人为何物?万物之灵;画之为何物，性灵也。

　　每次读庄子的文字，心境十分通畅、舒展，心有着广远开阔的朝向，无境无止。在绘画中，这种平素积累于心的空阔得以表现升华，并在画面中无限伸展开去。

　　“未尝见全牛”

　　模特坐在我眼前，她在我眼里已经不是一个完完全全的形象，我看向她亦不是具体的个人，不是长着黑的头发，明亮的眼睛或挺拨的鼻子。它只是高高低低、不断延展、游走跳跃的光斑，延绵起伏的丘壑。它们是色块，是光的阴影，是堆起又漫散开来的映象，各种形状的亮、暗、色彩游动着，又重新穿插着，结晶着。其实我何尝用看它，它在我的心中，每一处的明与暗，高与低，神与韵，都与我的手我的笔合为一体。

　　画布上头像在平涂的空白背景之前时而积层，堆染，呈现;时而又像向着画框的四边和背后的空游动开去。我不由自主，随着流动的印象追逐、分离，重叠，游动的笔触，时而像坚石，时而又像水波中的幻影，我将与所谓的表现性决裂，打破叙述，阻碍图解性的出现，我不要纯形象，我将以形象化的主体解放它的形象，我试图排除“剌激人的感官”。模特、我、画面、包括读者，不再因形象而左右，一切联系之物，都在超越感官后达到节奏的统一。

　　“官知止神欲行”

　　每一笔都要和模特的呼吸相通。我、模特、笔，完完全全共呼吸，共同表达着每一处、每一时刻、每一神情最微妙的变化。感官的知觉已经消失，眼里没有了模特，只有精神在交流，通感中，头发下的阴影移动了，变小了;眼神有了细微的变化，眼晴的高光不见了，清晰的边线模糊了，外表消失，模特表征如山如水，静立或流动……正面的形象，平涂的背景，永远的不起眼的41*33，不变的载体，却包藏着无数可能的密码：绝不相同的模特要通过相同的表象回到绝不相同的本身，以不变去迎接瞬息万变的世界。我绷紧身体，攒聚精神，以虚静的心，等着一切可能的到来……

　　我看见亮斑越来越亮，有一点儿耀眼了，越来越近画布已经无法表示着它的光芒，突然发现亮斑看不见了，变成黑色的了。我把亮斑涂黑，亮斑反而更耀眼了。

　　直接、快速、掠取即逝的信息。眼睛十分兴奋、活跃。我追逐着这瞬间的际遇，除了手上的笔紧紧跟着游走，思维已经没有识别的可能，这时大脑已是一片空白，周围的一切不复存在，模特不存在，笔与颜料不存在，我也超脱于自己之外。

　　能够引人心动的东西就那么一点点，能够和宇宙发生通感的时刻就可能那么一会会，就这一点点和一会会是我毕生的探求。寻佛佛不在，真实是四处弥漫的，佛说一切看机缘，我愿为这一点点的机缘而等待并或追寻。

　　“游刃几有余地也”

　　面对模特，只有形状与形状在光线中结合，它们搭建在一起，融合到一处，又游离开来;象自由的精灵，无所不在，无拘无束。它们翻转，同时又交错，它们隔离，同时又复叠。“空”在形状之间流转、游走。一光一暗，重唱流转。两极之间的空，是感性的丰满(a sensible plumpness),是存在的充溢(an existent overflow)

　　此时，我和我的笔，都有解放而来的自由感、充实感。越是自由，越是真理即将降临。自由而充实的大自在，在静谧中有永恒的流动。如老子之“虚静”，亦如佛界“大乘之境”。

　　布上风景，寂静的轰鸣。听寂静在轰鸣，寂静是力量的，它神秘而自在;它是宇宙的澍湃和无尽;是混沌里的光明(radiating in the chaos)。 画它，本身投入混沌，投入黑夜之中去寻找一种更为深层的，几乎不可体验的力量。在那里，各个不同的层次被永恒地，带着狂野的力量席卷在一起。从而完成从内心，意，腕，指，笔尖控制，传达超越人自身局限的意义。

　　中国画以山水来表达人和自然水乳交融的关系，是一种人格修为的最高境界，而西方史一直以画人物为主导。我将以人物的形式来表达中国艺术精神修为与境界。这正是我绘画的初衷和目的。所以，我不愿也不需要把某一群人的社会性拿来作定义性的描述。模特，就是社会中的一个人。他本身就承载着和人群的关系，承载着民族血脉关系，承载着时代的关系。一切的社会属性，已附于他自身，他的生活，行为，即他与社会。我却要用他，作一种艺术大境的载体，虽没有没有吓人的样式，却要有泣鬼神的力量。

　　但我反对中国和西方元素简单地嫁接，用人物达至人与自然之境，不是简单拼凑嫁接;我也反对以西方审美为标准来表达中国艺术，不同的根系，不同的语境，必有不同的理解，不可以此适彼。我希望能够站在中国艺术精神的根基上与西方当代艺术对话，以平等、理智、大气之态与西方“论剑谈艺”，并以此激活渊源的传统。

 

　　Skilled and Magical Painting

　　------Creative Impression

　　What is human being? The Lord of Creation; and what is painting, the spirit of human being.

　　Everytime I read Zhuangzi’s text, I feel easy and smooth, and my heart extends to a very far distence, to the endless world. In painting, the calmness accumulated during those normal days sublimates and extends to the infinite space within the painting.

