Capturing Time in Fixed Time,

Exploring Identity from Changing Perspectives

Hu Yuanxing

Ⅰ

The “Eye” series occupies an extremely special position in Zhu Hai’s creative development. I do not mean special because it helped him win the Luo Zhongli Fellowship and also thereafter the recognition of the outside world, but because this series of works is the basis of Zhu Hai’s creative thought in the past, the present and the foreseeable future. I cannot put enough emphasis on this. Before discussing Zhu Hai’s recent work, it is imperative to briefly review his past.

 

The “Eye” series was created between 2002 and 2007, during the important period in his life that saw Zhu Hai transition from graduate student to teacher. The series can be roughly divided into four artistic stages. The earliest were rather pure depictions of the skin texture of the eyeball, but very quickly Zhu Hai began to place the “Eye” into a particular setting. The category of this setting defined the following three stages. The “Grey Memory” series (including Perfume series) were represented with the eye placed in glass measuring containers, “Born on year X, month X, day X” series were represented with the eye in the opening bud of a flower, and the last, and most important, the eye was situated in an empty space – this space sometimes being a historical building, sometimes being an unmarked sky.

 

Regarding the transformation of the background scenery in Zhu Hai’s “Eye” series, critic Pi Li has discussed the first two series as a meditation on “daily life”, and scenery from the last series as representing a “gaze and suspicion” of “times and history”. Considering the period when these series were created - the first ten years of the new century when the Chinese contemporary art scene was at its most raucous, and when a generation of young artists were indulgently satisfied by simply copying daily life, it could be said that, whether it be “meditation” or “gaze and suspicion”, both have been created with a rather serious attitude. If it can be said that in “Grey Memory”, “Perfume”, and “Born on X Year X Month X Day” Zhu Hai’s exploration of form and technique is on the same level of other artists of his generation, then in those paintings like “Dream of the Empire” where the eye is situated in a much broader time and space, he stands out some way ahead of his peers.

 

Zhu Hai’s “Eye” series, through it’s use of the biologically constructed eyeball (or eyeballs), hints strongly to the viewer that besides the artist and the viewer there is another perspective that exists, creating a complicated relationship between “the viewer and the viewed”. Anyone who stands in front of these paintings can imagine an additional level: I am looking at this painting, both the background in the painting and the mysterious eye, which in turn, from its perspective, is looking at the background to the painting and at me. The artist has step by step created and seen this mysterious eye, and at the same time entered into the perspective of the eye in the painting, and via this eye has revisited the background he had already established, and indeed via this eye he has reached to the unknown viewer. Lastly, it can be sensed that this mysterious eye is forever entangled in the relationship between the artist, the viewer and the painting itself, and yet it remains independent from them.

 

The complicated problem displayed in this series of works is not just the establishment of the relationship between the “viewer and the viewed”, rather, in its complexity, in the lack of clarity between the “viewer and the viewed”, and in the vague, vacillating, ever-changing identity and position of the subject doing the “viewing”.

 

What must be clearly stated is that the construct of the “viewer and the viewed”, and the complexity of the identity and position of the subject, principally pertains to the interpreting of the created work, and not to the initial intent of the creator. Zhu Hai, looking back later at those earlier creative times, emphasizes that those eyes can represent his own observation of this world. “After death the human body will very quickly rot away, but those eyes that I have painted on canvas will look at this world forever.” With this explanation by the creator himself, the original intent can be seen to be merely the extension of a one-dimensional view. The complexity is not part of the artist’s original intent, and in a certain respect, this diminishes the depth of this series of works. But at the same time, and really because of this, in the following ten years, what originated as an unintended “complexity” could provide for Zhu Hai a steady driving force. Besides this, what is worth noting is that the choice of these words “the human body”, “rot away” and “forever”, show another dimension of Zhu Hai’s work - time - and this will develop further over the following ten years.

Ⅱ

In 2006 Zhu Hai graduated with his postgraduate degree, and was proud to stay on at the college as a member of the faculty, becoming one of the youngest teachers in the Oil Painting Department of the Sichuan Fine Art Institute. In the ten years between 2006 and 2015, as Zhu Hai rushed around between Chongqing, Beijing and Shanghai, his creativity was in what he called a “bottleneck”. These ten years have been ten years of China’s rapid development, but also ten years when China’s contemporary art as a whole was much talked about, though with little effect. After this decade of settling, from the second half of 2014, Zhu Hai started on a new series of work. From what I have seen thus far, this new series is still being explored, but can already demonstrate the artist’s gradual maturity and how he has surpassed himself.

