role of culture by yuxiang zeng

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The Role of Culture in Visual Reproduction -A Comment on Jiang Huan’s Oil Paintings

文化在视觉再现中的作用 ——从蒋焕的油画作品说起撰文：高岭 By Gao Ling

怀沙 40X20cm Oil on canvas 2010 Hug Sand, 40X20cm, oil on canvas, 2010

好男好女 165X130cm oil on canvans 2011 Good Man and Good Woman, 165X130cm, oil on canvas, 2011

欢时-Life is a moment 100X50cm Oil on canvas 2012 Life Is a Moment, 100X50cm, oil on canvas, 2012

蒋焕的油画以精湛的写实技巧出名，多年来他一直坚持自己的特长，从不

iang Huan’s oil paintings are noted for exquisite realistic skills. Over the

为时下新的油画表现手法和层出不穷的艺术媒体与材料的出现所动。很难说究竟

years, he has followed his own way, never moved by the fashionably new

是他的这种可以归为学院写实风格的油画吸引人，还是以反映当代现实生活、追

styles of oil paintings and the endlessly emerging forms of art media and

求语言形态的不拘一格为己任的当代艺术更加打动人。因为从中国的现实观众

materials. It is hard to tell what attracts or moves people more: his academic

的欣赏能力来说，学院写实油画以逼真的形象再现形式，满足了绝大多数人们对

realistic style of paintings or his contemporary art which is based on real life and pursues

视网膜印象的依赖。这种依赖是一个世纪以来中国艺术界引进西方油画，特别是

different art forms. As far as Chinese people’s capability of art appreciation is concerned,

古典主义时期的油画风格，来改造注重意念性简约表达和文人式内心精神感悟的

the academic realistic style of oil paintings, which are reproduced with vivid images,

传统国画的结果。对于一个以线条勾勒形象轮廓，用色彩辅以铺陈的绘画体系来

satisfy most people’s reliance on visual impressions. Such a reliance results from the fact

说，然讲究以色彩的明暗关系来描绘形象，注重画面的透视关系和比例结构的西

that Chinese artists have been introducing Western paintings, especially oil paintings of

方艺术体系，显然更加符合中国社会从近代转向现代时期，对科学主义所透露出

the classical age, to reshape traditional Chinese paintings which put emphasis on a concise

的理性和客观的观看方式和认识方式的需要。因为无论是自身的民主共和，还是

expression of notions and on literary scholars’ inner thoughts. As a painting system which

抵御外敌的侵略，或者是新中国的社会政治建设，都需要放弃那种纯然自我的表

puts emphasis on the use of lines, the contrast of colors and the perspective, proportion and

现方式，用一种更加清晰明了和规范化的视觉图像识别系统来统一人们的视觉经

structure of the tableau, Western art is obviously more suitable to the needs of the Chinese

验。这就是为什么一百年来中国画一直在进行吸收西洋绘画造型语言的改革，以

society which is on a transition to modern age. Whether democratic republic, or resistance

及野兽派风格的表现主义和抽象风格的油画难以得到有效的传播和发展的原因。

to foreign invasions, or social and political construction of New China, we need to abandon

挽歌－哀悼超人 210X200cm 亚麻布油画 2009 Dirge-Mourn for Superman, 210X200cm, oil on linen, 2009 68

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the pure form of self-expression; instead, we should use a more clarified and more standardized vision identifying system to unify people’s visual experience. This tells why traditional Chinese paintings have been trying to absorb the artistic language form of Western paintings in the past one hundred years, yet difficult to disseminate and develop expressionist and abstract paintings effectively. Even in the recent thirty years, China has opened wider to the outside world, the social system has changed, and many new media and genres of art have emerged because of the influence from Western modern and contemporary cultural thoughts, yet in the reality, most Chinese people still regard the truth of art image and the beauty of art taste as the highest criteria for judging the value of art. Dating back, the maturity of Western classical paintings has had a history of several hundred years. Today’s Western art 温柔还有多远亚麻布油画 228X 75cm 2007 How Far Is Tender, oil on linen, 228X 75cm, 2007

