内观格局与立体演绎-----写在敬一“山见*营造”画册扉首
当下哲学与时空积淀的对话，在感性的不经意和艺术理性的胶着酝酿下，酵成一坛陈年美酒，亦或煎泡作一壶陈世岩茶，仿佛古琴奏出的那一掬如有似无若即若离的清香，更似京昆诸剧中生旦净末丑的杂陈，红尘印象抽离后方自读懂了那一份袅袅于园林间、淡淡入禅境中的粉墨情怀。
Dialogue between moment-grasping philosophy and time-space reality accumulation versifies in various impressive ways, or fermented as a jar of cellaring old wine, or decocted as a pot of stored Wuyi rock tea, or performed as a song of fragrance invisible but beautifully smelled, or more as all lively exhibited acting roles in traditional Chinese operas, by which the understanding of the emotional powder and inking mixture slightly enlightened as the feeling wandering around the Chinese Garden and the insight comprehending from ZEN after kind of artistic separation from the world of mortals through the adhesive brewing efforts from random sensation and aesthetic ration.
水墨山水画出身的敬一，一直在聆听艺术、自然、人性三者间的物语，无尽的夜色想象力，穿透澄净空灵的立体点线面交响，空故纳万景的局外生智以其道可道非常道般的力学原理在不同维度间编织飞舞，着以独一无二的妙姿，不愿再受限于平面，化茧为蝶地冲破藩篱而解放为一场前所未有的全新格局。由传统来却自墨守成规中出离，演绎着墨如灵、动于水，却常因水的液态限制无法创立正空间，纵然固态或气态之水仍自然而然地落入向常态的面下负空间液态转换的思维槽臼，难能可贵的是在与水墨平面相对多年后，终有一番悟起醍醐破立显的缘起从容。
Artist Jingyi, with his educational background of Chinese Ink Painting, always listens to story amongst art, nature and humanity. His unlimited night-deepening imagination passes through crystal emptiness and composes stereo symphony consisting of dot, line and surface, building up unique gesture in the weaving dance within midst of various interspace by the special TAO mechanics principle in the wisdom beyond daily situation but containing all the sceneries dissolving in certain hollow cavity, which would never be limited by flat surface but strongly break the fences as liberation from chrysalis to butterfly for brand-new mission challenging the past. Deriving from tradition but outstanding from mud-sticking reality, the inference of concept for free-spiritual ink performance with water media is limited by liquid status of water in common for natural obstacle in erecting positive space. Though the solid or gas status of water would naturally follows the tendency to falling into liquid water status towards negative space, Jingyi finally dazzled his inspiration unhurriedly by the talented rhythm after continuous efforts and progress of in-depth research for struggling and thinking about the inking flat surface to stereo style by breaking-through establishment for such new system.
由幻想场景到手段表现，艺术正在现实中悄悄绽放，这厢小众前卫实验艺术正在追求独特风格，那厢普罗大众仍在寻求逼真的传统审美效果，当苏轼笔下“适我无非新”的论调重回当代艺术舞台的时候，无法否认传统艺术中取法自然形神兼备的优美比比皆是，两种模式的艺术体验分庭抗礼之时，避免认知分裂的方法恰在于创造真正具备大格局的艺术形式，且宜将之称为当代中式美学体系的重塑，即随意立身自处，皆可望见自省内心所映射的那方格局，也许正徘徊于王国维先生的三重境界论，也许正怅惘于禅宗修行的三阶段时空状态，一旦与之相逢，顿有千呼万唤始出来，犹抱琵琶半遮面之感，皆因恍惚中已是一眼万年，千山万水，由眼入心，随色入空尔。
Art blossoms in its own realistic whisper from illusive spectacle to manifestation approach. On one hand the minority pioneering experimental art chases their particular styles, on the other hand the masses still stick to the lifelike traditional beauty appreciation. When the toning of “freshly new terms come to be the sole selection to suit me well” by Su Shi returns to the contemporary art stage, hard to deny that the traditional art beauty deriving from the nature with its perfect balance between bearing form and spiritual charm is easy to grasp everywhere. The solution to avoid such splitting factions of different practical appreciation model is just to create certain art style provided with real grand structure, or referred to as the re-sculpturing of contemporary Chinese aesthetic system, i.e. freely locates yourself in all places and situations and all availability to representation the structure in one’s own heart through deep consideration on the natural thought origins. Maybe just lingering in the three-level realm theory, or in perplexity of the three-stage time and space situation during ZEN practice, when encountering with the artworks you presumably attract to bottom of heart, the immediate feeling just as the one appears after thousands of calls still with the pipa instrument half covering the face, all because of one sight surpasses in a trance thousands of years and all mountains and rivers, from eyesight to instinct, from diversified colors to quiet emptiness.
