蔡志松的成名作是一组人体雕塑作品，2001年曾经在法国获过大奖，后来这些作品在中国美术馆展出时引起过不小的争议。当时比较有代表性的反对意见是认为在他的作品中丑化了中国人的形象。而这些，实际上都是仅仅从作品的表象着眼而得到的一种民族主义标准的价值判断。

　　无庸讳言，在蔡志松的那些人体雕塑作品中，我们可以看到其中借鉴到了一些中国传统雕塑的元素，而在中国雕塑界，这种在西方团块式造型体系的框架中融合本民族传统雕塑元素的努力，自上个世纪初西方学院派的雕塑技法引进中国以来一直没有停止过，这种努力与“油画民族化”的努力是同步的。但是，仅仅从造型样式、或者某些造型元素出发的这种“融贯中西”的努力，必然只能在一种“样式主义”的逻辑中找到一些表面的、偶发性的“图式的巧合”。比如，一些乍看起来很“机巧”的中西样式的组合，因为其仅仅是从表面图式中简单采取一种“贴片式”的加工，使其无法在更深入的层面上得到研究性的推进。这实际上是可以用来解释为什么有些雕塑家在靠几个作品出名后，反而江郎才尽了的原因。而另一些情况是，按照主流价值观构建的视觉上的宏大叙事，并不能在表面上的民族元素形式下掩盖其内容上的苍白无力。而蔡志松的作品并没有落入上述两种雕塑界的“时髦”俗套。

　　在蔡志松的作品中，我们可以发现，他实际上试图要去把握的是一种隐藏在传统造型表象下的中国历史文化的“晦义”。我们知道，西方雕塑从古希腊开始，着力表现的是自由、自信的“人性”。而在中国传统雕塑中，隐藏着的是“神性”和与之对应的“奴性”。正是这种历史文化的特性决定了在视觉的造型层面上的“审美”特征。那么，在蔡志松的作品中，他正是通过对于中国人的民族性的“历史性”的把握，而选择了能够体现这种历史性的特定的造型元素。在这种神权、君权，以及由此而体现出的某种“制度性”的力量对于个体的压制中，个体所表现出来的是一种顺从和忍耐的精神状态。而“忍耐”体现出来的是两种“心力”的对抗，无数的心力之间所汇聚而成的强大的张力，正是蔡志松的作品通过雕塑语言所表现出来的特殊艺术魅力。即在一种表面静止的外形轮廓中，在量感强烈而概括的形体背后所内涵的巨大的心理张力。这可以看作理解蔡志松作品的一条主要线索。

　　而与这条心理主线相符合的是对于材料的选择。我们可以发现，在蔡志松的作品中，他比较喜欢采用青铜和铅来作为作品塑造的材料，这些材料的物理特征是“柔性”和“韧性”的结合体。而这也正好和我们上述所阐释的中国历史文化的“晦义”所符合，这样，材料便被赋予了一种精神性和文化性的特征。

　　图像作品《历史的延续》是我们理解蔡志松作品的一个桥梁，这个作品在他本人的作品序列中也是起到承上启下的作用。在这个作品中，我们可以看到，虽然历史在不断“进步”，但在其形式上仍然保持着某种“制度化”的统一性。在这种体现着“历史”的宏大叙事的背景下，我们反观他的人体雕塑作品，便能更好地在那些静默、顺从、忍耐的外表下去发现其中所蕴涵的巨大的心理张力。

　　而实际上，在他的不同的作品中，都能体现出这种文化内涵上的“互文性”。

　　装置作品《档案袋》既是他的作品在形态上向多样化发展的过渡，也是他的作品在精神内涵上由“历史性”向“现实性”过渡的关键性阶段。在早先作品中所表现出来的神权、君权已经被一种“制度性”的符号说代替。也正是在这个作品中，蔡志松所要阐释的中国历史文化的“晦义”得到了提升和扩展。从某种相对具体的精神指向发展为更为普遍和一般性的文化关怀。同时，作品的文化内涵的表达也不再仅仅是通过形象来传达，更为重要的是，材料、以及符号本身的“文化性”和“观念性”的属性得到了加强。

　　装置作品《印》正是依照这个逻辑发展而来的，在这个作品中，代表着某种“制度化”权利的橡皮图章的底面被掏空，镶嵌进去的是一面凹镜，通过光学成像的原理，凹镜所反射出来的是一个颠倒的图像，同时，由于它的光学焦距的原理，所呈现出来的也是一个虚像，但是如果你睁一只眼闭一只眼看时，图像便会转化为实像。在这里，蔡志松已经进而质疑这种“制度化”的权力符号自身的“合法性”。——也就是，当你发现了“历史”背面的荒诞性的时候，它表面的权力化所必须的庄严性便被解构的一干二净了。至此，蔡志松的作品似乎从悲剧性的“正剧”走向了嘲讽的“喜剧”，用笑声颠覆了“历史”和“制度”的庄严性。

　　而在作品《玫瑰》里，他的这种历史感又从宏大叙事走向了个人心灵史，铅质的“玫瑰”传达给我们的是一种悲剧性的心理感受。它相当于是一种“夫子自道”，更为直接地向观众表达艺术家自身的一种内心情结。这种沉重的、悲剧性的心理意识实际上也是蔡志松将个人的情感意象与历史文化关怀结合起来的一种心理象征。我们可以再结合他以前的作品，一卷巨大的、铅质的无字立轴，便更能理解他内心的悲怆的历史情怀。

　　综上所述，我们可以看到，在蔡志松的作品中，不同作品之间的“互文性”是理解他的作品的关键。而悲剧性的历史价值观，又是体现在他的作品造型元素和材料的“文化性”和“观念性”之中的一种人性关怀方式。

　　2008年9月16日 于北京通州

　　The Obscurity of "history" – A Look at Cai Zhisong's work

　　Wu Hong

　　Cai Zhisong's acclaimed figure sculptures, that won an award in France in 2001, provoked discussions when it was later shown at the National Gallery of Art in China. At the time, the most poignant debate was centered on whether the artist had demonized the Chinese people represented in his work. But in fact, this was a superficial evaluation determined on a standard patriotic Chinese type.

