The Remedy

止 痛 帖

章 燕 紫 ZHANG YA N Z I

THE REMEDY

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中國古代人認為，萬物都是相生相克的關係，一 切皆在運動中變化。 從身體到精神，我們不斷出現困惑，不斷需要解 藥。 是藥三分毒，毒性和藥性之間，有時是對立的， 有時是統一的，此消彼長，生生不息。 人，生來就是要承受疼痛的。 心靈的病痛需要心靈的慰藉，有一種解藥，是山 川河流，是雲淡風輕...... 章燕紫 2014年 9月8日

Ancient Chinese people believed that everything mutually supports and restrains each other, all changes are in motion.

From the body to the spirit, we always have confusions and we need a remedy for all.

Medicine is a risky mix. The relationship between the toxicity and the medicinal qualities is sometimes contradictory, while sometimes it unifies. They exert mutual promotion and restraint on each other, nothing collapses.

Men, were born to suffer pain.

Affliction of the soul needs consolation of the spirit; an antidote is the mountains and rivers, is light clouds and a light breeze……

章

燕

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ZHANG Y A N Z I

Zhang Yanzi September 8th, 2014

PREFACE

序 作為一個文化工作者，我特別喜歡研究中國傳統 文化對於當代藝術及藝術家的影響。從2007年到 現在，筆者見證著當代水墨在亞洲和國際藝術舞 台的發展，從無人問津的格局，演變成大家對這 方面前所未見的關注和熱愛，這樣對水墨藝術發 展有莫大的幫助。第一，為當代水墨在當代藝術 語境找到一個突破點，見證了吳冠中老師所謂的 「筆墨等於零」的評語，批評一些過分偏重和孤 立作品的筆墨成就，將其畫作的核心內容投為其 次，這樣只會把作品整體價值降低。第二，藝術 家創作上可以更自由和開放，不需過於顧忌傳統 水墨藝術學者和藝術家的批評，因為大家的發展 理想不同，道亦會不同。第三，現在是最好的機 會讓中西學者在中立的平台如香港這片藝術樂土 上討論新水墨的可能性。 章燕紫在這難得的機遇中開展她的舞台。從北京 走到威尼斯和那不勒斯，現在首次踏進香港，章 氏的作品往往令人感到一種莫名的脫俗，平和的 氣質。她的作品充當著一道橋樑，貫通中西哲學 的不同，從肉體、心靈、精神到哲學去探討每個 人對痛的理解和處理。當中也突出了中國社會本 身在很多範圍裡的矛盾，而這些矛盾在西方國家 也同樣會存在。章氏的藝術追求是純粹的，她享 受著文人世界中的意境，也不經意的吸引著很多 的藝術愛好者，從她的作品中找到安寧和希望。

梁 徐 錦 熹 HENRIETTA T S U I L E U N G

PREFACE

梁徐錦熹 2015年 2月25日

As a cultural worker, I am passionate in the study of the influence of traditional Chinese culture on contemporary art and artists. From 2007 to the present, I witnessed the development of contemporary ink in the Asian and international art scene. At the beginning when rarely anyone in the contemporary art world noticed or cared about New Ink Art, until now, when unprecedented attention and interests have sprung in this area evolved.

This in turn helped elevate New Ink Art to become a form of art to watch and follow as one of the next visions of Asian contemporary art.

The development is significant to Ink Art in various ways.

Firstly, there is finally a possibility of breakthrough in New Ink Art in the context of contemporary art which is a testimony of a comment once made by renowned artist in Modernism, Wu Guanzhong, where Ink Art was so-called “zero ink”, criticizing traditional academia placed too much emphasis on the achievements in the techniques and visual compositions of brushstroke and the use of various tones of water-ink to an extent that the works were looked at in insolation of the messages behind the artists’ works. He criticized that this over-emphasis would only reduce tremendously the overall artistic value of a piece of artwork. Secondly, ink artists can now be more free and open in their creation of works, without the need to pay too much attention to criticism from traditional ink painting school of thought, as they now have another bigger and wider platform for them to develop their different ideals.

Thirdly, it is now the opportune time for Eastern and Western scholars to meet on a neutral platform like Hong Kong to discuss the possibility of a New Ink development in the world platform.

Zhang Yanzi met this phenomenal opportunity to present herself in the contemporary art world. Following her successful exhibitions in Beijing, Venice and Napoli, for the first time, Zhang is bringing an exceptional presentation of “The Remedy” to Art Basel Hong Kong 2015. Zhang’s artwork always convey a sense of finesse, refinement and calmness. Her works act as a bridge between Eastern and Western philosophy, in the exploration of pain and remedy from the body, spirit and mind, to an elevation of a philosophical redemption. Her art also highlights the contradictions and struggles within the Chinese society, which, I believe, also co-exist in the Western society. For Zhang, it is purely an artistic pursuit. Her enjoyment in the literati world has inadvertently attracted many other art lovers, to seek hope and peace through viewing and appreciation of her works.

Henrietta Tsui-Leung February 25th, 2015

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序 燕紫的藝術總是傾向於營造某種靜穆狀態，雖然 它們中間包含著多重矛盾不安的種子，如荒誕的 物象和空靈的山水丶痛楚的記憶和超度的冥想丶 肉體的欲望和精神的僭越，但所有的矛盾都恰如 其分地統一在了一種游絲般不可捉摸的線條和色 團中，它們既是對現代焦慮的描繪, 又是對這種 焦慮的解毒與治療。 她的藝術遠離觀念和思想而更接近靈性和意 象，所以，與其說它們描繪的是當代生活，不 如準確地說它描繪的是經過古代筆墨丶古代意 趣和古代情懷過濾後的當代生活。六朝是燕 紫藝術的一個趣味底本，六朝的玄言故事丶 佛學丶山水詩丶書法，文人的風流曠達丶狂狷任 性丶食藥服丹的嗜好，甚至六朝黑暗的時代和燦 爛的藝術之間巨大的反差也許都給過她啟迪。當 代生活，在燕紫的藝術中既展現為物質化的過度 耗散和虛空，又展現為神話般的哀婉和傷感，這 些在她的藝術中悖論性存在的品質在我看來都來 源於六朝美學的影響。無論是大軸長卷還是冊頁 小品，觀看她的作品都要求我們具備穿越性的感 知能力，因為只有在兩種世界丶兩種趣味丶兩種 意象的對沖中我們才能真正體會到這種靜穆的力 量。 桑塔格說：藝術本身不是思想，而是從思想內部 發展而來的思想的解毒劑，而燕紫也說過意思相 同的話：

黃

專

HUANG ZHUAN

PREFACE

心靈的病痛需要心靈的慰藉，有一種解藥，是山 川河流，是雲淡風輕...... 黃專 2015年 2月8日

Zhang’s art persists towards creating a certain serenity.

Although her works contain seeds of multiple unsettling contradictions, such as absurd images and ethereal landscapes, painful memories and transcendental meditation, as well as carnal desires and spiritual arrogation, these contradictions are aptly combined in elusive gossamer-like lines and colour masses. Together they depict both modern anxiety as well as its antidote and cure.

Zhang’s art distances itself from concepts and ideas to be closer to spirituality and imagery, which is why rather than describe her works as delineations of contemporary life, they are more precisely described as portrayals of contemporary life filtered through the ink, interests, and sentiments of antiquity. Zhang’s art draws liberally from the Six Dynasties — its metaphysical tales, Buddhism, scenic poetry, calligraphy, the romantic openmindedness, rash willfulness and drug-taking habits of the literati, and perhaps even the stark contrast between the darkness of the times and the splendour of the art of the period too could have inspired her. Contemporary life is manifested in Zhang’s art as materialism, squander, and emptiness, or is shown in myth-like melancholy and sorrow. To me, the quality of these paradoxical existences in Zhang’s art has origins influenced by the æsthetics of the Six Dynasties.

Whether one views her larger works in scroll form or her smaller works in folded-book format, one must be prepared to sense, penetrate and transcend. Because only when two types of worlds, two types of interests, or two types of imagery are contrasted can one properly appreciate the strength of the quiet solemnity.

Susan Sontag wrote that “Art is not consciousness per se, but rather its antidote — evolved from within consciousness itself,” ‘Aesthetics of Silence,’ Styles of Radical Will (1969). Zhang had words to a similar effect: “Affliction of the soul needs consolation of the spirit; an antidote is the mountains and rivers, is light clouds and a light breeze……”

Huang Zhuan February 8th, 2015

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Ink on paper 紙本水墨, 248cm x 97cm, 2014

七 月 流 火 T H E FA L L I N G S T A R IN J U LY

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Ink on paper 紙本水墨, 216cm x 97cm, 2014

玄

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C H A O S

古時農人觀星象，知道勞作生息，順時應 季。七月有大火星向西行，漸漸下墜，暑熱 消退，天氣轉涼，秋季伊始，至九月，婦人 裁製過冬的衣裳，四季交替，恒常不變。人 如螻蟻，終日忙碌，不顧晨昏。推望千萬光 年之外，蒼穹浩渺，星河沙數，似風行變 幻，螻蟻塵埃，運轉不息。 — 蘇泓月

In ancient times, astrology was used to mark the seasons and help farmers to know when to plant and harvest their grains. Summer, winter and the rain, makes a yearly seasonal chain. Humans are much like busy ants, working day and night, losing track of time. Far from our milky way, millions of light years and beyond, tens of thousands of galaxies change in endless and unpredictable ways.

