2013年，在台湾高雄佛光缘美术馆举办了由我策展的“意念的形式：张羽个展”。张羽的作品“水>墨”是一个以水、墨、宣纸为材料的装置作品。此前张羽的“指印”的展览形式，已采用了将长幅“指印”作品进行展厅半空悬挂的展示形式。

　　The Form of Notion: Solo Exhibition of Zhang Yu, which I curated, was shown in Fo Guang Yuan Art Gallery in Kaohsiung, Taiwan, in 2013, featuring his work of Water > Ink, an installation using water, ink and Chinese art paper. His former works of Fingerprint, exhibited elsewhere, have been vertically hung in long-scroll pieces in halls as a main form of to display.

张羽：水墨之浸染-墨象（局部），528只瓷碗、30个亚克力盒、宣纸、水，广东美术馆，2014

　　“指印”代表一种现代主义的平面性的终结。张羽试图将“指印”中的水、墨和纸的媒介的质性关系转化为一种空间形式。“水>墨”因此体现为一种以自然材料让其自然的发生一种物化的自然关系，“水>墨”因此成为一种自然主义的媒介的自足空间。

　　The Fingerprint is a terminating mark of the flatness in modernism. Zhang attempts to translate the qualitative relation between mediums of water, ink and paper in Fingerprint into a spatial form. So Water > Ink indicates and presents a materialized natural relation enabled, also naturally, by natural materials, thus becoming a self-contained space of the medium in naturalism.

　　在这一有关中国画媒介的相互渗化的空间中，水、墨、宣纸被还原为一种纯粹的自然材料。这个作品试图将传统绘画理论中“气韵生动”的概念呈现为一种物化过程：地面上一千多只碗倒满了水，水将会逐渐无形的蒸发；四周的墙上悬挂着宣纸条幅，宣纸下垂至地面的亚克力水墨槽中。宣纸的下端浸泡在水墨槽中。随着时间推移，水墨槽中的水墨每天会沿着宣纸向上蔓延，或蒸发到空中，与地面碗中的蒸发至空中的水气融合。这样水、墨、纸三者就在一个相对封闭的空间内通过一种“气化”及互渗，建立一种自然主义的纯粹的空间形式。

　　In the space where mediums used in traditional Chinese painting are melting into each other, water, ink and Chinese art paper are restored to pure endowments from nature. The work also tries to capture of the process of materializing the notion of "rhythmic vitality and charm" revered by the theory in traditional painting. Water, filling the over one thousand bowls on the floor, will gradually evaporate imperceptibly. Scrolls of Chinese art paper are hung on the walls of all sides, with the paper hanging down to the acrylic ink containers, soaking its bottom part in the dark liquid. With the lapse of time, one notices the ink in the container sprawling up the Chinese art paper everyday, or, unawares, melting with the moisture evaporated into the air from the bowls on the floor. Consequently, water, ink and paper build a pure spatial form of naturalism in this relatively closed space through interpenetration and evaporation.

张羽：水墨之浸染-墨象（局部），528只瓷碗、30个亚克力盒、宣纸、水，广东美术馆，2014

　　由于水气、墨气与宣纸发生渗化的雾化作用，宣纸、水墨槽和现场的水碗构成了一种空间语境，水、墨、纸不仅具有一种媒介的自足性，相互还构成一种物化的互文性。在2014年广东美术馆的“张羽：意念的形式”个展中，有关水、墨、纸的关系，他在几组作品中尝试放弃墨，将水和纸的纯粹关系作为一个实验重点，因为水远远超越了水墨浸染的概念。一组作品是将30件9000pxX2250px的宣纸条幅垂至30个亚克力水槽中，直接让清水浸染宣纸，水气持续蒸发。数日后，宣纸便留下层层淡淡的黄色线迹。另一组作品，12个2000pxX2000pxX1250px透明的亚克力箱装满一千刀宣纸，再将装满宣纸的亚克力箱注入大量的水和少许的墨，由于宣纸被持续浸泡在亚克力的水墨箱槽中，宣纸被水墨慢慢地浸染，宣纸由于在水墨的浸透中水质和纸质的作用，而呈现层层的深浅墨色、橙色和黄色的痕迹。

　　The atomizing effect brought by the interpenetration of moisture, evaporated ink and Chinese art paper produces in consequence a spatial context constituted by Chinese art paper, ink containers and bowls on the floor. The self-contained nature of water, ink and paper as mediums is also appended by the materialized intertextuality within. In the solo exhibition of Zhang Yu: The Form of the Notion held in Guangdong Museum of Art in 2014, Zhang treated the relation between these three art musketeers by experimenting the dropping of ink while focusing on the pure relation between water and paper for the reason that water to him far surmounts the simple notion of ink dip-dyeing. One group of works is to hang 30 scrolls of Chinese art paper, each 9000px by 2250px, so their bottoms are soaked in the clean water stored in 30 acrylic containers and the moisture keeps evaporating, resulting in, in a few days, faint yellowish traces on these scrolls. In a different group, 12 translucent acrylic cases (2000px x 2000px x 1250px) are filled with 100,000 sheets of Chinese art paper, which are together filled with mainly water and a modicum of ink. Here in this case, since the Chinese art paper is kept bathed in the acrylic containers of water and ink, the paper is dyed, little by little, by these liquid mediums. Soaked in ink and at the interplay of the texture of water and paper, the Chinese art paper shows layers of traces in dark and light inky color, orange and yellow.

