如果我们对实物不以为然,画得再怎么像；如何令人激赏，也没有用!

　　------帕斯卡尔《沉思录》

　　总觉得，这句话似乎是说给蔡志松听的。

　　在蔡志松的雕塑作品身上，清楚地读到人对生命的谦和态度;竟然能够如此丝丝入扣、牵动人心。那种态度不是在于他对主体技巧表现的问题上，而是在于他自己本身对于所描写主体，就有一份难以掩抑的尊崇。

　　蔡志松曾经提到：艺术作品从专业角度来看，技巧很重要，但是如果没有精神支撑，感召力是很有限的。他也进一步提到，如果你真的关注人的生存状态，感触才是最深的。

　　蔡志松的这段话，贴切说明了他作品的精神内涵。我个人觉得，探讨蔡志松的艺术，精神内蕴的本身是一定要触击，假如只以表相的样貌来加以延伸,那么能够深入的转折就少了太多。

　　蔡志松的雕塑作品，从外相上来看，或许会很容易把时空背景定调在秦朝，甚至也可能过度解释人物本身的姿态语言。只是，这样的解读基本还太过于简易，倒是贾方舟在【解读蔡志松的雕塑《故国》系列】一篇文章中，有这样的描述『蔡志松不仅对东西方雕塑艺术的历史沿革有自己独到的认识，而且对雕塑在当下所处的文化环境也有清醒的了解。《故国》正是他在历史与当代的经纬在线所作出的个人化选择。在历史这条经线上，他缕出了他可以承继的写实这条线索，在当代这条纬线上，他又确认了立足本土文化这一坐标』。这段话，非常清晰地把蔡志松的雕塑作品，从一般世俗简易的分类方式中，提升到另一个极具当代性格的语境。这一点，大大破解蔡志松雕塑艺术被纳归到传统雕像类的范畴。

　　许江这样讲过。『我们不能把传统仅仅作为遗产来保护,因为遗产是一种不动产，应该将传统作为一种有效的活的资源』。对蔡志松来讲，历史是个可以活用的任意门。他往往通过这个门坎，从那些既有的元素里面，再一次创造生命的可能性。他说过，在现代艺术领域中，所提倡的艺术多元化发展，其实这种多元化是以西方文明为主导的多元化，它的本质也就是一元化。他认为，一个民族如果文化精神消亡了，那么民族精神也将被动摇,艺术家是社会最敏感的神经;有责任将民族的文化继承并光大。他觉得，现在多数人都在追随西方潮流，而自己所要作的就是打破这种一元化，开创另一种现代艺术样式;一种能够体现东方民族气质，能包涵中国几千年文化底蕴的现代艺术语言，在宏观的文化领域里，真正和国际平等对话。

　　那么，在蔡志松心理，这所谓文化底蕴又是如何呢?人物，是他所选择的载体之一;或许也可以称之为重点素材。他自己就说过，人类的历史在他眼里，就是无数生命体不断挣扎而构成的一幅悲欣交集的长卷。于是，他借用了秦代人物的普遍性造型来作为基点，但却彻底透过理性的解构;逐续布置了精准的现代语境。这里面我比较想提出的，是他所运用的技巧，繁密、精细，就好像古代工艺师以相当长时间慢慢琢磨出的作品是一样。蔡志松企图让他的人物，回归到一种就彷如历史演进的流程一般，需要以时间来经营出事实的表征。这样的技法表现，充分贴应着他对历史的深度体悟。

　　现代语境，是我对蔡志松雕塑作品最大的直觉感受。我很难从他的作品里面，将他的雕塑归纳到所谓传统雕像的范围，我甚至也不觉得他的作品有所谓复古性。他的艺术，活脱脱就是一份现代思维，而这份现代思维却又如此充实地被填满着文化的厚度。我想，这是一个最需要提出来加以区隔的地方。

　　对蔡志松来讲，伴随着中国人这个称谓的背后，苦难;几乎成为一种宿命。问题是，蔡志松非常真确地抓到这样的宿命情怀，却一点也不愿意从写实的观点去强化那道伤口，反而更准确地把中国人生命底蕴里头;那层隐藏的坚韧生命力道，整个都挖出来。然后，他以一种几近沉静之姿放射于外。假如你留意蔡志松的作品，在那双眼微合、嘴唇紧闭，脸部出奇的安静、身型精瘦健硕的人物身上，一定会发现有一股很难抹除掉的力度;那股力度承载着太多的生命沧桑，却丝毫没有被击倒溃败，一点也不愿意把所谓的苦楚挂在外头。这，其实也就是生命厚度。

