Cai Xiaosong | Illumination - Rock of the Other Mountain (online) by Plum Blossoms (Int'l) Ltd.

I L L UMI NAT I ONS ROCKOFT HEOT HE RMOUNT AI N S ol oE x hi bionofCa i Xi a os ong

I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n Solo Exhibition of Cai Xiaosong Curated by

Olivia Wang

PLUM BLOSSOMS GALLERY

Foreword Stephen McGuinness / Hong Kong

Throughout history China has been characterized as xenophobic. The focus was the insular society looking within with few encounters with the outside world. The China of today is breaking that trend in commerce, politics and cultural outreach.

lluminations – Rock of the other mountain is Cai Xiaosong’s first solo exhibition in Hong Kong. Cai Xiaosong is looking outward from his studio in Beijing. His extensive travels have taken him around the world. He is attracted to cultural boundaries often where conflict has arisen as a result of encroachment of one culture on another’s beliefs, territory and resources. Cai is concerned with conflict resolution and holds out hope for peace and understanding of all humanity. Perhaps that is why he is attracted to rock as the common element of his artistic efforts for with rock he not only finds beauty and traces of history but the stability of rock becomes a metaphor for his aspirations that all people will find unity and peace. I thank Cai Xiaosong for his cooperation with Plum Blossoms Gallery. The Curator of lluminations – Rock of the other mountain, Ms. Olivia Wang has created a wonderful exhibition and has contributed an insightful essay for this catalogue. I thank her for her excellent effort. Monica Fu of Plum Blossoms Gallery acted as Exhibition Coordinator and Editor of the catalogue. I thank her for her excellent performance. I believe that Cai Xiaosong represents the new China with a population looking not only inwards for inspiration but also outwards with concerns for all humanity. His beautiful paintings speak for themselves. I invite all of our supporters to enjoy Cai Xiaosong’s Illuminations – Rock of the other mountain.

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前言麥史鏑 / 香港

縱觀歷史，中國一直被指是一個排外的國家；其主要原因是一個封閉的社會在鮮有與外面世界接觸

的經驗下，只向內看。然而今天的中國在商業、政治、文化發展等方面都正在努力打破這舊有的看法。

他山之石是蔡小松於香港的首次個展。他正是從他在北京的工作室裡向外看。蔡小松經常到世界各

地旅行，往往被吸引到那些由於一種文化對另一種信仰、領土和資源的侵蝕而引發衝突的文化邊界；蔡氏關心解決衝突的方法並渴望和平以及對一切人性的理解。他在石頭裡發現的不僅是美麗和歷史的痕跡，穩定的石頭更隱含了他的願望，人最終會對和平與團結有所發現；這也許就是他把石頭作為他的藝術中的重要元素的原因。

我感謝蔡小松與萬玉堂畫廊合作。與此同時也感謝這次他山之石的策展人汪鈴小姐舉辦這個精彩的

展覽，並為圖錄特意撰寫了有見地的文章。我亦特此感謝萬玉堂畫廊傅詠彤小姐擔任展覽統籌和圖錄編輯設計的出色表現。我相信蔡小松代表著在新中國那不只向內追尋啟發，同時亦關注外間人性的一群人。蔡氏美麗的畫作不言自明。我邀請我們所有朋友，一同來享受蔡小松的他山之石。

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Illuminations - Rock of the other mountain Olivia Wang

“The rock of the other mountain can polish jade”,

from the Book of Poetry, Western Zhou period (1050-771 B.C.) From the early twentieth century, a quest for innovation relevant to the times has been the driving force of Chinese ink painting. Innovation has taken many different forms, including innovation from within the ink painting tradition, experimenting with new techniques, incorporating Western elements, responding to national directives and embracing international art trends. In China now there is a similar desire to bring the new in the field of ink painting. Ink painters today are discovering ways to extend the legacy of the ink tradition with their unique visions, emotions and personal connection with the past. Cai Xiaosong is a proponent of this contemporary ink movement. Born in 1964 in Shanghai, Cai Xiaosong comes from an intellectual and artistic family. His father was a philosophy researcher at the Chinese Academy of Sciences, and his mother, a professor of law, was an accomplished amateur ink painter. Cai was trained in classical ink painting at the Arts Academy of Shanghai University. After graduating in 1991, Cai experimented with Western media and art forms before eventually returning to traditional ink, brush, paper and silk. His return to ink painting began with honing his brush technique through the practice of calligraphy and monumental landscapes that recall Northern Song dynasty landscape painting. Since 2002, he has focused on rock paintings as a portrait and large-scale installations. An ardent traveller with a serious interest in learning about different cultures and religions, the themes in his work are often inspired by his extensive travels abroad.

