
of painting but bringing painting into their own lives, into the mutual relationships
between various things in the surrounding world. They had a particular
preference for such materials as wood blocks. Painting – the beauty of nature
and various everyday readymade objects entered into the painted plane, material
– things seen in everyday life, and the artist's body – the texture, all entered
into the non-art world. Of course, these objects were not just“whatever,”they
were things related to the artist's living experiences. The problem with Mono-
ha is that it was not infra-mince enough. It did not completely return to the
objectification of materiality; it was still outside stacking, not vaporous enough.
For this reason, current Chinese painting must find its own break, its own
return and its own new language. American abstract expressionism formed its
own abstraction through an expression of American freedom, reopening the two
dimensional plane. Mono-ha returned to nature and to everyday space. How can
the externality of painting be thoroughly opened? How can the fourth dimension
play a fundamental role? This is the non-action or emptiness of Chinese tradition
taking place. How can Chinese contemporary art's opening of the“external”
fourth dimension embody the everyday while also differing from the Mono-
ha artists' use of natural and material materials? This may be connected to the
living breath of the individual. This transformation and borrowing is of extreme
importance, because Chinese culture and traditional arts emphasize atmosphere,
whether it is the body writing calligraphy or the material that is ink, or the painted
expression of the landscape, every component in the painting is interacting
with the atmosphere. Of course, the idea of Yin and Yang is a vaporous view
of things. The vitality Chinese culture lies in its creation of a qi field, and only
through entering this qi field, bringing painting into an everyday space connected
to the realm of life can the old patterns of painting be cast off. Opening up the
connection between painting and life is a new opportunity to open painting, and
this new opportunity will not arise from pure art historical logic but from the living
memory of the individual and from things connected to everyday life.
These three phases of art can be explained using Duchamp as an example:
First is“making art through art methods”; as art, painting is a class of art
with its own technical conditions. As painting, it has readymade materials paints,
canvases, frames, etc., and techniques, as well as the visual appearance, which
is also an element in painting. These things must be learned through training. For
086
this reason, the painter is a craftsman, even if he is not, and even if his paintings
are not crafts. Even cubism is a painting method, even though later cubists
made use of readymade. Duchamp's cubist Nude Descending a Staircase is an
example of this phase. He used even brought motion into the painting, but the
language was still cubist.
Second is“making art through non-art methods”: this is the making of
art using existing readymade. It is no longer painting but an expansion of the
boundaries, beyond those of painting. Fountain is one of the many examples of
this. There is also the great Large Glass, which still contains a bit of the passion
of painting on the glass, even though it is an installation artwork. But it is still a
work of art, something that cannot be copied, repeated, or even re-exhibited.
It can be collected, but it cannot be repeatedly exhibited or even permanently
exhibited. Apparently, the artwork is no longer merely a painting but also a work
of art, a gift given. There is only once.
Lastly, there is“making non-art through art methods”: it is still art. If it
weren't art, it would be a craft, or some other form of action, such as political
action. It's just that what art is making is not works of art, but self-cancelling,
concealed, everyday, invisible and greater artistic actions. Duchamp's early,
unfinished broken effect for Large Glass, his collection of the dust, and his
later installation Gift, are all gifts that could not have been given during his
lifetime, and could not be appreciated or evaluated. Such privacy is somewhat
connected to the idea among Chinese literati painters of“hidden appreciation.”
Unfortunately, however, Duchamp's works were neither natural nor quotidian. Of
course, even though Duchamp did not later return to painting, instead moving to
installation art, this does not mean that this developmental model cannot provide
inspiration to painting. Actually, any new painting model will go through these
three phases.
Of course, there is not a method of “doing non-art through non-art
methods,”because that would be nature, and nature does not treat itself as
artworks. Of course, it's not god either, because god creates himself, and has
no need for conditions. When mankind does it, it needs conditions. In the end,
it is“letting the nothing do it”and“action through non-action.”It is non-art,
but“non-action”is the highest, most difficult technique. Moreover, Duchamp's
privacy was like the private clutching and grasping of things within the literary
idea of“hidden appreciation,”which needs to be changed in today's public
setting.
087
 Slice 13: The Disappearance of Boundaries between original creation and reproduction (L.H.O.O.Q.), refuses the exhibition
aspect of the artwork (Given, produced in secret over a twenty year period) and
refuses the creative aspect of the artwork itself, so that the artwork appears not
to possess uniqueness. It can also be turned around, turning the work of art into
an implement, where the artwork gives up its own uniqueness.

The readymade has been placed in a nameless realm, discarding with the

The rendezvous with the readymade is an encounter that can only be judgment of objects, with such judgments as beauty and ugliness. This indifferent

awaited, not sought. It is a leftover of deconstruction, a post-event discovery. attitude is the suspension of judgment. The material aspect of materiality is

Though the readymade has always been there, ready to be encountered at internally connected to the void; the readymade references the nullness of

any moment, it has only ever come after the event. In general, we can say the materiality, and for this reason, it alludes to the integration of“materiality”and

following about the readymade: “nullness,”allowing the“nothing”to grow, which is also allowing the fourth
dimension to grow.

It broke down the distinction between“things”: the readymade is anything,

the“whatever.”It can be a“natural thing”(Paris Air, the 1959 Self-Portrait The readymade has particularly broken down the boundary between artwork

in Profile, the branches in Given, his own female image), it can be a“man- and gift. A gift differs from a work of art in that the artwork needs to be displayed,

made object”(the snow shovel and the urinal), it can be an“artwork”(Nude to be revealed, while it also has a giver, the gift on the other hand is concealed

Descending a Staircase), even the appropriation and alteration of a traditional – the more it is presented, the more it is concealed. The gift is not present, does

artwork (the moustache on Mona Lisa), a“gift”(the title Given itself is an allusion not exist, but the gift happens. Duchamp's giving is like this, hidden while he was

in French to a gift, and it differs from the work of art in that it is not exhibited but alive, never revealed. Moreover, the materiality of the readymade is on the one

hidden; as Derrida said, the gift is not present – it does not exist), it can be a hand so random and null, but on the other hand, it is so calculated and scheming

“thing itself”(1912's The Passage from Virgin to Bride and the famous Large like the acts of a magician. The readymade as the thing itself has broken down

Glass). the boundary between creation and created: god's creation can take place in
an instant, created from nothing. Duchamp's naming of a readymade is also

The readymade comes from an unexpected encounter, displacing an like this, as long as the artist maintains enough sensitivity. Duchamp's Large

ordinary object from its existing function and context and bestowed with another Glass is actually like a somewhat abstract Genesis. The alchemical effect of the

name or concept, one which is connected to this object, though its reference has readymade appears almost to turn the artist into god, with the only difference

been emptied, and its signifier replaced to indicate an ambiguous“concept”or being that god creates from nothing, allowing anything to emerge in an instant,

marker, a marker that can always be remarked upon and possesses serendipity while the namer of the readymade utilizes things that already exist; a light touch

and extemporaneousness. This method of signing and marking possesses is sufficient. They both draw from the power of nothingness, but Duchamp's

minimal characteristics, adding just the slightest bit of imagination on top of the nothingness happens to be better integrated with materiality.

materiality, yet opening up another world, just as there is just a little difference
between the world of the Buddha and the world of mortal beings, the difference The readymade's breaking down of all boundaries led to the paradox of

resting on a bizarre act of naming. This power to name is a bit of an imitation of modern art. The paradox is that, on the one hand, beginning with Duchamp, the

god-general's creation, though of course it is somewhat of a satire of creation. boundaries were constantly being broken down, while the materials themselves
were made to constantly reveal their characteristics. The discovery of material

The boundaries that the readymade broke down are all of the boundaries is the discovery of new possibilities for the work of art, but in the end, it led to the

between types of materiality, as well as the line that runs between the artist- disappearance of the boundaries of art, the disappearance of the relationships

subject and the creation-object: the artist-subject does not take part in the between art and implement, between artwork and gift, between artwork and

production – the readymade can be a natural object or a commercial project, creator, and this conceals a contradiction: the activity of the creation of art has

not something the artist creates himself. The artist does not take any part in the lost its own legitimacy and independence. On the other hand, beginning with

production process, only borrows and appropriates. The readymade also broke Duchamp, art has been placed in a state of tension where it can be done in any

down the differences between the exhibition space, the studio space and the way, yet it cannot be done in any way. Likewise, this is both paradox and tension,

everyday space (playing chess with a nude woman), broke down the difference and because of this, aside from the constant breaking down of boundaries, the

088 089
 artist must also enter into the self-limiting experience of“it cannot be done
Slice 14: Natural Naturalization
in any way.”This self-limitation happens to be the thing that can bring new
possibility to art.

The resolution of this paradox, or entry into this double paradox, is a non-
solution solution, an unsolvable solution, one that maintains the tension. The
predicament of art is not only that it constantly faces the fear of the death of art,
but also faces the possibility of the end of art, the“impossibility”of art itself, yet
Connected to materiality is“objectification,”a term which is derived from
it still makes art possible, always leaving room.
the philosophy of Chuang Tzu, from his dream of the butterfly. Though there is a
difference between waking and dreaming for both Chuang Tzu and the butterfly,
For this reason, what matters is that when facing this paradox, the tension
the mutual transformation takes place within the dream. The dream is Chinese
can still be maintained, rather than causing it to fracture. It is the preservation of
culture's discovery of the fourth dimension, and for this reason, the classic
tension. This maintenance retains vacancy for the tension to continue to happen.
landscape（Shanshui or mountain and water）and flower-and-bird paintings of
Chinese art all have a kind of remnant rhythm and haze of dreams. The dream is
also the moment of hidden salvation, the remembering of lost things. No culture
has as many imaginings and recreations of dreams as China. It wasn't until the
twentieth century that Freud discovered the subconscious aspect of the dream,
awakening psychoanalytical powers akin to that of a Jewish prophet.
Objectification allows materiality, while constantly having its own borders,
to also constantly transform, to transform from natural object to implement,
from artwork to gift, and so on, constantly transforming. Meanwhile, however,
it also maintains the changes, softness and flexibility of the tension between
being able to do it in any way, and not being able to do it in any way – a“vivid
metamorphosis.”

Objectification, as infra-objectification, is the preservation of the fresh, lively

changes of things, and is connected to naturalness. But what is naturalness?
The nature of the natural world: the changes of the natural world have an
underlying order, like the changing of the seasons, the passing of the years, and
changes in the weather. Chinese culture views this natural nature as a condition,
and rather than standing in opposition to it, establishes analogies and imitations
of it, creating concentrations and refinements of its temporal rhythm. It is an
imitation of the plasticity of temporal rhythm, and this is fundamentally different
from the West.
Sudden changes in nature: nature is always breaking the rules with sudden
changes, and the emergence and disappearance of new species. But this
concept admits to these sudden changes in nature, such as the changes of
clouds, and tries to imagine a new rhythm from these moments.
The inherent nature of every individual: everything has its own inherent
nature, and when it grows according to this inherent nature, it possesses its
own natural justness, and there is no distinction by rank or level of goodness.
Chinese-style cultivation strives to allow this inherent nature to grow, so that
even in the social environment of human relations, nature still plays a role.
This is accomplished either by pushing human relations back to the natural

090 091
 environment, or shaping a natural realm within human society, such as in banzai
Slice 15: Wateriness
trees and garden landscaping.
Acting according to one's nature: mankind should follow its nature. One
should not be too intent, but rather follow nature. Chinese culture in particular
pursues this state of indifference, and this is something that basically does
not exist in Western culture, because Western culture pursues greatness and
superior man-made constructs.
The artistic path of nature: the ability to turn this manner of following nature
The possibility of infra-objectification has been amply presented by the
into an artistic style, a certain Dao of nature, is a more artistic behavior. This is
wateriness of traditional ink painting. That is to say that the infra-objectification
turning one's nature into an art of not doing art. Chinese culture has cultivated
of ink panting can perhaps inspire us to consider a new kind of modernity. The
such changes in character.
importance of ink painting is in its breaking down of the boundaries of materiality
The Dao of nature: even when nature is turned into naturalized art,
– water is a natural object, but the West has virtually never treated a natural
one should maintain the natural state of this art. This“Dao”of art must be
object as a painting material or as a readymade in an artwork in this way. Of
changeable, naturally changing, so that nature manifests itself. That is because
course, Western modern art has also broken down such boundaries, widely
nature always has rich changes, changes that cannot be predicted or measured.
accepting natural objects, as seen in Japan's Mono-ha group, but there is a
Only change is impermanent, not the true Dao. The ability to bring nature into
key difference here: infra-objectification. That is, while allowing natural objects
human activity, or the use of technology to let nature play a greater role is a state
to participate, also ensuring that the natural object participates in every facet of
of aloofness in regard to nature.
artistic creation.
Traditional Chinese art is able to connect these six aspects of naturalness
In addition, the profundity of infra-objectification is in its ability to effect
internally, while in the West, they are basically fractured. Chinese culture, on
the internal integration of“materiality”and“nothingness,”so that they can
the other hand, always lets nature maintain a state of naturalness. The shift
influence each other, the integration of“naturalness”and“emptiness.”After
from nature to manmade things is“infra-objectification.”
“infra-Objectification”
being influenced by Buddhism, Wang Wei used the theory that“that which is
means letting nature maintain naturalization, letting nature take its course.
visible is empty; that which is empty is visible”to integrate“naturalness”and
“emptiness”in only the natural world, not the world of human nature. Even when
The profundity of Chinese culture and its art lies in the fact that the
creating contemporary art, one must reconsider this naturalness, reconsider the
myriad things of the world are constantly changing, and even destiny, that
uniqueness of the human body, otherwise modernity will be canceled out, or it
controlling force, is random, and so the only choice is to change with them,
will become manifold, passive naturalness: the fatigue of the individual body, the
and while changing to adapt in this manner, this change must maintain a state
destruction of nature, the natural environmentalization of materiality.
of continuous change. The change cannot have rhyme or reason. Even when
temporary principles emerge, such principles must continuously maintain
For ink painting, and wateriness in particular, when the literati painting
change. Moreover, there cannot be a principle of changing principles. It must
tradition, begun by Wang Wei, consciously selected water-based ink as its
all go back to constant change. Such requirements, when applied to art, lead to
material, wateriness became the core of landscape（Shanshui or mountain and
excellence: it must always respond to this constant change; on the other hand,
water）painting and ink flower-and-bird painting:
all such requirements depend on the artist to adapt to this change at will, and
“Water”is first and foremost a natural thing. Why would the literati painters
while maintaining this constant adaption, there must also be meticulous control.
choose this natural thing? That is because of water's flowing changes, and
In addition, one's own control must be“without intent,”random and light-
particularly its lack of color and odor. For Wang Wei, this is drawn from the
handed. Excess control can lead to habits and styles. It would appear that the
Buddhist idea that“all that is visible is empty; all that is empty is visible,”but
objectification methods of Chinese art are in accord with the virginal passage or
Chinese culture does not give up on worldliness. There is only the littlest bit
“infra-mince”changes that Duchamp so yearned for.
of difference between the Buddha's Nirvana and the vexatious world of mortal
The problem is that Duchamp's earlier readymades, even the great Large
men. This difference needs an element to filter through, to present it, and it is
Glass, were too mechanical; the machinery of desire was still too rigid and not
water. Water's lack of color and odor basically amounts to“nakedness”(but it
vibrant enough. This is the goal-orientation of Western projection and planning.
lacks Duchamp's passion; perhaps contemporary ink artworks should accept
The permeation and penetration of Chinese culture is more akin to a“passage,”
this western nakedness of passion?), in that it can present“nothingness”(lack
and this is why ink landscape painting can take on modern significance.
of color or odor) while also presenting materiality (water's natural flow and its

092 093
 vaporous and solid states). Moreover, a natural thing is best, rather than a man-
made thing, because man-made things possess too much aspiration. Water can
present nothingness while also retaining the characteristics of natural things.
When water fuses into a man-made thing, when it encounters ink, which
is derived from nature but has become a man-made material, ink particularly
possesses the traits of the readymade. It is a readymade tool for writing, but the
selection of this readymade is unique, because ink is not only the color black, it is
the color of darkness, in that when ink is used in writing, it presents not only the
contrast between black and white, but also the contrast between ink and death.
When ink is writing, it brings a dark and mysterious dynamic vitality, making
dead things appear to come back to life, like the carvings of steles since the Han
dynasty and the writing methods of calligraphy when facing death.
The way that water becomes a core element in the artwork is through the
mutual breaking down between colorless, odorless water and the dark ink. Water
breaks ink, ink breaks water, bringing about the fundamental difference between
Chinese ink painting and the Western work of art, and forming the unique
artistic form and contact method of ink painting. Only water can bring about the
diffusion and permeation effect of the“diffusion of ink and water.”This formal
visual language of water diffusion is unique to water-based ink, but this artistic
language is brought by the naturalness of water. For this reason, the main
subject of depiction is the natural landscape（mountain and water and so on）,
and the method of depiction is the mutual permeation between ink and water,
water-based ink and paper, which brings about the formal language of roiling
clouds. There is a relationship of correspondence between these three, which
creates the unique language of ink or wateriness. Here, naturalness still plays a
role.
Water is not only a work of art, it is also a gift. Water implies a virtue of
giving, an elemental nature of water's autonomous operation, and the modest
virtues of meekness and aloofness. Moreover, it can shift to the vaporous state
of water, activating the elemental nature of water. This allows nature to continue
to play a role, which is the same as the virtue of water. On the painted plane, it
is the prosaic aesthetic imagery of water. This prosaicness and indifference is
the given self-abandonment, the self-affirmation that does not seek out giving, a
giving that eradicates the self, and for this reason, it reveals the nature of water
more thoroughly. This reminds me of Heidegger's distinction between tools and
artworks in The Origin of the Work of Art, because the artwork possesses the
struggles between the world and the earth, particularly the hidden earth aspect.
It is already connected to natural things, and then it moves towards the thinking
on the giving of the open wine jug in The Thing, though it still awaits movement
towards nullified materiality.
Water is not just a gift; it is also the revelation of the thing itself. This is
the blankness or remnant whiteness brought by the encounter between the
water and the scroll paper, that contact between water, paper and ink. This
happens through the artist's brush, but the highest level of brush technique is
094
“painting that is not to paint,”the giving of more blankness. The revelation of this
blankness is also brought about by water, because water's permeation of the
scroll paper is merely the application of dilute ink, even to the point of nothing,
which opens up an experience of nullification, the giving of more blankness,
a new“nothingness”that is constantly alluded to by the brush and ink. Here,
“materiality” and “nullness” have found an inner sense of commonality.
Naturalness is not merely nature itself, but the becoming of nature and the act
of allowing nature to continue to become within its own becoming and mankind's
“allowance”, it is the abandonment of mankind will.
That is to say, Duchamp's breaking down of the boundaries of materiality
was still too rigid, too mechanical. It is the technicalization of life, and what
we need now is the“vivification of technology.”In note 28, Duchamp wrote of
the“infra-mince caresses”; what is softer than a caress? ! This is also why
Chinese art uses so much water. In Chinese landscape (mountain and water)
painting, the subject is the natural landscape, the materials are natural materials,
and the subject and imagery of the painted plane pursue a state of floating. It
is all about changes in naturalness, and the three are all permeated by a vivid,
activated elemental nature. The sense of flow in this activation, the sense of
vividness and its method of changes are all the internal conditions for infra-
mince.
Nature must be sufficiently allowed to play a role in three aspects: in how
painting as a special class of art accepts nature; in how the readymade, which
transcends painting, can be more naturally gentle; in how non-art art and nature
are inextricably linked, rather than an explosive anti-art act.
Does scroll paper have some form of future openness to the revelation and
exposure of ink? In this sense, the objectification of traditional ink painting still
awaits a rendezvous with Duchamp's“virginity”in its state of eternal transition,
opening up new opportune encounters.
095
 Slice 16: Flatness of the West is also connected to this, and there it led to the formation of such
things as horizon lines. The physiological relationship between the plane and the
retinas is also connected to this.
Closeness: correlating with the above, when removed from the stable plane
of the ground, the empty hands need a sense of touch, need to pull the distant
ground closer. Facing the abyss, facing that open, ungraspable empty space (the
infinite empty space along the ground), upright man needs to pull the distance
When Duchamp began pondering infra-mince in 1937, he was also facing
closer, while also pushing that which is close further away. One aspect is the
the internal problems of the readymade. If he continued to make readymades,
pulling of things closer, and the vertical plane is the closest, yet it also creates
the number would obviously be limited, and the readymades were not active
the illusion of depth, which amounts to distancing, an imitation of that empty
enough; they were too rigid. He was unwilling, however, to return to painting.
space, albeit one that has been imbued with form. This sense of closeness is
The pop art of the 1960s amounted to a belated Duchamp renaissance, but this
the basic stability requirement of the plane. Because of this closeness, man
belated development quickly conspired with capitalism. Though it entered into the
can touch the distant world, a form of remote sensing; on the other hand, this
public realm, it was as postmodern idolization of the individual, rather than fully
closeness and distancing create a problem. The opening and imitation of depth
opening up to the artistic cultivation and education of individual life.
created by perspective opens up a tension between the tangible and intangible.
What about returning to painting? This still awaited a new connection with
Isolation: the plane, however, composes an isolating intermediary; man can
the readymade, because only by maintaining the basic characteristics of the
only perceive the world through this isolating medium. Our everyday perception
readymade and reopening the plane could painting be possible. So how can the
of the world differs from that which has been technically rendered on the plane,
plane be opened? Clement Greenberg, an American contemporary of Duchamp,
and the different material mediums, from walls to oracle bones to canvases,
began facing the question of flatness and the affixation of readymades in painting
bring isolation as well as a medium for recognizing the world. It is only through
in the 1940s, because collage had begun to emerge in synthetic cubism in 1912,
these mediums, and the way in which the mold and close off our perceptions
and was“collage”not a readymade? Greenberg had to transcend this phase.
that we have a relationship with the world. Thus, this medium, whether it is
Painting is about how to face the question of two-dimensional space. How
isolating or permeating, becomes the key. The West's is isolating, while China's
do you view two-dimensional space? Why do humans need a sense of flatness?
is permeating.
Is this a need akin to touch? Does the plane bring isolation, or serve as an
Surface: entering into postmodernity, there was no longer a distinction
intermediary? What connection does it have to the postmodern lack of depth or
between phenomenon and essence. Everything is merely on the surface, with
No Dimension?
no depth. It is all phenomena, and it only comes to the surface. Presenting the
The real world has depth, mass and bulk, so why would mankind move
surface is sufficient, the fold of the surface itself. The presentation method of this
towards a flat technology? From the images depicted on early cave walls to
fold has most thoroughly opened up the richness of the surface.
the self-awareness of cave murals, and on to the flat ideas of painting, why
Historically, there have been three phases in the conveyance of the
did mankind form a sense of flatness, all the way up to today's flat screens and
surface itself. In painting's conveyance of the surface, why did it shift towards
tablet computers? Why is the plane so fundamental to painting? The question is
perspective, opening up the illusion of depth? Why did twentieth century painting
how to ponder planeness in the fields of painting and art-general:
shift towards flatness, as in Clement Greenberg's theory? Now, how can a new
Why flat? Flatness comes from the sense of stability as man's ancestors
plane be possible? Can Chinese art provide a new sense of flatness?
grasped the ground with their paws. Once man stood upright, his empty hands
It begins with the Renaissance and the emergence of the depth illusion
needed to reproduce the past sense of stability felt when grasping a flat plane,
of focused perspective, influenced by architecture. It opened up the tactility of
and so he recreated a vertical plane that could replace the ground. This is the
depth, and a vessel for acceptance. The painted plane itself was like a religious
ontological life principle of the plane: it is connected to the feeling of stability,
building, opening up space for acceptance. The opening of this space required
the maintenance of the cultivation of attention necessary for a will-subject that
the opening of depth on the flat canvas, and was influenced by optics or light
is standing upright, connected to the crafting of the will-subject, especially in
cones. The focus of light rays is the focus of concentration, the realization of the
its correspondence to the head, with the upright flat plane corresponding to the
subject-will, much like Heinrich Wölfflin's comparison between plane to recession
head-on gaze of the upright subject's head. This erected plane, however, also
in Principles of Art History. 
leads to visual fatigue. On the one hand, it is upright, something gazed at head-
on, concentrating the attention, cultivating the powers of concentration of will; on
the other hand, the excess concentration of attention exhausts it. The objectivity  H. Wölfflin. Principles of Art History: The Problem of the Development of Style in Later Art, Translated by M D Hottinger,
Dover Publications, 1932.

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 Slice 17: increasingly difficult to unlock the flatness of its surface by this means. Picasso

The Plane in Abstract Expressionism solved – or rather destroyed – the problem by raising the collages affixed
material above the picture surface, thus going over into bas-relief. And soon
after that, he subtracted the picture surface entirely, to let what had originally
been affixed stand free as a‘construction.' A new tradition of sculpture was
founded.”

Greenberg pointed out several different methods of depth. First is a kind of

The key is Greenberg's rethinking. In essays and books such as On Collage,
reverse depth seen in collage, which is to say that it is an addition that sticks out
American-Type Painting and Modernist Painting, he discussed the importance of
of the canvas, rather than an illusion of recession behind the plane. The second
the plane.
form of visual conversion is tightness, pushing the visual illusion of depth from
Modern art demands a return to the materiality of painting, its flatness.
early modern painting into relief. The third method is to transform the illusion of
Unlike other materials and art forms, flatness is a material quality unique to
depth into horizontal expansion. There is reasoning behind the large canvases
painting. The trajectory of the sense of the plane in modern art is as follows: from
of American abstract expressionism: the abstract expressionist painters needed
early cubism and the use of collage in synthetic cubism and the bas-relief effect,
to work with such large areas because they were constantly declaring their
to the automatic writing of surrealism, and then back to planar flatness, escaping
abandonment of the illusion of depth. In these large spaces, they could develop
from literary narrative and the imitation of other art forms. For Greenberg, the key
painting events, rather than pile them together. The plane of the canvas led
was the reduction of illusions, as with abstract expressionism, with its expression
them to seek out a space within these dimensions through which to present such
of flatness, the plane, and its expansion beyond the limits of the frame; it utilized
deconstructions of painting.
a sense of flatness and flat painting techniques, while also carrying on with early
As Greenberg sees it, realist and naturalist art covered up the artistic
geometricized abstract art. For this reason, Greenberg distinguishes a multifold
medium. For the old masters, the limitations of the medium – the flat surface,
plane: the picture surface (both the painted surface and the canvas), comprising
the shape of the base, the properties of the paint – were negative elements.
the canvas plane, little facet planes, the painted plane and the silhouette. For
Greenberg emphatically emphasized the inescapable flatness of the painted
Greenberg, the key is how the likeness is rendered, for instance, the relationship
surface, which was specific to modernist painting and not shared with any other
between the cross-sections or planes of an apple and the painting surface –
art. Three-dimensionality is the province of sculpture, and thus painting must
there were no longer representations of every section of the image with the
distinguish itself from sculpture, as it has been too strongly influenced by this
illusion of depth.
art. Modernism continued to follow this anti-sculpture direction, increasingly of
Greenberg believed that flatness had invaded cubist painting, inundating it,
its own initiative, until reaching a fully flat form. Even abstract paintings such as
in that it dissected visible objects into numerous little facet planes which were
those of Mondrian, still had hints of the illusion of three-dimensionality.
placed in parallel on the painted surface, each facet integrated with its neighbors.
The depicted plane had to maintain adequate separation from the literal plane of
The horizontal expansion of large canvases in American painting was
the canvas, maintaining only the slightest illusion of three-dimensional space on
related to the“psychological depth”of Jackson Pollock's paintings. American
the two-dimensional plane.  In 1910, Cubism brought about a lifelike picture of
painting strives to establish a connection between visual traits and emotional
deep space.
states, and the sense of flatness has been imagined as a concentration and
What did Cubist collage bring about? Did it touch reality, or imitate printing?
contraction of emotions. In The Crisis of the Easel Picture, Greenberg points
In the end, it shifted towards the imitation of movable type printing, though it
out the characteristics of American flatness: it is all-over, decentralized and
still maintained the illusory form of bas-relief. Greenberg reflected that Picasso
polyphonic, relying on a surface knit together of identical or closely similar
and others preserved three-dimensionality in its minimal form, to the point
elements on a flat surface. These elements continuously repeat themselves,
of generalization, where it became a disembodied attribute and expropriated
from one edge of the painting to the other, without any apparent change. Such
property,  leading to a dilemma between illusion and representation. In the end,
a picture comes close to the decorative patterns of wallpaper.  Such all-over
the Cubists chose representation shifting towards flat, interlocking silhouettes.
painters appear to succeed because of their uniformity and sheer monotony,
Greenberg writes:“The pieces of paper or cloth that Picasso and Braque glued
creating a powerful surface: Pollock's large paintings, in particular, escaped from
to the surface of the collage acted to identify that surface literally and to thrust,
the politics of the canvas's closed rectangle. Newman and Rothko, with their
by contrast, everything else on it back into illusionist depth. But as the language
white field and warm hues, opened up a new kind of flatness, one that breathes
of collage became one of larger and more tightly joined shapes, in grew

098 099
 and pulsates, while Still's works would not break this taut surface. 
Slice 18: The Flatness of Infra-Mince
The problem of Cubism was that it still possessed the imitation of bas-
relief, with the visual illusion emerging within the relationships between facet
planes. Collage attempted to reduce the depth of relief, bringing a realistic tactile
sense, but that brought it towards the representation of reality. Some were
more abstract, such as Mondrian, but there was still the visual allusion to depth.
Others went towards the silhouette or the collage of paper strips, but that was
overly decorative. Greenberg asserted that Cubism could not go forward, that it
What is infra-mince in terms of the relationship between the materiality
was not possible to shift towards the figurative or representation. The only way
of painting and the readymade? Can we open up new possibilities in painting
was to return to the plane, to shift towards abstract.
through consideration of the readymade? Infra-mince is connected to the
painted plane; how can we discover a new materiality? Can the subtlety of infra-
We don't really know how Duchamp saw the abstract expressionist painting
mince open up a new infra-mince depth of the plane?
that emerged in America in the late 1940s. It was at this time that he pondered
There are three layers:
“infra-mince.”Greenberg could not have known about these notes at that time,
1. Basic material: mere cloth, for instance. This is also a readymade.
and he certainly wouldn't have agreed with Duchamp's readymades, because to
2. The application of paint on the cloth. It may be a mere abstract base color,
do so would be to break down the boundaries of painting and even art. This is
like a virtually invisible hint at base color.
also why Greenberg rejected Warhol.
3. When color is then added upon the cloth base, it amounts to the addition
For us, the question is, when facing the shift from abstract expressionism
of a depiction of the subject, and creates a division between the foreground and
to minimalism, to black painting, leading to a more thorough breaking through of
base.
the material boundaries of painting, the disappearance of flatness and the end
of painting, to the pop art of Andy Warhol, how is new flatness possible? Can
To go one step further, there are three layers to“infra-mince,”three layers
Duchamp's infra-mince bring new flatness?
stacked on top of each other. This stacking is actually a triple fold, which is
condensing. It has thin, crevassed levels, but they can also be infinitely thick and
substantial:
 Clement Greenberg, Art and Culture: Critical Essays, Shen Yubing, trans., Guangxi Normal University Press, 2009, p. 86
 Clement Greenberg, Art and Culture: Critical Essays, Shen Yubing, trans., Guangxi Normal University Press, 2009, p. 92 1. The exterior surface (like the visible layer of an image). It must be
 Clement Greenberg, Art and Culture: Critical Essays, Shen Yubing, trans., Guangxi Normal University Press, 2009, p. 179 condensed and shrunk, a revelation that is not revealing. – The surface turned
 Clement Greenberg, Art and Culture: Critical Essays, Shen Yubing, trans., Guangxi Normal University Press, 2009, p. 194
 Clement Greenberg, Art and Culture: Critical Essays, Shen Yubing, trans., Guangxi Normal University Press, 2009, p. 260 into traces.
2. A middle layer (a layer of stacked time and space): a transformation of the
outer surface layer towards an inner surface layer. There is an interval here, and
this virtually non-existent interval possesses infinite thickness. – The thickness
of the non-existent.
3. An inner surface layer (an internal depth space) can permeate internally,
permeating into an even more internal internality, receding indefinitely. This is
the allusion to infinity of“allowing to remain”(Rest-Lassenheit). – The allusion
to“allowing to remain.”

In Detail:
1. Turning the outer surface layer into traces or abstraction: the outer
surface layer is compressed and retreated, this compression either being merely
abstract, or a writing of traces.
1.1 The outer surface layer should not be figurative, and if it is, it should
consist of mere indistinct traces. The less distinct it is, the more traced it is.
1.2 Abstraction: there must certainly be the simplifying rendering of
American abstract expressionism and minimalism.

100 101
 1.3 Or it can be the total voiding of the surface layer, without providing any
concrete forms, images or patterns, any schema being dynamic.
1.4 How to maintain the outer surface as the“thinnest,”the shallowest,
becomes the marker of the artist's style.
2. The inner layer recedes infinitely, almost bottomless, but it also
possesses the depth of naturalness. The infra-thin material is sought out in the
relationship between material, readymade and naturalness.
2.1 One must maintain virginity, infinitely innocent and untouchable, as well
as the unlimited potential to preserve and accept, as Derrida says.
2.2 Naturalness. What Chinese culture adds is naturalness, as in the
addition of water to make the ink, paper and ink-stone more infra-mince. Only
when the ink has been diluted in water can it splash and break. Only with the
restoration towards natural materials can it become more infra-mince. Duchamp
was somewhat aware of this (porosity and absorptivity), but not enough. The
water and ink materials of Chinese culture can be supplemented, because the
natural material of water brings more infra-mince voiding. The key is natural
materials to bring a sense of breath.
2.3 Voiding: this voiding is thinking, adding subtlety. But it is“thin.”
2.4 In this era, how can new natural materials be added? How can painters
discover new natural materials? A sense of breath? Are there other materials
beyond wetness?
3.1 It is as if there is no middle layer, because between the compression or
remnantizing of the outer surface and the infinite recession and voiding of the
inner layer, a middle layer seems unnecessary.
3.2 The middle layer emerges as a virtually nonexistent crevice space. The
interval has been opened, and it must possess thickness. Infra-mince happens
to possess the thickness of the most subtle transition, like the use of the sense
of light from Western painting to open up the sense of Qi in Chinese ink painting,
or the infusion of the sense of qi into the sense of light, as in the paintings of Zao
Wou-ki.
3.3 It also possesses tension, the internal tension of traditional prosaicness,
drawn from the protruding forms of the brush marks, and the delicate transitions
between the light layers of ink. It is this almost nonexistent thickness that
determines the richness and internal tension of the artwork. If the traditional
interval was not thick enough, too feeble, then the Western sense of vision and
its thickening of the“interval”, such as the acceptance of the sense of light, can
add to the thickness. Thus, the way in which this thickening is attained is where
different artists may be able to make a contribution.
A new understanding of the plane:
The bare or literal surface (the cloth plane): (a) the canvas is a cloth, and is
already a readymade; (b) the folding of the cloth; (c) the preservation of the cloth
102
– though things are added, the feel of the cloth is preserved.
The picture surface (the canvas plane): (a) the cloth that has been rendered
with colors or other methods to become the base; (b) the cloth itself is invisible,
becoming the background; (c) the canvas has been covered, but merely as the
canvas' sense of flatness, as in American abstract painting
Depicted planes: (a) the canvas cannot be seen, only thick paint; (b) spaces
of depth are molded, forgetting about the canvas; (c) the boundaries of the
canvas have been surpassed.
If we take ink painting as an example, particularly focusing on the
relationship between the water and the scroll paper, which maintains the
materiality of the paper, the inspiration of this infra-mince or“after-image”
(infra-image: infimage) is in that it only opens up the fourth dimension, permitting
the fourth dimension to more thoroughly come into contact with the materiality
of the readymade, and through human imagination and techniques, opens up
richness between them, while also avoiding the pitfall of three-dimensional
patterns. This is the rich temporal change brought by naturalness, to the point
that it is changing at every moment (the presentation of the fourth dimension).
“Vaporization”(the changing forms of clouds) is like this:
The remnant characteristics (its blankness, absorptivity, etc.) of the canvas
or scroll paper are preserved. Scroll paper is vacant and superfluous: (a) the
virginity of the canvas – for instance, scroll paper is still scroll paper, even
though it is already a readymade; (b) the emptiness and prosaicness of the scroll
paper's nature is preserved as much as possible – even when color is added,
such as yellow, it is to enhance the hues of age; (c) when adding supplementary
things, such as the addition of water, it is fresh water, maintaining a state of
indifference, because the water is absorbed by the paper, and water is a natural
material; if other materials are added, they should also be natural materials such
as tea.
When the canvas or scroll paper is treated with paints and other materials
in a remnantizing fashion, these things are extra: (a) though water, ink and other
things are added, the blank base is maintained rather than covered – paint, ink
and water are all extra. (b) The blankness comprising the base material is not
independent but becomes the canvas – it is not that nothing is done, something
is done, but when coloring, the existence of the scroll paper is placed under
consideration. It must remain superfluous. (c) There is an internal thickness
to the canvas or scroll paper – it is not simply left untreated, and can possess
rigidity and thickness, for instance, undulating forms under the brush (in note
17, Duchamp writes:“Hollow paper – infra-mince space and yet without there
being two sheets”), or the leftover white space of Ni Zan's chapping or hooked-
chap brushstrokes, which is almost not chapping, or the thickness created by the
accumulation of ink. It is the superfluity itself that adds to the thickness, and so it
is the aftertaste or remnant aroma.
The remnantization or eradication of the picture on the scroll paper – the
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 image is merely leftover: (a) the traits of remnantization remain, even though an
image is conveyed. The image, however, is not independent but connected to
the scroll paper, by restoring it to the traits of the scroll paper itself. Any image's
conveyance must be restored to the traits of the scroll paper, as well as the
qualities of the water, the brush and the ink. Thus, the subjectivity is no longer
important. (b) The space and time of the subject's conveyance does not break
the scroll paper. Instead, the subject is abstracted and subtracted to the bare
minimum. Abstraction is a key method. (c) The conveyance of the image brings
thickness to the canvas or the scroll paper, for example with snowscapes or
roiling clouds. It would appear that Ni Zan was very clear about this. The graphic
nature of the landscape painting image should be weakened or diminished or
abstracted or scarred. But it should approach the material itself, or approach
wateriness, or the qualities of the ink, but the thickness should be added through
the qualities of writing or other such qualities. Thickness is added through writing,
smearing or depicting.
The artistic image formed in such a way is the“afterimage”(or mimage –
infimage in French and Rest-bild in German). The philosophical principles of this
remnantizing rendering are: (a) the ample utilization of the whiteness of the scroll
paper and the darkness of the water – the horizon of the wateriness, the sense
of flatness of the scroll paper. (b) The naturalness of the materials. The materials
of paper, ink and water are permeable, and can engage in an exchange of natural
energy. (c) The roiling of clouds and the atmosphere of life, opening up the rich
changes and subtleties“in-between”– infra-mince is most concerned with this
subtlety. (d) The close body and the distant land, an opening of the tactility of the
“in-between”through the written aspect. This medium is permeable and tactile.
(e) No distinction is made between the surface and the depth, because Chinese
culture does not pursue the distinction between appearance and essence.
Strangely, and connected to infra-mince and ink, Duchamp pondered
“infra-thickness”in note 26a, even mentioning the method of relining:“relining
(operation useful in the exploitation of the infra-things).” He also, more
sensitively, pointed out:“porosity – imbibition (blotting paper) Permeability to
water and air (leather). Is this not the relationship of porosity and permeation
between ink and scroll paper?
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Slice 19:
The Paradox of the Prosaic (Blandness)
Duchamp's readymade art brought the following aesthetic paradox to the
production of the work of art: you can do it any way you want, but you cannot do
it any way you want. 
This is akin to the prosaic aesthetics of traditional literati, with its emphasis
on lightness, and pursuit of the prosaic and innocent. Beginning with Wang Wei,
and making its way through Dong Yuan, Ni Zan, Dong Qichang and Jian Jiang,
the highest realm of traditional landscape painting was always prosaicness
(blandness).  In terms of specific aesthetic practice, this has presented in the
form of internal tension, in that, on the one hand, you can do it any way you want,
with the work growing more transcendent as it is more quotidian, freewheeling
and natural; on the other hand, there are internal requirements, i.e. you can't do
it any way you want: the requirement is the dilution of the self, the removal of the
self, painting without painting, action without action, the highest realm of skill.
This is the double bind or aporia of the possible and impossible in Derrida, but
the prosaic aesthetic is gentler, giving this tension more plasticity. Specifically
speaking, the following are connected to prosaicness:
1. On the one hand, you can do it any way you want:
1.1 The objectivity of any object (the“whatever”): any object whatsoever,
just any object, is the thing itself. There are no rules, and once it has lost its
function, it can never again possess any specific function. It is a thing, just
a thing. The restoration of the thing itself is the materiality of the thing. It is a
thing that can become and grow. Multiple restorations: the loss of function, the
serendipity of the“whatever,”the ability to grow.
1.2 The material of the readymade: everything is a readymade thing. Three
important distinctions are suspended: there is no distinction between creation
and created, no distinction between artwork and non-artwork, no distinction
between natural and man-made. In fact, all distinctions have been suspended.
1.3 A freewheeling stance. Things are made according to the simplest
methods: making is merely a stance, a relaxed, lighthearted stance. All
distinctions of time and space have been broken down. Making is merely the
simplest form of production, an appropriation, a juxtaposition, a subversion. But
this making is one time only; it can never be repeated. The way it is done is an
event, a unique event. Three restorations: make it however you want, make it
simply, make it only once. This is a serendipitous encounter.
Since it is any object, a readymade, it is random, so it no longer belongs
to the traditional realm of the lofty and elegant; of course, that does not mean a
reversal towards the pursuit of ugliness and violence either. It is none of those,
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 nor is it magnificent or splendid. It is diffuse, leisurely, roaming in a leisurely
manner. Such a stance is particularly important when facing the sublime, the
impulse for sacrifice, as well as professionalism in art.
This is merely an excess of“superfluity”: superfluity has been restored to
the extreme, and it is still simplified.
3.2 Non-artwork attributes: it is not an artwork, and cannot become an
artwork. It has no effect (désœuvrement, unworking).
3.3 Non-subjective event-attributes: it always awaits future participation,
only taking place again in each event and action. It always awaits another
becoming.

2. Meanwhile, on the other hand, you can't do it any way you want. This
“can't”is not compelled, not tragic, not a sacred proscription; it is meaning
without meaning, conception without conception. Here lies the dilemma, and here
is how it differs from the West:
2.1 The elliptical stance: it is not just restraint, it is elliptical – relaxed
contraction and shrinkage. One must forget, contract and erase. Making it simple
is one thing, but one must also erase.
2.2 Doing without doing: this isn't not doing, it is doing without doing. It
is action through non-action. It is the preservation of meaninglessness as
meaninglessness. This is also why Daoism and Zen have had such a powerful
influence. Here, Daoism has converged with contemporary Western art.
Meaninglessness preserved as meaninglessness, passive experience, powerless
experience. One should express this powerlessness, this meaninglessness,
this passivity, and strive to make this meaninglessness. Meaninglessness is
another erasure. This is several acts of erasure. The erasure should be subtle,
extraordinarily subtle. This is the prosaic taking place, taking place internally.
This is the stacking of“remnant”and“non-remnant,”forming folds:
it appears simple at first, but it actually comprises three layers of folds. It
possesses the more difficult“non-work”( dés œuvrement ), and it does not
allow that difficulty to be revealed.
Or, perhaps, it is decoration and design, mainly in folding the second layer
into the first layer, doing one's best to conceal or simplify the second layer of
impossibility, or turning it into decorative flourishes (cartouches).
 Duve has touched on this paradox. See Thierry de Duve, Au nom de l'art: Pour une archeologie de la modernite, Qin
Haiying, trans., Hunan Fine Arts Publishing House, 2001. Duve's thinking may have been influenced by Lyotard's Duchamp's
Trans/formers. Lyotard sets out from the logic of the“eight distinctions”of Buddhism to explore the tension between the heartless
“cunt”and the suffocating sententiousness of Duchamp. Setting out from the subversion and opposition between machine and
flesh, hardness and softness, erectness and flatness, left and right, up and down, he explores Duchamp's attitude of indifference
(his discarding of all aesthetic judgment). Though this is the case, we still believe that Duchamp was too rigid, not tranquil or soft
enough. This softness and plasticity still awaits an Oriental approach.
 See my detailed analysis of this topic: Xia Kejun, Philosophy of the Prosaic (Pingdan de Zhexue), China
 Derrida revealed quite aptly the logic of this double bind of the possible and impossible, and Duchamp also touched on a
related idea,“the figuration of a possible,”in his notes: (Marcel Duchamp, Duchamp du signe, Flammarion, 1994, p. 104)“not as
the opposite of impossible nor as relative to the probable nor as subordinated to the likely. The possible is only a physical corrosive
(like vitriol) that burns away all aesthetics and all callistics.”

Richness is richness in meaninglessness.

2.3 The occurrence of emptiness: allow the emptiness to emerge, only the
emptiness to appear. The occurrence of emptiness, the growth of emptiness, the
emptiness of emptiness. It does not become a work of art. The emptiness grows,
so it is rich. It is the skill of emptying.
This, however, is not nihilism. Though one is always engaging in impossible
work at the precipice of nothing and the abyss, there are more sublime
requirements, and these“requirements”are diffuse and scattered.
This is the remnant of“no remnants.”It exists merely as an“afterglow
(infra-image).”

3. These two are always connected in some way, forming folds.  The
prosaic is not a realm; it transcends everything, and always beckons for
something new to become, to produce an other or a new thing. This is the new
prosaic, a lightness connected to infra-mince, an indifference that produces new
trends (integrating both the West's pursuit of big events and Chinese culture's
idea of unobtrusive influence or silence transform in F. Jullien or the incubation
of Being in Heidegger).
3.1 The incompleteness of the artwork: the artwork always possesses the
openness of incompleteness. It appears that there is still a work of art, but it also
appears to never be complete. Or, perhaps, it appears that it can still open up to
the audience and the future, beckoning the audience to participate.

