我想，任何一位画家都不可能做到心想与手绘南辕北辙，不论是大师还是不入品第的艺人。所谓绘画的感性确证便是在这个意义上。心灵的空间借助外在的踪迹拓展出纯粹的精神的栖居之所，而物化踪迹反过来不同于心想的“意向性”，但又在这种“意向性”的基础上多于艺术家的赋予。这种意义的转化和增添在艺术的创作中体现得最为鲜明。法国当代哲学家德里达特别热衷于以艺术的创作去描绘他踪迹学的本体论的魅力，大概即缘于此吧!

　　我试图在这样的意义上评述曲丰国的《手迹》系列的特点与价值。

　　曲的《手迹》系列延续了至少有六年之久，我猜想，他正是通过“手迹”的变迁历程为他的生存感受和人生体验留下一段人生演化的视觉史。绘画对于曲，不是处于身体的肉身存在之外的东西，它就在艺术家自身的血液里、神经网络里流动和传递。它们的要素就像他生命里的“虫子”一样，非要从他的血管顺着他的画笔流在画布上。他不可能扼止它们的“出生”。“手迹”之谓，或许强调的便是“手”的这种直接印证的方面吧!

　　“流”出什么呢?“流”出他的画面的生机性。

　　抽象绘画最初是从纯粹形与色的关系向传统绘画发出挑战的。也就是从依附于对象造型的要素而解放为独立自主的造型素基质。它们的意义与价值不是依靠抽象绘画对象的场景组合和寓意与象征构成，而是由纯粹的视觉的色块与线条及肌理呈现。曲丰国的抽象绘画不完全是这种意义的。

　　一方面，必须看到，曲不想让人们观看他的作品时由联想产生画面的意义放大。不仅如此，他极力削减这方面的意义。从他1993年到1999年的创作，我鲜明地感受到他从带有寓意的抽象逐步走到生机性的抽象。这种取向也可以用另一种描述概括：他在削减社会学层面意义的同时，强化了画面的单纯的生机性。这种生机性很难说是什么形而上的。

　　另一方面，他又注意在减去了寓意的同时，不要演变成为纯粹的视觉韵律的表达。由此，曲丰国等于把自己推到了两难境地，既要抽象而又不要纯视觉，既不要寓意而又要保持画面生命感受的一次性。每个点和线都充满了生命感，类如蠕动的有生物，分解着、变形着、转化着、衍生着，又在确证着他的心灵的价值“在场”。

　　正因为这几方面的原因，他称之《手迹》可谓再适当不过。手迹是个人的、个体的不可重复的手迹。手迹又是生命行程，价值转换的演化史。应该说，曲是较好地满足了他的智性追求和绘画性的自我确证。

　　但我认为，绘画还应该有绘画性的自身问题。这个“绘画的自身”问题，曲考虑的是不够的。相信他会在以后的工作中做到三元并进，把他充满生机性的抽象绘画锤炼到炉火纯青的地步。

　　　　　　　　　　　　　　　　　　　　　　　　　　　 2001年 马钦忠

　　I suppose, none of the artists could think and create in completely different ways, no matter the masters or the mediocre artists. So does the so-called painting’s perceptual verification mean. Depending on the outer traces, the soul’s space expands into the purely spiritual residence, and on the contrary, the materialized traces not only are different from the psychological “intention”, but also have more of the artists’ bestowment in the foundation of “intention”. The transition and addition in significance are most distinctively reflected in art creation. That’s probably the reason why the French contemporary philosopher Derrida was especially fascinated by the charm of describing the ontology of his phenomenology with art creation.

　　Here, I attempt to comment on the features and value of Qu Fengguo’s series of Handwriting in this sense.

　　Qu’s series of Handwriting has lasted for at leas six years, and I assume he tries to leave behind a part of visual history of life evolution for his perception of existence and experiences of life through the transformation process of “handwriting”. For Qu, painting is not the exterior body, but the substance flowing and transferring inside the artist’s blood and neural network. Just like the “bugs” in his life, its elements have to flow from his blood vessels onto the canvas through his paintbrush. He couldn’t restrain their “birth”. Perhaps, the title of “handwriting” emphasizes the aspect of direct verification of “hand”.

　　What flows out? It’s the vitality of his painting.

　　Initially, abstract painting challenged traditional painting from the relation of pure forms and colors, i.e. got liberated from the elements depending on the object’s image to the independent modeling elements. Instead of basing on the abstract object’ scene of combination, moral and symbolization, their significance and value are represented by the pure visual color fields, lines, and texture. Qu’s abstract painting is not completely of this significance.

　　On the one hand, we have to understand, Qu doesn’t want the audience to amplify the significance of his works for association of ideas. Besides that, he makes great efforts to reduce the significance in this aspect. In his works created from 1993 to 1999, I distinctively perceive his gradual transformation from the allegoric abstraction towards the vivid abstraction. This tendency could also be summarized by another description: he accentuates the painting’s pure vitality when reducing the significance in socialistic level. This vitality could hardly be regarded as being metaphysical.

　　On the other hand, he also tries to avoid turning into expression of pure visual rhythm when reducing the moral. Therefore, Qu pushes himself into a predicament: trying to be abstract but not purely visual, maintaining the freshness of life perception in painting without the moral. Each dot and line are full of life, like a creeping creation, disintegrating, transforming, changing, reproducing, once more proving the “presence” of his soul value.

　　For these reasons, it’s really appropriate to call his works “handwriting”. Handwriting is individual and unrepeatable, and also the journey of life, the evolution of value transition. We may say, Qu relatively accomplishes his sensitive pursuit and the self verification of painting.

　　However, I suppose, painting also has its own problem about painting element. Qu hasn’t considered enough about the problem of painting element. I believe he could make achievements in these three aspects in the future creation, pushing his abstract painting full of vitality towards the consummation.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　 　　Ma Qinzhong