 

In Zhu Hai’s series of new works, his iconic “Eye” has disappeared, and what always runs through the new series of paintings that supersedes it is not now a concrete image like the eyeball, but is a common “material”. Zhu Hai gives the impression of a glass-like body to one of the many images in each painting. Of course it is an image that he had chosen intentionally. In “Night like an Angel”, that famous peeing boy from Brussels (Little Julian) is given the wings of an angel, and is painted in a transparent blue. In “Hope”, the glass-like body is the back view of a male figure shown in a high place looking into the distance at a starry sky and a busy city. “Mr Dongguo in the Night” shows a transparent gold Charlie Chaplin set in front of the floor to ceiling windows of a hotel and the cityscape outside. Next, in “Floating”, it changes to Maitreya Buddha and Venus de Milo emerging from waves. The painting titled “The American Dream” has its glass-like form technique used on a wolf and the image of a body covered in some sort of wrapping material. In “The Emperor’s New Clothes” it is a lone ceremonial dress coat replete with medals. The transparent object in “This is not a Bathroom” is a urinal. In “Next Stop, Yuanlai” it is a public bus that appears to be driving out of the picture.

 

Little Julian, the Man, Charlie Chaplin, Venus, Maitreya Buddha, the Wolf, the Ceremonial Dress, the Urinal, the Public Bus…,  these glass-like images formed by the artist’s brush are sometimes rendered in a blue that appears cold and distant, but more often are shown in a flashy bright gold.  Against a realistic background these single images in their strange “material” suggest some sort of complex existence. In one respect, they inevitably become the eye-catching visual focus of the painting, but in another their material quality is a constant reminder to the viewer that they are near transparent or invisible.

 

This “vitreous images” can be seen as both an extension of and a transcending of the “Eye”.

 

In the study of anatomy, the vitreous humor is a part of the eye, empty of blood vessels and nerves, and transparent. It has a refractive effect and serves to support the retina. This is not a comparison of the two anatomically in the language of Zhu Hai’s painting, or to suggest this is significant in its concept – though there is this possibility. Rather we want to demonstrate that for Zhu Hai, who has in the past carefully researched the anatomy of the eyeball for his painting, to choose vitreous matter as a medium of expression is quite logical and natural.

 

If it can be said that the eyeball in the “Eye” series is a towering and clear presence, with a direct link to the “viewer and the viewed” relationship between the artist, the viewer and the painting, then the images with the glass-like form, from their visual impression to their psychological impact, are more hidden in the search for an identity, and in the structure of the “viewer and the viewed” are weaker, less clear and a long way from being so intuitive.

 

However, the weakening of the “viewer and the viewed”, does not mean that this theme is no longer present in the new works. Zhu Hai’s interpretation of the “viewer and the viewed” is taken to a higher plane from its intuitive rendering. This new dimension is something that has always interested Zhu Hai – time.

 

How to represent the passing of time in painting, where time is fixed, is a goal that many artists from both east and west have always diligently pursued. Zhu Hai has found a way that belongs only to him. The glass-like form is clearly demarcated from the other images and the background of the painting. In a two dimensional painting that represents a three dimensional space, the glass-like form becomes a fourth dimension. Its translucent texture has its solid and steady side but also its changeable side. One might say that it has an indirect acceptance, then denial, then re-acceptance of its own existence. And the colour that the artist gives to the glass-like form to some extent also indicates time. The gold that Zhu Hai habitually uses is a similarly contradictory metaphor. Gold most directly expresses “flashy”, “empty” or “fleeting”, but at the same time gold also makes us go beyond the familiar sensory world, indicating “firm”, “absolute” and “eternal”.

 

Furthermore, “time” does not stop here. The special technique used to make this “material” is not the only focal point in this new series of work. The images that Zhu Hai selects to represent in glass-like form, add the perspective of experience to the dimension of time, and make it feasible to look into time.