106 107
 Slice 20: The Infra-Mince of Ink Painting
Thus, setting out from Chinese culture's own lightness, the“prosaicness”
of Chinese literati aesthetics has always been connected to the“Infra-image”
and“emptying.”If we return to the literati aesthetic tradition in Chinese culture,
particularly Dong Qichang's prosaic innocence and diffusion, the concept of
cultivation through roiling clouds and smoke, as well as Chuang Tzu's thoughts
on aloofness and emptying, are all connected. Traditional Chinese landscape
painting and literati flower-and-bird painting have already greatly developed
minute transitions on scroll paper, something that has been noticed by sinologist
Francois Jullien (see his In Praise of Blandness  ). The traditional prosaic
aesthetic aims to open up a field of“almost nothing（presque rien）.”
The material of traditional painting is already a threefold readymade: the
readymade material (brush, paper and ink-stone), the readymade aspects of
the body (the transformation of the body's atmosphere and breath), the object's
readymade qualities (patternization), but how is it not a readymade as weln?
The addition of water as a natural element, the role of atmosphere as a living
element, the interaction between the painted subject, the material and the body,
all of these bring natural change.
How does traditional ink painting open up the infra-mince, rather than
moving towards the rich expression of the subject? It is the color system that
flourished during the high Tang, and it is subtraction (Lao Tzu's“loss upon
loss”),“all that is visible is empty”and“all that is empty is visible,”allowing
emptiness to play a role, like the emptiness of the fourth dimension that Duchamp
opened, allowing this emptiness (as no-dimension) to pass through and touch
things on the two-dimensional plane (or even one-dimensional lines), bringing
extraordinarily subtle and miraculous tactility, yet allowing the fourth dimension
to play a substantial role – allowing“blankness”to be omnipresent.
The blankness of the scroll paper. Scroll paper can have color, but from the
selection of silk to the selection of paper, the key is to maintain its blankness.
Scroll paper is a readymade, and its blankness must be preserved as blankness,
allowed to remain. That is because of the miraculous relationship of living
texture between“emptiness”(kong wu xing) and“blankness”(kong bai xing)
established by the Chinese language.
Setting out from ink's property as an“infra-dark color”(not black), and
maintaining its material traits as a readymade, doing very little to it. Open up
a thin interval field between the readymade and the image or painting that will
possibly emerge: this is the role of water, the dilution of water, diluting existing
ink to make it more diffuse, the so called spreading of dilute ink. Water and
the paper's absorptivity are connected more internally, rather than moving
108
Juran (907-960)，Snow,Hanging scroll, ink on silk, 103.5 x 52.5
cm, National Palace Museum, Taipei
(1279-1368),Hanging scroll, ink on paper, 74.7 x 35.5 cm, National
Dong Qichang(1555–1636), Mountain and Water-7,Ink on silk, 33x17.8cm,
Anhui Province Museum.
towards a more externalized expression. This is the once-again remnantization
of the readymade material. Water's permeation of the scroll paper, water's
colorlessness, water's blanching, all of these once again retain the scroll paper's
sense of blankness. Moreover, water is a natural material, which is something
that Duchamp's readymades did not touch upon. Water's permeation, its erasure,
its rewriting, its diffuse rewriting, all take place between semblance and non-
semblance, the slightest breath, the“breath of the orchid.”It is that slightest
sense of breath, that sense of life and relaxation which absorbs the myriad
things.
The once-again weakening of schema, with multiple acts of dilution: when a
snowscape is painted, no chalk or powder is sprinkled to create snow. Instead,
only the edges and outlines of the mountains are painted, the snow covering the
land enacted through the leaving of white space. The simple ink outlines form
a contrast with the large white spaces of the mountain's mass, creating a more
empty white visual perception in the picture. The many snowscapes in traditional
landscape painting best respond to this visual pursuit of“remnant whiteness.”
If the objectivity is abstract, it maintains the allusion to empty whiteness, the
objectivity of the painted plane, the relationship between the subject and the
base. If the depicted subject is not figurative, amounting to mere abstract traces,
then it is the writing of light traces, a non-subject. In this way, what remains
is the readymade aspect of the water and scroll paper, as well as the material
blankness of the paper. This third layer of blankness, however, possesses the
Ni Zan (1301-1374),The Rongxi Studio, Yuan Dynasty
richness of water's permeation, while also retaining the readymade blankness of
Palace Museum, Taipei
the material.
This is the multiple folding of blankness or empty whiteness, or the profundity
of Chuang Tzu's“empty room filled with light.”Or, as Jean-Christophe Bailly
says:“No dimension is the hidden idea of image!”
The painting is a two-dimensional plane. Three-dimensionality is a
projection of the fourth dimension. If the third dimension (with no more illusion of
depth) and the fourth dimension are both projected onto the second dimension,
i.e. the restoration of the third dimension towards the second dimension, each
layer restored to the second dimension, then we will be able to see the subtle
shifts of time on the surface. Traditional ink painting is like this, and though
there is a sense of undulation in the chapped brushwork, in the more prosaic
landscapes of Ni Zan, there is a three-fold blankness: first, the overall structure
of the“river and two riverbanks”is created through leaving portions of the scroll
paper blank; second, the broken chapped brushwork reduces the chapping
technique to the bare minimum, with the chapped brushstrokes of the close
riverbank and the distant mountains possessing the blank spaces found in“hollow
stroke”calligraphy traces, an allusion to diffusion; third, when the blankness
touches the edges of the lines, it brings the slight ripples of turbulent water,
bringing more vitality to this subtlety. From Ju Ran's Song dynasty Snowscape,
through Ni Zan, and on to Dong Qichang in the Ming dynasty and Jian Jiang in
the late Ming, this folding of the emptiness has seen substantial development.
JIan Jiang(1610-1664), Willow's Color in Remnant Rain, Ink on
paper,84.4X45.3cm, the Shanghai Museum collection.  François Jullien:Éloge de la fadeur, À partir de la pensée et de l’
esthétique de la Chine, rééd. Le Livre de Poche, « Biblio», 1993. Praise of
blandness: proceeding from Chinese thought and aesthetics (New York : Zone Books, 2004). See also Fabian Heubel for a deeper discussion.
109
 Slice 21: The Infra-image of Time infra-mince or light field, it is the“afterimage”, namely, infra-image!
This requires an integration of Duchamp's“infra-mince”with the“lightness”
of traditional aesthetics. It requires maintaining a state of“in-between,”where
you can do it any way you want yet you can't do it any way you want, a state that
does not enter into the void or into substantiality, and this interval must possess
infinite richness and thickness, both extremely“thin”and extremely“thick.”
In this light, Duchamp's concept of the infra-mince and the works he
produced were too“substantial-thin.”Whether it was his readymades or his
How is such an infra-mince realm opened, albeit fleetingly, by the individual?
Large Glass, though he tried to enter into a transition between the self and
Does this realm actually exist? To clarify the opening of this vacantness requires
the other, to enter into an atmosphere of subtlety, it was opened up between
a unique cultivation method, Chuang Tzu's“fasting of the heart.”
things that were too rigid and too clear. The lightness of Chinese culture, on
It is the“hearing of the qi”of this fasting of the heart, and only through the
the other hand, is too“infra-weak.”Whether in terms of the materials of ink
“collection of qi”in the“empty mind,”can the realm of the“fasting of the heart”
and scroll paper, or in terms of the pursuit of the dilute and indifferent, though it
be opened. This is a realm that is not necessarily so substantial, like Nancy's
was self-sufficient, it appeared, when compared to the West, to be too flimsy.
“areality.”It is an empty axis, because“qi”waits to be collected together,
For this reason, the two must supplement each other, accumulating various
especially in the space that appears not to exist, because the infra-mince of
types of interval and amply allowing the fourth dimension to take place. This is
atmosphere (what could be more infra-mince than“qi”?) can collect within an
the“Infra-image”: in an extremely thin or almost nothing place, it permits the
interval. But how? This is the opening of a realm of the“empty room filling with
“almost nothing”to amply develop its own internal tension, to maintain a state of
light.”This empty room's production of light opens up a presence that can be felt
superfluity, allowing the remnant space to constantly expand or possess internal
both internally and externally. It is a passage. Only in this way can the ghosts
rich folds.
and spirits take up residence. This is the condition for the existence of the myriad
things. The opening of this passage is the infra-mince empty room. This is the
This also requires the insertion of temporality. The limitation of on-canvas
gathering of emptiness through the ultra-thin vacancy, and it opens up the realm
painting is in that more temporal folds can be inserted, giving infra-mince the
of anticipation. Chuang Tzu likened it to a mirror, as is written in his chapter
thickness of temporality. This is manifold temporality: first, the painter's temporal
The Course for Rulers and Kings:“When the sage employs his mind, it is as
experience of his own age and reflections on life; second, the temporality of the
a mirror. It conducts nothing and anticipates nothing; it responds but does not
process of painting – the process of making the work of art must incorporate
retain. Thus, it can succeed in all things while hurting none.”This mirror neither
the process of temporality, even the simplest stroke embodying long periods of
conducts nor receives, responds but does not retain; is it not like the infra-mince
practice; third, the temporality of the material itself – as modern art returns to the
mirror that Duchamp posited?
materials themselves, the key is whether or not the artist's selection of materials
Ultra-thin yet ultra-thick, this subtle“in-between”space is modally
possesses the accumulation of temporality, such as the use of aged teas or
constructed in a“non-existent realm.”How to open this virtually non-existent
ancient inks; fourth, the spatiotemporal depth opened up by the work of art, the
field between something and nothing? Here is where the vaporization of Chinese
sense of time possessed and activated by the artwork's formal language. Only
culture collects. As the empty qi collects in-between, it will open up the thickness
through these multiple layers of time can infra-mince take on internal depth.
of the spirit, the thickness of time. Thus, only by opening an empty room, the
vacant realm, can new opportunities be opened.
In this era of ours, with crowded life and interactions without intervals, only
by opening up this virtually non-existent infra-mince field (Heidegger's Gegend)
can we take an indifferent attitude (Gelassenheit or releasement), opening up  In The Truth in Painting and the earlier Glas, Derrida seemed to be making veiled responses to Duchamp. In particular, the
essay +R calls to mind the extra R in Duchamp's feminine pseudonym, while Glas is clearly about the manifold composition of
remnant space (Restraum) and enter into a space of free breathing. Large Glass. His thoughts on Blanchot's writings in Parages, his thoughts on remnants (he even writes about remnants without
remnants) has yet to be deeply analyzed in academia, but it is potentially connected to the concept of infra-mince. We will delve
more deeply into this matter at another time.
 In A Thousand Plateaus, Deleuze pondered this“imperceptible”realm. His thoughts on the“machinery of desire”in Anti-
Chuang Tzu had already made discoveries about vacancy and illusion,
Oedipus are clearly the most direct philosophical response to the relationship between desire and machinery in Duchamp's Large
which can produce an“afterimage.”Derrida had discovered the connection Glass. This is all doubtless connected to the revival of Duchamp's ideas in 1960s Europe. It merely waits to be linked to infra-
mince, particularly in Deleuze's The Fold, where this is further developed.
between“remnants”(reste) and“marginal logic”(parergon).  Deleuze had
pondered the imperceptible realm of production (similar to the imperceptibility of
the infra-mince fourth dimension).  When these are integrated anew within the

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 Slice 22: The Dexterous Butcher butcher's description of his butchering process goes through three phases.
We are not concerned with this narrative process but with the butcher's own
explanation – why, after 19 years of butchering cattle, is his knife without a
single crack or scratch? How does he see cattle, and how can his butchery
method inspire the universality of the nourishment of life? The uniqueness of the
butcher's explanation is in his talk of great crevices and great cavities – these
are all gaps or intervals, but there do not appear to be any such gaps in the
animal's body. Nevertheless, he is able to use his knife that is“virtually without
Infra-mince, the infra-mince for which a magnifying glass is used for
thickness”to open up these gaps:“For at the joints there are always gaps, and
“touching.”In Chuang Tzu's Adjustment of Controversies, there is allegorical
as the edge of the knife has no thickness, it remains only to insert this edge into
illusion, the shadow of a thing's shadow. Chuang Tzu constructed a dialogue
the interval. Since I am inserting something without any thickness into empty
or argument between “shadow” and “shadow of shadow” (interestingly,
space, there will certainly be lots of remnant places to move around in.”
Duchamp's note 40 talks about“the quarrel of the cast shadow in its relationship
Thus, the great wonderment here is how to open up this apparently
with the infra-mince), the dialogue between shadows. When the shadow's
nonexistent interval? How can it be opened up infinitely? One is extremely
shadow engages in a dialogue with the shadow, it opens up infra-mince folds
thin or without thickness (the knife), the other is opened up to the extreme (the
of discourse, because that is a virtually un-perceived subject, like Duchamp's
intervals between the cow's joints); how is the tension between them opened
“gratuitousness of the little weight,”like the aura of the moon in a clear southern
up? Or, perhaps, only by opening such intervals can the knife cut without being
night sky, marked by an infra-mince air. It is a redoubling of shadows.
damaged. Is this opening of the interval not an illusion? In other words, why must
In Chuang Tzu's fiction dialogue, something bizarre happens: if the illusion
such a vacant crevice be opened for the knife not to touch the cow? Only with
or shadow's shadow is dependent on the shadow, why does it question the
such vacant space, omnipresent vacancy, can a life move about freely within.
shadow's dependence? Of course, the changes in the shadow's shadow may not
be dependent on the shadow or what the shadow is a shadow of, instead being
If the world were an infinitely large cow, then by opening up the intervals
affected by the changes in the surrounding light, but it is clearly dependent on
inside, we can move about freely within, without harming the bones by touching
the shadow. This interesting interrogation is quite ingenious: in interrogating the
them (just as principle can be applied without harming principle), or harming
shadow, this“shadow's shadow”reveals or illuminates its own more thorough
ourselves by touching them (not allowing principles to harm the self). This is
dependence. These rambling dialogues also touch on the profound thoughts
why the butchering process can provide enlightenment about the principles of
on illusion found in Chuang Tzu's other texts, such as the story of the Yellow
nourishment and cultivation. The West uses principles (always connected to
Emperor losing the dark pearl, but in the end, these rambling allegories, only
punishment and the prevention of harm), while China uses the absorption of
gained through illusion, are formal indication open to time, because the“shadow's
food. How is it possible to magnify the imagination of apparently nonexistent
shadow”is a response to the changes of infinite emptiness, like the aura cast by
intervals and constantly maintain the ability to expand them?
a waning moon across a boundless night sky – its infra-mince is so wonderful
An interval is opened, it is expanded, and within, a world is constructed. How
and soft.
is this possible?“Infra-mince”or“freedom”takes place within this apparently
nonexistent interval. There are three layers of intervals here, and they form the
This is also the production of the afterimage (infra-image). It requires the
field opened by Chuang Tzu's“three discourses”(important discourse, allegory
opening of an infra-mince space (vacancy), a fundamentally invisible realm, and
discourse and mysterious/empty discourse):
the ability to use living perceptive methods to magnify this field. The semblance
that is produced within this infra-mince vacancy is the“afterimage”(which we
The first interval: this is the subtraction of connections between the various
could even use to translate infra-mince-image). This is not“seeing with the
extant relationships. For instance, social relations are constructed upon
eyes”but“encountering with the spirit”to touch on the infra-mince, making
“personal gain”and stabilized through hierarchical methods. To open up the
infra-mince transparent. This is the allegory of the dexterous butcher in Chuang
intervals inside, one either follows the rules to the letter, or finds loopholes, or
Tzu's Nourishing the Lord of Life. The story of the dexterous butcher has always
plays on social relations, in effect putting oneself in an exceptional state, one
been an allegory or a metaphor, and the butcher's knife is none other than the
that takes advantage, but these loopholes are used primarily for personal gain,
“infra-mince file”in Duchamp's notes.
and the loops of relations grow ever tighter. For Chuang Tzu, discovering the
The story of the dexterous butcher is one of killing, but Chuang Tzu turned
intervals between relationships amounts to a reduction of one's own desires,
it into a story of nourishment. How was this transformation accomplished? The

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 turning the self into an extra person (this is Chuang Tzu's important discourse,
a“rewriting”of the relationships between the various“important”figures in
ancient times). The extra person knows the rules of relationships, but does not
engage in their exchange – knows the rules but does not utilize them. This is
seeing the intervals between social networks in order to extricate oneself, rather
than using exceptions and loopholes to gain better entry into these relationships.
For Chuang Tzu, this is the individual's retreat from human relationships. This
is not a lack of knowledge regarding the rules, not opposition or circumvention
of them but moving outside of the rules, turning oneself into an exception or an
extra, maintaining this state of superfluity and not entering into the fetters of
rules in order to better discover the intervals between them. The first interval
is also connected to nature, because the inherent diversity of human nature
cannot be restrained by any social rules. One needs an attitude that steps aside
for nature and power in order to face these individuals who have escaped from
relationships of interest. For this reason, freedom and nature must be integrated
in order for the diversity of individuals to gain respect.
The second interval: the individuals who have made themselves superfluous
from social relations and extricated themselves maintain their exceptional
state, always remaining outside, and having encounters with various other
independent individuals (singularities) without entering into existing relationships
(like Duchamp's readymade and related artistic actions). These singularities do
not integrate but continue to open up the intervals between them, using non-
continuous, non-fusing relationships to open up new spacing (espacement) and
effect an expansion of this interval. For Chuang Tzu, this was accomplished
by transcending all manner of human relationships (even transcending human
nature) and entering into nature, but not entering into the organic relationships
of nature either, instead discovering the intervals in nature, those changing
foci or vanishing moments (this is Chuang Tzu's allegorical discourse), such
as the empty recesses in mountain valleys, allowing the individual to engage in
anonymous encounters. This is not the reestablishment of human relationships
but the emptiness symbolized by the valleys in nature – the rhythm of
rejuvenation (like clouds filling a valley, though the clouds merely pass by),
opening up relationships that are constantly refreshed. It would appear that
the opening of the intervals in nature depends on how the individual discovers
the foci of changes in nature and the imagination of emptiness, because the
way in which nature is objectified becomes a measurable space – it is not an
interval but a once-again objectified space. The extra individuals encounter
each other in this in-between interval, constantly expanding this interval. This
is the principle of the encounter, turning serendipity and accident into principles.
The closer something is approached, the more it shrinks into the distance, a
shared departure and distance. This is all in order to expand the interval. New
naturalness perhaps lies in the individual's movement towards the elementality
of vaporization, engaging within elemental vaporization, allowing vaporization
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to enter into this interval without filling it, just like the remnant whiteness in
traditional landscape painting. This is the inspiration that Chinese landscape
painting can provide to modernity.
The third interval: the expanded interval. The individual departs from social
relationships and discovers the intervals of nature, or perhaps the individual
is travelling among the intervals, but it is still limited by the natural realm. In
order to further expand the intervals and maintain the limitlessness of the
intervals, the individual must come right to the margins of the world. Of course,
there is no other world. Instead, this amounts to letting that infinite world – as
limitless emptiness – to touch the self (this is the empty/mysterious discourse).
This infinite realm is the limitlessness of the natural universe and its limitless
becoming. This is actually the act of the individual, when encountering the
margins of the world, transcending all previous relationships, only interacting
with the unknowable and the infinite, with the absolutely alien or the absolutely
changing. This is the real opening of the infinite emptiness. Mankind, with
its limitations, does not perceive this. Only through infinite comparisons with
nature, through precise techniques, that this is passively sensed (telepathy or
tele-affection: remotely sensed). There are no longer principles, but this“no
principles”miraculously uses the principles of“nothing”to permit the infinite
to touch the finite, just as Derrida writes in Voice and Phenomen:“the infinite
differance is itself finite（La différance infinite est finie）,”and just as traditional
Chinese art uses empty-whiteness to touch the form-edges of limited things,
bringing minute, vibrant changes.
Thus, the individual in the world must open up relationships beyond the
world. This three-fold interval is connected to naturalness and is invisible. As
the three-fold interval, which is also the three folds of blankness, has been
more specifically developed, it marks the opening of freedom, forming an open
space that can be flipped and folded internally and externally, an empty axis, the
integration of naturalness and freedom. The interval passage can traverse the
internal and external worlds – the infra-mince is merely a thin film. 
Once a passage is opened to the infinite, the interval between relationships
is discovered, and this interval is expanded through individual imagination (the
best method is to enter into nature), the passage is kept open and passable
to the infinite, this brings us to the“fourth dimension”that Duchamp dreamed
about. This fourth dimension or no-dimension will never close itself, extending
ever outwards into the infinite. The whole world should revolve around this“empty
axis,”allowing this invisible fourth dimension to permeate into every corner of the
world. This is the funnel described in Chuang Tzu's empty/mysterious discourse,
or perhaps it is the idea of“being possessed of that central principle, able to
infinitely adapt.”This is what Derrida discussed in The Truth in Painting about
using the without (sans) to open up the deconstructive logic (parergon) of the
margins.
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 The allegorical significance of the dexterous butcher's skills with the knife
lies in: the use of the intervals between the cow's joints – like the analysis
of anatomical diagrams – to disintegrate the cow into edible food. Like
reconstructing (dispositif) fresh foods to make a new dish, the entire world has
always waited to be reconstructed as a web through the emptiness. Is this not
our era of virtual networks? Are these apparently non-existent intervals not
“infra-mince”spaces waiting to be discovered?

 In Duchamp's Transformers, Lyotard attempts to up a new kind of politics, being the use of the products of the libido's
powers of desire and the machinery of desire to supplement Marxism's critique of capitalism (as Deluze did in Anti-Oedipus).
Duchamp and Chuang Tzu were both transformers, the ever-changing transformers discussed by Lyotard. Here, the life field
formed by the three-fold interval opens up a new space for political thinking, and this is connected to“infra-mince,”forming
into a new form of life's breathing and a new method for nature to exchange energy. Of course, a new form of naturalness must
first be discovered, perhaps not only the Western method of desirous life but a more naturally growing life. China's modern
transformation needs such diverse transformers. Like the production of new trends, Chinese contemporary art is also a“trend-
setter.”The three-fold interval of freedom opens up a space-time of new trends. It is the skillful application of“winning without
fighting.”Perhaps a creative integration of the ideas of Duchamp and Chuang Tzu can open up new events and create new trends.

第二部分 虛薄的褶子：中國式繪畫
II The Folds of Infra-mince : A Chinese-Type Painting

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 邱世華的繪畫
虛白的虛薄

從杜尚開始，繪畫離不開材質現存品（ready-made）的特性，即畫布之為
布料（所謂的粗糙質感），要一直餘留布料的特性。如果還有著繪畫，而不是傳
統意義上作為一種藝術門類的繪畫，那就必須保持住一種張力 ：一方面超越繪畫
的邊界（怎麼畫都可以，一塊現存地布料掛起來也是一幅畫，只要你去新鮮地命
名它）；另一方面卻還保持繪畫的可能性（怎麼畫似乎都不可以，因為繪畫無論
怎麼畫，都不可能以一幅畫窮盡繪畫本身的奧秘），要讓繪畫有著自身特性的同時，
不被其它藝術門類取代，但還具有藝術的普遍性。
按照杜尚對“虛薄”（infra-mince）的理解，現存品特性是繪畫的條件，他
認為西方繪畫過快地從“布料”過渡到了“畫布基底”
（即從“處女”很快成為了“新
娘”），很快就打上了顏料，並且開始建構“畫面物件”，哪怕在馬列維其與蒙德
里安的抽象畫那裡，還是有著畫布基底色塊與表面色塊之間的關係，並沒有餘留
出畫布的材質，即讓我們看出布料的布料性，要保持繪畫的處女性與原生性，這
是一個困難的問題。
在布料——畫面基底——畫面物件，三者之間，也是一個三層的皺褶之間，
一直餘留布料的直接可觸性的同時，還有著繪畫的可能性？這如何可能？
但邱世華的繪畫卻做到了這一點。這是異常讓我們驚訝的，對於有著漫長油
畫傳統的西方，這也是無比驚訝的。儘管邱世華當然並不知曉杜尚的“虛薄”概念，
但邱世華是如何獲得虛薄的視覺感受以及轉換出來的呢？如何把三個層面壓縮在
畫面上，而且打開了無限的想像空間？

首先，就第一個層面而言。
邱世華以極為稀釋的顏料來畫白色，就是畫布布料的那種白色，反復塗抹布
料，但顏料似乎僅僅滲透到了畫布裡面，並沒有成為痕跡，似乎傳統水墨的漬染
法，這種內在滲透與滲染的方式，似乎把顏料滲透到布料之間的空隙之中，似乎
布料的亞麻佈線條之間有著無盡的空隙，有待於顏料填補。這種滲透與滲染的方
式，不就是傳統水墨的渲染滲透方式？或者說，邱世華其實是在畫水墨，是以水
墨的滲染方式在處理油畫布，把油畫布料當做了宣紙，迫使布料具有它本來並不
具備的吸納性？
因此，把亞麻布布料當做宣紙一樣來處理，反復渲染，這個處理方式，無疑
不是西方所有的，而是把中國文化面對水墨的態度帶入到了油畫的畫法之中。
但是這個轉換無疑來自于邱世華對中國藝術精神的深入理解，因為他畢竟不
是在做水墨，重要的是繼承水墨的精神，而水墨的精神在於 ：一直餘留宣紙的空
白特性，而宣紙難道不是現存品？尤其是當水這種自然材質融入宣紙，還是餘留

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 了宣紙的空白特性，並沒有覆蓋它！這不同於西方油畫顏料，一旦抹上布料，就 的某種深度，但並非西方的深度錯覺，而是某種內在地深入 ：因為水墨的內在滲
覆蓋了布料，成為了某種基底。這個餘留布料本身特性的獨特觀照方式，就是對 透是向著畫面深度走入的，如此向著內在深度敞開，也是中國文化打開的某種寥
水墨精神“色即是空空即是色”的現代轉換，如何在亞麻布這種材質上，以油畫 廓感，即不是地平線的那種對象性建構，而是對象似乎向著裡面遠逝，是中國傳
也可以畫出那種余白的觸感來？ 統“遠遊觀”與“玄遊觀”的現代轉換，畫面要把我們帶往一個帶有幻覺感的內
這就是不斷稀釋顏料，讓油畫顏料幾乎成為了一種水墨一般的材質，“油性” 在空間，需要靜觀玄覽，因此，邱世華虛薄的景色乃是在要求一種新的看視方式，
充分被“水性”改變。一方面，參照水墨材質的吸納性與滲透性 ：讓布料如同宣 需要我們調整自己的視線，召喚我們進入畫面裡面，只有那裡似乎才是我們靈魂
紙一般具有吸納性（杜尚在論虛薄的筆記中已經對這種多孔性與吸納性有所思考 呼吸的地方。但並沒有任何神秘的暗示，而僅僅是打開一個有著寥廓感的地帶
了，但他自己並沒有做出來的，中國畫家卻可以），似乎材質本身並不存在，布 （Gegend），如同海德格爾思考泰然讓之時所言。但更加虛淡！這個虛淡也是對
料僅僅是接納“灰白”的一種無底的空白材質（如同被德里達所思考的柏拉圖的 中國文化煙雲感與朦朧詩意精神的幽密記憶。
那個“虛受”的 Khora），從而讓灰白可以反復覆蓋，即反復渲染 ；另一方面，
則轉借中國文化水墨的空白化的精神，一直要餘留出空白，讓空無無處不在，因 邱世華繪畫的意義在於，三層的皺褶都得到了極為虛薄的處理，讓杜尚所渴
此充分利用布料自身已經具有的白色，即在“白色”與“空白”之間重新找到共 望的藝術的虛薄性在繪畫上得到了實現，得到了明確地顯示，甚至可能是杜尚自
鳴，這是漢語思維提供的可能性條件，即在白色（white）之白性與空白（empty） 己夢寐以求的一種繪畫。
之白性之間重新發生生命感受與繪畫方法之間的諧調，邱世華找到了這個內在的 杜尚在晚年的對話錄中，他自己曾經說到過一個與繪畫相關的事情 ：
關係。 對話者卡巴內問道 ：
“那您每天都幹些什麼？”杜尚回答到 ：
“什麼都沒幹。
我挺忙，人免不了有許多事情。我們去了義大利，去看布魯其羅，一個我很喜歡
其次，則是打開平面的方式。 的畫家。他畫很大的白色的畫，上面只有很少的一點點東西，你得靠近了看才看
找到第一層的關係，即讓布料保持為布料，而且是布料色彩的直接性，或者 得出來。”
白色，或者灰色，以至於一眼看上去，似乎什麼都沒有畫！這種表面的藝術，在 ——當然，布魯其羅的畫還是不夠虛薄，如果杜尚看到邱世華的作品，他一
表面上保持表面，似乎繪畫並沒有做什麼，這個表面的“無為性”無疑也是中國 定會更加喜歡，他一定會再次說 ：我喜歡活著呼吸，甚過喜歡工作。因為虛薄的
文化道家“無為而無不為”的體現，但現在則是倒轉過來的 ：無不為——反復塗 藝術乃是呼吸的事情。
抹畫布，以充滿的滿幅方式，得到無為——做了很多，但看似——似乎什麼都沒
有做！在傳統的“似與不似之間”，更多走向了“不似”，即，確實什麼都不似，
但還是相似於什麼，當然這是相似於繪畫本身 ：這一次，繪畫在現代性之後，不
是相似于某一個現實物件，而是針對繪畫的繪畫，畫的是繪畫的可能性，或者繪
畫越出自身邊界的可能性。這個第二層面的反復塗抹，還是餘留的是畫面的空白
特性，並不增加厚度，這就重新打開了平面，如同水落入宣紙，僅僅是滲染進入，
還是餘留了宣紙的空白。
西方繪畫在二十世紀對平面的處理大致有著如下幾重方式 ：一般不同于傳統
的透視法的深度錯覺製造，或者如同立體派還繼續餘留淺浮雕效果，報紙等現存
品的拼貼也是如此 ；或者如同蒙德里安基本上把基底壓縮到畫布本身的平面上，
儘管還是有著低度的視錯覺 ；而從表現主義畫家蘇當等人開始直到英國的奧爾巴
赫等人，都是強化油畫本身的厚度乃至於重量，向著外在性增加畫布的平面厚度；
只是在美國抽象主義畫家，尤其是色域繪畫的代表紐曼與羅斯科那裡，才把平面
本身的特性保持住（如同格林伯格的要求），就是在平面上保持平面本身。但在
杜尚看來，抽象表現主義繪畫並沒有凸顯現存品的特性，還是繪畫，一旦出現向
物性還原的極簡主義時，又過於物性化了，導致了繪畫的終結。
但，邱世華對油畫的布料特性的保留，以及把畫布基底向著布料還原的方式，
打開了新的平面感受，即還是繪畫的二維平面，但又接納了現存品。

就第三個層面而言，邱世華的畫面有著某種風景與山水畫的暗示，但僅僅是
虛薄的暗示。
並不是不畫第三個物件層面，在反復塗抹之後，畫面還是帶給我們某種觀看
的誘惑，即在極為暗淡的畫面上，還隱隱約約透顯出某種景色，似乎是打開畫面

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 邱世華 無題 2011 布面油畫 128 x 240 cm Qiu Shihua Untitled 2011 Oil on canvas 128 x 240 cm

邱世華 無題 2012 布面油畫 154 x 148 cm Qiu Shihua Untitled 2012 Oil on canvas 154x148 cm

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邱世華 無題 2010 布面油畫 150 x 294 cm Qiu Shihua Untitled 2010 Oil on canvas 150 x 294 cm 邱世華 無題 2010 布面油畫 200 x400 cm Qiu Shihua Untitled 2010 Oil on canvas 200 x 400 cm

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邱世華 無題 2010 布面油畫 150 x 294 cm Qiu Shihua Untitled 2010 Oil on canvas 150 x 294 cm

邱世華 無題 2007 布面油畫 153 x265 cm Qiu Shihua Untitled 2007 Oil on canvas 153 x 265 cm

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邱世華 無題 2006 布面油畫 128 x 238 cm Qiu Shihua Untitled 2006 Oil on canvas 128 x 238 cm 邱世華 無題 1998 布面油畫 128 x238 cm Qiu Shihua Untitled 1998 Oil on canvas 128x 238 cm

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 The Painting of Qiu Shihua leaving traces, in an approach akin to the wash method of traditional ink painting.
This internal method of penetration and permeation appears to insert the paint
The Infra-Mince of Infra-White
into the spaces between the fabric, as if there are infinite spaces between the
linen threads waiting to be filled with paint. Is this method of penetration and
permeation not the same as in traditional ink painting? That is to say, Qiu Shihua
is painting ink painting, using the wash technique of ink painting to render the
oil canvas, treating the oil paint canvas as scroll paper, and forcing the fabric to

Since Duchamp, painting has been inseparable from the unique properties take on absorptivity that it does not possess.

of readymade materials, in that the canvas must maintain its textile properties (i.e. Thus, the treatment of the linen canvas as scroll paper, this method of

rough texture). If there is still painting, and not in the traditional sense as an art repeated permeations, is clearly something that does not belong to the West.

form, then it must maintain a certain tension: on the one hand it must transcend Instead, it brings Chinese cultural ink painting attitudes to bear on oil painting

the bounds of painting (you can paint it however you want; even a simple square techniques.

of canvas can be hung as a work of art as long as you name it afresh); on This transference is doubtless rooted in Qiu Shihua's deep understanding

the other hand, it must maintain the possibilities of painting (you cannot paint of the Chinese artistic spirit, because though he is not engaging in ink painting,

it however you want, because no matter how a painting is painted, it cannot what matters is that he is carrying on its spirit. That spirit is to allow the white

exhaust the profound depths of painting). It must maintain painting's unique nature of the scroll paper to remain, and is scroll paper not a readymade object?

properties while also keeping it from being replaced by another art form, and it This is especially the case when the natural material that is water is infused

must still possess the universality o art. into the scroll paper. The empty-whiteness of the scroll paper is allowed to
remain, and has not been covered. This is different from Western oil paint, which
when spread on the canvas, effectively covers the canvas, becoming a sort of
foundation or base. This unique approach of allowing the essential qualities of
the fabric to remain is a modern transformation of the spirit of ink painting:“that
Zhao Lingrang(1068-1100),River Landscape with Willows and Cottages, Handscroll, 19.1×161.3cm.Boston M.F.A.
which is form (color/appearance) is empty; that which is empty is form.”How is

According to Duchamp's understanding of“infra-mince,”the unique this perception of remnant whiteness attained with oil paint on a linen canvas?

qualities of the readymade are a condition for painting. He believed that Western It is attained through the repeated dilution of the paint, turning the paint into

painting transitioned too quickly from“textile”to“the canvas base”(in other a material akin to ink, so that it's“oiliness”is significantly altered by“wateriness.”

words, the“virgin”quickly became the“bride”), quickly applying paint and On the one hand, he references the absorptive and permeable properties of

constructing a“painting subject.”Even the abstract paintings of Malevich and ink painting materials – giving the canvas the same absorptivity of scroll paper

Mondrian contain the relationship between the color fields of the base and those (in his discussion of infra-mince, Duchamp touched on the many holes and

of the surface, and do not maintain the material of the canvas – i.e. allow us to absorptiveness of canvas, but did not employ it; Chinese painters have), to the

see the textile nature of the canvas. The question of how to maintain painting's point that the material almost does not exist, there simply as a bottomless, blank

virginity and original nature is a difficult one. material for receiving the“grey”(like Plato's Khora, as mentioned by Derrida),

If we are to maintain the triple-folded levels between the fabric, the painting and making it so that the grey can be repeatedly covered, and repeatedly

foundation and the painting subject, while retaining the direct tangibility of the permeated; on the other hand, it borrows from the spirit of emptiness in Chinese

fabric, is painting still possible? How is it possible? ink painting culture, where empty spaces are always left in the image, so that

Qiu Shihua's painting has done exactly this. This is quite astonishing, the void is omnipresent, using the whiteness that is inherent to the canvas to

especially for the West, with its long tradition of oil painting. Since Qiu Shihua find a new resonance between“white”and“empty.”This last concept is made

knows nothing of Duchamp's concept of“infra-mince,”how is he able to achieve possible by the logic of the Chinese language, where“the color white”(baise/

a visual perception of the infra-mince and transform it? How does he condense 白色 ) and“empty”(kongbai/ 空白 ) share the same root (bai/ 白 ), forming a new

these three layers onto the painting and open up a limitless imagination space? harmony between the perception of life and painting techniques. Qiu Shihua has
found this internal connection.

Let us begin with the first layer.

Qiu Shihua paints white with a diluted paint, the white of canvas fabric. He Next, let us approach his method of opening the plane.

covers the fabric repeatedly, but the paint seems to seep into the canvas, without detail of Paingting in Qiu Shihua, Oil on Canvas
We have found the first layer of connection, which is the act of allowing the

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 fabric to remain a fabric, while the color, either gray or white, is so directly linked
to the fabric that it at first appears as if nothing has been painted at all. This
surface-level art allows the surface to remain as a surface, so that it appears
that nothing has been done in terms of painting. This“non-action”on the
surface is clearly an embodiment of the Daoist concept of“action through non-
action,”though it has now been inverted: action – repeated applications on the
fabric, using a filling technique – to attain non-action. He has done much, but
it appears that he has done nothing. Along the traditional lines of“appearance
and non-appearance,”the artist leans more towards“non-appearance,”the
appearance of nothing, though it also does resemble something. Of course, this
is like painting itself: this time, after modernity, painting does not resemble any
particular object from reality, but becomes painting about painting, a painting
Robert Ryman, Untitled, 1959.Oil on Linen,84x84cm
of the possibilities in painting, the potential for painting to leap beyond its own
boundaries. This second layer of repeated coatings retains the white properties
of the picture, without adding to its thickness. This opens up another plane, just
like water seeping into the scroll paper while retaining the paper's whiteness.
Twentieth century Western painting had several major approaches to dealing
with the plane: the production of an illusion of depth that strayed from traditional
perspective techniques, or the continued retention of relief effects as in cubism
– this was also the case in the collage of readymade objects such as newspaper
scraps; then there was the approach taken by Mondrian, which compressed the
foundation into a plane that was virtually equal to the canvas itself, though there
was still a small degree of visual distortion; then, beginning with expressionist
painters from Soutine to Auerbach, we see emphasis placed on the thickness,
even the weight of oil paint itself, extending the thickness of the plane beyond
the canvas; it was the American abstract expressionists, particularly color field
painters such as Newman and Rothko, who maintained the qualities of the plane
itself (as Greenberg wanted), keeping the plane a plane. But as Duchamp saw
it, abstract expressionist painting did not highlight the characteristics of the
readymade, so it was still painting. Once minimalism emerged, which shifted
towards the restoration of materiality, it became excessively material and led to
the end of painting.
But Qiu Shihua's preservation of the qualities of the fabric, and his method
of directing the foundation towards a restoration of the fabric, opened up the
perception of a new plane, in that it is still a painted, two dimensional plane, but it
has absorbed the readymade.
As for the third layer, Qiu Shihua's pictures have allusions to landscape
painting, though they are merely infra-mince allusions.
It is not that he doesn't paint a third level of object, because after repeated
applications, the picture does provide us with a certain form of visual temptation
in the form of faintly discernible traces of a scene in the diluted picture, as if
opening up a certain form of depth. This is not, however, the Western illusion of
depth, but a certain internal penetration: because the internal permeation of the
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detail of painting in Qiu Shihua
ink penetrates into the depths of the picture, such an inward-facing opening is
the sense of profundity opened in Chinese culture. It is not an object-oriented
construct like the horizon line, but the object passing off into the inside. This is a
modern transformation of the traditional Chinese“distant wandering”and dark
wandering”views – if the picture is to take us to an illusory internal space, it
requires quiet, tranquil observation, and for this reason, Qiu Shihua's infra-mince
scene demands a new way of seeing, requires us to adjust our lines of sight, and
calls us to enter into the picture. It seems that only there can our souls breathe.
There is, however, no mysterious allusion; it merely opens up a region with a
sense of profound depth, much like Heidegger discussed in his thoughts on
meditative thinking. But it is even thinner than that. This thinness is an obscure
recollection of the sense of cloudiness and hazy poeticism in Chinese culture.
The significance of Qiu Shihua's painting lies in the fact that the three
layers of folds are all rendered in a highly infra-mince way, realizing and clearly
presenting within painting the infra-mince that Duchamp yearned for in art. It is a
kind of painting that perhaps even Duchamp himself dreamed of.
In an interview transcript from his later years, Duchamp spoke of something
connected to painting:
Pierre Cabanne asks,“What do you do all day?”Duchamp responds:
“Nothing. I'm on the go a lot, because one always has a lot of engagements. We
went to Italy, to Baruchello's, the painter, whom I like very much. He does big
white paintings, with little tiny things you have to look at close up.”
Of course, Baruchello's paintings are not quite infra-mince enough. If
Duchamp could see Qiu Shihua's paintings, he would certainly like them even
more. He would certainly say once again,“I like living, breathing, better than
working. Because infra-mince art is about breathing.”
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 尚揚繪畫對自然的恢復
時間之虛薄的包漿

中國文化能否以自己的方式走出一條現代性的道路？這就要從中國文化具有
自身轉化的潛能開始，在藝術上，則在於如何接續傳統文人山水畫“渾化”的精
神，離開了自然山水，中國文化創造性的潛能就無法發揮，因為山水畫超越了地
方性與文化的相對性，有著“氣化”與“虛化”的變化性，即自身向著他者的過渡，
而且是微妙的過渡（如同杜尚 1937 年關於“虛薄”的筆記所寫到的）。但隨著
現代性技術全球化，自然已經處於破壞之中，而在藝術上，中國的自然山水觀經
過了西方風景畫的物件化處理，寫生與寫實的藝術觀強制塑造著我們的凝視，那
麼，山水畫如何還能夠保持自然氣化與轉化的活力？創造性轉化的秘密在哪裡？
這是時間性的微妙觸感。
中國傳統山水畫的自然氣化，接納了多重的時間性 ：周圍自然世界四季變化
的時間性，導致人的感時傷懷與喜怒哀樂的變化 ；山水世界還是一個仁智共構的
意義世界，是隱居或者遊歷的場域，超越了時代性 ；山水也敞開了一個丘壑的空
虛場域，包含著歷史的時間性，是一個自由遊戲的場域，從魏晉的玄言詩到唐代
的遊歷詩，到宋人丘壑，都在於打開這個場域 ；但是一旦成為山水畫，山水畫不
同于自然山水，乃是把具體山水的要素提煉為繪畫的基本元素，即成為煙雲 ：自
然對象都化為煙雲（石如雲動，煙樹與煙江），而材質上則是水墨滲染帶來的滿
紙煙雲，山水畫的境界也是煙雲淡蕩，因為煙雲最為體現出時間變化的態勢，這
是自然的齊一性 ；而煙雲不過是氣韻生動或者氣化的形式語言！氣化的時間性乃
是順應瞬間的生滅變化，並且保持此變化，如同海德格爾所言的天地神人的四重
化聚集，山水畫上的一切都被一種生動的氣化的韻律所引導 ；最後，為何這個氣
化一直可以保持？乃是山水畫的空余或者余白，煙雲不是刻意的刻畫（這就裝飾
了），而是不畫之畫，是等待某種新的機緣，借助於它力，以虛待的方式，進入
虛化的空茫，保持在“氣化 - 渾化 - 無化”的默化之間。這個虛化的敞開，就是
活化，而活化，乃是深入混沌，重新獲得新的形式，即豐厚的時間感，傳統水墨
以此打開了“虛薄”的時間感 ：因為煙雲的虛化與空白之無化的結合，在宣紙的
空白上打開了一個餘讓的倫理姿態。
因此，山水畫的秘密在於 ：順應自然的變化，面對自然毀壞的可能性，還能
夠保持虛淡的變化，並聚集起多重的時間性，這就是聚集時間性的包漿！只有層
層疊加上面豐涵的時間性（虛薄的褶子），才可能有著感性的豐富性，關鍵在於
時間性的觸感，觸感到多重的大自然的肌理，那是對大地，對生命氣息，對機體
皮膚的微妙觸感，乃至於目盲的愛意的觸感。

134 135
 尚揚的繪畫，無論是《大風景》，還是《董其昌計畫》，直到最近的《日記》與《冊
頁》系列，在二十世紀繪畫中，最為完整與自覺地實現了傳統文人山水畫的現代
性轉換，接續晚明被中斷的現代性，其精神實質的奧秘就在於形成了——新的時
間包漿的虛薄感。
傳統山水畫面對著多重破壞，我們在尚揚的作品上看到了這個破壞與重建的
艱難轉換 ：首先是石塊的轉換，因為山水畫在宋代是以石面的肌理皴法為基本的
語言，離開了皴法，山水畫不再可能，但我們現在面對的僅僅是自然大地的皴裂
以及風景的枯竭，因此，尚揚開始面對這個大地裂開的觸感，只有觸摸到大地的
肌理，才可能恢復自然的那種生機。我們就看到了尚揚對於石塊的變形提煉過程，
從傳統皴法的裂紋開始，皴法已經不再可能具有那種有著節奏的美感了，而是碎
裂為斑駁陸離的痕跡，這個斷裂（如同海德格爾思考的 Riss 與 Fuge），打開了
所有的感覺，如何彌補與修復這個斷裂，成為尚揚繪畫的開始。
於是有了尚揚對石塊的不同變形 ：畫出寫實塑造感的石塊 ；以攝影照片的噴
繪來代替 ；或者就減縮為幾何形的形體 ；甚至有時候就僅僅是不完整的輪廓 ；而
且以黑白的切分為基調，或者就是以傳統山水畫圖片來拼貼 ；或者就是從天而降
的碩大黑色筆觸，似乎要擊穿下面的山石。直到貼上樹脂顏料，似乎要為受傷的
自然打上包裹，來包紮這個無法修復的自然世界。面對這個不斷裂開與碎散的過
程，石塊在空間形態上則呈現為 ：一塊巨石突兀的挺立著，但其內部已經碎裂 ；
或者傾斜，幾乎要傾倒。尚揚試圖以藝術的方式來應對，主要還是西方現代藝術
的各種方式 ：自然寫實的，幾何抽象的，拼貼的，塗抹的，傳統黑白反用的手法，
把自然各種的破壞方式並置在巨大的畫面上，可謂觸目驚心。這主要還是從自然
被破壞的方式，尤其是空間的巨大震盪的表現力上著手。
但似乎一切還是徒勞！正是在這裡，我們感受到了尚揚的絕望與悲觀主義。
沒有此悲智，就不會萌生恢復與拯救之心，當然，這又不可能來自藝術家自己的
力量，而是“讓自然成為主體！”如同德國猶太哲學家布洛赫在《希望原理》中
所言，讓生命回到那種更為內在的自然性上，喚醒自然本身的觸感。
種默默的祈禱，在黑暗中的孤獨摸索，我幾乎相信，尚揚的這些日記與冊頁作品，
宛若一個老年的盲藝人，不是靠自己的肉眼，而是倚靠某種心念，把古代山水的
氣息慢慢地觸摸出來！
即便面對外在災變，但那也同樣是無常的變化，從災變的變異到無常的變化，
都是變化，重要的是面對變化的態度，相信自然可以通過自身的力量得到重新恢
復，但要泰然處之，要淡化，因為淡化乃是進入一種超然的心態。為了恢復破碎
的自然，讓這些殘片漂浮起來，變得輕盈，好似記憶中的某個美妙片段，某種餘像，
似乎要抹去但總是揮之不去，這個虛幻的輕盈感就是煙雲感的重新喚醒，我們就
看到，尚揚一旦回到米氏雲煙那種氣化的生動性，自然內在活化的形式就重新被
確立起來。
傳統中國繪畫藝術的質感不過是三重的生命觸感 ：煙雲之氣，玉質之感與吟
詠之詩意，尚揚的冊頁作品上，淡化中依然餘留著悲涼，因此畫面被蒼茫的氣氛
所籠罩，在一片暗啞的背景下，幾塊似有似無的山形的殘影浮動在畫面上，似山
非山，這個“似像”的形成異常微妙，似乎是被一種微妙的呼吸所吹拂著，是對
米氏雲煙的視覺感的轉化，消融一切，而且被來自自然的樹脂覆蓋後（樹脂帶來
了一種自然的材質性），似乎要溶解之前的那種碎屑，一種蒼古而又秀潤的詩意
被淺唱低吟地流露出來，或者經過層層水墨一般的罩染後，之前的樹脂顏料帶來
一種玉澤之感，這即是經過時間凝聚而形成的包漿，一切仿佛被籠罩在一層層的
薄沙之中，是歲月觸摸留下的痕跡，是筆痕也是心痕，這些暗示性的筆觸與畫面
的空白一道，帶來無盡地冥想，時間的包漿以神奇的方式來到了畫面上，這是對
自然最為內在的恢復。

顯然，要恢復自然，必須回到更為內在的自然性，尤其從時間性出發，自然
的恢復還在於重新獲得生命的觸感，對於個體生命，則是回到個體的“心跡”，
傾聽自己內心的聲音，打開比自己更為內在的內在性上。因此，尚揚懷著悲智之
心，不再僅僅看視外在已經被破壞的自然環境（這之前的作品主要是面對這個），
而是回到更為內在的自然，回到傳統山水畫的那種心魂書寫上，回到生命的觸感
上，回到渾化的生命轉化經驗之中。

因此，我們看到了更為與個體手跡相關，與個體心魂相關的心跡的書寫，在
《日記》以及寫生稿上，接續黃賓虹晚年帶有逸筆草草的勾勒，但尚揚的更為簡約，
似乎是一種隱隱約約的往事的浮現，是記憶中的自然，相信記憶還有著自然的氣
息，這是對記憶的信仰，而且把黃色的樹脂轉換為一種有著灰黃時間感的老年風
格，如同賽義德所言，老年風格乃是進入時間的昏黃，面對時間的短暫有限，儘
管西方是激烈而破碎（如同貝多芬晚期音樂），但中國傳統，從董其昌那裡，則
是保持觸感的鮮活，保持從容淡然，在這個意義上，《董其昌計畫》的心意得到
了徹底地實現。無論是寫生稿，還是日記式雜記，都是一種保持鮮活觸感的默寫
方式。日記式的速寫，並非寫實的訓練，而是捕獲自然變化的那種痕跡，如同一

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尚 揚 冊頁-3 2008 布面綜合材料 100x150cm Shang Yang Painting Album-leaf-3 2008 Compositive Material on canvas 100x150cm 尚 揚 冊頁-7 2009 布面綜合材料 100x150cm Shang Yang Painting Album-leaf-7 2009 Compositive Material on canvas 100x150cm

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尚 揚 冊頁-16 2009 布面綜合材料 89x116cm Shang Yang Painting Album-leaf-16 2009 Compositive Material on canvas 89x116cm 尚 揚 冊頁-19 2009 布面綜合材料 89x116cm Shang Yang Painting Album-leaf-19 2009 Compositive Material on canvas 89x116cm

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尚 揚 冊頁-20 2009 布面綜合材料 89x116cm Shang Yang Painting Album-leaf-20 2009 Compositive Material on canvas 89x116cm
尚 揚 冊頁-21 2009 布面綜合材料 89x116cm Shang Yang Painting Album-leaf-21 2009 Compositive Material on canvas 89x116cm

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尚 揚 冊頁-26 2009 布面綜合材料 89x116cm Shang Yang Painting Album-leaf-26 2009 Compositive Material on canvas 89x116cm

尚 揚 日記08-4 2008 布面綜合材料 93x128cm Shang Yang Diary-4 2008 mixed technique 93x128cm

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 Shang Yang's Restoration of Nature destiny to draw it into the empty void to remain in a subtle state of flux between
vapor, transformation and emptiness. The opening of this void is activation,
The Infra-Mince Patina of Time
a penetration into the primordial chaos in order to attain a new form, a rich
sense of time. It is in this way that traditional ink painting opens up the“infra-
mince”sense of time: because of the fusion of the emptying of clouds and the
nullification of the blankness, the blank space on the scroll paper opens up an
ethical posture of“allowing to remain”or“releasement”.

