Round of Hua Niao - Reading the work of jadeite and water of Round Series

By Shen Wen and Yang Hong sheng : 

      Translated by Dr. Sun Jing qiang

      編者按：一件看不懂的藝術作品，我們的第一反應就是從視覺上尋找線索去理解和欣賞。作者楊宏聲和沈文在與華鳥結識以來，真實地記錄他們的感想，為我們提供了欣賞華鳥作品的途徑。

      Editor's note: the work of art cannot read, and our first reaction is to look for clues from the visual to understand and appreciate. Since acquaintance with Hua Niao, Yang Hong sheng and Shen Wen have recorded their true feelings, and provided us with a way to appreciate the work of Hua Niao.

      華鳥：如果作品不那么另人費解的話，那很不錯。但是，我們回不到那個時代了吧，對于作品的不理解性，我們需要解讀。如果藝術家本人談點創作感想、動機、或一段經歷、幾本書、幾位好友的交談錄是能夠引發人們對作品的理解的話，我將樂此不彼。不過，作品是最重要，我希望聽到不同的語言和聲音。

     Hua Niao: If the work is not so puzzling, then it is very good. However, we cannot return to that era of it. For the work not to be understood, we need to interpret. If the artist herself talk about feelings, motives of the creation, or an experience, a few books, the conversation of several friends are able to lead people to understand the work, I will be very happy. However, the work is the most important; I hope to hear different languages and sounds.

（華鳥《圓系列》作品）

Round Series of Hua Niao

華鳥的圓——讀《圓系列》之翡翠和水

文/沈 文

     石器時代，人和石頭的關系，樸拙而實惠，石頭以碎裂提供原始的鋒利，或以笨重表現鈍力；人用力量高舉石頭或投擲，獲取獵物和權力，石頭是英雄輩出的最有力工具。

只是到了你的圓世紀，熔巖的高溫改變了石頭的精度、密度和紋理，直到翡翠的透亮逐年明朗，高貴的冷美之光，隱現在龐大的水系，脫穎而出的美感，早已和一切文明同頻共振，冷峻而迷人。  

      于是，頌揚洪荒開石，輕握翡翠，英雄總是風流倜儻。

創世的精神，經由水的浸潤、福澤、維系，使一塊石頭的堅硬和仿佛堅硬的隔閡，水洗出厚重醇正的綠色清透，暗蘊圓通的能量，層級排列，高高在上，觸碰彼此，發出明亮而低調的清脆；這也是彼此認同的質感，好聽，好看，綠光的血液互相流通，安靜奢華，彼此照應。

      Round of Hua Niao - Reading the work of jadeite and water of Round Series

By Shen Wen

      In the Stone Age, the relationship between man and stone is simple and affordable. The stone provide the original sharp by the form of fragmentation, or the blunt by the bulky; people with their strength lift high rock and throw, get prey and power, and stone is the most powerful tool of the heroes.

      Just to your century of Round, the high temperature of the lava changed the accuracy, density and texture of the stone. Until the translucent jadeite became bright year by year, noble and cold beauty is hidden in the huge water system, the beauty stands out, and all the civilizations with the same frequency have resonance, solemn and charming.

     So, praising the pioneers of opened stone, gripping jadeite light, the hero is always romantic suave.

     The spirit of creation, through the infiltration, grace, maintaining of water, made a stone hard and as if it had the hard gap. Water washed out the thick, pure and green clearness, dark, round and transparent energy, hierarchical arrangement, high above, touching each other and issuing a bright and low-key crisp; this is also texture recognized with each other, nice, good-looking, green blood circulation, quiet and luxurious, taking care of each other.

（沈文接受央視《半邊天》節目采訪）

（Shen Wen accepted CCTV Half the Sky program interview）

沈文：企業家。上海后海派旗袍的創立者，他也致力于植物護膚品的研發生產。近年來，他深入研究華鳥藝術，并積累了近百篇評論文章，在藝術評論上具有獨立特行的風格。

Shen Wen is an entrepreneur, and he created a new cheongsam– the style of post-Shanghai and committed to the development and production of plant skin care products. In recent years, he studies intensively Hua Niao’s art, and accumulate nearly 100 review articles with the unique style in the art of comment.

讀華鳥作品筆記

楊宏聲

      近年來，在華鳥的畫展和畫室里看到她的畫，不時會有想法，也有討論，時常會做一些筆記以備忘。

      華鳥的《圓系列》先是三幅，似乎是組畫，但是每一幅又是獨立的，在主題上是一致的，也是連貫的。乍一見到《圓》——各由金屬和珠寶排列組成的各種字體的圓，我為之震驚，我的想法是：這幾幅畫到底要表達什么？是不是過于時尚化了，是不是行畫的畫法啊？諸多的疑慮盤繞著我，使我再仔細去看，再觀，再感，再想，覺得不盡然也！事情沒那么簡單。