— Su Hongyue

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Ink on paper 紙本水墨, 238cm x 97cm, 2014

不

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T H E LANDSCAPE O F P A I N

《莊子•天道》篇記載了一個名叫輪扁的木匠 與齊桓公談論讀書問題的故事。輪扁大膽地 對齊桓公說，聖人的書不過是古人的糟粕罷 了。 在現實社會，經典的被當著垃圾，垃圾中也 可能蘊藏經典，一座山，是真是假？每個人 有不同的解釋。 — 章燕紫 Zhuangzi’s The Natural Course of Events recorded a conversation between Qi Huan Gong, the Duke Huan of Qi and a carpenter named Lun Bian. Qi Huan Gong was reading the words of the sages and Lun Bian courageously spoke up to the Duke, “What you, my Ruler, are reading, is all rubbish left over by the ancients.”

In our modern day society, the classics can be seen as garbage, but there might also be treasures hidden within the trash. Is the mountain real or not? Everyone should have a different interpretation.

— Zhang Yanzi

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Ink on paper 紙本水墨,198cm x 97cm, 2014

假

山

A ROCKERY

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Ink on paper 紙本水墨, 180cm x 97cm, 2014

寓

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F A B L E

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Ink on paper 紙本水墨, 97cm x 90cm, 2014

煙

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ANNIHILATIONS

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Ink on paper 紙本水墨, 每幅 68cm x 68cm each, 2014

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MOMENT

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中醫是中國文化的一部分。 中國人對中醫的態度截然不同，有迷信的，有 完全不信的。隨著年齡的增長，我從完全不相 信慢慢變得可以接受，相信神秘的存在。 也許，這也是我對中國文化的一種看法。 《古方千金》，以冊頁的形式描繪了中國古代 流傳下來的名藥處方，單從方名《逍遙散》、 《四君子湯》、《月華丸》等中，便可感受古 人對生命的態度。 中藥，除了其真正的藥性外，心理的安撫作用 也許更大。人，若是心沒病，一切都會好。 那些路邊的花花草草，都可入藥，萬物皆藥， 萬物非藥是一個意思吧…… 作為一種嘗試，使用中藥湯劑作為材料之一， 甘苦的氣味和痕跡也留在了紙上。 那些花草鮮活的樣子和曬乾後熬成的藥湯終於 合在了一起。 — 章燕紫， 2015年 1月27日 Traditional Chinese medicine is part of Chinese culture. Chinese people have a diverse attitude towards Chinese medicines; some are superstitious, some just don’t believe it at all. As I am getting older, I slowly believe the mysterious presence. Perhaps, this is also my personal view towards Chinese culture.

All these ancient prescriptions were passed down from one generation to another in a form of a booklet. One can understand the ancient people’s view and thoughts on life and death from the way they named the medicine, such as Xiaoyao powder, Sijunzi decoction, Moonlight pill etc.

Apart from its medical use, perhaps Chinese medicine provides more of a psychological comfort.

If we don’t have worries, perhaps we will not get ill.

Flowers and grasses along the roads can be used as medical ingredients; all living beings can be used as medicine, yet all of them can’t be, I guess that’s the meaning… By blending colours and Chinese medicine together, every stroke on the painting comes with a pungent bitterly scent. It seems, the once lively plants were dried and mixed, and finally join with the decoction.

— Zhang Yanzi, 27 January 2015

Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

仙 方 活 命 飲 X I A N FA N G HUOMING DECOCTION

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Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

六味地黃丸 S I X F L AV O U R REHMANNI

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Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

五子衍宗丸 W U Z I YA N Z O N G P I L L

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Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

大 補 陰 丸 DA BU Y I N P I L L

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Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

小 柴 胡 湯 M I N O R BUPLEURUM DECOCTION

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Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

天王補心丹 EMPEROR’S T E A P I L L

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Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

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J I U K U DECOCTION

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Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

月

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MOONLIGHT P I L L

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Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

沉

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CHENXIANG P O W D E R

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Painting 畫芯: Ink (mixed with Chinese medicine) on jute paper 麻紙水墨(混合中藥), 33cm x 22cm Album 冊頁: Silk and jute 絲和麻, 45.5cm x 32.5cm, 2014-2015

當歸芍藥散 ANGELICA A N D P E O N Y POWDER

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Jute paper, ink and wash, etc. 麻紙、水墨等, 每幅 40cm x 40cm each, 2014

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REGISTRATION

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針筒、膠囊、聽診器、手術刀，這些都是現 代醫學的文明符號。如果它們也是生活中 息息相關的物象，一點也不差於花鳥魚蟲更 能貼近我們每個人的日常體驗，盡管這種體 驗如此讓人退避和恐懼，離死亡只有一步之 遙。在圖像認識的範疇內，賞心悅目的固有 主題被徹底清理，她的水墨內容帶領我們遷 移到既熟悉又陌生的情境中。 — 徐累

Syringes, capsules, stethoscope and scalpel, these are the symbols of civilization in modern medicine. They are also images relating to life, which are not worse than the birds and fleas that are close to the everyday experience of each one of us, although this kind of experience makes people withdraw in fear. In the context of understanding the image, the pleasing inherent topic is thoroughly cleaned out, her ink and wash content leads us into situations that are familiar and unfamiliar.

— Xu Lei

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Ink on rice paper 紙本水墨, 180cm × 96cm, 2012-2013

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INTREPIDITY

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Ink on Fabric (Analgesic Plasters) 布面水墨, 52cm × 56cm, 2012-2013

吸 INHALATION

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Ink on Fabric (Analgesic Plasters) 布面水墨, 52cm × 56cm, 2012-2013

呼 EXPIRATION

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Ink on Fabric (Analgesic Plasters) 布面水墨, 每幅 56cm x 13cm each, 2014

路 THE ROAD

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Ink on Fabric (Analgesic Plasters) 布面水墨,17.6cm x 118cm, 2013

撫 SOOTHING

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Ink on Fabric (Analgesic Plasters) 布面水墨, 每幅 180cm × 108cm each, 2012-2013

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THE REMEDY

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章燕紫的新作品可謂是一針見墨，單論其題材的 出奇，已經是丹靑百科史無前例的新指。中國傳 統繪畫的功能之一，便是在筆墨的研磨之中，讓 人生的苦難得以淨化，從此得到精神上的療治， 而使心境轉危為安。絕大多數作品呈現了最終的 結果，那是病癒之後的花開南山，我們並不能知 悉更多關於療程當中的種種痛楚和掙扎，而這一 點正是現代藝術和古典藝術的差別。現代藝術迫 切表達殘酷一面，「上帝死了」，屍體理所當然 用以解剖，作品或者告訴世人病症，或者揭示刮 骨療程中的叫喊。

止 痛 帖 ： 章 燕 紫 的 紙 上 心 經

自從現代文明的知識和技術系統化地收復了古典 時代在治療方面的盲區之後，我們便有了更具說 服力的途徑直面生理和心理的問題。弗洛伊德的 重要性並不僅僅証明他既是醫生又是哲學家，而 是証明在這種文化中，醫學思想正全力以赴地參 與到人類哲學地位的建設，醫學經驗正在論証人 類語言敘述的抒情經驗。在中國，魯迅也認為文 學是對社會固疾的診斷，這個學醫出身的作家在 小說《藥》中給人性的麻木開了一具醒藥。在現 代藝術方面，風格即病理，已經成為一個不爭的 事實。當倫勃朗的手術刀劃破封塔那的畫布，病 痛幾乎成為我們這個時代的象徵與顯學，絕大多 數藝術公開展示了林林總總的神經質人格，有時 候它就附著在無可救藥的意識形態軀體上。

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THE REMEDY: ZHANG YANZI’S HEART SUTRA ON PAPER

從某種角度說，這恰好是中國畫轉入現代性的難 題之一。中國傳統繪畫要求隱匿私性的躁動，即 便是癲狂，也要通過逐漸排解的路徑最終走入化 境。源自中國特殊的文化形態和表達樣式，畫家 的實踐必須取法於過去而接近於無我，最終的結 果是溫良恭謙和拈花微笑。這是一個讓藝術的語 言體徵日益成熟，同時卻又讓藝術家的生命體驗 逐漸消解的過程，就像戴望舒的如下嘆息一樣， 「我是青春和衰老的集合體 / 我有健康的身體和 病的心」（《我的素描》）。無論古代還是當 代，大多數中國畫家在諸如山水花鳥的集體臆症 上力求獲得資歷認証，陶醉於自然風貌的意境中 固步不前，但並不是所有的人都甘願隨波逐流， 影響的焦慮適時也引發另外一種叛逆，它在最低 限度上衡量一個人的獨立和智性。 章燕紫沒有勇氣直接宣表強烈的個人病症，對她 來說，在光天化日下暴露這些脆弱和痛楚是需要 一些本能的勇氣的，但更重要的理由是，作為一 個有教養的水墨畫家，她需要恪守某種的遺訓， 在筆精墨妙上作先期準備，然後才談得上厚積薄 發，發表矛盾之餘的看法，這看法建立在中庸和 調和的態度上。從漸識到頓悟，章燕紫通過這批