Can Chinese culture take its own path to modernity? This question must Therefore, the secret of landscape painting lies in its adaption to the

begin with Chinese culture's potential for self-transformation. In terms of art, changes of nature, and, when facing the possibility of the destruction of nature, it

this rests on how it carries on the spirit of“transformation”in traditional literati can maintain delicate shifts and gather multiple forms of temporality. This is the

landscape (Shanshui or Mountain-Water) painting, because without landscape patina which temporality coalesces. Only through the rich layering of temporality

painting, the creative potential of Chinese culture cannot be realized, because (infra-mince folds) can there be richness in perceptions. They key is the tactile

landscape painting transcends locality and cultural relativity, and possesses impression of temporality. When one can gain a sense of the multiple textures of

a“vaporous”and“empty”changeability in its transition from the self to the nature, it forms a subtle sense of the land, of the air of life, of the texture of the

other, a subtle transition (something that Duchamp wrote about in his notes on organism, a sense of blind love.

“infra-mince”). With the global spread of modern technology, however, nature

is in a state of destruction, and in terms of art, the Chinese view of the natural
landscape has undergone the objectification of Western landscape painting, as
life-based and realist art forcefully alters our gaze. How can Chinese landscape
painting maintain its natural vaporous and transformative vitality? What is the
secret to creative transformation? It is a timely, subtle impression.
The vaporization of nature in traditional Chinese landscape painting
incorporates multiple types of temporality: the temporality of the changing
seasons in the natural world causes changes in man's feelings, mood and sense
of time; the world of landscape painting is a world of meaning jointly constructed
by benevolence and intellect, a realm belonging to the hermit or the wanderer, Shang Yang, Painting Album-leaf-11,2009, Compositive Mi Youren，Mountains in Clouds
Material on canvas,100x150cm
one which transcends the times; landscape painting also opens up a recondite,
empty realm, one which encapsulates the temporality of history, a realm of free
play – the obscure poetry of the Wei-Jin Dynasty and the wandering poetry Shang Yang's painting, whether it is Great Landscape or the Dong Qichang

of the Tang-Song Dynasty recluses all opened up this field. Once it becomes Project, or even the more recent Diary and Painting Album-leaf series, is the

a landscape painting, the landscape differs from the natural landscape. It most complete embodiment of the modern shift of traditional literati landscape

refines the specific elements of the natural landscape into the basic elements painting in the 20th century. It carries on with the modernity that was cut off in the

of painting, turning them into clouds: the natural objects have been transformed late Ming dynasty, and its spiritual profundity lies in its formation of a new sense

into clouds (stones moving as clouds, smoke trees and rivers), and it is the of temporal patina.

permeation of the water-based ink that fills the paper with clouds. The realm of duWith Shang Yang's traditional landscape paintings, which face multiple

landscape painting is the roiling of clouds, because clouds are that which most forms of destruction, we see the difficult transformation between destruction

embodies the state of changing time. This is the uniformity of nature: clouds and reconstruction: first is the formation of stone, because since the Song

are no less than the formal language of fluid spirit or vapor. The temporality of dynasty, landscape painting has used the chapping technique as the basic

vapor changes with the creation and destruction of moments. It preserves this language for rendering the texture of stone. Without the chapping technique,

change. Like Heidegger's foursome of sky, earth, divinities and man, everything Chinese landscape painting would no longer be possible, but now, what we

in the landscape painting is led by a vibrant, vaporous rhythm. Why has this face is only cracking of the earth and the withering of the landscape. Thus,

vaporousness been maintained? By the emptiness, or remaining whiteness of Shang Yang has begun to face the sense of these fissures in the land. Only

the landscape painting. The clouds are not consciously laid out (that would be when we caress the texture of the land can we restore nature's vitality. We can

mere decoration); they are the painting that is un-painted, awaiting a certain new see Shang Yang's process of warping and refining the stones, beginning with

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 a fissure in the traditional chapping (texture fold of stone surface) technique
– here, the chapping can never again take on that same sense of rhythm and
beauty. Instead, it turns into a series of shattered, variegated traces. This fissure
(Riss and Fuge, like the rifts and joints that Heidegger pondered), open up all
perceptions, and the question of how to fill and restore this fissure has become
the starting point for Shang Yang's painting.
Dong Qichang, Mountain and Water, Album-leaf9, 42.1x28.9cm,Shanghai
This spawned different types of alterations to Shang Yang's stones: the
painting of stones with a realist sense of bulk; stones replaced by printed
photographs; stones condensed into geometric shapes; sometimes merely
incomplete outlines. The stones are rendered in black and white tones or as
collages of images from traditional landscape paintings. Sometimes they are fat
brushstrokes that have fallen from the sky, as if to strike through the boulders.
Then there is the resin that is attached to the canvas, as if to apply a salve to
nature's wounds, to bandage this unfixable natural world. When looking at this
cracked, shattered process, the stones appear in space as either a massive
boulder towering above, yet cracked inside, or a stone that leans as if about to
148
fall over. Shang Yang's artistic approach mainly employs the various methods
of Western modernist painting: natural realism, geometrical abstraction, collage,
smearing and the contrast between black and white, bringing together the
various methods of natural destruction in an awe-inspiring, massive single
picture. This approach mainly sets out from the methods of natural destruction,
especially the great expressive power of space.
Mi Youren(1074–1151), Cloudy Mountains,Handscroll; ink on paper,27.6 x 57 cm,The Metropolitan
Museum of Art
It seems, however, that all of these efforts are in vain. Here is where we
can feel Shang Yang's hopelessness and pessimism. Without this benevolent
intellect, this yearning for restoration and salvation would not have arisen.
Of course, this cannot come from the artist's power alone. It must“let nature
become the subject”as German philosopher Ernst Bloch said in Principle of
Hope, letting life return to a more internal state of nature, and awaken the tactile
impressions of nature itself.
Shang Yang, Dong QIchang Projection-2,2003,Draft on paper,19×73.3cm.
Evidently, in order to restore nature, one must return to a more internal state
of nature, especially in terms of temporality. The restoration of nature rests on
regaining a sense of the texture of life, and for individual lives, a return to the
“heart's traces”of the individual, listening attentively to the sound of one's own
heart, and opening up an interiority that is even more internal. For this reason,
Shang Yang has a compassionate mind, one that does not only look upon the
already destroyed external natural environment (his earlier works mainly focused
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 on this), but returns instead to a more internal nature, to that soulful composition concentrated time, as if it has been covered in layer after layer of fine sand,
of traditional landscape painting, to the texture of life, to the clouded experience leaving behind traces of the ages. These are the traces of both the brush and
of the transformation of life. the heart. The allusive brush strokes and emptiness in the picture inspire infinite
Thus, we see a composition that is more connected to the traces of the meditations. The patina of time enters in the picture through mysterious means,
hand's movements, to the trajectory of the individual soul. In Diary and the the most internalized restoration of nature.
related life-study sketches, he picks up the loose outlines that we saw in Huang
Binhong's later years, though Shang Yang's are simpler, as if an indistinct
emergence of the past. This is the nature of memory, a belief that an air of
nature still exists within memory. This is faith in memory, and it turns the yellow
resin paint into that style of old age with that yellow-gray feel of age and time,
like Edward Said's idea of late style, the entry into the dusk of time. When faced
with shortness of time, the West is intense and scattered (like the music of
Beethoven), but the Chinese tradition since Dong Qichang has been to maintain
a fresh and lively sense of touch, to stay calm and collected. In this sense, the
intentions of the Dong Qichang Project were fully realized. Whether it was his
life study sketches or his miscellaneous journal jottings, we see in all of them
a composition method that maintains a fresh sense of touch. The diary-like
sketches are not training in realism but the act of capturing the traces of change
in nature, like a silent prayer, searching and grasping in the dark. I could almost
believe that Shang Yang's Diary and Painting Album-leaf works are like the
output of an old, blind artist, relying not on the eyes but on certain ideas in the
mind, slowly feeling out the atmosphere of ancient landscape paintings.
This is even the case when facing external destruction, which is also
impermanent change; disastrous variation and impermanent change are all still
change. What matters is your attitude towards change. If you believe nature
can attain restoration through its own powers, you must still remain calm and
dilute, because dilution is the entry into a transcendent state. This is done in
order to restore tattered nature, to have these fragments float to the surface,
and become light, like snippets of a beautiful memory, a kind of remnant image,
something that cannot quite be erased. This illusory lightness is the reawakening
of the clouds. We can see that once Shang Yang returned to the vivid vaporous
atmosphere of Mi-style clouds (clouds in the style of Song dynasty painter Mi
Fu), the active internal forms of nature were once again established.
The texture of traditional Chinese painting art comes down to three senses:
the atmosphere of clouds, the texture of jade, and the poetry of the chant.
In Shang Yang's Painting Album-leaf, a sense of forlornness remains in his
diluteness, shrouding the picture in a desolate atmosphere. Seemingly shapeless
remnants of mountains emerge from a murky background, like mountains but
not quite. This formation of“semblance”is quite subtle, as if exhaled by a
mysterious breath. It is a transformation of the visual sense of Mi-style clouds,
melting everything away, and covered by a layer of natural resin (this natural
material gives it a more natural texture), and small fragments seem to emerge
from the desolation as if by an ancient, poetic chant. After being covered in layer
after layer of ink, the resin takes on the texture and sheen of jade, a patina of

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 梁銓對山水畫的抽象轉化
幾微的“虛薄”

中國文化艺术精神的魅力在於 ：一直順應時間與空間的變化，尤其是氣息的
變化，但一直賦予這變形以形式，卻並不固定，而是讓形式可以生變，生成為活
化的形式或者形式保持為活化。這個隨機應變，就是悟性的形式感。但隨著西方
理性秩序的進入，這個悟性必須接納理性，繼續保持活化，既不能陷入理性的強
硬建構，也不能僅僅保持傳統的氣化變化方式，而是必須活化理性，保持理性結
構的同時，繼續生成為新的活化形式。
這即是形式的韻調，一種輕微變形的音調，即杜尚所言的“虛薄”，賦予虛
無以精微的形式。從傳統宣紙水墨的材料出發，梁銓的繪畫很好地回應了這個形
式的微調與活化的要求。

1，理性與悟性的合成。一個當代藝術家的貢獻在於，以異質的資源和力量
重新喚醒自身的傳統。對於梁銓而言，則是借助於西方幾何抽象的理性，在與之
對比與變形之中，通過喚醒自身文化的悟性，啟動自身文化藝術的內在形式。即
理性與悟性的同時交融，構成中國藝術家的基本精神形式。理性乃是有著邏輯，
有著幾何形式的構成，梁銓是通過以尺子打底的橫格子，如同唐代界畫的尺子，
是規矩與尺度的痕跡，還有畫面的塊狀格子 ；但，中國文化則是道家的悟性以及
佛教禪宗的偶發隨機性，即帶有妙機的悟性，通過打破塊狀的均衡，使之更為具
有邊緣的細微變化，而且在色塊的傾斜與輕微震盪之中，帶來畫面的變化性。
2，幾何形理性的變形。我們可以通過幾個圖片來比照 ：一方面，是借用蒙
德里安幾何構成的抽象畫，通過更為細密的格子與不同色域帶來差異變化，但並
非規整的幾何形以及相互的比例構成的對比來形成畫面張力，而是在細密的塊狀，
利用傳統線條的柔和變化，以及水墨還有水彩帶來的色暈的層次變化，無論是色
塊本身不規則的形狀，還是色塊邊緣的齒狀輕微起伏的變化，都讓幾何形的硬性
有所軟化。
3，傳統皴法形式語言的平面化。另一方面，是中國傳統山水畫的皴法，通
過壓縮傳統山水畫與書法用筆的凸凹之感（所謂董其昌所言的下筆如有凸凹之
形），也是按壓畫面潛在的深度，學習立體派的淺浮雕效果與拼貼，但更為服從
于表面，如同格林伯格所要求的回到表面，在平面上保持表面（sur-face），讓
表面本身成為有著厚度的褶子（pli, fold），帶來表面的皺褶（enfold）！即壓縮
傳統山水畫皴法的肌理凸凹，而使之拉平，但又有著輕微地起伏變化，不能減少
變化，而是更為細微地變化，而且還有著色彩的豐富層次變化，並且保持畫面的
延展。
比如文嘉在上海博物館的設色作品《村徑稻香圖軸》，通過視覺對比，似乎

152 153
 被壓平之後，其虛薄的厚度則更為明顯。 第三層則是物件性的空白，如果物件是抽象性的，是保持虛白的暗示性，即
在有著設色的山石塊狀以及有著凸凹變化的山勢造型上，通過壓平，或者拉 畫面的物件性，物件與基底的關係，如果描繪的物件並非具象，僅僅是抽象的痕跡，
平山勢的構造，保持平面化，然後讓平面保持為平面的延展，但，又有著輕微的 是淡痕的塗寫，是非物件的，那麼餘留的還是宣紙材質的空白，只是這第三層空
起伏與呼吸感，有著震動感，這是細微的元素性的震動。 白有著水墨渲染的豐富性了，但還是餘留了材質本身的現存品的空白性，可以吸
納萬物的精神（氣化的渾化）。傳統山水畫推崇雪景圖，就是對虛白與空靜的追求，
4，虛薄與余淡的融合。不僅僅是形式上的結合與相互的改變，而且也是精 這也是莊子之虛室生白的奧秘。——梁銓的繪畫是抽象畫，並不走向具體的圖像，
神氣質上的，即平淡與抽象的結合，是理性與悟性，在虛薄與餘淡上的結合。杜 畫面的塊狀僅僅是抽象的構成，是暗示性的。而且為了保持虛淡或者虛薄，還是
尚所言的“虛薄”是一種“比薄更薄”的厚度，而且它更大程度地存在於觀念中， 以大片空白的宣紙（這又回到了最初的那個空白的宣紙上）反復覆蓋與調節，再
而不是可以感知的現實，如同影子的厚度。虛薄的厚度，乃是自身與他者之間的 次保持了虛薄的空白性。
邊界線，是難以明確區分的邊界線（de-limitation），是 on-line 上的這個 line 梁銓很好地把虛薄，看似幾乎沒有的虛無空間，與傳統有著通透氣息的氣感
的 in-on-out，交錯著的三者之間的輕微震盪與變化，是虛像的，需要更為細微地， 結合起來，因為空白的餘韻，以及空白與墨色的對比，帶來細微的光感與氣感，
幾微的感知，這個“幾微”，有著時間性的悟性的時機，以及細微地變化的感知， 在那些有著色彩的墨暈散化的作品上，低微的光氣融合為虛薄的狀態，形成幾微
就是虛薄，因此，也可以用杜尚的 infra-mince 來翻譯幾微與極微的變化。梁銓 之象，或者虛像。
作品，既有著理性的構造，也有著傳統平淡的淡化的痕跡。
在西方，還有誰比杜尚更為具有平淡的精神？一方面，現存品放棄美醜與創
造力的區分，另一方面，把日常生活帶入藝術，或者把藝術轉化為日常生活，呼
吸甚過工作。這就有必要重建傳統的平淡譜系 ：從倪瓚到董其昌，再到漸江弘仁，
直到梁銓的現代轉化（還有尚揚，邱世華等人）。
這也是與梁銓曾經作為版畫家對版畫的獨特理解相關，有一種拼貼式的印法，
法文叫 chine colle，這裡的這個與“中國”相關的 china 其實是“薄”的意思，
而 colle 是拼貼，就是薄的拼貼，這種銅板技法讓畫家認識到與中國傳統的裱畫
相通，梁銓自覺把傳統托裱的整個方式，從畫心到隔水懸掛的整個畫面展示空間，
從裡到外，也是從外到裡，整個地以拼貼並置在畫面上，這是一個奇妙的德里達
所言的 parergon 的邊緣交錯的“裝飾”邏輯，卻打開了畫面虛薄的厚度。

那些名為《老茶》的作品，就是有著圓形的表面形體，但是在呼吸，日常呼
吸的生活中，抽象形式得到了呼吸感的轉化，以簡潔的線條處理，使形式充滿了
呼吸感，隨意地隨機地拓變，而且大片的空白留下餘味的回味。一個個被水墨侵
梁銓（2012 悉尼雙聯展現場）香港奧沙畫廊提供圖片
染的形體，似乎還在輕微呼吸，有著虛薄的厚度，如同水泡水汽，還帶有呼吸的
余溫。

梁銓的作品最好地回應了傳統水墨如何打開虛薄的方式。因為水與宣紙的接
觸形成了三重空白 ：
第一層是空白的材質本身，作為空白宣紙是布料一般的現存品，這個宣紙的
空白，一直要保持空白，要餘出 ；——梁銓的作品是通過裁剪宣紙，作為現存品
的宣紙得到了更為多樣地展開，而不僅僅是一塊完整的宣紙，而是很多不同的大
小。
第二層是空白的基底，乃是水的特性導致的，宣紙之中加入水，似乎成為“畫
面基底”，即讓宣紙的布料成為了畫布基底，但因為是自然的水，無色無味的水，
水滲透宣紙，還是保留了宣紙的空白，而水之渲染，或者塗抹，塗寫，淡淡的塗寫，
在似有似無之間，就是如蘭的呵氣，就是其間的細微呼吸感，生命感與舒緩感；——
梁銓在這個層面上，則是加入淡水與淡墨的渲染，或者加入水彩，打開一個中間
的厚度，或者通過毛邊的細微震盪，或者通過顏色的對比，或者通過帶有暈染的
色彩的暈散。

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梁 銓 我的茶日記 三聯畫 2010-2011 茶、色、墨、宣紙 200X140cmX3
Liang Quan My Tie Diary Triptych,2006,color,ink and Rice Paper, collage, mixed meidia 200X140cm x3

156 157
梁 銓 喝茶的日子雙聯畫之一 2012 水墨，色，宣紙拼裱於亞麻布 90x120cm 梁 銓 喝茶的日子雙聯畫之二 2012 水墨，色，宣紙拼裱於亞麻布, 90x120cm
Liang Quan Day with tea-1 2012 Diptych 2006 color,ink and Rice Paper, collage, mixed meidia 90x120cm Liang Quan Day with tea-2 2012 Diptych 2006 color,ink and Rice Paper, collage, mixed meidia 90x120cm

158 159
梁 銓 瀟湘八景之一 2010 宣紙水墨色茶汁，混合技法 125×90cm 梁 銓 瀟湘八景之七 2010 宣紙水墨色茶汁，混合技法 125×90cm
Liang Quan Scenic Spots-1 2010 color,ink and Rice Paper, collage, mixed meidia 125×90cm Liang Quan Scenic Spots-7 2010 color,ink and Rice Paper, collage, mixed meidia 125×90cm

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梁 銓 茶日志之四 2006 印度大吉嶺紅茶，色，膠 31×42cm 梁 銓 空之二 2001 宣紙，彩墨，拼貼 61×122cm
Liang Quan Diary IV Darjeeling Black Tea, Colour, Glue 2006 31x42cm Liang Quan Empty-2 2001 Colour,ink and collage on paper 61x122cm

162 163
梁 銓 清溪魚隱圖雙聯畫之一 2006 水墨，色，宣紙拼貼於亞麻布 180×120cm 梁 銓 疑是地上霜 局部
Liang Quan Fish in Alone, Diptych-1 2006 color,ink and Rice Paper, collage, mixed meidia 180×120cm Liang Quan Detail Moon Light on the ground just like frost

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 Abstract Transformation of Landscape
Painting in Liang Quan
Delicate Infra-Mince

The enchantment of China's culture lies in the fact that it has always
followed the changes in time and space, especially changes in the atmosphere,
but it has always bestowed these changes with a form, one that is not set, but
changeable, producing an active form (vivid metamorphosis) or a form that is
maintained as vivid metamorphosis. This flexible ability to change is an intuitional
sense of form. But with the arrival of the Western rational order, this intuition
must accept rationality. In order to remain this state of metamorphosis, it cannot
fall into the rigid structure of rationality, but on the other hand, it cannot merely
preserve its traditional vaporous methods of change. It must activate rationality,
continuing to produce new metamorphosis while maintaining a rational structure.
This is the tone of form, a slightly inflective tone, the“infra-mince”
（infra-
thin）of which Duchamp spoke, bestowing the void with profound form. Setting out
from traditional scroll paper and ink painting, Liang Quan has responded well to
the demands of fine-tuning and activeness in this form.

The synthesis of rationality and intuition. The contemporary artist's Mondrian. Composition No.6. 1914. Oil on canvas. 88 x 61 cm. Gemeentemuseum,
contribution lies in the use of resources and forces of a different quality to the Hague, Netherlands
reawaken one's own traditions. For Liang Quan, this entails using the rationality
of Western geometric abstraction to activate the internal forms of his own
culture's art by awakening the intuition of his own culture within the comparison
of changes between these abstracted shapes. This is the fusion of rationality and
intuition that forms the basic spiritual form of the Chinese artist. Rationality is a
construct possessing logic and geometric form. Liang Quan creates a horizontal
grid laid down by a ruler, like the ruled line paintings of the Tang dynasty. These
are the traces of rule and measure. There are also block grids in the image.
Chinese culture, however, is marked by Daoist intuition and Zen Buddhist
serendipity, a subtly changing form of intuition. By breaking the balance of the
grid, it creates infinitesimal change on the borders, while the slanting and shifting
of the color fields brings changeability to the picture.

The rational warping of geometric shapes. Through some comparisons, we

can see that Liang uses Mondrian's geometric constructs to create an abstract
painting, using a denser grid and different color fields to create shifting contrasts,
but the disorderly geometric shapes and the contrasts created by their different
ratios create tension in the picture. In the dense blocks, he uses the soft changes
detail in Liang Quan.
of traditional lines, as well as the layered blending of colors attainable in ink and
watercolor painting. Whether it is the disorderly layout of the color fields or the
undulations of their edges, they all effect a softening of the hard geometry.

166 167
 The flattening of the formal language of chapping (texture-folds of stone-
surface). Another aspect is the chapping technique from traditional Chinese
landscape painting. By condensing the sense of protrusion in traditional
landscape painting and calligraphy brush techniques (what Dong Qichang called
the use of the brush to create protrusion), he is pressing down the latent depth
in the picture. He is learning from cubist relief effects and collage techniques,
but putting it in the service of the surface. This is in keeping with Clement
Greenberg's entreaties to return to the flatness of the surface. By retaining the
surface on the plane, he turns that surface into one with depth and folds, in
effect enfolding the surface. He compresses the protrusions in the landscape
painting texture of the chapping technique, flattening it, but there are still subtle
undulations. The changes are no fewer, merely more minute, and when the rich
layers of color are added, it maintains the expansion of the picture.
For instance, look at Wen Jia's work, We can compare his art with Wen Jia's
color painting Village Among the Paddies at the Shanghai Museum. It is as if,
after being flattened out, its infra-mince depth has become more apparent.
WenJia Jiangnan in Spring, Ming dynasty, color on paper, 28x109cm:
Ni Zan, The Rongxi Studio. detail
On the colored stone formations and protruding mountain shapes, through
flattening the constructs, and maintaining the surface, this surface maintains its
extension, but now it has a subtle sense of undulation and breathing, a sense of
vibration. This is the miniscule, elemental vibration.
The fusion of infra-mince and remnant lightness. The integration and mutual
alteration are not only on the formal level, but on the level of spiritual qualities
as well, in terms of the integration of lightness and abstraction, the integration
168
of rationality and intuition in terms of infra-mince with remnant lightness.
Duchamp's“infra-mince”is a thickness that is“thinner than thin,”something
that exists more in concept than in perceptible reality, like the thickness of a
shadow. The thickness of infra-mince is the boundary between the self and
others, an indistinguishable delimitation, the In-On-Out of the“line”in“on-
line,”and the imperceptible movements and shifts between the three. It is virtual,
requiring more refined and delicate perception. This usage of delicate contains
implications of temporal intuition, as well as perceptions of subtle changes,
i.e. the infra-mince, so we can use Duchamp's infra-mince to translate these
delicate and minute changes or transforms. Liang Quan's works contain rational
constructions, as well as traces of traditional lightness and dilution.
In the West, who possesses the spirit of lightness more than Duchamp? On
the one hand, the readymade discards with distinctions of beauty, ugliness and
creativity, and on the other, it brings everyday life into art, or transforms art into
everyday life, even the act of breathing. Here there is a need to resurrect the
traditional coordinate system of lightness: from Ni Zan to Dong Qichang, and
on to Hong Ren in Zhejiang Province, and all the way to Liang Quan's modern
transformation.
This is connected to Liang Quan's unique understanding of print art from
his past as a printmaker. There is a kind of applique technique that in French
is called“chine colle.”Here, the term“chine”or“china”means“thin,”while
“colle”is applique or collage, so the term roughly means“thin application.”This
engraving technique evoked associations with Chinese traditional mounting
techniques for paintings, and Liang Quan took the complete method of mounting,
and he has affixed and juxtaposed the entire process and components, from
the core painting to the mounting paper, inside to out, or rather, outside to in,
creating a“decorative”logic of intersecting borders that is remarkably in keeping
with Derrida's idea of a“paragon (parergon),”opening up infra-mince thickness
in the picture.
In the works entitled Old Tea, there are round shapes on the surface, but
they are breathing. In the everyday, breathing life, abstract forms have been
transformed to gain a sense of breathing, using simple lines to fill the forms
with a sense of breathing, constantly changing, while its traces linger as a kind
of aftertaste in the broad expanses of white. Each shape, permeated by ink,
appears to still be breathing the slightest breaths. They have the thickness of
infra-mince, like bubbles in water with temperature of person breathing.
Liang Quan's works are the best response to the question of how to open up
the infra-mince within traditional ink painting, because the contact between the
water and the scroll paper forms a three-fold blankness:
The first level is the blank material itself. Blank scroll paper is a fabric-like
readymade. The blankness of the scroll paper must be retained. Liang Quan's
works cut the scroll paper, and as a readymade, the scroll paper expands in
more diverse ways. It is no longer a complete piece of scroll paper but many
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 pieces of different sizes. Liang Quan has a good grasp of infra-mince. This seemingly non-existent

The second level is the blank foundation, which is the result of the unique empty space is integrated with the traditional transparent sense of vapor,

properties of water. When water is added to the scroll paper, it virtually becomes because the remnants of this blankness, as well as the contrast between the

the“foundation of the picture,”in that the scroll paper fabric becomes the blankness and the ink, create a subtle sense of light and vapor. In those works

canvas base, but since it is natural water, with no color or taste, as it permeates that have diffuse colors and ink, the low level fusion between light and vapor is

the paper, the paper retains its blankness. The permeation, application or light the state of infra-mince, possessing a semblance of the delicate, or the illusory.

spreading of the water, in this space between something and nothingness, is like
the breath of the orchid, a delicate sense of breathing, of life and of relaxation.
On this level, Liang Quan opens up an intermediate thickness through the
addition of water or diluted ink, or through subtle shifts in the borders, or through
color contrasts or the blending of colors.
The third level is objective blankness. If the object is abstract, and maintains
an empty allusiveness, that is the objectiveness of the picture. The relationship
between the object and the foundation, if the depicted object is not figurative
but mere abstract traces, a light trace, non-objective, then the blankness of the
medium remains, except that now, this third level is enriched by the permeation
of water and ink. Yet the blankness of the material as a readymade is retained.
It can absorb myriad spirits (vaporization and transformation). Traditional
landscape painting held snowscapes in high regard, as they marked a pursuit
of emptiness, of a void. This is the heart of Chuang Tzu's mystery of the empty
room filled with light. Liang Quan's paintings are abstract paintings. They do not
lean towards figurative images. The blocks in the picture are merely abstract
constructs, allusive. Also, in order to maintain lightness or infra-mince, it is
covered by broad expanses of blank scroll paper (once again we have returned
to the blank scroll paper from the beginning), repeatedly covered and adjusted,
once more retaining the blankness of the infra-mince.

Robert Ryman, Untitled, 1965.Oil on Linen, 26x26cm

detail in Liang Quan, working State

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 江大海的虛薄式繪畫
氤氳之氣的渾化與伸縮

伴隨著所謂藝術的終結，以及至高存在或上帝的退隱與回撤（retrait），現代
性的西方繪畫也開始於繪畫自身的退隱，不再是任何物件的再現與表現，1960
年代的美國抽象表現主義繪畫，在羅斯科（Rothko）與紐曼（Newman）那裡，
這個退卻，這個神缺論（Atheismsabsence）已經開始了，缺席成為了繪畫的
對象，雖然這被利奧塔（Lyotard）稱之為對“崇高（sublime）”之不可表達的
表達，但其實是所有可見性的消失，如果沒有什麼可以表現的，而是顯現的條件
也喪失了，如果還有美學的話，那也是消失的美學以及美學的消失。如果繪畫要
表現什麼，那也僅僅是表現繪畫自身的消失，即把藝術自身的消失作為繪畫的對
象，繪畫成為自身的元對象之際，卻僅僅是空無所有了。但繪畫的豐富性與現實
的感性何在？抽象抽空一切之餘，還剩下什麼可以被繪畫接納？
繪畫成空了，至此，繪畫既要保持空無，又要接納什麼。這個張力如何可能？
中國藝術家能否面對這個挑戰？我們看到江大海的作品由此應運而生。

保持空無，但空無中還有著某種敞開性，還不可能去填滿它，那麼什麼可以
進入這個敞開的空無？這是“虛氣”（Inframince Qi）！中國傳統審美的魅力在
於 ：不陷入有無之間的絕對對立，這是因為有著“虛（inframince chaos）”與
“虛化（khoralise）”的轉化方式，程抱一（François Cheng）在他《中國詩畫
語言研究》（Vide et plein: le langage pictural chinois）著作的中文版序裡寫
到了這個“氤氳”的虛化之氣 ：
“即任何作品首先必須內含陰陽交錯之飽和或張
力，這飽和，這張力，是穿過筆墨的鋪陳組合與佈局的開合起伏而獲得的。”程
抱一就是以“虛”
（法語也只能翻譯為“空”[void]，因此是難以準確傳達虛化的），
來討論中國藝術特色，
“虛”、“虛化”或虛薄（inframince）如何動詞化？“氤氳
（metamorphosis of infrathin energy）”，對於西方是難以理解的，並不同於西
方的空無，那麼，這尤為需要中國當代藝術家，創造性轉化傳統的“虛氣”，在
保持虛氣的同時，還接納西方的藝術形式，生成為具有普遍性的視覺感受！
“ 虛 ”， 既 非 無（nothing） 也 非 有（being）；
“ 虛 ”， 足 夠 地 虛 化， 乃 是 不
陷入任何規定，一直保持不確定，保持在自身向著他者的轉化生成的過渡之中
（le devenir-le passage de l'un à l'autre）（the passage from one to the
other takes place in the infra thin），這不就是杜尚 1937 年筆記中所隱秘思
考的“虛 - 薄”
（infra-mince, infra-thin）？試圖從新連接現存品（ready-made）
與繪畫的可能性？一直保持這個微妙的過渡，人類的理性與法則不可能追隨此變
化，那麼，可以通過模仿自然的變化，儘管自然有著自身的分類，但是在氣化之
中，尤其是煙雲的變滅之中，所有的規定以及形態都是暫時的，只有變化是常態
的，因此，任何的“實有”與“空無”都僅僅是兩種可以考慮到的極端情性，因
為宇宙中其實並沒有空無，這樣，就沒有自身與他者的絕對對立，而是有著虛化：
即保持足夠地餘地與彈性，萬物之間都有著無限伸縮（plasticity）的可能性，其

172 173
 間之細微的過渡性。
但這個虛化，既要與“空無”——空間的敞開與無規定性而不是什麼絕對無，
也要保持接納——可以充分地接納，甚至無限接納，有著吞吐的那種容納性，在
具體形態上，這也是量子力學的原理 ：一方面，有著粒子，最小微粒的分化，彼
此撞擊，在微觀領域有著某種變化的多向可能性，但僅僅是各種可能性；另一方面，
還有著波動性，這個波動性，如果不走向主體觀察者出現的坍塌狀態，就一直保
持波動之中，並不確定，一直不可能定型，還有著變化的可能性。但二者如何並
存呢？虛化使之可能 ：虛化，一方面保持微粒的細微變化 ；另一方面，則是保持
波動的變化，並不凝結，而是保持生變的鮮活性。
我們就看到了江大海作品具有的“形而上”品格 ：畫面上無數的點在緊密地
閃爍，保持於潛在的醞釀之中，似乎在旋轉，但又保持靜默，這不是就老子《道
德經》第一章的那個“玄之又玄”？這些幽微的“點”，如何被畫家變幻出來的？
其一，這也許與杜尚所喜歡的畫家修拉的點彩畫相關。修拉以細小的彩點堆
砌出某種模糊的暗示性的形象，有著後來電視機一般的成像原理，這些彩點一直
處於不確定之中，把物象都淹沒其間，帶來一種隱隱約約的朦朧閃爍的詩意。在
法國旅居二十多年的江大海，在 1990 年代就曾經以一些隱秘的點來覆蓋書法文
字，對法國藝術的這個脈絡了然於心，而且開始試圖帶入中國藝術的餘味，這些
斑點，僅僅是點的剩餘，是在消失或消散之中的點。
其二，但江大海作品上的彩點或者斑點還來自于對宋代“米氏雲煙”即氣化
的“茄點”的轉化，米氏的點被氣化蒸開，是被水分所暈化開來的石塊，但石頭
已非石頭，而是有著呼吸顫慄的細微墨點了，所謂石如雲動。江大海繼續稀釋這
些茄點，但帶來了新的形式 ：一方面，更加緊密，在氣感中帶入內在的力量——
這是傳統水墨畫所缺乏的，另一方面，則更為散開，無盡彌漫，更為細碎，似乎
是被擊碎的基本粒子！因此，從“小一”到“大一”，保持二者之間的張力，江
大海在氣感中帶入了內在的力感。
其三，這些點狀來自於混沌，並且一直保持在混沌之中，因此並不走向具體
物件，一直處於“微茫”的混沌與端倪的邊界之中，有著變化的前兆！有著事件
來臨的預感，但並不聚集為可見性的形象，這也是畫家從晚明畫家龔賢那裡學習
到的視覺感受，龔賢以積墨法帶來一種荒寒寂寂，空茫浩渺的山水，充分運用了
積墨法帶來斑點的墨色的層次感，而江大海作品上的點，更為保持躍動，在跳躍
中彼此吸納，也是反復覆蓋，帶來細微的色差變化！但被一直渾化之氣縈繞，因
此這些“色點”還一直保持潛在狀態，在虛靜與動態之間，相互涵攝，相互吸納，
彼此相溶。
這個混溶，一如江大海繪畫的名稱所言，很好地傳達了顆粒感向著混沌的退
卻，不是走向明確對象，而是繼續向著混沌融化。宛若膠片的顆粒感與呼吸感，
這是時間“幾微”的痕跡，可以是抽象，但更為呈現為“餘像”（inframince-
image）。
我們這個時代的影像，不外乎如下三種 ：一是對傳統的高仿，似乎歷史的時
間間距消失了，這導致過去的消失 ；一是高清技術，一切都變得如此加倍地清晰，
反而沒有了現實的色暈背景，沒有了瑕疵與模糊性，這些圖像失去了生趣，卡通
動漫圖片也不過是其泛化形式，不再有未來 ；一是膠片感，有著過去的某種餘留
與懷舊感，但這個過去並不具有現實性。因此，這是三重時間性的消失，如何恢
復肉身生命的時間感，還有著新的影像視覺？而不僅僅是排斥技術的視覺衝擊？
174
江大海作品帶來的視覺感受很好地回應了這些問題 ：它恰好是對高清的抵禦，
帶入了某種氣化的彌散狀態，這個彌散有著高清的背景，我們確實可以看到這些
無數聚集的顆粒，一旦我們接近，我們看得愈加清楚，但在遠離畫面時，它們散
化開來，帶來微茫的氣息。這些顆粒形成了某種氣化狀態，畫家在調節之中，在
反復的噴射與點狀的書寫之間，不斷使顆粒變化，而且帶來一種內在的白光，這
是氣化的光，並非高光與明確的光，這光變得更為柔和，充滿氣化，就更為虛化，
不再走向可見性的清晰，儘管其中隱約可見某種煙雲流變之勢態。
中國傳統文化的生命質感在江大海的作品上得到了很好體現 ：一方面，在於
煙雲感，那是時間的瞬間生變，也是自然流變的生動感受，這是畫面上的氤氳之
氣 ；另一方面，還在於玉質感，它來自於畫面的顆粒感在緊密地聚集之中，似乎
聚集了無窮的能量，帶來一種內在的硬度，宛若水磨石一般，那種內在的吸納力，
聚集力，卻又有著散化的柔軟性，但這個柔軟性卻有著瓷器一般的美感。
這種雅致地美感是如何生髮出來的？除了灰色的渾茫，還有著與中國瓷器相
關的那種灰青，灰藍，那種這來自于畫家對宋代以來瓷器色彩，尤其是天青色的
持久喜愛，那是來自於釉色的天青色，這據說來自於天空的天青色，宋代的釉色
有著異常美妙的色澤，比如，天青，天藍，粉青，豆青，月白等，尤以天青為貴，
粉青為上，天藍也彌足珍貴，如何把這天青，天藍，以及灰青聯繫起來，對於當
代中國藝術而言，休戚相關，因為如此的顏色，如同抽象繪畫走向黑色而達其極致，
也許，在這天青與灰青色那裡，有著中國人生命時間的內在經驗。這天青，與西
方灰色，與水墨灰白相關的灰青色，帶來的是可望不可及，可感不可觸的微妙性，
把遙遠與切近，可觸與不可觸的張力內在凝縮起來了，也把把乳狀與硬度結合起
來。
因而，江大海畫面上那種微妙氣化之中還透漏出瓷器一般的硬朗，以及在乍
看起來的灰色之中，卻透漏出一種無比秀美的紫色，那紫色慢慢地滲透出來，迷
人而恬靜！與之相通的就是那宋代的青色，這迷人的青色乃是瓷器的“包漿”質
感 ：從外往裡看，則是溫潤如玉 ；從裡往外看，則是有著硬度。而江大海的作品，
則是從裡往外看，是氣化的彌散狀態 ；從外往裡看，接近畫面，則是有著顆粒聚
集的力量。顏色的變化，從氣之力，到力之力，顆粒的伸縮性得到了最為徹底體
現。江大海的作品讓我們很好地感受到了中國傳統的生命質感經過抽象的洗禮之
後，如何具有如此迷人的感受力，可以被世界所分享的形而上質地。
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 江大海 恢弘 2012 布上丙烯 150 x 250cm Jiang Dahai Extensive 2012 Acrylic on canvas 150 x 250cm

江大海 鴻蒙Ⅱ 2010 布上丙烯 200 x 200cm Jiang Dahai Red Obscure Ⅱ 2010 Acrylic on canvas 200 x 200cm

176 177
江大海 渾化 2012 布上丙烯 150 x 150 cm Jiang Dahai Metamorphosis 2012 Acrylic on canvas 150 x 150 cm 江大海 空寂 2012 布上丙烯 150cm x 150cm Jiang Dahai Void 2012 Acrylic on Canvas 150x150cm

178 179
江大海 茫 2011 布上丙烯 200 x 325 cm Jiang Dahai Vague 2011 Acrylic on Canvas 200x325cm

江大海 虛靜 2012 150x 150cm Jiang Dahai Tranquil 2012 Acrylic on canvas 150x150cm

180 181
江大海 融渾 2010 布上丙烯 200 x 350 cm Jiang Dahei Harmony 2010 Acrylic on Canvas 200 x 350 cm 江大海 融渾 局部 Jiang Dahei Harmony detail

182 183
 The Infra-mince Painting of Jiang Dahai
Metamorphosis of Qi and Plasticity
With the so-called end of the art and the withdraw of God or the Supreme
Being, modern painting began the withdrawal of painting itself, never again
focusing on the expression or representation of any objects. With the American
abstract expressionism of the 1960s, in the paintings of such artists as Rothko
and Newman, this withdrawal or deity-absenteeism had already begun, with
this absence becoming the subject of their painting. Though Lyotard called
this an inexpressible expression of the sublime, it actually amounted to the
disappearance of all the visible. If there is nothing to convey, and the condition
for emergence is lost, then if aesthetics still exists, then it must be as the
aesthetics of disappearance and the disappearance of aesthetics. If painting
is to express anything, it can only be the disappearance of painting itself, i.e.
the disappearance of art becoming the subject of painting. When painting has
become the meta-object of itself, only emptiness remains. But where is the
fertility and reality perceptivity of painting? When everything is abstracted, what
can painting still take in?
Painting has become empty, and in this regard, it must maintain its non-
being or emptiness while also accepting something. How is this tension possible?
Can Chinese artists take on this challenge? We can see that the painting of
Jiang Dahai responds precisely to this situation.
The emptiness is maintained, but a certain openness is also present, an
openness that is impossible to fill. So what can enter this openness? Infra-mince
qi! The allure of traditional Chinese aesthetics lies in its avoidance of falling
into an absolute, oppositional relationship between being and nothingness,
which is possible because of the method of transformation from infra-mince
chaos and the khoralisation. François Cheng described this“densely vaporous”
infra-mince qi in the preface to the Chinese version of his work Vide et plein:
le langage pictural chinois  :“All works must primarily contain the saturation or
tension in the interweaving of Ying and Yang, and this saturation and tension is
present throughout the composition and arrangement of brushstrokes and ink.“
Cheng addressed the characteristics of Chinese art in speaking of the void. But
now, let's imagine the void, the passage to the void and the infra-thin all become
verbs. The Yinyun or the metamorphosis of the energy infra-thin is different from
the Western conception of emptiness, and thus is difficult to understand for the
Westerners. Therefore, contemporary Chinese artists are asked to represent
the infra-thin qi in a creative way while absorbing Western art forms to achieve a
universal visual perception.
184
The“void”(or infra-void) is not nothingness, nor is it being. The infra-
void has been adequately emptied, yet it never allows itself to be constrained
by any discipline. It remains uncertain and within a state of passage twards the
other (“the passage from one to the other takes place in the infra-mince”).
Isn't it precisely the infra-mince that Duchamp quietly speculated on in his 1937
notes? What of the possibility of reconnecting painting and the readymade?
While maintaining this delicate passage, mankind's reason and principles cannot
follow this change, but we can imitate the changing nature. Nature has its own
categories, but in the passage of qi, and especially in the fluctuation of clouds
and vapor, all rules and forms are ephemeral; only change is eternal. Therefore
the substantive-being and void-nonbeing are only two extreme states. That is
because true emptiness does not exist in the universe, and there is no absolute
opposition between the one and the other. What exists is the passage towards
the void: between all creatures, there is always room for infinite plasticity and the
subtle transition.
This infra-voiding, however, must possess“emptiness”– the openness
and lack of definition, rather than absoluteness, as well as acceptance - the
ability to absorb limitlessly. In its concrete form, it accords with the principle of
quantum mechanics: on the one hand, there are particles and smaller particles,
which collide with each other, and have multiple opportunities to change
directions in the microscopic domain, even if these are only possibilities; on the
other hand, the particles also have wave properties. Provided that the observer
does not appear, which causes the collapse of the state, the wave function
is always established, which guarantees uncertainty, indefiniteness, and the
possibility of change. But how is this duality possible? It is made possible by this
infra-voiding: it maintains both the subtle changes of particle properties and also
the wave properties, which do not bind, but remain in a fresh state of change.
Hence the metaphysical quality in the work of Jiang Dahai. In his painting,
countless particles glitter with intensity; they maintain in a state of potential
formation, as if rotating, yet they also remain silent. Is this not the“mystery of
mysteris”(darkness beyond darkness) in Lao Tzu's Dao De Jing? What magic
did the painter use to produce these“points”?
First, it is related to the pointillism of Georges Seurat, a painter loved by
Duchamp. Seurat accumulates points to create multicolored blurred images,
in the same principle as that of the TV screen. Uncertain points overwhelm
images of objects by providing a misty and poetic glow. Having lifed in France
for twenty years, Jiang Dahaiknows the tradition of French art, and has made
various attempts to introduce a Chinese infra-flavor into these traditions. In the
1990s, he covered calligraphy with faint points. These spots and points are only
remnants, or rather points in disappearance or in dispersion.
185
 Second, the points or spots in Jiang Dahai's artworks are also derived the light of vaporization. It is not a bright, clear light, but one that is softer and
from the“Mi-style clouds”of the Song dynasty. These Mi-style points hav full of vaporousness, more infra-empty. It no longer shifts towards the clarity of
been vaporized or evaporated, and the stones are no longer stones, but many visibility, even though one can see a certain flow of clouds within.
tiny ink dots that quiver and breathe, making them move like the clouds. Jiang
Dahai continues to dilute these points, but in a new form: on the one hand, they
are more intense, and thus the energy is invested internally, which is absent in
traditional ink painting. On the other hand, they are more diffused, spreading
endlessly, and are as thin as broken elementary particles. As a result, from the
smallest to the largest, Jiang Dahai has introduced an internal sense of force into
this sense of qi.
Third, these points emerged from chaos, and will always maintain a state of
chaos, thus never shifting towards a concrete formation. On the murky boundary
between chaos and incipience, there are portents of metamorphosis. The
premonition of a coming incident without the coalescence of a visual image is a
type of visual perception the artist learned from late Ming dynasty painter Gong
Xian. Gong Xian used the“ink accumulation”technique to create landscape
paintings marked by a desolate, wintry atmosphere, employing a subtle layering
effect through the points and dots of the accumulation technique. The spots
in Jiang's paintings are more dynamic, absorbing and overlapping each other,
providing subtle variations of color. Between the static and dynamic states, the
colored dots subsume, assimilate and dissolve each other.
This mixing and fusion, as revealed by the titles of his paintings, convey Rothko,Number7, 1960, Oil on canvas,105x93cm
the withdrawal of the particles towards the chaos, rather than towards a clear
subject, much like the sense of particles and sense of breath found in film. This
is the subtle aroma of time; it may be abstract, but it more often emerges as an
afterimage (infra-image, infimage).
All images in our times fall under three categories: high-quality imitations
of traditional images, as if the temporal distance of the past has disappeared,
in effect making the past itself disappear; images made with high-definition
technology, making everything exceedingly clear, losing the misty backdrop of
reality and the charm of life - cartoon and anime imagery is nothing more than a
derivative form of this, and there is no future for it; and then there are the images
imbued with the feel of film, which have nostalgia for the past, but it is a past
without value in reality. Thus, there is a triple loss of temporality. How to restore
this corporeal temporality, one that possesses a new visual image, instead of
simply abandoning the visual impact of technology?
Jiang Dahai, Qi-Logos, 2011,Acrylic on Canvas, 200x325cm
The visual perceptions brought by Jiang Dahai's artworks make for a great
response to these issues: in their resistance against high-definition, they enter
into a vaporous state of diffusion. This diffusion possesses a high-definition The texture of traditional Chinese culture is well embodied in Jiang's
background, because we can actually see those countless accumulated artworks: on the one hand, there is the breath, the qi or the wispy clouds that
particles. As we approach, they grow clear, but as we move away, they disperse, awaken the feeling of the living, instantaneous change and natural evolution; on
bringing a subtle atmosphere. These particles form into a certain vaporous the other hand, it is also found in the texture of jade. The energy of the intense
state, and in the painter's adjustments, in the repeated spraying and writing of concentration of particles creates an internal hardness as strong as granite. It
the points, modifies the particles, which generate an internal white light. This is is the attraction, the concentration as well as the flexibility in the diffusion, which

