张诠 水-2 400×580cm 纸本水墨
“太古无法，太朴不散；太朴一散而法自立矣。”——《石涛画语录》
张诠用无限重复的用笔“一”划，颠覆了“水法”、“笔法”、“墨法”。这些无个性的用广告黑和研磨宿墨调出的乌光淡色，如同模糊的打印象素一般覆盖了整个画面。这种脱了胶的在宣纸上留出明显水痕和墨渍的笔触，在过分多的重叠后，营造出一派恬和冲淡的气氛。他用这个覆盖了米友仁的《潇湘奇观图》，那个史上最杰出的云烟漫灭，雅稚天真之作，在文人画兴起的初期，水与墨浸染的是文人心中之气，从没有被“笔墨”与“写生”的挂碍所染污。他把原来的尺幅放大数百倍，用毛笔重新触摸这个中国文人心中的范式图像，寻找遗失在画中的多年被民族集体经验所共享的意蕴。
他还邀请了一些早已经不习惯书写的邻居，在便签纸上书写他们的名字，“胡保珍”，“毕宗春”。这些被放得巨大的用“一”划堆砌出来的书写，隐匿在背景更多，更浅淡的墨色里，恍惚，随意，松散，不符合任何可以考证的传统。一个来自日常的，无个性的书写，却在密集的重复中，隐约的传达出某种历史化了和神圣化了的感觉。
这种对水墨的依恋与叛逆，来自于他早年研习书法，后又热衷当代艺术的经验。他曾经邀请一个智障儿童控制他的手臂来完成书写。一种反智化的倾向，对本能和直觉的依赖，对形象更少的控制，依托于一个更无理的个体，在他这些新的水墨作品中得到了延续。
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By Fu Xiaodong
“No Law to follow, Create It.”
-- Shi Tao
Zhang Quan upset the traditional skills of using ink, stroke and water in ink-painting by successive repeated straight lines, often sends diluted atmosphere. He makes use of this style to cover the Xiaoxiang Wonders that is the most famous work for its clouds and mists by Mi Youren. He try to dig out a collective experiences hidden in-depth in the work, by enlarging the original hundreds times.
He used to invite his neighbors who are not familiar with writing to write down their names on a piece of paper, Hu Baozhen, Bi Zongchun and the kind. The handwritings piled up with straight lines and enlarged, hide in the slight ink lump free and loose, upon which no on may conduct archaeology of knowledge. It is nothing but daily common writings without any personality which is repeated again and again to send a sort of vague sacred sense.
This is both the attachment and revolt to ink-painting, based on handwriting art learned early. He once invited a mental disabled child to control his arm to complete a work. Anti-intellectualism is shown clearly in his new works.
【编辑：姚丹】
