Huang GangRevolving the Golden Imprint轉動黃金印記

Huang Gang

【目錄】

CONTENTS

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1993年，中國藝術圈首次進入威尼斯45屆雙年

展，至今已有15個年頭。那是中國當代藝

術向世界首次扣門，讓世界有機會看到、摸到、了解到中國

已開始邁入當代藝術了。

我也是在93年開始看見中國當代藝術，接觸了那時的

一些前衛藝術家。我當時與各大美院教授研討藝術時，並未

提到所謂當代一詞。當代(Contemporary)這個詞彙的拉丁語

意是時間，也可以說，當代就是藝術家對當時人的生存環境

和生存感覺的關注。我想在90年代初的中國「當代」一詞並

未被重視，如果我記的沒錯，93年的威尼斯雙年展策展人

Achille Bonito Oliva邀請了14位中國藝術家，以「東方漫步」

為題展出，中國知名策展人張頌仁也是重要推手。那些中國

藝術家可能代表了當時所謂的當代表現，相較而言，我當時

所合作的藝術家似乎不那麼「當代」，以當下的語彙來說，

他們或許可以被歸入較前衛或者「超前衛」。

成長中的中國當代藝術

從85年新潮中的先驅者裡，已有多位藝術家在當代藝術領域中脫穎

而出，如毛旭輝、葉永青、丁方等人，89年後的更是當今中國當代的領

頭羊，如岳敏君、張曉剛、王廣義等人。但是放眼全世界的當代藝術領

域，中國藝術家唯一較弱的是「思想」，以中國語境與當下環境的體會

為基礎，去提出警示、批判，可以是自由的、無意的，是學術的、也是

通俗的。我想，中國藝術的思想性也已到達一種好的、高的狀況，但礙

於中國社會政治體制，必須在有所保留的情形下去執行與表現，減弱了

其批判性、赤裸感、自由度，跟歐美自由體制下的藝術家相形之下，只

能為後天的拘束感到遺憾。

94、95年我經常往來中國、香港、台灣，觀察到香港應是較有當代

畫廊的區域（跟台灣相比的話是肯定的），記憶裡當時已有漢雅軒、少

勵畫廊和萬玉堂等，台灣則有炎黃畫廊、山藝術及新墨色等。

發現當代

在香港停留的期間，我總會背著捲起的油畫，到沙田朋友家一

坐，這位朋友即是經紀代理很多現代水墨畫家的Hugh Moss。他會問說

「James，你那大捲筒裡裝些什麼？」，我則回答，「是油畫」，一開

始他都沒有興趣看，數次之後，我才主動邀請他看。當時應有尚揚、許

江、井士劍、毛燄、閻萍等畫家，他也耐心看完了他們的畫。我耐不住

性子直問究竟，他的回答卻讓我很不滿意，Hugh Moss說：「那都是二

流的油畫家。」我繼續追問原因，他答道：「一流的油畫家都在歐美，

你那些作品跟歐美比，只能算是二流，但如果在中國，就算得上是一流

的。」我這才恍然大悟，被Hugh Moss一語點醒。他的真言讓我體會到

西方與東方的差異，我相信當時或許是如此的，因為中國當代才剛開始

萌芽。

岳敏君 無題 1998 80x60cm

丁方 悲劇的力量之六 1987-1988 134x161cm

毛旭輝 剪刀和沙發1995 77x78cm

葉永青 城市和鳥籠子 1994 90x100cm

閻萍 母與子1995 120x110cm

白南準(Nam June Paik) Baby Buddha 2001 192 x147x50 cm池龍虎 鹿頭 1 2006 43x94x60cm

村上隆 Tokun 1995 35x35cm

崔素榮 港口 2006 217x287cm

李錠雄 筆墨 2007 138x202cm 李桓權 坐著看書的人 2007 280x52x150cm

Atul Dodiya 每位父親, 失落(VIII) 274x157cm

亞洲當代 中國當首

2002年，韓日的當代藝術也開始受到注目了。韓國藝術家勇於創新、改造，

在材質、原料、視覺上的突破，有了一席之地。

仔細觀察和比較這些作品，會發現他們有一些元素同於中國古代或近代，明

顯受中國文化所影響。

日本藝術家近年來安穩立足於世界當代藝術領域，如與商業結合的天才藝術

家村上隆，還有草間彌生、奈良美智。這幾位成名於國際後，反攻回日本及亞洲

等地，是值得中國藝術家當作藝術與商業名牌結合後行銷世界的榜樣。

當然，東南亞也是不能忽略的區塊，繼中國藝術市場崛起後，也產生了許多

優秀的當代藝術家。如印尼為首的馬希里亞迪(Nyoman Masriadi)，馬來西亞、泰國

或越南，還有文化淵長的印度當代藝術家，也早早得到歐美藏家青睞。

張曉剛 血緣-大家庭二號 1995 180x230cm

王廣義 大批判系列-Coca Cola 74x66cm

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大膽佈局 小心執行

經板，佛教聖物也。木刻，木板製，何木不知，但知都為喇嘛所

為，每字一凹一凸刀仞而成，有單面，原木者可刻雙面。有一手柄，小

板則無。表面塗黑，拓紙、拓樹葉、拓布料等數十數百為一疊。上下再

加原木質之面題字畫或刻彩色後則為一部經供人讀頌。經板製作工作耗

時費材。在藏區中木材是不易取得的，但黃鋼卻奇想把它拿來作為平面

之材料，加上前有的漆藝書法，渾然天成、獨樹一幟。

筆者認為黃鋼以經板、鉛字版的拼貼，可與蔡國強之火藥表現及徐

冰之中國字的變體一同觀之，都運用了中國絕對的元素、四大發明，各

個藝術家有不同的表現演繹。在視覺上，黃鋼的作品，不是平面，而是

立體、多層次，感染力強，可說是環境空間中的生命物體，包圍著、散

西藏曼陀羅 約十八世紀 61x61cm

徐冰 天書 1988

王羲之 蘭亭序卷 (局部)

