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《看图说画》关于王皆的作品
<Picture Talking> about WANG Jie's works
评论家: 夏可君
Critic: XIA Kejun
2008年3月
March 2008
看图说画？没有写错吧？是的，没有写错，没有看错，就是看着图，说着画，我们看着这些作品，就想对着它们说话；这些书法绘画作品如此奇妙，一个个栩栩如生，它们自身就在说话，在言说着自身；因而我们也可以将错就错，就是看图说画，或者说，我们看着这些绘画作品，就禁不住对着它们开始言说，我们就开始认字，就开始与之一道说话了。
Picture talk? Right? Yes, it is. It’s picture talk which we look at and discuss. When we look at these pictures, we would like to talk with them. These
paintings and calligraphy are so wonderful that they are vivid enough as
speaking to themselves. We can also make the best of a mistake to talk the
picture; or while enjoying these paintings, we can’t help talking to them.
Since we can read, we have started to talk to them.
这是三位参展的艺术家王皆、东方玉铭和廖羽带给我们的新的阅读享受。
New reading experiences have been brought by three artists WANG Jie,
Dong Fang Mingyu, LIAO Yu in the exhibition.
在这里，图像、绘画和言说这三者被艺术家们奇妙地编制在一起，在一个图像转向的时代，三位艺术家思考和呈现出了艺术最为基本的三种语言符号之间的关系，从而推动我们进一步思考艺术表达之新的可能性。
Here, images, paintings and talking are delicately twined by three artists. In
the era of image changing, they conscientiously think about and present the
most fundamental relationship between three language marks, leading our
further thinking on the new possibilities of art expressions.
对于一个有着悠久象形文字书写和书画同源特色的文化传统而言，图像和绘画之间错综复杂的关系一直在召唤新的发现，随着传统书法的程式化，当代实验书法经过个性化和形式化的抽象转化，打破了书画和绘画的界限，成为了有着“书像”的绘画式作品。王皆的作品就成为结合文字和图画的绝佳范例。
Concerning the cultural tradition that features same sources shared by
time-honored hieroglyphic writing and paintings, the complex relationship
between images and paintings has called for new discoveries. With the
formulation of traditional calligraphy, modern tested calligraphy has
undergone the abstract transformation of individuation and formulation,
breaking the limit of calligraphy and paintings, thus changing into painting
works with “calligraphy”. WANG Jie’s works set remarkable examples of
combination of calligraphy and paintings.
在长达两年完成了26米长的《金刚经》的刻写之后，王皆进入了更加自由的艺术境界，开始摆脱雕刻与印章的约束，让经典中的文字被分离、移开、移借、假借到另外的平面上，进入另外的空间，成为带有装饰性的图案，成为了需要仔细仰望和在远处凝望的图符，成为几乎不可读的图形，这是在边缘敞开的变异书写，文字成为了绘画，成为了“书像”！这个重要的转换来自于王皆对印章雕刻和盖印姿态的思考，他着迷于一个雕刻家把印盖在纸绢上的那种审慎而又激动的姿势，如同传统书法艺术对运笔姿势的严格要求，他自己的作品是这个运动姿势活生生的体现。
After two-year inscription on 26-meter <Diamond Sutra>, WANG Jie entered an art level with more freedom. He started to get rid of inscriptions and
seals, through the dissociation, shift, removal, and making use of classic
character which become parts of other space as decorative patterns,
marks with carefully looking-up and long-distance gazing and merely
unreadable image. Characters grow into paintings and “calligraphy” in
rim-open transformed writings. Wang’s thoughts in seal inscription and
postures of stamps resulted in significant transformation. Like the high
demand of handling of brushes in traditional calligraphy, his fascination for
sculptor’s careful and excited postures of which they stamped on papers.
His works vividly embodied the posture.
王皆把《金刚经》之中的一些字小心地拿出来，然后染上不同颜色的印泥，精心地盖印在宣纸或者有着底色图案的布以及绢上，因为材质的不同，尤其是云龙纸的朴素古旧所带来的触感和时间的痕迹，带给读者一种苍凉的感受；通过印泥颜色的深浅变化，各个方块字形之间呈现出色彩和形态上的轻重疏密关系，印色的不同就传达出全然不同的情调，王皆已经利用了传统水墨的晕染和五彩变化感受，但是又有着画像砖的历史迹象；然后再精心安排和控制各个印章文字之间的排列组合形式，方块字就构成了一个个迷局一般的方阵，而且多变的画面布局有着可以反复琢磨的叙事性，这又借鉴了抽象画的视觉形式，让我们看到了看似是版画其实又与版画截然不同的效果，因为印石的坚硬和柔弱的宣纸合二为一了；因而我们在画面上就看到了各个字形和字像之间内在的节奏变化，王皆彻底把印章的文字字形转换为有着丰富视觉变化效果的图像绘画作品；这些印章之字脱离了文字本身的意义，脱离了经文本身，有着装饰性的美感，成为了“书像”式的抽象符号。
He carefully took these characters from <Diamond Sutra>, dying them with different color inkpad, covering on Xuan papers (Rice papers), clothes with
backgrounds and patterns and skills exquisitely he. Because various material,
especially Yunlong Rice Paper’s plainness brought the sense of touching
and marks of time as a sense of desolation. Through the tints of color, every
single square character represents different degrees of color and density.
