认识王尊以来，直观上他是敏感巧思，并确有几分艺术家自由气息的。有些象他画作中的仙鹤，灵动飘逸，又象不识人间烟火的“方外之士”。当然这并非指谈玄论虚的隐士，而是和生在这个焦灼时代的同龄人一样，抱有脱却烦钝的意愿。

　　理想化与陌生感是他作品的明显特征。从早期的驾驶者到蝙蝠、人体，唐诗等作品，直至今日的仙鹤仙境，依然如此贯穿。这种由内心呈现的形式特征，让他的作品并不易读，大众可辩识者少，是其憾处；但同时不为讨巧而改变自我作风，也是他率真个性之使然。如所言“道可道，非常道；名可名，非常名”。所说的名相与所指的真实已相去甚远。牵强套用于王尊的画作，可以这样理解：作品传达出的理想化，让相知者惺惺有感；而作品的艰涩处，阅读者也乐在其中。

　　画外平常的生活，为王尊的艺术之路提供了无形帮助。区别于为生计而愤怒激进的作画者，他有着相对独立的生活空间，能够较为自在的追求他的绘画理想。“道在常中”，是让他的认知有异于现代喧嚣浮华、众者所趋的原因之一。然而他的画作也在激越的呐喊，则是基于他敏感纤细的文艺神经。任何触动他感知的事物，都可引燃其心中创造欲望，挥洒于画面。真实于自我表达，忠诚于内心所感，不为流俗所没，虽是从事架上创作，却有着本质上的文人情怀。

　　在王尊持续的创作中，人的存在性一直是他关注的重点，与之联系或影响的因素亦在其中。人为造作的因素如：弥漫的光影、残破的潜水艇、来自未来文明的机械等；亦有自然因素：晨暮余辉，花谢花开，月圆星残等，它们时常在画作中隐现。它者和主体，或并置或贯穿；人与物相知相异，在画面上达到一种共生状态。然而这种状态不是我们现实中的“常态”，或“病态”——它是超然而在的，根基于现代文明但又可预知的未来。对王尊而言是“世纪末情绪”，当一切辉煌殆尽之后，留给我们冷寂默然的世界。

　　这是王尊近期作品中所竭力传达的情绪。就其内容而言：早期系列，不论主体繁简，大多是静默自省的，注视某处或游移于画外；画中幻化重叠的光影，或浓烈或阴郁，附着画中人物的情绪而存在。仿佛那些挥之不去的尘暮，掩盖着孑然突兀的主体。这时期的作品，处于画外的作者始终保持着热切的自我投射。他在漂浮的时空中升沉，抛却现实的羁绊，激愤或暧昧，展示并思考——人抽离社会性后，其本质所存在的意义和现象。

　　这类自觉表现，在创作过程中越来越直接，从带有部分社会角色的驾驶者到没有任何社会身份的裸女，所选取的主体逐步接近作者情绪化的要求。画面的氛围，从隐含的愤怒到蕴藏的情色，也是其作品尖锐化、极端化的体验。当这种主观表达愈演愈烈，直至顶端，于是一切在最狂躁的那一刻自然蜕变。王尊开始思考其原本所忽略的：“人”被抽离或承载过多社会性后——所残存的质。

　　于是王尊的作品步入了另一个阶段，这个阶段不同于以往的任何时期——幽雅静谧取代了阴暗晦涩，飘渺亘古替代了浓烈眩目——依此可以看出王尊自身也完成了内心世界的激化与重生。对于一个积极的艺术工作者而言，双向否定是其前进的源动力。

　　王尊的近作中常常出现的对象多为两类：一是被未来的工业文明所浸染的人类——尤其以潜水员为典型。他们是背负生存所需器械的潜游者，艰难地游历在世界尽头的梦境中。另一类却是缥缈于恒久时空中的人或灵。圆月下悠然的夜色，波澜涌现的流水，似乎在述说“无动而不变，无时而不移”的恒常。然而他们却优雅柔弱，仿佛一触即逝的冷酷仙境。正是这种客体的绝对独立，主体的相对依存，构成画面漠然与欲求相冲突的的怪诞。