黃鋼藝術總觀

在我的收藏中，黃鋼最早期的作品應是在2000年的書法系列。自幼

習練書法的黃鋼，有著良好的根基，所以對中國書法既能臨古摹今，亦

產生自己的書意，表現在平面作品中，有著不同的流暢。與漆藝結合的

手法獨樹一幟，具備高度的工藝質感，遠觀大氣磅礡，近觀鉅細靡遺。

黃鋼書法寬、厚、重且流暢，如歐陽詢的正，蘇軾的流暢，董其昌

的行書快意如流水，想必這些書法大家都是黃鋼的好友吧！

書法技藝熟練後，表現出禪意的圖像。禪宗在中國於宋代到達高

峰，卻在日本發揚光大，而當今黃鋼將禪意重拾中國，與當代相連結。

久松真一 「萬相」

金色轉輪; 2001; Golden Wheel; Mixed media on panel; 60x60cm

摹古易今

黃鋼喜愛中國藏傳文物，唐卡收藏更是精益求

精，佳品無數。他將唐卡的曼陀羅圖騰(14-15世紀)

臨摹於板上，以漆藝製造出年代久遠的剝落感、殘

缺感，但依舊能呈現出唐卡色澤的鮮活度，讓我讚

嘆其精準的工藝技巧與極緻質地。當你一靠近細

看，手向前一觸，便恍然大悟。黃鋼摹古易今，把

古唐卡精神用漆藝表現於世人前，令人心動。

黃鋼當時有的是時間，很想表現一下觀念與技

術，因此在每一件作品都耗盡了時間和體力，技術

準確得到印證。

蔡國強 胎動II-為外星人作的計畫第九號

1992-1993 88x65cm

紅色三角塔; 2001; Red Triangle Tower; Mixed media on panel; 80x80cm

西藏曼陀羅 17到18世紀 42x41cm

紅色曼陀羅 2005 105X105cm

紅色曼陀羅 2002 105x105cm

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李山 胭脂系列 1996 27x38cm

Andy Warhol, Mao, 1973, 67x56cm

板，明清時期的活字印刷版，用於銅塑與平面創作中。

易經相關的題材，在2005後成為黃鋼的新素材，如太陽遠去、晝夜

平分、太極裡的轉化。與老祖先的智慧相呼應，而且延伸出陰陽互補的

畫面，也有幾張運用了天、地、卦象，延伸出朝經之路，再發揚光大而

出現菩提樹。

黃鋼從極簡的「紅色的牆」到大氣闊的「雪域佛經」，再至「我的

紅星」，也是由簡入繁，再於我的紅星之中加入「我的箱子」的重組，

流動的白色代表高峰上的白雪，紅色流動的代表生命不停地輪迴再生，

黑色則代表著肥沃的土地，萬物生長大地有取之不盡的能與源。

尹坤 年輕肥毛 2005 120x100cm

嚴培明 毛澤東-中國的硃砂5 2001 250x250cm 尹朝陽 毛澤東 2004 81x65cm

值得一提的是，名人像是當代藝術家中擅於拿來表現的素材，當然

黃鋼也不缺席，我們則舉幾例－如「毛」的表現成果讓大家好好端倪一下

吧。

（圖：轉動日月）如果有完結篇，這件作品可以畫下完美的句點。日月平衡讓地

球生長不滅。

在我寫這些文字之前，已經有許多知名藝評寫過黃鋼，如楊新一、

島子、盛葳、汪民安、劉建國等。但我強調，可能每人看黃鋼的作品有

異，但心底深處你可不要否定，這種語言、能量、感染力、獨特性，乃

是前無古人也不會有來者的藝術家黃鋼所擁有。

黃鋼如里希特般的準確，探索手藝及認識各種可能的繪畫性，變化

再變化，以具象代替抽象。黃鋼遊走於兩象之中，如無極而太極，太極

生兩儀，兩儀生四相，四相生八卦，生生不息。黃鋼作品不僅是繪畫，

而是環境。他沒有發明特定圖騰，但擅長組合圖像，拼湊整合後成為專

有而識別性高的符號。

（圖：太陽遠去之三星拱照）日、月、地三星共存共生，有規有矩的運行，不偏不倚的繞。

北斗七星與太陽追隨千千萬萬年，有神話也有永遠。

（圖：晝夜平分）太陽公正、公平，給人們白日、夜晚，日出

作日落息，千萬年不變。

發出氣氛，讓你不會忘記的視覺心動。

當代材質的演繹

◆瓷器：西方對瓷器的使用還未成熟，但中國卻有很多當代

藝術家表現過，如劉力國、馬軍等。

◆銅雕：由古至今這是最常使用的、也是最成熟的材料。如

黃鋼、隋建國、蔡志松、任哲、布戴爾、羅丹等。

◆鐵：也是在中國最常見的，如隋建國和梁碩都是愛用者。

它適合放在室外，風吹日曬，讓它有歲月的滄桑感。

◆紙上有李錠雄、蔡國強、陳流等較當代表現出特殊感。

◆有機物：有谷文達的頭髮、崑斯的人體動物等。當然最昂

貴的鑽石藝術品，由赫斯特這位奇才與卡迪亞共同合作推出的骷

髏頭創下新高。

◆黃鋼的材質也是一絕。14-15世紀的經板，清朝的木刻民俗

黃鋼 想起江山多嬌美 53x49x43cm

任哲 馬上拉弓 2006 50x65x50cm

劉力國 經典2004 2004 30x20x36cm

蔡志松 故國．頌2 2000 50x52x180cm

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Chinese art was first introduced 15 years ago at the 45th Venice Biennale. It marked the appearance of contemporary Chinese art on the world scene, thereby enabling the international art community to realize, by the evidence of their own eyes and the touch of their hands, that China was now a presence in contemporary art.

