与蔡志松相识是缘分，那是在多年前的艺术院校考前专业培训班，相互在意、欣赏的眼神成就了我们近二十年的友谊。随着时间跟事件的巧合，友情不断加深，不变的是老蔡每次遇到重要的事，或喜或悲，一定会与我分享。

　　然而，让我欣慰的是，他强有力的语言属性终就带给他个人以及所有喜爱他艺术的人一些心理答案。在此，我作为好友，并不想过多表达他几年来在国际艺术环境中获得的成功，更想从“语言属性”跟“心理答案”这两个问题谈谈好友带给我的幸福感。

　　我们生活在社会中，感受并运用着各种语言。而对于艺术家来说，所谓的语言属性就是其在一定时期内思考并要表达的问题本身，当然这一问题的表达一定会通过他必要的语言和智慧才能传达准确。在多种语言属性存在的社会中，每个不同领域的优秀个体都有能力向很多人说出强有力的语言，让别人感受到心灵震撼的快感，同时也可能在某方面开启一个人在心灵上通往彼岸的大门。蔡志松就以他的语言属性做到了，一方面他“有”，另一方面是我们是否“要”或“与我有关”。

　　关于“有”，我们可以看到，蔡志松的雕塑语言从形式上与几种艺术存在有关：一是秦兵马俑;二是中国古代佛像;三是西方城市雕塑;四是古埃及、古玛雅雕刻;五是现代材料技术跟风格;六是中国传统民间陶艺等。在他的作品中，这些人类文明高度发达的精髓都在他的指尖肆意流淌，他是一个站在人类文明这一巨人的肩膀上说话的艺术家。就像很多在不同领域的优秀人才一样，他们有一种特别的才能，可以汲取人类文明的最高成就。这是一种能力，也是一种过程。结果是以他们的“有”带给另一些人快乐跟释放。

　　我们进一步从专业语言上分析，先说最明显的秦兵马俑的特征：

　　秦兵马俑在蔡志松的雕塑语言中是一种外化特征，而其后面还有更重要的因素：因为他更在乎人类文明的精神实质，更关注人类文明由浅入深的发展，更渴望人类精神从弱到强的升华，那种竖起来的骨子里的辉煌，而不是沾沾自喜的享受。

　　在此基础上，我们可以看到：从形体处理上，人物的眼、鼻、耳、手等有明显的中国佛像造型语言，流线的眼睛、舒展的鼻子、归纳的耳朵、朴拙的手指，都是中国佛像造型语言的神采;在人物形体的表达上，有法国大雕塑家马约尔的厚重朴拙的气质，马约尔的雕塑语言强调“台高低点”以饱满的形体、强烈的精神朝向为语言特征;在精神传达上，有古埃及、古玛雅雕刻的气质。这两种雕刻语言强调把普通的人或物通过形体语言神圣化，有强烈的精神归宿感;在材料语言上，完美的片状结构跟色彩融合，让我们看到历史上的“金缕玉衣”的精神深处之后，走上了现代的“解构重组”;麻的材质的运用，衣纹表象的特征，可以看出中国语言文化的特征跟民间陶艺的特征。

　　然而，也就是这一切我们熟悉的物象，在他的指尖却不一样了，为什么?在我的答案中，这是他灵魂的诉求!

　　在蔡志松的雕塑语言中还有一个专业特征---纪念碑雕塑的特征。从形式表达上，我前面提到过的“中国古代佛像”的雕塑语言、 古埃及、古玛雅雕刻的雕塑语言、马约尔的雕塑语言等都有强烈的纪念碑雕塑语言的特征。蔡志松在学习雕塑的过程中，有过长期的关于纪念碑雕塑语言的专业训练跟实际工作经验。在他的学习生活中，有幸跟随中国最优秀的雕塑大家从事创作，从他们身上汲取营养，加之以前辈优秀艺术家的悉心指导与个人潜心研究相结合，最终从精神跟技术上积累了丰富的语言表达能力，在他的创作灵感抑制不住时，一切发生了。

　　他有强烈的欲望要说，首先完成的是〈〈诗经〉〉中的精神语言：“风、雅、颂”，完成的是对人类精神文明在中华大地上的语言特性。艺术语言中，有些艺术家以提出问题见长，也有些艺术家以解决回答问题见长，而蔡志松的雕塑是后者，他告诉别人“是这样的!”。