除了世界上的暗物质那样肉眼无法亲见的科学存在理论外，中国传统文化一直强调内观见山非山是山的境界，此中格局早已为唐时青原惟信言的道破，而显现此类未见顿识的机缘委实难得，在“本来无一物，何处惹尘埃”的实现中，苦苦追寻的正是一种应识而未识的灵修轨迹，欲求难得，因缘舍得。艺术是灵性的翼翅九天，是欲速则不达的回廊九曲，是蓬莱的海岛冰轮朔望，源于生活、高于生活、归于生活。但问感悟间的心锁，究竟是哪一把定慧之匙，可添心悟，如燃心香。
In addition to the scientific theory of dark substance invisible to eye, Chinese traditional culture always emphasized the realm with insight by duration of seeing mountain, mountain disappearance and mountain back which had been penetratingly pointed out by Qing Yuan Wei Xin in Tang Dynasty. However, the chance for mankind to recognize such realm is hardly few to encounter. In the realization of the saying as “nothing exist indeed and nowhere to touch ashes”, what for painstaking pursuit of such spiritual practice track is never successful by strong desire to possess anything but due to kind of willingness in contribution for the predestined principal and subsidiary cause. Art is the spiritual wings flying in the highest of heavens, is the ninth zig-zag winding corridor in no haste, is the syzygy moon highly rising on the sea island in Penglai, which undoubtedly deriving from life, superior than life but retreating to life. Just wondering the heart lock of the sentiment room, which one is the wisdom key to open it, for purpose of enlightenment as burning the fragrance in heart.
当设计学在功能性方面日益演进，艺术理论与实践亦不断进化并提炼其由此岸及彼岸的领悟，超功利的美学天赋使然，具备万缕间接游曳的手法情节，在敬一灵感的营造中以理性方式精巧而富有节奏感地将平面中式水墨线条艺术缓步付诸一场感性的立体溶凝诗词歌赋，禅性天地自空间突破零度轴线后重见立体，此山非彼山，空空是形，冥冥与归，此间悠然见南山，乃问东篱菊开否。这横空出世的虹桥以浓黑筑型包容七色，求其境而不落俗，寻其变而吐经典，若蛛网轻结春蚕丝游，绘牡丹亭见姹紫嫣红奈何天，不作内观焉晓春色如许。
Accompanied with the functional progress of design methodology, art theory and practice continuously evolves and abstracts its own essence from the earth to paradise from the inborn utilitarianism of aesthetics, which is provided with technique plots dissociating anywhere and finally collected by Jingyi to reformed from flat surface Chinese ink lining art to a sentimental dimensional melting poetry by rational arrangement in fantastically skillful rhythm. The talented ZEN piercing zero axis to rebuild a dimensional word. Spiritual mountain here in structural space is never the realistic mountain there in flat painting while the emptiness covers the form with the ZEN back to heart. In appreciation, the insight sees the southern mountain and wondering the blossoming of chrysanthemum. The rainbow far above the earth consisting all seven colors with the outskirt of darkness sculpturing, focusing on the realm not falling to reality, seeking changes with classical scent, as spider weaving its web slightly and spring silkworm making its clothes. No insight-seeing, never no the beauty of spring, though painting the gardens with all types of beautiful flowers.