兰尼的幸福生活 182X83cm 布面油画 Lenny's Happy Life, 182X83cm, oil on canvas

is not completely a pursuit for various forms and thoughts of art. Because of their loyal adherence to visual reproduction of

and yet constantly delayed because of foreign invasions and

Dream and Fragrance of Stamen, which were produced in

the classical age, representational and realistic oil paintings are

resistance as well as internal strife of various isms, remains

2005, I notice that he has many striking similarities: the same

确地再现出当下中国人的真实心理感受，更无法复现他

still liked by many ordinary people, who are indulged in an art

an unaccomplished task in today’s China. And besides, the

model, the same posture leaning toward the right, the same

涌现出了西方现代和当代文化思潮影响下注重艺术观念

们难以言说的视觉经验，更不要说与国际艺术的前沿去

illusion reproduced from vivid images and are filled with great

rapid development of China in recent thirty years, after all,

wandering mind with eyes closed, the same table with just the

和自我个性表达的各种新艺术流派和媒介，现实中绝大

交流了。

admiration for the artists’ superb skills.

presents a mixed pattern of social structure in traditional

tablecloth put in different directions, and certainly, the same

form, modern form and contemporary form. Culturally, it is

angle of perspective and the same composition of paintings.

即便是最近三十年来国门开放，进行社会体制的改革，

部分观众仍然视艺术形象的逼真和艺术趣味的优美为评

一方面是未尽的科学主义层面上的理性启蒙，一

判艺术价值的最高准则。而从现在推算起来，西方古典

方面是关注现实、干预社会的人文知识分子的责任，原

However, the evolution of Western art in the past one

more like a pattern of folk culture, classical art, modern art,

What makes different are the model’s hairstyle, gesture,

主义油画的成熟时期距今已经有几百年的时间了。今天

本不应再考虑技术层面的因素而突破之以寻求观念上的

hundred years has, after all, witnessed a breakthrough of

post-modern art and even contemporary art all advancing in

dresses and the conch shells used as props changed into

的西方艺术界也并非全然都是求新求异的各种艺术思潮

直接切入现实，却又在接受和欣赏角度不得不不断地回

classical formulism, an emergence of revolution in art

parallel. Therefore, no single technique of artistic expression

daffodils. In such a closed and limited visual space, the artist

和媒介样式，具像写实油画因其承接着古典时期对视觉

望这个尚未普及彻底的技术理性，这恐怕就是中国今天

language form and a strong concern of art for real life.

can accurately represent the true feelings of Chinese people

meticulously delineates two objects which are very similar in

再现的忠实而受到许多普通观众的喜爱，他们沉迷在形

的艺术家最尴尬和最难以抉择的事。蒋焕所面对的艺术

Different styles and skills, and different media and materials,

and their visual experiences at the present time, not to speak of

shape. He believes there is a gestalt-like psychological element

象的逼真再现所带来的艺术错觉之中，为艺术家高超的

创作现状和艺术接受现状正是这样非线性和跳跃式的情

have considerably expanded the breadth and depth of art

communicating with frontier international art.

in his paintings. This gestalt lies between the watcher’s

技艺所折服。

形，我们从他的绘画中，能够清楚地看到他在这种矛盾

reproducing the real world. Such a huge progress of Western

的现实情形下所做的工作。在他2005年的《娈梦》和

art is no longer covered by a mirror-like representation of

With scientific rationalist enlightenment on the one side

interacting. To put it in other words, the artist believes the

《淡蕊生香》两件油画作品中，我注意到有许多惊人的

realistic objects. In China, in recent thirty years, art has been

and intellectuals’ responsibility for focusing on the reality and

limited visual image in his paintings is just like a visual mould,

相似之处：同一个模特，同样向右倾伏的姿势，同样闭

deeply influenced by Western art, especially with the advent of

intervening in the society on the other side, there is actually

with a unique optical structure, so that the watchers can

目神游的眼帘，同样的桌子，只是调换了方向的同样织

globalization in the new century, mixed with different forms

no need to consider technical elements for a breakthrough

modify a painting’s image and obtain an inner-heart aesthetic

directly into the real life, yet in terms of art recognition

pleasure with the aid of psychological movement when they

但是，西方一百多年来其艺术的发展毕竟突破了古典主义的程式化，涌现出了艺术语言形态的革命和艺术对现实生活的强烈关注。不同的风格和手法，不同的媒介和材料，极大地拓展了艺术再现现实世界的广度和深