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 possesses a beauty comparable to porcelain.
Where does this elegant beauty arise? Apart from the vast gray haze, there
is the gray azure found in Chinese porcelain. It appears that the painter loves the
color of porcelain, particularly that of the Song dynasty, the color of celadon, that
is to say, the celestial blue-green. The Celadon glaze of Song dynasty porcelain
has wonderful colors: celestial blue-green, celestial azure, pale blue-green, pea
blue-green, moonlight white. Among the colors, celestial blue-green is the most
expensive, and the pale blue-green and celeste azure are also very valuable.
It is important for the contemporary Chinese artist to memorize these colors. If
black is the extremity of abstract painting, probably in the celestial blue-green
of celadon is retained the life experience of the Chinese people. This celadon
color, in relation to the Western gray and the gray colored Chinese ink, gives
birth to a subtlity of the visible but impalpable, which connects the intention of the
accessible and the inaccessible, the softness and the hardness.
detail,Chinaware
detail,,QI-Logos, Jiang Dahai
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For this reason, a hardness of porcelain is revealed in the subtle
vaporization of Jiang Dahai's paintings. In the gray color at first glance, a purple
that is elegant, charming and serene pours slowly. For the patina of the celadon
glaze of the Song dynasty, observed from outside, it is as smooth and warm as
jade, and observed on the inside, there is hardness. As for Jiang's paintings,
when observed from inside, they are in a state of diffusion, and when observed
from outside, they have the strength of the condensation of particles. In the
changes of colors, from the force of the qi to the fore of strength, the plasticity
of the particles is fully embodied. The works of Jiang Dahai share with us, and
the whole world, the charm of the living texture of the Chinese tradition after the
baptism of abstraction.
[this text translated by Shi Wenxin and Jeff Crosby]
鴻蒙Ⅱ(局部）detail Jiang Dahai Red Obscure Ⅱ
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 張羽的指印
幾微的接觸

指指點點，指一指，點一點，但，在點印“之間”，幾乎一無所指，幾乎沒
有什麼可說，只是一次次的餘痕。
幾乎沒有什麼可說，因為它已經說出了一切，已經指明了一切。
一切都在旦夕“之間”、在轉瞬“之間”，發生了改變！所有的一切都已經說出，
都已經指明，滿滿的指印似乎在看著我們，無數的眼睛在默默看著我們，似乎也
在邀請我們自己來指指點點。
但一無所指，也一無所說，卻又說出了一切，在點印之間，這道出了指印的
秘密 ：指印之為印跡，都在有無“之間”，在幾微“之間”，微妙地轉換著，留下
的只是轉瞬“之間”的一觸！只是一次次輕輕接觸的觸點！這個觸點，即是幾微
的時空性。
指指點點，點點印印，所有的點印幾乎只是輕輕的一點，輕輕的一觸，幾乎
沒有什麼可以說的，幾乎無話可說。
幾乎一無所剩，唯一還能夠說的，唯一還剩下的是：這個微乎其微的“幾乎”，
這個“幾微”，僅僅作為淡然的餘留。
“幾”，一個神奇的字，漢語特有的對時間性變化時機的標記，也許可以用來
說明張羽作品上指印的形而上意義！張羽的抽象水墨深深地觸及了漢語思想原發
階段最為關鍵的一個字 ：
“幾”！淡淡的“幾”，幾微之“幾”，虛薄之“幾”。
指印之點，每一個點之間，點與點之間，其細微的別異，其精微的相似，在
似與不似之間，都是“幾”，都奇妙地在彼此回應，隨著顏色點染的差別，時日安靜、
時日激烈。
尤其是當我們看到那兩幅長達 30 米的長卷上，細密而綿長的暗色的無數指
印時，這已經不僅僅是指印，而是一個神秘的平淡的新世界，展現在我們眼前。

“幾”，或者“幾微”，在《易經》和《易傳》中，是與事物發生變化之際的
時機和感觸相關的 ：
“《易》無思也，無為也，寂然不動，感而遂通天下之故。非
天下之至神，其孰能與於此。夫《易》，聖人之所以極深而研幾也。唯深也，故
能通天下之志 ；唯幾也，故能成天下之務 ；唯神也，故不疾而速，不行而至。”
如何以幾微來觸及寂然不動而無為的“道”，這是最為困難的技藝，中國傳統藝
術的秘密其實也是在於把握這個幾微的神通！
因此，它要求真正的君子“見幾而作，不俟終日！”因為《易傳》繼續強調：
“知
幾其神乎！君子上交不諂，下交不瀆，其知幾乎？幾者，動之微，吉之先見者也。”
這樣才能呈現“微顯闡幽”的勢態。
所有的印跡都是在有無之間，在可讀與不可讀之間，印跡因而在抹去自身，

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 一個個的點，即是自身的否定，也是自身的肯定，一個個的點看起來如此自足，
又如此殘缺，需要與其它的點彼此呼應，因而印跡只是接觸之間的短暫停留之物。
這些指印如此的密集，但是也可以感覺非常疏鬆，一種內在的爆破一直在來臨，
卻又並沒有什麼發生，無時無刻都有一種內在的聲音在迴響。幾微要求我們的注
意力轉向幾微“之間”，保持在幾微“之間”。
一無所說 ：只是指指點點，一種啞然的靜默，但卻說出了一切，那是幾微自
身在顯示：只是幾微，非常微小，非常微妙，妙之為妙，就在於“少”，在於“餘”
和“淡”。但是，畫面上的多與滿，就不是來自點自身的自我複製，而是來自對
混沌的傾聽，因為那是混沌自身的內在爆發，是混沌的內爆！那也是個體內在生
命激情的抒發！
幾微，就是指印的時間性印跡，如此多有著細微差別的點，在一次次的重複中，
讓幾微的微妙的時間性轉換為宣紙平面上的空間性。這個轉換是瞬間（暫態與間
隔）之間的捕獲，是按在紙上的印跡。張羽的指印，把水墨繪畫還原到水墨宣紙
材質與手感意念最為原初相接觸的一刻！這些指印，是這一幾微的接觸所留下的
標記。
張羽的指印，如同他自己所言，放棄了傳統水墨的筆墨功夫、筆墨意象與筆
墨圖式，這三者就是傳統水墨藝術的基本法則，但他並沒有放棄傳統水墨的精神。
首先，他的指印回到了中國傳統文化的印刷術，當然並不是直接運用印刷術的方
式，而是從中體會到中國人對“印”——印記和印跡的獨特經驗，這是在有無之
間，對消逝之物與微弱之物的關注。而且，張羽艱難地把“中國藝術無限而不定
型的精神（包含水墨精神）”與“水墨已有而限定的傳統程式”區分開來，這裡
既有水墨精神也有超越水墨材質的中國精神，因為人的身體及其精神一直在超越
自身，這就需要重新回到手與筆、筆與水、水與墨、墨與紙，一一相觸（contact）
的那一刻，讓那些接觸的一個個環節帶來了新的接觸點（touching point）：
首先，手、手感，不再是經過幾十年手腕婉轉和寫意引導而訓練的手，儘管
之前張羽並不缺乏傳統繪畫藝術的訓練，只是他放棄了這個手法，不再耍傳統筆
墨功夫的手腕，而是更加徹底地回到自己的身體，就是個體的身體自身。書寫是
從自己的手，準確說，是從自己的手指上開始，讓“手指”成為了“筆桿”！這
個徹底的還原，更加具有了書寫的肉身性，傳統書法草書的抽象其實就是把筆墨
功夫還原為自己的身體感受的，因而超越了明確的寫意意境營構。此外，傳統的
書寫一直保留著毛筆在各種紙絹上書寫時摩擦的快感，但是，張羽的指印則直接
放棄了這個仲介！或許這更加還原了快感，但是卻也要求藝術家更加克制，因為
手指的反復指點，也會機械和枯燥，產生煩悶的心虛，會損害藝術的完整性。因
而指印要求更加自覺和警醒的思義 ：指指點點的指印其實是在有無之間對幾微的
捕獲，並不著意與刻意，或者說，張羽的指印最為奇妙地把握了傳統的流風餘韻，
因為中國藝術之為純粹的藝術，一直是對消逝著的餘韻的挽留和捕獲。當然，張
羽自己是以禪宗的禪意來觀照的，在冥想和克制之間找到自己表達的時刻。對手
感的轉換，張羽改變了書寫的樞機！這也是對幾微最為性命攸關的轉換，也是從
傳統向現代轉換的機關！
放棄書寫的筆之後，其次是放棄水與墨，傳統水墨藝術對水的柔弱與墨的純
色的選擇其實也是一種命運的決斷 ：以如此柔弱的水，以可以稀釋的水來沖淡黑
墨的死硬和呆滯，產生墨分五彩的效果，從極少中產生無盡內在變化的可能性，
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已經是一種獨特的由弱變強的微妙轉換方式了，其實這已經有著當今流行的所謂
從極少主義向極多主義轉換的意蘊了。
甚至，張羽放棄了水墨之間的關係，他直接就以水，有時只是水，在指點
中，接觸宣紙！當我第一次看到那幅《指印 2007·7·1》（宣紙·水）的作品
時，我無比驚訝，一直以為張羽還是以手指摁植物顏料所作，其實這幅作品，就
是手指沾水直接摁在紙上創作出來的！當然，這是張羽直接利用了宣紙本身的特
性，但是他徹底打開了宣紙本身的空白或者說空無性，或者說，對物的極少觸及，
實際上既保留了水的特性，也觸動了紙的物性，而且也留下了個體的指印，在這
裡，宣紙本身、水本身、指印本身，所有的事物都得到了自身的呈現，在幾微之間，
在畫面凸凹起伏的細微波動之間，在宣紙的白與指印的虛白觸點之間，宣紙虛薄
的氣息撲面而來，這是讓物自身自己顯示自身。它們看起來如此淡然，幾乎不存在，
這是以最為不平淡的方式指向平淡？打開了平淡的屬於個體簽名的文本空間？
最後，他甚至也放棄了紙本身，因為滿滿的指印，尤其是植物質顏料覆蓋了
宣紙之後，已經看不出宣紙本身的特性了，似乎顏料已經把宣紙整個浸染了。尤
其是紅色的顏料，滿滿的紅色指印實際上也是對紙本身的改變，是徹底的塗抹，
讓幾微來主宰事物。
而且，張羽在《封存的指印》作品中以玻璃來作畫，在玻璃上點染指印，然
後反扣玻璃，使玻璃上的紅色指印通過光的照射，投影在裡面的宣紙上，宣紙與
玻璃之間有著一定厚度，如同裝置，這個投影產生了更為虛薄的斑點，閃爍的紅
色指印與宣紙上微薄的黑色指印之間，產生了更為意想不到的對比，這不就是杜
尚所夢寐以求的那種“虛薄“的厚度！而這也是傳統水墨所缺乏的那種厚度。
指印，也是個體“手氣”的余留，現代中國藝術的視覺受到西方抽象精神的
影響，進入了不可見的視覺感受之中，但中國傳統藝術並不追求可見與不可見之
間的張力，而是氣化的通透感，如果不僅僅是抽象畫，那還有什麼剩餘的視覺感
受？這就是有著手氣感的“氣讀”，即帶著氣息的閱讀，觀看者要閱讀的是一種
氣氛，一種氣息，一種氣韻，而個體指印所帶來的那種虛薄的凸凹起伏，那種柔
軟的手指輕輕觸及帶來的呼吸感，似乎就是宣紙本身在輕微顫慄，無生命之物獲
得了蘇醒的生命氣息，這是手指與宣紙的觸摸（caress）所帶來的虛薄，形成了
一種新的繪畫語言 ：餘像。
虛薄的藝術在於個體以其幾微的時間性打上自己獨特的印記！這也是張羽重
新激發的“契約”關係 ：當然不僅僅是個體與社會，人與人“之間”的約定，它
更加是個體與自己之本己生命的時間性（時機性）、與世界本身的一種個體性簽名，
甚至，它也是通過把握幾微的時機，建立起一個生命的世界，這是指印所啟示的
世界之“約”！也是藝術創作的快樂之“約”！
這些指印作品，深入了混沌，呈現的只是“無物”——極少的物，幾微之物
（almost nothing,presque rien），或者，只是無物所敞開的一個場域——讓個
體可以在這裡表達自身，張羽的指印有著我們這個時代深刻的烙印 ：我們的文化
處於個體生成的艱難時刻，只有深入生命的混沌，才可能創發新的個體精神，並
且有著個體獨一性的身體氣息，從而帶動時代精神一起振動，張羽的指印是時代
內在聲音震動的隱秘記錄。
張羽的指印召喚我們每一個讀者和觀眾來指指點點，點點印印，這是個體自
由表達的機會！這是對個體之為“自己性”或“本 - 己”在世界上留下自己印記
的召喚！
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 張 羽 指印2003.1.7 宣紙、植物質顏料 68×68cm Zhang Yu Fingerprints 2003.1.7 Rice Paper,Vegetable Pigment 68×68cm

張 羽 封存的指印2012.7.12 2012 木材玻璃盒、指甲油 82×60cm

Zhang Yu Closed Fingerprints2012.7 2012 nail polish and Galss-box 82×60cm

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 張 羽 指印2007.8-1 宣紙、水 136×68cm Zhang Yu Fingerprints2007.8-1 Water on paper 136×68cm

張 羽 指印2004.8-1 宣紙，水墨 260×200cm Zhang Yu Fingerprints 2004.8-1 Rice Paper,Ink and Wash 260×200cm

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張 羽 指印 2008.12-7 宣紙、水墨 83×250cm Zhang Yu Fingerprints 2008.12-7 Water on paper 83×250cm

張 羽 指印 2009.1-2 宣紙、水墨 68×136cm Zhang Yu Fingerprints 2009.1-2 Ink on paper 68×136cm

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張 羽 指印2011.12-1 宣紙、植物質顏料 125×125cm Zhang Yu Fingerprints2011.12-1 Mineral pigments on paper 125×125cm
張 羽 指印2012.3-2 宣紙、水 125×125cm Zhang Yu Fingerprints2012.3-2 Water on paper 125×125cm

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 Zhang Yu's Fingerprints
Minute Contact
Fingers point, point here, point there, but“between”their prints, it is as if
nothing is pointed to at all, as if there is nothing worth mentioning, just remnant
traces.
There is nothing to speak of because everything has been spoken and
pointed out already.
Within these short, momentary“intervals,”everything changes. Everything
has been said and pointed out. This field of fingerprints appears to be looking at
us, countless eyes silently watching us, as if inviting us to point as well.
But nothing is pointed out, and nothing is said, though everything is said.
Between these prints, the secret of the fingerprints is revealed: the fingerprint is
a mark made“between”something and nothing,“between”minute differences,
and as it subtly transforms, it leaves behind only a touch“between”fleeting
moments. Just the ever lightest of touches. These touches are the temporality of
the minute.
Pollock, Acting Pinting
Zhang Yu, Fingerprints acting, Water on paper,2007
Fingers point here and there, a point here a point there, and all of the points
are very light points, very light touches, almost as if there is nothing that can be
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said, nothing to be said.
Virtually nothing remains. The only thing that can still be said, the only
thing that remains is this minute, subtle“virtual.”This“virtual”is merely a faint
remnant.
This brings us to“ji,”( 幾 ) a mysterious Chinese character that is a
component in both“nearly”and“minute,”and often translated as incipience. It
is a marker of temporal shifts unique to the Chinese language. Perhaps it can be
used to explain the metaphysical significance of the fingerprints in Zhang Yu's
works. Zhang Yu's ink paintings have touched profoundly upon one of the most
crucial words in the beginning phase of Chinese thought:“incipience.”A light,
dilute“incipience,”a minute“incipience,”an infra-mince“incipience.”
Each point, each print, between each point, the minute distinctions and
minute similarities, between semblance and non-semblance, it is all“incipience”;
they are all responding to each other, following the shifts in colors, sometimes
silent, sometimes fervent.
When we look at those two thirty-meter scrolls, the dense stretch of
countless dark fingerprints, they are no longer mere fingerprints but a mysterious
and faint new world stretching out before our eyes.
In the Book of Changes and the commentaries,“incipience,”or
“minuteness”is connected to the moment and impression of changes in things:
“The Changes is without consciousness and is without deliberate action. Being
utterly still it does not initiate movement, but when stimulated it is commensurate
with all the causes for everything that happens in the world. As such, it has to be
the most numinous thing in the world, for what else could possibly be up to this!
It is by means of the Changes that the sages plumb the utmost profundity and
dig into the very incipience of things. It is profundity alone that thus allows one to
penetrate the aspirations of all the people in the world; it is a grasp of incipience
alone that thus allows one to accomplish the great affairs of the world; and it is
the numinous alone that thus allows one to make quick progress without hurrying
and reach goals without forcing one's way.”
【Translation by Richard John Lynne.
See The Classic of Changes: A New Translation of the I Ching as Interpreted
by Wang Bi, Columbia University Press, 2004】To touch on the utterly still and
not deliberate“Dao”through the minute is a difficult skill indeed. The secret of
traditional Chinese art is in its grasp of this magical minuteness.
For this reason, it beseeches the noble man to“act as soon as he is aware
of incipience, and not to wait for the day to run its course.”That is because, the
Book of Changes emphasizes,“To understand incipience, is this not is this not
a matter of the numinous! The noble man is not fawning toward what is above
and is not contemptuous of what is below. Is this not to understand incipience!
As for incipience itself, it is the infinitesimally small beginning of action, the point
at which the precognition of good fortune can occur.”Only in this way can the
“subtle hidden meanings”be revealed.
All of the prints are between something and nothing, between the legible
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 and illegible, and thus they are wiping themselves out, each point a refutation
of itself, as well as an affirmation. Each point looks so self-sufficient yet
also so incomplete, requiring a correspondence with the others, and for this
reason, these marks are the stuff of the short pauses between contacts. These
thumbprints are so dense, but can also be perceived as loose. There is always
an internal explosion coming, but nothing has happened; there is always and
never an internal sound resonating. The minute asks us to shift our attention to
that which is“between”the minute, and to remain“between”the minute.
Nothing is said, just points, a taciturn silence, but everything has been
spoken. It is incipience itself manifesting: it is merely incipience, infinitesimal,
very subtle, all in the“fewness,”the“remnants”and the“lightness.”The
multiplicity and fullness of the picture does not stem from self-replication by the
points themselves, but from attentive listening to the chaos, because that is the
explosion of the chaos itself, the internal explosion of the chaos. It is the release
of living passion from within the individual.
Minuteness is the temporal trace of the fingerprints. So many points with
their infinitesimal differences, in their constant repetition, transform the subtle,
minute temporality into spatiality. This transformation captures in between the
moments; they are traces imprinted onto the paper. Zhang Yu's fingerprints
restore ink painting to the very earliest moment of contact between the medium
of scroll paper and the notion of touch. These fingerprints are the marks left
behind by this minute contact.
Zhang Yu's fingerprints, just as he has said himself, have discarded with the
brushwork of traditional ink painting, as well as the imagery and schema which
flow from that brush. These three things are the basic principles of traditional ink
art, but he has not discarded with the spirit of traditional ink painting. First, his
fingerprints have returned to traditional Chinese printing technology. Of course,
he did not directly use the technical methods of printing, but he has drawn insight
from the Chinese people's unique experience of the“print”– of print markings
and traces. This is a focus on that which is between something and nothingness,
on the disappearing and weak things. In addition, Zhang Yu has taken up the
arduous task of delineating between the“infinite and undefined spirit of Chinese
art”and the“limited traditional formulae of ink painting.”This is a Chinese spirit
marked by the spirit of ink painting yet transcending its material properties,
because the body and the spirit have always been transcending themselves, and
this requires a new return to the moment of contact between hand and brush,
brush and water, water and ink, ink and paper, so that those various contacts
can create new contact points:
First of all, the hand, as well as its sense of touch, is no longer a hand that
is led by decades of training and freehand painting. Though Zhang Yu has no
lack of training in traditional painting, he has discarded with these techniques.
He is not deploying his wrist in the traditional ways of ink painting, but returning
more fully to his own body, the body of the individual. This kind of painting
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begins with the hand, or more precisely, with the fingers, turning the fingers
into“paintbrushes.”This total restoration possesses more of the physicality of
painting. The abstractness of the caoshu cursive script in traditional calligraphy
restores perceptions to those of one's own body, and therefore transcends the
constructs of clear freehand imagery. Moreover, calligraphy and painting have
always maintained the stimulation of the brush scraping against the scroll paper,
but Zhang Yu's fingerprints have discarded with this intermediary altogether.
Perhaps this further restores the stimulation, but it also requires the artist to
practice more restraint, because the repeated printing of the fingers can become
dull and mechanical, producing a stifling feeling that can hurt the completeness
of the artwork. In this sense, the making of fingerprints requires more self-
awareness and alertness – the points of the fingerprints are capturing the
minuteness between something and nothing, rather than engaging in conscious
construction. In other words, Zhang Yu's fingerprints marvelously grasp the
remnant echoes of tradition, because the purest Chinese art has always been
about the capture of passing remnants. Of course, Zhang Yu approaches it from
a Zen perspective, finding his own moment for expression through meditation
and control. In his transformation of the sense of touch, Zhang Yu has altered the
very wellspring of painting and calligraphy. This is the most vital transformation
of the minute, and is a crucial point in the modern transformation of tradition.
After discarding the calligraphy brush, the next most important act was
to discard with water and ink. Traditional ink art's choice of the softness of
water and the pure color of ink was actually a fateful decision: so soft and able
to penetrate the ink, water broke the monotony of ink and created the effect
of multiple color shades with a single ink, so that such minimal resources
produced the possibility of limitless internal change. That in itself is a miraculous
transformation method that effects a shift from the soft to the strong, and it has
the same import as today's shift from minimalism to maximalism.
Zhang Yu has even discarded with the relationship between water and ink.
Sometimes he uses water, and only water, to contact the paper. The first time
I saw Fingerprints – 2007.7.1 (scroll paper, water), I was astonished. I had
assumed that Zhang Yu was pressing vegetable pigments into the paper, but
this work was created simply by pressing his wet fingers onto the scroll paper.
Of course, in this case, Zhang Yu was directly utilizing the characteristics of
scroll paper as a material, but he completely opened the blankness or void of
the paper itself. In other words, this minimal contact with the material preserved
the properties of water while also catalyzing the materiality of the paper, all
while leaving individual fingerprints. Here, the scroll paper, the water and the
fingerprints have all gained presentation, and within the minutia, within the tiny
undulations of protrusions, between the whiteness of the paper and the false
whiteness of the fingerprints, the infra-mince air of the scroll paper comes
rushing forth. This amounts to allowing the material to present itself. It appears
so faint, almost non-existent. Is this the use of the least ordinary methods to
signify the ordinary? Does it open up an ordinary textual space that belongs to
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 the realm of a personal signature?
In the end, he even discarded with the paper, because when filled with
fingerprints, particularly those made with vegetable pigments, the scroll paper
has been covered to the point that you can no longer see the properties of
the scroll paper, as if it has been entirely permeated by the pigments. This is
especially the case with the red paint. The dense field of red fingerprints amounts
to an alteration of the scroll paper itself, a complete and total covering, allowing
the minute to take control of things.
individual production is exceedingly difficult; only through deep entry into the
chaos of life can we create a new individual spirit that is imbued with the unique
atmosphere of the individual body and create resonance with the spirit of our era.
Zhang Yu's fingerprints are a hidden record of the internal resonance of our era.
Zhang Yu's fingerprints call each reader and viewer to point. This is an
opportunity for free individual expression. This is a call for the individual to leave
the mark of his“selfhood”for the world.

In Sealed Fingerprints, Zhang Yu created his painting on glass, making

fingerprints on its surface and turning it over, projecting the red fingerprints
onto a piece of scroll paper. There is a certain distance between the prints on
the surface of the glass and the paper, making it like an installation, and this
projection produces more infra-mince spots. The red fingerprints on the glass
and the tiny black spots they project onto the scroll paper produce a surprising
contrast. This is precisely the thickness of“infra-mince”that Duchamp dreamed
about. This is also a thickness that is lacking in traditional ink painting.

The fingerprint is a remnant of the individual's“hand qi(vapor).”The vision

of modern Chinese art, influenced by the abstract spirit of the West, entered into
invisible visible perceptions. Traditional Chinese art, however, does not pursue
tension between the visible and invisible, but a sense of vaporous transparency.
If it is not merely abstract painting, what other extra visual perception is there?
There is the“vaporous reading”of the sense of the hand vapor, meaning a
reading with atmosphere. What the viewer wants to read is a kind of atmosphere,
an air, a vaporous feel, and the infra-mince protrusive undulations brought by
the fingerprint, that sense of breathing brought by the soft, light touch makes it
seem as if the scroll paper itself is lightly trembling, giving this inanimate object a
reawakening with the breath of life. This is the infra-mince brought about by the
finger's caress of the paper, forming a new kind of painting language – that of Zhang Yu, Fingerprints Installation2012.1.10，details ,

the remnant semblance or Infra-mince Image.

The art of infra-mince is the act of the individual making his own unique
mark through his minute temporality. This is also Zhang Yu reactivating the
relationship of the“compact”: of course it is not only the contract between
individual and society or between people, but more of an endorsement between
an individual, the temporality of his life, and the world itself. It even grasps
onto the opportunity of the minute to erect a living world. This is the“compact”
revealed by the fingerprint, and the“compact”happily engaged by artistic
creation.
These fingerprint artworks enter deep into the chaos. They present only the
“non-object”– the infinitesimal, almost nothing thing, or perhaps it opens up a
realm of the“non-object”where the individual can express himself. Zhang Yu
is printing a profound seal of our era. Our culture is situated in a moment when

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 沈勤的水墨庭院
純淨夢想的虛薄

中國傳統水墨，無論是山水畫還是花鳥畫，都並不追求一個幻覺（illusion）
與超越（transcendence）的彼岸世界，這是與中國之為“內在超越”的所謂
文化類型相關，但奇妙的是，中國藝術又並不缺乏某種夢想的特點，儘管直接表
現夢幻的作品並不多，比如晚明王鑒的《夢境圖軸》，那也是與晚明追求怪怪奇
奇的風尚相關，但中國文學的夢想主題卻一直是主導，從莊周夢蝶到《長恨歌》，
從湯顯祖的《臨川四夢》到《紅樓夢》，這個夢想的文學性，是在肉身的有限性
以及身體的塵世性前提下，進入一種自然化的可塑性（natural plasticity）狀態，
如同佛洛德對夢的無意識身體機制的分析，因此，它因為具有現代性的潛能，在
現代性消除了外在超越的絕對性之後，這種自然的可塑性反而更為具有回應現代
性危機的生命潛力，而且它內在的柔韌與活化的流動性，可以抵禦現代性不斷走
向災變與自身反動的趨勢。
傳統水墨畫，受到佛教“一切皆夢幻泡影”以及“色即是空空即是色”的影響，
同樣也沒有走向幻像，而是導致了“素色”的審美體系，人間世與出世間只有那
麼一點點（just a little）的差別，但正是把這“一點點”
（very little）做成無限的“正
當”（just），而且是自然化的正當性（natural just），即把“自然”的瞬間變滅，
轉換為一個虛薄（infrathin）的仲介，而如此的夢想在藝術家清醒而恪守的創作中，
損之又損，餘留下的素淡的色暈，不過就是這個虛薄氣息的形式。
除了一些民間風格的仙界畫，不包括敦煌壁畫及其之前的招魂壁畫等等，中
國傳統山水畫不直接把夢想作為主題（除了仇英等人作品），但那種文學性的夢
想特徵，受到佛教過濾之後，主要體現為用筆的簡約與荒古，這在董其昌那裡達
到極致。但進入現代性之後，現代水墨如何還餘留那虛薄的氣息，但又並不僅僅
止于傳統的虛淡？而且強化夢想的詩意？既然傳統水墨繪畫對夢想的追求並不明
確？而虛薄又與水墨的素色品味相關？而且還要帶入色彩，讓“彩色”與“素色”
結合，讓夢想並不單一，而是更為豐滿？身處南京古城，對水墨傳統有著很好繼
承的畫家沈勤，很好地回應了這個問題。

沈勤的水墨一直以一個古老文化的心靈處境為背景，從 1985 年的《秦月》

（Moon in Qin Dynasty）開始，那清冷古月的餘輝就遭遇到現代文化的衝擊與
遮蓋，如何餘留這清冷的餘光？水墨繪畫還有著意義，不過就是對這個古時月光
不止息的挽留或者回眸，或者是讓這冷月的目光還能在世間流轉，是讓冷月來回
眸這個人化的世界，這是幽靈一般的回眸，這是餘像發生的機緣。這在畫家隨後
以蘇州庭院為基本背景的《園》的系列作品中得到了充分體現：在被虛化的庭院中，
整個空間帶有一種夢想的色彩，似乎是懷舊，也是一種遙想，石頭可以是虛化如
花的，荷花可以在夢中游走似的，老樹可以在淺唱低吟的，那是一個被虛淡的筆
墨過濾的世界。
沈勤的筆墨尤為高妙的是，通過宣紙的空白暗示白牆，以墨色的豐富層次暗

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 示屋簷與牆面，那是一個僅僅觸摸（caress）而非可以觸及（touch）的世界，
那是通過身體虛薄皮膚隔離開來的夢中景象，而宣紙的虛白帶來了這層虛薄的隔
離。而且畫面還被一股不知來自何處的“逆光”映照，即一種逆向而來的光，來
自宣紙平面本身，重新照亮了那消隱的古老庭院！以簡潔的線條勾勒樹枝與柱廊
的輪廓，這是虛化的繼續保持，但地板磚以及空間的分佈，在走廊的深入中，又
充分利用了西方透視的引導性，打開了畫面的內部空間，那是一個夢想的空間，
那是一個夢遊的靈魂在尋找家園。
沈勤水墨作品的虛薄性在於 ：通過夢想的詩意打開了一個畫面純淨的靈魂空
間，在那裡，已經失魂落魄的靈魂重新可以回家，回到一個恬淡而安寧的家園。
這裡尤其有著中國文化現代性轉換的重大意義 ：進入現代性的中國文化，傳統的
情愫已經與鬼神的連接斷開了，即現代中國藝術與生命的心魂或者魂魄失去了聯
繫 ；傳統藝術要麼接納了山水流轉不息的精神氣韻，為人世之外的可能世界留出
餘地，要麼等待文學性夢想的魂魄的歸回，帶來一種補救與慰藉 ；但現代的中國
人不再有心魂，是失魂落魄的個體，其靈魂是無家可歸的（un-heimliche），而
需要為這個無家的靈魂重建一個家園，尤其是庭院，因為庭院還是向著天地敞開
的空間，尤其還是夢想的空間，是夢園！沈勤的水墨作品，在充分保留傳統水墨
虛淡的韻味的同時，還以夢想的色調，重構出一個純淨空寂的庭院，安頓了我們
迷茫的眼神。由此而啟動了晚明以來就喪失的那種現代性轉換的動力，而這個活
力已經喪失很久了，對此，沈勤有著異常明確地自覺反省，在當代水墨畫家中是
極為罕見的。

在水墨技術上，沈勤深得虛薄的奧義 ：太湖石以及蓮花，都處理得異常虛淡，
似乎都被淡水與淡墨輕輕塗抹過一般，輕輕地漂浮在畫面上，讓物性回到一種夢
想的質地，“夢想的虛薄”，這是中國文化虛薄發生最為獨特的所在與方式，也是
杜尚幾乎沒有想到的，這就在於 ：宣紙的空白被覆蓋上了一層夢想的薄紗，這層
夢之衣，既保留了宣紙的空白，還內在地增加了魂魄的虛白 ：
宣紙的空白 ：被大面積的餘留，整個畫面被一層虛白的色調所籠罩，幽靜，
雅靜，恬淡，令人遐想。
設色的空白被敞開 ：空白的宣紙被淡墨輕輕塗染之後，或者暗示水塘，或者
地面，或者牆面，或者長廊，等等。這些實物之間還有著潛在的對語，石頭似乎
在悄悄地談心，如同夢中的低語與囈語，而且石頭還大膽地被塗上黃色與紫色，
這是把傳統花鳥畫的設色，西方水彩的顏色觀，與水墨的素色觀，結合起來，豐
富了夢想的語言，打開了“間薄”的厚度，如同長廊的空白構成虛薄的軸心，打
開了這個之間的皺褶層次，讓心魂可以在其間自由呼吸與遊走。
空白作為一層夢想之衣 ：畫面隱約被一層薄紗所覆蓋，這是身體之輕微呼吸
的皮膚！或者畫面是夢的投影，如同月光如水的照射，宛若一層月光的皮膚，作
為投影，是第四維的打開，那是來自於更為內在的夢想之光。
以這層虛薄的皮膚，沈勤打開了水墨之新的虛薄，而且是有著空間營構的虛
薄，因為沈勤自覺地把光感帶入水墨的氣感，但又是夢中的朦朧之光，因此毫不
生硬，啟動了傳統月光的光暈的美學，似乎那是夢中的投影，這個夢中的投影就
是內在想像層次的打開，是第四維的投影，這是光感與氣感被夢想所融合的虛薄
之肌膚。帶著這種獨特的質感，沈勤也恢復了中國文化生命質感的玉質感，他以
水墨畫出的青花瓷系列，更為唯美地餘留了虛淡的情趣，餘味無窮！虛薄的魅力
得到了更為日常詩意地擴展。 沈 勤 園•一棵偷看石頭的樹 2011 水墨，設色紙本 69 x 121 cm
Shen Qin Garden•A Tree Peering A Stone 2011 Ink & Color on paper 69 x 121 cm

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 沈 勤 園•夏 1 2011 水墨設色紙本 69 x 138 cm 沈 勤 園•雨後 1 2011 水墨設色紙本 69 x 138 cm
Shen Qin Garden•Summer I 2011 Ink & Color on paper 69 x 138 cm Shen Qin Garden•After The Rain 1 2011 Ink & Color on paper 69 x 138 cm

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 沈 勤 園•遠處走廊的石頭 2011 水墨設色紙本 140 x 67 cm 沈 勤 《園·飄著的蓮 1》 2011 水墨設色，紙本，139 x 69 cm
Shen Qin Garden•The Stone in The Corridor Distance 2011 Ink & Color on paper 140 x 67 cm Shen Qin Garden·Floating Lotus I Ink & Color on paper 139x69 cm

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沈 勤 水田•好像南宋 2 2011 紙上水墨 63 x 88.5 cm
Shen Qin Water Field,just like South-Dynasty 2011 Ink on paper 63 x 88.5 cm 沈 勤 水田•水杉 2011 63 x 87.5cm
Shen Qin Water Field, Pine water 2011 Ink on paper 63 x 87.5 cm

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 沈 勤 水田•月下蟲鳴 2011 63 x 89cm
沈 勤 水田•應該是冬天 2011 56x 72 cm Shen Qin Water Field,Worm Cry in Moon 2011 Ink on paper 63 x 89 cm
Shen Qin Water Field,Just Winter 2011 Ink on paper 56x72 cm

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 Shen Qin's Ink Gardens color tastes of ink painting, color must be brought into the mix, integrating“color”
and“plainness,”so that the dreams are rich, rather than monotonous. Shen Qin,
Pure Dream Infra-Mince
a painter richly steeped in ink painting tradition and residing in Nanjing's old city,
has made a great response to this question.
Shen Qin's ink painting has always taken a spiritual state of ancient culture
as its backdrop. Beginning with the 1985 Moon in Qin Dynasty, the cool afterglow
of that ancient moon was assaulted and covered by modern culture. How can

Traditional Chinese ink painting, whether it is landscape painting or flower- this cool afterglow be retained? Ink painting still has significance, but it is merely

and-bird painting, does not pursue the other shore of illusion and transcendence, in the ceaseless holding or backward glance on this ancient moonlight, or in

which is connected to China's so called cultural type of“inner-transcendence.” allowing the gaze of this cool moonlight to flow through the mortal coil, bringing

Wonderfully, however, Chinese art does not lack in certain dream characteristics. the cool moon to look back over this individualized world. This backwards glance

Though there are few artworks that directly express dreams, such as Wang is like that of a spirit, the destiny produced by the remnant image. This was

Jian's late Ming dynasty Dreamscape Scroll, which was connected to the late amply embodied in the artist's later Garden series, which was set in the gardens

Ming fashion for oddities, the thread of dream-related themes has always been of Suzhou: in these emptied gardens, the space takes on a dreamlike tone that

led by literature, from Chuang Tzu's dreams of a butterfly to Song of Everlasting appears to be nostalgic, yet is also a reminiscence. Stones can be emptied like

Sorrow, from Tang Xianzu's Four Dreams in Linchuan to Cao Xueqin's Dream of flowers, lotus flowers can roam about in dreams, and old trees can sing a low

a Red Manor. The literary nature of these dreams enters into a state of natural chant. This is a world that has been filtered by a light brush.

plasticity under the conditions of the limitations of the body and the body's
mortality, just like Freud's analysis of the unconscious bodily mechanisms of
dreams. For this reason, because of the potential of modernity, once modernity
removed the absoluteness of external transcendence, this natural plasticity took
on more living potential to respond to the crises of modernity. Also, its internal
flexibility and flow have the power to resist modernity's constant movements
towards disastrous and self-defeating behavior.
Traditional ink painting was influenced by the Buddhist ideas that“everything
is an illusion”and“that which is visible is empty; that which is empty is
visible,”yet it did not shift towards fantasy. Instead, it led to a“plain”aesthetic
system. There is just a little bit of difference between the human world and
the otherworldly, but this very little difference leads to infinite justness, and it
is natural justness. That is to say, if the instantaneous perishing of nature is
transformed into an infra-mince medium, then when such dreams are brought
into the clear and scrupulous creations of the artist, they are successively
reduced, leaving behind a soft spread of ink, which is the form of the infra-mince
atmosphere.
Aside from some folk-style fairyland paintings, and not including the
Dunhuang Grottoes or earlier spiritual murals, traditional Chinese landscape
painting does not directly take dreams as a theme (except for the works of Qiu
Ying and a few others), but the literary dream characteristics, after being filtered
by Buddhism, are mostly embodied in the simplicity and antiquated styling of
Suzhou Garden Photo Shen QIn, Garden·A Swimming Lotus,2011,
the brushwork, something that reached its height with Dong Qichang. Entering Ink & Color on paper, 69 x 138
into modernity, however, how does modern ink painting retain that infra-mince
atmosphere without getting stuck in traditional thinness, while also strengthening What is amazing about Shen Qin's ink painting is his use of blankness on

the poeticism of the dream? Since the pursuit of dreams in traditional ink painting the paper to allude to a white wall, and the use of rich layers of black to allude

was never clear, and there is a connection between infra-mince and the plain to the eaves of the roof and the surface of the wall. This is a world that can be

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 caressed but not touched. It is a dream scene separated by the infra-mince skin
of the body, and the empty whiteness of the scroll paper has brought about this
infra-mince level of separation. The picture is also lighted by a“back light”from
an unknown origin, outlining the branches and the corridor with simple lines. This
is the sustained preservation of emptying, but the distribution of the flagstones
and the space, deeply penetrating the corridor, amply employs the channeling
properties of Western perspective, opening up the interior space within the
picture. That is a dream space, a dream-walking spirit seeking its homeland.
The infra-mince aspect of Shen Qin's ink painting rests in its use of the
poeticism of the dream to open up a pure spirit space within the painted plane,
a space in which soulless spirits can return home, return to a detached, tranquil
homeland. This has momentous significance in the modern transformation
of Chinese culture: as Chinese culture enters into modernity, the connection
between the innermost emotions of tradition and the spirits has been broken.
That is to say that modern Chinese art has lost its connection to the spirit or
the soul. Traditional art either takes in the ceaselessly flowing spirit of the
landscape, leaving room for a possible world beyond the world of man, or it
waits for the return of literary dream spirits, bringing the comfort of salvation.
But modern China no longer has spirits; they are individuals who have lost their
souls, with spirits that have no home to which they can return. There is a need
to rebuild a homeland for these homeless spirits, especially gardens, because
gardens are spaces that open up to the land, especially dream space, the
garden of dreams. Shen Qin's ink paintings maintain the lightness of the spirit
of traditional ink painting while also using dreamlike color tones to reconstruct a
clear and quiet garden that settles our confused gaze. This has reactivated that
momentum behind modern transformation that has been lost since the late Ming
dynasty. This vitality has been lost for a very long time, but Shen Qin has made
extraordinarily clear reflections on this, making him a rare and precious treasure
among contemporary ink painters.
In terms of ink techniques, Shen Qin has a strong grasp of the profundities
of infra-mince. For instance, the Taihu rocks and the lotus flowers are
extraordinarily light, as if they have been lightly caressed by water and diluted
ink. They float lightly on the painted plane, bringing materiality back to the
texture of dreams, the“dream infra-mince.”This is the most unique presence
and method of the infra-mince in Chinese culture, and something that Duchamp
seems to have not anticipated: the blankness of the scroll paper has been
covered with a dream veil, and this dream clothing maintains the blankness of
the scroll paper while also adding the empty whiteness of the soul:
1.The blankness of the scroll paper: it has been maintained over a large
area, and the entire painted plane has been covered by a layer of white tones,
tranquil, elegant, detached and dreamy.
2.The colored blankness has been opened up: after being lightly permeated
with diluted ink, the blank scroll paper may allude to a pond, to the ground, to
222
hen Qin, Garden-Rochwork, 2008, Ink and
Color on paper,138x69cm
Garden's Stones in Snow Photo
a wall, to a corridor, etc. There is a potential antithesis between these objects.
Also, he has boldly applied yellows and purples to the stones, an integration of
the coloring in traditional flower-and-bird painting, views on colors in Western
watercolors and the plain color view of Chinese ink painting. It enriches the
dream language, and opens up a thickness of the“in-between-thin,”just as
the whiteness of the corridor creates an infra-mince axis that opens up the in-
between folds of layers and allows the spirit to freely breathe and wander within
them.
3.Blankness as a layer of dream clothing: the painted plane has been
shrouded in a barely discernible veil, the skin of the body's slightest breathing.
Or perhaps the painted plane is a projection of the dream, like the moonlight
reflecting on the surface of the water, appearing like a layer of moonlight skin.
The projection is the opening of the fourth dimension, and the light is a more
internal dream light.
With this layer of infra-mince skin, Shen Qin has opened up a new infra-
mince for ink painting. It is an infra-mince with spatial structure, because Shen
Qin has consciously brought a sense of light into the sense of vapor in ink
painting, but that light is the hazy light of dreams, and so it is not rigid in the least.
It has activated the aesthetic of the blurred light of the moon, almost as if it is a
projection from dreams, and this projection from dreams is the opening of the
inner level of imagination, a projection of the fourth dimension. This is the infra-
mince skin of the fusion of sense of light and sense of qi by dreams. With this
unique texture, Shen Qin has restored the jade-like texture of the texture of life in
Chinese culture. His series of blue-green porcelain ink paintings have preserved
this light temperament in even more esthetic ways, providing an infinite lingering
taste. Here, the enchantment of the infra-mince has found expansion with more
quotidian poeticism.
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 蘇新平的大風景
亡靈的回眸與世界的剩餘物