　　“I haven’t seen the whole bull”, which means that instead of knowing clearly the creature in front of me, I only need to know how I feel it.

　　When the model sits before me, in my eyes, she is neither a complete image, nor a specific individual; she doesn’t have black hair, bright eyes or straight nose. She is only high and low, extending infinitely, walking and jumping facula, undulating ground. They are color blocks, shadow of light, impression piled up this moment and then scattered that moment, all kinds of shapes of lights, darknesses, and colors wander, reintersperse and crystallize. In fact, there is no need for me to watch it, it has existed in my heart already, every light and darkness, highness and lowness, spirit and rhyme has merged with my hand, my brush and my heart together.

　　At this moment, the head in the portrait is piling up, rendering and representing under the empty background painted plainly; at that moment, wandering towards the corner of the frame and the emptiness of the back of the head. I can’t help myself following the flowing impression to chase the separate, piled, and wandering brush-touching, those touchings sometimes like the hard stone, sometimes like the illusion of the waterwave; I will break from the so-called performance, break the narration, and prevent the appearance of the diagram, I do not want pure image, I will liberate visualized subject from its original image, I try to eliminate “the stimulating sense organs”. The models, I myself, the painting, the viewer included, will be not influenced by the image any more, every thing connected, all reach the rhythm unify after transcending the sense organ.

　　“Your mind knows that you should stop while your spirit is still wandering”

　　Every drawing of the brush should interlink with the breath of the model. I myself, model and the brush completely breathe in and breathe out at the every same moment, jointly express the most delicate change of every corner, every moment and every expression. The consciousness of the sense organ has disappear, there is no model in the eyes, only spirits communicate with each other, at the moment of spiritual communication, the shadow under the hair moves, becomes smaller; the expression of eyes changes slightly, the highlight of the eyes disappears, the clear sideline blurs, the appearance has gone, the appearance of the model looks like the mountain and the water, standing still or flowing quietly……the front image, plainly painted background, forever humble frame of 33﹡41, staionary carrier, however, conceals thousands of possible password; the definitely different models will return the totally different themselves from the same appearance, turn to greet the fast changing world by steadiness. I stretch and tight my body, focus my attention, waiting for the arrival of all possibilities with a vain but quiet heart……

　　I notice that the bright spot becomes brighter and brighter, a little bit shining, closer and closer, the canvas is unable to experess its flame, suddenly , the bright spot disappears, turns into black. I paint the bright spot in black, while it shines more strongly.

　　Directly and efficiently capture the information which will elapse in a short moment of turning. My eyes are very excited and active. I chase the moment which comes accidentally, while I can’t think and recognize anything anymore, except letting my hands follow and wander with the monment, at this moment, my mind is totally blank, nothing around me exists anymore, the model has gone, the brush and the paintings have gone, and also my mind have flied miles away.

　　There are only few things can move one’s heart, only a very short time that spirit can communicate with the universe, and it is just these few things and short moments are what I am looking for with my whole life. “When you look for the Buddha, Buddha is just not there, while truth emerges every place and every moment, Buddha says that lot is bound to happan, I would like to wait and seek the slightest chance.

　　“If you are capable enough, you can do and you will do very well.”

　　When you face to the model, you only see the shapes integrate with each other under the light; they build and mix together this moment and then separate with each other; like a free spirit, wandering everywhere freely and easily. They trun over, while mixing at the same time; they apart from each other, while piling up at the same time. “Emptiness” flows and walks between shapes. Light and dark, sings and flows by turns. The emptiness between the two extremenesses is a sensible plumpness, and an existent overflow.

　　At this moment, both I myself and my brush feel free and satisfied because of liberation. The more the freedom is, the closer the truth comes. Free and full liesurely and carefree, eternity flows in the tranquility. Just as Laozi’s motto: “obtain extreme tranquility only if you want nothing”, also like the sphere of Buddha: “the sphere of great vehicle”.

　　The scenery in the painting actually is the thunder of the tranquility. Listen, the peace is roaring, peace is powerful, it is mystery and carefree, it is the surge and endlessness of universe; the radiating in the chaos. Painting the peace, put it into the chaos, emerge it into the darkness, and then find a more powerful strength that you almost can’t experience. It is that place that various levels are swept and wraped up together by an eternal and wild force. Therefore, accomplishing the control from the heart, the mind, the wrist, the finger and the penpiont, finally express the significance of exceeding the limitation of human being.

　　Traditional Chinese painting expresses the completely harmonious relationship between human being and nature by painting landscape, which is the highest realm of people’s personality, while western art history is leaded by painting human being’s figure. I will express Chinese art spirit and realm in the form of people’s figure, which is my original aim and destination. Therefore, I will not and do not need to describle the sociality of a certain group in a defining way. Model, is one of the people in society. He himself bears the relationship with the crowd, bears the national realtionship, and bears the realtionship with the time. All the properties of society are attached to his own, his life, his behavior, which is just he and the society. However, I will use him as a carrier of the grand art realm, although without a horrible form, while can move the ghost and spirit.

　　But I oppose simply graft of Chinese and western element, using figure to reach the realm of man and nature, is not a easy scrabbling up and graft; I object to express the Chinese art with the western aesthetic standard either, different root and different context will absolutely produce different understanding, you can not take this to adjust its enemy. I hope I can communicate with the western modern art by standing at the foundation of Chinese art spirit, with an equal, reasonable and peaceful gesture to communicate and complete with the west, and finally stimulate the sourceful tradition.

作者：童雁汝南