1993 was also the first time I was exposed to Chinese contemporary art, and I came into contact with some avant-garde artists of that era. In those days, when discussing art with professors from various art academies, the term “contemporary” never came up. In Latin, “contemporary“ means, “time”. In other words, when artists spoke of “contemporary”, they had in mind the manner in which people of that period lived, or their feelings towards their current existence. I think that the concept of “contemporary” did not receive much attention in China during the early 1990s. If memory serves me right, Achille Bonito Oliva, the director of the 1993 Venice Biennale, invited 14 Chinese artists to jointly exhibit under the theme, “A Stroll in The Orient”. A well-known Chinese independent curator, Zhang Songren, also played an important role in making this event possible. Those Chinese artists may have displayed the so-called “contemporary expression” popular during that period. However, in comparison with artists working with me at the time, the art of those artists I came into contact with didn’t seem so “contemporary”. To use a modern phrase, their art might even be considered as more advanced, or “super avant-garde”.

The Growth of Chinese Contemporary Art

Many of the forerunners of Chinese contemporary art, i.e. Mao Xuhui, Ye Yongqing, and Ding Fang, emerged in 1985 during the New Art Wave movement. Today’s leading contemporary artists, such as Yue Minjun, Zhang Xiaogang, and Wang Guangyi, didn’t emerge until after 1989. However, when observing the international world of contemporary art, the only weak spot in Chinese contemporary artists is their “philosophy”. The warnings or criticism by Chinese artists are grounded in their language as well as the reaction to their surroundings. They can be free and spontaneous; address academic specialists or the general public. I believe that the philosophy of Chinese art has achieved a level of fine quality. However, Chinese social and political systems force the artists to hold back, thus limiting their freedom of expression. The strength of their criticism, transparency, and freedom, is therefore reduced. When compared with the leeway allowed European or American artists by their system of freedom, the restraints imposed on Chinese artists are a matter of regret.

When I traveled frequently between China, Hong Kong, and Taiwan in 1994 and 1995, I observed that Hong Kong had more galleries dealing with contemporary art (this was especially true when compared to Taiwan art galleries). Those I recall from those days are the Hans TZ Gallery, Schoeni Art Gallery, and Plum Blossoms Galleries in Hong Kong, while Taiwan had the Yanhuang Art Gallery, Mountain Art, and New Ink Color Art.

During my stay in Hong Kong, I often brought along oil paintings rolled up in a tube when I visited my friend living in Sha Tin. His name is Hugh Moss, and he was an agent for many contemporary artists. He would always ask me, “James, what do you have in that huge tube?”, and I would answer, “Oil paintings”. At first he showed no interest in looking at them. After several

visits, I volunteered to show him a few of the paintings. Included among the painters of these oils were Shang Yang, Xu Jiang, Jing Shijian, Mao Yan, and Yan Ping, etc. After he patiently examined these works, I could hardly wait to hear what he had to say. However, to my dismay, his answer was not satisfactory. Hugh Moss said, “These artists are inferior oil painters”. I inquired further and he said, “The best oil painters are in Europe or the United States. When compared with their works, the paintings you brought with you can only be regarded as second rate. However, for China, they are first rate.” Suddenly, thanks to Hugh Moss, I had an epiphany. His straightforward remarks enabled me to perceive the difference between Eastern and Western art. I believe that perhaps what he said at that time was the case, because Chinese contemporary art was just beginning to emerge.

Chinese Contemporary Art Was the First to Emerge in Asia

In 2002, contemporary art in Korea and Japan has begun to attract international attention. Korean artists are innovative in their creativity and change. They have made significant breakthroughs in the texture and use of raw materials, and this has gained them international recognition.

Careful observation and comparison reveal that some elements in their works are drawn from ancient or modern China. They have obviously been strongly influenced by Chinese culture.

In recent years, Japanese artists have gained a firm foothold in the realm of international contemporary art. For example, there are artists of genius who have combined their art with commerce, i.e. Takashi Murakami, Yayoi Kusama, and Yoshitomo Nara. Their art first gained international recognition before being re-introduced into Japan and Asia. This technique of first creating a name for their art and then marketing it throughout the world as a commercial product is worthy of emulation by Chinese artists.

Of course we mustn’t ignore artists from Southeast Asia. After the rise of the Chinese art market, many excellent contemporary artists from this region also began to emerge, such as Indonesia’s I Nyoman Masriadi. Other contemporary artists from Malaysia, Thailand, Vietnam, and India, with its cultural history reaching far into the past, have long been favorably regarded by collectors in Europe and the United States.

Overview of Huang Gang’s Art

The earliest works I have from Huang Gang in my collection are from his calligraphy series of 2000. Huang Gang began his traditional calligraphy training at a young age, thus giving him a solid foundation. Though he can mimic the various styles of the ancient or contemporary calligraphy masters, he has still created a style uniquely his own. Various styles of easy and smooth writing are revealed in his flat surface works. His skillful combination of calligraphy and Chinese lacquer is unique in its approach and reveals a high level of handicraft excellence. When viewed from a distance, the work emits a sense of great vitality. However, when viewed from up close, one finds that it is meticulously detailed.

Huang Gang’s calligraphy is relaxed, solid, and flowing. It is similar to the carefully delineated quality of Ouyang Xun’s calligraphy; the flowing lines of

Su Shi; the uninhibited joy of Dong Qichang’s script. I’m certain that Huang Gang looked to these renowned calligraphers for inspiration.

About the time when he achieved mastery of his calligraphy, an atmosphere of Zen began to permeate his works. Zen Buddhism reached its peak during China’s Song Dynasty, but it later developed into an import sect in Japan. Today, Huang Gang has brought Zen back to China and made it part of Chinese contemporary art.