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The rock is a favoured subject in Cai Xiaosong’s oeuvre and indeed nearly half the paintings in this exhibition are of rocks. Collected since the early Song dynasty, the rock has been described as the essence of the Chinese landscape. First, large specimens were gathered for display in gardens; later, smaller ones made up home or studio collections. They brought the natural world inside, providing “imaginary travel” to magical peaks and cave paradises. As rocks became increasingly important emblems of scholarly status, literati painters also depicted the objects in their paintings. Chinese contemporary ink artists today continue the literati tradition of appreciating rocks and portraying them in their paintings. Cai Xiaosong rethinks this practice of painting rocks by creating new manners of display. For example, as presented in this exhibition, he places a painted rock between two transparent sheets and then mounts it on a plinth. What results is something between an ink painting, sculpture and installation, forging an illusory effect. Similarly, in the Planet series of which there are four in this exhibition, he presents traditional themes cast in a unique modern form. Like rocks, each planet is delineated by distinct crevices and perforations. Cai’s deft brushwork creates three-dimensional objects that transport the viewer to mystical realms within the cosmos. Evoking planets floating in space, the series reference the ancient Chinese belief that the universe was a manifestation of the forces of nature. In addition to traditional Chinese rocks, ancient rocks

from other parts of the world are also subjects of exploration in Cai Xiaosong’s oeuvre. For example, he imbues the Pillar at Athens (2012) with a distinctive vitality. Although the object is in ruins, he believes that it is a powerful symbol of the country’s age-old civilization and aesthetics. Drawn to the histories of different religions including Christianity, Judaism, Hinduism, Buddhism, Islam and Zoroastrianism, Cai Xiaosong is particularly interested in exploring the similarities between religions and tracing their origins. He has researched extensively and in the last three years he has travelled to Tibet, Burma, Cambodia, Nepal, Israel and Iran. His most recent body of work, as featured in this exhibition, is a series of eight paintings inspired by a month-long visit to Nepal in 2013. The Kama Sutra Series (2014) is a portrayal of the wooden erotic carvings that adorn the roof struts of temples in Nepal. Such vignettes, ranging from the odd coy image to the explicit are seen as serving as Tantric paths to moving the human mind towards higher planes and enlightenment. Cai recasts these scenes into rock, with the belief that stone can better reflect the Tantric energy and power than wood. His depiction of Celestial Roar (2014) reflects the majesty of the male and female stone lions who serve as protectors at the entrances of Buddhist palaces, shrines and gardens. Cai embellishes the details on the lions through free-flowing yet meticulous brushwork. Through his painted subjects, he prompts us to learn about and reexamine ancient civilizations – in this case – the Tibetan Buddhist and Hindu beliefs and cultures. He says: “I hope my art

can convey my desire for a society where different religions coexist peacefully and communicate with mutual understanding.” Cai Xiaosong has described his philosophy as: “the rock of the other mountain can polish jade” – an idiom meaning to improve oneself by accepting opinions from outside. While Cai uses traditional ink to express himself, he tirelessly seeks ways to enrich his art by looking to other cultures and sources for inspiration. Such influences serve as powerful illuminations on developing his ideas and his art. His works encourage us to view cultures, places and religions with fresh eyes and an open mind. Illuminations – Rock of the other mountain is Cai Xiaosong’s first solo exhibition in Hong Kong. It features 23 works including ink paintings and installations that reflect Cai Xiaosong’s deep understanding of the Chinese ink tradition enriched by a broader global perspective.

