龔云表

“瓶非瓶”，是盧治平近年來創作的一組絲網版畫系列作品的總標題，而其題目背后所蘊藉的審美內核和當代藝術思辨，卻可以涵蓋他近年來幾乎所有作品的藝術觀念和創作訴求。諸如他的“水鄉”系列、“考古”系列等等，其實也都可以用類似的題目冠之。這是因為他將一些歷史或現實的物象，通過刻意的顛覆、解構、整合、重組，賦予作品以具有當代審美意味的物化呈現。“瓶非瓶，非常瓶”。盧治平作品中的瓶，并非是我們通常所見到的青花玉壺春、磁州窯梅瓶，或者明代永樂花果紋執壺、鈞窯出戟尊，而是將它們僅僅作為一種傳統構成元素和因子，融入到當代創作語境之中，尋找到與現代主義美學的結合點，創造出嶄新的構成邏輯，呈現出富有當代情致的結合形制的藝術闡述范式。在這里，傳統構成因子已被突破，并且得到不斷的延伸與外拓，固有的審美內涵也被抽提和升華，在新的美學高度尋找到了依傍和歸納，從而“異化”為全新的、具有“形而上”哲思、包容了象征性隱喻的意象。

在盧治平的作品中，被有意識地植入了許多已然成為歷史的傳統藝術符號，諸如在“考古”和“水鄉”系列中的青銅器饕餮紋、龍鳳紋和曲折雷紋等，在“瓶非瓶”系列中的陶器的網紋、弦紋和垂幛紋等，瓷器的纏枝紋、折枝紋和蓮花紋等。而當這些符號被引用時就已經納入被顛覆并重新建構的語境，嬗變成為一種嶄新的美學定位的現代主義符號。或許盧治平意識到，對于當下越來越傾向于物質的現代人，太需要為他們提供新的精神空間，于是，他用解構主義語言構建一種獨特的“可能世界”，而讓現實世界反而只是變成“可能世界”的一種物化形式。他就是用這種藝術方式來質疑現實，疏離物質，使人們置換到另一個空間，去尋覓別樣的依托，重新確定自己的審美價值判斷。

這不由讓我們想起蘇珊·朗格提出的“藝術是人類情感的符號形式的創造”這一揭示藝術本質的著名美學命題。藝術作為一種特殊的表象性符號，有著自己獨特的意蘊，這種意蘊就是人類情感。藝術家創作的過程，是一種藝術抽象、創造符號的過程，是一種將物質非物質化、對現實世界重新構造而營建超現實場景的表現性方式。盧治平的作品作為“有意味的形式”，已超越物象本身而以感覺空間的能動體積的意象，造成一種充滿玄妙機巧的藝術幻覺并因此獲得誘發想象的虛幻空間。他的這些作品是喚起人們想象的符號，它們所具有的內在認知和空間邏輯，將與人們固有的審美定勢和欣賞習慣產生沖突或者互動。對于我們觀看者來說，觀看的過程也便成為了一種充滿張力、奇妙無窮的視覺體驗。

細察盧治平作品中的空間邏輯，以及他對于空間的認識和處理，無疑具有一種強烈的超現實主義的特征，被賦予了現實生活中一種觀察的距離，從而為我們提供了某種反思性的文化視野。在這些作品中，具象與抽象、現實與夢幻、局部真實與整體虛擬，總是被神奇而恰到好處地糅合在一起，使作品的內涵突破形象的束縛，讓人們似乎能看到第三度空間的幻象，看到被他的主觀意緒過濾后重新組合的非現實的意象。這種“非現實的意象”，盡管十分明顯地疏離了人們的日常生活體驗，但或許卻與自己在苦苦尋找的某種情感正相吻合，因此這便成為一種實實在在的藝術存在，盧治平只是把這種被“藏匿”的存在揭示出來而已。正如海德格爾在《詩歌·語言·思想》一文中所說：“自我藏匿的存在被照亮，這類光把它的光芒融入作品。被融進作品的光芒就是美的事物。美是一種方式，在其中，真理作為揭示產生了。”盧治平為我們提供了一種新的美的方式，在他的作品中我們是能切切實實感到有一種能夠照亮被藏匿的存在的光芒的。

索緒爾曾經說過：“在語言出現之前，一切都是混亂模糊的。”對藝術也應作如是觀。沒有完備的繪畫語言，任何圖式和形象都無法營造出美的意境。盧治平以他對于版畫語言的從容駕馭，通過對于絲網版和銅版特殊制作的精到認識和深刻理解，在刻痕、蝕印和線條的交織中，運用形象的符號化構成、強烈和單純的和諧對比、現實與虛幻的交互融合，以及對于物象的寫意性表達和淋漓盡致的情感抒發，傳達出他一種超越時空的文化審視和審美價值觀。盧治平通過他的作品正在試圖尋找和開拓更為寬闊的現代版畫之路，在整體上深入探索版畫藝術的內蘊，鍥而不舍地致力于版畫藝術的當代創作語境轉換，努力建立中國版畫的當代品格，并且令人信服地呈現出一個具有創新精神的個性化創作風貌。

值得一提的是，盧治平在大量創作版畫作品的同時，還孜孜不倦地組織舉辦各種形式的版畫活動，為繁榮版畫藝術搖旗吶喊、推波助瀾 。在當今呼嘯而來的市場經濟大潮和多元雜陳的藝術狀態面前不為所動，能夠固守“版畫本位”，一以貫之的以建立版畫藝術的獨特個人話語的“不變”應對“萬變”，試圖重鑄版畫曾經有過的輝煌。在盧治平的肩頭，自覺地承載起了已遠遠超過一位單一的版畫家的重荷，卻依然充滿信心和激情地跋涉前行，且不論其間的成敗利鈍，這種精神的本身就足以令人肅然起敬。雖然這或許已是版畫創作本體的“題外之議”，但決非多余。換言之，也許正是因為有了這種難能可貴的理想主義情懷和抱負，更激發了他的創作熱情。由此，我們便有了充分的理由對他寄予更大更高的期望。在以后的日子里他又會給我們帶來怎樣的新作呢？我們且拭目以待。