作品發表了獨樹一幟的觀點──與其求得病癒的 結果，不如揭示治療的過程。這是一次成功的點 穴，不僅恰到好處地對症下藥，敏銳切開現代人 生活層面的創痕，也開啟了水墨畫不同以往的題 材表現。 針筒、膠囊、聽診器、手術刀，這些都是現代醫 學的文明符號。如果它們也是生活中息息相關的 物象，一點也不差於花鳥魚蟲更能貼近我們每個 人的日常體驗，盡管這種體驗如此讓人退避和恐 懼，離死亡只有一步之遙。關鍵是章燕紫將這些 治療所需的工具整理為一個譜系，以符合水墨畫 本體的樣式一一陳列，在圖像認識的範疇內，賞 心悅目的固有主題被徹底清理，她的水墨內容帶 領我們遷移到既熟悉又陌生的情境中。從溫和到 冷漠，又從物質殘酷復轉到文本熱情，這段思維 的滑程確實讓人措手不及，又令人驚訝不已。由 藥械組成的醫療符號無疑是一種觀看的暴力，將 技術的壓制和救治引入藝術命題的敘述和論証， 它替換的是逍遙自在的幻覺，更接近生存還是死 亡的疑慮。雖然章燕紫仍然維護的是寫意實踐， 但卻切合到現實的寫實制度上，傳統意義的格物 致知，隨即變更為新的視覺信念。

們只是一個女人編織的目錄。物在成為意象之前 是普通的，一旦落入符號、書寫和痕跡，它們便 被一種奇妙的虛擬價值所指認，即便脆弱不堪， 也是個人精神上的供養聖物。如果水墨生活稱得 上是一生的修行，章燕紫的所有物象就是點點滴 滴的還願，她隱藏或者封閉了日常生活的苦痛， 只剩下自己的喃喃吟誦，但於我們來說，卻能在 這些靈魂之硯邊上揮就的「止痛帖」中感同身 受，像是道不盡的紙上心經和墨中悲咒。

尤其是章燕紫直接在止痛貼上描繪佛影，將醫學 隱喻提升到宗教解救的層面，這神來之筆似乎 在証明了她的真正意圖在於日常的永恆性。現成 品的應用是現代藝術的一種全新發明，但很少有 中國畫家在信仰系統內表達得如此準確、感人、 妙不可言。在神諭的召喚下，從世俗生活到宗教 生活的過渡，本應是一個水到渠成的連續，這也 是一種古典精神的遺願，就像千年前莫高窟畫工 日復一日的虔誠日課一樣，繪畫的勞作過程也是 祈求內心安寧的過程。當止痛貼將病理治療的功 能，疊合了宗教造像的心理治愈功能，再布置成 佛龕的樣子，人性和神性便混淆不清了，以至於 展示現場說不清是為世俗痛感不平還是純粹供奉 宗教情感，佛光密佈，藥味彌漫，視覺和嗅覺產 生的幻覺遠遠不是語言的媒介可以言盡的。章 燕紫另外一部分作品，直接就是現成品本身，她 用膠囊穿成念珠，信手拈來，無礙無滯，証明她 在現代語言方面的運用機巧。這些充滿禪意的作 品，體現了醫學隱喻和神聖事物之間極強的傳染 性，通過現實、記憶、形而上的懸念，引起凡人 關於庇護主題的白日夢聯想，在迂回的道路上又 重新回到了中國繪畫的幻覺原點。 在由此延伸的其它作品中，比如藥方、經文、蟻 群等等，章燕紫的筆鋒，著墨於隱約可現的一條 線索，那就是悲憫、虛妄和救贖的道路，盡管它 87

Zhang Yanzi’s new work can be described as penetrating into ink, in terms of her surprising theme, it is unprecedentedly a new philosophy from the encyclopaedic history of Ink and Wash. One of the functions of traditional Chinese painting lies in the grinding between brush and ink, so that the suffering of life can be purified, and gets us through the tough times. Most of the artworks present the final results, instead of revealing the pain and struggle during treatments, which is the difference between modern art and classical art. Modern art has an urge to present the brutal side, “God is dead,” the body naturally should be used in anatomy, whether the works tell the illness of the world, or they reveal cries during the treatment of scraping the bones.

Ever since the knowledge and technology of modern civilization systematically recaptures the blind spot of the classical era, we have more convincing evidences to face biological and psychological issues. The importance of Freud lies not just because he proved to be a physician and philosopher, but also proved in this culture that medical thoughts have been working hard to engage in the construction of the status of human philosophy, medical experiences arguing against the lyrical experience of human narration. In China, Lu Xun also believed that literature is a diagnosis for the society. This writer who had studied medicine prescribed a sobering medication for human numbness in his novel Medicine. In modern art, the style is pathological, it is an indisputable fact. When Rembrandt’s scalpel cut through the canvas of Fontana, pain almost becomes a symbol and belief of our times, the vast majority of art publicly reveal numerous paranoid personalities, sometimes it is attached to the hopeless ideologies.

From another point of view, this happens to be a difficulty for Chinese painting moving towards modernity. Chinese traditional painting requires private restlessness, even madness that should resolve into sublimity by gradually offering relief. Originating from Chinese special culture and expressions, the practices of painters must follow the example from the past, the final result is gentle and modest. This is a process that makes the signs of language more sophisticated while life experience is gradually digested, which Dai Wangshu has commented, “I am the combination of youth and aging/I have a healthy body and a sick heart”(quoted from My Sketch). No matter in ancient or modern times, most Chinese painters are desperate to gain qualifications in the collective addiction such as landscape, flowers and birds painting, they continue walking on the old path and separate themselves in the grand pattern of a natural style. However, not everyone is willing to drift along, some are influenced by anxiety and timely contrary feelings frequently occur; a measure of a person’s independence and intellectual ability is at a minimum.

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Zhang Yanzi does not have the courage to directly declare her strong personal illness. For her, she needs some instinctive courage exposing the fragility and pain. But most importantly, as an educated ink artist, she needs to abide by some of the teachings of the deceased, making preparation of the magic essence of brush and ink in advance, and then expressing her attitude in contradictions after her profound accumulation, which is based on the attitudes of the doctrines of mean and reconciliation. From previously gradual comprehension to epiphany, Zhang Yanzi has found a unique approach—rather than seeking the result of recovery, she would like to expose the treating process, and this time acupuncture is just right to the point.

Not only does it hit a common crux, exquisitely cutting open the scars in the life aspects of modern people, but it also creates a different theme of ink and wash paintings from previous ones.

Syringes, capsules, stethoscope and scalpel, these are the symbols of civilization in modern medicine. They are also images relating to life, which are not worse than the birds and fleas that are close to the everyday experience of each one of us, although this kind of experience makes people withdraw in fear. The key is that Zhang Yanzi has sorted out the tools and treatments needed into a pedigree, exhibiting them one by one to match the style of the noumenon of ink and wash paintings. In the context of understanding the image, the pleasing inherent topic is thoroughly cleaned out, her ink and wash content leads us into familiar and unfamiliar situations. From mildness to indifference, the slipping progress from the physical cruelty to the enthusiasm of text really takes people aback while astonishing them likewise. Undoubtedly, medical symbols composed of medical devices are also a symbol of violence, the narration and demonstration introduce the repression and treatment of technology into an artistic proposition, which replaces independent and free illusions, doubts closer to survival or death. Although it is still a practice of freehand brushwork that she defends, she adopts the practical measure of reality, the traditional sense of obtaining knowledge by investigation, obviously changed into a new visual faith.

Grottoes completed their work piously day by day, the painting process is also a process praying for inner peace.

When analgesic plasters affix the therapeutic function to the psychologically healing function of religious statues, and then arranged to be the niche for the statue of the Buddha, divinity and humanity are confused, thus it is indefinable to tell when it is consecrated as feeling unfair for worldly pain or for religious emotions. Full to the brim, diffusing with herbal medicines, the illusions caused by a visual sense and olfactory sensation are far more than could be told by linguistic media. Another part of Zhang Yanzi’s work is readymade itself, she made prayer beads with capsules, dextrous in the handling of material, without obstacles and delays, proving her delicate utilization in the perspective of modern languages. These Zen-inspired works, embody the high infection between medical metaphors and sacred things, through reality, memories, metaphysical suspense, and causes daydreaming connections to mortality on the theme of asylum, going back to the illusionary origin of Chinese painting by a detour.