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他山之石汪鈴「他山之石，可以攻玉。」《詩經﹒小雅﹒鶴鳴》西周 (公元前1050-771)

打從二十世紀初，追求緊貼時代的創新一直

以點綴家裡或書塾的案頭。它們將自然世界帶進室

驅動著中國水墨畫的發展。創新所採取的形式有許

內，為人提供溜達奇山和天洞的「假想旅遊」。石頭

多，包括從水墨畫傳統中創新、以新技術試驗、結合

成為越益重要的學術標記，文人畫家亦逐漸把此一對

西方元素、響應國家大方向和擁抱國際藝術潮流。現

象寫於他們的繪畫中。

在在中國亦正有一股類似的推陳出新的渴求來到水墨畫壇。今天的水墨家們不斷地以他們獨到的視野、情感與個人對過去的聯繫，去尋找延續傳統水墨傳奇的各種方式。蔡小松正是這一當代水墨運動的支持者。

時至今天的中國當代水墨藝術家，仍繼續文

人欣賞石頭的傳統並在畫中描繪它們。而蔡小松卻建構出新的展示模式來重新思考繪畫石頭的這種做法。譬如，在是次展覽上可見，他把石頭繪畫放置於兩塊

1964年出生於上海的蔡小松，來自一個知識

透明膠片之間，裝以底座；得出的是一介乎水墨畫、

分子和藝術家庭。其父親為中國科學院的哲學研究

雕塑和裝置之間的，一種虛無縹緲的效果。同樣，在

員，而他的法學教授母親，同時是一位多才多藝的業

天體系列 - 其中四個會於展覽上展出，他將傳統的

餘水墨畫家。蔡氏於上海大學美術學院授以古典水墨

主題以一個獨特的現代形式呈現。正如石頭，每個星

畫技法；1991年畢業後，他曾嘗試實踐西方媒介和藝

球都由不同的裂縫和孔眼所勾劃；蔡氏用其靈巧的筆

術形式，最終回歸傳統的水、筆、墨、紙和絲綢。起

觸創造了能帶領觀看者遠探宇宙神秘領域的三維物。

初，他透過實踐書法和北宋史詩式的大型山水畫去磨

這系列參照了古代中國所信仰的，宇宙是大自然力量

鍊自己的筆法；而自2002年，他便醉心於創以石頭為

的體現，並喚起遠古星體在太空中漂浮的回憶。

作主體的塑像畫和大型裝置。作為一個關注不同文化和宗教的熱心旅客，他的作品主題往往啟發自經常在外旅遊的經歷。

除了中國傳統的石頭，世界各地的古老石頭

亦是蔡小松作品中所探索的主題。例如，他在雅典娜石柱（2012）灌輸的鮮明生命力；被描繪的雖為一片

石頭是蔡小松作品中被鍾愛的主題，的而且

確，是次展覽中近一半的畫作都是石頭。石頭早於宋

頹垣，但他認為這是一個國家的古文明和美學的強有力象徵。

代已被收藏，並被描述為中國山水畫的精髓。最初，大的標本被團簇在花園中展示；以後，小者更被收集

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蔡小松一直被不同宗教的歷史所吸引，包括

基督教、猶太教、印度教、佛教、伊斯蘭教和拜火

影響無疑是一座強大的明燈。他的作品鼓勵我們利用

教，並對探索宗教之間的相似性與追踪其本源特感

湛新的角度和開放態度去觀察文化、風土和宗教。他

興趣。他研究

廣泛，在過去三年，已走訪西藏、緬

山之石是蔡小松於香港的首次個展，共展出二十三件

甸、柬埔寨、尼泊爾、以色列和伊朗。而最近所作，

作品包括水墨繪畫和裝置，反映蔡小松在廣闊的全球

是即將展出的一系列八幅作品，靈感來自2013年中為

視野中，其於中國水墨傳統的深刻理解。

期一個月的尼泊爾訪問。永恆的愛系列（2014年）描繪那些嵌於尼泊爾寺廟橫樑上的刻劃性愛場景的木雕刻；那些小插圖直截地以奇特靦腆的形象在人前展現，是被密宗視作引導人向更高精神境界和覺悟的路徑。蔡氏將這些場景一一重塑於石頭上，他相信石頭比木材能更好地反映密宗的能量和威力。而蔡氏筆下的天吼（2014年）則體現了佛教宮殿、神壇、花園入口的守護者 - 雄性和雌性石獅子的那份威嚴；他以細膩而自由流動的筆法點綴著獅子的細節。通過所繪畫的主體，他提示我們要了解和重新審視古代文明這一情況下 - 藏傳佛教和印度教的信仰和文化。他說：「我的理想是通過藝術的方式達成宗教間諒解與溝通，共存同榮，有一點點社會意義。」