　　如果将这个物化的互文空间看作一个文本的话，这是一个彻底的自然主义的意念空间，由于主体及手指不再成为水、墨和纸的将意念物性化的媒介，因此，这是一个有关意念与自然的象征空间。“指印”中，作者被定义为一个意念主体，同时又是数个自然媒介的媒介，通过成为其他媒介的中心媒介，意念主体因此是一种主体媒介。“指印”就体现为一种主体与客体的媒介交互，意念成为此一交互关系唯一仅剩的主体性，这一主体性本身又被减至一种零度化，即意念不是有关自我或者情绪的流露，它的内涵是一种对水、墨、宣纸的客体化的质性体验。因而，这种内容近于客体化的意念，接近于禅宗强调的“自性”，即一切意念只是关于媒介的质性本身，而不是禅宗所谓“依他性而起念”，即不给自然的质性附加以主观性。

　　If the materialized intertextual space is reckoned as a text, it then becomes a notional space of thorough naturalism. Since the subject and fingers no longer assume the role of medium employed by water, ink and paper to materialize the notion, it therefore turns out a symbolic space about notion and nature. In Fingerprint, the artist is defined as a notional subject as well as the central medium for multiple natural mediums, which makes the notional subject itself a subject medium. The Fingerprint is thus shown as a medium interaction between the subject and object, and the notion is left as the only subjectivity in this interactive relation, which is further reduced to nihility where the notion is not about the revelation of the self or the outpouring of emotions; it talks essentially about the objectified qualitative experience of water, ink and Chinese art paper. This notion that borders on objectification very much resembles the Zen principle of prakriti, or nature of the self, claiming that all notions are merely mirroring the qualitative self of the mediums, rather than the Zen declaration of paratantra-svabhva (casual interdependence), or, to paraphrase, we never color the qualitative side of nature by subjectivity.

张羽：指印——思，闭关，1700cmx1700cm，丝绸、宣纸、显示器，广东美术馆，2014

　　让意念退回至一种“空无”的状态，实现一种水、墨和宣纸交合的“意念”状态。这是一种看不见的关系，由于水、墨、纸不再有一个“指印”的意念中介，因而它们是一种更为纯粹的自然主义的空间文本，即让自然材料自己发生一种自然关系，这实际上是一种媒介自足性的作品设置。作者虽然不再作为过程艺术的意念中介，意念不再扮演两种客体媒介的中介角色，它退出了中介过程。作品作为一个空间形式的文本，它事先被作者设定了一个自然主义的物性关系，“水>墨”假定主体行为甚至意念都未参与物性的互渗性，整个过程都是自然媒介的物性自己在发生一种自足的关系。

　　The notion retreats to a state of "nihility", accomplishing the "notional" state with the convergence of water, ink and Chinese art paper. An invisible relation it is, since these three mediums are no more connected by the same notional intermediary of Fingerprint. They have transformed into a spatial text of pure naturalism, lending natural relations to natural materials themselves, which speaks about a self-contained art medium. The author quits the role of notional intermediary of process art, and the notion drops out of the intermediation between the two objectified mediums. The work, as a spatial text, is defaulted by the artist as the materialized relation of naturalism. Water > Ink is built on the premise that the action of the subject and even the notion itself are never engaged in the interpenetration of materiality, and the whole process is all about a self-contained relation of the materiality of the mediums themselves.

　　这听起来像是一种彻底的现代主义概念，即物料的自性、物料之间发生的“自足性”关系。作品是一个约定框架中的空间形式，“墨/水”自身的散发使作品像一种纯粹的物理过程，这一过程更像是一种意念的象征仪式。实际上，意念只在过程发生之前，过程艺术中的意念是一种零度存在。最终，张羽以一种纯粹的现代主义的自足性形式，使作品成为意念的一个物化的延伸形式。

　　It all sounds like a total, thorough-going modernist idea, implying the indigenous nature of the materials and the "self-contained" relation between materials themselves. The work is presented as a spatial form in a set framework, and the evaporation of "ink/water" seems a purely physical process but looks more like a symbolic ritual of notion. Matter-of-factly, the notion is only present before the process begins and is reduced to nothingness in the process art. Ultimately, Zhang adopts a purely modernist form of self-containment to extend the notion into the materialized form found in the work.