      華鳥作畫，一直都是用心和用意頗深的。我們略可于畫的命題上領會到畫家作畫之意，更可以推斷出作為藝術家的繪畫的精神性和思想性。當然，一些命題仍可繼續推敲。有一天王安桅先生（2010上海藝博會宣傳部主任）來訪，我們一起披覽華鳥的畫冊，于此三幅畫亦有所評論。略記之，提供“華鳥藝術討論會” （無錫博物院《華鳥作品展》）上繼續研討。 

     《圓》的每一幅乃圓字的書寫、由篆、隸、楷、行、草、甚至新體的構成，間有描繪（如翡翠和水）賦予圓字以實體性——金屬和寶石的質感。于字體的排列有碑文的模式，又不是碑文。是繪畫字體、或字體繪畫。

     “翡翠和水”，晶瑩透綠之水橫溢畫面；水光則上射下落，呈垂直狀，構成一個動態的十字。水流濺起，激起水花，如珠如泡影，似寫其空幻之變，又寫其質地：讓人想起翡翠在生成時的模樣。翡翠質感之穩定和流動之水，形成對照。

      因此，整個地觀察《圓系列》，無論金、鐵、翡翠、水、銀，都是資源，既是經濟資源、生活資源；也是文化資源、藝術資源。其圓相，讓我們記起它的淵源和流變。因此，作為財富生成之圓，與作為物象之本之圓，它們之間，確實是有聯系的。 

      《圓》乎《圓》乎，大雅大俗乎……

Notes of Reading the work of Hua Niao
By Yang Hong sheng

        In recent years, seeing her paintings in Hua Niao 's exhibition and studio,  there will be ideas, discussions from time to time and often some notes to memorize.

        In Hua Niao’s Round Series, there was firstly three pieces, and it seems that there is the group painting, but each one is independent. They are consistent on the subject, but also coherent. At first glance to the Round – which are arranged by the metal and jewelry in a variety of roundness, I was shocked, my idea is: what is expressed in some paintings in the end?  Are they not too fashionable and are they professional paintings? Many doubts around me, so I look carefully, notice, feel, and then think, and I do not think so! Things are not that simple.

     Hua Niao’s painting has always carefully and intentionally deep ideas. We can only draw on the meaning of the proposition of the painter, but also the spiritual and ideological from artist's painting can be inferred. Of course, some propositions can continue to be scrutinized. One day, Mr. Wang Anwei (Director of Propaganda Department of Shanghai Art Fair 2010) visited us. We appreciated Hua Niao’s paintings (The book of Hua Niao’s Solo Exhibition in the Wuxi Museum) discussed the three pieces of them. I write some ideas down and provide them for Hua Niao’s Art Symposium.

     Every piece of the Rounds  is written in seal, regular style font (Zhuan, Li, fixed, line, grass) and even in a new font, some time with a description (such as jadeite and water), giving round characters an entity - the texture of metals and gems. The inscription mode, or not the inscription in the font arrangement. A drawing font, or a font painting.

     " Jadeite and water", crystal clear and green water flows in the landscape; water light is shot up and drops down, vertical, which constitute a dynamic cross. Water splashing, sparkling water, such as beads and bubbles, like writing its fantasy change, and its texture: reminiscent of jadeite in the generation of the appearance. the stability of jadeite texture and flowing of water are compared.

     Therefore, the whole observation of the Round Series, gold, iron, jadeite, water, silver, all of them are resources and also economic resources, living resources, cultural resources, artistic resources. Its roundness lets us remember its origins and theology. Therefore, as a round of the generation of wealth and as the roundness of the thinness, between them, is indeed linked.

     Round, both noble and vulgar….

（右一：楊宏聲，于無錫博物院《華鳥作品展》）

(Right: Yang Hongsheng at Hua Niao exhibition in the Wuxi Museum)

楊宏聲：哲學博士。上海市社會科學院哲學研究所研究員、《國際中國哲學學會》世界哲學與美學研究中心執行主任。是世界著名哲學家成中英氏享譽中外的英文《中國哲學季刊》(1973)、《國際中國哲學學會》(1974)、《國際易經學會》(1985)的成員之一。于華鳥藝術之研究上發表多篇學術論文。

       Yang Hongsheng: Ph.D. philosophy researcher of Institute of Shanghai Academy of Social Sciences, Executive Director of International Chinese Philosophy Society World Philosophy and Aesthetics Research Center(1973), one of the members of the world famous philosopher Cheng zhongying English-edited International Chinese Philosophy Society (1974), International Book of Change (1985), publishing many academic papers in the study of Hua Niao Art.

      孫景強（本文翻譯）：華東師大和巴黎七大聯合培養博士。長期從事傳統國學文化和西方哲學研究。東方智慧開發研究院講師。東方智慧總裁研修班研究員。維學智慧領袖研修班研究員。中國學習力教育協會副會長。《V6學習力執行系統》研究員。

      Sun Jing qiang（Translated by）:

      Joint Training Doctor of East China Normal University and Paris Diderot University.  Engaging in traditional Chinese culture and Western philosophy for a long time. Instructor of Oriental Wisdom Development Institute. Researcher of President Class of Oriental wisdom. Researcher of Leaders Class of Dimension Wisdom. Vice president of China Association for Learning Capacity Education. Researcher of V6 Learning Capacity Executive System.