如何凝視風景？在這個一切已經技術化的時代，如何讓自然風景可以在凝視
中獲得某種精神的觀照，而不僅僅是數碼攝影似的風景照片視覺效果，也不僅僅
是傳統中國山水畫的直接複製，當然也不是西方風景畫，從作為背景的歷史風物
畫，到透納與印象派的寫生風景畫，再到欲望化的風景表現，而是讓風景可以作
為一種靈魂的觀照，這如何可能？為何靈魂要面對風景而覺醒？為何只有靈魂的
觀照，風景才會重新來臨？
為何要凝視風景？在生命的本體上思考這個問題，不是服從視網膜的審美感
受，而是傾聽靈魂的渴望。靈魂，那是在可見性與不可見性之間遊弋的恍惚情態，
可見之物根本無法滿足它的凝視，因為靈魂要看透與看穿這個世界，看到開端與
終結之外的事件，看到生死之外的存在，要看到世界本身的真像，因此靈魂是大
於生死的，這是生命無法擺脫的幻像，離開了此幻像，生命就僅僅是行屍走肉了，
但在一個已經徹底世俗化與技術化的時代，靈魂哪裡還有它的位置？只有當個體
回到自身的孤寂、默然與無言之中時，靈魂才會睜開它的雙眼 ：這靈魂要看到的
是世界的剩餘物，即世界本身的剩餘，這是一個接近世界末日的世界，觀照世界
的末日之際，這靈魂已經成為亡魂，如何獲得此亡魂一般的眼神？這需要藝術家
經歷過虛無的洗禮，也許在這個時代，清澈的悲觀與餘讓的悲智可以讓我們看透
這個世界的虛妄？
無疑，畫家蘇新平以神奇的方式獲得了如此的眼睛。從 1980 年代的版畫開始，
畫面上夢想與寂冷的氣氛就給人以隔世之感，畫面人物對畫面“內部”的凝望與
擁抱就是對這個現實世界的拒絕，在人物之結實的筆觸與事物大片濃重的陰影之
間，蘇新平的版畫已經不是現實主義的語言，而是對“世界之碩大陰影”的象徵
性挽留，對於那短暫易逝的陰影的捕獲似乎只有製作性極強的版畫才可能達到平
衡，那是時間對時間的克服。此後，畫家的眼睛總是停留在那巨大的陰影上，畫
家自己則以孤獨而頑梗的一匹馬或一頭牛的形象試圖穿越這陰影，這是靈魂的形
象，這也是 1960 年代人特有的理想主義氣質。但進入 1990 年代呢？進入一個
更為物質化的時代，這種理想主義氣質哪裡還有位置？因此，畫家陷入更深的無
語與空寂，2006 年的《乾杯系列》就是藝術家虛無感最為徹底地體現，畫面上
那些紅褐色或白色的半透明人物，似乎已經被酒杯中的好酒與白酒灌滿了，也如
同手裡的杯子一樣空虛，他們似乎就是由此透明的陰影所構成，他們其實聚集在
一個幽靈的國度，是的，這是虛無化的鬼魂，但又有著“佛陀”雕塑一般的表情，
就是一個個佛像的幽靈顯現，懇切但空洞，讓虛幻感得到了繪畫的表現。
蘇新平以其敏感與天才捕獲了我們這個時代靈魂的掙扎 ：一方面，我們已經
被物質化的欲望所浸透，我們的生命變得越來越薄，“薄”得如同液體一般透明
而空洞，我們是由陰影構成的，這是佛教所言生命如同“夢幻泡影”的暗示，我

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 幾乎相信蘇新平冥冥之中一直以佛教的方式在悲憫地觀照這個世界 ；但另一方面，
我們還有著靈魂的渴望，但這靈魂是虛妄而悲觀的，這些單薄的幽靈們還張著嘴，
但虛假空洞的儀式又如何能夠滿足靈魂的饑渴？生命本來就如同“泡沫”一般虛
浮，蘇新平的畫面語言，以其版畫一般的平面感，把人物塑造得如同一個個凝固
的“氣泡”，瞬間會被吹散，但又有著生命的無盡渴望。那麼，這些無助的靈魂
如何被拯救？
我相信，這裡有著蘇新平自己個人的悲觀主義，只有當這悲智的雙眼從人類
移向風景時，他才獲得某種安慰。也還是在 2006 年，這是蘇新平的偉大之年！
他畫出了《風景一》這幅長達 16 米的巨作，無疑，這是一幅偉大的作品，畫面
上不再有人，而是如同水墨一般流淌出來的洪荒世界，讓我們著迷的是蘇新平是
如何獲得這種視覺感的 ：畫面或者畫布表面被處理得如此獨特，似乎是一層層氣
泡，樹枝，山形，雲煙，都經過虛化處理，這也是對傳統山水畫煙雲之氣的轉換；
這是一個心靈的世界，但這世界如此荒寂，升騰的煙霧隱約暗示少許生機，但這
其實是一個真正陰影的世界，是世界的剩餘物 ；畫面上的山水有著古代文人水墨
山水畫蕭瑟荒寒的意味，繪畫語言上也借用了水墨的流淌與虛薄，但地平線的上
升還是被壓抑住了，土黃和土褐的基調難掩無盡地苦澀。
我們不禁要問 ：誰在凝視如此的大風景？這絕不是肉眼可見的！因此，蘇新
平同一年又畫出了那些一個個煙囪燃燒的風景，似乎只有激烈的火焰，只有精神
劇烈的燃燒帶來生命的強光才可能克服如此碩大的寂冷，但一切依然如同夢幻泡
影，雖然精神的燃燒就是靈魂的見證，是光在打開畫面的凝視，但此燃燒帶來的
也僅僅是灰燼，現代性也是精神瘋狂燃燒帶來了世界的災難，從奧斯維辛集中營
的焚屍爐到廣島原子彈，從伊拉克戰爭到 9·11 空中恐怖爆炸，蘇新平要面對的
是現代性本身的精神絕境，如何在此灰燼上重建一個精神的家園？
色的煙雲與遠處的山巒，似乎是被巨大炸彈爆炸的強光所襲擊過而殘留下來的陰
影，一切已經成為餘灰，凝視此餘灰，只有亡靈之眼才可能，這世界的剩餘物也
是“靈魂的剩餘物”（如同詩人趙野的詩歌寫道的）；
這余灰也是餘輝，蘇新平的風景給人一種黑夜來臨之前的餘輝之感，這也是
一種老年風格的體現，世界進入黑夜之年，蒼茫與蒼涼開始彌漫在大地上了，只
有尖銳地樹枝，以其刺眼地蟹爪還警醒著（這蟹爪讓人想到宋代山水畫上鐵寒的
樹枝，暗示生命的荒寒與堅韌），守護著這個劫後餘生的世界 ；
這是所有大事件之後的剩餘物，不再有事件了，只有事件的剩餘，但凝視這
剩餘，卻激發無盡地熱愛，因為風景的空寂與空曠，讓人等待，等待一個新的世界，
因此憂傷開始無盡地彌漫，經過畫家冷色調的虛薄化處理，淡化了這憂傷，但這
個陰影的亡靈世界，以其強烈地眷念深深喚醒了我們靈魂的顫慄，這顫慄就是靈
魂與靈魂的低語。
因為我們看到了那個亡靈一般的回眸者 ：世界是劫後餘生的狀態，這是世界
末日之後的剩餘，讓這個最後的剩餘充滿無限生機，這需要非凡的想像力與心智
的堅韌。一個沒有經過大悲的人，是不可能如此渴望這個新世界的。

既要保留這個虛薄的泡影，還要有著切實的靈魂呼吸，這需要畫家進入一個
更為深淵般的世界，執著凝視這個世界的剩餘物，不被人類的欲望所誘惑，但這
並非自己的靈魂可以做到，而是要以一個亡魂或者亡靈的眼神來觀照這個虛無化
的世界。因為一旦畫家在前面打開一個剩餘世界或者末日世界的風景，要保持住
自己的凝視，而不陷入虛妄，就需要換一雙眼睛，來重新凝視這個已經陰影化的
虛幻世界，世界已經虛薄化了，如同杜尚所言，似乎一切僅僅是影子，這是大地
的影子，繪畫成為影子之影子的載體（如同莊子的象罔或罔兩），似乎要以放大
鏡或望遠鏡來觸摸這風景，經過版畫的平面化處理之後，尤為如此。
凝視這個虛薄世界的眼神，不再是我們的靈魂，而是那些“亡靈們的回眸”，
似乎這些亡靈依依不捨地眷念著我們這個殘剩的世界，他們已經離開，但還充滿
了無盡的眷念，只有通過他們回眸的眼神，我們才看到這個世界的真相（Schein）
與徵象（symptom），才敢於面對這個泡影一般的空洞世界，但因為他們的眷念，
這個世界還有著劫後餘生的慶倖，從而更為珍惜餘剩的生命。

在激烈的燃燒之後，在光強烈的爆炸之後，對於蘇新平，繪畫似乎就是在灰
燼上工作，以此燃燒的剩餘物，以“餘灰”（Ash）重構一個靈魂的風景（如同
猶太詩人策蘭 Celan 的詩歌寫作），既是“餘灰”也是“餘輝”，既是“餘燼”
（cinder）
也是“餘存”（sur-vivor）。
我們就在畫面上看到了這個“虛幻”與“眷念”並存的“虛薄世界”：
在激烈燃燒之後，世界僅僅是灰燼一般，是灰燼的陰影在建構世界，那些白

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蘇新平 風景2012-2號 2012 布面油畫 150×600cm Su Xinping Landscape 2012-2 2012 Oil on canvas 150×600cm 蘇新平 風景2012-3號 2012 布面油畫 150×600cm Su Xinping Landscape 2012-3 2012 Oil on canvas 150×600cm

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蘇新平 風景2012-4號 2012 布面油畫 200×900cm Su Xinping Landscape 2012-4 2012 Oil on canvas 200×900cm

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蘇新平 灰色1號 2012 布面油畫 130×194cm Su Xinping Grey-1 2012 Oil on canvas 130×194cm

蘇新平 灰色2號 2012 布面油畫 130×163cm Su Xinping Grey-2 2012 Oil on canvas 130×163cm

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蘇新平 灰色3號 2012 布面油畫 113×138cm Su Xinping Grey-3 2012 Oil on canvas 113×138cm

蘇新平 灰色4號 2012 布面油畫 130×97cm Su Xinping Grey-4 2012 Oil on canvas 130×97cm

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 Su Xinping's Large Landscapes obstinate horse or cow to try and penetrate that shadow. This is an image of the
soul, and an idealist quality that is unique to those born in the 1960s. What about
Departed Souls Looking Back and the Remnants of
the 1990s? Where is the place for these idealist qualities as we enter into a more
the World
materialistic era? This pushed the artist into a more profound state of silence
and emptiness. The 2006 Cheers series is the most absolute embodiment of the
artist's sense of emptiness; the semitransparent, reddish-brown or white figures
in these images seem to be already drunk to the gills with the wines and liquors
in their cups, and are just as empty as the cups in their hands, which is why they
How to gaze at the landscape? In this era where everything has been
are constructed out of such transparent shadows. They are in fact gathering in
technologized, how can the natural landscape gain a spiritual form of observation
a spectral land. Yes, this is the emptied soul, though it bears a“Buddha-like”
under the gaze, one that amounts to more than the mere digitized visual effects
facial expression. These are spectral Buddha images, sincere yet empty, giving
of landscape photography, and more than the direct reproduction of traditional
the sense of illusion an expression in painting.
Chinese landscape painting? Of course, it is not Western landscape painting,
not the backdrops of historical paintings, not the life studies of Turner or the
Impressionists, nor is it the landscape paintings that were used as expressions
of desire. How would it be possible for the landscape to serve as an observation
of the soul? Why does the soul awaken when facing the landscape? Why will the
landscape only return through the observation of the soul?
Why gaze at the landscape? To ponder this question in terms of life itself is
not to submit to retinal aesthetic perceptions, but to listen to the soul's desires.
The soul wanders about between the visible and invisible states, and that which
is visible cannot satisfy its gaze, because the soul wishes to see through this
world, to see things beyond the beginning and end, to see existence beyond life
and death, to see the truth of the world itself. Therefore, the soul is greater than
life and death. This is the illusion that life cannot escape. Without this illusion,
then life amounts to nothing more than walking corpses. But in a completely
secularized and technologized era, where is the place for the soul? It is only
when an individual returns to his own solitude, silence and wordlessness that the
soul opens its eyes. What the soul wishes to see are the remnants in the world,
the remnants of the world itself. This is a world that approaches the end of the
world. When looking upon the end of the world, the soul becomes a dead soul
or ghost. How do we gain the vision of a dead soul or specter? This requires an
artist who has been baptized by the void. Perhaps in this era, a clear sense of
pessimism and the tragic wisdom of remnants can allow us to see through the
vanities of this world.
Without a doubt, painter Su Xinping has attained such an eye through
miraculous methods. Beginning with his print art in the 1980s, the cold, dreamlike
atmosphere of his pictures gave the impression of an otherworldly passage
Su Xinping, Look-1, 2011, OIl on canvas, 200×150cm
of time; the figures'“internal”gazes and embraces were a refutation of this
reality, and between the solid brushstrokes of the figures and the large, heavy
With his sensitivity and talent, Su Xinping has captured the struggles of our
shadows of the objects, Su Xinping's prints were no longer realist language but
souls in this era. On the one hand, we have been permeated by material desire,
the symbolic retaining of the“plump shadow of the world.”The capture of those
and our lives have grown increasingly thin, so“thin”that we are transparent and
quickly passing shadows appears only able to reach a balance in highly produced
empty as a liquid. We are composed of shadows, the“illusory bubbles”of life
print images, being the conquering of time. After this, the artist's eyes always
alluded to in Buddhism. We seem to believe that Su Xinping has always been
came to rest on that massive shadow. He would use the image of a lonely,

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 there, unseen, looking pitifully on this world through Buddhist ways. On the other
hand, however, we still have the yearnings of the soul, though this soul is unreal
and pessimistic. These thin specters have their mouths agape, but can this
false and empty ritual still satiate the thirst of the spirit? Life is superficial like a
“bubble.”Su Xinping's visual language and his print-like sense of flatness crafts
his human forms into something akin to solidified“bubbles”that can be blown
away at any instant, but still possess an infinite yearning for life. So how can
these helpless souls be saved?
Su Xinping, Look-2, 2011, OIl on canvas, 160×200cm
I believe that this contains Su Xinping's individual pessimism. Only when
such tragedy-filled eyes shift from people to the landscape do they find any
comfort. This was also in 2006, a great year for Su Xinping. He painted the
massive, 16 meter long Landscape 1, which is doubtless a great work. There
are no more people in the picture, just a primordial world that flows forth like ink-
work. Particularly enchanting is how he obtained this visual feel: the pictorial or
canvas expression has been rendered in a highly unique way, in that it appears
that the many layers of bubbles, branches, mountains and clouds have all
been emptied out. This is a transformation of the cloudlike vapors in traditional
landscape painting. This is a spiritual world, but this world is so desolate. The
rising clouds of smoke hint at some life, but this is a true world of shadows, a
238
remnant of the world. The landscape has the bleak, desolate tones of ancient
literati landscape painting, and the language borrows from the flow and infra-
mince of ink painting, but the rise of the horizon has been held down, while the
yellow soil and the brown color tones do little to hide the bitterness.
We can't help but ask, who gazes at such a giant landscape? This is not
something the naked eye can see. Thus, Su Xinping also painted landscapes
lined with smokestacks in the same year. It seems that only the strong light
brought by the tongues of fire, by the tumultuous burning of the spirit can
conquer such massive desolation, but it is all still like an illusory bubble. Though
the burning of the spirit is a testament to the soul, and it is the light that opens up
the picture's gaze, all this burning brings is ashes, just as modernity saw global
destruction wrought by the fervent burning of the spirit, from the furnaces of
Auschwitz to the bomb at Hiroshima, from the Iraq War to the airborne terrorist
explosions of 9/11. What Su Xinping wants to face is the spiritual impasse of
modernity itself, asking how we can rebuild a spiritual homeland atop the ashes.
Su Xinping, Look-3, 2011, OIl on canvas, 190×160cm
In order to preserve the infra-mince bubbles while also possessing
realistic breathing of the soul, the artist had to enter into an even more abysmal
world, persisting in his gaze upon the remnants of this world without giving in
to the temptations of human desire. But this is not something he could attain
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 with his own soul. He needed a dead soul or the eyes of a dead soul through
which to observe this voided world. That is because once the artist opened up
this remnant world or end-of-days world before him, if he wished to maintain
his gaze without falling into flights of fancy, he needed to change his eyes in
order to gaze anew at this shadowed illusory world. This world has been infra-
minced, as Duchamp said, as if everything is nothing more than a shadow.
This is the shadow of the land, and the painting has become the carrier for the
shadow's shadows (like Chuang Tzu's illusions or shadows). It is as if we need
a magnifying glass or telescope to touch this landscape, especially after it has
been flattened using print techniques.
life), watching over this surviving world.
These are the remnants of every great event. There will no longer be
events, only their remnants, but gazing upon these remnants surprisingly elicits
boundless passion, because the vast emptiness of the landscape prompts people
to wait, to wait for a new world, and this leads to the infinite spread of grief. The
artist's cold color infra-mince rendering dilutes this grief, but this shadow world
of departed spirits, with its powerful longing, profoundly awakens the trembling
within our souls, and this trembling is the soft murmur between souls.
Because we have seen that departed soul looking back: the world is in a
state of post-disaster survival; this is what remains after the end of the world.
To fill these final remnants with infinite vitality requires extraordinary imagination
and tenacious intelligence. No one who hasn't experienced great tragedy can
possibly yearn so strongly for this new world.

Su Xinping, Landscape 2012-1, Oil on canvas,200×600cm.

The eyes that gaze on this infra-mince world are not those of our own souls,
but the“dead souls looking back,”as if these dead souls still cling to this leftover
world of ours. They have left, but they still long for it, and only when they look
back can we see the truth and symptoms of this world and gain the courage to
face this bubble-like, empty world. But because of their yearning, this world still
has the fortune to survive disaster and thus cherishes the life that remains.
After an intense burn, and under the light of a powerful explosion, for Su
Xinping, painting is like working atop ashes, creating a landscape of the soul out
of the remaining ashes (like the poems of P. Celan). They are the ashes, the
afterglow, the cinders, the survivors.
In this picture, we see the “infra-mince world” where “illusion” and
“longing”coexist: after an intense burn, the world is nothing but ash, and it is
the shadows of the ashes that are rebuilding this world, those white clouds and
distant mountain ridges are like the shadows left behind by the blinding light
of a powerful explosion. Everything is reduced to ashes, and only the eyes
of departed souls can gaze upon them. The remnants of this world are the
“remnants of the soul”(as poet Zhao Ye writes).
These ashes are also an afterglow. Su Xinping's landscape gives one the
sense of the afterglow at nightfall. This is also an embodiment of old styles. The
world is entering the age of night, where bleakness and desolation begin to seep
across the land. Only the sharp tree branches and their crab-like claws are still
vigilant (these crab-like claws are reminiscent of the stark winter tree branches
in Song dynasty landscape painting, an allusion to the bleakness and tenacity of

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 劉國夫的繪畫
光氣融合的虛薄

中國山水畫萌發于唐代的行旅，在深入自然之中，既象徵著生命的短暫與辛
勞，也暗示著自然山川的自在與平淡，因此山水畫要打開一個可游可居的生命場
域在其中安息有限性的生命，在我們這個時代重新打開山水畫的精神，需要有著
一種行走的姿態，進入現代性，則是穿越無人的曠野與沙漠，同時穿越自己內心
的孤寂與茫然。劉國夫曾經在新疆呆過幾年，遠離南國，於 2003 年開始的繪畫中，
那個喇嘛的形象就是一個行者的化身，是佛教西藏聖域的尋覓者與聖光的忠實跟
隨者，隨著後來自覺去掉地域性與具體的符號，保留靈魂穿越的姿態，打開了一
個佛光與靈氣融合的精神世界。
中國水墨山水畫的語言，基本上是以“氣化”為主的語言，去掉了唐代繁盛
顏色的光感，儘管水墨畫上有著墨光，宣紙紙面以及石塊礬頭的無光之光，但主
要是氣韻生動與氣化的語言，即從山水畫物件的氣象（Qi-image）的描繪，到
滿紙煙雲的墨暈，再到沖淡的意境，氣化或氣感（sense of QI）的語言帶來的
是瞬間的變化，這是順應自然變化的氣機（Kairos of Breath or Energy），這
個瞬間的時間感，也是與現代性破碎的瞬間相通，因此現代性需要與山水畫對時
間的感受中吸取能量，來修補其破碎的敘事，儘管並不一定走向具象，但瞬間生
滅的時間性卻可以通過氣化的微妙變化得到觸感的充盈，這也是傳統的虛淡走向
“虛薄”的契機。而西方油畫的基本語言是光感（sense of light），從古希臘形
式建構的理性之光，到中世紀古典時期可見與不可見之間的神性之光，再到文藝
復興主體透視法的聚焦之光，直到風景畫的自然之光，再到二十世紀肉體與繪畫
材質融合的顏料之光，直到抽象畫的無光之光（所謂的黑色繪畫或者空白的繪畫，
成為現存品），西方繪畫的光也走向了消失，這也是繪畫終結的症候。
二十世紀中國繪畫的結合之道在於 ：從晚期黃賓虹的墨光到李可染加入寫生
與明暗對比的自然光，從林風眠在油畫中加入的蒼茫之氣，到趙無極抽象抒情的
風景畫把山水畫的氣感與西方顏料的色感完好融合，“光氣融合”就成為東西方
藝術結合的一條核心道路，也是重寫現代性藝術的可能性條件。而在這條道路上，
在油畫上，是劉國夫的光感與氣感在精神上更為徹底地融合。趙無極主要還是在
繪畫技術上，把山水畫的皴擦勾染融入到油畫流淌塗抹的筆觸感之中，通過書法
大寫意的黑色筆觸面對畫面彌散開來的白色，打開畫面的張力，而且以滲染與沖
刷相結合的技術，既帶來了一種元氣淋漓的氣化之感，又有著一種細微色差的無
限豐富的色光。但劉國夫在精神上更為徹底，這也是 1980 年代之後的趙無極過
於虛化而失去了畫面的張力，就因為生命的感受上失去了張力。
光感與氣感的融合，不僅僅是筆法技術上的，而且也是精神上的，劉國夫帶
有佛光的那些名為無題的作品，那個孤獨無名的尋覓者，倉惶迷茫之中，帶著內

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 心的呼嘯與叫喊，一種尖銳似乎要刺透表面，但又被無處不在而且彌漫開來的一
種微光所吸引，這微光把整個畫面滲透，淹沒，減弱了淒苦尋覓者的悲鳴。這光
帶有一種佛光的聖潔，以灰藍灰色為暗色的基調，被內在的白光滲透，柔和地滲
透著，但又隱含著內在的堅韌，這氣息如同一層光膜，包裹著畫面，帶來了虛薄
的觸感。佛光不同於西方的光感在於 ：有著“色即是空，空即是色”的觀念，以
極少的光激發一種潔淨之感，但又有著空寂的厚度，出世與入世之間——在其
間——打開了一個空隙——以便讓光與氣在其間聚集，從而打開了虛薄的厚度，
似乎個體生命受到光的沐浴與洗滌，這光的沐浴以有著色差變化的白色在畫面流
蕩，要包裹我們的凝視，或者把我們吸納進去，那種輕微的眩暈並不迷惑我們，
而是清澈我們，澄澈我們的心魂。
從喇嘛的明確形象到尋覓的無名主體，再到畫面上主體的缺席，平滑的表面
僅僅留下尋覓者尋找的蹤跡，或者留下的僅僅是呼吸的迴響，是這種尋覓的余溫，
那種不屈服的、堅定的呼吸一直留在了畫面上，儘管一片恍惚，但尋覓者的靈魂
以其堅韌，讓光在畫面上保持生長，那些樹枝不過是生命的呼吸生長的形式。
因而畫面上的樹枝不是樹枝，而是生命呼吸的血管或者神經纖維，當畫面上
沒有人之際，那些被光芒擊中的樹幹，上面卻餘留著生命尋覓的呼吸，似乎被一
個離去的生命輕輕觸摸過。正是這種微妙的呼吸感，穿行在金黃色的樹枝枝蔓之
中，這晨曦與微茫的色調帶來了光陰的希冀與希望，那是經歷過痛苦尋覓的人所
生髮出來的一種溫暖。
畫面儘管看起來那麼薄，那麼虛，但卻在光感與氣感的融合中，“光“給畫
面帶來了內在的深度（尤為體現為畫面的金黃色），”氣“則把光彌散到畫面的每
一個部分（則體現為畫面的灰白色），在極薄的畫面上帶來了厚度的觸摸（如同
畫面上的灰藍色），這是精神性的色調，是融合了蒼茫與堅韌所帶來的那種厚度。
劉國夫作品上的光，是在讓光芒在自身言說，在冷寂與激烈之間來回震動，
或者就是使之搖曳，或者尋找到自然之物來直接呈現。那些樹枝的幻影，那些荷
花的殘像，都是姿態搖曳的生命體，繪畫是要“寫出”這些生命體在兩重張力之
間的那種節律。劉國夫讓靈魂的一道道閃電如同燃燒的荊棘，如同燃燒的筆桿，
就是畫筆自身被點燃了，成為了要書寫的對象。只有自身也燃燒起來，才可能抵
禦寒冷。這是燃燒的荊棘，如同猶太教的上帝在燃燒的荊棘叢中對先知摩西說話，
那是靈魂奇異的聲音。這光芒的荊棘一直在燃燒，它已經化作灰燼，但這凋零甚
至漆黑的餘灰還在燃燒。劉國夫所畫的那個光芒的追逐者就是剩餘的生命，名為
《無題》系列作品上的那些殘枝敗葉就是燃燒的灰燼，已經被閃電擊中，或者被
歲月燃燒殆盡，但是，卻還在激烈燃燒，而且永遠不會枯竭。在中國當代油畫家
之中，我還沒有看到誰如此具有現代性憂鬱與悲情的氣質，能夠把古代山水畫至
高的荒寒之境，以如此明確的形式與精神的強度表現出來。是的，這是“異景”，
是靈魂最為奇異的景象。
這冰火兩重天的景象是如何被畫家融合起來的？這是“光”與“氣”的雙重
書寫。西方油畫主要是對“光”的表現 ：從寫生風景的自然之光，到繪畫自身的
明暗對比之光，再到精神性之不可見的靈魂之光的顯露 ；與之不同，中國文化則
是追求“氣”的通透 ：從山水畫上煙雲之氣的流動，到畫面上的煙雲淡蕩，再到
以空白的參差邊緣所餘留的氣感，氣韻生動都是在通透之中自然呈現出來的。但
是，現代性的中國繪畫，不可能僅僅是西方的光感也不可能單純回到中國的氣感，
244
而是必須結合二者。劉國夫的異景確實帶有一種他異性，就是讓“光”與“氣”
竟然融合起來，黑白的色彩如同傳統水墨畫，但是那堅韌而頑強的荊棘一般的白
色筆觸在黑色濃烈的背景中，還是要挺立起來，讓整個畫面帶有一種悲愴的氣氛，
如同之前那些與西藏相關的尋覓者的繪畫，“光”總是在一種朦朧如同夢一樣的
靈氛中彌散著，處於異常遙遠的氛圍之中。不同於裡希特等人的膠片式繪畫，這
是把光感與氣感巧妙結合起來，帶有一種迷夢一樣的苦澀，但卻帶來了讓人無盡
回味的甜美。儘管是憂傷的甜美，而這正是憂鬱之所在。
繪畫的書寫性是要保持住生命的節奏，中國當代繪畫的根本危機是節奏的
喪失。但如何獲得新的節奏？這是通過書寫，因此形象的表現要成為“寫象”
（image-graphic）。劉國夫作品上的那些“象”，是虛像（Infra-image），是
餘灰之象，是生命在永恆顫慄，在到來與消失，在熄滅與燃燒，在衰敗與蓬勃之
間，在邊界上顫慄。書寫保持了這微妙邊界上顫慄的生命形式，因此也是“餘像”，
可以走向具象也可以走向抽象，當然也超越了二者之間的對立。這些書寫出來的
餘像，僅僅是剩餘生命的形象，那是生命在生生死死之間，方生方死與方死方生
之間搖曳的形象，並不走向固定，一直有著律動的節奏。中國書法與山水畫的書
寫性就是在每一筆之間都有著對消逝瞬間之物的餘留，讓每一筆都飽蘸著生命的
激情，是自然物件、身體情愫以及書寫用筆三者之間有著共感的生命節奏的書寫。
那是靈魂的書寫，因為靈魂在個體生命，在自然物件，在繪畫自身之中的來回游走，
是靈魂在表達自身。劉國夫的寫象就是靈魂的歌詠，時而引吭高歌時而低處徘徊，
餘音無盡。
這之後的繪畫，劉國夫在精神上進入了那個無盡眩暈的深淵，以內心的執著
與堅定，充分展現了光感與氣感融合所可能帶來的各個元素之間的張力，無論是
殘荷還是枯枝，都僅僅是餘像的形式指引 ：在激烈的燃燒與冰寒的冷峻之間展開
生命感受的張力，在頓挫的書寫與空茫的暗示之間呈現出情感承受的姿態，在紛
紜的離散與精魂的聚集之間打開了畫面時空的層次，在灰藍的內縮與灰白的跳躍
之間打開表面凸凹有致的觸感。
劉國夫作品上的異景，就並非是一般意義上的風景畫，而是靈魂的餘像，那
些看起來似乎是殘枝敗荷的事物，僅僅是自然的殘餘，畫家試圖讓自然的廢墟也
重新燃燒起來，在極冷之中，雪之白色的層層積澱，乃是一個個體生命的悲情流
露，如此的雪景圖已經被蒼茫與蒼涼的精神撫摸過，那是激情燃燒之余的冷記憶，
因此這是生命“餘燼”（ash, cinder）的見證，只有來自餘存者的亡靈的目光才
可能看到這異景。
隨著畫家的激情更為內斂，走向內在精神的光芒，畫面上光感與氣感結合而
成的餘像也更為豐涵，經過顏色反復覆蓋與刮擦所留下的筆蹤，是破碎與殘痕的
氣息，是傳統書法屋漏痕的現代轉換，每一塊之前的殘痕被破壞，但這是肯定性
地破壞，其餘痕還是堅韌地餘留下來，時間性的積澱由此形成，在停頓與審視之後，
每一次都重新開始，但又保持先前的餘留與遺痕，因此形成了筆觸之間的豐富性
與張力。
每一次的更新，每一次的餘留，是為了形成畫面之表面的張力，畫面是虛薄的，
但顏色層次又是那麼厚實！這是深入混沌，不斷破塊混沌，還保持混沌，形成了“餘
像”的視覺生命感受。
245
 劉國夫的光感與氣感融合的繪畫，帶來了多重的時間性 ：年歲的時間性，進
入不惑之年的畫家，經過了人世的滄桑，能夠把此滄桑的悲情帶入繪畫，並且找
到個體性的形象，體現出畫家的成熟與老辣 ；繪畫材質與質感的時間性，這是在
灰藍與金黃之間的張力，灰藍與灰白之間的對比 ；畫面意境的時間性，這是在悲
涼蒼茫與堅韌超越之間的生命情調 ；也是作畫的時間性，這在最近的繪畫中體現
更為明顯，持久覆蓋的顏料，被飽滿的氣息所充滿，如同一股股氣團，在豐富的
色彩的細微過渡中滲透著，但又極為克制，層層覆蓋之中，似乎永遠不可能完成，
但又似乎有著某種內在的氣息從畫面內在無盡滲透出來，綿綿不絕，“虛 - 薄”
獲得了它的內在厚度！而且因為其畫面觸感又極其“柔薄”，帶來了中國文化生
命特有的玉質感，但這是經過現代性视觉转换，即帶入“光感”的玉質感，因其
積蘊多重的時間性，是一種新的“虛厚的包漿”，異常迷人！

劉國夫 無題-05-8 2005 布面油彩 60X50cm Liu Guofu Untitled-05-8 2005 Oil on canvas 60x50cm

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 劉國夫 無題-06-8 2006 布面油彩 160X200cm Liu Guofu Untitled-06-8 2006 Oil on canvas 160X200cm

劉國夫 重合的影子 2003 布面油彩 80X80cm Liu Guofu Overlapped 2003 Oil on canvas 80X80cm

248 249
劉國夫 無題-10-9 2010 布面油彩 150X180cm Liu Guofu Untitled-10-9 2010 Oil on canvas 150X180cm 劉國夫 無題-08-6 2008 布面油彩 150X180cm Liu Guofu Untitled-08-6 2008 Oil on canvas 150X180cm

250 251
 劉國夫 廣場-2 2012 布面油彩 200X250cm Liu Guofu The Square-2 2012 Oil on canvas 200X250cm

劉國夫 冷山之一 2012 布面油彩 120X90cm Liu Guofu The Cold Mountain-1 2012 Oil on canvas 120X90cm

252 253
劉國夫 廣場-1 2012 布面油彩 200X250cm Liu Guofu The Square-1 2012 Oil on canvas 200X250cm

254 劉國夫 廣場-1 局部 Liu Guofu The Square-1 detail 255

 The Graphic-Painting of Liu Guofu of breath or qi”that accords with the changes in nature. This sense of fleeting
temporality is similar to the shattered moments of modernity, and thus modernity
Infra-Mince Fusion of Light and Qi
must draw energy from the sense of time in traditional landscape painting in
order to supplement its shattered narrative. Though this will not necessarily
push it towards the figurative, the instantaneous creation and destruction of
temporality can gain tangibility through the subtle changes of infra-vaporization.
This is the juncture that pushes traditional thinness towards“infra-mince.”The

Chinese landscape（Shanshui or Moutain-Water）painting sprouted with the basic language of Western oil painting is the sense of light. From the formally

Tang dynasty travelers, who entered deeply into nature, symbolizing the fleeting, constructed ideal light of ancient Greece to the visible and invisible sacred light

toiling nature of life while alluding to the ordinariness and independence of the from the classical period, on to the painted light of the twentieth century that

natural landscape. For this reason, Shanshui landscape painting aimed to open fused the body and painted material, and on to the lightless light of abstract

up a living space that could be wandered and lived in, for limited life to sojourn. painting (so called black painting or white painting, becoming a readymade), the

To reopen the spirit of landscape painting in our time requires the wanderer's light of Western painting has also moved towards disappearing, a symptom of

mindset. Entering into modernity entails a passage through broad, empty the end of painting.

wastelands and deserts, while also traversing one's inner solitude and vastness. The path to integrating 20th century Chinese painting is from the ink light

Liu Guofu once spent several years in Xinjiang, far from his home of southern in Huang Binhong's late period to Li Keran's use of natural lighting contrasts

China. The image of the lama that he began painting in 2003 is an incarnation from life, from Lin Fengmian's insertion of a desolate air into oil paintings, to Zao

of the wanderer, the seeker of holiness in Buddhist Tibet and faithful follower of Wou-ki's abstract cathartic landscape paintings which accomplished a complete

the sacred light. Following the artist's conscious removal of regional traits and fusion of the sense of qi in Chinese landscapes with the sense of colors from

concrete markers, his later paintings maintained this mindset of spiritual passage Western paints, the“fusion of light and vapor”has become a core path to the

while opening up a spiritual world that fuses the Buddhist aura and the spiritual integration of Western art, and one of the possible conditions for the rewriting

ether. of modernity in art. On this path, in terms of oil painting, Liu Guofu's sense of
light and qi attains an even more total spiritual fusion than that of Zao Wou-ki.
Zao's fusion was mainly on the level of technique, infusing the flowing smears of
oil painting brushstrokes with the chapping, scraping, crossing and seeping of
Chinese landscape painting. He opened up the tension in the picture through the
contrast between large, freehand black brushstrokes and the white picture, and
used a technique that combined permeation and ink washing to bring about a
vibrant sense of vaporization that also possessed the infinitely rich color lighting
of minutely disparate colors. Liu Guofu's fusion is more total on a spiritual level.
Zao, on the other hand, lost the tension in his images in the 1980s due to excess
emptiness, which was caused by a loss of tension in his perception of life.
Wang Hui Mist From Distant Mountain Ink on paper

Fan Kuan Snow Scene and Cold Forest detail The fusion of the sense of light and sense of qi is not merely a brush
technique; it is also spiritual. In those untitled paintings marked by the aura of the
Buddha, the lonely nameless seeker（as a remnant of life）seems to hold a cry

The language of Chinese ink landscape painting is mainly based on or a shout in his heart as he wanders through the hazy emptiness. A sharpness

vaporization, removing the sense of light in the proliferation of colors seen in seems to want to pierce the picture, but it has been drawn in by a kind of soft light

the Tang dynasty. Though there is ink light to be found on the surface of ink that spreads throughout the entire scene. This soft light permeates and covers

paintings, and there is a sense of lightless light on the surface of the scroll the picture, softening the lament of the suffering seeker. This light has an aura-

paper and the stones, the language is mainly that of a infra-vaporous rhythmic like purity. The underlying blue-gray color tone is permeated by an internal white

vitality. From depictions of the“qi-image”of the painted subject to the cloudy light, softly permeating but also implying internal firmness. This atmosphere is

ink-blotches that fill the paper and on to the diluted imagery, this language of like a layer of membranous light that encases the images, giving a tactile sense

infra-vapor or sense of qi brings out instantaneous changes. This is the“Kairos of infra-mince. The difference between the Buddha aura and the Western sense

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 of light is in the concept that“that which is form is emptiness; that which is empty
is form,”using a minimal amount of light to create a sense of purity that also
possesses an empty thickness which opens a crevice between aloofness and
worldly involvement, a crevice in which the light and qi can gather together and
open up infra-mince thickness. It is as if individual life has been bathed and
cleansed by light, and this bath of light flows through the shifting tones of white,
enveloping our gaze or drawing us inside. That light vertigo does not entice us; it
clears us, clarifying our souls.
From the clear image of the lama to the nameless wanderer and on to the
absence of the subject in the picture, the smooth surface retains only the traces
that the seeker seeks, or perhaps only the reverberations of breath. This is the
remnant temperature of the quest. That firm, unrelenting breathe remains always
on the picture, and though it is faint, it lends strength to the seeker's soul and
allows light to maintain growth in the picture. Those tree branches are nothing
less than forms for life to breathe and grow.
For this reason, the tree branches in the picture are not tree branches, but
blood vessels or nerve fibers for the breath of life. When there is no trace of man
in the picture, the tree trunks hit by light bear the remnants of breath from life's
quest, as if lightly caressed by a passing life. It is this subtle sense of breath,
passing through the golden branches, this soft light and tone that bring the hope
of life and shadow. It is the warmth emitted from one who has engaged in an
arduous quest.
Though the picture appears so infra-thin and infra-empty, in its fusion
between sense of light and sense of qi, the“light”brings internal depth (especially
embodied in the gold), while the“qi”spreads the light to every part of the painting
(embodied in the gray and white of the picture). On this infra-thin picture, they
bring the touch of thickness (like the blue-gray in the picture). This is the color
tone of the spiritual. It fuses the thickness of vastness and firmness.
The light in Liu Guofu's art allows the aura to speak for itself, wavering
between coldness and passion, perhaps making it shake, or perhaps seeking out
natural things for direct expression. Those shadowy visages of branches, those
faint images of lotus flowers are all quivering life forms, and the aim of painting is
to“write out”that rhythm that stands between the two forms of tension in these
life forms. The subject of Liu Guofu's writing is that burning, stabbing sensation
of the sparks of the soul, the burning of the brush handle. Only through allowing
the self to burn as well can we ward off the cold. These are the burning brambles,
like god speaking to Moses through the burning bush in Jewish tradition. It is
the magical voice of the soul. This radiant bush has always been burning, and
has been reduced to ashes, but these withered, even black ashes continue to
smolder. The pursuer of that aura in Liu Guofu's paintings is a remnant life, and
those tattered branches and leaves in his untitled series are the burned ashes,
either struck by lightning or burned away by the fires of time, but they still burn
bright, and they will never fade away. Among Chinese contemporary oil painters,
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Zao Wou-ki 05.12.69 Oil on canvas 195x97cm
Liuguofu Monologue No.7 2010 oil on canvas 180x150cm
I have yet to see a single one who is so richly imbued with the dejected and
pessimistic qualities of modernity, or can convey the lofty desolation of Shanshui
landscape painting with such clear form and spiritual power. This is truly an
“otherworldly landscape,”the most magical spectacle of the soul.
How did the painter achieve fusion between the spectacles of fire and ice?
This is the double composition of“light”and“qi.”Western oil painting is mainly
the expression of“light,”from the natural light of life-studies scenes to the
contrast of light and shadow in painting and on to the revelation of the invisible
light of the soul. Chinese culture, on the other hand, pursues the penetration
of“qi,”from the flow of qi in the clouds of Shanshui landscape paintings, to the
roiling clouds of the picture and on to the sense of qi left behind by the margins
of the blankness, a vivid sense of qi naturally emerges through penetration.
Modern Chinese painting, however, cannot merely express the Western
sense of light or return solely to China's sense of qi. It must integrate the two.
Liu Guofu's otherworldly landscape truly possesses heterogeneity, one that
somehow achieves a fusion of“light”and“qi.”The black and white tones are
reminiscent of traditional ink painting, but those firm and tenacious thistle-like
white brushstrokes stand up from amidst the thick black background, bringing
a mournful atmosphere to the overall picture. As with those earlier paintings of
the Tibetan seekers, the“light”is always spreading out within a hazy, dreamlike
spiritual air, situated in a strangely distant atmosphere. Unlike the film-style
paintings of artists such as Gerhard Richter, this is a skillful integration of the
sense of light and sense of qi. It possesses a kind of dreamlike bitterness, but
it always brings a lingering sweetness. It is a sad sweetness though, and this is
the root of the dejection.
The written aspect of painting must maintain the rhythm of life. The core
crisis faced by Chinese contemporary painting is the loss of rhythm. How can
a new rhythm be attained? This is attained through writing, and in this way,
the expression of images must become“image-graphic.”The“images”in Liu
Guofu's works are“infra-images,”the semblance of ashes, the eternal quivering
of life, quivering on the precipice between coming and disappearance, between
extinguishment and burning, between decline and growth. Writing maintains
this subtle life form that quivers on the precipice, and for this reason, it is also a
“remnant image,”one that can shift towards either the abstract or the figurative,
though of course it has also transcended the opposition between the two. These
written remnant images are merely the forms of remnant life, the form of life
between life and death, between the death of life and the life of death, wavering
between the two extremes, never moving towards a fixed state, always marked
by a rhythm. Chinese calligraphy and the written aspect of ShanShui landscape
painting contain the remains of things at the moment of their disappearance
within each brushstroke, so that each stroke of the brush encapsulates the
passion of life; it is writing that possesses resonance between natural subjects,
bodily emotions and compositional brushwork, forming the rhythm of life. It is
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 the writing of the soul, because as the soul wanders about between individual the“water stains of the leaking house”in traditional calligraphy. Each remnant

life, natural subjects and painting itself, the soul is expressing itself. Liu Guofu's is broken, but this is an affirming breakage, as the remnant traces tenaciously

“image-graphic”is the song of the soul, sometimes bursting forth in beautiful remain, and thus, the accumulation of temporality takes form.

song, sometimes wallowing in hesitation, always producing infinite infra-sound. After pausing and examining, each time begins anew, yet it also maintains
the previous remnants and tracing, forming richness and tension between the

In the paintings that followed, Liu Guofu spiritually entered into that brushstrokes. Each refreshing, each remaining, is to form a surface tension on

bottomless abyss and through persistence and tenacity, presented all of the the painted plane. The painted plane is infra-thin, but the layers of colors are

possible tensions between elements that could result from the fusion of the so thick. This is deep penetration into the chaos, repeatedly breaking the chaos

senses of light and qi. Whether tattered flowers or withered branches, they are while also maintaining it, forming a visual living perception of the“afterimage（or

merely after-image allusions to form, opening up the tension of living perception Infra-image）.”

between fierce burning and piercing cold; presenting a state of emotional

endurance between terse writing and empty allegory; opening spatiotemporal
layers in the picture between confused scattering and the gathering of spirits;
opening up a protruding sense of touch on the surface between the contraction
of the bluish-gray and the leaping of the grayish-white.
Liu Guofu's paintings fusing the senses of light and qi have brought forth
multiple temporalities. First is the temporality of age: entering his forties, the Liuguofu The Cold Mountain-1 2012 Oil on canvas
120X90cm
artist has experienced much of this mortal coil, and is able to bring emotions
marked by such experience into his paintings, finding individual forms to embody
his maturity and insight. Then there is the temporality of the painting material
and texture: this is the tension between the gray and the gold, the contrast
between blue and white. Next is the temporality of the picture's mental realm,
the living sentiments that exist between the vast desolation and the tenacious
transcendence. There is also the temporality of painting, which is most clearly
manifested in his recent paintings: long covered paint is filled with a saturated
atmosphere like so many masses of air; they permeate through the rich, subtle
color transitions but are also tightly controlled. The many layers covering each
other appear as if they can never be completed, yet they also seem to possess
a certain internal air that endlessly seeps out from inside the picture, extending
infinitely.“Infra-mince”has gained its internal thickness.