　　值得一提的是，王尊常用仙鹤作为画面的客体安置其中，安静而傲然。脱胎于中国传统形象的“仙鹤”、“圆月”、“流水”承载了诸如“悠然”、“祥瑞”、“圆满”等理想意义。虽然在画面中引用了如此明显的文化题材，但其画面在整体上述求的仍是现代人的生存语境问题。理想和残酷的并置，让作品更加动人心魄。王尊对未来幻灭和文化救赎的想象，近于执着刻板。在画面的极静处闪现的飞花落絮，已然是其理想的终结和延绵。我想王尊正是借用民族的“诗性”来构架他的画面语境。

　　世纪末的情境是这般呈现的吗？我们难以抑制内心的疑问。或许不会幻灭的只有脆弱优雅的理想吧。是的，作者想必正体验着从纯粹的放纵臆想，到寻找本土文化依托的过程；同时也经历从个体自省到社会述求的思辨。奇特的画面语境，生涩的画面意味，对当下社会存在的参与解析，使得其作品在保持一贯的当代性同时呈现出更明显的个性差异。

　　在已然完成的作品里，或正在酝酿的绘制中，王尊心内的仙境随缘生灭，或许自有深思性敏者能觅到少许真实的影子。

Alina博士

Unwarranted Fairyland

Since I knew Wang Zun he has left me with the impression as a kind of free  artist who is sensible and ingenious. Sometimes he is like the crane in his paintings, nimble while possessing natural grace, other times he is like a hermit free from earthly troubles. Of course, here I'm not talking about a recluse who is keen on metaphysical and elusive topics, but a young artist who cherishes a willingness to get away from the boredom and stupidity of this restless and anxious age just like many of his contemporaries.
    Idealization and defamiliarization are the striking features of his paintings, which are shown throughout from his early works on driver to those on bat, human body, Tang Dynasty poetry and on today's fairyland of red-crowned cranes. These formal qualities arising from the artist's heart make his works difficult for ordinary audience to identify and understand, which is indeed a pity; nevertheless, he does not change his painting style simply to ingratiate himself with the audience's preference, which is a true revelation of his candid and sincere character. As Laozi said, "Everything can be done in the very way, which is not as the same as others. Everything can be named, but not all the same." The so-called name and form of things are far apart from the referred truth. Out of this a forced interpretation of Wang's paintings might be: the idealization conveyed through his works resonate with his followers while the obscurities of them delight the readers who are strangers to them.
The everyday life outside his painting world has offered Wang Zun an invisible help on his way to art. Distinguishing himself from those angry and radical painters who create out of a need for making a living, he has a relatively independent living space where he can pursue his painting ideals almost at his own will. "Tao, or the underlying principle is seen in the ordinary" is what makes his perceptions different from that of the mad crowd who are fascinated by the hustle and bustle of the modern vanity fair. But we can also hear some passionate cry from his paintings which comes from his subtle and sensitive nerves of art. Anything that touches his perception could ignite his desire for creation on canvas. True to self-expression, true to innermost feelings, Wang Zun has not yet been overwhelmed by the prevalent customs; though he works on canvas he embraces essential literati feelings.
    In Wang Zun's incessant efforts of painting man's existence has always been his central concern along with those elements associated with it or influenced by it. Deliberately man-made factors are found here such as permeating light and shadow, broken and decayed submarine, machines from the future civilizations and so on; there are also natural factors such as glow at dusk and dawn, blooming and withering of flowers, waxing of the moon and dimming of stars and so on, they frequently hide or resurface in his paintings. The other and the subject are either juxtaposed or interspersed; man and object are known by each other while being different from each other, which attain a state of symbiosis in the painting. While this state is not the "normal state" in our reality, nor is it the "morbid state"–it is a transcendental state based on modern civilization which is also indicative of the future. According to Wang Zun, this is the "end-of-the-century sentiment", which is to be felt when we are left with a cold and lonely world after all the glow disappears.