In other works extended from this, such as prescriptions, scripture, ants, etc, Zhang Yanzi’s stroke gives a vague clue, which is a road of compassion, deception and salvation, although they are just a table of contents woven by a woman. A matter is ordinary before it becomes an image, once it falls into symbols, writings and traces, then it will be referred to as a wonderful virtual value, though fragile, also holy for personal spirit. If the ink and wash life could be taken as a lifelong practice, all of the subjects and images of Zhang Yanzi are the bits and pieces of her votive images. She hides or closes herself away from the everyday pains, leaving nothing but her whispered words, but we can personally experience them in “the Remedy” she accomplished on the edge of a spiritual inkstone, as if the heart sutra on paper and Dharani in ink are more than we can tell.

What is especial is that Zhang Yanzi depicts directly the images of Buddha on analgesic plasters, elevating the medical metaphors to the level of religious rescue, this stroke of genius completely proves daily eternity, which is an attempt to declare her true intention. Readymade applications in modern art are a completely new invention, but very few Chinese artists have such an expression in their faith system, accurate, touching, indescribably wonderful. Under the call of the oracle, the transmission from secular life to religious life, should be a continuous matter of course, which is also a last wish of classical spirit, just like thousands of years ago, painters of the Mogao

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江蘇鎮江人，中國美術家協會會員。中央美術學院研究生 畢業，藝術、文學雙碩士，現居北京。於中央美術學院藝 術資訊網任執行主編。

2014

Zhang Yanzi was born in Zhenjiang, Jiangsu Province. She is a member of Chinese Artists Association. Graduated from the Central Academy of Fine Arts, Zhang got her MFAs in both Chinese Painting and Literature. She is currently based in Beijing and she serves as the Editor-in-chief of CAFA ART INFO at the Central Academy of Fine Arts.

2014

“A New Context Derived From Shuimo”, Sishang Art Museum, Beijing

2014

《止痛帖》巴塞爾藝術展覽, 方由美 術 (Galerie Ora-Ora) 香港

《THE REMEDY》那不勒斯PAN當 代博物館 意大利

2012

“The Remedy”: Solo Show of Zhang Yanzi at PAN, Palazzo delle Arti di Napoli, Italy

《花事與清供》上海對照空間 中國

2013

2010

《止痛帖》今日美術館 北京 中國 《踏莎行》上海美術館 上海 中國 “Walk While Stepping on the Gauze”, Shanghai Art Museum, Shanghai

2010

2007

2005

2004 “Painted Skin: Five Female Ink Artists Group Exhibition”, Hive Center for Contemporary Art, Beijing

2014

90

《私房菜：女性藝術家沙龍展》馬 奈草地美術館 北京 中國 “Specials-Female Artists Salon”, Manet Art Collection, Beijing, China

中國百家金陵畫展 江蘇省美術館 南 京 中國

《風 雅 頌》參加第二屆北京國際雙 年展 中國 “Air of the States, Courtly Songs, and Hymns”, the 2nd Beijing International Art Biennale, Beijing

參 與 連 展 SELECTED GROUP EXHIBITIONS 女性藝術家展 蜂巢當代藝術館 中國

中央

“Art Exhibition of a Hundred Oil Paintings”, Jiangsu Art Gallery, Nanjing, China

《踏莎行》 法國 “Walk While Stepping on the Gauze”, France

2014

《自我畫像》女性藝術在中國 美術學院美術館 北京 中國

“Refreshing Breeze included in Self Image: Woman Art in China (1920-2010)”, Central Academy of Fine Arts Museum, Beijing

“The Remedy”, Today Art Museum, Beijing

2010

《再水墨》2000－2012中國當代水 墨邀請展 今日美術館 北京 中國 “Recurrence of Ink and Wash: 2000-2012 Chinese Contemporary Ink and Wash Invitation Exhibition”, Hubei Art Museum, Wuhan

上海

“Blooming Season and Solace of Art”, Solo Show, Shanghai Reflex Art, Shanghai

《大運河第55屆威尼斯雙年展平行 展》教區博物館 威尼斯 意大利 “Qi (Flow of Energy) included in The Grand Canal: Collateral Event of the 55th International Art Exhibition”, La Biennale di Venezia, Italy

“The Remedy” at Art Basel Hong Kong, Galerie Ora-Ora, Hong Kong

2014

《瞬間》公益藝術展 5Art 藝術空間 廣州 中國 “The Moment: The First Public Exhibition”, 5Art Space, Guangzhou

2013

2014

《新水活墨》香港海事博物館, 方由 美術 (Galerie Ora-Ora) 香港 “Devotion to Ink” Contemporary Ink Show, Maritime Museum, Galerie Ora-Ora, Hong Kong

個 展 SOLO EXHIBITIONS 2015

《來自水墨的新語境》寺上美術館 北京 中國

《聲聲慢》參加第十屆全國美展 中國 “Slow, Slow Tune”, the 10th National Art Exhibition, China

獲 獎 紀 錄 AWA R D S 2013

簡 歷

《止痛帖》獲魯迅文化獎最佳藝術作品 獎 Lu Xun Culture Awards - the Best Artwork Award

2007

《踏莎行》參加“百家金陵”畫展 獎

獲金

“Walk While Stepping on the Gauze” in Art Exhibition of a Hundred Oil Paintings - Gold Award

2007

《小翠》參加中國文聯主辦第五屆中國 畫展 獲金獎 Lichang Cup the 5th Traditional Chinese Painting Exhibition sponsored by China Federation of Literature and Art Circles - Gold Award

2004

《紅玫瑰和白玫瑰》獲第十屆全國美展 銅獎 “Red Rose and White Rose”, the 10th National Art Exhibition - Bronze Prize

公 共 收 藏 COLLECTED BY 中國美術館 National Art Museum of China

江蘇省美術館 Jiangsu Art Museum

中央美術學院美術館 CAFA Art Museum

意大利那不勒斯東方大學 L’Università degli Studi di Napoli “L’Orientale”

私人收藏 Private Collection

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ZHANG Y A N Z I

BIOGRAPHY

七月流火 THE FALLING STAR I N J U L Y

索 引 I N D E X

汪榕培、秦旭卿、孫雍長(譯) (1999)。大中華文庫─莊子 (I、II)。湖南人民出版社。 Rongpei Wang, Xuqing Qin and Yongchang Sun (1999). Library of Chinese Classics (Chinese-English) – Zhuangzi (I & II). Hunan People’s Publishing House.

莊子‧外篇‧天地第十二 天地雖大，其化均也；萬物雖多，其治 一也；人卒雖眾，其主君也。君原於天 德而成於天。故曰：玄古之君天下，無 為也，天德而已矣。以道觀言而天下之 君正，觀分而君臣之義明，以道觀能而 天下之官治，以道汎觀而萬物之應備。 故通於地者，德也；行於萬物者，道 也；上治人者，事也；能有所藝者，技 也。技兼於事，事兼於義，義兼於德， 德兼於道，道兼於天。故曰：古之畜天 下者，無欲而天下足，無為而萬物化， 淵靜而百姓定。《記》曰：「通於一而 萬事畢，無心得而鬼神服。」 夫子曰：「夫道，覆載萬物者也，洋洋 乎大哉！君子不可以不刳心焉。無為 為之之謂天，無為言之之謂德，愛人利 物之謂仁，不同同之之謂大，行不崖異 之謂寛，有萬不同之謂富。故執德之謂 紀，德成之謂立，循於道之謂備，不以 物挫志之謂完。君子明於此十者，則韜 乎其事心之大也，沛乎其為萬物逝也。 若然者，藏金於山，珠於藏淵，不利貨 財，不近貴富；不樂壽，不哀夭；不榮 通，不醜窮；不拘一世之利以為己私 分，不以王天下為己處顯，顯則明。萬 物一府，死生同狀。」 夫子曰：「夫道，淵乎其居也，漻乎其 清也。金石不得，無以鳴。故金石有 聲，不考不鳴。萬物孰能定之！夫王德 之人，素逝而恥通於事，立之本原而知 通於神，故其德廣。其心之出，有物採 之。故形非道不生，生非德不明。存形 窮生，立德明道，非王德者邪？蕩蕩 乎！忽然出，勃然動，而萬物從之乎， 此謂王德之人。視乎冥冥，聽乎無聲。 冥冥之中，獨見曉焉；無聲之中，獨聞 和焉。故深之又深而能物焉；神之又神 而能精焉。故其與萬物接也，至無而供 其求，時騁而要其宿，大小、長短、修 遠。」 黃帝遊乎赤水之北，登乎崑崙之丘而南 望，還歸，遺其玄珠。使知索而不得， 使離朱索之而不得，使喫詬索之而不 得也 。 乃 使 象 罔 ， 象 罔 得 之 。 黃 帝 曰 ：「異哉，象罔乃可以得之乎？」 堯之師曰許由，許由之師曰齧缺，齧缺 之師曰王倪，王倪之師曰被衣。堯問於 許由曰：「齧缺可以配天乎？吾藉王倪 以要之。」許由曰：「殆哉圾乎天下！ 齧缺之為人也，聰明睿知，給數以敏， 其性過人，而又乃以人受天。彼審乎禁 過，而不知過之所由生。與之配乎？彼 且乘人而無天。方且本身而異形，方 且尊知而火馳，方且為緒使，方且為物 絯，方且四顧而物應，方且應眾宜，方 且與物化而未始有恆。夫何足以配乎！ 雖然，有族，有祖，可以為眾父，而不 可以為眾父父。治，亂之率也，北面之 禍也，南面之賊也。」 堯觀乎華。華封人曰：「嘻，聖人！請 祝聖人，使聖人壽。」堯曰：「辭。」 「使聖人富。」堯曰：「辭。」「使聖 人多男子。」堯曰：「辭。」封人曰： 「壽，富，多男子，人之所欲也。女獨 不欲，何邪？」堯曰：「多男子則多

