造化者说

孔子喜欢畸人。一次孔子的学生子贡问孔子什么是畸人?孔子说畸人就是异于世俗而合于天然的人。孔子把天然的人比作天的小人，人的君子。在孔子看来，天然就是天道，而天道异于人道。奇形怪异的万物自然生长是天道，而整齐划一的生命秩序来自于人道。人道的险恶在于戕杀人性。人在天道面前微不足道，然而能成为一个天然的人也是一种造化。自然造化的人，是天的小人，是人的君子。可见人是敬畏于天的。古人面对生死感叹道：伟大啊造化!庄子认为，生和死都是一种天然状态的再生形式。这种再生形式的过程就是一种造化。而艺术本质就在于对人的天然形态造化的钟爱与探寻。

艺术作为天然之人的存在形式，造化是发力点。造化有多重的涵义，它既是自然的创造者，又指自然界。庄子把天地视为熔炉，造化为冶炼的工匠，天然的人来自天地的造化。当年青气盛的杜甫登上东岳泰山感慨道：“造化钟神秀，阴阳割昏晓。”大自然的鬼斧神工造就了东岳泰山时间与空间的永恒。而谁又能让自己的艺术发现与创作具有一种时间与空间的永恒呢?以“造化为大冶”的庄子让自己幻化为了一只蝴蝶。庄子有庄子的理论：成为人就要进入人生的梦境里去，化为另一物种。而人类对物种的嗜杀成性的本能，使人类成为毁灭自己的工具。但是，抵制这种嗜杀成性人类陋习的最后情感也就留在了物化的艺术想像上。

艺术情感的物化是艺术家石珩伯艺术的一种叙述方式。而情感的物化却隐藏着石珩伯艺术理念的精神诉求：天然的造化是艺术最本质呈现。在石珩伯一组题为《造化》系列作品中，把自己儿时梦想的玩具如纸飞机、纸船、纸鹤作为为画眼，放到自己出生的秦岭的自然景观里，成为石珩伯作品《造化》的一种悖论的哲学生存的方式。画面通体的绿色或山或水，其中，作为造化物的粉红色的纸飞机，纸鹤击水、游弋、滑翔、神游……一个脆弱而又执着的粉红色的梦想，开始了它跌荡起伏的天然造化原点探寻。石珩伯的造化理念形成的视觉画面的悖论式，首先体现在它艺术的构成上。作品《造化·怀谷》，粘稠而厚重的水面空间采用的是西洋绘画的方法，成为生存的负压的一种隐喻。而远处的山轻薄而虚渺，采用的是中国古典绘画的南宗画派的平淡天真的手法，草草逸笔，把中国胸怀若谷的老庄文化中达观与乐天的精神气度表现出来了。石珩伯作品中的文化整合来自它对造化的把握与运用。如石珩伯早期的《守护》系列作品，将唐代陵墓的石狮置换到南极或秦岭的太白山，特别是石狮采用的中国红，代表着大中华的民族情感，守护着人类的最后一块净地。画面的构成呈现出的悖论是造化的一种言说方式。而《造化》系列作品的文脉没有断。画中粉红色的纸飞机、纸船、纸鹤中国元素的运用，凸显当代艺术中国身份的情结。但是作为造化物的纸飞机，纸鹤等物质形态与水的物质形态构成的矛盾，又带来了石珩伯艺术梦想的不确定性。至此，石珩伯艺术构成的悖论式，不仅来自它的外部艺术的视觉样式，更来自它的内部的文化逻辑。归根结底，石珩伯艺术的悖论式，是理想与现实的冲突在石珩伯作品中最后的绝响。

然而造化的理念已渗透到了石珩伯骨髓，成为石珩伯的艺术行为方式。正如石珩伯所说：“《造化》系列是我继《守护》和《迁徙》系列之后创作状态调整的一个重要阶段，也是自我修炼的一种方式。我想再回到原点, 感受‘造化’对艺术本身的后坐力，吸收自然的能量。”石珩伯作品《造化·希翼5》，对自然能量有了不同一般的诠释：一个粉红色的纸飞机在一个纯静的、变化当中的的天然水气形成的云团中徜祥，而石珩伯却把它看成是天然造化的原境。由此我们看到了石珩伯天然造化的原境是动态的、天然的。世俗生活的物累让我们失去了天然的本真。人的性灵被抽空后只剩下了维持千人一面的欲望皮囊，石珩伯试图在找回人的性灵时理想与现实的挣扎，变成了石珩伯有关天然造化话题的悖论形式的梦魇。作品《造化·幽梦》，一个代表祈福的纸鹤出现在大瀑布幽深的底部，粉红色的纸鹤游弋的坦然与被吞没的危险，带来了视觉的温馨与紧张，这又是一个石珩伯式的悖论式。实际上纸鹤本身就是一个虚幻的梦想与虚拟的身份。但是在石珩伯眼中，他就是孔子所喜欢的畸人。一个天然的人。这个天然的人时时处在危险之中，还怡然自得。石珩伯善于营造一种如梦如幻的绿色的意境。层层叠叠的水波与水气在阳光下形成的晕斑里有一个粉红色的纸鹤。美轮美幻的画面如同绿宝石一样让人着迷。然而却隐藏着无限的杀机。这就是石珩伯艺术的清醒与无奈。