　　蔡志松对本质性的东西，格外着迷。比如说，他选择人物来作为表现，但是他回到人物自身本质的生命态度，而不是去夸大一份苦难的情绪，让观者的想象空间变得窄化。同样道理，蔡志松有件《门》的作品，他挪用了传统中国朱门的概念，利用朱门面板上的铜扣眼，把他从中国所发生历史事件的地点拍摄下来的照片转印上去，接着再将整个装置作品拍摄下来，以布面数码输出的方式呈现。这件作品，探讨的议题有回忆、有感伤、更有时间的流逝感。蔡志松把近代中国历史事件发生的地点逐一以影像纪录，这本来就是属于一种回溯的心理，藉由转印的方式来加以留存;这则属于是一种痕迹的书写。至于，门;则是一种记忆的开启与关闭。尤其又是以中国皇室常见的朱红大门，则更把中国人的心酸全都写在上头。再来看另一件以铅这个材质作成的《档案袋》作品，这件作品所隐藏的无奈相当深沉，是我个人觉得蔡志松诠释得最精妙的代表之作。档案袋这种东西，也就是一般所谓的牛皮纸袋。这一只牛皮纸袋，在中国大陆的社会进程里面，它其实就是纪录着一个人在进入社会之后，每一个工作环节的转种细节，简单讲;应该就是一个人进入社会工作后的考核表。这个档案袋是属于极端机密的文件，个人是完全无法读阅得到，只有单位的主管还有可能翻阅。因此，里面的内容到底有那些呢?或许一个人穷其一生也都难以得知!蔡志松撷取了这个元素，一样从历史的角度裁切进去，以铅这种材料慢慢敲打塑型，牛皮纸袋的折痕，清楚地记载着这里面一个生命体的环境转折，那种表现出来任人宰制、全然无助的心理，甚至散发出一股神秘的氛围，完全都释放在那薄薄、皱皱袋子面上。

　　蔡志松的人，严格讲并不是一位擅长透过言语来传达内心澎湃的人。不过,我却发现他的艺术，其实是非常抒情的，其中更透露隐约的愁怀，一种对历史所经验过的起起落落;有着无法排遣的心理深沉愁绪。而参与历史幻化的又是人，人在这历史的进程中，往往是主角;也往往是最容易被放逐的蝼蚁。蔡志松在这个里面，看到生命起飞与墬落，更也看到由太多生命所积累、成就出来的文化底蕴｡可贵的是，尽管从历史经验中获知人的卑微，但是蔡志松却一点也没有特意在作品身上布达那份排遣不掉的内在酸侧。我反而看到他让眼前这些人物,是如此尊严地看待生命的自身，谦和、内敛;却不怨天尤人。就算他所借用的人物造型是古代，却一点也没有时空僵化的刻板性。你在他的人物身上，看到超现实的人类进化历史、看到类似倪匡小说中的科幻性，你更看到一份生命跃动的当下性。

　　我们其实很难对历史赋予一个写实的样貌，就如同文化本身的厚度也难被秤重化。只是,蔡志松却很巧妙穿过历史的大门，但又不会受到历史背后的事件所定格，他的艺术，处处都有着生命努力奋发的痕迹，那种丰采有一份结结实实的重量，通过他的作品，观者看到了无数生命所串组成的文化本质，不仅有厚度更且层次分明，而人就在这里面，笃定、自尊地看视这滚滚红尘，万般诸事了然于心。

　　Historically Profound - in becoming the modern classic – interpretation of Cai Zhishong's Art

　　Zheng Naiming

　　If we disagree with the actual objects, it is useless no matter how resemblant or admirable the drawing is.

　　-- Blaise Pascal Pensée

　　I always thought this is something said about Cai Zhisong.

　　It is easy to read into the modest and gentle attitude about life from Cai Zhisong's sculptures, which are meticulous, flawless and passionate. His attitude is not projected through the technical expressions of the subjects, but through his own openly apparent respect for the subject matter depicted.

　　Cai Zhisong has once mentioned that the techniques used for an artwork is important from a professional perspective, although without any spiritual backbone, its affect will be limited. Furthermore, if one is truly interested in the state of being, the most profound should be sensed.

　　Cai Zhisong's words accurately explain the spiritual quality in his work. In my view, one must touch on spiritual embodiment when discussing Cai Zhisong's art. To concentrate on the surface of his work only allows for few deeper elaborations. On the surface, it is easy to frame Cai Zhisong's sculptures within the Qin dynasty or even elaborate on the body language of these figures. However, such explanation can be over simplified. On the contrary, Jia Fangzhou has described him in Reading Caizhisong's Sculptural series Collapsed Nation as, "Not only does Cai have an unique understanding of the development of Eastern and Western sculptural art, but he also has a clear grasp of sculptures in the current cultural context. Collapsed Nation displays his personal choice made in reference to the crux of history and the contemporary. On the historical longitudinal line of life, he combed out the realism that is worth learning from and on the latitudinal line of the contemporary, he has found the landmark of being devoted to indigenous culture." This statement has clearly elevated Cai Zhisong's sculptures from common and simplified explanations to a more concurrent context. For which, it demystified the categorization of Cai Zhisong's sculpture as being traditional.