The otherworldly scenes in Liu Guofu's works are not landscapes in the
normal sense but afterimages of the soul. Those things that look like tattered,
broken lotuses are merely the vestiges of nature. The painter is trying to let the
ruins of nature burn once more. In the extreme cold, the accumulating layers
of snowy white are revelations of sadness from so many individual lives. This
snowscape has been caressed by a boundless, desolate spirit. They are the cold
memories that remain after the burning of passions, and so they are a testament
to the cinders of life. Only the gaze of the dead soul of the survivor can see such
an otherworldly scene.
As the painter's passions turned inwards, towards the internal radiance of
Huang Binhong(1865-1955), Late Shanshui Ink-Painting
the spirit, the afterimage resulting from the integration of the sense of light and
qi grew richer. The traces left behind by repeated coverings and scrapings of
color form a shattered, scarred atmosphere; it is the modern transformation of

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 姜吉安的繪畫與裝置
物化的虛薄

中國早期的畫匠們，比如唐宋時期，更為重視材料的提取，那些礦物質顏料，
比如石青、石綠、赭石與藤黃，都是從石頭與植物裡直接提取的，要畫孔雀石，
可能就直接從孔雀石那裡去找。而選擇絹，是因為它薄而透，讓顏料可以更好地
餘留在絹面上，看出顏料留下的那種持久的痕跡，因為顏料不適合調和，也許絹
絲在那個時代，更好地表現物性。
同時，在宋明理學那裡，已經開始了面對事物的格物致知追求，尤其出現了
邵雍以及二程等人的觀物思考 ：如同邵子在《觀物內篇》中，指出，所謂觀物者，
不是以目觀之，也非以心觀之，而是觀之以理。這是以身觀神，以心觀心，以物
觀物，與現象學的回到事物本身有異曲同工之妙！這無疑還是與莊子“庖丁解牛”
的三觀：
“目視，未見，神遇”相通，也與“聽之以耳，聽之以心，聽之以氣，”“心
齋”的傾聽方式對應，這也是把“以物觀物”和“以道觀物”結合起來。
如果現代繪畫離不開材質，必須充分顯示物的物性，如果是絹本的繪畫，那麼，
絹的特性如何體現出來？傳統工筆是以細謹的線條來刻畫物件，當然有著絹色的
表露，時間感上並存秀色與蒼涼。但如果不再表現傳統工筆劃的物象，從材質本
身顯露出材質性，讓材質來表達自身，工筆之為工筆，該如何做？
姜吉安曾經做過很久的材質實驗，比如把一本書搗碎，將碎屑蒸煮、研磨和
過濾，加明膠後製作成顏料，再畫出這本書來，這個方式在於 ：以物取物，以某
物來畫出某物，把物還給物，以物移物，以物成物，這是中國人的物化觀，如同
中醫的類物氣息相聚，這也是讓物自身成物，所謂不誠無物，誠者天之道也！這
就是中國傳統的“物化”方式，即物並非固定的某個物，而是可以生成變化的，
如同自然乃是從自身而來。不同于技術乃是從其它來源，但是在這裡，既有著這
個物性自身，也有著人為的製作，但二者得到了統一。
在姜吉安 2010-2011 年的一些作品上，他尤為關注“物”與“繪畫”的關係，
並且對二者的關係進行了修改和重構。他的方法是把一個實物分解為兩部分 ：比
如一個茶杯，先把茶杯打碎，磨成粉末，粉末通過蒸煮、過濾、加膠、加礬做成
顏料，用來畫出這個茶杯的圖像，這是一個打碎的過程 ；然後，用製作顏料過濾
出的渣子雕塑出一個小茶杯，小茶杯雕塑與茶杯的畫面相加，等於未粉碎前的那
個茶杯的總品質，這是一個重鑄與還本的過程。因此，畫家似乎在做加減法，並
以此給繪畫一個新的理由。這個理由不就是杜尚在現存品的物性與重新返回繪畫
之間要思考的虛薄的思考？

以此觀念，姜吉安開始思考自己畫了很多年的絹本，為何不就用絲絹來做絹
畫，讓事物回到自身，讓物以自身的物性顯露自身的特性。
在他名為《兩居室》的裝置作品中，對日常物品進行翻制，然後加以噴漆、素描、
擦碳，以光影素描的方式加以獨特處理！或在石膏上以素描方式繪製出光影對比，

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 這是人為畫出來的光影對比，帶來一種模擬效果，因此，整個事物以及場景，仿
佛被一隻天外之手重新擦染過了，帶來一種奇特的視覺錯置 ：如此真切，但因為
光影是人為繪製出來的，又如此虛假，似乎就是波德里亞所夢寐以求的那種擬像
的模擬（simulacra et simulation），但那種寂然的冷感卻如此真切！我想這可
能是畫工筆出身的畫家以“三礬九染”的方式在面對身邊的每一個事物！這些被
冷處理的靜物，在畫家獨特的視覺處理之中，從死寂之中獲得了生機。這是姜吉
安一直以來的那種造化的想像？比如把舊桌子舊椅子拆掉而做成雞蛋，花生殼等
等，似乎就是真的一般，這似乎是一種原始智慧的零碎敲打？
兩居室所帶來的那種錯覺，給我們恍若隔世的感覺！如同白日夢！我似乎相
信，另一種時光為這些事物打上了一層夢一樣的迷人色澤，這種藝術想像加工的
產物，我甚至覺得這可能與中國古代為死者製作“冥器”相關！無論是明器還是
生器，物在死寂之中，化作塵埃之物之後，卻被畫家觸及到了，而轉化為有著生
命餘味氣息的器皿了？這是靈魂返回的回眸！這是異常後現代的視覺感受，從亡
靈那裡投射而來的冷光讓我們真切感受到世界之物的客觀性，“物”比“人”更
加孤寂！
或者說，姜吉安試圖把儒家的成物觀與道家的物化觀結合起來，在他的裝置
作品中，我們看到了一種安靜而自持的禮儀，似乎這些物披上了一層裸露的冷光，
儘管沒有人，但那是物出場的儀式，那種冷峻，那種迷人的冷感，與我們如此切
近，但又那麼遙遠而不可觸，這些靜物似乎處於變化的前夕，等待某種神靈的降臨，
但可能在觸動之際，立刻化為另一物。這種被打上銀灰色一般的靜物，有著自身
寂冷的安靜自持，宛若另一個世界的產物。
以物移物，以物造物，但保持物的安寧與寂然，姜吉安觸及到了物自身的秘密。
在繪畫與實物之間，這是在生死之間轉化，在真假之間轉化的物化技藝，在連接
二者。
按照杜尚的“虛 - 薄”理念，繪畫需要以現存品為條件，必須充分顯露現存
品的特性，但還要有著繪畫性，這如何可能？面對傳統以絹本為主的工筆劃，如
何顯露絹的特性？
繼續處理絲絹的材質，姜吉安開始燒絹，絹畫與紙畫，在中國文化中尤為害
怕火，都是非火性的，而帶入火，以及燃燒，這是現代性的經驗，繪畫之為繪畫，
傳統工筆劃與水墨畫都已經無所剩下了，不得不經過西方油畫光感的燃燒，或者
說，工筆與水墨要新生，必須接受另一種異質因素的考驗，甚至就是接納異質性，
火性就是如此，如同王天德就是以燒灼留下山水畫的痕跡。
姜吉安如此展開了工筆劃的物性，但這些物已經是剩餘物，是餘化的物 ：
其一，首先，是一幅完整的絹，什麼都不做，保留絹的物性 ；
其二，然後，以火燒這幅絹的周邊，留下一塊未燒的部分，但其邊緣有火燒
過的殘痕 ；
其三，然後，把絹灰的殘渣收集起來，再經過加水蒸煮、研磨、過濾、加膠
這些步驟，將絹灰製作成顏料 ；
其四，然後，以此為顏料，用毛筆那塊剩下的絹上畫出一些有著燒灼痕跡的
線條，反複綫描，又反復渲染，並且呈現出有著起伏狀態的物的形狀 ；
其五，這個物的形狀，來自於製作顏料過濾出的剩餘殘渣，以及沒有用完的
顏料，再做成一個事物（比如樹枝或者木棍等等），而且讓絹畫上的形象留下這
個事物似乎烙印過的痕跡，但其實並沒有，這是以虛對虛。
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這個過程，有著製作性，觀念性，以及工筆的書寫性，為何又如此的虛薄呢？
首先，餘留了絹自身的材質，我們看到的是在剩下的未燃燒的絹上所畫的有
著波折感起伏的線條，似乎就是絹本身材質的線痕。
其次，那個燃燒過的灰渣製作的顏料中，也有著絹的材質。
最後，在絹上所畫出的線條更多餘留了絹的特性，無論是未處理的絹，還是
燃燒過的有著燒灼痕跡的線條，以及受到火侵襲而留下的痕跡。
這三層的處理，都是絹的材質被充分接納進入了繪畫。
畫家認識到，絹本繪畫包含了很多技術難度，比如要在絹本上渲染出“光影”，
難度就相當大，但經過 40 到 100 多遍的渲染、去色，還再次保留絹本材料的紋
路，在有著難度的同時，也帶來意外色澤的驚喜，那種燒灼過的紋跡，如此古老，
帶來蒼古的時間感，但卻又那麼清新，富有迷人的觸感。
那麼，剩餘的問題是，在藝術家做出如此的作品之後，其背後的理念是什麼？
或者說，藝術家以如此方式面對傳統，給了藝術什麼樣新的啟發？並且把傳統如
何創造性轉換出來了？而且體現出了虛薄，即虛薄作為創造性轉化的方式具有某
種普遍性？
這是藝術家對“剩餘（reste, remains）”的經驗，即對物性的“餘化”處理，
面對絹，一幅空白的絹，不是立刻要去按照傳統的方式去描繪花鳥等等物象，而
是任其保持為它自身的物性，但同時，絹本繪畫本身也無法直接進入現代性，絹
本的繪畫已經接近了它的終結，不再可能直接進入繪畫，繪畫已經在現代性焦慮
的目光中燒烤過了，已經被烤焦了，這是一種徹底的現代性經驗！因此以火燒，
絕非是任意的方式，乃是心靈焦灼的暗示！而且，以火來燒，也帶來了異質感，
以絕對相異的元素性來面對絹紙，啟動出一種看似不可能的潛能。如果絹本繪畫
還能夠接納如此的異質性，那是自身向著他者的過渡，如同杜尚在虛薄的筆記中
所言。
姜吉安充分展現了中國文化剩餘的經驗，生命僅僅是剩餘的，乃至於多餘的，
經過火燒，則成為無餘的了，如何讓此無餘的材質重新獲得形式？這不就是靈魂
的重生？靈魂不就是精神火焰的燃燒？中國傳統的靈魂乃是鬼魂，而非火焰燃燒
的靈魂，但在如此的焚燒之後，靈魂如何再次到來？
與前面靜物的靜冷不同，這裡經過焚燒的靈魂則是活躍的，如此古舊又如此
新鮮，這是靈魂在內在溫熱的呼求之中，要求著返回，我幾乎相信這是對靈魂不
死之當代的最好想像了。
姜吉安讓剩餘的皺褶得到了細膩地展開，這是工筆劃的內在要求，尤其是那
種柔性的觸感，幾乎是女性的那種觸感，顯然，姜吉安的絹本餘留了這種觸感。
而餘化的經驗，也是傳統余白以及餘留的轉換。尤其是絹本所呈現出來的繪畫狀
態，線條在輕微地顫慄，似乎那是剩餘生命在最後的顫慄，有著凸凹之感，在起
伏的抖動之中，那種呼吸感，微薄的肌膚感，蕩漾起來，這個肌膚感不就是工筆
劃的內在魅力？
而且，那種燒灼的痕跡還隱約可見，似乎那個死去的靈魂已經回來，那是生
命不屈不饒的內在氣息，帶有如此強烈的可觸性，畫面還在隱約起伏之中，期待
我們的撫摸與愛撫。
265
 薑吉安
左：《剩餘價值01》 2011 絲絹粉末雕塑 40X6X5cm
右：《絲絹01》 2011 絹本繪畫 220x60cm
Jiang Ji’an
Left: Sur-plus 01 2011 Silk Cinder, Sculpture 40X6X5cm
Right: Silk 01 2011 Silk Painting 220x60cm.
薑吉安
左：《絲絹03》 2011 絹本繪畫 220x60cm
右：《剩餘價值03》 2011 絲絹粉末雕塑 40X8X4cm
Jiang Ji’an，
Left: Silk 03 2011 Silk Painting 220x60cm
Right: Sur-plus 03 2011 Silk Cinder, Sculpture 40X8X4cm

266 267
 薑吉安 薑吉安
左：《絲絹02》 2011 絲絹粉末雕塑 40X6X4cm 左：《絲絹18》 2011絹本繪畫 88X26cm
右：《剩餘價值02》 2011 絹本繪畫 220x60cm 右：《剩餘價值18》 2011 絲絹粉末雕塑 25x5x5cm
Jiang Ji’an， Jiang Ji’an，
Left: Sur-plus 02 2011 Silk Cinder, Sculpture 40X6X4cm Left: Silk 18 2011 Silk Painting 88x60cm
Right: Silk 02 2011 Silk Painting 220x60cm Right: Sur-plus18 2011 Silk Cinder, Sculpture 25X5X5cm

268 269
 薑吉安
左：《絲絹24》 2011 絹本繪畫 50x190cm
右：《剩餘價值24》 2012 絲絹粉末雕塑 26x15x5cm
Jiang Ji’an，
Left: Silk 24 2011 Silk Painting 50x190cm
Right: Sur-plus24 2012 Silk Cinder, Sculpture 26x15x5cm
薑吉安
左：《絲絹015》 2011 絹本繪畫 59X20cm
右：《剩餘價值015》 2012 絲絹渣子雕塑 20x5x4cm
Jiang Ji’an，
Left: Silk 054 2011 Silk Painting 59X20cm
Right: Sur-plus015 2012 Silk Cinder, Sculpture 20x5x4cm

270 271
 薑吉安 《兩居室-7》 2007-2009 現成品 擦碳粉 薑吉安 《兩居室-2》 2007-2009 現成品 噴漆 擦碳粉 84㎡
JIang Ji'an Two-bedroom Apartment-7 2007-2009 Readymade,carbon powde，spray lacquer， JIang Ji'an Two-bedroom Apartment-2 2007-2009 Readymade,carbon powde，spray lacquer 84㎡

272 273
 Jiang Ji'an's Painting and Installation is like the airs of like objects coalescing in Chinese medicine. This is allowing
objects to become their own objects, or as it is said, the idea that“without trust,
the Infra-Mince of Remnants
there is no object; trust is the way of the heavens.”This is a traditional Chinese
“objectification”method, in that the object is not a particular set object, but
something that can change, just as nature is nature itself. It is unlike technology,
stemming from different sources, but here, there is the materiality itself, as well
as human production, and the two have been unified.

China's early painters, for instance those in the Tang and Song dynasties, In Jiang Ji'an's works from 2010-2011, he focused particularly on the

placed more importance on the extraction of materials. Those mineral pigments, relationship between“object”and“painting,”and engaged in revision and

such as ultramarine, mineral green, ochre and rattan yellow were all extracted reconstruction of the relationship between the two. His method involved

from stones or plants. If a painter wished to depict malachite, he could find his dissolving an object into two parts. For instance, he would take a teacup, break

pigment in the malachite itself. Silk was chosen because of its thinness and it and grind the shards into a powder. This powder would then be boiled, filtered

transparence, making it easier for the pigments to be left on its surface and leave and mixed with bonding agents to make paint which he would use to paint a

lasting traces. Such pigments were not suited to easy mixing, and perhaps in picture of the teacup. That was a breaking process. He would then take the dregs

that era, silk threads better expressed materiality. left over from the filtering process to sculpt a smaller teacup. When the teacup

Meanwhile, in theoretical studies from Song to Ming Dynasty, people began sculpture and teacup painting were placed together, they equaled the original

to pursue knowledge through observation, particularly in the observation ideas mass of the unbroken teacup. This was a process of reshaping and restoration.

of Shao Yong and the Two Chengs. In Treatise on the Observation of Things, For this reason, the artist appears to be engaging in addition and subtraction,

Shao Yong stated that the so called observer does not observe with his eyes or thus providing a new reason for painting. Is this not the infra-mince idea that

with his mind but observes the principles of the object. This is the use of the body Duchamp pondered between the materiality of the readymade and the return to

to observe the spirit, the mind to observe the mind, and the object to view the painting?

object. This is much in accord with the idea in phenomenology of returning to the With this concept in mind, Jiang Ji'an began pondering the silk scrolls he

thing itself. This is doubtless connected to Chuang Tzu's three ways of seeing in had been painting for many years. He wondered if he could use a silk scroll to

his story about the“Dexterous Butcher”: seeing with the eyes, not seeing the make a silk scroll painting, bringing the object back to itself, allowing the object to

whole, then encountering it with the spirit. It is also like the hearing method of reveal its unique traits through its own materiality.

“hearing of the heart, hearing of the mind and hearing of the qi”according to the
“fasting of the mind.”This integrates“viewing objects with objects”and“viewing In his installation Double Room Apartment, he reproduced everyday objects,

objects with the Dao.” and then engaged in a unique rendering using spray paint, sketching and the
application of charcoal to sketch out light and shadow. Sometimes he would

If modern painting cannot do without material, and must adequately present sketch out the contrast between light and shadow on a plaster, an artificial

the materiality of things, then if it is a painting on silk, how is the materiality of contrast that produces a simulation effect. It is as if the entire scene has been

the silk embodied? Traditional gongbi (Chinese elaborate-style painting, or touched by an otherworldly hand, bringing a strange sense of visual dislocation.

traditional Chinese realistic painting with meticulous detail) painting depicted its It seems so real but because the shadows are painted, it also seems so illusory.

subjects using thin, meticulous lines, and of course exposing the color of the It is almost like Baudrillard's Simulacra and Simulation, yet that calm sense of

silk. Beauty and desolation exist within the sense of time. But if the appearances coolness is so real. I think that that may be the way that this painter, schooled

of traditional gongbi painting are no longer expressed, and the materiality is in gongbi painting with its multiple, meticulous applications, looks at everything

revealed through the materials themselves, allowing the materials to express around him. These inanimate objects, rendered coolly, gain new vitality in

themselves and the if gongbi painting exists for gongbi, how can it be achieved? desolation through the artist's rendering. What kind of imagination of nature

Jiang Ji'an has engaged in material experiments for a long time. For has Jiang Ji'an derived this from? For instance, he has dismantled old tables

instance, he once shredded a book, boiled the shreds, ground them and filtered and chairs and turned them into eggs and peanut shells, almost real. Is this the

them, adding gelatin to turn it into paint which he used to paint a picture of the scattered smashing of some primal wisdom?

book. This method derives an object from an object, painting an object with the The dislocation brought about in Double Room Apartment gives us a sense

object, restoring the object to the object, transferring the object with the object, of a lifetime having passed. It is like a daydream. I almost believe that a different

turning the object into the object. This is the Chinese view on materiality, and type of time has bestowed these objects with a dreamlike layer of color. This

274 275
 product of manipulation through artistic thought even calls up associations to
the burial objects that ancient Chinese made for their dead to use in the afterlife.
Whether for the living or dead, these objects exist within a deathly stillness.
After being transformed into the substance of dust, can the painter's touch
transform them into objects possessing the breath of life? This is the soul looking
back. This is the abnormal visual perception of postmodern man. The cold light
projected from the souls of the departed allows us to truly perceive the objectivity
of the things in the world.“Things”are more solitary than“people.”
Or perhaps Jiang Ji'an is trying to integrate the Confucian idea of the
creation of things with the Daoist idea of the objectification of things. In his
installation artworks, we see a kind of silent, restrained protocol, as if these
objects have been draped with a layer of naked cold light. Though there are no
people, it is a ritual of the objects' entry, and that stern, enchanting sense of
cold is so close to us, yet also so distant and untouchable. These still objects
appear to be on the verge of change, waiting for the descent of a certain spirit,
but perhaps right at the moment they are touched, they will immediately turn into
something else. These still objects, covered with a gray-silver coating, have their
own cold, silent form of reservation, like the products of another world.
In using objects to transplant objects, and objects to create objects, yet
maintaining the objects' tranquility and stillness, Jiang Ji'an has touched on
the secrets of these objects. Between painting and real objects, this is the
transformation between life and death, and in the objectifying skill of transforming
between real and fake, he has connected the two.
According to Duchamp's idea of“infra-mince”that painting must be
based on readymades and must adequately reveal the unique properties of
the readymade, how is painterliness still possible? When facing traditional silk
gongbi paintings, how can the properties of the silk be revealed?
Continuing to deal with the material of silk, Jiang Ji'an began to burn silk.
In Chinese culture, silk paintings and paper paintings have always been quite
susceptible to fire, anti-fire in nature. Bringing them into fire, as well as burning,
belong to the modern experience. For painting as painting, traditional gongbi
and ink painting have nothing left, and must be burned by the sense of light
in Western oil painting, or in other words, for gongbi and ink painting to gain
new life, they must accept a test from an element of different properties, even
receiving this differentness. It is like this with the fire aspect, just as another
painter Wang Tiande used burning to leave behind the marks of a landscape
painting.
In this way, Jiang Ji'an opened up the materiality of gongbi painting, but
these objects are already remnants, and have been turned into remains:
First, there is a complete silk scroll, with nothing done to it, retaining the
materiality of silk.
Second, the edges of this scroll are burned with fire, leaving behind the
portion which was not burned. Its edges are marked by burning.
276
JIang Ji'an, Two-bedroom Apartment-1,Readymade,carbon JIang Ji'an, Two-bedroom Apartment-
powde，spray lacquer，2007-2009 9,Readymade,carbon powde，spray lacquer，
2007-2009
Third, the burned remnants of the silk are collected, after which they are
boiled, ground, filtered, mixed with a bonding agent and turned into paint.
Fourth, the paint is applied to the remaining silk with a Chinese brush,
creating lines that evoke the marks of burning. The paint is repeatedly applied to
create the sense of undulation,
Fifth, the unfiltered dregs and unused paint are used to make a new object
(such as a tree branch or a stick), and markings are left on the painting to
suggest that it has been imprinted by this object, though it hasn't. It is the use of
the infra-virtual to create the infra-virtual.
This process contains aspects of production, conceptuality and writing. Why,
then, is it so infra-mince?
First, it retains the material of the silk; the undulating waves that we see
painted onto the silk appear to be the material marks of the silk itself.
Secondly, the paint created out of silk ash is also silk material.
Lastly, the lines painted onto the silk retain more of the unique properties of
the silk, whether it is the unaltered silk, the silk bearing the lines of burning, or
the traces left behind by the burning.
The artist's handling of these three layers brings the material itself into the
painting.
The artist became aware that there are many technical difficulties involved
in painting on silk. For instance, it is quite difficult to paint“light and shadow”
onto the silk, but after 40-100 applications of paint and the removal of color,
maintaining the texture of the silk through all this, while being difficult, also
brought many colorful surprises. Those burn marks are so ancient, bringing out
an ancient sense of time, but they are also very fresh and full of an enchanting
277
 tangibility.
The remaining question is that after the artist has created such a work, what
ideas lie behind it? In other words, what kind of new inspiration does the artist's
approach to tradition bring to art? How does it creatively transform tradition?
Also, what kind of universality does its embodiment of infra-mince, its use of
infra-mince as a method for creative transformation, have?
sense of touch. The experience of remnantizing is also a transformation of the
traditional leaving of white space and remnants. For the state of silk painting in
particular, the lines appear to be ever so slightly trembling, like the last quivers
of remaining life. There is a sense of protrusion, and in this slight quivering,
the sense of breath and minute texture begin to undulate. Is this not the inner
enchantment of gongbi painting?
Moreover, those burn marks are barely visible, as if the departed soul
has already returned. That is the internal air of tenacity within life, with strong
tangibility. In these barely discernible undulations, it waits for our touch and
caress.

This is the artist's experience of the“remains,”a“remnantizing”rendering

of materiality. When faced with a silk scroll, an empty expanse of silk, he does
not immediately set out to depict flowers and birds in the traditional way, but
allows the silk to retain its own materiality. Meanwhile, silk painting itself cannot
directly enter into modernity. Silk painting is already approaching its end. It can
no longer directly enter into painting, because painting has already been burned
under the anxious gaze of modernity. It has already been burned; that is the
total experience of modernity. For this reason, burning by fire is not an arbitrary
method but an allusion to the scorching of the soul. In addition, the burning by fire
brings a sense of the alien. The ability to accept alien properties is a transition
from the self to the other, just as Duchamp said in his notes.
Jiang Ji'an has amply presented the Chinese cultural experience of remains
(rest). Life is merely remnant, even superfluous, but through burning, it becomes
nothing. How can this non-existent material regain its form? Is this not the
rebirth of the soul? Does the soul not burn in the flames of the spirit? In Chinese
tradition, the soul is a ghost, not a burned soul. But after such burning, how can
the soul return once again?
Unlike the silence of the still objects described above, these burned souls
are animate, both ancient and fresh. This is the scathing internal call of the soul
for return. I am almost entirely convinced that this is the best contemporary
imagining of the undying soul.
Jiang Ji'an has made the remnant wrinkles unfold exquisitely. This is the
internal requirement of gongbi painting, particularly that soft, almost feminine
sense of touch. It is quite apparent that Jiang Ji'an's silks have retained this

278 279
 陳光武書法的虛薄
呵氣如蘭與剛健雄強

當陳光武試圖從新的視覺形式語言重構整個書法藝術史時，他既在“面對”
漢字書寫本身，也“面臨”著書法形式轉換的根本問題，即試圖追問 ：傳統書法
能夠給我們貢獻出什麼樣的視覺感受，以及是否可以帶來一種新的面對藝術的態
度？並且啟動傳統書法的整個審美精神？
在面前擺放出傳統書法的各個法帖，在傳承之中，陳光武並沒有放棄基本
的臨帖與摹寫，這個“對臨”的方式，實際上是“接氣”，整個傳統書寫的氣息
就在那些法帖之中流淌，就在“表面”，去細心體會與揣摩整個書法形成的一
個個氣場與筆勢，提取出其神韻，使之轉換為具體明確的筆勢的運作，這個對
接，也是把古人的整個氣脈與文脈延續下來。儘管其中還有著字形的所指意義
（signification），但是經過現代西方形式洗禮的當代藝術家，主要還是從能指
（signifier）以及能指展開的形式關係上進行重構，整個表面已經“面目全非”，
已經被西方的構成主義、抽象繪畫、光感效應等等方式所重構了，這也體現了漢
字形式本身的接納性，並不排斥他者，在表面的延伸與外展，這本身就是漢字書
寫的天然性。
其次，則是以此形式性的基本筆勢還原出整個書法運作的勢態（disposition），
僅僅是筆勢展開的勢態，即在方形的格子與氣息的流動之間，所謂漢字的“天圓
地方”與“字裡乾坤”，書寫展開陰陽互補的那種內在張力，傳統的整個運筆方
式在這個純粹形式的張力中變得更為明確，而書法傳達的字義已經不再重要，儘
管我們看到的是一個個漢字，但並不一定要求我們識別出來。這個轉換值得我們
思考 ：既然漢字識別已經不再重要，但為何還要借助于漢字書法呢？這是漢字書
法書寫中傳遞的那種與眾不同的資訊（information）：是在文字 - 圖像 - 事態，
三者在勢態上的內在一貫，把握這種態勢與展開的“面向（tendency）”，在對
世界與事情的閱讀中，讓我們對事態的發展方向更為敏感（tender），而且，更
為重要的是，在規矩法度與自由變化之間，培養了諧調的敏感，而且是感覺上
的敏感，就是培養面向之朝向方向的準確性，而面對一個混雜現代性的全球化
時代，如何在法度秩序與自由變更之間找到平衡，首先需要的是感覺的可塑性
（plasticity）與柔和性（flexibility）的培養，要能夠在個體的表面直接可以感受到。
再其次，則是能指的形式轉換為純然的標記符號（mark），在 1990 年代早
期的作品上，當陳光武以標點符號來做現代書法作品時，僅僅是以傳統並沒有直
接呈露的閱讀時的句讀的停頓，加以現代符號學標記的方式，直接讓不可讀的
空隙外露出來了，讓間隙來到了表面，卻以此中斷的停頓形成了新的節奏。但在
2011 年以來的作品上，這些標記符號（remark）不再有傳統書法的文字語義傳
達功能以及停頓的形式總匯，而是感覺，尤其是呼吸的標記，是在氣息的抑揚，
頓挫，即運筆的氣韻節奏之間尋找形式的關係，把之前的資訊付諸於形式（form），

280 281
 整個作品都被還原為氣息調節與控制的形式語言 ：一方面，是筆劃地無盡地波動，
如同氣息的綿綿無盡；另一方面，是穩定而硬朗如同魏碑一般的挺立，在書寫之中，
整個字形被拉開，一個個文字似乎被一種內在湧出的綿長氣息所拉伸，上下左右
全方位地——全面地（whole face）——拉伸開來，因此，“畫面（surface of
painting）”被打開，這種富有彈性與可塑性的品質，這種伸縮性，正好是氣息的
能量塑造，就是書法書寫的魅力。中國文化書寫性的精神就在於這種內在的調適
性，因為與“氣”相關，而“氣化”的書寫最能體現出文字形式的伸縮性，個體
生命就能夠最好地順應變化，所以生成的圖像既非具象也非抽象，而是在整個畫
幅之整體全面地書寫中，順應氣息的變化而不斷調整字形，生髮出新的生命形式，
並且與個體內在的呼吸相關，與所臨之帖的氣息相對應。
隨後，這些經過伸縮之後的文字字形，已經基本上不可辨識，表面變得模糊了，
宛若抽象繪畫，但並非如此！儘管不再有標記作用，而僅僅成為書寫時留下的蹤
跡，面對已有各個時代的法帖，一旦捨棄了字義、個體書家的風格，以及時代的
風尚與美感，那還剩下什麼？僅僅是表面上的心跡，是個體唯一性的那種生命書
寫蹤跡（trace），之前的臨帖不僅僅是摹寫字形，也是進入先人書寫時的那種心
痕，他個體生命氣息流轉時餘留的那種艱難處境 ：絕非順暢與流暢，而恰好是滯
澀與無力，我們要同樣去“面對”他“面對”困難的那種獨特經驗，是他面對困
難時的堅持與堅韌在啟發我們，而並非他對繼承與學習得來的熟練工夫！如同王
羲之寫《喪亂帖》，如同顏真卿寫《祭侄稿》，對這個逆覺工夫的體會才是我們學
習傳統以及轉換傳統的關鍵，因為在那裡，有著我們文化自身氣質變化與命理改
變的契機（moment）。在這個層面上的書寫，對於陳光武而言，這是墨暈的“八
面”滲透，充分利用墨與水在宣紙上的吸納性與滲化感，書法的書寫，絕不僅僅
是字形的變化，而且也來自於材質之間微妙接觸的觸感（touching），重要的是
這個“切面（tangle）”的“接觸點”，以及點的暈化為散化開來的“線”，整個“畫
面”被墨暈暈化時，帶來滿紙煙雲的流蕩，也是對蔡邕所言的“肌膚之麗”的重
新塑造，是每一次都置換出一層新的肌膚，有著時間包漿的玉質之感，我們就看
到了 1990 年代中期的陳光武就做出了異常虛淡而默化的作品，虛薄的精神已經
充分體現出來，而在最近的作品上，他最好地展開了這個表面接觸的觸感。
書法所有餘留的要穴都集中在了筆觸的力點上，如果還保留毛筆與宣紙的那
種接觸（contact），如果還相信，水，墨，宣紙通過毛筆接觸的那個瞬間，還
能夠帶來更為豐富地變化，並且更為純粹精到。即傳統書法的產生，不再是漢代
隸書的刻寫，而是如同蔡邕所言的“筆軟則奇怪生焉”的痕跡變化。就是通過毛
筆的柔軟性帶來書寫的流利（流麗），滲染（所謂力透紙背或錐畫沙）的墨暈效
果。傳統的書法在其歷史流變中，還服從於外在工具性的傳達 ：從魏晉的書信交
流，唐代的科舉考試，宋代書家之技法，元代和明代成為山水畫的書寫性與題字，
再到清代金石味的回歸，直到二十世紀的現代主義，成為裝飾性與視覺感的書法
形式，主要是形式化，但如果回到水墨與筆墨本身，放棄所有這些功能之後，還
剩下什麼？這就是水墨與宣紙通過筆墨接觸的那個瞬間點，僅僅剩下接觸的觸感
（touching of contact），要保留的僅僅是這個觸摸感（caress），既要有著硬度
也有著柔軟性！這個“肌膚之麗”就是讓表面的觸感一直保持生動。傳統書法的
一筆書，傳統書法的筆法與結體的形式感，這些都不再具有必然性，而只有那個
書寫各個要素的觸感，微妙筆劃的豐富觸感，可以餘留下來。
因此，陳光武充分在表面展現這個滲化的觸感，每一筆似乎包涵了另一筆，
一種內在的呼吸感在字形之間內在流動，看起來要飛躍出來之際，卻又被深深吸
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納進去，尤其是畫面黑白之間的對比，如果單純看黑體字形，我們可以辨認出局
部文字，但是一旦我們離開畫面，往後退，面對畫面整體，畫面上的白色卻跳動
出來了，這是傳統飛白的現代轉換，讓空白飛動起來，空白本身本來是靜止的，
卻在與黑墨形體的對比中，這空出的留白與周邊墨色字形的對比中，這空白變得
異常生動可觸，這是傳統凸凹感的再次啟動。
而且是巨幅作品，有著高大碑帖的硬朗與氣韻深沉書帖的流動，但在墨暈的
散化之中，似乎都在成為無字碑！還有什麼比表面上無所書寫的那“無字碑”更
能激發生命的悲憫與無力，那是自然的偉力在抹去一切人為的工作，畫面上似乎
就是歲月蹉跎所留下的蒼茫痕跡。
進入這個不可讀的階段，書法已經全然成為另一個層面上的工作（或者是非
功效的無為活動 ：désœuvrement），那是呼吸之最為微妙的自然活動，呵氣如
蘭的美妙就躍動在表面，宣紙似乎不再是材質，而是最為富有透孔性的皮膚，表
面之為表面，沒有什麼形式語言剩下的表面，僅僅只是微茫的氣暈在自身暈化開
來，在微妙湧動。為了更為徹底傳達出虛薄的氣息，陳光武隨後邁出了更為神奇
的一步 ：
他充分利用了宣紙與水墨吸納與滲染的材質特性，虛薄的繪畫就在於充分展
現材質表面的豐富性，陳光武把兩張宣紙重疊在一起，這是兩個表面的疊加（我
們暫且稱上面一層是陽面，下面一層是陰面，如同杜尚在筆記中談到過虛薄的雌
雄陰陽特性）：在上面的表面上，反復書寫與塗染，有著之前處理法帖的所有方式，
但更多使用濃墨，字形有著複雜變化，攪轉與提按等等並用，但被反復塗寫與暈染，
筆劃的所有痕跡都留下來，但儘量保持虛淡的視覺效果，這是陽性的一面 ；但更
為重要的是下面的陰面，因為上面那層處理的力量與濃墨，所謂力透紙背，錐畫
沙的筆力效果，現在並不留在第一層宣紙上，而是滲透，滲染到下面的那一層上，
這個餘留下來的，根本沒有被接觸的間接層面，即自己並沒有對之工作的那個層
面，反而更為富有墨暈的跡化效果（effection），就是效果，但這個效果卻是非
功效的（重點不在那個陽性的直接接觸層面，而是在間接的陰性層面），更為富
有觸感（affection），是極為富有勞作的活動之後，剩餘下來這個全然沒有工作
過的那個“陰性”層面，但此底層卻是最為富有魅力的。
陳光武把傳統“陰陽”兩面的雙性，以如此當代的間隔方式（espacement）
與間離方式轉換出來了，充分展現了“虛薄”的魅力 ：那個沒有處理而是滲染出
來的陰面，那些根本沒有經過控制而是順便留下來的痕跡，其實是通過讓上面一
層的“空白”更為起作用，是“空白”在底層宣紙上更多地凸顯出來，因此，那
是“空白”在流動，因此更為虛薄，更為彌漫，帶來古人所夢寐以求的那種神韻——
“呵氣如蘭”！呵氣如蘭的微妙性應然而生，呵氣如蘭的那種如花一般柔柔盛開
的美感油然而生，這種默化的伸縮力量，帶來畫面的無盡魅力。
陳光武這個“陰陽”逆轉的表面書寫，那層沒有工作的底層（那個隱含在下
面的紙面），這個剩餘下來的表面，充分展現了“虛薄”的藝術真理 ：繪畫，是
充分接納現存品，讓“無為”更多地參與進來，讓表面“自然地”接納一切 ；一
切似乎都是製作出來的，但一切都毫無做作之感 ；一切都經過了靜心準備，但餘
留下來的卻無比“虛化”與淡泊；這是虛薄所隱含的“虛讓”的元倫理（ethos），
這是表面無比謙遜地向著繪畫本身敞開。
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 陳光武“陰陽”的雙重書寫，將具有普遍性的意義，或許可以打開藝術之新 是虛淡的，因為這些空白線，是在書寫字形是餘留下來的空白線 ；同時，也要有
的可能性，從波洛克以來放棄用筆，到裡希特等人試圖恢復用筆的豐富性，但陳 著字形的力量，這個力量來自于字形的威嚴，巍峨，挺拔，但還是處於波動之中，
光武借助于宣紙與水墨的吸納性與滲透性，同時具有了“雙重性”：有為與無為， 即穩如泰山，又輕盈如燕，剛柔如此相濟，來自于陳光武對筆墨的控制以及形式
接觸與不接觸，可控與不可控，可見與不可見。 感的引導，同時也是來自於虛淡的空無性，充分讓空白來觸及字形邊緣時帶來強
烈對比。
陳光武守護了這個最後剩餘的接觸方式。中國當前的書法形態，要麼過於傳 虛薄的書寫，是在“氣化 - 虛化 - 無化”之間的微妙轉換 ：首先是氣化，這
統而程式化，要麼以日本現代書像的形式化以及“少字術”為主導，還要麼過於 是寫氣，是讓氣息在畫面上流動起來，字形被氣化所激蕩 ；其次則是虛化，這是
製作化，但很少人回到水墨宣紙通過筆觸接觸的那個觸點上，這是面對書法的最 墨暈的暈化，讓字形更為微妙，並且在伸縮性之中，以淡化地方式全面延展 ；最
為虛無的態度？陳光武曾經說到：
“虛無最終隱含的輕淡，是可以處在必然之中的。 後則是無化，即讓字形的空白之處更為富有靈動感，並且在下面的底層上餘留出
虛化就是最後的結果。我喜歡無限的感覺，那麼也就有可能形成無限的寬度。我 空白的呼吸感，帶來呵氣如蘭的美感，展現虛讓的情懷。
遵尋這還原中本源的規律。”進入那個觸點，而且有著虛化，即消除了那些功能
之後，如何充分展開這個觸點，使之虛化或者實化？
這是陳光武在保持水墨渲染與暈散的特點時，反復以筆墨塗抹，但保持虛淡，
無論如何要保持虛淡，哪怕是追求文字形式的強度與石碑的硬度，還是要保持虛
淡，因為水墨的本性是虛淡的，因為虛淡是對“無性”的暗示，離開了水墨的虛無性，
不再可能有著水墨。陳光武以兩個方向展開，一方面，從虛淡到虛淡，充分展現
虛淡的微妙筆觸 ；另一方面則是走向虛淡的厚度，以極為厚重與堅實的形式與虛
淡對比，反而更為強化了虛淡，帶來了強度與硬度，書法有著漢代的雄強與悲壯。
就前者而言，書法的書寫不再僅僅是中鋒用筆，一筆書，而是保持那個接觸
的豐富性，反復塗抹，字形在塗抹之中，被墨的濃淡變化所罩染，帶入氣息，把
傳統的字形 - 線條 - 寫意風格都放棄，僅僅是寫氣，反復的塗寫之中，字形被淹
沒，但留下筆蹤。陳光武甚至寫過更為虛淡的作品，以淡墨反復在宣紙上書寫，
但字形根本不可見，幾乎不可讀，似有似無之間的墨色效果，似乎就是宣紙的白
色，這確實很好地保留了宣紙的三層空白 ：即第一層宣紙本身的白色，一直要保
持這個空白的白色，但不是什麼都不做，而是通過第二層，層層覆蓋，滿紙的覆
蓋，但淡墨的覆蓋，視覺上還是虛白，不過已經經過了虛化，即這個時代的余白
不是不做，而是反過來，以滿來充實空，但餘留的還是空，這個餘留需要反復的做，
但又保持虛淡，因此，墨色的調節，筆痕的控制，異常精妙，有著呵氣如蘭的墨暈，
即淡雅清潤，顯然，陳光武並沒有簡單走向視覺的衝擊力，而是帶有某種抽象意味，
即保持水墨之為現存品的特點，也要保持細微的變化，如同杜尚寫道虛薄時所言
的——剛剛被坐過的座椅的熱量，即坐墊上身體離開時留下的氣息，那麼，筆觸
在宣紙上留下的也僅僅是氣息，僅僅餘留氣息，而且是微妙的過渡，保持筆觸的
微妙變化。第三層則是對象性的呈現，對於陳光武，不是字形的語義識別，而是
語氣，書法現在書寫的是語氣與語調，即字形還原為 ：不再僅僅是意義識別，也
非字形的形式節奏，而是語氣，而且是語氣的氣息，是那種走向止息的靜氣，因
此，經過氣息的書寫之餘，留下的還是宣紙的那層“素白”，經過素墨的反復渲染，
層層疊加帶來的墨色張力，打開了虛薄之內的厚度。
另一方面，不僅僅是虛薄，即傳統的虛淡的表現力已經不足夠了，還必須增
加強度與厚度，陳光武走向了漢代的碑帖，那種雄強硬朗的碑文，在時間的風化
之後，留下是斑駁陸離的痕跡，而宣紙要具有如此的厚度看似是不太可能的，因
此才有清代以來，以北碑反對南帖的努力，回到金石味與秦漢的雄強，都是如此！
但陳光武以新的書寫性的形式達到了二者的融合 ：既要保持虛淡，這是讓畫面上
的空白線——即傳統的飛白被處理得更為微妙，更為富有波磔感，屋漏痕轉換為
形式性的，富有節奏與韻律感的空白線條，它們在顫慄，在舞蹈，在飛躍，但還

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 陳光武 《心經》 2001.4 水墨宣紙 365x147cm 陳光武 《道德經》 2001.5 水墨宣紙 365x147cm
Cheng Guangwu Heart Sūtra 2001.4 Ink on paper 365x147cm Cheng Guangwu Dao Dejing 2001.5 Ink on paper 365x147cm

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 陳光武 《金剛經》 2001.6 水墨宣紙 365x147cm 陳光武 《黃庭堅草書 》之二-1 2011.9 紙上水墨 365x147cm
Cheng Guangwu Diamond Sūtra 2001.6 Ink on paper 365x147cm Cheng Guangwu Cursive script in Huang Tingjian 2011.9 Ink on paper 365x147cm

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 陳光武 顏真卿《祭侄文稿》（陽） 2012 宣紙水墨 365x147cm-1 陳光武 顏真卿《祭侄文稿》（陰） 2012 宣紙水墨 365x147cm-2
Chen Guangwu Draft of a Requiem to My Nephew(Yan Zhenqing)(Yang) 2012 Ink on paper 365x147cm-1 Chen Guangwu Draft of a Requiem to My Nephew(Yan Zhenqing)(Yin) 2012 Ink on paper 365x147cm-2

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 陳光武 《蘭亭集序》（陽） 2012 宣紙水墨 365x147cm-1 陳光武 《蘭亭集序》（陰） 2012 宣紙水墨 365x147cm-2
Chen Guangwu the Orchid Pavilion (Yang) 2012 Ink on paper 365x147cm-1 Chen Guangwu the Orchid Pavilion (Yin) 2012 Ink on paper 365x147cm-2