蔡小松形容他的哲學為：「他山之石，可以

攻玉。」這個成語的意思是從外部接受意見，以提高自身。蔡氏以傳統水墨來表達自我，透過觀察其他文化和根源作為靈感，孜孜不倦地尋求方法去豐富自己的藝術；於蔡小松發展他自己的思想和藝術而言，這

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Artist’s Statement

Cai Xiaosong

I am often troubled by how my work can live up to everyone’s expectations. The hardships I have met along my journey of exploration have at times left me disheartened. My works have recently received a lot of attention and I have been invited to join many exhibitions. I can never forget the occasion of the opening reception of my solo exhibition in March 2010 at the Valencian Institute of Modern Art, Spain. The director, Consuelo Ciscar, said to me: “Your time has arrived, you now have the key to open the door to every museum.” I don’t want to mislead anyone – I always remind myself that this was merely an encouragement. I am so grateful for those who appreciate my work. Chinese ink painting represents the art history of China; it carries many cultural symbolisms and connotations. In order to more deeply express my art, I do not merely reference the traditional Chinese landscape and mountains, but I also look to other parts of the world. From Athens and Rome to Angkor Wat, Jerusalem, Persepolis and the Himalayas… Man has used rocks to build civilizations. These rocks carry many years of history and geographical information. I devote myself wholeheartedly to using ink to portray the particular qualities of these rocks. At times, this devotion reaches the level of an ascetic monk’s. However, when I see Chinese ink painting enriched by ta shan zhi shi [“the rock of the other mountain”; to improve oneself by accepting opinions from outside], I make new discoveries and this makes me so excited. Art imparts information and inspires new concepts. In my art, I don’t have the wild ambition to solve the problems and misunderstandings that mankind has accumulated over the last thousand years, let alone expect these silent expressions of art to serve as Babel’s steps of understanding. I use traditional ink painting to examine the world – even an imaginary world or a utopian one. I feel miraculously empowered by the unknown energies of the world and its universe to return to ink painting.

Translated by Olivia Wang

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他山之石蔡小松

我時常困惑於如何完善自己的作品方不辜負大家的期望，為此我始終在探索，個中的艱辛有時會讓

自己沮喪。

我承認近期自己的作品受到了極大的關注，展覽邀約不斷，還記得2010年3月，西班牙瓦倫西亞當

代藝術博物館館長Consuelo女士在我個展的開幕式上對我說：你的時代到來了，因為你擁有開啟所有博物館大門的鑰匙。我不想誤導大家，我總是冷靜的提醒自己，這只是一種鼓勵，我對所有熱愛我作品的人心存感激。

中國的水墨幾乎就是一部中國的藝術史，其筆墨間蘊含著大量文化的信息與符碼。隨著探尋的深

入，我的觸點也不僅停留在那些傳統的山川之間，而是延伸到了世界各地。從雅典、羅馬、吳哥窟、耶路撒冷、波斯波利斯、喜馬拉雅……，人類用石頭壘砌這些文明的發祥地的同時，這些石頭也攜帶了大量歲月與地域的信息，我不惜筆墨地描繪這些石頭特殊的質感，有時候甚至接近於一個苦行僧，但當我看到中國水墨的信息與這些他山之石的信息交織在一起，我似乎有了新的發現，這讓我興奮不已。藝術為人類提示經典，承載信息，提供新鮮似乎成為可能。我沒有野心在我的藝術中，解決人類幾千來積累的矛盾與不理解不妥協，更不奢望這種無聲的表達構建出巴別塔（Babel）的諒解之梯。只是當我自己運用中國傳統水墨方法重新看待世界、甚至想像中的世界、乃至烏托邦時，世界與宇宙乃至未知的能量也恩賜我神奇的反饋還於筆墨。

他山之石，可以攻玉。

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HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Scholar’s Rock I Ink on silk Signed and dated 02.10, with three seals of the artist 180 x 90 cm 2010

賞石之一水墨絹本 2010年作款識小松鈐印「蔡小松印」「松月夜窗虛」「長吉」

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Scholar’s Rock II Ink on silk Signed and dated 02.10, with three seals of the artist 120 x 120 cm 2010

賞石之二水墨絹本 2010年作款識小松鈐印「蔡小松印」「松月夜窗虛」「長吉」

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Pillar at Athens Ink and color on silk Signed and dated 2012.3, with three seals of the artist 103 x 110 cm 2012