2008年初秋于滬上系云居

Unveiling the Hidden Existence
Comment on Lu Zhiping’s Printmaking

Gong Yunbiao

 “Vase, rather than vase” is the main theme of a series of silk-screen printmaking Lu Zhiping has created in recent years. The internal essence of aesthetics and ideal of contemporary art behind the theme cover the artistic concept and pursuit of creation in all his artworks created in recent years. His printmaking series such as “Water Hometown”, “Archaeology” could be named with other similar titles, for he would like to present some historic and realistic images through the articles characterized by contemporary aesthetics by means of deliberate subversion, deconstruction, combination and restructuring. “Vase, rather than vase, uncommon vase”, the vases in Lu Zhiping’s artworks are not those ancient boutiques which we appreciate, however, they serve as traditional elements and factors integrated into the atmosphere of contemporary creation to seek the ideal convergence with the beauty of modernism, create brand-new constitutional logic and present artistic explicit mode featuring contemporary sentiment. Here traditional constitutional factors have been stimulated and obtained continual extension and expansion while inherent essence of beauty has been extracted and enhanced, thus finding companion in the new field of aesthetics to be transformed into brand-new inspiration featuring “image-oriented” philosophy as well as symbolic metaphor.

Many traditional historic art symbols have consciously been injected into Lu Zhiping’s artworks, for example, there are monster pattern, dragon & phoenix pattern and thunder pattern on bronze wares, net pattern, string pattern and falling curtain pattern on pottery in “Vase, rather than vase” series, tangled-branch pattern, bent-branch pattern and lotus pattern on porcelain. When these symbols are integrated into the atmosphere of subversion and reconstruction as cited, they turn into a series of modern symbols of beauty orientation. Perhaps Lu Zhiping realizes that for people in modern age who are keen on physical spirit, they call for new spiritual space. Therefore, he tries to construct an unique “possible world” by means of deconstruction language while the real world turns to object-concreting of the “possible world”, in which way he tries to doubt the real world, isolate substance, guide people to another space to seek unique companion and reaffirm the judgment of beauty value.

Then it reminds us of Susanne K.Langer’ famous aesthetic topic unveiling the essence of art “Art is the creation of the symbolic form of human emotion”. Art, as a special symbolic sign, has its unique connotation which is human emotion. The process of the creation of artist is the process of artistic abstract and symbol creation, an expressive way to present substance in non-substance way, reconstruct real world and build surrealistic scene. Lu Zhiping’s artworks, as “meaningful form”, has been transformed into an illusory space featuring artistic illusion full of magic and dexterity which could result in imagination. His artworks serve as the symbols that arouse the imagination of people, for the inner perception as well as space logic clash and interact with inherent habit of aesthetics and appreciation. For viewers of us, the process of appreciation has been a visual experience featuring power and fantasy.

Carefully observing the space logic as well as perception and disposal of space in Lu Zhiping’s artworks, we are fascinated by an intense characteristic of surrealism featuring the distance of observation in real life, thus providing us with a certain cultural vision of reflection. In these artworks, figural and abstract art, real as well as illusory expression, part reality together with whole virtual image, all of which are perfectly and fantastically integrated to break the image restriction of the connotation of artworks, thus people are access to the illusion of the third space featuring non-realistic image created by his thought. Such “non-realistic image”, though obviously isolated from daily life experience of people, perhaps conforms to some emotion which he has been pursuing for long time. Therefore, it has been an actual artistic existence which Lu Zhiping tries his best to unveil. As what Heidegger said in his work “Poem·Language·Thought”: The self-hidden existence has been illuminated and rays of light, on behalf of beautiful matters, has been integrated into the work. Beauty is a form in which truth comes into being as revealed.” Lu Zhiping offers us a new pattern of beauty, for we are truly access to the ray of light that could illuminate the hidden existence.

Saussure once said that everything was blur and obscure before the emergence of language, which was also applied to art. Any pattern or image is not able to create beautiful artistic conception without mature painting language. In terms of his sophisticated master of printmaking language, perception and comprehensive knowledge of the silkscreen and copperplate etching, utilization of symbolic constitution, intense, pure and harmonious comparison, interrelation of reality and illusion in the intertexture of notch, print and line, free-style expression of image and emotional expression to great extent, thus extending cultural vision and beauty value that are beyond space and time. Lu Zhiping has been devoted to seeking and exploring a broader path of modern printmaking through his artworks, further exploring the internal essence of printmaking art as a whole, persisting in the transformation of contemporary creative conception of printmaking art, striving to establish the contemporary style of Chinese printmaking and convincingly fostering an innovative and personalized atmosphere of creation.

What worth mentioning is that Lu Zhiping is also committed to persevering in organizing a variety of printmaking activities while focusing on his creation of printmaking artworks to promote the prosperous development of printmaking art. He firmly adheres to his main duty as printmaking creation though faced with booming economic trend and diversified art forms and the unique pattern of printmaking art to attempt to pursuing the glory of printmaking. Lu Zhiping voluntarily bears the pressure that was beyond the duty of a simple artist and has been confidently and enthusiastically trekking on the path, no matter succeed or fail in the end, the spirit itself deserves admiration. Although perhaps this is the extension of printmaking creation, however it isn’t superfluous. In other words, maybe it is the valuable idealism and ambition that stimulate his passion for creation. Therefore, we are confident to have higher expectation on him. We are looking forward to his new creation in the near future.