张羽：指印——念，心经，册页202本，宣纸、卡板，900cmx900cm，广东美术馆，2014

　　与西方哲学中的观念不同，意念至今仍是一个西方哲学所无法覆盖有关意识的认识论概念。以书写性的笔触为主的绘画形式，在20世纪也是表现主义、抽象艺术的一种基本形式。有关意识与可见的形式之间的关系，是二战后西方新艺术一个实践重点。张羽的“水>墨”的空间形式无疑涉足了这一领域。

　　Unlike "concept" in western philosophy, notion has, till this day, still remained an epistemological idea whose meaning defies a complete explanation by western philosophy. Painting form that centers on writing-based brushwork was part and parcel in Expressionism and Abstract Art in the 20th century, while the relation of consciousness and tangible form has been an art priority in western new art movements in the post-WWII era. Indisputably, Zhang's Water > Ink, with its unique spatial form, is rightly involved.

　　明代以后，中国的文人诗歌、绘画、哲学处于一个衰退阶段，主体理论止步于宋明理学的心性论。除了清末王国维的《人间词话》、康有为的《广艺舟双楫》在诗学和书学理论上有一次集大成总结的回光返照，难以在主体理论、诗学理论以及艺术史的观念内部找到语言的出路。20世纪以后，文人艺术的现代性只有书法、新水墨在语言技术上找到一些转型路径。

　　The post-Ming poetry, painting and philosophy of Chinese literati were in decline, seeing the main theoretical body plateaued at the theory of disposition by Neo-Confucianism in Song and Ming Dynasties. Other than the retrospective radiance, possibly the last glow, in the theory of poetics and calligraphy shown in Comments on Lyrical Poems by Wang Guowei and Essays on Calligraphy and Inscriptions by Kang Youwei at the end of Qing, the language itself was stymied in the conceptual realm of the main theoretical body, poetic theory and art history. In the 20th century, the modernity of literati art could only secure some transformative means in techniques of art language by calligraphy and new ink painting.

张羽：封存被剪碎的指印，各种被指印覆盖的文件、合同、契约、印泥，广东美术馆，2014

　　某种意义上，20世纪从“新国画”到“新水墨”的文人画现代性发生于两条语言主线，一是受到西方以图像和主体性为中心的艺术影响，这个影响包括从现实主义、印象派到形式主义的语言体系；二是受到以文人画的笔墨诗学为中心的影响。1980、1990年代的“实验水墨”，仍可看作这两条主线的影子，即笔墨的抽象化、现代主义情绪与墨像的合流。张羽的“灵光”是一种使现代水墨走向一种更为纯粹的形式实践，但仍在图像实践的框架中。

　　In a way, the modernity of literati painting moving from New Chinese Painting to New Ink Painting in the 20th century took place in two main linguistic lines. One is the influence from western art based primarily on image and subjectivity, including the linguistic system of Realism, Impressionism and Formalism. The other is the sway of ink-and-brush poetics-centered literati painting. "Experimental ink painting" in 80s and 90s followed these two arteries of art, marked by the confluence of abstraction of ink and brush, modernist sentiments and ink images. The "aura" of Zhang is his formalistic practice driving modern ink painting to greater purity, which is still categorized under the practice of image.

　　作为个人的语言创造，“指印”是从“实验水墨”的一次重要转折。它将以笔墨为中心的图像建构，转移到有关水性、墨性与纸性的媒介自足性的实践。“实验水墨”将水墨作为物料的媒介特性从水墨画中分离出来，并以水、墨、纸的质性为基础，重构一种新的语言模式。图像不再是组织画面的核心因素，而由意念作为物性关系的媒介，使绘画转型为平面性作品。“指印”亦为“实验水墨”从平面性走向空间形式、由现代主义通向当代语境打开一条通路，即继续以水性、墨性和纸性作为语言元素，但以环境装置的形式来建构一个文本化的空间语境。

　　Fingerprint is a prominent watershed for "experimental ink painting" as Zhang's personal linguistic creation. The imagery composition on the basis of ink and brush is transferred to a self-contained practice over the mediums of water, ink and paper by probing into their natures. "Experimental Ink Painting" extracts the material features of ink as a medium from the ink painting, and reconstructs a new linguistic pattern on the qualitative attributes of water, ink and paper. Image is no longer the key to compose the painting, and the notion, as the medium of materialized relation, steers painting to a two-dimensional work. Fingerprint also gives "Experimental Ink Painting" access from flatness to a spatial form, from modernism to contemporary context. The natures of water, ink and paper are kept as linguistic elements, yet a textualized spatial context is established in the form of environmental installation.