 

Little Julian, the Man, Charlie Chaplin, Venus, Maitreya Buddha, the Wolf, the Ceremonial Dress, the Urinal, the Public Bus….from the mere words, it is difficult to comprehend any connection between them. However if faced with this series of paintings and looking at them, no background knowledge is needed for the viewer to discern that these images have an innate connection due to the sameness of style in which they are rendered. Questions might follow: what is the relationship between these different images in their glass-like form? Or, by what measure or standard did the artist choose this particular image and not that other one?

 

My understanding is that all these images stem from Zhu Hai’s visual experience, and furthermore in Zhu Hai’s consciousness, these images represent certain important points in the course of his visual experience.

 

Little Julian, Venus, Maitreya Buddha and other figures in this series that come from traditional Chinese paintings, “Tang Tricolour” etc. are all subjects that Zhu Hai sketched to some degree or other in the past. Charlie Chaplin, the Ceremonial Dress, and the Public Bus one can tell are all from outside of his painting studies, and are visual subjects from general life that have left a deep impression on him. I once asked Zhu Hai the origin of the Ceremonial Dress image, and he explained in response that it was derived from Henry Pu Yi’s imperial uniform from during the puppet Manchukuo period. The Man, the Wolf, and the Urinal are slightly more complicated, and, for those viewers who have not had so much contact with art, require a little more background explanation. The Man is from Caspar David Friedrich’s famous work “The Wanderer above the Mists”. One gets a clue from Zhu Hai’s title “The American Dream” that the Wolf is from Joseph Beuys performance work “I Like America and America Likes Me”. The Urinal is derived from Marcel Duchamp. Beuys and Marcel Duchamp are renowned conceptual artists from art history. Caspar David Friedrich is a representative of the German Romantic movement, and was an icon in this trend of thought. For me, he was also one of the first group of artists to plant conceptual shoots into their paintings. These three images can be seen as representing key points in Zhu Hai’s visual experience as he entered a period of reflection about his art creation.

 

Three types of image, three points of visual experience, by looking back upon time Zhu Hai is trying to position his own visual experiences, and sort out an understanding of his own identity.

 

To continue, through an interpretation of three paintings taken individually, I hope to understand the growth in Zhu Hai’s thinking as a painter driven by visual experience.

Ⅲ

A

“Floating” shows a juxtaposition of Venus de Milo and Maitreya Buddha, and is self-evidently indicating a “clash” of Eastern and Western cultures. Looking at the composition of the painting itself, this way of hinting of the meaning through juxtaposition of imagery is not new and is leaning to the simplistic. But as an explanation of the aforementioned “point of visual experience” in Zhu Hai’s work, “Floating” is a very good example.

The path of Zhu Hai’s painting studies is quite representative of those artists of his generation – initial contact with Chinese traditional painting, and learning the rudiments with the help of a Chinese traditional painting teacher. Having entered the Sichuan Fine Arts Institute, he undergoes formal training in the discipline of Western visual art. In the course of this, the eastern consciousness and methods of painting were quickly mastered, but then suppressed until on the periphery of his studies and training. Once through with his basic training, and having established his art on track, “The East” is rediscovered and evaluated, but at the same time “The West” is still present. For the artist “The West”, at least on the level of methodology, remains the dominant force.

 

If we are willing to look for the psychology of an artist through his painting, it could almost be said that “Floating” is a visual explanation of the above-mentioned path. The armless Venus is the most common subject of sketches and has become a symbol of the discipline of Western visual art. Venus rising from the ocean is still more of a classic Western art image, and placed in the foreground she strikingly dominates the entire scene. Maitreya Buddha, however, is a representative Eastern figure. Placed to the side, it represents both the heritage of the artist’s visual experience before he started in the discipline, and also the rediscovery of the possibility of the form after completion of the discipline. To explore further, the waves that, with Venus, occupy the largest part of the scene, suggest an unconscious acceptance of that Western discipline by the artist. The unexpected intervention of Maitreya Buddha, who has no connection with the ocean, suggests on the other hand a conscious examination by the artist of his methodology.

 

In “Floating”, it is evident that by making use of the glass-like form in the images of the Venus and the Maitreya Buddha, Zhu Hai is clearly demonstrating that they are two parts of one whole. The visual experience gained from the two cultural perspectives and from his professional discipline, appears solid and steady in the artist’s “vision”, but also reveals concealed signs of change.