　　在“风”系列作品中，“故国-风[一]”是他在国际艺术圈中取得话语权的作品，也就是那件获得泰勒大奖的作品。这一系列的作品有浓厚的中国语言特性，以民族的就是国际的为起始特征，提出了新的关于精神、材料、形体表达的方式。更重要的是，蔡志松关注的不仅仅是中华民族在世界这一大家庭中的个例，他更关注人类生存的共有问题。他以民族的特性为语言基础，提出并解决人类共性的问题，同时具备强烈的专业语言表达能力。以此，他在世界文化领域取得话语权就是必然的了。

　　在“雅”系列作品中，精神层面被醇化了，他运用了更抽象的“精神”层面的语言属性，那些典型的中国符号---“屏风”、“竹简”、“中国画立轴”、“档案袋”等等，不同历史时期的典型元素被提取出来。精神的“印记”感被启动。他不是要说中国人在如此的语言环境中，也不是说中国人的沉重，而是运用从“钢”到“铅”这些不同的材料。结合上述符号化的物品，在叙述人类历史的沉重和富于变化的历程，同时阐述人类对于社会以及人类自身实施“印记”的事实并加以“纪念”的过程。

　　在“颂”系列作品中，语言飞了---他剥离可能虚化或幻化主题的成分，采取直接的、猛烈的语言属性表达，直达灵魂深处。表面上更是运用历史上公认的语言模式，尽量去掉中国化的包装。实际上，精神的纪念碑的语言被强化了，在大众容易理解的语言体系内，装饰被剥离、观念被剥离，以一种形式上的写实语言，诉说纯粹的精神之后的灵魂。

　　真的希望，社会上关于他作品争议的反方精英能够看到，作品中那些“下跪”、“五体投地”、“背躬曲膝”等样式的运用，没有那么简单。人类有多少共性的存在?有多少共性的存在需要表达?有多少共性的存在是朴素的、卑微的，但是带来了无限的存在与发展的可能?有多少人以牺牲自身的存在与尊严甚至生命为代价，给社会带来发展、带来财富?难道只有英雄故事才有必要歌功颂德?只有浪漫情调才可以带来欢乐?难道负重的普通人就不需要一个纪念碑么?

　　强大的文化力量产生强大的统治结果。儒家思想在千年的中华文化以及政治生活中产生深远的结果。在社会生活中，统治与被统治一直是一种不同群体渴望的现实。就算现今的西方社会也会消费重金迎取一个统治自己的集团。宗教的信仰也是一种渴望被统治、被给予、被庇护的精神需求。统治者永远是少数人群，被统治者永远是大众。而那些实现社会基础财富积累的普通大众也有自己的形态语言;人类精神空虚的、渴望被占有的空间也有自己的形态语言。这些人、这些精神的存在往往虚化于社会存在的海洋中，显得那么微不足道。但这些是社会存在的现实，难道不应该被纪念么?

　　于是乎，蔡志松以雕塑的形式大胆地做了、纪念了。他拨开人们神圣的假象做了。他纪念了人类精神的存在。就像他在自己题为《无奈》的短文中写到的那样，我尝试重组他的语言：

　　“个体生命的力量是有限的，很难抗拒强大的世间外力”然而在这强大的世俗环境的压力下“为了生存，他们不得不逆来顺受，委曲求全，使自己的身躯七扭八歪”。所有的承受的表象在他看来是“生存的压力与生命的尊严相遭遇时的通常结果”;所有的承受的目的在他看来“也许是为了换取些像泡沫般转瞬即灭的笑容”。他自称“凡夫俗子”，仅用一些“雕虫小技”来说话，但他的确渴望“慰藉一下可怜的生灵”。他看到人们在世俗社会的存在中为了所谓的“理想”、“价值”、“名”、“利”拼搏奋斗，在这一过程中以“努力摆脱不喜欢的事物，抓取自己想要的东西”为行动方式，发展成“不自觉地把自己投入到无尽的痛苦折磨之中，仿若飞蛾扑火一般”，以此希望达到“幸福”的彼岸。然而所有这一切的行为以及努力“却不知当死亡不期而至时，会毫不留情地夺走他奋斗一生所换来的一切”……

　　2009年2月于琴述轩

　　A Monument to the Spirit

　　Meeting Cai Zhisong was an act of fate. It was at a training course to prepare for the upcoming art academy entrance examinations, where our mutually aware and appreciative glances marked the beginning of a twenty year friendship. Time and events conspired to make our friendship ever deeper. The one thing that never changed was that whenever old Cai encountered something important, whether it was happy or sad, he would always share it with me.