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懼，富則多事，壽則多辱。是三者，非 所以養德也，故辭。」封人曰：「始 也，我以女為聖人邪，今然君子也。天 生萬民，必授之職。多男子而授之職， 則何懼之有？富而使人分之，則何事之 有？夫聖人鶉居而彀食，鳥行無彰；天 下有道，則與物皆昌；天下無道，則修 德就閒。千歲厭世，去而上仙，乘彼白 雲，至於帝鄉；三患莫至，身常無殃， 則何辱之有？」封人去之，堯隨，曰： 「請問。」人曰：「退已 ！」 堯治天下，伯成子高立為諸侯。堯授 舜，舜授禹，伯成子高辭為諸侯而 耕。禹往見之，則耕在野。禹趨就下 風，立而問焉，曰：「昔堯治天下， 吾子立為諸侯。堯授舜，舜授予，而 吾子辭為諸侯而耕。敢問，其故何 也？」子高曰：「昔堯治天下，不賞 而民勸，不罰而民畏。今子賞罰而民 且不仁，德自此衰，刑自此立，後世 亂之，自此始矣！夫子闔行邪？無落吾 事 ！」俋俋乎耕而不顧。 泰初有無，無有無名。一之所起，有一 而未形。物得以生，謂之德；未形者有 分，且然無間，謂之命；留動而生物， 物成生理，謂之形；形體保神，各有儀 則，謂之性。性修反德，德至同於初。 同乃虛，虛乃大。合喙鳴；喙鳴合，與 天地為合。合緡緡，若愚若昏，是謂玄 德，同乎大順。

Zhuang Zi – The Heaven and the Earth, Chapter 12 (Outer Chapter) Great as they are, the heaven and the earth evolve in a uniform way. Numberless as they are, all things are governed in the same way.

Numerous as they are, the common people respect their king as their ruler. In ruling over the world, the king regards virtue as the root of his power and the heaven as the source of his success. Therefore, the ancient kings ruled over the world by doing nothing, in other words, by following the natural course of events.

When names are viewed through Tao, all the names in the world are perfectly justifiable.

When titles are viewed through Tao, both the kings and the officials have their distinctive duties. When talents are viewed through Tao, all the officials in the world are fully qualified. When all the world is viewed through Tao, everything follows its inborn nature. Therefore, that which links the heaven with the earth is virtue; that which acts upon everything in the world is Tao. What the kings do to govern the world is administrative duties; what brings ability and talents into full play is skill. Skill is closely linked with affairs; affairs are closely linked with righteousness; righteousness is closely linked with virtue; virtue is closely linked with Tao; Tao is closely linked with the heaven. Therefore, in ruling over the world, the ancient kings enriched the world by having no desires, invigorated everything by doing nothing, and pacified the people by keeping quiet. As the Record says, “Those who are well versed in Tao will accomplish anything; those who have no desires for achievement will subdue the ghosts and spirits.”

Confucius says, “Tao covers and supports everything in the world. How magnificent it

is! The gentleman must get rid of the desire to do anything. To act by doing nothing is called the way of the heaven; to explain by saying nothing is called virtue; to love people and benefit things is called humaneness; to make dissimilar things similar is called great· ness; to behave without absurdity or ostentation is called generosity; to embrace varieties of things is called wealth. Therefore, to persevere in virtue is called the guideline; to perform virtuous deeds is called achievement; to act in accordance with Tao is called completion; to see to it that the will is not affected by external things is called perfection. When the gentleman understands these ten principles, his mind will be so broad as to hold everything in the world. ready to accept them as the convergence of waters. Such being the case, he will let gold lie buried in the mountains and let the pearls lie hidden in the abyss. He will not crave for property and wealth and will not strive for fame and position. He will not rejoice over longevity and will not grieve over premature death. He will not feel proud of being a high official and will not feel ashamed for being poor. He will not usurp the profit of the world as his own possession and will not regard his throne as his own distinction. He understands that distinction leads to showing off while everything in the world will return to the same root and even life and death are different phases of existence.”

Confucius says, “Tao resides in the silent abyss, clear and transparent. Without Tao, musical instruments made of metal and stone will not ring, and so, though they may give sounds, they will not ring unless they are struck. Who can decide the response of everything in the world?

“Man with kingly virtue lives a plain life and is never entangled in worldly affairs. He is rooted in the original source of Tao and is intelligent enough to probe into the land of mystery. Therefore his virtue is far-reaching and his mind is responsive to the outside world when it is stimulated. Thus, a form without Tao is lifeless and a life without virtue is splendourless. Preserving his physical form and living out his whole life, accomplishing his virtue and manifesting Tao – isn’t that kingly virtue? In magnificence, he appears suddenly and moves swiftly, with everything in the world at his heels. This is the man with kingly virtue! Tao looks dim and obscure and sounds silent and tranquil. Yet, there is a glimmer in the dim obscurity and there is a harmony.

Therefore, in the deepest of the depth there arises everything; in the most mysterious of the mystery there exists the essence. In its relationship with everything in the world, empty as it is, Tao satisfies every need; swiftly as it moves, Tao is the dwelling place for everything, great and small, long and short, far and near.”

The Yellow Emperor was travelling to the north of the Red Waters when he climbed up Kunlun Mountains and looked southward.

When he came home, he found that his mysterious pearl (Tao) was lost. Knowledge was sent to search for it, but he failed. Sight was sent to search for it, but he also failed.

Speech was sent to search for it, but he likewise failed. Finally Nothing was sent to search for it, and he found it. The Yellow Emperor said, “How strange it is that Nothing should have

found it!”

King Yao’s teacher was Xu You, Xu You’s teacher is Nie Que, Nie Que’s teacher is Wang Ni, and Wang Ni’s teacher is Bei Yi. King Yao asked Xu You, saying, “Can Nie Que be the king? I’ll ask Wang Ni to invite him.”

Xu You said, “Alas! The kingdom will be in danger! As a man, Nie Que is a man of intelligence and understanding, sharp-witted and quick-minded. His talents are far above others and he knows how to comply with nature through human efforts. He is good at preventing errors but does not know the sources of these errors. Let him become the king? He would resort to human wits and ignore nature. He would be self-centered in dealing with everything; he would worship knowledge and run after it; he would be driven by affairs and be indulged in things; he would be a slave to circumstances and to things; he would meddle with things without any fixed idea. How can he be fit to become a king? He can be a minister, but he cannot be a king.

His way of government would be the apple of discord, a disaster to the ministers and a peril to the king.”

King Yao was having an inspection in Hua when a frontier-guard there said, “Ah, sage!

Please allow me to pray for you. May you enjoy a long life!”

King Yao said, “No, I don’t need it.”

The frontier-guard said, “May you have abundant wealth.” King Yao said, “No, I don’t need it.”

The frontier-guard said, “May you have many sons.” King Yao said, “No, I don’t need them.”

The frontier-guard said, “A long life, abundant wealth and many sons are what people crave for. You are the only one who said you didn’t need them. Why?” King Yao said, “Many sons bring worries, abundant wealth brings troubles, and a long life brings disgrace. These three blessings won’t nourish virtue. That’s why I don’t need them.”

The frontier-guard said, “At first I thought that you were a sage, but now I think that you are but a gentleman. In sending people to the world, the heaven has assigned each of them his appropriate duties. What is there to be worried about since many sons have been assigned many duties? What is there to be troubled about since abundant wealth has been allotted to others? The sage does not pick the place where he lives and does not choose the food he eats, leaving no trace in the world just like the birds flying in the sky. When the world is prevalent with Tao, he shares the prosperity with everything; when the world is prevalent with Tao, he nurtures his own virtue and lives a seclusive life. When he is fed up with life after he has lived for a thousand years, he will leave the world and become an immortal. He will ride upon a white cloud and reach the land of the heavenly king. Your three worries will not arise and you yourself will be free from misfortune. What disgrace is there to be cared about?”