给超人一个安乐死 200X220cm Oil on canvas 2009 Give Superman an Euthanasia, 200X220cm, oil on canvas, 2009

eyes and the world, with the eyes, the gestalt and the world

度，这种西方艺术的大发展早已无法用写实具像的镜像

间找到其从事者和欣赏者。这说明，开始于一百年前，

锦桌布，当然还有同样的透视角度和画面构图。有所不

of Western cultural thoughts and the rapid growth of Chinese

式再现所含盖。而中国近三十年艺术领域受到西风东渐

却因为外国侵略和反抗、民族内部各种主义的争斗，而

同的是模特的发型、手势、衣着和作为道具的海螺壳变

economy, Chinese art also sees significant changes both

and appreciation, techniques do not seem to be thoroughly

look at the painting. Without such a faith in the effect of the

popularized. This, perhaps, is the most embarrassing thing and

painting’s image awakened in the audience’s mind, it would

的影响，特别是新世纪全球化时代的到来，在各种西方

不断被延误的写实主义科学理性的启蒙，在中国今天依

成了水仙花。在这样封闭和有限的视觉空间里面，艺术

internally and externally. It covers all the stages of Western

现当代文化思潮与中国经济的快速增长相互推动之下，

然是一个未尽的任务。可是，中国近三十年的快速发展

家为我们精心描绘出形式非常类似的两个观照对象，他

art in its evolution and development for several hundred

the most difficult choice faced by Chinese artists today. The

be impossible for Jiang Huan to create two works of the same

current situation of art creation and art recognition faced by

pattern with a peaceful mind just four years ago. He said he

中国艺术的内部结构和外部形态也发生了深刻的变化，

也毕竟呈现出了传统形态、现代形态和当代形态的社会

相信有一种格式塔式的完形心理因素存在于画面之中，

years. The form and style of Western art at its each stage can

在风格形态和媒介材料等各层面上，覆盖了西方几百年

结构混杂一体的格局，在文化上更是民间文化、古典艺

这种格式塔介于观看者的眼睛和世界之间，形成眼睛—

be found in China in a short span of these recent thirty years.

Jiang Huan is such a non-linear and leap-forward situation.

would not abandon his techniques of realistic oil paintings he

From his paintings, we can see clearly what work he has done

had accumulated over the years. This implies that he certainly

in such a contradictory reality. In his two oil paintings, Pleasant

has noticed the current situation of Chinese art, not to speak

艺术变革和发展的各种阶段。西方每一个阶段的艺术形

术、现代艺术、后现代艺术甚至当代艺术齐头并进的局

图式—世界的交互作用。也就是说，艺术家相信画面上

This proves that the enlightenment of realistic and scientific

式和风格，大都能在中国最近三十年这个短短的历史瞬

面，因此，任何单一和不变的艺术表现手法，都无法准

有限的视觉形象犹如一个视觉模具，具有独特的光学上

rationalism, which started more than a hundred years ago

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的结构，观看者能够在观赏它的时候借助于内心的心理

of three beautiful ladies

history”) said when he criticized cognitive psychology was

运动去完善画面形象，获得内心的审美愉悦。如果没有

and scenes in the closed

still used in the circles of Western art until the 1980s: “the

这种对画面形象本身图式在观众心理上所唤起的完形反

space remains highly

practice of excluding visual reproduction out of all the other

映效果的信念，蒋焕不可能在相距不久的四年间如此心

realistic. Yet, at this

cultural phenomena seems to have some substantial mistakes.

神淡定地创作出如出一辙的两幅作品。他说他不愿意放

stage, the artist wants

….The product of visual reproduction is no longer considered

弃自己多年积累起来的油画写实的技术，这意味着他当

to express a meaning

merely as optical or merely an impact on the retina.”

然注意到在他身边的中国艺术的现状，更不要说国外考

beyond the paintings. In

察时所看到的西方艺术的主流情形，只不过他认为中国

the first painting, the robe

If a work of art does not merely focus on the visual form

油画的写实之路远没有穷尽，关键在于如何在自己的创

undressed on the bed,

of visual reproduction and the role of optical retina, then what

作中推动这种在中国有着广泛欣赏和接受群体的艺术形

the harmonica cupped

else will it focus on? Undoubtedly, it should also focus on

式，让它更加符合当代人的欣赏要求。

in the hands, and the

the whole world in the social, cultural and historical settings.