　　Frankly, we find Chinese traditional sculptural elements among Cai Zhisong's figurative sculptures. In the field of Chinese sculptural arts, since the beginning of the last century with the introduction of western sculptural learning techniques, there has been an unceasing effort to combine Chinese traditional sculptural elements within the framework of western composition system. Sculptural development parallels the effort of "sinification" of oil painting. However, the effort of simply "merging the east with the west" on elements or models of composition would only yield certain superficial or coincidental "compositional overlaps" at the level of "formalistic" logic. For instance, certain seemingly "witty" works combining eastern and western models were, on a compositional level, simple processes of "collage", and were unable to push further on an experimental level. This in fact explains why certain artists fade out once they have became famous with a few representative works. In other cases, artists often use a visual grand narrative by relying on mainstream values to conceal, with superficial nationalistic elements, the lack of content. In contrast, Cai Zhisong's works did not fall victim to the two aforementioned "trends" in the world of sculpture.

　　In Cai Zhisong's work, we realize what the artist is attempting to do is to grab hold of the "obscurity" of Chinese historical culture that hidden under the surface of traditional composition. Western sculpture, since ancient Greece, emphasized representing freedom and confidence of "human nature," whereas, in traditional China, sculpture embodied the "sacred" and the "obedience" contrasting to it. It is precisely these historical and cultural characteristics that determined the "aesthetic" visual and compositional qualities. Accordingly, Cai Zhisong's command of the "historicity" of Chinese nationalism allowed him to choose specific compositional elements that embodied such historicity. Under the oppression of sacred, monarchical, and "institutional" power on the individual, the individual has acquired a docile and subordinate appearance. Although "docility" embodies the antagonism of two internal struggles, the tremendous tension gathered from endless struggles is precisely the unique artistic quality Cai Zhisong expresses through the language of sculpture. In other words, Cai's work embodies the psychological tension imbued behind intense mass volume and generalization.

　　Coherent to this psychological axis is the artist's selection of material. We notice that he prefers to use bronze and lead as his main materials. Materials with the physical qualities that combine "softness" and "durability". Moreover, they also correspond to the "obscurity" of Chinese history and culture, thus, the material are also given a spiritual and cultural quality.

　　His work, The extension of History, bridges our understanding to Cai Zhisong's work, moreover this work also serves as a conjunction in his artistic practice. In this work, we notice the sustained "regimented" formalistic uniformity against the "progression" of history. With a representation of the grand narrative of "history", in examining his sculptures of the body we can discover the tremendous psychological tension beneath the tranquil docile and subordinate surface.

　　In fact, among the artist's various works, we find the embodiment of "commonality" of cultural implications.

　　The installation Dossier is both a diversifying shift of form, as well as a key transitional phase from focusing on "history" to "reality". The earlier sacred and monarchical power has been replaced with the symbols of "regimentation". It is among these works that the obscurity of Chinese history and culture, which Cai Zhisong's is interested in demonstrating, was elevated and expanded, as they developed from specific spiritual tendencies to a more common and quotidian cultural concern. Meanwhile, the cultural implication of his work is no longer only conveyed through form, but, more importantly, the "cultural" and "conceptual" qualities of the material and symbols themselves are enhanced.

　　The installation work Stamp developed following this logic. In this work, the carving on the rubber stamp – symbolic of a particular "regimented" power, has been effaced and replaced with an inlaid concave mirror. Using the physical qualities of light, the concave mirror reflected an upside down image, which was an obscure image due to the focus of the light. However, if one squinted, the image became clear. Here, Cai Zhisong further scrutinizes the power of such "regimentation" and the "legitimacy" of the symbols. In other words, when you come to realize the absurdity of "history", its stateliness completely dissolves. Thus, Cai Zhisong's work is like derailing a tragic "play" and turning it into a satirical "comedy", and uses laughter to subvert the solemnity of "history" and "regimentation".

　　Though in the work Rose, his sense of the grand narrative of history shifted towards the history of the soul--the lead "rose" conveyed a tragic impression to our psyche. It is comparable to the "monologue of the master" that revealed the inner sentiments of the artist directly to the audience. Such solemn and tragic conscience is in fact a psychological embodiment of Cai Zhisong's personal insights and concerns toward history and culture. In relation to his previous work, a massive scroll made of lead without any writing allow us to grasp the artist's internal trauma of historical sentiments.

　　In sum, we discover in Cai Zhisong's work that the "commonality" in different works is the key to understanding his work as a whole. Moreover, his tragic view of history is an approach of human nature embodied in the "cultural" and "conceptual" qualities of his composition and material applied.

　　2008-9 -16

　　Beijing Tongzhou

作者：吴鸿