中国哲人理想与现实冲突会让自己保持天然造化的清醒与无奈。孔子的学生颜回对老师说自己忘掉了仁义礼乐，忘掉了自己的形体，离开了智能容入了大道。孔子赞赏道：随大道而化就没有了常态。天然造化是一种非常态的文化现象。守住天然造化的非常态是石珩伯的艺术理想。而石珩伯理想与现实冲突的文化焦虑成就了他的关于造化主题。按照石珩伯的说法，他的艺术的造化是一个修炼过程，也是一个艺术原点的回归过程。如果说艺术原点是天然的造化，那么石珩伯已经做到了。成为造化的人是人中之人，亦为君子，更为天然之人。石珩伯便是。而石珩伯的天然造化是否能让自己的艺术发现与创作具有一种时间与空间的永恒?石珩伯说他正在路上。

2010-4-19

The Planner of Nature

Tong Yujie

Confucius prefers freak. Once Zi Gong, a disciple of Confucius enquires about what freak is. Confucius answered that freak is person who are different from secular but accord with nature. Confucius compares the natural person to base person of God and noble one of man’s world. For in looks of Confucius, the nature itself is the ways of Heaven which is differ from the ways of Man. The natural development of the strange and odd is the ways of Heaven, while the neat and uniform life order created by man is dangerous for it kills humanity. All this expose man before the ways of Heaven as negligible. Therefore, man hold in awe toward the Heaven. Zhuang Zhou regards both life and death as a natural way of revival, in other words, the plan of nature. Nevertheless, the nature of art is fondness and exploration to man under the plan of nature.

Art, as an existence form of natural man, employs the plan of nature which contains multiple connotations as the kick’s power. The plan of nature in one circumstance means the creator of nature, and also refers to the nature itself. Zhuang Zhou counts the nature as furnace, and the plan of nature as the craftsman to smelt the whole world. Once upon a time when Du Fu in his youth climbed up to the top of the Tai Mountain, he was convulsed in a feeling of eternal endowed to Tai Mountain created by the plan of nature. And who can endure his art exploration and creation with eternal in space and time? Hereby, Zhuang Zhou let himself become a butterfly and then enter his dream of life. But the human, who has thirst for blood, destroys themselves by his instinct. However, resistance to the instinct of massacre stays to art imagination of materialization.

The materialization of art sensibility, which hides spiritual pursuit of art idea, is a narrative form of artist Shi Hengbo, which is to present the most essential art by the plan of nature. In the series of , Shi Hengbo paints playthings of his childhood in rose pink and put them in the environment of green birth land Qin Ling, and explores origin of the plan of nature. There exists a paradox in these artworks. Firstly the paradox is reflected in the realm of constitution. engenders a metaphor of the existence pressure via viscous and massive water space painted by the western method. While the distant frivolous and formless mountain adopts the Southern Sect School method of Chinese classical painting, and expresses the optimistic spiritual character of Taoism. Secondly, the paradox presents in his cultural integration of the plan of nature. For example, in his early works series, he installs the Tang Dynasty style stone lion in the South Pole to protect the last pure land of human. The paradox above can be regarded as an explanation of the plan of nature. Moreover, what has been continued in his series < The Plan of Nature>, the Chinese aspects of paper flight, boat and bird all underlines a complex of Chinese identity of contemporary art. By now, the paradox of art constitute of Shi Hengbo not only comes from exterior visual form of art but also its interior cultural logic. In all, this paradox is extinct art between ideal and reality happened in artworks of Shi Hengbo.

The conception of the plan of nature has penetrating into his bone and becoming the form of art behavior of Shi Hengbo. Just as he said that “It is a very important stage of my adjustment on creation state after the series of and , or to say it is a way of self discipline. I wish to return the base point in order to feel the recoil of for art itself, to assimilate the energy of nature and to prepare for the next stage of creation.” In < The Plan of Nature ･ Aspiration 5> provides diverse definition toward natural energy: a pink flight wandering around a pure mutative clouds formed by water vapor, while Shi Hengbo himself takes it as original land of natural plan. The secular life took our real look and only left a mask of desire. presents us a paper crane swimming between calm and risk of being swallowed, between fragrant and intensity. It’s another paradox. Shi Hengbo himself is a natural person, a freak. He stays in dangers ever and again while still keeps calm facing the possibility of death. It is sobriety and desperation of the art of Shi Hengbo.

One disciple of Confucius, Yan Hui, said to Confucius that he has forgotten secular laws, has forgotten his body and wisdom, he has integrated into the ways of Heaven. Confucius appreciated that if one follow the ways of the Heaven, he then lost the normalcy. The plan of nature is a cultural phenomenon of non-normalcy. It’s Shi Hengbo’s art ideal to protect the non-normalcy of the plan of nature. According to Shi Hengbo, the art plan of nature is a process of self discipline, or to say, a regression of art origin. Then, he has achieved this plan. However, whether the plan of nature portrait by Shi Hengbo will endow his art exploration and creation with eternal in space and time? Shi Hengbo says that the path is still waiting to be fulfilled.

2010-04-19

【编辑：霍春常】