　　I am grateful that his powerful linguistic qualities always provided psychological answers to him and those who love his art. Now, as a good friend, it is not my wish to talk so much about his successes in the international art environment. Instead, I would like to express the happiness that this good friend has given me with his 'linguistic properties' and his 'psychological answers'.

　　Living in society, we perceive and employ many kinds of languages. For the artist, so called linguistic properties form the essence of the issues that the artist considers and wishes to express in a given time. Of course these issues can only be accurately conveyed through the artist's necessary application of language and wisdom. In a society where multiple linguistic properties exist in parallel, exceptional individuals in every field have the ability to speak with many others using powerful language, allowing others to perceive the sensation of being spiritually moved, and sometimes having the chance to open a path to the other side for certain individuals. Cai Zhisong has accomplished this with his linguistic properties. On the one hand, he's 'got it', but on the other hand, there is the question of whether or not we 'want it', or if it is 'connected to us'.

　　As far as 'having it', we can see that Cai Zhisong's sculpture language is formally connected to several artistic existences such as the terracotta warriors from the Qin dynasty, ancient Chinese Buddhist sculpture, western urban sculpture, ancient Egyptian and Mayan sculpture, modern material technologies and styles as well as traditional Chinese folk pottery. In his works, these essences of human civilization's heights flow freely from his fingertips. He is an artist who speaks from atop the shoulders of the giant that is human civilization. Just like many highly talented people from other fields, he has a special skill that allows him to draw from human civilization's greatest achievements. This is an ability, but it is also a process. The result is that this property of 'having it' brings happiness or release to others.

　　Let us now take our professional linguistic analysis a step further, beginning with the terracotta warrior traits:

　　In Cai Zhisong's sculpture language, the Qin dynasty terracotta soldiers are an externalized trait, but there is a more important factor at work beneath the surface: he is more concerned with the spiritual essence of human civilization and its progression from shallowness to depth. He yearns to see the human spirit elevated from weakness to strength, that upright splendor in the heart, rather than mere self-indulgence.

　　Atop this foundation, we can see the clear markings of the language of Chinese Buddhist sculpture in the rendering of the eyes, noses, ears and hands of his figures. The flowing lines of the eyes, the stretched noses, the retracted ears and the simple fingers are the essence of Chinese Buddhist sculpture language. His bodies have the simple, weighty qualities of the great French sculptor Aristide Maillol. The language of Maillol emphasized 'high pedestals and low points', with plump forms and strong spiritual leanings. Cai's works also have the spiritual qualities of ancient Egyptian and Mayan stone carving. These two carving languages emphasized the sacred transformation of normal people or objects through the language of form, and have a strong sense of spiritual belonging. The perfect combinations of separate plates and colors show us a move from the spiritual profundity of history to modern deconstruction and reconstruction. The use of fabric texture and the visual traits of the lines in clothing show us Chinese linguistic cultural traits and folk pottery craft.

　　But these familiar appearances, under his fingertips, are different. Why is that? Part of my answer is that this is his spiritual pursuit.

　　There is another professional trait in Cai Zhisong's language of sculpture – the trait of monumental sculpture. The abovementioned sculpting languages, the ancient Chinese Buddhist sculpture, the ancient Egyptian and Mayan sculpture and the sculpture of Maillol all emphasize the linguistic traits of monumental sculpture. In his process of learning sculpture, Cai had a long period of training and work experience in monumental sculpture. During his student life, he had the good fortune of engaging in creation with the best sculptors in China, drawing nourishment from working at their side. Add the careful guidance of his artistic elders and his own dedicated research, and it all accumulated into rich powers of expression which exploded once his creative spirit could no longer be contained.