雅典娜柱石設色絹本 2012年作款識小松鈐印「蔡小松印」「松月夜窗虛」「長吉」

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Scholar’s Rock at the Forbidden City Ink on silk Signed with one seal of the artist 56 x 40 cm 2006

紫禁城賞石水墨絹本 2006 年作款識松鈐印「蔡」

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A Prosperous Mountain Ink on silk Signed with one seal of the artist 40 x 58 cm 2006

元寶山水墨絹本 2006 年作款識松鈐印「蔡」

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Fossilized Sandalwood Ink on silk Signed with one seal of the artist 124.5 x 32.5cm 2002

沉香木化石水墨絹本 2002 年作款識松鈐印「蔡」

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Royal Garden Rock Ink on silk Signed with one seal of the artist 41 x 60 cm 2007

御花園賞石水墨絹本 2007 年作款識松鈐印「蔡」

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Scholar’s Rock at Ningshougong, Forbidden City Ink on silk mounted between Plexiglas Signed with one seal of the artist 45 x 24 cm 2007

紫禁城寧壽宮石水墨絹本夾於有機玻璃之間 2007年作款識松鈐印「蔡小松印」

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Auspicious Rock Ink on silk mounted between Plexiglas Signed with one seal of the artist 32 x 52 cm 2007

瑞獸石水墨絹本夾於有機玻璃之間 2007年作款識松鈐印「蔡小松印」

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Maiden Stone Ink on silk mounted between Plexiglas Signed with one seal of the artist 43 x 24 cm 2007

少女石水墨絹本夾於有機玻璃之間 2007年作款識松鈐印「蔡小松印」

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An Exquisite Rock from Shanghai Ink on silk mounted between Plexiglas Installation Signed with one seal of the artist 180 x 90 x 30 cm 2009

上海玲瓏石水墨絹本有機玻璃裝置 2009 年作款識小松鈐印「蔡小松印」

HE0021 HE0022 HE0023

30 I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n

他山之石可以攻玉

︽詩經．小雅．鶴鳴︾

HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Kama Sutra I Ink on silk Signed and dated 2014.3, with one seal of the artist 82 x 52 cm 2014

永恆的愛之一水墨絹本 2014年作款識小松鈐印「蔡小松印」

HE0021 HE0022 HE0023

34 I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n

HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Kama Sutra II Ink on silk Signed and dated 2014.3, with one seal of the artist 82 x 66 cm 2014

永恆的愛之二水墨絹本 2014年作款識小松鈐印「蔡小松印」

HE0021 HE0022 HE0023

36 I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n

HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Kama Sutra III Ink on silk Signed and dated 2014.3, with one seal of the artist 82 x 66 cm 2014

永恆的愛之三水墨絹本 2014年作款識小松鈐印「蔡小松印」

HE0021 HE0022 HE0023

38 I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n

HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Kama Sutra IV Ink on silk Signed and dated 2014.3, with one seal of the artist 82 x 66 cm 2014

永恆的愛之四水墨絹本 2014年作款識小松鈐印「蔡小松印」

HE0021 HE0022 HE0023

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HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Kama Sutra V Ink on silk Signed and dated 2014.3, with one seal of the artist 82 x 66 cm 2014

永恆的愛之五水墨絹本 2014年作款識小松鈐印「蔡小松印」

HE0021 HE0022 HE0023

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HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Celestial Roar I Ink on silk Signed and dated 2014, with one seal of the artist 300 x 140 cm 2014

天吼之一水墨絹本 2014年作款識松鈐印「蔡小松印」

HE0021 HE0022 HE0023

44 I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n

HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Celestial Roar II Ink on silk Signed and dated 2014, with one seal of the artist 300 x 140 cm 2014

天吼之二水墨絹本 2014年作款識松鈐印「蔡小松印」

HE0021 HE0022 HE0023

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HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Vajra Ink on silk Signed and dated 2014.1, with three seals of the artist. 60 x 180 cm 2014 [previous spread]

金鋼杵水墨絹本 2014年作款識小松鈐印「蔡小松印」「松月夜窗虛」「長吉」

HE0021 HE0022 HE0023

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HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Planet No. 6 Ink on silk Signed and dated 2010, with three seals of the artist Dia. 86 cm 2010