Ancient Themes in Contemporary Art

Huang Gang favors Tibetan artifacts and he has assembled a world-class collection of Thangka. He copied the Mandala totem (14th to 15th century) onto his drawing board, and then applied Chinese lacquer to create a peeling and battered sense that can only result over a long period of time. However, I must confess that I gasped with admiration when I saw how the vivid colors of the Thangka remained unaffected. I marveled at his meticulous skill of his handicraft and the texture he created. When you see it up close and touch it, you will understand. Huang Gang uses ancient images as a vehicle for his art. One can’t help but be moved by the way he has employed lacquer to capture the spirit of the ancient Thangkas, and presented them for us to enjoy.

Huang Gang had all the time he needed when he was creating his work. He was eager to showcase his concepts and techniques, and for this reason spent considerable time and effort on each work, serving as testimony to his technical virtuosity.

Bold Arrangement, Careful Execution

The woodblocks used to print Buddhist sutras are considered holy objects in Buddhism. While no one knows what kind of tree they come from, everybody knows that the words were engraved with a knife by lamas. There are blocks with engravings on one side, while others are engraved on both sides. Some have a handle, but the smaller ones have none. The surface of the woodblocks is first covered with a black color, and then rubbed onto paper, tree leaves, or fabrics. They are then bound together in volumes containing anywhere from a few dozen to several hundred pages. Finally, a piece of wooden board with engravings such as characters or paintings, sometimes in colored form, is attached to the top and bottom of the bundle. In this manner, a volume of a sutra is ready for reading. The process of engraving the woodblocks requires much time and wood, and wood is not easy to find in Tibet. Huang Gang, however, was inspired to choose this material for his flat surface. With the combination of lacquer and the art of calligraphy, the resultant work of art is of the highest quality. Huang has created his own inimitable school of art.

I think the essence of Huang Gang’s collage of woodblocks for printing sutras and lead type setting, can be regarded as having the same importance as Cai Guoqiang’s gunpowder art and Xu Bing’s transformation of Chinese characters. They all draw their inspiration from elements that are absolutely Chinese and can be counted among the four great inventions of China. Each artist has, in turn, interpreted them in different ways. To the eye, Huang Gang’s work is not flat, but three dimensional, and consists of multiple layers which have the power to strongly affect the viewer. They can be considered as a living entity within an environmental space, surrounded, giving off an ambience, a never to be forgotten visual experience that will make the viewers heart leap.

A Discussion of Contemporary Materials

•Porcelain: The technique of using porcelain has not reached it maturity in Western art. However, many contemporary Chinese artists have used porcelain,

i.e. Liu Liguo and Ma Jun. •Bronze: The most commonly used material throughout history, and the

material most familiar to artists such as Huang Gang, Sui Jianguo, Cai Zhisong, Ren Zhe, Bourdelle, and Rodin.

•Iron: A material commonly seen in China. For example, Sui Jianguo and Liang Shuo are fond of using iron. It is suitable for placing outdoors. Battered by the elements, it shows the ravages of time.

•Paper: Artists such as Li Dingxiong, Cai Guoqiang, and Chen Liu apply this material and endow it with a special contemporary look.

•Organic materials: For example, Gu Wenda uses human hair, and Kun Si makes use of human and animal bodies. Working together with Cartier, the most expensive artwork, named, For the Love of God, is a human skull studded with diamonds, and created by the artistic genius, Damien Hirst.

•The materials used by Huang Gang are also very unique. For example, he incorporates woodblocks dating from the 14th and 15th centuries, that were used for printing sutras; Qing Dynasty woodblocks from which Chinese folk prints were made, and Qing Dynasty movable print, in his bronze sculpture and graphic artworks.

It should be noted that contemporary artists are skilled at using celebrity portraits for their subjects, and Huang Gang is no exception. For instance, let us take a close look at the results in his portrait of Mao.

After 2005 Huang Gang turned to Yi Jing related themes for material. For example, there are works such as The Faraway Sun, The Equality of Day and Night, and The Changes in Tai Ji. These paintings resonate with ancient Chinese wisdom and, by extension, to the composition showing how Yin and Yang complement one another. Motifs such as heaven, earth, and the hexagrams can be found in some of his paintings. Works such as The Sutra Pilgrim are elaborations based on these motifs. Finally, these various motifs are enhanced and glorified in the work, Bodhi Tree,

From the minimal style of The Red Wall, to the grandeur of The Snow

Region Buddhist Sutra, and followed by My Red Star, has been a process of transformation from simplicity to complexity. In My Red Star, the work, My Box, has been incorporated for reassembling. The flowing white color symbolizes the snow on the high peaks. The movement of red color represents life as a continual cycle of reincarnation. The black color is the fertile land; a place where myriad beings grow; and from whence unlimited resources are provided.

Before I wrote this article, I knew that many comments have been written about Huang Gang. For example, Yang Sinyi, Dao Zi, Sheng Wei, Wang Minan, and Liu Jianguo have all critiqued his work. However, I’d like to stress that it is entirely likely that each person experiences a different reaction when viewing Huang Gang’s work. Nevertheless, in the bottom of one’s heart, one can’t deny that Huang Gang’s idiom, energy, power to infect people, and his uniqueness, have never been matched by artists who have preceded him, nor will it ever be matched by those who follow.

Huang Gang explores various techniques and the possibilities of his painting with all the precision of Gerhard Richter. Time and again he will change his style, replacing abstract elements with solid images. He roams between abstract painting and imagery painting, just like the birth of the cosmos: From the Void, the Absolute was born. From the Absolute, came the Two Polarities. From the Two Polarities, Four Symbols were born. From the Four Symbols, the Eight Trigrams were produced. Thus life continues. Huang Gang’s artwork is not merely painting it is an environment. He did not invent specific totems, but he is skilled at combining images. After he assembles and combines them, they become specific and distinctly recognizable symbols.