When the frontier-guard turned to leave, King Yao followed him and said, “May I ask…”

The frontier-guard said, “Get away.”

When King Yao was ruling over the world, Bocheng Zigao was made a prince. When King Yao handed over the throne to King Shun and King Shun handed over the throne to King Yu, Bocheng Zigao resigned from his post and went into farming. When King Yu went to visit him, he was working in the fields, King Yu hurried down and stood there, saying, “When King Yao was ruling over the world, you were made a prince. When King Yao handed over the throne to King Shun and then King Shun handed the throne to me, you resigned from your post and went into farming. May I ask why you did this?”

Bocheng Zigao said, “When King Yao was ruling over the world, the people worked hard without getting any reward and were filled with awe without fear of punishment.

Nowadays, you reward and punish, but the people are no longer humane. The virtue is on the decline and penalty laws are issued.

Troubles in the future days have thus started.

Why don’t you leave me? Don’t interrupt my work!” At this, he set himself to the plough again and paid no more attention to King Yu. At the very beginning, there was nothing in the world at all. There was no existence and there was no name. Then, there was Oneness, another name for Tao, which did not assume any form. From Oneness came everything, each receiving what is called its own “virtue”. Before things took on their respective forms, there was already the distinction of yin and yang, inseparable from each other. This is called the “destiny”. Things came into existence in the process of flow and flux of yin and yang, each with its own configuration which are called its “form”.

The physical form protects its spirit, each with its own characteristics which are called the “inborn nature”. With further cultivation, the inborn nature returns to virtue; in its perfection, virtue is very much the same as the very beginning. To be the same as the very beginning is to be empty; to be empty is to be all-embracing. Human speech is mingled with the singing of birds. Having mingled their speech with the singing of birds, the people are mingled with the heaven and the earth.

The mingling is as perfect as if the people were stupid or dizzy. This is called “divine virtue”, in perfect accordance with the natural course of events.

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莊子·外篇·刻意第十五 刻意尚行，離世異俗，高論怨誹，為亢 而已矣。此山谷之士，非世之人，枯槁 赴淵者之所好也。語仁義忠信，恭儉推 讓，為修而已矣，此平世之士，教誨之 人，遊居學者之所好也。語大功，立大 名，禮君臣，正上下，為治而已矣。 此朝廷之士，尊主強國之人，致功並兼 者之所好也。就藪澤，處閒曠，釣魚 閒處，無為而已矣。此江海之士，避世 之人，閒暇者之所好也。吹呴呼吸，吐 故 納新，熊經鳥申，為壽而已矣。此道 引之士，養形之人，彭祖壽考者之所好

也。若夫不刻意而高，無仁義而修，無 功名而治，無江海而閑，不道引而壽， 無不忘也，無不有也。淡然無極而眾美 從之。此天地 之道，聖人之德也。

forget everything but possess everything; they show complete indifference but win the best fame. Such people embody the eternal Tao which permeates the heaven and the earth.

故曰：夫恬淡寂漠，虛無無為，此天地 之平，而道德之質也。故曰：聖人休 休焉則平易矣，平易則恬淡矣。平易、 恬淡，則憂患不能入，邪氣不能襲，故 其德全而神不虧。故曰：聖人之生也天 行，其死也物化。靜而與陰同德，動 而與陽同波。不為福先，不為禍始。 感而後應，迫而後動，不得已而後起。 去知與故，遁天之理。故無天災，無物 累，無人非，無鬼責。其生若浮，其死 若休。不思慮，不豫謀。光矣而不耀， 信矣而不期。其寢不夢，其覺無憂。其 神純粹，其魂不罷。虛無恬淡，乃合天 德。故曰：悲樂者，德之邪；喜怒者， 道之過；好惡者，德之失。故心不憂 樂，德之至也；一而不變，靜之至也； 無所於忤，虛之至也；不與物交，淡之 至也；無所於逆，粹之至也。故曰：形 勞而不休則弊，精用而不已則勞，勞則 竭。水之性，不雜則清，莫動則平；鬱 閉而不流，亦不能清；天德之象也。故 曰：純粹而不雜，靜一而不變，淡而無 為，動而以天行，此養神之道也。

Therefore, it is said, “Indifference, solitude, emptiness and non-action — these are the yardsticks of the heaven and the earth, and the perfection of Tao and virtue.”

夫有干越之劍者，柙而藏之，不敢用 也，寶之至也。精神四達並流，無所不 極，上際於天，下蟠於地，化育萬物， 不可為象，其名為同帝。純素之道，惟 神是守。守而勿失，與神為一。一之精 通，合於天倫。野語有之曰：「眾人重 利，廉士重名，賢人尚志，聖人貴精。」 故素也者，謂其無所與雜也；純也者， 謂其不虧其神也。能體純素，謂之真 人。

Zhuang Zi – A Strained Mind, Chapter 15 (Outer Chapter) A strained mind, affected behaviours, aloofness from the world, unique practice, high-sounding remarks, grudges and slandersall these are but signs of arrogance. They are favoured by hermits in the mountains and forests, cynics, and those who would burn themselves or drown themselves. Humaneness, righteousness, loyalty, faith, modesty, frugality, deference and courtesy-all these are but ways and means for self-cultivation.

They are favoured by would-be rulers and officials, teachers and instructors, wandering scholars and learners. Great merits, excellent reputation, adequate etiquettes between the king and his ministers, proper ordering of senior and junior officials-all these but show concerns for a better government. They are favoured by courtiers, royalists and warriors.

A secluded life in the wilderness, retirement to the fields, angling and a leisurely life-all these are but manifestations of non-action. They are favoured by drifters, escapists and leisureseekers. Breathing in and out, exhaling the old and inhaling the new, climbing the trees like a bear and stretching like a bird - all these are but exercises for longevity. They are favoured by those who do physical exercises, wish to keep fit and aspire for a long life like Peng Zu. Some people are lofty without straining their minds, self-cultivated without talking about humaneness and righteousness, governing well without gaining merits or reputation, leisurely without wandering in the wilderness, and longliving without doing physical exercises. They

Therefore, it is said, “The sage finds relaxation in them. When he is relaxed, he is peaceful; when he is peaceful, he is indifferent. When he is peaceful and indifferent, he is free from worry and care, and he is evil proof. Thus, his virtue is intact and his spirit is sound.”

Therefore, it is said, ‘The sage follows nature when he is alive, changes with everything in the world when he is dead, shares the virtue with yin when he is still and shares the movement with yang when he is active.

He brings neither fortune nor misfortune.

He responds to the stimulus, reacts to the pressure and rises when he is obliged to.

As he discards wisdom and trickery and follows the natural course of events, he is not afflicted by the heaven, or burdened by worldly affairs, or reproached by people, or condemned by the ghosts. His life seems to float on; his death seems to be a mere rest.

He neither contemplates nor premeditates.

He is bright but does not shine; he is faithful but does not give promise. He does not dream when he is asleep; he does not worry when he is awake. His mind is pure and simple; his spirit is staunch and tireless. In emptiness and indifference, he conforms to the virtue of the heaven.”

Therefore, it is said, “Sorrow and joy are deviations from virtue; happiness and anger are violations of Tao; likes and dislikes are offenses against the hue nature. Freedom from anxiety and joy is the perfection of virtue; concentration and steadfastness are the perfection of stillness; isolation from worldly things is the perfection of indifference; freedom from antagonism is the perfection of purity.”

Therefore, it is said, “If the body is overworked without rest, it will wear out; if the spirit is overworked without cessation, it will tire out and tiredness will lead to exhaustion.”

Therefore, it is said, “It is the nature of water that it will be clear if it is not polluted and that it will be level if it is not disturbed.

The water cannot be clear if it is blocked and is thus unable to flow. This is a natural phenomenon.”

Therefore, it is said, “Purity without foreign substance, concentration without wavering, indifference without action, and movement in accordance with nature — these are the essentials of attaining mental tranquility.”

The swords made in the states of Wu and Yue are stored in the scabbards and seldom used because they are the most precious treasures.

Pure spirit flows in all directions and reaches all places. It rises up to the heaven above and spreads all over the earth below, transforming and nurturing everything in the world without leaving a single trace. It functions in the same way as the heaven and the earth.

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Tao in its pure and simple form lies in adherence to the spirit. If you adhere to the spirit, it seems that your body has been transformed into spirit and has become one with it. When your body and spirit become one, you will be conformed to the natural order. As the popular saying goes, “The common man values profit and gain; the frugal man values fame and name; the wise man prizes aims and purposes; the sage treasures the spirit.” Therefore, purity means “being without foreign substance”; simplicity means “being without impairing the spirit”.

He who comprehends purity and simplicity is called a “true man”.