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 The Infra-Mince of Chen Guangwu's Calligraphy
the Breath of the Orchid and Vigorous Strength
When Chen Guangwu tries to reconstruct the entirety of calligraphic art
history through new visual forms, he is both“facing towards”the writing of
Chinese characters, and“facing upon”the root issues of the transformation
of calligraphic forms, in that he pursues the question of what kinds of visual
perceptions traditional calligraphy can contribute for us, and whether or not they
can provide new attitudes towards art while catalyzing the overall aesthetic spirit
of traditional calligraphy.
Wang Xizhi, The Orchid Pavilion Tang Dynasty copy of the Lantingji Xu by Feng Chengsu, dated between 627-650, collection of
the Palace Museum in Beijing
Yan Zhenqing,Tang Dynasty, Draft of a Requiem to My Nephew,Handscroll, ink on paper, 28.3 x 75.5 cm, National Palace
Museum, Taipei
Placed before the artist are the various models for traditional calligraphy.
Chen Guangwu has not discarded with the traditions of copying and imitating
calligraphy. This method of imitation is actually a“picking up of the qi.”The
entire atmosphere of traditional calligraphy flows through those models. It is on
the“surface”for the artist to absorb all of the airs-texture and brush dispositions
that form in calligraphy, for him to extract their spirit and transform them into
clear, distinct brush movements. This act of connection is an act of extending the
airs-texture and threads of the ancients. Though there is signification contained
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within the shapes of the characters, the contemporary artist, baptized by the
formalism of the modern West, mainly engages in reconstruction in terms of the
formal relationships between signifiers. The surface is entirely“unrecognizable,”
reconstructed using the Western methods of structuralism, abstract painting
and lighting effects. This is also an embodiment of the openness of Chinese
characters. They do not exclude others. The extension and expansion of the
surface is itself the naturalness of Chinese writing.
Chen Guangwu, the Orchid Pavilion (Yang), 2012,,Ink Chen Guangwu Autobiography in Huai Su(Yin)
on paper,365x147cm-1 2012 Ink on paper 365x147cm-2
Next, he uses the formal basic brush dispositions to restore the overall
disposition of calligraphic motion. This disposition is unfolded merely through the
brush disposition, namely the encompassing of the“roundness of the heavens
and the squareness of the earth”and the cosmos between the square grids
and the flow of the atmosphere, that internal tension from the supplementation
between Yin and Yang. Within this purely formal tension, the entire set
of traditional brush movement methods becomes clear, and the meaning
transmitted by the characters is no longer important. Though we see a series
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 of Chinese characters, we are not necessarily being asked to recognize them.
This transformation is worth our consideration: if the recognition of the Chinese
characters is no longer important, then why draw from Chinese calligraphy?
This is the unique information transmitted by Chinese calligraphy writing: it is the
internal consistence of words, images and states in terms of disposition, and the
grasping of this disposition and the unfolding“tendencies”so that in our readings
of the world and its affairs, we can be more sensitive towards the tendencies of
its developments. More importantly, between rigorous rules and free changes,
he has cultivated sensitivity to coordination, a perceptual sensitivity, a precision
regarding the trends of tendencies. When facing the globalized era of chaotic
modernity, in order to find balance between measured order and free changes,
one must first cultivate plasticity and flexibility of the senses, to the point that it
can be directly perceived on the surface of the individual.
And then there is the transformation of the forms of signifiers into
indicative marks. In his early works from the 1990s, when Chen Guangwu used
punctuation marks to make modern calligraphy, the mere pauses in reading
that are not directly presented in traditional calligraphy, he was using modern
semantic marking methods to directly reveal the crevasses of illegibility, bringing
the crevasses to the surface, using these pauses to form a new rhythm. But
in his works since 2011, these markings no longer served as a confluence
between the semantic transmission capabilities in traditional calligraphy and
the forms of its pauses, but as feelings, like breathing notations, seeking out
formal connections between the undulations and pauses of the atmosphere,
the rhythms of the brush movements, handing over the previous information to
form, so that the entire work is restored as a formal language that adjusts and
controls the atmosphere: on the one hand, it is the endless waves of the brush
lines, like the infinite extension of breath; on the other hand, it is the stable and
solid erectness akin to the inscribed tablets of the Wei dynasty. In the writing,
the shapes of the characters have been pulled open, as if each one of them
has been stretched out by an air that flows forth from within, stretched open in
all directions, thus opening up the“surface of the painting.”This quality, full of
elasticity and plasticity, this extension, is the molding of the atmospheric energy,
the enchantment of calligraphic writing. The spirit of the written aspect in Chinese
culture lies in its internal adjustability, because it is connected to“vapor,”and
“vaporized”writing is most able to embody the flexibility of the forms of written
characters. The individual is best equipped to adjust to change, so the resulting
image is neither figurative nor abstract. Instead, throughout the whole painting,
the forms of the characters change to adjust to the shifts in the atmosphere,
producing new life forms. These forms are connected to the internal breathing of
the individual, and correspond to the original specimens that they are based on.
Moreover, these stretched and compacted written characters are now
basically illegible, and the surface has grown murky, like abstract painting, but
that is certainly not what it is. They are no longer semantic markings but traces
left behind at the time of writing. When facing the calligraphy models left behind
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from various ages, once we have discarded with the meaning of the written word,
the styles of the individual calligraphers and the fashions and aesthetics of each
era, what is left? All that remains are the marks of the heart's trajectory across
the surface, the living written traces of the individual's singularity. The calligraphy
model imitation of the past was not merely the imitation of the written characters;
the calligrapher would also enter into the heart's traces left by his predecessor,
that difficult predicament that was left behind as the atmosphere of his individual
life flowed out: it was not a smooth flow, but stagnation and powerlessness.
We must also“face”that unique experience of his when“facing”difficulty. It is
his perseverance and tenacity in the face of difficulty that inspires us, not the
well-honed skills that he gained from heritage and learning. It is the counter-
intuitive skill in such works as Wang Xizhi's Passage on Death and Disorder
and Yan Zhenqing's Requiem to My Nephew that are the keys to our learning
and transformation of tradition, because that is where the moments of the shifts
of our cultural disposition and changes of our principles of life are to be found.
For Chen Guangwu, writing on this level is the“eight-sided”permeation of ink
blotting, an act which fully employs the absorptiveness and seepage of the ink
and scroll paper. The writing of calligraphy is not merely about the changes in
the shapes of the written characters, but also about the subtle touching between
materials, with the most important being the“contact points”where they“tangle,”
as well as the where the points blur into“lines.”When the entire“picture”is
blurred by the smears of ink, it fills the paper with roiling smoke, which is a re-
crafting of Cai Yong's“splendor of the skin's texture.”Each time, a new layer of
skin is added, with the jade-like texture of the patina of time. We see that in the
mid-1990s, Chen Guangwu produced oddly faint and subtle works; the infra-
mince spirit had by then already found ample manifestation. In his most recent
works, he has opened up the surface sense of touch in the most optimal way.
The cruxes of the remnants left by calligraphy are all concentrated on the
pressure applied by the brush. If the contact between brush and scroll paper is
preserved, if that is still believed, then the moment when water, ink and scroll
paper meet through the brush is still capable of bringing richer changes, changes
that are purer and more precise. The production of traditional calligraphy is no
longer the inscription carving of the Han dynasty, but the changing traces of
what Cai Yong called the“strange products of the soft brush.”It is the blurred
ink effect resulting from the smooth flow of the soft brush and the permeation
(the so called piercing of the paper) of the ink. Throughout its historic changes,
traditional calligraphy was subject to external utilitarian transmission: from the
letter exchanges of the Wei and Jin periods, to the Confucian examinations of
the Tang dynasty, the skills of the Song dynasty writers, the written aspect and
inscriptions of landscape paintings in the Yuan and Ming dynasties, and on to
the return to the metal and stone feel in the Qing dynasty, and finally to twentieth
century modernism, where it became a decorative and visual calligraphic
form. It has primarily become formalized, but if we return to the ink and paper
themselves, and discard with all of these functions, what remains? It is that
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 moment of contact between ink and paper, leaving only that sense of touch in
the contact, preserving only that caress, one that possesses both hardness and
softness. This“splendor of the skin's texture”is the preservation of the vitality
of the surface. Such things in traditional calligraphy as single strokes of the
brush, or the formal feel of the brushwork and structure no longer have an air
of inevitability. Only the touch of the various writing elements, the rich sense of
touch in the subtle brush strokes, may remain.
As a result, Chen Guangwu is giving ample presentation to this sense of
detail, in Cheng Guangwu, cursive script in Huang Tingjian.
permeating touch on the surface. Each brushstroke seems to contain another
stroke, and an internal sense of breath flows between and within each character
shape, and just when it appears to be ready to leap out, it is sucked deeply back
in again. This is particularly the case with the contrast between black and white.
If we only look at the pure black character shapes, we can distinguish parts of
some Chinese characters, but when we leave the painting, taking a step back to
face the whole, the white leaps out at us. This is a modern transformation of the
traditional concept of floating white, letting the blankness take flight. Blankness
is supposed to be still, but within the contrast with the black ink shapes, the
contrast between the white spaces left behind and the surrounding black
character shapes, the blankness becomes tangible. It is the reactivation of the
traditional sense of protrusion.
And the artworks are enormous, possessing the forcefulness of the large
stone inscriptions and the flow of more subtle calligraphy models, but in the
seeping of the ink, it appears that this will become a wordless stone tablet. There
is nothing more disheartening than the“wordless stone tablet.”Nature is erasing
all of man's work, and the image is merely the sum of the desolate traces left
behind by the ages.
Entering into this unreadable phase, calligraphy has completely turned into
work on a different level (or perhaps désœuvrement). That is the most delicate
natural activity of breathing, the beauty of the orchid's breath leaping forth on the
surface. It is as if the scroll paper is no longer a material, but porous skin. The
surface as the surface is the surface with no remaining formal language, just
hazy clouds smearing outwards as they subtly flow and shift. In order to more
completely transmit the infra-mince atmosphere, Chen Guangwu took a more
miraculous step:
He made ample use of the absorptive and permeable properties of scroll
paper and water. Infra-mince painting lies in the ample expression of the
richness of the material surface. Chen Guangwu stacked two sheets of scroll
paper together, the stacking of two surfaces (for now I will call the upper layer
the Yang layer, and the lower layer the Yin layer, just as Duchamp spoke of the
masculine and feminine properties of the infra-mince): on the upper layer, he
repeatedly wrote and smeared, using all of the methods of his earlier calligraphic
studies, but with thicker ink and more complex changes to the shapes of the
characters, with motions such as twists and brush lifts used in tandem, but in
repeated writings and applications, all of the traces of the brush's movements
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were left behind, though the artist strove to maintain the thin and dilute visual
effect. That was for the Yang layer, but what matters more is the Yin layer below:
because of the force of the brush and the thickness of the ink, the so called
paper-penetration effect did not stop at the top layer but seeped through into
the lower layer. This surplus layer that was never directly contacted or worked
on is actually richer in terms of ink effection, the effect, but this effect is non-
efficacious (the crux is not the directly touched Yang layer, but the Yin layer with
no direct contact). What contains more affection is that“Yin”layer, which after
such laborious activity, remains without any work having been done to it, yet is all
the more enchanting.
In taking the duality of Yin and Yang, and using such contemporary methods
of spacing (espacement) and isolation to transform it, the artist has amply
presented the enchantment of“infra-mince”: that Yin layer that has been
permeated without any actual handling and those traces that have been left
behind without any control have actually given the“blankness”of the upper layer
a more important role, so that this“blankness”stands out all the more on the
lower layer of scroll paper. For this reason, it is the“blankness”that is flowing,
and thus it is more infra-mince, more expansive, and in brings that spirit that the
ancients always dreamed of – the“breath of the orchid.”The subtlety of the
orchid's breath is produced. The soft, flower-like beauty of the orchid's breath
emerges spontaneously, and this imperceptibly expanding and contracting force
brings endless enchantment to the painting.
Chen Guangwu's“Yin-Yang”reversal of the writing surface, that lower layer
that had not been worked on (that layer of paper concealed below), this leftover
surface, amply presents the artistic truth of“infra-mince”: painting takes in the
readymade, allowing“non-action”to play a greater role, and making the surface
“naturally”take in everything; everything appears to be produced, but none of
it has the appearance of manipulation; everything has been carefully prepared,
but what remains is incomparably“void”and dilute. This is the ethos contained
in the“allowance of the void”. This is the surface humbly opening up to painting
itself.
Chen Guangwu stands guard over this final leftover contact method. The
current state of affairs in Chinese calligraphy is that it's either overly traditional
and formulaic, dominated by modern Japanese formalism and“minimal writing,”
or it is over-produced, but few people return to that contact point where ink
and scroll paper touch through the brush. Is this perhaps the emptiest attitude
towards calligraphy? Chen Guangwu once said,“The lightness that emptiness
in the end contains can be placed within inevitability. Emptying is the final result.
I like the feel of limitlessness, and possess the breadth to form limitlessness. I
seek out the order of the origin in restoration.”Entering into that point of contact,
and having that emptying, that removal of function, how can this contact point be
adequately presented, making it empty or solid?
This is why while maintaining the characteristics of ink permeation and
seepage through repeated applications, Chen Guangwu maintains diluteness.
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 He must maintain diluteness no matter what. Even if he is pursuing the strength
of the written form and the hardness of stone inscriptions, he must maintain
diluteness, because the nature of ink is diluteness, because diluteness is an
allusion to“nothingness.”Without the“emptiness”of ink, there can no longer
be ink. Chen Guangwu engages in two directions. The first goes from the
dilute to the dilute, giving ample presentation to the subtle dilute brushstrokes.
The second is towards the thickness of the dilute, using the contrast between
extremely thick and heavy form and diluteness to strengthen the diluteness,
adding strength and hardness, so that the calligraphy possesses the boldness
and solemnity of the Han dynasty.
In terms of the former, the writing of calligraphy is no longer done with the
middle of the brush, one stroke at a time, but it still maintains the richness of that
contact. In repeated applications of ink, the forms of the characters are covered
up in the changes in thickness of the ink, brought into the atmosphere and in that
process, the traditional style of character form, lines and freehand is discarded.
Now, all he is doing is writing the qi. In these repeated applications, the character
forms are drowned out, but the traces of the brush remain. Chen Guangwu
has even written more dilute works, writing repeatedly with heavily diluted ink,
but the character forms are invisible, virtually unreadable. This effect of the
simultaneous appearance of something and nothing is almost like the white of
the scroll paper, and in this way, it maintains the three levels of whiteness in the
scroll paper quite well. The first level is the whiteness of the scroll paper itself.
This empty whiteness is maintained, but it is not that he is doing nothing; instead,
he is using the second level, layer after layer of covering, covering all over the
paper, but the covering of this diluted ink appears visually to be empty white,
but it has already been emptied out. That is to say, the remnant white of this
era is not the result of not doing. On the contrary, it is the use of fullness to fill
the emptiness, though what remains is still empty. This remaining must be done
repeatedly, but the diluteness must be maintained. As a result, the adjustment
of the ink and the control of the brush's traces are oddly subtle, marked by ink
seepage that is like the breath of the orchid, light, elegant and smooth. It would
appear that Chen Guangwu did not simply move for visual impact but instead
brought certain abstract intonations, which is to say that he has maintained the
traits of ink as a readymade. He has also maintained the delicate changes, just
like Duchamp wrote about infra-mince – the warmth in a recently left chair, that
atmosphere on the pillow after a body leaves it. So, all the brushstroke leaves
on the scroll paper is atmosphere. Nothing but atmosphere remains, and it is a
subtle transition, one that preserves the subtle changes in the brushstrokes. The
third level is the presentation of the subject-aspect. For Chen Guangwu, it is not
the semantic recognition of the character shapes, but the linguistic tone. What
calligraphy writes now is the linguistic tone and intonation, which is to say that the
character shape is restored to something that is no longer the mere recognition
of meaning, nor is it the formal rhythm of those shapes but the linguistic tone,
the atmosphere of that tone, a stillness that moves towards a stop. For this
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detail, Chen Guangwu 2011.9 -2
detail, Longmen,Twenty Class, tablet inscriptions of the
Northern Dynasties.
reason, what is left behind by the writing of the atmosphere is that level of“plain
whiteness”of the scroll paper. Through repeated applications of plain ink, the
tension of the ink brought about by the stacking opens up the thickness within
the infra-mince.
On the other hand, the expressive power of the infra-mince, i.e. the
traditional diluteness, was insufficient. Its strength and thickness had to be
increased, so Chen Guangwu moved towards the stone inscriptions of the
Han dynasty, those powerful, solid inscriptions, which after the winds of
time, had left mottled traces. To attain such thickness on scroll paper would
appear improbable, which is why, since the Qing dynasty, there were efforts
to strengthen the study of northern stone inscriptions over southern written
passages in order to return to the metal and stone feel, to the strength of the
Qin and Han dynasties. But Chen reached this fusion between the two through
a new writing form. It involves preserving the diluteness, which allows the blank
lines in the painting – the flying white of tradition – to be rendered more subtly,
with a stronger sense of elongated strokes, where the traces of leakage are
transformed into a formal aspect, the empty white lines so rich with rhythm and
melody. They are quivering, dancing and leaping, but they are still dilute, because
these blank white lines are blank white lines left behind by the writing out of the
character shapes. Meanwhile, it also requires the power of the character shapes.
This power is derived from the stateliness of these shapes, tall and majestic, but
still fluctuating. They are both solid like a mountain and lithe like a swallow. This
confluence of rigidity and softness stems from Chen Guangwu's control of the
brush and channeling of form, but it also comes from dilute emptiness, allowing
the blankness to form a powerful contrast when it touches the edges of the
characters.
The writing of the infra-mince takes place in the subtle shifts between
“infra-vaporization, infra-emptying and infra-voiding.”First is the infra-
vaporization. This is the writing of Qi, allowing the atmosphere to flow within
the painting. The characters are agitated by the vaporization. Next is the infra-
emptying. This is the seepage of the ink, making the character shapes more
subtle, and within the expansion and contraction, it fully extends in a diluting
manner. Lastly is infra-voiding, giving more nimbleness to the empty spaces
between the character shapes, while leaving behind a sense of breathing in the
empty places of the lower layer, bringing a sense of beauty like the breath of
the orchid, presenting the sentiment of the allowance of the void or releasement
(Gelassenheit) of infra-voiding.
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 關晶晶的繪畫
迷人而透氣的間薄

中國文化的生命質感以及中國藝術的奧秘體現為如下三個方面 ：其一，是對
時間流逝的感時傷懷，並且以煙雲的瞬間變滅來表現時間的流逝，卻又逆轉而形
成了煙雲供養的藝術養生論，中國文化最為徹底面對了世事的無常，但同時也肯
定這變化的豐富性與不可測的機會，在變滅的煙雲上體現出變化的契機或者氣
機，在隨生隨滅的瞬間體悟中，文人水墨山水畫家們找到了賦予這變幻的煙雲以
氣韻生動的形式語言，即氤氳的化生，這最為富有柔韌性的活化的形式（vivid
metamorphosis），連接了自然與人性，並且滋養了生命 ；其二，是玉質的觸感
（touch），無論是陶瓷還是玉器，那如同少女肌膚一樣明麗而清澈的觸感，又接
納了時間與歲月的積澱，形成了獨有的“包漿”質感，潤澤與蒼勁能夠奇特地結
合起來，拒絕任何死亡投射而來的陰影，在玉質感的觸摸之中，一個中國人一直
處於生命豐富的潤澤之中 ；其三，則是詩意的吟詠，中國文化在語言與身體的氣
息之間建立了詩意吟詠的韻律，語詞的表達與生命的呼吸通過姿勢展開的節奏而
抒發出來，詩意的抒情性就在此內心氣息的吟詠之中，在纏綿悱惻之中形成了個
體的節奏。
如果當代畫家能夠重新恢復這些生命的質感，那就是對這個混雜時代生命情
態的過濾，我們在女畫家關晶晶的作品上看到了這種轉換的努力。

關晶晶在中央美術學院受過很好的古典繪畫技法的訓練，即自覺使用坦培拉
（Tempera）來作畫，讓色粉與雞蛋等乳液結合，我們知道，坦培拉的特殊性質
在於它是一種乳液結合劑，其中含有油和水兩種成分，如果更多使用蛋黃作為乳
化劑，就更為讓油分子分散于水中，隨著時間的推移結膜與變硬，漸漸變得堅韌
牢固不再為水所溶。而坦培拉顏料水多時，就薄如水彩，透明流暢，而且畫過很
多遍之後，坦培拉繪畫帶來綢緞般的悅目光澤，如同中國文化的玉質感，尤其是
當中國畫家更為大量使用蛋黃，增加水分，畫面顯得更為自然與柔和，或者在畫
家的控制中，向著玉質感靠近。
這也是中國畫家在回應美國繪畫對丙烯的大量使用，面對老歐洲的油畫顏料，
通過不斷增加顏料的水性，美國抽象表現主義以此丙烯畫出了巨幅與大色域的繪
畫（big field of color），這也是西方在不斷順應時代的變化，加入時間性與流動
性，如同在哲學領域之中，從存在（being）到生成（becoming）的轉變，但
這個不斷加入水性的過程，直到以松節油等等來稀釋顏料，達到畫面的沖洗與偶
發的痕跡，對偶發與痕跡的這種所謂“自然”的餘留，也是借助於水性材料進行
的。如果中國水墨繪畫的啟發在於，水性的自然性以及宣紙對水的吸納性，那麼，
不使用松節油似的流淌方式，而是回到古典坦培拉的複雜過程，在很多層次的製
作過程中，增強水性，經過時間的積澱，不斷“增厚”基底，同時，以水性不斷“薄

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 化”顏料，這是畫家關晶晶對材質的獨特理解與感受。 乎不再是牆，而是可以觸摸，可以撫摸，可以懷抱的處子一般的“肌膚”，讓畫
在這之前，關晶晶已經大量使用水墨與丙烯的混合，以加強丙烯顏料的水性， 面回到肌膚之麗，這是瓷器觸感的還原，這是中國人的生命質感，這是時間性的
在畫面上帶來更為滲透、流動與彌漫的感受，尤其是在 2008 年的黑色作品上， 濃縮，這種色彩帶來的玉質感，讓堅硬的牆面轉變了質地，繪畫表面變得更為親
那種黑沉沉的大氣重壓下來的感受，帶有濃烈的氣感與事件的預感。而現在回到 切與迷人。這個內在的轉換也是生命感受的轉換。以此，最近關晶晶作品上的那
坦培拉的技法上，通過加強水性，畫面既厚重又虛薄，這個虛化的方式，來自于 些色塊更為流動，流蕩，宛若一縷縷的水紋在畫面波動，蕩漾，這是詩意地吟詠。
對中國傳統水墨虛化與氣化方式的領會與轉化，一層層地反復以色粉和雞蛋黃混 這也是畫家加入了多重的時間性，甚至是女性特有的那種自然性的敏感，虛
合，四周來回晃蕩畫板，任憑其留下肌理痕跡，在顏色上則反復以冷暖對比，來 薄離不開那種陰性與陽性交錯而豐富的張力，關晶晶以古典技法中融入更多水性，
尋找最後餘留的色澤，每一遍色粉不多，而是更多蛋黃，刮掉油脂，在畫面上並 製作畫面基底時間的增加，以及耐心等待水性吸納的過程，本身就是一種“安止”
不塑造具體的形象，而是僅僅順應抽象化的痕跡，但又並不是西方抽象畫的畫面 的態度。
形式語言，而是產生“餘像”的餘韻，即看上去似乎是雲水山色，看起來似乎是
王維山水畫的那種韻味，但色彩的層次異常豐富，有裡到外，反復透顯出來，但
一切僅僅是暗示性的，通過白色與灰色的對比，顏色細微的色差，帶來一片氤氳
化生的氣象。
增加水性，其實就是一次次地餘化與虛化，水性的重要性在於滲染、滲透以
及剩餘化，因此，形成了一個現代性的張力 ：越是厚實，增加製作性，越是虛薄，
余留自然化的痕跡，在厚薄之間帶來了“間薄”，一個透氣的“之間”層次。

關晶晶能夠如此處理畫面，其實已經受到了抽象畫的洗禮，這之前的作品，
具有極強的抽象表現的形式語言，但也有著她自己對繪畫本身的獨特理解，即把
畫面基底當做可以無數次撕開的畫面，甚至就是當做一堵貼上了報紙與海報等等
的牆面，如同中國文化之為“牆文化”，繪畫就是要撕開這堵牆，但又保留了牆
面本身的界限，因此，繪畫就是在此撕裂與撞牆的張力中形成現代性的生命形式
語言。這個無底的牆面或者畫面，可以被反復撕開，這是關晶晶作畫的基本姿勢
（gesture），這個動作是畫家自己語言的來源，也是個體身體姿勢的自由表達。
這個撕開的方式，也是書寫性的體現，寫下是為了塗抹，是為了讓這堵牆保持它
最初的空白，但是既然已經寫下，已經貼上了牆面，就只能撕下，但又永遠無法
塗抹乾淨，總是有著餘痕，每一次的撕開都留下了痕跡，這些痕跡之間卻有著內
在空間的打開。這難道不就是中國人自身面對歷史的方式？反復書寫卻不斷塗抹，
值得信任的是這個書寫的行為本身，那是與個體有限生命息息相關的痕跡。
通過撕開，一個個破碎的空間卻帶來了畫面空間的豐富性與張力 ：它們在大
小，方向，碎形，或者就是不同于傳統幾何形抽象的分形或者碎形中展開，表面
上看有著斷裂，有著不相關，如同現代性的孤獨個體，但畫面的重構之中，卻有
著奇妙地呼應，有著之間的對白，那是一種音樂性的交流，撕裂與摺疊，斷開與
套疊，打開了一個異常富有動感的空間，而且還在強烈的色彩張力之中，或者黑色，
或者藍色，或者紅色，作為基調的顏色貫穿在這些空間的邊緣，打開了空間的呼
吸感。
正是因為一直在面對畫布這堵空白的牆，關晶晶的繪畫就打開了現存品與繪
畫的新關係，畫面之為平面，就僅僅是有待於打開的，是可以一次次回到這個空
白牆面的，或者就是以巨大的黑色覆蓋它的。這個空白的牆面不斷可以被打開，
繪畫因此得以可能，這個不斷內在展開的過程，打開了畫面的虛薄空間。

一旦加入更多的水性，關晶晶的方式變得更為柔和，不再僅僅是撕裂畫面，
而是融入新的色彩，以此流動感打開畫面。這是她自覺地以中國傳統瓷器與玉器
的那種澤潤感，即月青，灰青，灰藍等等顏色，來建構畫面的基底，整個畫面似

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關晶晶 剩山－07 2012年 布面坦培拉 3x50x50cm Guan JIngjing Remnant Mountain-07 2012 Tempera on canvas 3x50x50cm

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關晶晶 剩山－03 2012年 布面坦培拉 50x50cm Guan JIngjing Remnant Mountain-03 2012 Tempera on canvas 50x50cm
關晶晶 剩山－05 2012年 布面坦培拉 50x50cm Guan JIngjing Remnant Mountain-05 2012 Tempera on canvas 50x50cm

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 關晶晶 剩山－09 2012年 墨、丙烯、畫布 240x360cm Guan JIngjing Remnant Mountain-09 2012 Ink, Acrylic on canvas 240x360cm

關晶晶 剩山－08 2012年 布面坦培拉 50x50cm Guan JIngjing Remnant Mountain-08 2012 Tempera on canvas 50x50cm

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 The Painting of Guan Jingjing
an Enchanting and Breathable Interval

The living texture of Chinese culture and the profound mystery of Chinese
art are embodied in three aspects. First is the sadness at the passage of time,
and the expression of this passage through the sudden extinguishment of clouds,
which turns around to form the theory that painters derive artistic nourishment
only from painting and clouds. Chinese culture has faced the impermanence
of human affairs the most thoroughly, but it has also affirmed the richness and
unpredictability of these changes. The junctures or movements of change are
expressed in the disappearing clouds, and within the constant emergence and
disappearance of clouds, literati landscape painters found a formal language
for bestowing these ever-changing clouds with rhythmic vitality, i.e. the murky
becoming. This form, marked by a richly vivid metamorphosis, connects nature
and humanity, and nourishes life. Second is the jade-like sense of touch.
Whether it is porcelain or jade, that bright and clear sense of touch like the feel
of a girl's skin is also imbued with an accumulation of time and the ages to form a
unique“patina”texture which can incorporate smoothness and vigorousness in
peculiar ways and reject the shadows cast by death. In their caress of the jade-
like texture, the Chinese people are always steeped within the rich smoothness
of life. Third is the poetic chant. Chinese culture has established the meter of
the poetic chant between language and the atmosphere of the body. The verbal
expressions and breath of life are released through an open posture. The poetic
expression forms an individual rhythm within the chants of the inner atmosphere
and entangled sentiments.
If the contemporary painter can restore these textures of life, it would serve
as a filter on the living conditions of this chaotic era. We see efforts towards such
a transformation in the works of female painter Guan Jingjing.

Guan Jingjing received excellent training in classical painting techniques at

the Central Academy of Fine Arts, and chose tempera for her paintings, in which
powdered pigments are mixed with an egg emulsion. We know that the emulsion
liquid used in tempera gives it special properties, as it contains both water and
oil. As the concentration of egg yolk is increased in the emulsion mixture, the oil
molecules spread further into the water, and over time it forms a rigid film that is
impermeable to water. When there is more water in the mix, tempera becomes
think like watercolor, becoming translucent and runny, and after repeated
applications, the tempera painting takes on a silken sheen, like the jade-like
texture in Chinese culture. This is especially the case when a Chinese painter
關晶晶 象罔－01 2012年 墨、丙烯、畫布 100x80cm Guan Jingjing False Infra-image Remnant Mountain-01 2012 Ink, Acrylic on canvas 100x80cm uses a mix of egg yolk and water as the emulsion, which makes the painting

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 appear more natural and soft, approaching the texture of jade when well-
controlled.
This is also a Chinese painter's response to the widespread use of acrylic
in American painting. Facing the oil paints of old European painting, American
abstract expressionists created diluted, water-based acrylics to paint large
paintings with big color fields. This also amounts to the West adding temporality
and flow in response to the changes of the times, just like the shift in philosophy
from being to becoming. But the use of more and more water, or even turpentine
to dilute the paints reached a level of washing and serendipitous markings
in the painting. The so called“natural”leaving of serendipitous traces was
engaged through the water properties of the paints. If the inspiration in Chinese
ink painting comes from the natural properties of water and the scroll paper's
tendency to absorb it, then the choice to return to the complex processes of
tempera rather than turpentine-like acrylic, and the many-layered production
process, which involves adding water, and“adding”to the foundation over time,
while using water to constantly“thin out”the paint, is Guan Jingjing's unique
understanding and perception of material.
Guan JIngjing, Remnant Mountain-04, 2012,Tempera on Wang Wei (701-761)snowy-stream，Part of a
canvas,50x50cm handscroll. Ink and color on silk.Formerly Manchu
Household Collection, Beijing, now lost
Before this, Guan Jingjing often used mixtures of ink and acrylic to add to
the wateriness of the acrylic paints and add the perception of permeation, flow
and diffusion to the paintings. This is especially the case with her black artworks
from 2008, where the feeling of being weighted down by the heavy black air was
marked by a thick atmosphere and sense of foreboding. Now, in returning to the
techniques of tempera, by strengthening its water-based properties, the painting
is both heavy and infra-mince. This method of emptying comes from insight and
transformation of the emptying and vaporization techniques in traditional Chinese
ink painting. The repeated applications of pigment and yolk onto the board leave
a skin-like texture while layers of contrasts between warm and cool colors
approach the final color tone. Each layer contains little pigment and much yoke,
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with the oil scraped off. They do not shape concrete forms but merely follow
the abstracting traces. She does not employ the formal language of Western
abstract art, however, instead producing a tone of“remnant semblance”– it
appears to be the colors and shapes of a landscape, akin to the tone of Wang
Wei's landscape paintings, but the layers of colors are oddly rich, with interiors
and exteriors repeatedly penetrating through. All of this, however, is merely
allusive, bringing about a murky ambience through white and grey contrasts and
subtly offset colors.
Guan JIngjing, Remnant Mountain-06,2012,Tempera on canvas,50x50cm
This strengthening of the wateriness of the paint is actually an act of
repeated remnantization and emptying. The importance of this wateriness lies
in its permeation as well as its remnantization, and for this reason, it forms a
modern tension: the thicker and more produced it is, the more infra-mince it
becomes. The traces of the naturalizing remains create an“interval”between
thickness and thinness, a permeable“in-between”layer.
That Guan Jingjing is able to manipulate the painting in such a way is in part
due to the fact that she has already received a baptism in abstract painting. Her
earlier artworks are marked by strong abstract expressionist formal language,
but they also contain her unique understanding of painting itself, notably in her
treatment of the foundation as an image that can be infinitely ripped open, or
even as a wall that can be pasted over with newspapers and posters. Chinese
culture is a“wall culture,”and painting strives to tear open this wall, though she
has also maintained the boundaries set by this wall. In this way, the paintings
form a modern formal language of life within the tension between tearing and
hitting the wall. This bottomless wall or painted plane can be repeatedly torn
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 open, and that is the basic gesture in Guan Jingjing's painting practice. This
act is the source of the painter's language, as well as the free expression of
her bodily gestures. This tearing method is also the embodiment of the written
aspect. The writing is done in order to erase, in order for the wall to retain its
original blankness, but since it has already been written and pasted to the wall,
all that is left is to tear, but it can never be fully erased; there will always be
remnant traces. Each act of tearing leaves behind traces, and between these
traces, internal space opens up. Is this not the method through which Chinese
people face history? Through these repeated writings and erasures, it is worth
believing in the act of writing itself, a trace that is inextricably linked to limited life.
surface can be constantly opened up that painting becomes a possibility. This
constantly unfolding inner process has opened up the infra-mince space in the
painted plane.
Once she enhanced this wateriness, Guan Jingjing's method became softer;
it was no longer about tearing open the painted plane, but about infusing more
colors and opening up the plane through this sense of flow. She consciously
sought out the smoothness of Chinese porcelain or silks, with the use of such
traditional colors as moon green, gray-green and gray-blue to construct the
foundation of the painting, so that the painted plane is no longer a wall but
maiden-like“skin”that can be touched, caressed and embraced. Bringing back
the beauty of skin in the painted plane is a restoration of the porcelain texture.
This is the texture of Chinese life, a distillation of time. The jade texture brought
about by these colors has led to a qualitative change in the wall surface, making
the surface of the painting more intimate and enchanting. As a result, the color
fields in Guan Jingjing's recent paintings have become more fluid and detached,
like ripples on the surface of the water. This is the poetic chant.
This is also a mark of the artist's infusion of multiple temporalities, and is
perhaps even due to the unique sensitivity that women have towards nature.
The infra-mince cannot exist without the rich and complex tensions between Yin
and Yang. Guan Jingjing's infusion of wateriness into classical techniques, her
addition of time to the production of the foundation, and her process of patient
waiting for the absorption of the water all mark an attitude of“stillness.”

Guan JIngjing, Remnant Mountain-10,2012,Tempera on canvas,50x50cm

Through tearing, a series of tattered spaces bring richness and tension

to the painted plane: they open up in different sizes directions, shapes or
geometrical abstract forms that differ from tradition, and there are cracks on the
surface, things that are unrelated, like the modern solitary individual, but in the
reconstruction of the painted plane there is also marvelous correspondence, a
dialogue between them, a musical exchange between the tearing and folding,
between the breaking and stacking, opening up an abnormally moving space.
Also, within the strong color tension, blacks, blues and reds as the foundational
colors permeate the boundaries of these spaces, opening up a sense of
breathing within.
It is precisely because she has always been facing the blank wall that is the
canvas that Guan Jingjing's painting has opened up a new relationship between
the readymade and painting. The painted plane as a flat surface is just waiting
to be opened. One can return repeatedly to this blank wall surface, or simply
use a massive stretch of blackness to cover over it. It is because this blank wall

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 邱世华 Qiu Shihua
１９４０ 年　　　生于四川资中 ， 现工作、生活于北京、深圳 1940 born in Zizhong, Sichuan Province, China lives and works in Beijing and Shenzhen, China

个　　展 Selected Solo Exhibitions ：

2012
２０１２ 年 　　　邱世华　　Ｗｅｉｓｓｅｓ　Ｆｅｌｄ／Ｗｈｉｔｅ　Ｆｉｅｌｄ　　　
　　　　　　　　　　　　　　　　凯撒斯劳滕 Ｐｆａｌｚｇａｌｅｒｉｅ　博物馆　
　　　　　　　　　　　　　　　　德国凯撒斯劳滕麦勒画廊北京 － 卢森　　中国北京
　　　　　　　　　　　　　　　　邱世华　　　Ｗｅｉｓｓｅｓ　Ｆｅｌｄ／Ｗｈｉｔｅ　Ｆｉｅｌｄ　　　
　　　　　　　　　　　　　　　　柏林汉堡车站现代美术馆　　德国柏林 ２０１０　 2010
　　　　　　　　　　　　　　　　麦勒画廊北京 － 卢森　 2009
“Qiu Shihua. Landschaft, Licht und Stille”, Museum Pfalzgalerie Kaiserslautern, Kaiserslautern,
Germany
“Qiu Shihua”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China
“Qiu Shihua. White Field”, Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany
“QIU SHIHUA”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China
“Qiu Shihua – New Works”, Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland

　　　　　　　　　　　　　　　　中国北京 ２００９　麦勒画廊北京 － 卢森　　瑞士卢森
２００８ 年　　 　邱世华　　上海沪申画廊　　中国上海
２００７ 年　　 　启示 ：邱世华　　前波画廊　　美国纽约
　　　　　　　　　　　　　　　视野的领域 － 邱世华　　香港汉雅轩　　中国香港
２００４ 年　　 　邱世华　　Ｋüｎｓｔｌｅｒｖｅｒｅｉｎ　Ｍａｌｋａｓｔｅｎ　　德国杜塞尔多夫
２００３ 年　　　麦勒画廊北京 － 卢森　瑞士卢森 Ｌｕｉｓ　Ｃａｍｐａｎａ　画廊　 “Vision of Fields by Qiu Shihua”, Hanart TZ Gallery, Hong Kong, China
2008 “Qiu Shihua”, Shanghai Gallery of Art, Shanghai, China
2007 “Qiu Shi-Hua”, Galerie Luis Campaña, Cologne, Germany
2006 Galerie 75, Faubourg, Paris, France
2005 Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland
“Qiu Shi-Hua”, Galerie Luis Campaña, Cologne, Germany
“Insight: Paintings by Qiu Shihua”, Chambers Fine Art, New York, USA

　　　　　　　　　　　　　　　　德国科隆纽约美术馆　　美国纽约
2004 “Qiu Shihua”, Künstlerverein Malkasten, Düsseldorf, Germany
２００１ 年　　　山水 － 可视边缘的绘画　　ＯＴＳＯ　画廊　芬兰埃斯波 ；
2003 Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland
　　　　　　　　　　　　　 　　纽约美术馆　　美国纽约 ２０００　麦勒画廊
Galerie Luis Campaña, Cologne, Germany
　　　　　　　　　　　　 　　　北京 － 卢森　　瑞士卢森
2002 “White Landscape”, Prüss & Ochs Gallery, Berlin, Germany
　　　　　　　　　　　　　　　　山水 － 可视边缘的绘画　　Ｒｕｄｏｌｆｉｎｕｍ　画廊　 2001 “Landscape – Painting on the Edge of Visibility”, Galleria OTSO, Espoo, Finland
　　　　　　　　　　　　　　 　捷克布拉格 ；施滕贝克画廊　　捷克施滕贝克 The New York Kunsthalle, New York, USA
１９９９ 年　　　邱世华　　巴塞尔美术馆　　瑞士巴塞尔　　 2000 Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland

１９９７ 年　 　　香港汉雅轩　　中国香港 ；香港汉雅轩　　台湾台北 “Landscape – Painting on the Edge of Visibility”, Galerie Rudolfinum, Prague, Czech Republic;
Galerie Sternberk, Sternberk,Czech Republic
１９９５ 年　 　　香港汉雅轩　　中国香港
1999 “Qiu Shi-hua”, Kunsthalle Basel, Basel, Switzerland
１９９１ 年　 　　香港汉雅轩　　中国香港 ；香港汉雅轩　　台湾台北
1997 Hanart TZ Gallery, Hong Kong, ChinaHanart (Taipei) Gallery, Taipei, Taiwan
1995 Hanart TZ Gallery, Hong Kong, China
1991 Hanart TZ Gallery, Hong Kong, China
Hanart (Taipei) Gallery, Taipei, Taiwa

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 尚　扬 Shang Yang
１９４２ 年　　生于湖北，四川开县人。首都师范大学美术学院教授，首都师范大学现代美术研 1942 Born at Honghu, Hubei Province. Kai County, Sichuan Province, Professor in Fine Arts Academy

究所所长，现工作生活于北京。 of Capital Normal University, Director in Fine Arts Academy of Capital Normal University.

Personal Exhibitions
个展
2009 The Dong Qichang Project, Beijing Center for the Arts. Beijing, China.
２００９　　　　　　《尚扬 ：　董其昌计划》（北京天安时间当代艺术中心）　
2006 Essence of Sketch – Shang Yang’s Painting Exhibition, Chengdu Blue Space Art Gallery,
２００６　　　　　　《素描之质——尚扬作品展》（四川成都蓝色空间画廊）　　联展
Sichuan,China.
２０１１　　　　　　《山水——无字的诗》（瑞士卢塞恩美术馆）　　　　　　
　　　　　　　　　　　　　　《溪山清远——中国新绘画　》（美国旧金山亚洲艺术博物馆）　 Exhibitions
２０１０　　　　　　《事物状态——中国比利时当代艺术交流展》（中国美术馆） 2011 Shanshui - Poetry without Sound,Landscape in Chinese Contemporary Art - Works from Sigg
　　　　　　　　　　　　　　《穿过——中国当代艺术展》（意大利斯波内多古城市政美术馆）　 Collection, Museum of Art Lucerne, Switzerland.

　　　　　　　　　　　　　　《溪山清远——中国新绘画》　（ 路易斯 • 布鲁恩基金会　英国伦敦 ） Pure Views—Remote Form Streams And Mountains New Painting China.(Asian Art Museum of

２００９　　　　　　《墨非墨——中国当代水墨展》（美国费城德雷克塞尔大学艺术馆） San Francisco, USA)

Percorso —Chinese Contemporary Art Exhibition. Old City Art Gallery. Spoletto, Italy
　　　　　　　　　　　　　　《意派 • 世纪思维》（北京今日美术馆
2010 The State of Things — Contemporary Art from China and Belgium. National Art Museum of
　　　　　　　　　　　　　　《开放的视域——中国当代艺术展》（捷克国家美术馆）
China. Beijing / Brussels
　　　　　　　　　　　　　　《传统的复活——中国当代艺术展》（德国法兰克福 ＢＡＳＩＳ　ＳＰＡＣＥ） Unending Distance — the 3rd Exhibition of Abstract Art. PIFO New Art Gallery, Beijing, China
２００８　　　　　　《意派 ：中国“抽象”艺术三十年》（西班牙帕尔马 ｌａ　Ｃａｉｘａ　Ｆｏｒｕｍ 美术馆、巴塞 Pure Views—Remote Form Streams And Mountains New Painting China. Louise Blouin
　　　　　　　　　　　　　罗那 ｌａ　Ｃａｉｘａ　Ｆｏｒｕｍ 美术馆、马德里 ｌａ　Ｃａｉｘａ　Ｆｏｒｕｍ 美术馆）。（《Ｙｉ　Ｓｃｈｏｏｌ：　 Foundation London UK.

　　　　　　　　　　　　　　ｔｈｉｒｔｙ　ｙｅａｒｓ　ｏｆ　Ｃｈｉｎｅｓｅ　“ａｂｓｔｒａｃｔｉｏｎ”》）　 2009 Ink not Ink ：Chinese Contemporary Ink and Wash Art Exhibition. Drexel
University Philadelphia Museum of Art, Philadelphia，USA
　　　　　　　　　　　　　　《磨石—中国瑞典当代绘画联展》（瑞典东方博物馆）（中国美术馆）
Ink not Ink ：Chinese Contemporary Ink and Wash Art Exhibition. Warsaw
　　　　　　　　　　　　　　《迈阿密巴塞尔国际艺术博览会》（ 美国迈阿密 ）
Royal Castle, Hungarian Agricultural Museum, The National Museum of
２００６　　　　　　《裸 • 非裸——当代艺术国际邀请展》（香港抱趣堂当代艺术馆）　
Contemporary Art of Romania , Sculpture Museum of the Croatian Academy
　　　　　　　　　　　　　　《开放的中国》（圣彼德堡国立俄罗斯博物馆） of Science and Arts.
　　　　　　　　　　　　　　《丹山碧水——中德当代艺术家作品巡回展》（德国吕贝克美术馆、普法尔茨历史 Yi School: Century Thinking, Today Art Museum

　　　　　　　　　　　　　　博物馆） New Image: Contemporary Chinese Ink and Paper Art Exhibition. Belarus

　　　　　　　　　　　　　　《风景——自然 • 心灵》（芬兰国家美术馆） National Gallery, Minsk, Belarus; Serbia History.

Open sight - Chinese Contemporary Art Exhibition, The Czech National Gallery
　　　　　　　　　　　　　　《与水墨有关—一一次当代艺术家的对话》（坦克库 • 重庆当代艺术中心、深圳美　
State of affairs - ＥＵＲＯＰＡＬＩＡ China Art Festival Exhibition, Belgian Royal Palace of
　　　　　　　　　　　　　　术馆）
Fine Arts
２００５　　　　　　《画妆——中国戏剧主题艺术大展》（北京今日美术馆）　 Traditional Easter - Chinese Contemporary Art Exhibition, Frankfurt, Germany BASIS SPACE
　　　　　　　　　　　　　　《中国山水画、油画风景画第二回展》（中国美术馆）　 2009 Context spiritual elite Chinese version of the Contemporary Art Exhibition, Nanjing Qinghe Art
　　　　　　　　　　　　　　《亚洲艺术展》（广东顺德美术馆）　 Gallery.

２００３　　　　　　《开放的时代》（中国美术馆）　 2008 Yi School: Thirty Years of Chinese“Abstraction”, La Caixa Forum Museum of Parma,
Barcelona and Madrid, Spain
　　　　　　　　　　　　　　《东方既白——２０ 世纪中国绘画展》（巴黎金门宫）　
Art Basel Miami Beach 2008, Miami, USA
２００２　　　　　　《现实的背面》（台北帝门艺术中心）
2007 Rote Berge, Grunes wasser Chinesische und Beutsche Kunstler Heute,
　　　　　　　　　　　　　　《中国当代艺术三年展》（广东美术馆）　
Lubecker Museum, Lubecker; Pfalz History Museum, Pfalz, Germany
２００１　　　　　　《芝加哥国际艺术展》（美国）　 Landscape – Nature•Spirit, Ateneum Art Museum, Helsinki, Finland
２０００　　　　　　《中国当代艺术展》（意大利帕多瓦布雷达美术馆）　 2003 An Opening Era, Celebration Exhibition of 40th Anniversary of Founding of China National

１９９９　　　　　　《中国文化与中国当代艺术展》（美国雷曼学院美术馆）　 Museum of Fine Arts, National Art Museum of China, Beijing, China
Beijing International Art Biennial, National Art Museum of China, Beijing, China
Premieres Lueurs sur L' Orient -- L'aventure de la peinture chinoise au 20ème Siecle, Palais
de la Porte Dorée, Paris, France
2002 Behind The Reality, Dimensions Art Center, Taipei, China
The First Triennial of Chinese Arts, Guangzhou Art Museum，Guangzhou, Guangdong Province,
China
The Chicago International Art Exhibition, Chicago, USA

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 梁　铨 Liang Quan
１９４８ 年生于上海，任教于中国美术学院，教授。 Born in Shanghai in 1948, Teaches at the China Academy of Fine Arts, Professor.

个展 SOLO EXHIBITIONS
2011 Sailing~Afar —Liang Quan's New Works, PIFO New Art Gallery, Beijing, China
２０１１　　　　　平淡 ，　泉水边画廊 ，　首尔
2006 Liang Quan's Solo Exhibition, Zhu Qizhan Art Museum, Shanghai, China
　　　　　　　　　　　　　祖先的海——梁铨新作展，偏锋新艺术空间，北京
2005 Liang Quan's Solo Exhibition, M.Sutherland Fine Arts, New York, U.S.A
　　　　　　　　　　　　　潇湘八景 ，　紫藤庐茶馆 ，　台北
2004 Liang Quan's Solo Exhibition, Mies van Der Rohe Haus, Berlin, Germany
２００６　　　　　　梁铨个展，朱屺瞻艺术馆，上海 2001 Liang Quan's Solo Exhibition, Kunst House, Nürnberg, Germany
２００５　　　　　　梁铨个展，兰庭画廊，美国纽约　 1994 Liang Quan's Solo Exhibition, Alisan Fine Arts Limited, Hong Kong
２００４　　　　　　梁铨个展，包浩斯纪念馆，德国柏林
２００１　　　　　　梁铨个展，纽伦堡艺术之家，德国纽伦堡 GROUP EXHIBITIONS
１９９４　　　　　　梁铨个展，艺倡画廊，香港　 2012 Trans—Media:Works by Zhang Yu and Liang Quan, Yue Museum, Beijing, China
At Rest—The Fifth Exhibition of Chinese Abstract Art, Pifo Gallery, Beijing, China
Biennale of Sydney, Sydney, Australia
群　展
2011 Korea • China• Japan Young Artists Exhibition, Gallery 604 J, Busan, Korea
２０１２　　　　　非媒介 ：张羽、梁铨作品展，悦美术馆，北京
2010 One Day in June, Columbia University Graduate School of Architecture, Columbia
　　　　　　　　　　　　　平心——中国抽象艺术第五回展，偏锋新艺术空间，北京 Back to the Essence from Ink Painting to Ink, Da Xiang Art Space, Taiwan
　　　　　　　　　　　　　悉尼双年展，悉尼，澳大利亚 2009 Yi Pai:30 Years of Abstract Art in China, la caixa forum Palma / la caixa forum Barcelona/ la

２０１１　　　　　伟大的天上抽象展 ，　罗马现代美术馆 caixa forum Madrid, Spain

　　　　　　　　　　　　　中国抽象展，　美国明尼苏达大学美术馆，　美国 Beyond the Image: Liang Quan, Lui Chunkwong & Yan Shanchun, Osage Kwun Tong, Hong
Kong, China
　　　　　　　　　　　　　“象由心生”中国抽象艺术第四回展，　偏锋新艺术空间，　北京
Ink, Not Ink, Drexel University, Philadelphia, U.S.A/Museum of Warsaw Royal, Poland
　　　　　　　　　　　　　无识的形象，　大象艺术空间馆，　台中
2008 Zeichen Im Wandel der Zeit, Staatliche Kunstammlungen, Dresden, Germany
　　　　　　　　　　　　　当代中国抽象艺术，ｇａｌｌｅｒｉｅ　ｆｒａｎｋ　ｓｃｈｌａｇ　＆　ｉｃｅ Savoring Images with a Pure Heart: Contemporary Chinese Ink and Wash Invitational Exhibition,
２０１０　　　　　　六月的一天，哥伦比亚大学建筑学院，纽约，美国 Daxiang Art Space, Taiwan
　　　　　　　　　　　　　意派——中国抽象三十年，ｌａ　ｃａｉｘａ　ｆｏｒｍ 美术馆，西班牙帕尔马 ／ 巴塞罗那 ／ 马德里 Chinesische Tuschemalerei Der Gegenwart, Staatliche Kunstsammlungen Dresgen, Germany

　　　　　　　　　　　　　墨非墨，美国费城 Ｄｒｅｘｅｌ 大学 ／ 波兰华沙王宫博物馆 2007 Narration in Ink and Wash, Yokohama Zaim Gallery, Yokohama, Japan
Yi Pai:30 Years of Abstract Art in China, Wall Art Museum, Beijing, China
２００８　　　　 　广东现代艺术展，广东美术馆，广州　
2005 Ink and Paper, Weimar Art Museum, Weimar, Germany
　　　　　　　　　　　　　意派——世纪思维，今日美术馆，北京
Ink on Paper—Contemporary Ink and Wash, Palace Rihour, Lille, France
　　　　　　　　　　　　　水墨新境，德累斯顿国家艺术收藏馆，德国德累斯顿
2002 Ost+West, Ausstellung fuer die Zeitgenossische Kunst aus China, Kunstlerhaus in Wien,
２００７　　　　　　痕迹与气质，红门画廊，北京 Austina
　　　　　　　　　　　　　水墨叙事，ＺＡＭＡ 当代美术馆，日本横滨 2001 Chinese Experiencing Ink Painting Two Decades’Retrospective, Guangdong Museum of Art,

２００５　　　　　　墨和纸，魏玛美术馆，德国魏玛 Guangzhou, China

　　　　　　　　　　　　　瑞月宫中国上墨 － 实验水墨展，法国里尔　 1998 Shanghai Fine Arts Biennial, Shanghai Art Museum, Shanghai, China
1996 Chinese Modern Print Exhibition, British Museum, London, UK
　　　　　　　　　　　　　首尔市立美术馆韩中当代水墨展，韩国首尔　
1991 Exhibition in Headquarter of the World Bank, Washington, U.S.A.
２００２　　　　　　东方与西方——中国当代艺术展，奥地利维也纳
1989 Exhibition in the University of San Diego, San Diego, U.S.A.
１９９６　　　　　中国现代版画展，大英博物馆，英国伦敦 1988 Chinese Modern Fine Art Exhibition, Churchill College, Cambridge University, UK
１９９１　　　　　　世界银行总部展，美国华盛顿
１９８９　　　　　　圣地亚哥大学个展，美国圣地亚哥

322 323
 江大海 Jiang Dahai
１９４９ 年 １２ 月 ４ 日出生于中国江苏省南京市。１９８６－２００７ 年旅居法国。 1949 ，Born in Nanjing.
1986-2007 Lived and Worked in Paris
2009-2011 Invited professor at CAFA (Central Academy of Fine Arts )
个展

２００９　　　　　今日美术馆“弦场”个展，北京
Main Exhibitions
２００６　　　　　艺倡画廊，香港
Solo Exhibition
２００５　　　　　微茫气象，北京，中国美术馆
2009 String Field, Today Art Museum, Beijing, China
２００４　　　　　法国索非亚国际艺术基金会大展 2006 French May, Alice King Gallery, Hongkong, China
　　　　　　　　　　　　　法中文化年“微茫气象”个展，上海美术馆 2005 Subtile Vision, National Art Museum of China, Beijing, China
１９９９　　　　　台北诚品画廊个展，台湾 2004 Solo Exhibition, la Foundation Sophia Antipolis, France

１９９８　　　　　中国美术馆个展，北京 Subtile Vision—as the project of Les Années Chine-France, Shanghai Art Museum,
Shanghai, China
　　　　　　　　　　　　　上海美术馆个展，上海
1999 Solo Exhibition, Chengpin Gallery, Taipei, Taiwan
1998 Solo Exhibition, National Art Museum of China, Beijing;
群　展
Solo Exhibition, Shanghai Art Museum, Shanghai, China
２０１２　　　　　英国伦敦中国绘画艺术展
２０１１　　　　　上海当代艺术馆 Group Exhibition
２０１１　　　　　美国科罗拉多美术馆 2012 Art of the Chinese painting, London, U.K.