Discovering Contemporary Art

12 13

黃鋼的作品中始終充滿著一種強烈的刺激感，這也是我第一次到他

的工作室始思考其中這些「刺激」的來源和性質。最為直觀的原

因或許來源於畫面上大塊、強烈，然而協調的紅色；亦或來源於木板雕

刻、佛經、鐵、皮等現成物品拼貼造就的凝重。視覺自身的力量往往是

藝術作品最基本的生命所在，但是，僅限於此也許尚不充分。因此，當

我進一步和藝術家交流，瞭解這些作品的創作過程、材料來源和觀念思

路之後，我發現潛藏在作品直觀視覺效果背後的文化、歷史，乃至情感

元素，亦是其「刺激」和「力量感」形成的重要原因。所有這些可見與

不可見的因素融會交錯，共同構築出一個複雜的藝術機體。閱讀作品的

過程彷佛一次冒險，從這一次又一次冒險中，我開始理解一種伴隨我生

長的古老文化，一個我生活的鮮活今天，一段並不屬於我的時代歷史，

以及一位藝術家內心的個人世界。

Ⅰ

黃鋼作品中有很多尺幅巨大，從遠處觀看，一片暗紅或褐灰，充

滿大氣而凝重的儀式感。但當我們走近觀看的時候，會發現其中無數

有趣的細節。幾乎在黃鋼所有的作品中，「拼貼」都是一種必要的手

段。最常用的現成物品是佛經、箱子和年畫雕板。在這裡，有著杜象

(Marcel Duchamp)式的智慧，然而區別在於，杜象更注重物品對藝術

自身的介入，他將這些物品稱之為現成物(read-made)，這些現成物是

作為對藝術歷史的挑戰者姿態被呈現的，它們通常是一些日常生活中

隨處可見的道具，小便池、酒瓶架、自行車輪⋯⋯共同構築出一個日

常生活的紀念碑。但是在黃鋼所選擇的這一系列物品中，或許更為複

雜。它們不僅僅是一種現成的，隨時可以被用作它途的「物質」，更是

一種文化載體。它們有一些共同的特徵，一方面，這些東西都是中國

古代文化中極具代表性的物品，充滿強烈的文化屬性；另一方面，它

們自身也有著屬於自己的歷史，作為文化遺存的歷史感也是藝術家有

效利用的資源之一。因此，對於黃鋼而言，這些物品已不簡單是杜象

意義上的「現成品」，而是成為一種強有力的傳統文化資源的象徵。

對這些東西的不斷利用，無疑是和藝術家自身的經歷和興趣有著密

不可分的聯繫。黃鋼出生於一個高級知識份子家庭，父母皆是文物歷史

方面的專家，父親是中央工藝美術學院中國美術的資深教授和傑出的研

究者，母親是故宮博物院的絲綢研究專家。家庭的潛移默化和從小在故

宮內的生活經歷培養了他對文物的最初興趣，而在中央工藝美術學院的

受教育經歷則為他的文物收藏興趣和藝術創作熱情之間架起一座恒固的

橋梁。從1980年代開始，黃鋼便開始收藏佛經雕板等文物，二十餘年的

經歷使他的藏品數量蔚為壯觀。在他工作是所見的或許只是一小部分，

但無論質、量，都非常令人驚訝。正是這些因素，使他對傳統文化遺迹

和文化精神擁有了深刻的見解。然而，更為重要的是藝術家對將它們轉

化為當代藝術的熱情和努力。而在我看來，這種轉化無疑是非常具有創

意的。

在《雪域佛經》、《雪域經書》、《朝經之路》等作品中，藝術

家採用了一種對畫面整體化的協調手法，畫面洋溢著懷舊，甚至有些古

典的氛圍。藝術家並沒有過多的干涉其中的主要現成物品──佛經雕板

──其自身的視覺效果和力量。他把這些經歷過時間驗證的文化遺跡看

作自足的生命體，因為它們可以通過自身的形式來言說自己的歷史和文

化內涵。藝術家只需要對其進行極簡式的調整即可，但這種調整卻是必

要的，因為這些形式上的考究並不僅僅是一種「審美」的需要，而表明

了藝術家對待傳統文化的一種態度，其中，既包含著對自我成長中至關

看上去很美：黃鋼與他的藝術世界—盛葳

重要的文化基礎的尊重，亦顯示出他將其轉化為現代藝術視覺樣式的努

力。

Ⅱ

如果說上一個系列更多地包含了藝術家對傳統文化和精神的崇敬，

那麼，在後來《紅》、《毛主席》、《紅星與箱子》等作品中，則充分

展現了藝術家對傳統文化和精神性的現代書寫，以及他對文化在歷史演

變中的生態視點。從遠處觀看觀眾會讀出一些現代中國流行的文化景

觀。但「五星」、「領導像」等符號並非標準的「政治波普」，黃鋼採

取了一種意像化的方式來呈現它們，剔出了1990年代以來中國當代藝術

中常見的「戲謔」、「調侃」和「諷刺」──這些方式，在眼下的藝術

世界中，已然變得輕浮和媚俗；相反，他對這些符號的表現幾乎是「抽

象」的，僅僅一個輪廓，一片變化而協調的顏色便能做到，在視覺效果

上顯得沈穩而凝重。不僅如此，當從觀眾近處觀看，會發現這些簡潔的

形式和顏色的背景，它們都是由藝術家自己收藏的雕板、佛經、牧民的

皮箱等物質鋪陳造就的。這些現成物品被藝術家以不同的方式轉化、組

合在畫面上。在當代中國流行符號與歷史文化遺物這二者之間，不僅存

在一個觀看距離不同形成的視覺差異，同時更具有一種歷史演變和不同

文化現象形成的深層張力。

佛經、雕板等遺物是一個早已逝去年代的文化證據，「五角星」等

流行圖像則是一個現代中國的直接表徵。這二者之間的關係，已經形成

了一種對於社會高速發展和變遷中文化生態的評論。諸如佛經雕刻板這

樣的遺跡存在於歷史之中，不僅自身是一種極具精神性的象徵物，同時

也見證了歷史自身的演進，以及其中的悲歡離合。從中國古典文化到現

代文明發展歷程的斷層現象已不止一次的在文化界引起爭論，事實或許

的卻如此，馬克思主義作為一種西方現代主義的激進哲學，與中國古典

文化理想中的「中庸」的一面多有抵觸。這一點可以被放到近百年歷史

的「中西之爭」的大環境中來討論，在這個背景之下，二者幾乎沒有任

何共同點，而我們也可以理所當然地將黃鋼畫面上的兩種不同元素看作

一對直接的矛盾體，進而證實社會發展歷史中的這些文明的衝突。

然而，藝術家自身的理解或許更為具體，也更有特點。如藝術家所

理解的那樣，佛經，尤其是經歷過時代風雨的這些佛經雕像，都是無數

僧人和工匠耗時良久的產物，它們不僅僅是將「雕刻」看作一種單調的

工作，更是當作一種修行的方式，一條實現自我的理想之途；作品中的

五星和領袖頭像則是上個世紀中國新文明崛起的象徵，它們與中國現代

社會革命緊密相連，與佛經和雕刻行迹的靜謐、平和、修行相比，革命

的方式無疑是主動而激進的。儘管我在上文中論及二者之間的衝突和不

相容性，但藝術家則從完善自我的角度找到了二者的共通性。黃鋼將兩

者行迹和文化現象看作實現同一種人生理想的兩個方面。它們分屬兩個

極端，但在表像之下卻隱藏著共同的目的。恰是如此，使得黃鋼的作品

中既充滿矛盾衝突，又包含了協調性和完整性。

Ⅲ

畫面上的各種符號組成了一種關於文化和歷史變遷的宏觀構圖，當

我進一步瞭解藝術家的人生經歷和受其影響的藝術觀念以後，我發現繪

畫中的歷史意識和個人經驗同樣是其作品價值的重要元素。我作為比黃

鋼更年輕一輩的當代藝術工作者，或許很難進入他們一代人對整個1960

年代和1970年的感受，但是通過黃鋼的作品和陳述，我開始慢慢理解

他在作品中傾注的一切。那時的文化並非鐵板一塊。不同的藝術家所表

現的那個時代皆充滿了人性，儘管他們使用的藝術圖像和符號有相似之

處，但也許他們是那個時代唯一影響深遠的文化烙印。

與藝術家的很多同代人相似，文化大革命是對少年黃鋼影響最深遠

的事件之一；與大多數人同代人不同的是，很多事情似乎就發生在他的

眼底。少年時期的黃鋼和父母曾經居住在天安門對面不遠的居民區，正

是在這裡，甚至連家門也可以不用走出，便可以看到毛主席接見紅衛兵

的盛況，這點對於很多人而言，則是需要經歷一次又一次遠途大串聯才

可能實現的。這些事件至少說明文化革命作為一種圖像資源和歷史記憶

對於藝術家深刻影響，誠如黃鋼坦言的那樣：天安門前紅旗飄揚的宏大