那么，什么才是当代人的欣赏要求呢？准确点说，

eyes looking upward ---

Limiting the visual focus merely on the retina, it is obviously

什么才是当代中国大多数人的欣赏要求？满足了大多数

-all convey an overtone.

impossible to explain the profound influence of society, culture

人的要求，自己的作品就具有了艺术价值特别是学术价

In the second painting,

and other external forces on the artist and the audience who

值了吗？另外，大多数人的要求是如何得到检验的呢？

the nicely-clad girl who

are the main viewers. “As a part of a common space, visual

是否我们在考虑这个虚拟的未加证实的大多数观众的要

is reclining on her side

subjectivity is mixed with and impacted by a large group

求的时候，其实是在满足艺术家自己内心对图式和技术

is not actually a truthful

of visual codes.” In Jiang Huan’s latest works produced in

的迷恋和孤芳自赏呢？我们在蒋焕后来的作品中，欣喜

representation of the

2007 and 2008, that is, in the six works of The Criterion of

surrounding grasses and

Happiness, The Same Old Beautiful Dresses, How Far Away

flowers; they show no

Is Tenderness, Distant Waters, Lenny’s Happy Life and The

地看到他的新变化：在《如音》、《在水一方》和《玉问天 180X150cm 布面油画 2012 Faith, 180X150cm, oil on canvas, 2012

断良宵》三件作品里，封闭的空间里三个佳丽和景物的描绘手法依然是高度写实的，但是艺术家这个阶段想要借助于画面去表达某些超出画面之外的弦外之音。第一

of the mainstream of Western art he has seen when he toured

幅画里脱放在床上的外袍，双手捧握的口琴，还有向

around the world. It is just that he thinks that the realism of

上眺望的眼睛，都在传递出某种画外音；第二幅画里仰

奶奶的星期天 137X103cm 布面油画 2009 Nanna’s Sanday, 137X103cm, oil on canvas, 2009

Chinese oil paintings is far from coming to its end. The key is

面侧卧的盛装少女，其实与四周的花草环境并非是真实

方“新艺术史”的奠基人诺曼·布列逊，在批评西方艺

水》、《Lenny’s happy life》和《超人老矣》这6件作

的再现描绘，草木丝毫没有被压碾的痕迹，而是一种艺

术史界直到20世纪80年代还在使用认知心理学时所说

品中，看到他对古今中外艺术史中经典画面背景和人物

术家主观的景物叠加；第三件画也同样用断裂的玉琢来

的话：“将视觉再现排除在其他一切文化现象之外的做

造型的挪用和篡改，更注意到他去年他在美国逗留居住

暗示着安宁中的不祥征兆。这表明，随着创作的展开和

法，看来存在着某些根本性的错误。……视觉再现的产

期间在创作中对西方流行文化的图像资源的大胆使用。

深化，原先相对固定的视觉图式需要做调整，以能够容

物不再被仅仅认为是光学的或者仅仅是作用于视网膜

这说明艺术家按照自己的创作特长，开始将视觉的基点

纳下艺术家不断在脑海里吸收的外部社会的信息。于

的。”