 

The pity is that “Floating” stops at the level of metaphysical thought. The juxtaposition of the two figures is simplistic, and the background of the ocean and distant mountains also appears insubstantial. The possibilities of, for example, interaction, confrontation or superiority between Venus and Maitreya Buddha are impossible to explore further. In part this is related to the artist still being engaged in a long and arduous exploration of contradictory ideological complexities, and in another regard it is because the simple clash of concepts has not found a suitable medium wherewith to inject emotion.

B

In contrast to “Floating”, in the painting “Next Station, Yuanlai”, Zhu Hai sets aside any metaphysical thought, and through feelings and memories, makes a return to the physical life in a painting that is more vivid in expression.

 

The scene in “Next Station, Yuanlai” is not hard to make out. Anyone with even a slight knowledge of Chongqing is able to find in the background of modern high-rise buildings an unassuming lighthouse-like structure – the Liberation Monument that is landmark of Chongqing. The Liberation Monument and its environs are in the area where Zhu Hai spent his youth – they are Zhu Hai’s hometown. However, the hometown has almost disappeared. The Liberation Monument and its environs where Zhu Hai grew up are in reality much changed, and Zhu Hai has not included them realistically in the painting. What is in the painting is a blur of bright lights.

 

And where are the feelings and the memories? They are in the foreground of the painting in the glass-like form of the public bus. With it position in the foreground and its treatment in the glass-like material, the public bus is not only clearly demarcated from the mass of buildings in the background, but also its form also immediately attracts the attention of the viewer. Hidden in its translucent gold, the concertina style connection in the centre of the bus and the gas sack on the roof of the bus, show that this is a standard Chongqing city but from the early 1980s. It drives forward out of the picture from the area known as Liberation Monument, out of the 1980s into the 2010s, out of Zhu Hai’s childhood into the depths of the artist’s memory.

 

Here, the effectiveness of the glass-like form technique far surpasses that of the “Eye”. In a stroke it elevates the flat false three-dimensional image to a fourth dimension. The direction of the route the bus is travelling indicates that it is moving forward from the buildings in the background. The period characteristics of the bus added to its striking transparent quality hint, however, that it belongs in a different time and space to those imposing and substantial background buildings.  The sensation of the movement of the bus fits with the appearance of fleeting change that is exhibited through its glass-like material quality. And lastly, in comparison to the blur of buildings in the background, the clear image of the bus in the foreground is without question the first point of focus for the viewer. As the viewer gazes at the painting, it is difficult not to gradually recognize that he or she is from the same time period as the buildings in the background. Yet as the viewer looks more closely, what appeared at first to be a clear line of demarcation between foreground and background once again becomes indistinct. At this moment, between viewer and painting, between bus and buildings, between the clear and the blurry, between the substantial and the fleeting, between the gaze of the viewer at the painting and the gaze of the artist at time through the bus, we are able to look through the past, the present, and the future, and to touch upon the hidden feelings of the artist.

 

Because they are true to life, the feelings imparted by the painting, and that are concealed in the ambiguity of its time, seem fresh and vivid, and make one feel empathetic. Who hasn’t had this experience of wanting to touch hold of the past? Simply by immersing oneself in memories, however, one is likely to incline the emotions in just one direction. In “Next Station, Yuanlai”, the inclination of Zhu Hai’s personal feelings are expressed in the direction of the movement of the bus as it drives out from the center of the painting, from the present to the past, and this strong inclination towards the past to some extent lessens the profundity of the painting.

C

The visual experiences that take their origins from simple daily life are, in a transformation to conceptual expression in works of contemporary art, physical ties that are hard to cast off.  Yet works that simply set out from established abstract concepts often fall into the metaphysical trap that can make concepts overly divorced from daily experience. It is especially difficult for works to maintain proper limits between the metaphysical and the physical, and to advance both the depth and breadth of expression. In the creation of contemporary art, one possible path is to form new and multidimensional possibilities by adding to present life experiences previous concepts using visual images that are to some extent already familiar, recognized and in the public domain.

“Hope” differs from the previous two paintings in just this way.

 

In this painting, there is a starkly separated background and foreground. The background is also divided into two parts. The upper part is a starlit sky, the lower is the nightscape of a riverside city. The depiction of the sky is more conceptual than realistic. It is exaggerated and extremely clear. The cityscape is realistic, just indistinct because of distance and the lamplight, but still easy to distinguish Chongqing at the juncture of the Yangtze and Jialing rivers.