景象讓人記憶深刻。而且，這些關於歷史圖像的記憶中充滿了非常特別

的個人經歷，有些甚至是令人難以置信的。黃鋼在從事繪畫的同時，也

創作雕塑，有一批貨或是青銅，或是紅色烤漆的雕塑是「紅色娘子軍」

的，諸如《三個女戰士》等。但是，這些作品的來源並不簡簡單單是因

為一部戲劇自身的影響，更穿插了藝術家少年時期的個人記憶。這些

「娘子軍」戰士大多被塑造得性特徵比較明顯，藝術家就此回憶到：那

時整個社會很少有關於女性的形象出現，少年時對於女性的形象認知，大院裡曬家當

八十八個青年; 2008; 綜合媒材; 100x100cm

1� 1�

Excitement is always a factor in Huang Gang’s work, and this was my feeling when I first arrived at his studio. Since I am addicted to this sensation, I began to contemplate where it comes from, and in what

circumstances does it occur. Perhaps the most obvious impression comes from the intense, but coordinated, large red blocks in the painting; or maybe it is the dignity created by an assemblage of existing objects such as a woodblock carving, Buddhist sutras, iron, and leather. The power of visual effect is the life source of artistic works. However, Huang Gang’s work offers something more. Therefore, when I approached the artist and spoke with him in the hope of understanding the creative process behind these works; the source of his materials, and his concepts; I discovered the hidden elements of culture, history, or even emotion that support his art. Upon initial examination of the visual effect created by his work, these elements, the important sources that make Huang Gang’s work exciting and powerful, are not readily apparent. All these visible and invisible elements combine to construct a complex artistic organism. Comprehending the process behind each work of art is an adventure in itself. After several of these adventures, I began to understand the old culture in which I had grown up, the colorful life that is mine today, a period of history that has nothing to do with my generation, and the private inner world of an artist.

ISome items among Huang Gang’s body of work are quite huge. When

viewed from a distance, their dark red or brownish gray colors seem to project a majestic, dignified, ceremonial sensation. However, closer examination reveals countless interesting details. The technique of “collage” is mandatory in nearly all his works. The materials the artist uses most frequently are Buddhist sutras, boxes, and the carved woodblocks from which Chinese New Year prints are made. Here, the hand of Marcel Duchamp is evident, the difference being that Duchamp paid more attention to manufactured items as art objects themselves, viewing them as readymades. These readymades are presented in such a way as to challenge art history for they are commonly encountered in every day life, e.g. urinals, bottle racks, bicycle wheels, etc. Together, they construct a monument to daily life. However, Huang Gang’s choice of objects is more complex. They are not only readymades; materials that can be used for other purposes; they are bearers of culture. On the one hand, these objects all have one characteristic in common: they exemplify ancient Chinese culture and are replete with compelling cultural characteristics. On the other hand, each one of them has its own history and, as objects with cultural and historic significance, they have become an important resource for the artist. Therefore, for Huang Gang, these objects are not readymades in the Duchamp sense, they are powerful symbols of traditional culture resource.