　　He had a strong desire to speak, and he began with the spiritual language of the Book of Poetry: 'airs, festals and odes', a linguistic trait of the human spirit manifested in the Chinese land. In artistic languages, some artists excel at raising questions, while others excel at answering questions. Cai Zhisong belongs to the latter. He tells other people, "this is how it is."

　　In the Airs Series, the work Air to the Motherland I gained him a voice of authority in international art circles, and also won him the Taylor Prize. This series bore rich marks of Chinese linguistic traits, traits that were both ethnic and international which proposed a new method for expressing spirit, material and form. More importantly, Cai Zhisong was not merely focused on the Chinese people as an individual case from the global family. Instead he focused on the shared issues of human existence. He used ethnic traits as a linguistic foundation for raising and solving issues shared by mankind, all armed with a powerful professional expressive ability. For this reason, it was inevitable that he would gain a voice of authority in international cultural circles.

　　The spiritual level was further refined in the Festals Series, where Cai employed more abstract linguistic properties from the 'spiritual' level, where typical Chinese signs from various historical periods, such as screens, bamboo writing slips, vertical painting scrolls and filing folders were extracted, and a sense of spiritual 'imprinting' was activated. He was not making a statement about the Chinese linguistic environment, or talking about the weightiness of the Chinese people, he was just using various materials from 'steel' to 'lead'. Combining the above symbolic objects, he recounts the heavy and dynamic progression of human history, while also interpreting the process in which humans 'imprint' society and themselves, often 'monumentalizing' them.

　　In the Odes Series, language takes flight. He peeled off the components that might warp or alter the subject, and used direct and forceful language for expression to reach right into the depths of the soul. On the surface, he was applying more historically acceptable language forms while striving to remove any Chinese packaging. In fact, the spiritual monumental language was enhanced; in an easy to understand linguistic system, decoration and concepts were removed, and the work used a formally realistic language to speak of the soul behind the pure spirit.

　　I truly hope that those elites of society who have come out in opposition against Cai's works can see that the use of 'kneeling', 'prostrate' and 'bent-over' postures in those works was not that simple. How much commonality exists among mankind? How much of mankind's commonality needs to be expressed? How much of that commonality is simple and petty, but provides limitless possibilities for existence and development? How many people have sacrificed their existence, dignity or even lives as the price for bringing development and wealth to society? Are heroic stories the only ones worthy of odes? Can only romantic tunes bring joy? Do those common people who bear heavy burdens not deserve a monument?

　　Powerful cultural forces produce powerful domination results. For thousands of years, Confucian thought has produced profound results in Chinese culture and politics. In social life, the rulers and the ruled form different groups with different desires for reality. Even today's western societies will burn money to gain a group that rules them. Religious faith is another form of spiritual desire to be dominated, to be given to, to be sheltered. The rulers are always the minority, and the ruled are always the majority. Those common people who bring about the fundamental accumulation of a society's wealth have their own formal language; the empty part of the soul that desires to be occupied also has its own formal language. The existence of this spirit is often lost in the sea of society, appearing so small and insignificant. But this is the reality of social existence. Is it truly undeserving of a memorial?

　　In the form of sculpture, Cai Zhisong has boldly done it, memorialized it. He pushed aside mankind's sacred illusions and did it. He has memorialized the existence of the human spirit. It is just as he said in his short essay, Helpless, which I will attempt to reconstruct here:

　　"The power of the individual life is limited, and it has difficulty resisting powerful external forces in the world." Under the immense pressure of this worldly environment, "they must resign themselves to adversity and accept compromise, letting their bodies become warped and twisted in order to survive." All of the indicators of enduring this are, in his eyes "the common result of an encounter between pressure on existence and dignity in life." The goal of this endurance is "perhaps to trade in for a quickly disappearing smile." He calls himself "a common person" who just uses some "basic talents" to speak, but he truly wishes to "comfort those pitiful souls." He sees people in society struggling with all their might for "ideals, values, fame and fortune," and in this process, by "striving to escape things they do not like, and grab onto things they want," they "unconsciously cast themselves into endless suffering and tribulation, like moths to the flame," in hopes of finding a happy respite. And through all of these efforts, "they don't know that when death comes for them, it will unceremoniously strip away all they have struggled for"…

　　Zhao Hang

　　February 2009

作者：赵航