从单纯依凭眼睛所形成的视觉场域转移到一个更加充满

是，一种容量更大的视觉图式或者说比以往更加富有表

如果艺术作品不仅仅只关注视觉再现的视觉形式

多样性和解释性的现实社会空间中，而后者所包含的文

现力的视觉场域被开拓出了，观众的想象力和感受力被

和光学视网膜作用，那将还要关注什么呢？毫无疑问，

化问题肯定会在他随后的创作中呈现出更加值得期待的

艺术家有意识地开始向着一个方向引领，可以根据自己

应该还要关注社会和文化的历史情境中的整个大千世

视觉形象，尽管这种新形象还将保留写实性的特征，但

的视觉经验对这样有新变化的图式加以再认识。的确，

界，仅仅将视觉的基点局限于视网膜，显然无法回答构

却会获得更加广阔的意义空间，也必然会推动具像写实

对于一个长期从事写实绘画的艺术家来说，要改变将自

成视觉主体的艺术家和观看者所受到的来自现实社会和

油画的当代转型，进一步有利于完成其在中国文化中的

己的艺术图式只是看成为一种视觉形体、一种格式塔，

文化等外部多种势力的深刻影响。“视觉主体性(visual

未尽使命。

而将更大领域的社会和历史变化痕迹植入画面之中，是

subjectivity)作为一个共同组成的空间，其中是由一大群

缓慢和循序渐进的。但是，如果将自己手中的艺术只是

视觉代码所混合着和碰撞着的。” 我们在蒋焕2007年

视为与世隔绝的美学空间中的一种熟练操作的早已规范

和2008年这刚过去两年的最新作品里，也就是《幸福

化了的视觉图式，那显然印证了英国著名艺术史家、西

的尺度》、《霓裳依旧》、《温柔还有多远》、《远

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how to promote this form of art in his own creations in China where there is a large group of audience who appreciate and accept it, and make it more suitable to contemporary Chinese people’s demand for art appreciation. Then, what is the art that contemporary people want to appreciate? To be more exact, what is the art that most people in contemporary China want to appreciate? Is it that a work contains the art value especially the academic value when it meets most people’s demand? And besides, what is the way to test most people’s demand? Is it that we are actually satisfying the artist’s own narcissism and indulgence in self-admiration when we consider this virtual and unproven demand of most people? In Jiang Huan’s later works, we are glad to see his new

① 诺曼·布列逊：《视觉与绘画：注视的逻辑》，浙江摄影出版社，2004 年，中文版序，第xiv页。 ② 同上,第xv页。

changes: for example, in his three works Just Like the Sound, On the Riverside and Sorrow at a Happy Night, the delineation

signs of being pressed,

Superman Is Old, we see his deliberate alteration of classical

but an overlapping of scenes imagined by the artist. The third

paintings in the background of tableau and in the modeling of

painting similarly uses a short and broken jade to imply a bad

figures, and more importantly, his bold use of video resources

omen in the state of peace. This shows that with the expansion

of Western pop culture in his creations while he stayed in

and deepening of artistic creations, the original composition

America last year. This shows that the artist follows his own

of the painting needs to be adjusted to be able to hold the

way and begins to shift his visual focus from a mere reliance

external messages that the artist has absorbed into his mind.

on what he sees with his eyes to a real society space which is

Then, a visual composition with a larger holding capacity, or

much more variable and accountable. Certainly, the cultural

a visual field more expressive than before, is opened up, and

issues contained in the real society will present a more

the audience’s imagination and sensation are consciously led

anticipating visual image in his subsequent creations. Though

by the artist toward a direction so that they can re-understand

this new image will retain the traits of realism, it will also

the new composition according to their own visual experience.

obtain a more broad space and will promote a transformation

Indeed, for an artist who has long been engaged in realistic

of representational and realistic oil paintings in contemporary

paintings, he needs to change his conception of art merely as a

China, making more contributions to the accomplishment of

visual shape or a gestalt, but should implant a broader scope of

the unaccomplished missions of Chinese culture.

social and historical changes into his paintings, which is a slow and gradual process. Yet, if he regards his art only as a familiar and prototyped visual composition in an isolated space, then it obviously proves what William Norman Bryson (British famous historian of art and founder of the Western “new art

William Norman Bryson: Vision and Painting: The Logic of the Gaze, Zhejiang Photographic Press, 2004, Preface of the Chinese version, p. xiv Ditto, p. xv

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《》 newspaper, nanmu, 105x105cm, 2010 《》报纸、楠木 105x105cm 2010

Wang Lei: Began in Weave, Weave in the End 王雷: 始于编织,止于编织撰文：吕胜中 By Lu Shengzhong

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五彩衣裳No.1 五彩宣纸撮线及编织技术 150x115cm 2012 Colorful Clothes No.1, woven from colorful Xuan paper, 150x115cm, 2012