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痛 TH E LA N D SCA PE OF PA I N

莊子·外篇·至樂第十八 天下有至樂無有哉？有可以活身者無 有哉？今奚為奚據？奚避奚處？奚就 奚去？奚樂奚惡？ 夫天下之所尊者，富貴壽善也；所樂 者，身安、厚味、美服、好色、音聲 也；所下者，貧賤、夭惡也；所苦 者，身不得安逸，口不得厚味，形不 得美服，目不得好色，耳不得音聲。 若不得者，則大憂以懼。其為形也， 亦愚哉！ 夫富者，苦身疾作，多積財而不得盡 用，其為形也亦外矣。夫貴者，夜以 繼日，思慮善否，其為形也亦疏矣。 人之生也，與憂俱生，壽者惽惽，久 憂不死，何苦也！其為形也，亦遠 矣。烈士為天下見善矣，未足以活 身。吾未知善之誠善邪，誠不善邪？ 若以為善矣，不足活身；以為不善 矣，足以活人。故曰：「忠諫不聽， 蹲循勿爭。」故夫子胥爭之以殘其 形，不爭，名亦不成。誠有善無有 哉？ 今俗之所為與其所樂，吾又未知樂之 果樂邪，果不樂邪？吾觀夫俗之所 樂，舉群趣者，然如將不得已，而皆 曰樂者，吾未知之樂也，亦未知之不 樂也。果有樂無有哉？吾以無為誠樂 矣，又俗之所大苦也。故曰：「至樂 無樂，至譽無譽。」 天下是非果未可定也。雖然，無為可 以定是非。至樂活身，唯無為幾存。 請嘗試言之。天無為以之清，地無 為以之寧，故兩無為相合，萬物皆化 生。芒乎芴乎，而無從出乎？芴乎芒 乎，而無有象乎！萬物職職，皆從無 為殖。故曰天地無為也而無不為也， 人也孰能得無為哉！ 莊子妻死，惠子吊之，莊子則方箕踞 鼓盆而歌。 惠子曰：「與人居，長子老身，死不 哭，亦足矣，又鼓盆而歌，不亦甚 乎！」

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莊子曰：「不然。是其始死也，我獨 何能無概然！察其始而本無生，非徒 無生也而本無形，非徒無形也而本無 氣。雜乎芒芴之間，變而有氣，氣變 而有形，形變而有生，今又變而之 死，是相與為春秋冬夏四時行也。人 且偃然寢於巨室，而我噭噭然，隨而 哭之，自以為不通乎命，故止也。」 支離叔與滑介叔觀於冥伯之丘，昆侖 之虛，黃帝之所休。俄而柳生其左 肘，其意蹶蹶然惡之。 支離叔曰：「子惡之乎？」 滑介叔曰：「亡，子何惡！生者，假 借也；假之而生生者，塵垢也。死生 為晝夜。且吾與子觀化而化及，我又 何惡焉！」 莊子之楚，見空髑髏，髐然有形，撽 以馬捶，因而問之，曰：「夫子貪生 失理，而為此乎？將子有亡國之事， 斧鉞之誅，而為此乎？將子有不善之 行，愧遺父母妻子之醜，而為此乎？ 將子有凍餒之患，而為此乎？將子之 春秋故及此乎？」 於是語卒，援髑髏，枕而臥。夜半， 髑髏見夢曰：「子之談者似辯士。視 子所言，皆生人之累也，死則無此 矣。子欲聞死之說乎？」 莊子曰：「然。」 髑髏曰：「死，無君於上，無臣於 下；亦無四時之事，從然以天地為春 秋，雖南面王樂，不能過也。」莊子 不信，曰：「吾使司命覆生子形，為 子骨肉肌膚，反子父母妻子閭裏知 識，子欲之乎？」 髑髏深矉蹙頞曰：「吾安能棄南面王 樂而覆為人間之勞乎？」 顏淵東之齊，孔子有憂色。子貢下席 而問曰：「小子敢問，回東之齊，夫 子有憂色，何邪？」 孔子曰：「善哉，汝問！昔者管子有 言，丘甚善之，曰：『褚小者不可以 懷大，綆短者不可以汲深。』夫若是 者，以為命有所成而形有所適也，夫 不可損益。吾恐回與齊侯言堯舜黃 帝之道，而重以燧人神農之言。彼將 內求於己而不得，不得則惑，人惑則 死。 「且女獨不聞邪？昔者海鳥止於魯 郊，魯侯御而觴之於廟，奏《九韶》 以為樂，具太牢以為膳。鳥乃眩視憂 悲，不敢食一臠，不敢飲一杯，三日 而死。此以己養養鳥也，非以鳥養養 鳥也。夫以鳥養養鳥者，宜栖之深 林，遊之壇陸，浮之江湖，食之鰍 鰷，隨行列而止，委蛇而處。彼唯人 言之惡聞，奚以夫譊譊為乎！《咸 池》、《九韶》之樂，張之洞庭之 野，鳥聞之而飛，獸聞之而走，魚 聞之而下入，人卒聞之，相與還而觀 之。魚處水而生，人處水而死，彼必 相與異，其好惡故異也。故先聖不一

其能，不同其事。名止於實，義設於 適，是之謂條達而福持。」 列子行食於道從，見百歲髑髏，攓蓬 而指之曰：「唯予與汝知而未嘗死、 未嘗生也。若果養乎？予果歡乎？」 種有幾，得水則為繼，得水土之際則 為鼃蠙之衣，生於陵屯則為陵舄，陵 舄得郁棲則為烏足。烏足之根為蠐 螬，其葉為胡蝶。胡蝶胥也化而為 蟲，生於竈下，其狀若脫，其名為鴝 掇。鴝掇千日為鳥，其名為幹余骨。 幹余骨之沫為斯彌，斯彌為食醯。頤 輅生乎食醯；黃軦生乎九猷；瞀芮生 乎腐蠸。羊奚比乎不箰，久竹生青 寧；青寧生程，程生馬，馬生人，人 又反入於機。萬物皆出於機，皆入於 機。

Zhuang Zi – Perfect Happiness, Chapter 18 (Outer Chapter) Is there really perfect happiness in the world?

Is there really some way by which we can enjoy life? If there is, what should we do and what should we depend on? What should we avoid and what should we adhere to? What should we follow and what should we evade?

What should we like and what should we dislike?

What men in the world esteem is wealth, honours, longevity and good fame. What men in the world enjoy is a comfortable life, abundant food, fine clothes, beautiful colours and sweet music. What men in the world despise is poverty, disgrace, premature death, and bad fame. What men in the world worry about is lack of a comfortable life, lack of abundant food, lack of fine clothes, lack of beautiful colours and lack of sweet music.

They are greatly worried and upset when they are in lack of these pleasures. How foolish they are in their way of valuing life!

Men of wealth toil and moil to accumulate more riches than they can possibly consume.

How superfluous they are in their way of valuing life! Men of distinction ponder over good and evil day and night. How irrelevant they are in their way of valuing life! Men are born into this world together with worry and care. In a muddled state of mind, men of longevity live a long life of worry and care. How distressing they are! How pointless they are in their way of valuing life! Men of martyrdom are eulogized by men in the world, but they have failed to preserve their lives. I do not know whether their merits are good or not. Perhaps I should think that their merits are good, but they have not been able to preserve their lives; perhaps I should think that their merits are not good, but they have preserved the lives of other people. Therefore, as the saying goes, “When your loyal admonitions are not accepted, you should withdraw and refrain from argument.”

As a result, Wu Zixu argued with the king and was put to death; if he had not argued with the king, he would not have gained his good fame. Is there really something that can be regarded as good?

As to what the people practise and enjoy, I do

not know whether their happiness is genuine or not. As to what the people enjoy – what they pursue and go all the way to strive after and universally claim to be happiness – I do not know whether their happiness is genuine or not. Is there really something that can be regarded as happiness? In my opinion, genuine happiness lies in the refrainment from action while people regard it as sorrow and grief. Therefore, as the saying goes, “Perfect happiness is derived from the absence of happiness; perfect fame is derived from the absence of fame.”

In this world of ours, it is impossible to decide what is right and what is wrong. Nevertheless, refrainment from action can help to solve this puzzle. In refrainment of action we are closest to perfect happiness and enjoyment of life. I shall try to put it this way. The heaven is clear because it does nothing; the earth is quiet because it does nothing. As neither the heaven nor the earth does anything, everything in the world is born out of them. Opaque and obscure, they seem to come from nowhere.

Obscure and opaque, they seem to have left no trace whatsoever. Everything in the world is born with nothing having done anything.

Therefore, as the saying goes, “The heaven and the earth do nothing and there is nothing they cannot do.” However, who among the men can refrain from taking action?

Zhuangzi’s wife died. When Huizi went to express his condolence, he saw that Zhuangzi was squatting on the ground, singing and beating time on a basin.

Huizi said, “Your wife has lived such a long time with you. She has born and reared children for you. Now that she has grown old and died, you are pitiless enough if you do not even shed a tear. Haven’t you gone too far when you sing and beat time on a basin?”

Zhuangzi said, “By no means. When my wife just died, how could I refrain from sorrow?