求一局禅棋，数若干天涯，思几许离合，烙下的是读您的那段早已被遗忘的三生沉香铭文，芸芸众生何似幅幅营造山见，尽在见与不见之间……
Demanding a play of ZEN chess, counting several distance between painter and audience, memorizing some departing and gathering, life has stamped your own forgotten agalwood story of all the three transmigration of the soul, everyone is just each reconstructive insight lining painting, all existing in the practice of insight seeing or loss of enlightening…
Dialogue between moment-grasping philosophy and time-space reality accumulation versifies in various impressive ways, or fermented as a jar of cellaring old wine, or decocted as a pot of stored Wuyi rock tea, or performed as a song of fragrance invisible but beautifully smelled, or more as all lively exhibited acting roles in traditional Chinese operas, by which the understanding of the emotional powder and inking mixture slightly enlightened as the feeling wandering around the Chinese Garden and the insight comprehending from ZEN after kind of artistic separation from the world of mortals through the adhesive brewing efforts from random sensation and aesthetic ration.
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水墨山水画出身的敬一，一直在聆听艺术、自然、人性三者间的物语，无尽的夜色想象力，穿透澄净空灵的立体点线面交响，空故纳万景的局外生智以其道可道非常道般的力学原理在不同维度间编织飞舞，着以独一无二的妙姿，不愿再受限于平面，化茧为蝶地冲破藩篱而解放为一场前所未有的全新格局。由传统来却自墨守成规中出离，演绎着墨如灵、动于水，却常因水的液态限制无法创立正空间，纵然固态或气态之水仍自然而然地落入向常态的面下负空间液态转换的思维槽臼，难能可贵的是在与水墨平面相对多年后，终有一番悟起醍醐破立显的缘起从容。
Artist Jingyi, with his educational background of Chinese Ink Painting, always listens to story amongst art, nature and humanity. His unlimited night-deepening imagination passes through crystal emptiness and composes stereo symphony consisting of dot, line and surface, building up unique gesture in the weaving dance within midst of various interspace by the special TAO mechanics principle in the wisdom beyond daily situation but containing all the sceneries dissolving in certain hollow cavity, which would never be limited by flat surface but strongly break the fences as liberation from chrysalis to butterfly for brand-new mission challenging the past. Deriving from tradition but outstanding from mud-sticking reality, the inference of concept for free-spiritual ink performance with water media is limited by liquid status of water in common for natural obstacle in erecting positive space. Though the solid or gas status of water would naturally follows the tendency to falling into liquid water status towards negative space, Jingyi finally dazzled his inspiration unhurriedly by the talented rhythm after continuous efforts and progress of in-depth research for struggling and thinking about the inking flat surface to stereo style by breaking-through establishment for such new system.
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由幻想场景到手段表现，艺术正在现实中悄悄绽放，这厢小众前卫实验艺术正在追求独特风格，那厢普罗大众仍在寻求逼真的传统审美效果，当苏轼笔下“适我无非新”的论调重回当代艺术舞台的时候，无法否认传统艺术中取法自然形神兼备的优美比比皆是，两种模式的艺术体验分庭抗礼之时，避免认知分裂的方法恰在于创造真正具备大格局的艺术形式，且宜将之称为当代中式美学体系的重塑，即随意立身自处，皆可望见自省内心所映射的那方格局，也许正徘徊于王国维先生的三重境界论，也许正怅惘于禅宗修行的三阶段时空状态，一旦与之相逢，顿有千呼万唤始出来，犹抱琵琶半遮面之感，皆因恍惚中已是一眼万年，千山万水，由眼入心，随色入空尔。
Art blossoms in its own realistic whisper from illusive spectacle to manifestation approach. On one hand the minority pioneering experimental art chases their particular styles, on the other hand the masses still stick to the lifelike traditional beauty appreciation. When the toning of “freshly new terms come to be the sole selection to suit me well” by Su Shi returns to the contemporary art stage, hard to deny that the traditional art beauty deriving from the nature with its perfect balance between bearing form and spiritual charm is easy to grasp everywhere. The solution to avoid such splitting factions of different practical appreciation model is just to create certain art style provided with real grand structure, or referred to as the re-sculpturing of contemporary Chinese aesthetic system, i.e. freely locates yourself in all places and situations and all availability to representation the structure in one’s own heart through deep consideration on the natural thought origins. Maybe just lingering in the three-level realm theory, or in perplexity of the three-stage time and space situation during ZEN practice, when encountering with the artworks you presumably attract to bottom of heart, the immediate feeling just as the one appears after thousands of calls still with the pipa instrument half covering the face, all because of one sight surpasses in a trance thousands of years and all mountains and rivers, from eyesight to instinct, from diversified colors to quiet emptiness.