王雷使用编织的技术是出于偶然，

可以真正穿着在人的身上。如果不是展

Wang Lei’s encounter with the craft of

a painting in frame. He rub the finished

出中将原材料——整卷手纸也连接在衣

weaving was unexpected. During a school

product of literature into thread, then

习中，老师要求学生任选单一材料，首

物上，观众很难猜到作品的材质。从这

exercise, the instructor asked each student

weave it into clothes. Some of the works

先分析与探讨物质材料原本属性的“可

里获取的一种心态重新看待身边事物，

to choose a material, first to research the

can actually be worn. If the material did

能性”，通过作业使其“不可能”转化

世界中的荒原变成绿野，社会上的弱小

existing “possibilities” of the material, then

not display by the piece, the audiences can

成多种新的可能。王雷的一组以卫生纸

变得丰硕，人际间卑微变得尊贵，生活

to turn its “impossibilities” into possibilities.

hardly guess it. The audience had gained

为原材料的作业中有一个编织的实验受

中的一团乱麻绽开美丽的鲜花……

Wang Lei’s preliminary experiment with

a new way of viewing daily life, turning

到大家普遍的喜爱，这导致了一个完整

近来，王雷正在赶制的一组新的作

interlacing toilet paper was well received.

wasteland in to grassland; poor into rich;

的作品《手织手纸》的诞生。编织原本

品让我看到新的契机，尽管还是古装的

He then developed that series into the

humble into noble; the mess of life has

是生活实用性技艺，使用这样的技艺化

形制，他在将报纸裁切、搓线以及编织

recent work Woven Toilet Paper. Weaving

turned into a blooming flower.

腐朽为神奇，将低廉的手纸变成一件艺

的过程中投入了阅读与剪报，报纸上的

is an ancient applied technique. Wang

Lately, Wang Lei is compiling a new body

术品，让观者重新看待身边事物，从而

人像被善意地剪裁出来，成为衣服成衣

has transformed the decadent craft into

of work that in my opinion is very promising.

获得独特的精神陶冶和审美享受。《手

之外的另一个视觉层次——报纸、衣服、

wonderful art; by championing disposable

Continuing with paper costumes, he adds new

织手纸》公开展出之后很快成为一件感

人像（也可以是别的）分别提示着社会

toilet paper as a work of art, he raises our

elements of reading and paper clipping to the

染力很强的作品，被国内外艺术界广泛

对新闻清楚、模糊、碎片或断章取义的

spirit and derives aesthetic pleasure from

process of cutting, slubbing and weaving: he

称道。

不同采纳方式，这起码强调了报纸作为

an ordinary product. On one hand, Woven

cuts out the portraits in the newspaper and

现成品在作品中使用的意义，也让他的

Toilet Paper has gained national and

attaches them to the surface of the costumes,

编织手艺不止于编织。

international recognition for the artist.

generating another visual layer. Newspaper,

衣装，在不断的发展中也逐渐成为一种艺术的语言，如中国古代的缂丝、织锦

Knitting begin with the purpose of

costumes and portraits (not limited only to

以及挂毯等，从生活实用功能产品升华

enriching the style of clothing, through out

human figures) call to mind how arbitrarily

为赏心悦目的艺术品。而作者运用这种

time, it has turned into a language of art.

society consumes media information. The

From Chinese K'o-ssu, brocade to tapestry,

artist emphasizes the role of the newspaper as

knitting turn daily product into art. Using

a ready-made object in his work, and shifts

this traditional skill but not the traditional

the attention from the craft of weaving to its

material such as cotton, linen, wool or

metaphysics.

传统的技艺，却放弃了棉、麻、毛、丝等常规的物质材料，也不图谋制造成为一幅挂在墙上的图画。他将现实司空见惯的文化现成品搓成线条，又精心钩织

ART GALLERY MAGAZINE

五彩衣裳No.23 五彩宣纸撮线及编织技术 113X113cm 2012 Colorful Clothes No.23, woven from colorful Xuan paper, 113X113cm, 2012

最初是在“物质化呈现”课程的作业练

编织的手艺起初是为丰富人们的

战利品旧报纸撮线及编织 230X50X175cm 2012 Trophy, woven from used newspaper, 230X50X175cm, 2012

编职编造NO.3(上) 《英汉辞海》撮线及编织技术 170X130cm 2010 Knitted No.3 (I), woven from English Chinese Dictionary pages, 170X130cm, 2010