天體系列之六水墨絹本 2010年作款識小松鈐印「蔡小松印」「松月夜窗虛」「長吉」

HE0021 HE0022 HE0023

52 I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n

HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Planet No. 8 Ink on silk Signed and dated 2009, with three seals of the artist Dia. 77 cm 2009

天體系列之八水墨絹本 2009年作款識小松鈐印「蔡小松印」「松月夜窗虛」「長吉」

HE0021 HE0022 HE0023

54 I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n

HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Planet No. 9 Ink on silk Signed with two seals of the artist Dia. 58 cm 2009

天體系列之九水墨絹本 2009年作款識小松鈐印「蔡」「蔡小松印」

HE0021 HE0022 HE0023

56 I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n

HE0001 HE0002 HE0003 HE0004 HE0005 HE0006 HE0007 HE0008 HE0009 HE0010 HE0011 HE0012 HE0013 HE0014 HE0015 HE0016 HE0017 HE0018 HE0019 HE0020

Planet No. 10 Ink on silk Signed and dated 2009, with three seals of the artist Dia. 77 cm 2009

天體系列之十水墨絹本 2009年作款識小松鈐印「蔡小松印」「松月夜窗虛」「長吉」

HE0021 HE0022 HE0023

58 I l l u m i n at i o n s - R o c k o f t h e o t h e r m o u n ta i n

Planet No. 6

Planet No. 8

Planet No. 9

Planet No.10

BIOGRAPHY 1964

Born in Shanghai

1991

Graduated from the Arts Academy of Shanghai in ink painting

Currently lives and works in Beijing

SELECTED EXHIBITIONS 2014

Enchanted Landscapes, Sotheby’s, S2 Gallery, New York

Meditations in Nature: New Ink, Ben Brown Fine Arts, Hong Kong 2013 Shuimo: Water Ink, Sotheby’s, S2 Gallery, New York

Inaugural Exhibition, Shanghai Himalayas Museum

Footsteps of the Buddha, Sotheby’s Selling Exhibition, New York

Encounters – Art Sanya

2012 The Chinese Scholar: Ink paintings and works of art, Asia Week New York 2010-12

Future Pass – From Asia to the World, Abbazia di San Gregorio and

Palazzo Mangilli-Valmarana, Venice; Wereldmuseum,

Rotterdam, National Taiwan Museum of Fine Arts, Taichung; Today Art Museum, Beijing

2010 The Solid Time – Cai Xiaosong’s Oriental Art from China, Valencian Institute of Modern Art, Valencia Stone: Cai Xiaosong’s Oriental Art, National Museum of Fine Arts, Havana

Papercut Exchange Exhibition of Sino-German Contemporary Art Works, Shanghai

The Era of Ink Painting, Duolun Museum of Modern Art, Shanghai 1964

生於上海

1991

畢業於上海大學美術學院國畫系

現於北京工作及居住

重要展覽 2014

水墨：夢幻仙境，紐約蘇富比S2畫廊

水墨心境，Ben Brown Fine Arts, 香港

2013

水墨：中國當代水墨畫，紐約蘇富比S2畫廊

意象：上海喜馬拉雅美術館新館開幕展，上海喜馬拉雅美術館

佛的足跡：佛教藝術經典之作展售會，紐約蘇富比拍賣展

不期而遇：Art Sanya 藝術季，三亞

2012

中國文人：水墨畫及工藝精品，紐約藝術周亞洲

2010-12

第54屆威尼斯雙年展，其後參與未來通行証，鹿特丹世界藝術館，

以及台中國立台灣美術館，北京今日美術館

2010

固體時間：蔡小松的當代東方藝術，西班牙巴倫西亞現代藝術館

石頭：蔡小松的東方藝術，哈瓦那國立藝術館

紙：Papercut 中德當代藝術作品交流展，上海

水墨時代，上海多倫現代美術館

63 CA I X I AOSON G

This catalogue was published to accompany an exhibition at Plum Blossoms Gallery, from 10 to 31 May 2014.

PLUM BLOSSOMS (INT’L) LIMITED

14th Floor, Cheung Tak Industrial Building

30 Wong Chuk Hang Road, Hong Kong

Tel:

(852) 2521-2189

Fax:

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Publishing Coordination Monica Fu

E-mail: info@plumblossoms.com

Translated & Edited by Monica Fu

Website: www.plumblossoms.com

ISBN 978-988-19829-0-2

PL UM BL OSSOMSGALLERY