The artist’s constant use of these objects reveals an inseparable link between his own experience and his private interest. Huang Gang was born into a family of intellectuals. His father was a renowned professor of Chinese Art at the Central Academy of Art and Design and an outstanding researcher, while his mother was a well-known expert on silk fabrics at the Palace Museum. Family education and the childhood experience of exploring the Palace Museum,

nurtured his initial interest in antiquities. The education he received at the Central Academy of Art and Design constructed a solid bridge between his interest in collecting antiques and his passion for artistic creation. Since 1980, Huang Gang has been collecting wooden blocks used to print Buddhist Sutras. After 20 years he has assembled an impressive collection, of which only a small portion is seen in his works. However, when it comes to the quality and quantity of his collection, one cannot help being surprised. It is precisely these factors that enable the artist to have such a profound understanding of the essence of traditional cultural heritage. Most importantly, the artist has transformed this understanding into his passion and devotion in creating contemporary art. To me, this transformation is without question, extremely creative.

In his works, The Snow Region Buddhist Sutra, Snow Region Classic, and The Sutra Pilgrim, the artist used a technique whereby the entire canvas is presented as a whole, thereby endowing the picture with a nostalgia, even a classical atmosphere. The artist did not meddle with the existing readymade objects in the painting – the sutra printing blocks - and left their visual effect and power as it is. He regards these time enduring cultural heritage objects as a self-sufficient life form, because through their own form they narrate their history and cultural essence. The artist needs only to slightly tinker with them. However, such tinkering is necessary because nicety of form is not merely an aesthetic need, it also reveals the artist’s attitude toward traditional culture. It embodies the artist’s respect for the cultural tradition in which he grew up, as