２００９　　　　　北京东站画廊路德维希美术馆巡展 2011 Museum of Contemporary Art, Shanghai, China

２００９　　　　　北京偏锋画廊巡展 2011 Museum of Colorado, U.S.A.

2009 Ludwig Museum Exhibition, Beijing, China
２００８　　　　　德国路德维希美术馆巡展
Group Exhibition for the Celebration of Abstract Art in 100 years, PIFO Gallery, Beijing, China
２００８　　　　　上海艺术博览会国际当代艺术展
2008 Ludwig Museum Exhibition, Germany
２００５　　　　　　ＡＹＥ 画廊开幕展，北京 2008 Shanghai International Contemporary Art Exhibition, Shanghai, China
２００４　　　　　韩国汉城当代美术馆展 2005 Aye gallery Opening, Aye gallery, Beijing, China
２００３　　　　　广州国际艺术三年展 2004 International Contemporary Art Exhibition, National Museum, Soul, Korea

　　　　　　　　　　　　　中国二十世纪艺术展，北京 2003 Guangzhou Art Triennial, Guangzhou, China

2002 Chengdu Art Biennale, Chengdu, China
２０００　　　　　第三届上海艺术双年展，上海美术馆
2000 3rd Shanghai Biennale, Shanghai Art Museum, Shanghai, China
１９９９　　　　　威尼斯双年展外围展，意大利
1999 Venice Biennale, Venice, Italy
　　　　　　　　　　　　　维罗纳当代美术馆展，意大利
Museum of Contemporary Art Ralona, Italy
１９９４　　　　　亚洲艺术博览会，巴黎法兰西画廊展位，香港 1994 Asian Art Fair, Gallery of France, Hong Kong, China
１９８９　　　　　巴黎蓬皮杜艺术中心联展 1989 Centre Georges Pompidou, Paris

１９８８　　　　　法国图卢斯国际现代艺术展 1988 International Contemporary Art Exhibition, Toulouse, France

１９８１　　　　　中国现代艺术展，美国纽约 1981 Modern Art of China, New York, USA

324 325
 张　羽
（字郁人，号石雨）：１９５９，出生于中国天津市
个展
２０１２　　　　　指印 ：修　／　行——张羽作品　／　Ａｒｔ　Ｓｔａｇｅ 艺术登陆博览会，新加坡
　　　　　　　　　　　　　合流 ：张羽、索涵 • 卡德里双个展，Ｓｕｎｄａｒａｍ　Ｔａｇｏｒｅ 画廊，香港，中国
　　　　　　　　　　　　　张羽　／　封存的指印，其他画廊，上海，中国
　　　　　　　　　　　　　指印 ：行为　／　红色　／　水，Ｓｅｍ－Ａｒｔ 画廊，蒙地卡罗，摩纳哥
　　　　　　　　　　　　　书画中国 ：张羽　／　专题片（一小时），旅游卫视，北京，中国
　　　　　　　　　　　　　张羽指印作品　／　台北国际艺术博览会，台北，中国
２０１１　　　　　 修 • 行 ：张羽指印作品 １９９１－２０１１，今日美术馆，北京，中国
　　　　　　　　　　　　　合流 ：张羽、索涵 • 卡德里双个展，Ｓｕｎｄａｒａｍ　Ｔａｇｏｒｅ 画廊，纽约，美国
２０１０　　　　　张羽 ：迷漫的指印，国父纪念馆，台北，中国
　　　　　　　　　　　　　张羽指印作品　／　迈阿密亚洲艺术国际博览会，迈阿密，美国
２００９　　　　　张羽指印作品展　／　第 ４０ 届巴塞尔国际艺术博览会，巴塞尔，瑞士
　　　　　　　　　　　　　指印 ：张羽修行的痕迹，关渡美术馆，台北，中国
　　　　　　　　　　　　　张羽的一指禅——文化与精神的探寻，大象艺术空间馆，台中，中国
２００８　　　　　指印 ：张羽作品展，苏河艺术（７９８），北京，中国
２００７　　　　　指印——张羽，古豪士当代艺术画廊，纽约，美国
２００６　　　　　指印——张羽，古豪士当代艺术画廊，伦敦，英国
２００４　　　　　张羽实验水墨艺术展，古豪士当代艺术画廊，纽约，美国
２００１　　　　　张羽实验水墨展，红楼基金会，伦敦，英国
１９９３　　　　　张羽扇型绘画艺术展，竹贤轩，香港，中国
１９９２　　　　　张羽现代水墨艺术展，比纳耶乌现代美术馆，莫斯科，俄罗斯
１９８９　　　　　张羽扇面画艺术展，青岛工人文化宫，青岛，中国
１９８８　　　　　张羽水墨画展，天津美术馆，天津，中国
群　展
２０１２　　　　　意方　／　极多之比，长岛大学希尔伍德美术馆，长岛，美国
　　　　　　　　　　　　　非媒介 ：张羽、梁铨作品展，悦 • 美术馆，北京，中国
　　　　　　　　　　　　　无形 ：一种超越媒介的思考方式，大象艺术空间馆，台中，中国
２０１１　　　　　意方　／　极多之比，匹兹堡大学弗里克美术馆，匹兹堡，美国
　　　　　　　　　　　　　梦，Ｏｔｔｏ 画廊，佛罗伦萨，意大利
２０１０　　　　　意方　／　极多之比，对比窗画廊，上海，中国
　　　　　　　　　　　　　终结水墨画！——从“水墨画”到“水墨”当代艺术展，大象艺术空间馆，台中，
　　　　　　　　　　　　　中国
２００５　　　　　质性 ：实验水墨报告，红门画廊，北京，中国
　 　 　 　 　 　 　 　 　 　 　 　 　 中国 Ｉ 上墨 ：當代實驗水墨展，瑞月宮，里爾，法國
326
Zhang Yu
(courtesy name Yu Ren 郁人 , literary name Shi Yu 石雨 )
1959 Born in Tianjin, China，Presently lives and works as a professional artist in Beijing.
Solo Exhibitions
2013 Practice ( 行 ) – Exhibition of Zhang Yu’s Fingerprint Works, Gwangju Museum of Art,
Gwangju, Korea
Fingerprints: Zhang Yu’s One-Finger Chan, Fu Guang Yuan Art Gallery, Kaohsiung, China
2012 Fingerprints: Cultivation/Practice – Works by Zhang Yu, Art Stage Singapore
Archived Fingerprints – Exhibition of Works by Zhang Yu, Other Gallery, Shanghai, China
Fingerprints: Performance/Red/Water, Sem-Art Gallery, Monte Carlo, Monaco
2011 Cultivation Practice: Zhang Yu’s Fingerprint works 1991-2011, Today Art Museum, Beijing
Fingerprints – Zhang Yu, Sundaram Tagore Gallery, New York, NY, USA
2010 Diffused Fingerprints – Zhang Yu’s Art works, National Sun Yat-sen Memorial Hall, Taipei,
China
Zhang Yu’s Fingerprint Works, Art Asia Miami, Miami, FL, USA
2009 Zhang Yu’s Fingerprint Works, Basel Art Asia, Basel, Switzerland
Fingerprints: Traces of Zhang Yu’s Cultivation Practice, Kuandu Museum of Fine Arts, Taipei,
China
Zhang Yu’s“One-Finger Chan”: Cultural and Spiritual Exploration, Da Xiang Art Space,
Taichung, China
2008 Fingerprints: Exhibition of Works by Zhang Yu, Creek Art, 798, Beijing, China
2007 Fingerprints: Zhang Yu, Goedhuis Contemporary, New York, NY, USA.
2006 Fingerprints: Zhang Yu, Goedhuis Contemporary, London, UK
2004 Divine Light: Ink Paintings by Zhang Yu, Goedhuis Contemporary, New York, NY, USA
2001 Zhang Yu: Experimental Ink and Wash, Red Mansion Foundation, London, UK
1993 Zhang Yu: Fan Painting Exhibition, Zhuxianxuan Art Gallery, Hong Kong, China
1992 Chinese Artist Zhang Yu: Modern Ink and Wash Exhibition, Belyaevo Modern Art Museum,
Moscow, Russia
1989 Zhang Yu: Fan Painting Exhibition, Qingdao Workers’Cultural Palace, Qingdao, China
1988 Zhang Yu: Exhibition of Ink and Wash Paintings, Tianjin Art Gallery, Tianjin, China
Joint Exhibitions
2012 Towards Notion – Maximalism in Contrasts, Hillwood Gallery of Long Island University, Long
Island, NY, USA
Confluence, Sohan Qadri – Zhang Yu, Sundaram Tagore Gallery, Hong Kong, China
Non-Media: Zhang Yu, Liang Quan, Li Huasheng, Enjoy Museum of Art, Beijing, China
2011 Towards Notion – Maximalism in Contrasts, Frick Art Museum, University of Pittsburgh,
Pittsburgh, PA, USA
Metaphysical Entity, Daxiang Art Space, Taichung, China
OH! Nirica, la materia incontra i sogni, Otto Luogo dell’arte, Firenze, Italy
Confluence, Sohan Qadri – Zhang Yu, Sundaram Tagore Gallery, New York, NY, USA
327
 沈　　　勤
１９５８ 年，出生于南京。　江苏省国画院专职画家。
个展
２０１２　　　　　　《墨，隐，田，园—沈勤水墨画展》石家庄现代艺术馆。
２０１１　　　　　　《风月同天—井上有一书法，沈勤水墨画展》广州美院美术馆。
２００９　　　　　　《净界—沈勤水墨画展》广州，华艺廊
２００７　　　　　　《沈勤水墨画展》德国，汉堡美术馆。
２００６　　　　　　《沈勤水墨画展》新北京。
２００５　　　　　　《沈勤画展》加拿大＂精艺轩＂
２００３　　　　　　《沈勤水墨画展》加拿大＂ Ｗ ＂画廊。
２００２　　　　　　《世的界—沈勤个人作品展》杭州金彩画廊
群展
２０１２　　　　　　《墨，界》国家美术杂志社。
２０１２　　　　　　《新水墨—第二回展》上海，广州。
２０１２　　　　　　《美术纵横》上海多伦美术馆。
２０１２　　　　　　《画，境—中国当代艺术新像》香港天成国际拍卖。
２０１２　　　　　　《墨，变—中国当代水墨艺术展》关山月美术馆，汉堡美术馆。
２０１２　　　　　　《盒子外的空间》温哥华 ＵＢＣ 大学亚洲中心。
２０１１　　　　　　《象外 ， 象—中国当代水墨提名展》北京鼎峰空间。
２０１１　　　　　　《盒子外的空间》南京尚东当代艺术馆。
２０１１　　　　　　《当代艺术年度邀请展》南京尚东当代艺术馆。
２０１０　　　　　　《趣味—当代水墨画专题展》成都。
２０１０　　　　　　《新水墨—首界邀请展》上海，广州。
２０１０　　　　　　《改造历史—２０００•２００９ 年的中国新艺术》北京国家会议中心。
２００９　　　　　　《意派 • 世纪思维》高名潞现代艺术研究所
２００９　　　　　　《与上文相关》展，北京
２００５　　　　　　《ＮＯ，没关系》展，南京博物院。
２００１　　　　　　《实验水墨 ２０ 年展》
１９９２　　　　　　《后“８９”中国现代艺术展》
１９８９　　　　　　《８９ 中国现代艺术展》中国美术馆
328
Shen Qin
1958, Born in Nanjing. Now Work at Jiangsu Traditional Chinese Painting Institute as an full
time Painter.
Solo Exhibitions
2012 “Ink•Seclusion•Field•Garden”, Shen Qin Contemporary Ink Painting Exhibition.
Shijiazhuang Art Museum, Hebei.
2011 “Wind & Moon with The Sky•Shen Qin’s Ink Paintings & Yu Ichi's Calligraphy”.
Art Museum of GAFA, Guangzhou.
2009 “Pure Realm-Shenqin’s Ink Works”, Solo Exhibition. Huayi Gallery, Guangzhou.
2007 Shen Qin Ink Painting Exhibition, Germany, Hamburg Museum.
2006 Solo Exhibition. Xin Beijing Art Gallery, Beijing.
Solo Exhibition. Hamburger Kunsthalle, Germany.
2005 “No-It doesn’t Matter”, Group Exhibition. Nanjing Museum, Nanjing.
2003 Shen Qin Ink Exhibition, Canada, JingYI Xuan Gallery
Solo Exhibition. W Gallery, Canada.
2002 Solo Exhibition. W Gallery, Canada.
Joint Exhibitions
2012 Ink Freely, Shanghai New Ink Art Exhibition. Shanghai Duolun Museum of Modern Art,
Shanghai.
Ink, Realm, International Art Magzine.
New Ink, The Seconde Exhibition, Shanghai,Guangzhou.
Ink, Metamorphosis, China Contempory Ink Art Exhibition, Guan Shanyue Museum,
Hamburg Museum.
2011 “Beyond Image”, Group Exhibition. China Space, Beijing.
2010 Reshaping History Chinart from 2000 to 2009. China National Communication Center,
Beijing.
Taste, Contemproary Ink theme,Chengdu
2009 “Beyond Image”, Group Exhibition. China Space, Beijing.1
“Yi Pai–Century Thinking”, Group Exhibition. Gao Minglu Contemporary Art Center.
2001 “Experimental Water and Ink in the Past Two Decades”, Group Exhibition.
Guangdong Museum of Art, Guangdong.
329
 苏新平 Su Xinping
１９６０ 年，生于内蒙古，现为中央美术学院教授、博士生导师，造型学院院长兼版画系主任。 1960, Born in Inner Mongolia , Present Professor, Director of Dept. of Printmaking, CAFA.

个展 SOLO EXHIBITIONS
2009 “Beijing landscape”，US Asian Cultural Academy,Washington DC,USA
２００９　　　　　“北京风景”，美国亚洲文化学院，华盛顿，美国 ；
Shanghai,Beijing
２００８　   　“干杯——苏新平作品（２００５－２００８）”，何香凝美术馆，深圳，中国
2008  “Toasting- works by Su Xinping(2005-2008)”, He Xiangning Art Museum.
　　　　　　　　　　　　　“干杯”，Ｄｏｌｏｒｅｓ　Ｄｅ　Ｓｉｅｒｒａ 画廊，马德里，西班牙
　　　　 Shenzhen, China
２００７　　  “风景——苏新平油画作品展”，今日美术馆，北京，中国 　　　　“Toasting”, Dolores De Sierra Gallery, Madrid, Spain
２００６　　　　　“苏新平版画作品展”，泰勒版画院美术馆，新加坡 　 “Toasting”, Xin Beijing Art Gallery, Beijing，China
   　
　
“苏新平版画作品展”
　 ，红门画廊，北京，中国 2007   “Landscapes-Exhibition of Oil Paintings by Su Xinping”, Tody Arts Museum, Beijing

２００５　　　　　“苏新平肖像作品展”，中国美术馆，北京，中国 2006   “Exhibition of Prints by Su Xinping”, Tyler Print Institute，Singapore

     “Exhibition of Recent Prints by Su Xinping”, Red Gate Gallery, Beijing，
　　　　　　　　　　　　　“苏新平油画作品展”，Ｆｌａｎｄｅｒｓ　Ｃｏｎｔｅｍｐｏｒａｒｙ　Ａｒｔ 画廊，明尼阿波利斯，明尼苏
2005    “Su Xinping Portrait Works”, National Art Museum of China（NAMC），Beijing，China
　　　　　　　　　　　　　达州，美国　　“苏新平版画作品展”，美国亚洲艺术协会，丹佛，美国
“Su Xinping”, Red Gate Gallery，Beijing，China
２００１　　　　　“苏新平”，Ｆｌａｎｄｅｒｓ　Ｃｏｎｔｅｍｐｏｒａｒｙ　Ａｒｔ，明尼阿波利斯，明尼苏达州，美　国　　　　　　　　　
“Su Xinping Art Work”，Flanders Contemporary Art Gallery，Minneapolis, Minnesota,
　　　　　　　　　　　　　“苏新平石版画展”，岭南美术馆，广州 USA
　　　　　　　　　　　　　“苏新平油画展”，布兰德画廊 ，　克利夫兰 ，　美国 “Lithographs by Su Xinping”，Asian Art Coordinating Council（AACC），Denver，USA

１９９８　　　　　“希望——苏新平油画作品展”，Ｆｌａｎｄｅｒｓ　Ｃｏｎｔｅｍｐｏｒａｒｙ　Ａｒｔ　画廊，明尼阿波利斯，　 2001   “Su Xinping”, Flanders Contemporary Art Gallery

     “Su Xinping Exhibition”, Portland Art Gallery, Cleveland, USA
　　　　　　　　　　　　　明尼苏达州，美国　　
2000   “Outer Appearance and the Inner Mindscape”, Soobin Art Gallery, Singapore
　　　　　　　　　　　　　“苏新平版画作品展”，Ｃｏｍｍｕｎｉｔｙ 美术馆，达尼丁，新西兰
“Inner Spirit”, Red Gate Gallery，Beijing，China
　　　　　　　　　　　　　“无题”，Ｐｕｂｌｉｃ　美术馆，达尼西，新西兰
1999  “Hope——Recent Paintings by Su Xinping”, Flanders Contemporary Art Gallery，
　　　　　　　　　　　　　“苏新平作品展”，３．１４ 画廊，奥斯陆，挪威　 Minneapolis, Minnesota, USA
１９９５　　　　　“苏新平近作展”，红门画廊，北京 “Recent Paintings by Su Xinping”，Dunedin Community Art Gallery, Dunedin ，
　　　　　　　　　　　　　“苏新平”，兰桂坊（ＬＫＦ）画廊，香港 New Zealand

　　　　　　　　　　　　　“苏新平”，ＫＩＡＮＧ 画廊，亚特兰大，美国 “Untitled”, Dunedin Public Art Gallery, Dunedin，New Zealand

“Recent Paintings by Su Xinping”，3.14 gallery，Oslo，Norway
　　　　　　　　　　　　　“苏新平”，ＦＩＲＥ　ＳＴＡＴＩＯＮ 画廊，悉尼，澳大利亚
     “Lithographs by Su Xinping”, The Jams Wallace Art Trust, Octagon, New Zealand
1998  “Su Xinping——Comrade Series”, Red Gate Gallery, Beijing, China
     “Recent Lithographs of Su Xinping”，LASALLE-ASIA College of the Arts，Singapore
“Mongolia in Transition”，White Lotus Gallery，Eugene，Oregon，USA
1993 “Su Xinping”, Fire Station Gallery, Sydney, Australia
“Su Xinping”，Kiang Gallery, Atlanta, USA
    “Su Xinping”，Su Xinping, Red Gate Gallery，Beijing
“Su Xinping”，Yellow River Gallery, New York, USA

330 331
 刘国夫
１９６４ 年生于南京，１９８５ 年毕业于南京艺术学院油画专业，现居南京。
个展
２０１１　　　　　“异景”——刘国夫个人作品展，江苏省美术馆  北京今日美术馆  上海美术馆
群　展
２０１２　　　　　“中式表现”２０１２ 油画邀请展（无锡　　凤凰艺都美术馆）
　　　　　　　　　　　　　心性自然——朝向未来的中国绘画　（今日美术馆）
　　　　　　　　　　　　　无形之形——中国当代艺术邀请展（德国）
　　　　　　　　　　　　　第四届广州三年展 ：去魅中国想像——中国当代艺术作品展 （ 广东省美术馆 ）
　　　　　　　　　　　　　“墨・界”——上海 Ｍ５０ 大德堂，华府 （ 上海 ）
２０１１　　　　　中国意志——中国当代邀请展（北京当代美术馆）
　　　　　　　　　　　　　相遇与乡愁——南京、杭州、成都、重庆四地巡回展
　　　　　　　　　　　　　“南京当代艺术年度展”（南京尚东艺术中心）
　　　　　　　　　　　　　第 ５４ 届威尼斯双年展・平行展——破碎的文化 ＝ 今天的人？（威尼斯）
２０１０　　　　　“你西我东　”（深圳美术馆　　武汉美术馆　　　西安美术馆）
　　　　　　　　　　　　　“南京当代艺术年度展”（南京尚东艺术中心）
２００９　　　　　“文脉精神・中国版本”　　（南京—北京）
　　　　　　　　　　　　“溢出东方”
　　 四人作品展，东伦敦安・布莱恩物艺术馆，伊丽莎白港、那斯纳、威灵顿　
（南非）
２００８　　　　　“对应—南京・成都 ２００８ 青和当代美术馆学术交流展”
　　　　　　　　　　　　　（南京青和当代美术馆  成都空港十号艺术中心）
２００７　　　　　“超越图像—中国新绘画 ２００７《艺术当代》架上艺术学术提名展　”（上海美术馆）
　　　　　　　　　　　　　“自转—南京青和当代美术馆开馆展”　　　（　南京青和当代美术馆）
２００６　　　　　“变异的图像 － 中国当代油画邀请展”　　（上海美术馆）
　　　　　　　　　　　　　“中国油画名家精品展”　　（江苏省美术馆）
　　　　　　　　　　　　　“南北油画家邀请展”　　　　　（中国美术馆）
２００５　　　　　“无尽江山油画展”　　（江苏省美术馆）
２００４　　　　　“中国当代艺术邀请展”　　　（南京博物院）
　　　　　　　　　　　　　“中国当代油画邀请展”　　　（刘海粟美术馆）
332
Liu Guofu
Born 1964 in Nanjing and graduated from oil painting department of Nanjing Institute of Art in 1985,
he now lives in Nanjing
SOLO EXHIBITIONS
2011 "fantastic scenery"-----Jiangsu Provincial Art Museum, Beijing Today Art Museum,
Shanghai Museum of Art
Group Exhibition
2012 The 4th Guangzhou Triennial: De-Chinese imagination, The Exhibition of Contemporary
Chinese Art, Guangdong Museum of Art
Ink•Boundary, Dadetang Art, Huafu Art, M50 Art District, Shanghai
2011 The Will of china------China Contemporary Art Invitation Exhibition(Museum of
contemporary art bejing)
Meeting with Nostalgia, tour exhibitions of contemporary art in Nanjing, Hangzhou,
Chengdu and Chongqing
“Nanjing Contemporary Art Annual Exhibition”(Centre of Contemporary Art ShangDong)
2010 “You West, I East”(Shenzhen Art Museum, Wuhan Art Museum, Xi’an Art Museum)
“Nanjing Contemporary Art Annual Exhibition”(Centre of Contemporary Art ShangDong)
2009 “Spirit of Cultural Tradition• China Version”(Nanjing-Beijing)
“Spillover the East”Four People Artwork Exhibition, Ann•Brian Art Museum, Port
Elizabeth and Wellington of South Africa
2008 “Corresponding Nanjing & Chengdu, 2008 Qinghe Contemporary Art Exchange Exhibition”
(Nanjing Qinghe Current Art Center, Chengdu No. 10 Gallery)
2007 “China’s Neo Painting, A Triumph Over Images”2007 Art China Painting Nomination
Exhibition (Shanghai Museum of Art)
“Autorotation-Nanjing Qinghe Current Art Center Open Exhibition”
（Nanjing Qinghe
Current Art Center）
2006 “Varied Images”China Contemporary Oil Painting Invitation Exhibition (Shanghai Museum
of Art)
“Selected Chinese Canvas Works Exhibition”(Jiangsu Provincial Art Museum)
“South & North-China Oil Painting Exhibition”(National Art Museum of China)
2005 “2005 Land Rich in Beauty Oil Painting Exhibition”(Jiangsu Provincial Art Museum)
2004 “China Contemporary Art Invitation Exhibition”(Nanjing Museum)
“China Contemporary Oil Painting Invitation Exhibition”(Liu Haisu Art Museum)
333
 姜吉安
１９６７ 年生于山东烟台，１９９２　毕业于中央美术学院民间美术系 ，　获硕士学位。
现居北京
个展
２００９　　　　　　《两居室》望京北纬 ４０°社区两居室内，北京
２００８　　　　　姜吉安 ２００７，Ｋ 空间，北京
２００７　　　　　平淡田园——姜吉安作品展，　Ｋ 空间，北京
２００６　　　　　林泉高致——姜吉安绘画展，Ｋ 空间，北京
群　展
２０１２　　　　　　观念跨越，诸子艺术馆，南京
　　　　　　　　　　　　　品时艺术项目，上海一号美术馆，上海
　　　　　　　　　　　　　视觉中国，圣地亚哥，美国
　　　　　　　　　　　　　ＳＨ　Ｃｏｎｔｅｍｐｏｒａｒｙ，上海
　　　　　　　　　　　　　脉冲反应，时代美术馆，广州
　　　　　　　　　　　　　意义范式的转移，蓝顶美术馆，成都
　　　　　　　　　　　　　概念超越，中国美术馆，北京
　　　　　　　　　　　　　走出波浪 Ａ＋Ａ 第六回展，偏锋新艺术空间，北京
　　　　　　　　　　　　　在视网膜上弯曲的光，外滩十八号 ．１８ 画廊，上海
　　　　　　　　　　　　　三矾九染，上海美术馆，上海
　　　　　　　　　　　　　艺术北京，全国农业展览馆，北京
２０１１　　　　　　Ｖｏｇｕｅ　ａｒｔ　＆　ｆａｓｈｉｏｎ，连卡佛，北京
　　　　　　　　　　　　　格物致知，　鼎峰空间，北京
　　　　　　　　　　　　　ＳＨ　Ｃｏｎｔｅｍｐｏｒａｒｙ，上海展览中心，上海
　　　　　　　　　　　　　他者之维——中国艺术家眼中的意大利，广州／上海／北京／意大利
　　　　　　　　　　　　　绘画课 １，杨画廊，北京
　　　　　　　　　　　　　城市趣味——大周末 ｈｏｔｓｐｏｔ 四周年，今日美术馆，北京
　　　　　　　　　　　　　中国工笔学术联盟展名家邀请展，国家画院美术馆，北京
　　　　　　　　　　　　　意境与品格，中国国际贸易中心展览馆，北京
２０１０　　　　　易观，时代美术馆，北京
　　　　　　　　　　　　　和美，四川省博物馆，成都
　　　　　　　　　　　　　学院工笔，中国国家画院美术馆，北京
　　　　　　　　　　　　　时代的转角，　时代美术馆，北京
　　　　　　　　　　　　　持续的距离——抽象艺术第三回展，偏锋新艺术空间，北京
　　　　　　　　　　　　　两居室、绢本绘画、四号线美术馆，北京
２００７　　　　　姜吉安 ２００７，　Ｋ 空间，北京
　　　　　　　　　　　　　绢本绘画邀请展，北京画院美术馆，北京
２００６　　　　　中日韩优秀画家东北亚巡回展，韩国／日本
２００４　　　　　香港风景名胜展览会空间装置，香港图书馆，香港
　　　　　　　　　　　　　今日中国美术大展，中华世纪坛，北京
２００３　　　　　巴黎教育博览会空间装置，巴黎凡尔赛门展览中心，法国巴黎
２００１　　　　　法兰克福图书博览会空间装置，法兰克福展览中心，德国法兰克福
１９９２　　　　　中国当代艺术文献资料展第二回，广州
　　　　　　　　　　　　　过渡——装置艺术联展，当代美术馆，北京
　　　　　　　　　　　　　中央美术学院研究生毕业展，中央美术学院陈列馆，北京
334
Jiang Ji'An
1967 Born in Yantai, Shandong, China.
1992 Graduating from the Central Academy of Fine Arts with a master's degree.
Since 2005 working in Beijing.
SOLO EXHIBITIONS
2009 "Two-bedroom Apartment" Solo Exhibition, North Latitude 40° Community in Wangjing,
Beijing
2008 “Jiang Ji’An 2007”Solo exhibition, K Space, 798 Art Zone, Beijing
2007 "Calm" Solo Exhibition, K Space, 798 Art Zone, Beijing
2006 "Sweet Homestead”Solo Exhibition, K Space, 798 Art Zone, Beijing
Group Exhibition
2012 Exceed the concept, Philosophers Museum of Art, Nanjing
Explore the current situation art projects, 1art museum,Shanghai
Chinese visual ，Art San Diego 2012, USA
Impulse response, Times museum,Guangzhou
Diversion of Contemporary Value Paradigm, Blue Roof Museum, Chengdu
Everything—The sixth A+A, PIFO Gallery, Beijing
The bending of light on the retina, 18 Gallery, Bund18, Shanghai, China
Multi-layered, Shanghai Art Museum, Shanghai, China
Art Beijing, National Agriculture Exhibition Center, Beijing
2011 Vogue art & fashion , Lane Crawford, Beijing
Philosophical Interpretations, DingFeng Space, Beijing
"SH Contemporary", Shanghai, China
"Aspects of the Other" Itinerant Exhibition, Beijing/Shanghai/Guangzhou/Italy
"The Future is Already Here" Hotspot Four anniversary celebration, Today Art Museum,
Beijing
"Contemporary Chinese Art on Silk Academic Invitation", China fine art academy, Beijing
"Artistic conception & character" Chinese contemporary Art on Silk, China World Trade
Center, Beijing
2010 "Changing View" Nomination Exhibition of Chinese Contemporary Art, BeijingTimes
Gallery, Beijing
Harmonious Aesthetics , SiChuan Province Museum, Chengdu
"Academic Paiting" The Academic Exhibition of Gongbi Arts , China fine art academy,
Beijing
Turn of the Century, Beijing Times Gallery, Beijing
Unending Distance—the 3rd Exhibition of Abstract Art, PIFO Gallery, Beijing
Two-bedroom Apartment" and " Paintings on Silk " , Beijing Metro Line No.4 Art Gallery,
Beijing
2007 "Chinese Fine Brush on Silk Invitation Exhibition", Beijing Arts Institute Museum, Beijing
2006 Outstanding Artists from Northeast Asia Itinerant Exhibition. China, Korea and Japan
2004 Installation Space, China's Scenery Spots Exhibition, Hong Kong
2003 Installation Space, Paris Education Expo, France
2001 Installation Space, Frankfurt Book Fair, Frankfurt, Germany
1992 The Second Session Documentation Exhibition of Contemporary Chinese Art ,
GuangZhou
"Transition - Installation Art Group Exhibition”, Contemporary Art Museum, Beijing
Graduation exhibition, Central Academy of Fine Arts, Beijing
335
 陈光武 Chen Guangwu
１９６７　出生于广西柳州，现生活工作于北京。 1967 Born in Liuzhou, Guangxi, China
Lives and works in Beijing, China

个展
SOLO EXHIBITIONS
２０１１　　　　　　殻壳，ＡＬＥＸＡＮＤＥＲ　ＯＣＨＳ　ＧＡＬＬＥＲＩＥＳ　ＢＥＲＬＩＮ　｜　ＢＥＩＪＩＮＧ，北京，中国
2011 SHELL, ALEXANDER OCHS GALLERIES BERLIN | BEIJING, Beijing, China
２００９　　　　　　结与线，ＡＬＥＸＡＮＤＥＲ　ＯＣＨＳ　ＧＡＬＬＥＲＩＥＳ　ＢＥＲＬＩＮ　｜　ＢＥＩＪＩＮＧ，北京，中国
2009 Knots & Lines, ALEXANDER OCHS GALLERIES BERLIN | BEIJING, Beijing, China
　　　　　　　　　　　　　东方极简抽象艺术，ＡＬＥＸＡＮＤＥＲ　ＯＣＨＳ　ＧＡＬＬＥＲＩＥＳ　ＢＥＲＬＩＮ　｜　ＢＥＩＪＩＮＧ，柏林，德国
MINIMAL ORIENTAL, ALEXANDER OCHS GALLERIES BERLIN │ BEIJING, Berlin,
２００５　　　　　陈光武作品展，御画廊，上海，中国 Germany
１９９９　　　　　陈光武个展，亚洲艺术中心，曼彻斯特，英国 2005 CHEN GUANGWU SPECIAL EXHIBITION, U GALLERY, Shanghai, China
1999 A solo Exhibition, Asia Center of Art, Manchester, UK

群　展
Group Exhibition
２０１１　　　　　陈光武　｜　ＤＡＳ　ＧＲＯＳＳＥ　ＬＥＲＮＥＮ，孔子学院 Ｎüｒｎｂｅｒｇ－Ｅｒｌａｎｇｅｎ 分院，西门子
2011 CHEN GUANGWU | DAS GROSSE LERNEN, Konfuzius-Institut Nürnberg-Erlangen,
　　　　　　　　　　　　　公司与 ＡＬＥＸＡＮＤＥＲ　ＯＣＨＳ　ＧＡＬＬＥＲＩＥＳ　ＢＥＲＬＩＮ　｜　ＢＥＩＪＩＮＧ 协办，Ｎüｒｎｂｅｒｇ－
in Cooperation with SIEMENS AG & ALEXANDER OCHS GALLERIES BERLIN |
　　　　　　　　　　　　　Ｅｒｌａｎｇｅｎ，德国 BEIJING, Nürnberg-Erlangen, Germany
２０１０　　　　　中国人 ＊，ＡＬＥＸＡＮＤＥＲ　ＯＣＨＳ　ＧＡＬＬＥＲＩＥＳ　ＢＥＲＬＩＮ　｜　ＢＥＩＪＩＮＧ，柏林，德国 Tao of Nature: Chinese Abstract Art Exhibition, Museum of Contemporary Art,
　　　　　　　　　　　　　兰亭序，亚洲艺术博物馆，柏林，德国 Shanghai, China

２００９　　　　　再序兰亭 ：中国书法艺术，皇家美术馆，布鲁塞尔，比利时
　　　　　　　　　　　　　中国　－　另一种眼神，奥古斯堡艺术社团，奥古斯堡，德国
　　　　　　　　　　　　　红色风暴，国家美术馆 Ｔｗｅｎｔｈｅ 分馆，恩斯赫德，荷兰
　　　　　　　　　　　　　艺术之夏 ２００９，Ｈｅｌｌｅｒａｕ　－　欧洲艺术中心，德累斯顿，德国
　　　　　　　　　　　　麻将：Ｓｉｇｇ 收藏中的中国当代艺术，Ｐｅａｂｏｄｙ　Ｅｓｓｅｘ　Ｍｕｓｅｕｍ，　赛勒姆，马萨诸塞州，美国
２００８　　　　　ＶＥＲＭＥＬＬ　Ａ　ＰＡＲＴ，ＳＩＧＧ 收藏中的中国当代艺术，Ｆｕｎｄａｃｉóｎ　Ｊｏａｎ　Ｍｉｒó，巴
2010 Chinese*, ALEXANDER OCHS GALLERIES BERLIN | BEIJING, Berlin, Germany
Preface to the Poems of the Orchid Pavilion, Museum of Asian Art – SMPK, Berlin,
Germany Ink Painting Era: 2010 Shanghai New Ink Painting Show, Duolun Museum Of
Modern Art and Zhu Qizhan Museum, Shanghai, China
2009 The Orchid Pavilion: the Art of Writing in China, Royal Museum of Fine Arts, Brussels,
Belgium
CHINA – Ein anderer Blick, Kunstverein Augsburg, Augsburg, Germany

　　　　　　　　　　　　　塞罗那，西班牙 Red Storm, Rijksmuseum Twenthe, Enschede, Netherlands

ART SUMMER 2009, Hellerau – European Center for the Arts, Dresden, Germany
　　　　　　　　　　　　　麻将 ：　Ｓｉｇｇ 收藏中的中国当代艺术，加州大学，Ｂｅｒｋｅｌｅｙ 艺术馆，太平洋
Mahjong: Contemporary Chinese Art from the Sigg Collection, Peabody Essex Museum,
　　　　　　　　　　　　　电影档案馆，Ｂｅｒｋｅｌｅｙ，美国
Salem, Massachusetts, USA
　　　　　　　　　　　　　形式，构想，本质 ＆ 节奏 ：当代东亚水墨画，台北美术馆，台北，台湾 2008 VERMELL A PART, Art xinès contemporani de la collecció Sigg, Fundació Joan Miró,
　　　　　　　　　　　　　陈光武　－　方力均　－　刘文涛，亚洲艺术博物馆，柏林，德国 Barcelona, Spain
　　　　　　　　　　　　　天下，空白空间，北京，中国 Form, Idea, Essence & Rhythm: Contemporary East Asian Ink Painting, Taipei Fine Arts

　　　　　　　　　　　　　真实的地点 １，ＡＬＥＸＡＮＤＥＲ　ＯＣＨＳ　ＧＡＬＬＥＲＩＥＳ　ＢＥＲＬＩＮ　｜　ＢＥＩＪＩＮＧ，柏林，德国 Museum, Taipei, Taiwan

２００７　　　　　线条　－　中国抽象艺术，苏河艺术，上海，中国
　　　　　　　　　　　　　中国前景 －－－ 仕丹莱收藏展 ：中国当代艺术，１９６６－２００６，路易斯安那现代艺术馆，路易　
　　　　　　　　　　　　　斯安那，丹麦
　　　　　　　　　　　　　当代文化脉络　－　中国版本，瑞士信贷北京，全面艺术展，今日美术馆，北京，中国
２００６　　　　　中国国际画廊博览会 ２００６，北京，中国
CHEN GUANGWU – FANG LIJUN – LIU WENTAO, Museum of Asian Art, Berlin,
Germany
UNDER THE SKY, WHITE SPACE BEIJING, Beijing, China
Die Wahren Orte I, ALEXANDER OCHS GALLERIES BERLIN I BEIJING, Berlin,
Germany
2007 China onward the Estella Collection: Chinese Contemporary Art, 1966-2006, Louisiana

２００５　　　　　麻将 ：　Ｓｉｇｇ 收藏中的中国当代艺术，伯尔尼艺术馆，瑞士 Museum of Modern Art, Louisiana, Denmark

２００３　　　　　念珠与笔触，北京东京艺术工程，北京，中国
２００２　　　　　中国　－　传统与现代，Ｌｕｄｗｉｇ　Ｇａｌｌｅｒｙ，Ｃａｓｔｌｅ　Ｏｂｅｒｈａｕｓｅｎ，德国
　　　　　　　　　　　　　水墨的变化，前波画廊，纽约，美国
　　　　　　　　　　　　　先锋书法，Ｌｏｗｅｒ　Ｇａｌｌｅｒｙ，Ａｒｖａｄａ　Ｃｅｎｔｅｒ，丹佛，美国
２００１　　　　　　Ｔａｋｅ　Ｐａｒｔ　ＩＩ，　Ｇａｌｌｅｒｙ　Ｕｒｓ　Ｍｅｉｌｅ，瑞士
Contemporary Cultural Venation - China Version, 2007 Credit Suisse Beijing,
Comprehensive Art Exhibition, Today Art Museum, Beijing, China
2006 China International Gallery Exposition 2006, Beijing, China
2005 Mahjong: Contemporary Chinese Art from the Sigg Collection, Kunstmuseum Bern,
Switzerland
2003 Prayer Beads and Brush Strokes, Beijing Tokyo Art Projects, Beijing, China

　　　　　　　　　　　　　　Ｂｏｒｒｏｗｅｄ　ｔｈｅ　Ｖｉｅｗ，前波画廊，纽约，美国 2002 China - Tradition und Moderne, Ludwig Gallery, Castle Oberhausen, German
Variations of lnk, Chambers Fine Art Gallery, New York, USA
２０００　　　　　文人艺术 ：明朝和中国当代艺术，Ｒｈｏｎａ　Ｈｏｆｆｍａｎ　Ｇａｌｌｅｒｙ，芝加哥，美国
Avant Garde Calligraphy, Lower Gallery, Arvada Center, Denver, USA
　　　　　　　　　　　　　中国，香港，台湾 ：水墨书法的分解，文化中心，香港
2001 Take Part ll, Gallery Urs Meile, Lucerne, Switzerland
Borrowed the View, Chambers Fine Art Gallery, NewYork, USA
2000 The Art of Scholar: Ming Dynasty and Chinese Contemporary Art, Rhona Hoffman
Gallery, Chicago, USA

336 337
 关晶晶
１９８３，　出生于河南，２００５　　毕业于中央美院城市设计学院油画专业，２００６－－－２００７ 进修于中央美院
油画系材料艺术工作室。
参加展览
２０１２　　　　　　心性自然 －－－－ 朝向未来的中国绘画　　今日美术馆　　北京
２０１２　　　　　　亚洲青年艺术现场　　丽江　　云南
２０１２　　　　　　一幅画　　镜画廊　　北京
２０１１　　　　　　中国意志 －－－ 中国绘画邀请展　　北京当代艺术馆 ／ 布鲁姆画廊　　北京
２０１１　　　　　　　历史 － 新宋庄　　　上上国际美术馆　　北京
２０１１　　　　　　绘画的书写性　　北京当代艺术馆　　北京
２０１１　　　　　　艺术日新 －－－ 清华大学美术学院当代艺术研究所成立暨当代艺术邀请展　　清华大学美术学　
　　　　　　　　　　　　　院美术馆　　北京
２０１０　　　　　　中国表现 －－－ 中国表现绘画邀请展　　北京当代艺术馆　　北京
２０１０　　　　　　上海艺博会青年艺术家推荐展　　上海世贸商城　　上海
２０１０　　　　　　２０１０ 日本横滨第 ３６ 届 ＡＪＡＣ 海外艺术家邀请展暨重庆中国三峡博物馆当代艺术国际巡回　 Beijing Museum of Contemporary Art, Beijing
　　　　　　　　　　　　　　邀请展　　横滨美术馆　　日本 ；三峡博物馆　　重庆
２０１０　　　　　　改造历史 ：中国青年新艺术邀请展　　　今日美术馆　　北京
２０１０　　　　　　宽度 ：当代艺术展（２）　　北京当代艺术馆　　北京
２０１０　　　　　　不确定的可能性 ：７９８ 及周边艺术群落青年作品展　　　宋庄美术馆　　北京
２００９　　　　　　宽度 ：当代艺术展　　北京当代艺术馆　　北京
２００９　　　　　　领升 ：２００９ 中国美术批评家提名展　　北京当代艺术馆　　北京
２００９　　　　　　社群 －－ 北京 ７９８ 双年展 ２００９　　林大画廊　　北京
２００８　　　　　　未来天空 －－－ 当代中国青年艺术家提名展　　今日美术馆　　北京
２００８　　　　　　第三届文博会艺术中国全国画展　　中央美术学院　　北京　
２００８　　　　　　幻境界联展　　夸克画廊　　北京
２００７　　　　　　酱艺术中心联展　　北京
２００６　　　　　　八人帮联展　　平行线画廊　　北京
２００６　　　　　　秋日联展　　平行线画廊　　北京
２００６　　　　　　女艺术家联展　　平行线画廊　　北京
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GUAN JINGJING
1983，Born in Henan Province. 2005,Graduated from the Oil Painting Department at the Central
Academy of Fine Arts College of Urban Design. 2006-2007, Advanced studies at the Material Art
Studio of the Central Academy of Fine Arts Oil Painting Department
EXHIBITIONS
2012 Self-Essence Naturalism – Chinese Painting Facing to the Future, Today Art Musuem,
Beijing
COART, Lijiang, Yunnan Province
A Painting, Jing Gallery, Beijing
2011 The Will of China - Chinese Painting Invitational Exhibition, Beijing Museum of
Contemporary Art /Blum Gallery, Beijing
History – New Songzhuang, Shangshang International Museum, Beijing
Graphology of Painting, Beijing Museum of Contemporary Art, Beijing
Contemporary Art Institute Inaugural Exhibition and Contemporary Invitational, Art
Museum of Tsinghua University Academy of Arts & Design, Beijing
2010 Chinese Expressions – Invitational Exhibition of Chinese Expressionist Painters,
Shanghai Art Fair Emerging Artists Exhibition, Shanghai MART, Shanghai
36th AJAC Yokohama Overseas Artists Guest Exhibition and China Three Gorges
Museum Contemporary Art International Guest Exhibition, Yokohama Art Museum,
Japan and Three Gorges Museum, Chongqing
Reshaping History---China Youth New Art Invitational Exhibition, Today Art Museum,
Beijing
Width – 2nd Exhibition of Chinese Contemporary Art, Beijing Museum of Contemporary
Art, Beijing
The Possibility of Uncertainty---798 & the Surrounding Community Youth Art
Exhibition, Song Zhuang Museum, Beijing
2009 Width – Exhibition of Chinese Contemporary Art, Beijing Museum of Contemporary
Art, Beijing
Lead Up –2009 Exhibition of Chinese Fine Arts Critics’Nominations, Beijing Museum
of Contemporary Art, Beijing
Constellation – 2009 798 Beijing Biennale, Linda Gallery, Beijing
2008 The Sky of the Future — Exhibition of Young Chinese Contemporary Artists, Today Art
Museum, Beijing
3rd Cultural Expo Art China Painting Exhibition, Gallery of Central Academy of Fine
Arts, Beijing
Versions, Kuake Gallery, Beijing
2007 Photography Exhibition, Pickled Art Centre, Beijing
2006 Gang of Eight — Painting Exhibition, Two Lines Gallery, Beijing
Autumn Days, Two Lines Gallery, Beijing
Women Artists Group Exhibition, Two Lines Gallery, Beijing
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