    This is the sentiment that Wang's latest works try to express. As far as the content is concerned, most of his early paintings, simple or complicated in subject, are quiet and introspective, which focus on a particular point or meanders outside the painting; the illusionary and overlapping light and shadow in the painting are either strong or sombre, which correspond to the mood of humans in the painting. It looks as if the abruptly independent subjects are covered by those irremovable dusty twilight. In this period of creation the painter outside the paintings persistently maintained an earnest need for self-projection. He floated and sank in the drifting time and space, free from the bondage of reality, indignant or ambiguous, unfold and contemplate–the significance and phenomenon of the essential being after man's sociality is ripped off.  
    This kind of conscious expression is becoming more and more direct in the process of his creation. From the driver of a sort of social role to the naked woman of no social status, the chosen subjects are getting closer to the requirements of the painter's changed moods and emotions. The aura around the paintings which ranges from implied anger to hidden love and desire is also the intensified and extreme experience of his paintings. When this subjective expression is getting stronger and stronger and reaches its limit, everything is likely to undergo a natural transformation at the most manic moment. Then Wang Zun began to think about what he used to ignore: the remained essence of man after his sociality is either ripped off or overburdened.
   Afterwards Wang Zun's works stepped into another stage which is different from any other former stage–serenity and gracefulness replaced gloom and obscurity, misty ancient replaced strong glare–from which we can see Wang Zun's own inner world also experienced an intensification and revival. To an active and positive artistic worker this two-way negation is the impetus for his progress.  
In Wang Zun's recent works there are often two kinds of objects of depiction: one is mankind who are deeply soaked in the future industrial civilization–take divers for typical example, they are deep divers who bear the burden of apparatus for survival and arduously float in the dreamland at the end of the world; while the other kind is the mortal or immortal floating in the eternal time and space. The leisurely lights of a full moon, the emerged waves of flowing water seem to speak of the constancy of "No motion is motionless, no time is timeless". But they are also elegant and delicate which are just like the cool and transient fairyland. It is the absolute independence of objects and the relative dependence of subjects constitute the absurdity of the conflicting apathy and desire.     
    What is worth mention is Wang Zun's preference for the use of red-crowned crane as the object in the painting, quiet and arrogant, which was born of the traditional image of "crane", "full moon", "flowing water" and given such idealistic meanings as "leisurely", "auspicious", and "complete". Although he adopted so obvious cultural materials in his paintings they as a whole reflect the problems of modern man's semantic field for existence. The juxtaposition of ideal and cruelty makes his works even more heart-gripping. Wang's imaginations about the future disillusionment and the cultural redemption are close to persistent stereotypes. The dimming and flashing of flying flowers and falling catkin is obviously both the end and the extension of his ideals. I think it is by borrowing this national "poetics" Wang Zun built the semantic field for his paintings. 
    Is the "end-of-the-century sentiment" thus presented? We can hardly suppress our doubts about it. Maybe the only thing that will not become disillusioned is delicacy and elegance. Right, the painter is thought to be experiencing presently the transitional procedures from the pure unbridled supposition to the search for the national cultural resort. Meanwhile he is also experiencing the intellectual enquiries from individual introspection to the need of appealing to the society. Peculiar semantic field in the paintings, obscure meaning of the paintings, and involvement in the analysis of existence in the current society all make his works present a distinguishing individuality while maintaining a contemporariness. 
    Either in the works completed or in the works still in embryo the fairyland in Wang Zun's mind's eye will live or disappear with reason. Maybe only the meditative and sensitive type could seek some of its true shadows. 

Dr. Alina 
School of Philosophy, 
Wuhan University

作者：Alina博士