对本体与诗性的重申是基于当下的特殊历史情境，近30年的中国当代艺术创作之中，架上绘画的观念不断的向社会学，政治学等学科转向，艺术家试图利用概念和范畴的逻辑去阐述或展现其思想的主体。但绘画的形式局限决定了其在对观念的转化上很难获得淋漓尽致的意识兴奋和传播的深入、有效。在这样的前提之下，观念的介入就需要带动媒介本身修辞实验的自觉性，其既是针对绘画原有特征中的材质，形式，结构，色彩，痕迹，图像，序列等视觉及趣味上的风格，也是通过实验创造并发现未被既存框架所罗列的新的可能。转向本身并不存在问题，但如果艺术家只认识到其它学科问题的表层，并试图用绘画来证明所见所知的真实与正当，使得观念在转化的过程之中变成了文本式的科学，那么绘画在此时变成一种被动的、附属的、用于传播知识的文字说明。艺术家理应主动的利用自身知觉来发现知识理所不能及的经验和不可预见的偶然性意味。换言之，对观念的研究应是从知觉、不恒定的领会、意识的变量出发，以突破那种既往的概念体系，强调绘画的自由精神。
如何面对观念问题，如何将其深化，并不只是一个认识及逻辑上的推导，其需要考量艺术家对观念的体验、转化的智慧与灵性的生机，从而使得艺术可以测度经验与科学之间的距离。当观念转化为视觉读本的时候，观念不仅仅存在于文化的含义之中，它同样应处理好视觉技术-文化观念-读本分析三者之间的复杂关系，这就需要艺术家对艺术本体语言的把握能力。即借以绘画的视觉技术让观者通过观看获得新的信息、意义、快感，并通过针对视觉自身的实验将绘画本体作为观念，以生成非先验的，非已知的新的观看及视觉呈现方式。在这里，绘画本体既是一个出发点，也是一个跨学科的自由性，它不仅强调了作为专有学科的独立价值，也是对忘却之源起的再现，艺术家却又在此基础上获得了制作的风险快感。对绘画本体的强调亦是意在于此。
架上绘画中诗性的建构并不只是局限于图像上的物体序列经营安排及诗歌虚拟场景的再现，它也涉指艺术家在对观念的转换过程之中所持有的态度，以及情绪的波动和隐蔽的心理机制。即将主体与对象、自知与知物融合在一起，思与境谐，始终保持对世界的不透明情感，从而体会观念、领悟观念、诗化观念。诗性既是对历史和生命瞬间的萃取与升华，也是运动（绘制行为）与视觉（所生成图像）的交织，在绘制的过程之中，思维与发现，发现与观看，观看与身体，身体与行为，这样的结构体系亦如生命一般需要直接的体验，才能敏锐的捕捉到含混的色彩，诗意的神秘，以及被忽略的细节与局部，让思想充满新鲜的要素，并最终意欲揭示：人在生存之中对自由的向往，并选择用诗的态度去存在。
本体与诗性对于架上绘画而言既是一种感性的原始初动力，也是绘画应关注的切点与依托，并在这种双重意义上去自由的捕捉未被意识，发现，感知的世界。既确认还原了它，又通过知觉，领会提升了它。
崔灿灿
2010-03-10
Free Terminology
-----The reiteration of noumenon and poeticity
The reiteration of noumenon and poeticity is based on today’s specific situation: In recent 30 years, among the creation of Chinese contemporary art, the concept of easel painting has constantly turned to sociology, politics and so on. And the artists attempt to use the logic of concept and category to elaborate on their thinking. But the limitation of the form of painting makes their transformation of concept hard to obtain absolute stimulation and thorough propagation. For this reason, the participation of the concept needs to arouse the self-knowledge of media rhetoric experiment itself, which not only aims at the visual style of painting, such as texture, form, structure, color, marks, image, sequence, ect; but also discover the new possibility out of the existing frame through experimental creation. There’s no problem with transformation itself, however, when artists just see the surface of those scientific problems and try to prove the truth of what they saw through paintings, the concept will turn into textuary science in the process of transformation, meanwhile, the painting will become passive and attaching help text for knowledge propagation. Hence, artists should actively utilize their own perception to discover experiences out of knowledge and accidental relish. In other words, the research on the concept should always start from perception, inconstant comprehension and variable of consciousness so as to breakthrough the forepassed system of concept and emphasize on the free spirit of painting.
How to face and deepen the problem of concept is not mere logical derivation. It depends on artists’ creativity as well as wisdom of experiencing and transforming the concept so that art is enabled to measure the distance between experience and science. When concept turns into visual text, it will not just exist in the cultural meanings. So the complicated relationship among visual technique, cultural concept and textuary analysis should also be handled. Thus, artists’ ability to control the noumenon of art is in great need. With the visual techniques of painting, the viewers will obtain new information, meanings and pleasant sensations. Furthermore, through experiments aiming at vision, painting itself is used as concept to form non-transcendental, unknown way of viewing and visual presenting. Here, the noumenon of painting is both a starting and interdisciplinary point. It does not only stress on the independent value as a proprietary subject, but also on the representation of the origin of lethe. However, through which, artists regain their risky pleasant of creating. That’s why the noumenon of painting should be emphasized on.
The construction of the poeticity lying in easel painting is far more than the representation of the arrangement of the objects on the picture or the virtual scene in poetry. It also covers the artists’ attitude during the transformation of concept as well as the mood swings and concealed mental mechanism. Namely with the integration of subject and object, awareness and knowledge, and with the harmonizing of thinking and realm, together with the consistent opaque emotion towards the world, the concept could be experienced, digested and poetized. The poeticity is not only the distillation of history and life, but also combination of movement (the action of painting) and vision (the produced image). During the process of painting, the plot structure of thought and discovery, discovery and viewing, viewing and the body, the body and the performance should be directly experienced, in order to capture keenly the mixed color, poetic mystery and neglected details; and also to fill thoughts with fresh elements; then finally revealing people’s longing for freedom in life and the choice of living with a poetic attitude.
The noumenon and poeticity to easel painting is both origin motivation and concerning support. And based on such dual significance, an unaware and undiscovered world is freely acquired. It is not only restored but also elevated through perception.
Cui Cancan
【编辑：霍春常】
