只有艺术家才能创造出艺术品。这个说法表面来看似乎有点多余，但其实是一个非常重要的大前题。以前在学校研究艺术历史，其实更多地是在美学（Aesthetics）中纠缠。而美学家所关心的唯一的问题便是「何谓艺术？」。打个比方说，A是一幅涂满了蓝颜色的画布，到底A算不算是一幅艺术品？如果A是一幅艺术品，那它与工艺品、装饰品、或商品又有何区别？这与A被创造的时候，创造人的思想和动机有着不可分割的关系。一幅作品的艺术价值之高低，跟创造者的艺术价值紧紧相连。

　　何谓艺术家？法国哲学家贝尔纳‧斯蒂格勒（Bernard Stiegler）在《论象征的贫乏》里提到：「艺术家是跨个体化（transindividuation）的操作者：他们创造了作品……并且巧妙地利用知性的力量，为其作品赋予独特性，替被抑制的心灵开启种种机会与可能性；只有在毫无规律之中，才能找到达至行动之径。」在这一点上，童振刚的生活态度与艺术令我联想到米歇尔•傅柯（Michel Foucault）所说的「活着就是艺术」。艺术家生涯里每一个单独的形、态和经验积累，结合起来成为一个艺术形式。而在这个形态里衍生出来的作品，便称得上为艺术品。童振刚的作品里洋溢着他特立独行的精神世界，令我在他的身上感受到强烈的艺术家气息。

　　这样一来便可以解释为甚么在童振刚的艺术生涯里出现了多种媒材-篆刻、书法、雕塑、版画、油画。因为对于童振刚来说，各种艺术形式只不过是为了提升与表达艺术家的精神世界。他热情地把个体创造出来的「物品」注入自己的灵魂力量，分享给身边的每一个人。在他的艺术里凡我们能以时间顺序看到一个接着一个的历程碑，这也是一位真正的艺术家所一定具备的条件。

　　童振刚这次在雅品艺社的个展题目为「今人摹古、古人摹谁？」-这句话来自傅抱石所喜爱用的一枚闲章。中国传统文人注重向古人学习，但是古人又能向谁借鉴？和傅抱石一样，童振刚其实是一个很传统的艺术家，但却没有滞留在传统之中。当今用西方颜料做画的中国当代艺术家，在传统篆刻书法上又扎实根底的并不常见。今人常喜欢形容创新的艺术为「师古而不泥古」，但是当代艺术的一个通病便是还没来得及「师古」就已经「不泥古」了。如果艺术家的一生创作是个宝塔，「师古」这一步便是最重要的奠基石。最终此塔能够建多高，便要看根底打得有多深。童振刚在传统艺术上的根基深厚，所作油画的构图、技术和理念无不与他的扎实的书法、篆刻及水墨艺术底子息息相关。他对于中国文化传承有序的同时也和古人一样创造出崭新且融汇古今的方程式，可谓真正能做到「师古而不泥古」。

　　傅蕾蕾（艺术品经纪人，JP Fine Art Group董事长，香港Gallery Article雅品艺社总监，Discovery Channel艺术品鉴定专家，前佳士得拍卖行亚洲艺术专家。）
 

Preface

　　Only an artist can create art. This sentence seems ridiculously redundant, yet it is the central basis on which we establish our basic notions of the definition of art. Back in the school days as an student of Art History, as I recall, I spent most of my time struggling with the philosophy of art instead of its history, because it is the knowledge of art as a form that enables us to understand its history. The one central question philosophers ask in Aesthetics is “What is art?” For example, object A is a canvas covered in blue paint, is it art? What are the qualities that A possesses which differentiates it from craft or decoration? To this question there are multitudes of theories and answers. Whichever the answer is, an object’s status as art largely depends of on the state of mind and the purpose of its creator. Tong Zhengang, in this sense, is the quintessential artist. His personality, mindset, philosophy, and all aspects of his life amalgamate together into one living art work. Looking at him, I thought of this quote by a French philosopher.

　　What strikes me is the fact that in our society, art has become something which is related only to objects and not to individuals, or to life. That art is something which is specialized or which is done by experts who are artists. But couldn't everyone's life become a work of art? Why should the lamp or the house be an art object, but not our life? Foucault, Michel. “On the Genealogy of Ethics: An Overview of Work in Progress”

　　Tong Zhengang represents the latest defining step in the evolution of Chinese artists. In traditional Chinese culture, a literati's method of self-improvement is always to learn from the old masters. If that was the case, from whom did the old masters seek guidance? Where did it all start? Like the masters before him, Tong Zhengang's current art works traces from the basics of Chinese art -- seal carving, calligraphy and ink painting. As a literatus, Tong followed his lineage of past scholars. As an contemporary artist, he is stepping beyond traditions, seeking out his idiosyncratic path.

作者：傅蕾蕾