　　Xu Jiang has once said, "We cannot only protect our tradition as a heritage because it's not immobile, but must treat it as an effective and live resource." For Cai Zhisong, history is a flexible swinging door. He often recreates the possibilities of life from the pre-existing elements found through this doorway. He has said that the aim of diversified artistic development in the contemporary artistic realm is in fact under the guideline of western civilization—its essence is in fact singular. He believes if a nation's cultural spirit vanishes, then its national spirit will also be shaken. As the most sensitive subjects of a society, artists have the responsibility to inherit and carry forward. He feels most people now are following Western trends and he would like to break out from such singularity to invent an alternative artistic form, a form that can embody the national quality of the East—an artistic language imbued with China's thousands of years of cultural heritage that will allow true and equal dialogue internationally on a greater cultural realm. Then, what is the so-called cultural heritage that Cai Zhisong has in mind? Figures are one of the vehicles he has chosen, perhaps we can claim it as the main subject matter. He has expressed once that human history is like a long scroll of life myriad struggles with its joys and sorrows. Thus, he appropriates the general features of the Qin as his base, but, through rational deconstruction, he sets up an accurate contemporary context. What I would like to propose is that his technique is executed in dense and meticulous manner, just like the ancient craftsman's works over long period of polishing. Cai Zhisong aims to allow his figures to return to the process of historical evolution that requires time to unravel its factual characteristics.

　　The contemporary context is the most literal impression I have for Cai Zhisong's sculptures. It is difficult to categorize his sculptures into any so-called traditional realms. I wouldn't even consider his work to be archaic. His art is a vivid embodiment of modern thinking, a body of work that is fully stuffed with cultural depth. I think that this is worth raising and distinguishing.

　　For Cai Zhisong, suffering, in regards to the Chinese, has almost become a fate. The key is Cai Zhisong has accurately captured this fate without willingly elaborating on this wound. Instead, he is digging out the perseverance of life embedded within the Chinese. This the artist projects in fairly calm fashion. If you pay attention to Cai Zhisong's work, through the figures' slightly squinted eyes, sealed lips, surprising calmness, and slender and trim bodies, you would discover ineffable strength, a strength that carried insurmountable tumultuous life experiences without any signs of collapsing. Nor is the figure willing to wear its sorrow on its sleeves. This is also the depth of life.

　　Cai Zhisong is especially interested in the essence of things. For instance, although he chooses figures as his subject of representation, his aim is to represent the figure's attitude towards life rather than exaggerating its hardship, thus narrowing the viewer's room for imagination. By the same token, Cai Zhisong's work Gate appropriates the traditional Chinese concept of the red gate. He has printed photographs of Chinese historical sites on copper nails on the red gate, photographed this installation, and then finally presented it on a digitally printed canvas. This work not only discusses the topic of memories and nostalgia, but also the sense of time passing. Cai photographed the sites where modern Chinese history unfolded—a retrospective psychology that attempts to restore the past through reproducing a narration of scars. As for the red gate, it symbolizes the beginning and the end of a memory. The red gate specific to the Chinese imperial family, especially, seems like a more appropriate medium to project the sorrows of the Chinese. Another work Dossier, made with lead, conceals a profound helplessness, which I believe to be the most sophisticated work representative of Cai Zhisong's art. The dossier is also know as the brown envelops—an object that documents each detail of one's work as one enters the work force in mainland China progress. Simply put, it is the evaluation of an individual once he/she enters the work force. This dossier is extremely secretive. The individual cannot access it. It is only available for the leaders of the work unit. Therefore, what is its content? Perhaps, it would be unknown for one's entire life! Cai Zhisong adopted this element and intercepts it from a historical angle. He sculpted lead to render the folding marks of the brown envelop—clearly marking the twists and turns of a life, displaying those being trampled on, the helpless, or even a sense of mystery, all of which are projected on the thin and wrinkled envelops.

　　Cai Zhisong is not someone who's good at expressing his inner feelings. However, I realized his art is quite sentimental revealing a type of indistinct nostalgia, a sorrowful sentimentality from the ups and downs of historical experience that cannot be dispelled. And the participants of historical evolutions are people, who have often played the protagonist in this process, who are often the most insignificant beings to be exiled. Cai Zhisong captures the take off and decline of life, but also the cultural heritage build from the myriads of lives. Moreover, even the insignificance of men are disclosed in historical experience, although Cai has not purposefully reveal the unshakable sorrow in his work. Instead, the artist has allowed these figures to solemnly perceive life itself, harmony and cultivated yet without surrender to one's fate. Although the figures Cai has appropriated are that of the ancient, but his representation does not reveal any rigidity of time. What one does perceive on his figures are the surreal evolutionary history of humanity, the science fictions in Ni Kuang's novels, and the contemporary world of liveliness.

　　It is in fact difficult to grant a realistic rendition to history, just as the depth of culture is unquantifiable. Although Cai Zhisong has entered into the realm of history without the setbacks of historical events, his art displays traces of efforts of life – a mien with tangible weight. Through his work, the viewer discovers the cultural essence compiled from myriads of life, not only it's profound, but also distinguished, and one assesses, and respectively looking at the myriads of things, becomes clear at one's heart.

作者：郑乃铭