But if we trace her beginning, she did not have life before she was born. Neither did she have life, nor had she physical form at all. Neither did she have physical form, nor had she had vital energy at all. Amid what was opaque and obscure, transformation took place and she obtained her vital energy.

Another transformation took place with her vital energy and she obtained her physical form. Yet another transformation took place with her physical form and she obtained life.

Now that one more transformation has taken place and she has returned to death, this is like the succession of spring, summer, autumn and winter. My deceased wife is now lying peacefully between the heaven and the earth.

If I were to weep over her death, I think, this would mean that I am ignorant of fate. That is why I stopped weeping.”

Zhili Shu and Gujie Shu were sightseeing around Mount Mingbo on the plains near the Kunlun Mountains. where the Yellow Emperor had rested. All at once, a tumour appeared on Gujie Shu’s left elbow. He was startled and seemed to be disgusted at the sight of it.

Zhili Shu asked, “Are you disgusted at the tumour?”

Gujie Shu said, “Not at all. What is there to

be disgusted at? My life is but a loan from Tao. A tumour that grows on the loan from Tao is nothing hut a dust. The succession of life and death is like the succession of day and night. You and I have been observing the transformation of things. Now that transformation has come on me, why should I feel disgusted at it?”

On his way to the state of Chu, Zhuangzi saw an empty skull, parched but preserving its form. Zhuangzi struck it with his horse whip and said, “Have you been reduced to this condition because you craved for life and lost your power of reason? Or because you were beheaded when your country perished? Or because you did evils that brought shame to your parents, wife and children? Or because you suffered from cold and hunger? Or because you died a natural death?”

When he finished asking these questions, he went to sleep, using the skull as his pillow. At midnight, he heard the skull speaking in his dream, “You seem to be an eloquent speaker, but your words have revealed all the human bondage. The dead are not burdened with these things. Would you like to hear about what it is like in the world of the dead?”

Zhuangzi said, “Yes.” The skull said, “In the world of the dead, there is neither ruler above nor subjects below.

With no changes of the four seasons, ease and comfort last eternally. Even the happiness of a king in the human world cannot surpass this!”

Zhuangzi did not believe in his words and said, “If Fate were to restore your physical form and restore your skin and bones so that you could return to your parents, wife, children, neighbours and friends, would you be willing to do that?”

The skull said sadly, “How can I abandon the happiness of a king to suffer from the hardships in the human world?”

When Yan Yuan had gone east to the state of Qi, Confucius had a worried look on his face.

Zigong left his seat and asked, “May I ask why you look worried when Yan Yuan has gone east to the state of Qi?” Confucius said, “It’s a good question! There is a saying by Guanzi which I appreciate very much. He said, ‘A small bag cannot hold large things; a short rope cannot reach a deep well.’

Thus, as life is pre-destined, so physical forms are prearranged. Neither can be altered. I am afraid that Yan Hui will talk with the Marquis of Qi about the ways of King Yao, King Shun and the Yellow Emperor and the teachings of Suiren and Shennong. The Marquis of Qi will reflect on himself and find Yan Hui’s words beyond his comprehension. He will be puzzled over what is beyond his comprehension. And then he will kill Yan Hui when he is puzzled.

“Have you never heard about the story of a sea-bird that perched on the outskirts near the capital of the state of Lu? The sovereign went to welcome it and offered it wine in the ancestral temple. Jiushao music was played to amuse it, and pork, beef and mutton were prepared to feed it. Bewildered and sad, the sea-bird did not dare to eat a morsel of meat

or drink a cup of wine. It died in three days.

The sovereign tried to take care of the bird as if he had been taking care of himself. To take care of the bird in its own way is to allow it to perch in the woods, to fly over the islets, to float on the rivers and lakes, to feed itself on eels and other small fish, to fly and rest with the flock and to live at ease. Why make such a loud noise when the bird detests human voices? When Xianchi music and Jiushao music are played in the wilderness, the birds will fly away, the beasts will take to their heels, and the fish will dive deeply to the bottom of waters. Only men will come and gather together to listen to the music. Fish can only survive in waters while men will die in waters.

As differences do exist between men and fish, they must have different likes and dislikes.

That is why the former sages did not hope that everybody would have the same talent or do the same thing. Names should conform with reality and propriety should conform with individuality. They can be said to have acquired a proper way of reasoning and to have enjoyed everlasting bliss.”

During one of his tours, Liezi saw a centuryold skull while he was eating on the roadside.

He plucked a weed and pointed it at the skull, saying, “Only you and I know that you were never alive or dead. Are you really sad? Am I really happy?”

Among the various species, there is a microorganism which propagates in water.

It becomes moss on the water margin and it becomes plantain on the highlands. The plantain becomes water plantain, the root of which becomes the larva of the dung-beetle and the leaf of which becomes the butterfly.

Soon afterwards, the butterfly becomes an insect in a moulted form by the name of quduo, which lives under the stove. In a thousand days the quduo becomes a bird by the name of ganyugu, whose saliva in turn becomes an insect by the name of simi, which again in tum becomes another insect by the name of shixi, from which the insect by the name of yilu is born. The insect by the name of huangkuang is born from the insect by the name of jiu you; the insect by the name of maorui is born from the insect by the name of fuquan. The yangxi grass lives with the bamboo that no longer sprouts, which gives birth to an insect by the name of qingning, which in turn gives birth to the leopard, and which again in turn gives birth to the horse, which again in turn gives birth to the man. The man, in his turn, reverts to the microorganism. Everything in the world comes out of a microorganism and goes back to it.

曰：「聖人在乎？」公曰：「已死 矣。」

Zhuang Zi – Fables, Chapter 27 (Miscellaneous Chapter)

曰：「然則君之所讀者，古人之糟魄 已夫！」桓公曰：「寡人讀書，輪人 安得議乎！有說則可，無說則死！」

The penumbras asked the shadow, “A moment ago you were looking down and now you are looking up; a moment ago your hair was tied up and now it is hanging loose; a moment ago you were sitting and now you are standing; a moment ago you were walking and now you are standing still. How is all this?”

輪扁曰：「臣也以臣之事觀之。斲 輪，徐則甘而不固，疾則苦而不入， 不徐不疾，得之於手而應於心，口不 能言，有數存焉於其間。臣不能以喻 臣之子，臣之子亦不能受之於臣，是 以行年七十而老斲輪。古之人與其不 可傳也死矣，然則君之所讀者，古人 之糟魄已夫！」 Zhuang Zi – The Natural Course of Events, Chapter 13 (Outer Chapter) Duke Huan of Qi was reading books in his hall when Bian the Wheelwright was cutting a wheel in the court. Laying down his mallet and chisel, Bian the Wheelwright came into the hall and asked the duke, saying, “May I ask whose words you are reading now?”

Duke Huan said, “The words of the sages.”

Bian the Wheelwright asked, “Are the sages still alive?” Duke Huan said, “They are all dead.”

Bian the Wheelwright said, “Then what you are reading now is all rubbish left over by the ancients.”

Duke Huan said, “How can you a wheelwright make wild comments when I am reading? If you give a good explanation, you will be all right. Otherwise, you shall die.”

Bian the Wheelwright said, “I look at things from the point of view of my own work. In cutting the wheel, if I cut slowly, the spokes will be loose and the wheel is not solid. If I work quickly, the spokes will be tight and will not fit. If I cut neither too slowly nor too quickly, I do well with my hands and feel it in my heart. I cannot put it into words, but there is indeed some know-how in it. I cannot tell my own son what it is, and my son has not been able to learn it from me. That’s why I’m still working at the age of seventy. The ancients are dead and gone with what they cannot hand down in words. It follows that what you are reading now is all rubbish left over by the ancients.”

寓

假

山

A

R O C K E R Y

莊子‧外篇‧天道第十三 桓公讀書於堂上，輪扁斲輪於堂下， 釋椎鑿而上。 問桓公曰：「敢問：『公之所讀者，何 言耶？』」公曰：「聖人之言也。」

The shadow said, “Gentlemen, why do you bother to ask me such trifling questions? I do these things but I don’t know why. Am I like the shell of a cicada or am I like the slough of a snake? I look like the real thing, but I am not the real thing. I appear with the flame or the sun, but fade with the shade or the night. Do I depend on the real thing? But the real thing itself has to depend on something else! When the real thing comes, l come with it; when the real thing goes, I go with it; when the real thing moves to and fro, I move to and fro with it. I am but moving to and fro. What is there to ask about?”

言

F

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莊子．雜篇‧寓言第二十七 眾罔兩問於影曰：「若向也俯而今也 仰，向也括撮而今也被髮，向也坐而 今也起，向也行而今也止，何也？」 影曰：「搜搜也，奚稍問也？予有而 不知其所以。予，蜩甲也，蛇蛻也， 似之而非也。火與日，吾屯也；陰與 夜，吾代也。彼，吾所以有待邪？而 況乎以無有待者乎？彼來則我與之 來，彼往則我與之往，彼強陽則我與 之強陽。強陽者，又何以有問乎！」

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