成为各种款式的衣装——这些衣装甚至

silk, neither did him display the piece as

ART GALLERY MAGAZINE

艺术家工作室

PROFILE

耶稣说《圣经》撮线及编织技术 68x39cm 2010 Jesus Said, woven from Bible pages, 68x39cm, 2010

By employing paper as a medium, Wang Lei explores

手织手纸no.3 卫生纸 380X180X25cm 2007 Hand-woven Toilet Paper No.3, toilet paper, 380X180X25cm, 2007

attention to and think it deeply.

in our life from another perspective?

the character of things in his works and express his own

After having cut various colored paper into strips

Without a fixed form and back to original emotion,

observation and feeling about the world. Here, the portrayal

and twist them into paper threads, Wang Lei, according

Wang Lei’s art tends to respect self-feeling, open the heart

of every separate entity is realistic, but the combination

to the concept of intertexture, has rebuild things of new

and accomplish the reconstitution beyond medium. His

of different paper media is subjective. These works show

shapes-----the ancient garments in diverse styles out of the

practice demonstrates that the concept of art must go along

王雷的作品，通对纸媒的运用，探讨蕴藏其中的“物

王雷将不同色彩的纸先行裁切，再搓出纸线，运

性”，从而表达他对这个世界的观察和感受。在这里，

用编织（Intertexture）的概念，重新结构出新的形体与

尊重自我感觉，开放心灵的空间，达到了超越媒介的重

the positive and independent thinking of Wang Lei, that is,

contemporary imagination where the corresponding concept

with entities and be reflected by the art. The cultural intuition

每一个单独的物的摹仿是写实的，但是不同的纸媒材料

物品——不同样式的现代人想象中的古代服装，从中获

构。他的实践告诉我们，艺术的观念只能寓于实物，通

his recognition of differences between human and nature,

is conveyed. Reading Wang Lei’s works, we can feel the

of artists is not to the materials, but also an experience of

的组合是主观化的，作品显示出王雷活跃的独立思考，

得观念的对应表达。王雷的作品散发出一种中国的文化

过艺术之手来实现。艺术家的文化直觉，既是对材料的

life stuff and artworks. In these works, people’s image are

Chinese cultural atmosphere around which is, the plainly

vast handiwork practice, which are important aspects of

即对于人与自然、生活用品和艺术作品的差异的认识。

气息，这是蕴藏在中国传统文化中温柔含蓄的素朴诗性。

直觉，也是对浩繁手工制作的体验，它们构成了艺术品

combined with their creations, which in daily life, we are

poetic air contained by Chinese traditional culture. From

art. Artists can get into the realm of fascination through

在他的作品中，人的形象与自己的创造物交织在一起，

从这一意义上来看王雷的作品，我对艺术家使用纸材对

的重要方面。艺术家可以在与材料持续的对话与制作之

accustomed to, so that we would not ponder over this ever-

this point, I have had reflection on and an interest in artists’

conversations with these materials and through the continued

我们在日常的生活中习以为常，不再去思考其中隐而不

于中国传统服装的复制产生了思考和兴趣，这种对传统

中，达到忘我的境界。

existing but included mystery. Paper, the most significant

employing paper to achieve the reproduction of Chinese

production.

露的存在的奥秘。而王雷将“纸”这一人类文明史上最

服装的复制，是对传统服装所代表的古代文明的赞颂，

invention in human civilization, are displayed to us once

traditional clothes------Is this kind of reproduction reflecting

重要的发明，经过解构和重组后，再现于我们的眼前，

还是从另外一个角度提醒我们认识生活世界的“非真实”

more in Wang Lei’s works through a collection of “division”

compliments to the ancient civilization represented by

使我们在惊异之余，对其加以关注和思索。

呢？

and “reconstruction”, thus making us amazed and pay

traditional clothes, or reminding us to recognize “the unreal”

ART GALLERY MAGAZINE

王雷的艺术，去掉既定的形式，回到感性的原点，

主席说《毛泽东选集》撮线及编织技术 77X39cm 2010 Chairman Said, woven from Selected Works of Mao Tse-Tung pages, 77X39cm, 2010

——殷双喜

—— Yin Shuangxi

ART GALLERY MAGAZINE