 

In the foreground with his back to us, stands a man holding a cane on a high cliff. The man’s head seems from the perspective of the viewer to be touching the stars and clouds in the night sky. You could say that he is looking at the distant stars, or that he is looking over at the lights on the other side of the river.

 

If the riverside city is Chongqing, then the high spot where the man is standing should be Nanshan. But the rocks below the man’s feet don’t seem part of the geology of Nanshan, and the man’s dress is not modern in style.

 

Who is this man? Why is he dressed this way, and why has he climbed to this high spot? What is he looking at? What is he thinking?

 

In actuality, these are the questions posed by Caspar David Friedrich, a master painter of the 19^th century German Romantic.

 

The man and the cliff in Zhu Hai’s painting are wholly reproduced from Friedrich’s “The Wanderer above the Mists”, but its rather realistic colouring has been replaced by a transparent yellow gold. One can see that the composition of the picture is a tribute to “The Wanderer”, though nighttime clusters of stars and clouds, and the bright lights of the city have substituted the daylight, clouds, and distant mountains of the latter. In this way, the response to Friedrich’s painting, with just a few simple substitutions, can be seen also to be an interpretation – a preliminary interpretation – of Zhu Hai’s painting.

 

The man’s position is so high that he appears close to the starry sky, and looking over the river and city, the place he has reached is the centre of the painting and, one could say, the centre of the world. The man forcefully props his cane on the rock, his left leg faces forward, and his body shape is steady and relaxed. He exhibits the courage of mankind looking forward. Although the scene in the painting cannot reveal where the man has been before or his learning to date, but the fact that he has reached these heights, and can take in the whole universe in a glance, suggests that he is a successful man who has overcome all sorts of difficulties, and that his heart is filled by this encounter with perfection. Moreover he is inviting the viewer to share this moment with him. The stars hanging on high and the bright lights of the city cover the cliff at the man’s feet and simplify what lies before him. His seems to be an encounter with freedom, with the vastness of time and space, and with a relentless pursuit of ideals. Yet the existence of the cliff reminds us that obstacles might still be numerous, both in front and behind.

 

The difference in elevation between where the man is standing and the city lights can be construed as the distance between arrogance inducing solitude and the mediocrity of daily life.  And there is no doubt that the starry sky that hangs above the man’s head, almost within a hand’s reach, is a representation of another world, suggesting an infinite self-liberation, self-realization, and the indescribably sublime. This man, formed by the brushes of Friedrich and Zhu Hai, who stands at the junction between this world and the next, is also that self that Fichte has described both as active and as continually self-examining, that self at whose feet the world opens up, that self elevated to the Olympian peak of philosophy, and that self highly respected since the very days of romanticism.

 

Then again, if only that, Zhu Hai’s painting is merely a continuation 200 years on of Friedrich’s Romanticism. If a painted interpretation of the world, separated by two centuries, cannot give birth to a new dimension, then there is no great need for this creation.

 

But there has, in fact, been a great change in Zhu Hai’s “Wanderer” and his world.

 

The sea of clouds in Friedrich’s painting are clouds of the Romantic period, symbolizing nobility, boundless nature, and man’s keen insights, to such a degree even as John Ruskin’s description of that period’s painting as “in the service of the clouds”. In a symbolic mark of evolution over the two centuries, Zhu Hai substitutes a sea of stars for the sea of clouds – mankind has progressed from looking up at clouds to looking up at stars. What was in the past symbolized by clouds, is now imparted to the stars, amplifying still more the symbolic meaning that the former did not have before. What Friedrich’s “Wanderer” faced was pure nature, something akin to a pastoral world without a trace of vulgarity. But Zhu Hai’s “Wanderer”, faces both the stars and those city lights so starkly separated from them. These are another side that a painter two hundred years ago could not contemplate. The difference between the works of the two artists is based on the difference between the worlds they personally experienced, and the difference in man’s development over two centuries in time. In the two substitutions that Zhu Hai has made in his work, he has hidden those elements of time.

 

But this is still not the most important transformation.