Different degrees transferring completely different tones, Wang took
shading of traditional water-ink and changes of five-color as well as
historical marks of relief brick sculptures. Then he arranged and adjusted the
structures of various seals, square character forming maze-like square.
Complex image arrangement contained in-depth descriptiveness, with the
help of visual forms in abstract paintings, represent us
woodblock -painting-like effects, thanks to the combination of toughness
of seals and softness of rice papers. Therefore, we can see the interior
change in rhythms in every characters and calligraphy. Completely Wang
shifted the form of seals into paintings with rich visual changing.Getting rid
of their original meanings and Buddha scripts, with decorative beauty, the
characters of seals become painting-like abstract marks.
王皆的这些书像作品呈现了一个他自己独立塑造的有着内在意蕴的世界。它们有着某种秘密的古韵，似乎古老文字中隐藏的幽灵被艺术家重新召回：印章轮廓的重叠，字体显隐的交错，印泥浓淡的变化，不仅仅是形式上的转换，而且有着深远的意蕴，在王皆最近的作品上，我们可以看到很多的“佛”字或“佛像”印，那是从《金刚经》上走出来的佛！佛像印反复出现在其它字印的中间，或者，就是反复在云龙纸上盖上深浅不同的佛像印，这是佛本身播散在这些字之间，使其它的字都带有了佛性——“字字如佛”！或者，佛有了无尽的化身——这一次化身为汉字！这些佛印的巧妙排列，似乎让我们进入了有着无数佛龛的敦煌壁画之中，王皆的这些书像作品隐秘传承了敦煌壁画艺术的神韵。当然王皆的这些作品并不是佛教艺术，而是他个体所创造的一个有着灵性的世界，在佛印周围，我们还可以看到“爱”这样的字印，似乎基督教的爱感与佛教的精神悄悄共存了！这里有着画家本人对这个世界的危机和冲突的内在思考！王皆的作品展现了自己与传统的全新对话。
WANG Jie’s calligraphy and paintings represented his self-own and
meaningful world. They all contained some mysterious archaic Chinese
rhymes and the hided ghosts in ancient characters were recalled by artists
the overlapping in the outline of seals, the vague interlacing in scripts,
changes in inkpad tints, are not only the shifts or forms but contains
profound thoughts. In his recent works, we can see many Buddha
characters or the seals of Buddha, which come from <Diamond Sutra>.
Repeats of the seals of Buddha or those tints of various seals of Buddha
are the words that Buddha himself spreads among them and increased
their Buddha-nature every word like Buddha. In other words, Buddha
had endless avatars- they turned into characters this month. Skillful
arrangement of Buddha seals seems to usher us enter niches for a Buddhist
statue in Dunhuang frescos. Wang’s paintings and calligraphy mysteriously
passed the ecstasy of the art. Certainly, not all his works were about
Buddha. but a spiritual world created by himself. Around the seals of
Buddha can we see prints of “love” coexisted with the loving sense of
Christian. There remained painter’s interior thinking on the crisis and
conflicts of the world. His works revealed brand new dialogue between
himself and tradition.
看着这些看似文字又好似图案的作品，我们还可以倾听到这些文字的声音，尤其是当艺术家巧妙地让刻有佛像的印章整齐肃穆地排列在5米长的绢上，在轻轻地抖动中，使之发出好似《金刚经》“如如不动”的声音，似乎那是佛在开口言说，这简直是“神籁之音”，王皆完全沉浸在一个文字图像自身呈现的神妙世界之中了……
Looking at these character-like and pattern-like works, we seem to listen the voice of these words, especially the artists arranged seals carved with Buddha in 5-meter silk cloth solemnly. Quivering silk, it seems to produce solemn
voice like <Diamond Sutra> that seems a word of Buddha “it is brilliant”.
WANG Jie is fully obsessive in a wonderful world representing characteristics
and images……
翻译：BYICAA翻译之家 柯杨茗
Translation: Translators of BYICAA Yangming KE