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除了世界上的暗物质那样肉眼无法亲见的科学存在理论外，中国传统文化一直强调内观见山非山是山的境界，此中格局早已为唐时青原惟信言的道破，而显现此类未见顿识的机缘委实难得，在“本来无一物，何处惹尘埃”的实现中，苦苦追寻的正是一种应识而未识的灵修轨迹，欲求难得，因缘舍得。艺术是灵性的翼翅九天，是欲速则不达的回廊九曲，是蓬莱的海岛冰轮朔望，源于生活、高于生活、归于生活。但问感悟间的心锁，究竟是哪一把定慧之匙，可添心悟，如燃心香。
In addition to the scientific theory of dark substance invisible to eye, Chinese traditional culture always emphasized the realm with insight by duration of seeing mountain, mountain disappearance and mountain back which had been penetratingly pointed out by Qing Yuan Wei Xin in Tang Dynasty. However, the chance for mankind to recognize such realm is hardly few to encounter. In the realization of the saying as “nothing exist indeed and nowhere to touch ashes”, what for painstaking pursuit of such spiritual practice track is never successful by strong desire to possess anything but due to kind of willingness in contribution for the predestined principal and subsidiary cause. Art is the spiritual wings flying in the highest of heavens, is the ninth zig-zag winding corridor in no haste, is the syzygy moon highly rising on the sea island in Penglai, which undoubtedly deriving from life, superior than life but retreating to life. Just wondering the heart lock of the sentiment room, which one is the wisdom key to open it, for purpose of enlightenment as burning the fragrance in heart.
 |
当设计学在功能性方面日益演进，艺术理论与实践亦不断进化并提炼其由此岸及彼岸的领悟，超功利的美学天赋使然，具备万缕间接游曳的手法情节，在敬一灵感的营造中以理性方式精巧而富有节奏感地将平面中式水墨线条艺术缓步付诸一场感性的立体溶凝诗词歌赋，禅性天地自空间突破零度轴线后重见立体，此山非彼山，空空是形，冥冥与归，此间悠然见南山，乃问东篱菊开否。这横空出世的虹桥以浓黑筑型包容七色，求其境而不落俗，寻其变而吐经典，若蛛网轻结春蚕丝游，绘牡丹亭见姹紫嫣红奈何天，不作内观焉晓春色如许。
Accompanied with the functional progress of design methodology, art theory and practice continuously evolves and abstracts its own essence from the earth to paradise from the inborn utilitarianism of aesthetics, which is provided with technique plots dissociating anywhere and finally collected by Jingyi to reformed from flat surface Chinese ink lining art to a sentimental dimensional melting poetry by rational arrangement in fantastically skillful rhythm. The talented ZEN piercing zero axis to rebuild a dimensional word. Spiritual mountain here in structural space is never the realistic mountain there in flat painting while the emptiness covers the form with the ZEN back to heart. In appreciation, the insight sees the southern mountain and wondering the blossoming of chrysanthemum. The rainbow far above the earth consisting all seven colors with the outskirt of darkness sculpturing, focusing on the realm not falling to reality, seeking changes with classical scent, as spider weaving its web slightly and spring silkworm making its clothes. No insight-seeing, never no the beauty of spring, though painting the gardens with all types of beautiful flowers.
求一局禅棋，数若干天涯，思几许离合，烙下的是读您的那段早已被遗忘的三生沉香铭文，芸芸众生何似幅幅营造山见，尽在见与不见之间……
Demanding a play of ZEN chess, counting several distance between painter and audience, memorizing some departing and gathering, life has stamped your own forgotten agalwood story of all the three transmigration of the soul, everyone is just each reconstructive insight lining painting, all existing in the practice of insight seeing or loss of enlightening…