 

Zhu Hai has created his “Wanderer” with his glass-like textural form. Compared with the Friedrich’s strongly realist “Wanderer” standing resolutely in the wind, the glass-like texture creates a form that is illusory, fleeting, and unstable, as opposed to the solid, absolute, and eternal. Friedrich’s “Wanderer” wanders in the mountains and clouds, whereas Zhu Hai’s version wanders in time. Text above has already interpreted in detail the direction, function, and meaning of the glass-like form in Zhu Hai’s new series of works. In this painting, the “viewer and the viewed”, and the “indirect acceptance, then denial, then re-acceptance of its own existence”, has similarly been given to the glass-like form of the “Wanderer”.

 

So, Zhu Hai’s version of the “Wanderer” is again not merely just an observer of boundless nature, and a symbol of man’s pursuit of self-improvement, but it is also a way in which the artist can observe the observation of the “Wanderer”. Its fleeting, unstable quality leads to the disappearance of the formerly Romantic idea, and observing again the observation of the “Wanderer” lends the possibility of inquiry and questioning of the Romantic idea.

 

The trend of Romantic thought established by Friedrich’s paintings is jumbled and complicated, and the evolution of the history of ideas thereafter is even wilder in its growth. The inquiry and questioning that Zhu Hai has introduced into his painting with the glass-like form could also expand multi-dimensionally. For example, with some background knowledge of the Romantic idea, if the focus was put on a realistic scene like the lights of the city by the river, then we would very naturally ask what kind of difference there might be in the discourse of Romanticism between the strong China of today and the Sturm und Drang of 19^th century Germany. What are the logical consequences of taking to the extreme what Johann Gottlieb Fichte called “the I that building a world for itself and defeats the Not-I that resists it”? Is our journey truly to a sea of stars? Even if one doesn’t have that background knowledge, the lowering night sky, the distant and realistic cityscape, and the sudden clear appearance of the figure with his back to us in his non-period garb, all could make the viewer have opposite thoughts and feelings to those earlier ones, based as they were on an interpretation in the discourse of Romanticism.

 

In this way, interpretation of Zhu Hai’s “Wanderer” presents a type of embedded model. We can interpret it in the discourse of Romanticism based on the language that it shares with Friedrich’s painting. But with the substitution of symbols – the stars for clouds, the city for nature – many more meanings emerge. Zhu Hai’s use of minor differences in postclassical expression on the glass-like figure of the man builds up a qualitative change, and leads to an interpretation superior to that from the previous discourse. This superiority emerges both in close examination, in the changed perspective, and in the repeated indirect acceptance, denial and re-acceptance.

 

So, faced with this contemporary work that both misappropriates the classical and transforms the classical, we can of course continue the classical discourse, and search for areas where Romantic ideas correspond with the language of contemporary China. We can also go beyond the basis of Romanticism and give new colour to certain key ideas. We can additionally examine the romantic hues in the present’s potential impact on self-identity and the potential hidden dangers to China in its future development.

 

How to ask, to interpret, and to query, are problems passed here by the artist to the viewer, and this really is the fascination of this painting.

Ⅳ

Although in the interpretation of these three examples I consciously or unconsciously followed a linear order, what must be said is that there is no linear development in this new series of Zhu Hai’s works, but rather a simultaneous display.

 

For such works to simultaneously display different directions is of course because Zhu Hai is still exploring. However is also because at the core of his works – those key points in an individual’s visual experience – are different directions and levels. Expressed in the language of painting, these key points in visual experience are perhaps different, yet they are all important paths in Zhu Hai’s exploration of his identity.

 

The force behind Zhu Hai’s work is his fascination with self-identity, his fascination with self-identity in the passing of time and what becomes then unclear, illusory, and unstable in relation with others. Zhu Hai transmits this observation, positioning, and recognition of self-identity into his works. He then moulds and enriches his self-identity, and moulds and enriches the concomitant variables. The inclusion of time itself then leads him to return to a starting point where he again observes and recognizes his self. In reality we all have experienced this type of cycle to one extent or another. Simply said, this transcends you. Some record this transcending in writing, some in fiction stories, and some in images. For Zhu Hai, his way is to record with his brush his specific rather than general visual experiences.

 

There is reason to believe that with the passing of another ten years, this series of Zhu Hai’s works will not be reduced in their strength and depth of inquiry due to the changing times. A continual questioning of the self is really the only way to enter time, to capture time and to express oneself in time. 

 

2015.12

翻译者 Tom Whitten

作者：胡远行