张羽：发生（局部），透明亚克力箱80cmx80cmx50cmx12，亚克力、宣纸、水、墨汁，广东美术馆，2014

　　张羽打通了由水墨的内部作现代性转型的道路，这个过程分为两个阶段：一是借由图像的现代主义及其纯粹形式，将文人画的笔墨中心转型为墨像中心，并进一步将其作为中国化的灵性的纯粹形式；二是将笔墨及墨象的语言，转型为水墨材料的质性语言，经由意念的媒介达成一种质象。这一方式以媒介的质性元素为核心，进一步走向环境装置的媒介形式，形成一种禅宗化的空间文本。

　　Zhang manages to make foray into modernity inside the sphere of Chinese ink painting, a stage we can divide into two. He first borrowed modernism and pure forms of images to relocate the center of literati painting from ink and brush to ink image, and further crystallized it into the pure form of Chinese spirituality. Following that, he delivered a metamorphosis of the language of ink and brush as well as ink image to the qualitative language of ink materials, shaping a physical image from the notional image. Residing on the essential bedrock of the qualitative elements of the medium, this approach draws itself closer to the medium of environmental installation to finally produce the spatial text in Zen.

　　由此，张羽的实验水墨为现代主义实践划上了句号，这一水墨的现代主义实验又是通过中国方式来完成的。他走了一条不断“去文人化”的道路，将文人画的诗学和笔墨剥离，将笔墨还原至水性、墨性和纸性，由意念的形迹作为一个过渡形式。水、墨、纸这些媒介仍然作为一以贯之的线索，转而最终走向环境装置的空间形式。意念主体的行为退出了，它因是一个意念不在场的主体空无的装置。但它并不是一个物理学意义上的环境装置，而是一个禅宗式的“空无”诗学的空间文本。

　　It is with these efforts that Zhang performs his experimental ink art to end the chapter on modernist practice. Notably, he completes the modernist experiment on ink in the Chinese way. He keeps "removing the literati root" and peels the cocoon housing both the poetics and ink and brush of literati paintings, restoring the latter to its original, primitive natures of water, ink and paper and presenting the transition in way of the traces of notion. The traditional mediums of water, ink and paper still reserve their role as linkages connecting all the dots, facilitating the final turn to the spatial form of environmental installation. When, at the consummation of the event, the action of the notional subject leaves the ring, it's only because it's an installation with the absence of notion and emptiness of subject. It's, however, not an environmental installation in the physical sense, but a spatial text with the iconic Zen poetics of nihility.

张羽：发生（局部），透明亚克力箱80cmx80cmx50cmx12，亚克力、宣纸、水、墨汁，广东美术馆，2014

　　这个文本被设定为让媒介自足并自为的空间文本。它真正达到了现代主义的自律。“水/墨/纸”的自足的空间关系实际上被文本化，语言上，它进入了一种现代主义的自足形式；哲学上，则纳入了一种新的现象学意义上的诗学。它剥离了一切的附加意义，只剩下媒介及其现象本身的含义，再无别的含义。这是一种发生于现代空间的无意义，因而为一种现代“空无”的诗性。

　　This text is set as a spatial one that allows mediums, self-contained and acting for itself. It is, in the real sense, reaching the apex of self-discipline of modernism. The self-contained spatial relation between water, ink and paper is actually textualized. Language-wise, it enters the state of self-containment of modernism; philosophically, it incorporates a new poetics in phenomenology. It rips off all the additional meanings and leaves with itself only the meaning of the mediums and their phenomena, no more, no less. As a non-meaningful happening in modern space, it thus acquires the poetics of modern nihility.

　　在中国的媒介及诗学的脉络上，张羽将“实验水墨”推进至一种水墨现代性的极致。他将“实验水墨”最终定义为一种以水墨的材料质性为媒介的自足性实验，使对水墨的理解回到了自身的哲学形式，即现代性即一种空无而自足的诗性。这一切接近禅宗的意义，即在剥离一切外相的包裹或意念的外在形式之后，发现核心是空无的；因为其内在的空无，它才无所依凭；无是一切有的起始。它的意义仅此而已，别无其它。

　　In the texture and context of Chinese mediums and poetics, Zhang propels "experimental ink painting" to the acme of modernity for ink painting. His final definition of "experimental ink painting" is a self-contained experiment taking the medium of the qualitative material attributes of ink, bringing our knowledge of ink painting back to the inherent philosophical form, explained otherwise as modernity being a void and self-contained poetics. The proximity to Zen Buddhism is so apparent that when the external layers of images or notions are all stripped off, the core is empty, and it's the intrinsic emptiness that sets it free from all roots and assistance. You'll have it by not having it in the first place. And that's how it is meaningful, and only in that way.

原文发表于《美术文献》杂志2014年第6期