幾乎全部都來源於這部戲劇─除此之外，無論是社會現實還是藝術文學

中的女性形象，無一例外地表現出「鐵人」般的男性特質。那麼，也就

更容易理解，黃鋼作品並不簡單地是一種社會圖像，它在更深的層面上

包還了藝術家的歷史問題和個人情感。

在藝術家利用現成物品的過程中，除卻對文化自身的宏觀關注

以外，也特別重視這些現成物品的個人屬性和情感特徵。在《我的箱

子》、《紅星與箱子》這樣的作品中，這一點表現得尤其明顯。初看作

品，可能很難理解主題中「箱子」一詞的涵義，但如果仔細凝視，便會

發現畫面中鐵塊、皮毛，甚至鎖環，它們都是從藝術家收集的「箱子」

上拆卸下來的。這些箱子的原初主人是藏區或其他地方更早的牧民，當

他們遷徙的時候，會將所有物品放入這個箱子中帶走。如同藝術家所理

解的那樣，在某種意義上，這個箱子就是一個家庭，一條條生命，其中

蘊含著不同家庭的歷史和生

命本身的印記。黃鋼將這些

箱子拼貼在畫面上，以當代

藝術的形式將他們重新組織

起來，在莊重的外表下，儼

然成迹一種關於「生命」的

禮拜儀式。

與中國當代藝術界時下

流行的調侃式波普藝術相比

較，藝術家黃鋼的創作是嚴

肅的，這些創作並不是對當

代文化的一種戲謔，而是充

滿了對從古代到現代中國文

明的思考，也涵蓋了從視覺

形式到深層精神的專注。那

麼，他對表現主義手法的謹

慎也就不難理解。在他最近

創作的一系列作品中，他將

從前的年畫雕刻版和現代政治圖像結合起來，在從前的流行文化和今天

的時尚景觀之間組織起聯繫。期間，既展現出一種必然的聯繫，又表達

了一種撕裂的差異。這無疑是對當代藝術自身的一種豐富。而且，在看

待他的這些作品之後，再來討論其與中國當代藝術的異同是一件非常有

意義的事情。首先，黃鋼的作品與其他很多作品利用了相同的文化資

源，譬如五角星、領袖像、文革圖像等等，但是，區別也是極其明顯

的，尤其是在他新的這一批創作中，體現得非常明顯。從藝術史的角度

上看，中國的波普藝術毫無疑問是受到美國1960年代波普藝術的影響

而發展出來的一種藝術方式。這些藝術作品將文化革命的視覺圖像直接

借用來，作為對現實世界和商業社會的一種諷刺和調侃。然而，黃鋼在

自己作品中體現出來的思考可能具有更多的文化上的意義和建設性價值

─畢竟，調侃和破壞雖然具有一時的震撼力，但缺乏對文化本身的建設

和對未來的責任。美國批評家梁莊‧愛倫在《中國有後現代藝術嗎？》

一文中認為作為後現代藝術的中國政治波普不能夠成立，原因之一是因

為他們沒有關心中國自身的大眾文化。對於梁莊‧愛倫而言，「紅牡丹

和小女孩的圖畫」* 等民間風俗性質的圖像可能更接近於大眾文化。那

麼，正是在黃鋼的作品中，我們可以看到這一點。他將最為民間和大眾

的那些年畫木刻版收集起來，並用選擇、拼合、切割等方式將它們最迹

畫面的背景，並將好幾十年以後中國文化革命中流行的視覺圖像繪製在

其表面。其意義有如下幾點：其一，在不同時代的大迹文化之間作出一

種聯結，旨在建立一種關於歷史的敘事；其二，藝術家通過身體力行，

在表達著對傳統文化的敬重─正如黃鋼自己多次表述的那樣，傳統文化

並不僅僅是用來調侃的，這種深厚的東方文化傳統不但值得尊重，而且

是未來文化發展的泉源和動力之一；其三，在尊重傳統文化資源的基礎

上，他將傳統的視覺圖像以一種當代藝術的方式呈現出來，努力於傳統

的現代化。正是如此，我認迹他的作品在優雅的視覺形式之下，支撐力

是一種嚴肅的創作態度。

在我看來，在黃鋼的藝術創作中，有著如下三個層次的價值：文化

變遷的深層回應，新中國以來的歷史記憶，社會變革中的個體經驗。它

們經由藝術家對當代藝術形式的考究，對東方文明的認同，以及對現實

社會的反思，恰如其分地表達出來。正是所有這些複雜的元素，共同構

築了黃鋼的藝術世界。看上去很美，然而，在「美」的形式之下，潛藏

的責任和沈重卻早已悄然而來⋯⋯

2008年元月於中央美術學院

Beautiful to the Eye: Huang Gang and His World of Art—By Sheng Wei

*注釋

愛江山也愛美人; 2007; 銅; 高:80cm

兩種方式之毛; 綜合媒材; 88x172cm

1� 1�

the play. Included were the artist’s recollections of his youth. The features of the “woman warriors” are more pronounced. The artist recalled: female images were rarely seen in those days. As a youth, most of my impressions about women came from this play. Another factor was that the female image, whether portrayed in reality or in art, without exception were depicted as possessing masculine traits of exceptional strength or endurance. Therefore, it is easy to understand that Huang Gang’s art is not simply a rendering of social images, but at a deeper level embodies the artist’s personal history and emotions.

When employing readymades, the artist not only pays macroscopic attention to issues of culture, he also prizes such characteristics as the personal intimacy and feeling of these objects. This is especially so in works such as My Box, and Red Star and Box. At first glance, it is probably difficult for the viewer to grasp the meaning of the theme: box. However, if one looks closely, they will notice that the iron pieces, fur pieces, even locks and chains, come from boxes in the artist’s collection. These boxes originally belonged to early herdsmen in the Tibetan region or other parts of the country. When they moved, they packed everything of value into these boxes for travel. In he mind of the artist, in a certain sense this box represents a family; several lives. It bears the stamp of different family histories, as well as life itself. Huang Gang attached these “boxes” to a picture, and by employing a contemporary art form, recombined them into a work of art. Under the solemn exterior, it has become a ritual of celebrating “life”.

When compared with the cynicism of pop art, which is what Chinese contemporary art favors at present, Huang Gang’s art is serious. His works do not mock contemporary culture. Instead, they reflect the thoughts of the artist regarding Chinese civilization, from ancient times to the present, as well as his attention to both visual forms and the deep level of spirituality in his artwork. Therefore, it is not difficult to understand why he is so careful in his manner of artistic expression. In his recent series, he combined traditional woodblock prints used for celebrating Chinese New Year with political images, linking a former pop culture with today’s fashionable theme. In so doing, he not only expressed a definite link, but also revealed a breach of differences. Without doubt this has enriched the world of contemporary art. Moreover, after reviewing his works, it is very meaningful to discuss the difference between his art and contemporary Chinese art. First, Huang Gang’s work has drawn upon many similar cultural resources, i.e. the five stars, images of the leader, and images from the Chinese Cultural Revolution. However, there are obvious differences. This is especially clear in his latest creative work. From the standpoint of art history, there is no doubt that Chinese Pop Art was influenced

by American Pop Art of the 1960s in developing into its present art form. These artworks have made direct use of the visual imagery of the Cultural Revolution, to mock or tease the practical world and commercial society. However, the work of Huang Gang reflects the artist’s thoughts on culture and reveals its constructive value. After all, although mockery and destruction can momentarily create a shocking effect, they take no responsibility for cultivating culture and building a future. In her article, “Post-modernism in China”, Ellen Johnston Laing, an American art critic, does not see Chinese Political Pop Art becoming established in Post-modernistic art in China. One of the reasons is that Chinese artists are not concerned about mass culture in China. For Ellen Johnston Laing, folk pictures such as “The Picture of Red Peony and the Little Girl”

1

, are close to being considered as mass culture. This is exactly the case with Huang Gang’s work. He has collected folk woodblock prints for the New Year season, and by careful selection, assembling, and cutting, has utilized them as background in his pictures. Next, he paints them over using visual images popular during the Chinese Cultural Revolution, which took places decades after these prints were made. Its significance can be summed up as follows: 1. The artist has linked pop arts from different eras for the purpose of constructing an historical narrative. 2. Through his own efforts, the artist shows his respect for traditional culture – just as Huang Gang himself has often said, traditional culture is not merely something to scorn. This profound Eastern culture and tradition is worthy of veneration, for it will become the source and inspiration of future culture development. 3. Based on his respect for the resources of traditional culture, the artist presents traditional visual images in a contemporary manner in an attempt to modernize traditional culture. Precisely because of this, I feel that the visual elegance of his works is sustained by the artist’s earnest attitude toward the creative process.

To me, Huang Gang’s artistic creativity embodies the following three levels

of value: His profound response toward cultural change; his memories of the new China; and the experiences he underwent during social reform. These values are properly displayed by the artist’s minute attention to contemporary art, his recognition of Eastern civilization, and his reflections on society. It is precisely the combination of all these complex elements that constitute the art world of Huang Gang. His art is beautiful to see. However, a sense of heavy responsibility has long since crept in to lurk among these aesthetic forms.…

January 2008, Central Academy of Fine Arts

well as revealing his effort to transform this into a contemporary art form.

IIIf the artist’s last series of works reveals a respect for traditional culture

and spirit, in his recent works such as Red, Chairman Mao, and Red Star and Box, one can perceive the artist’s modern approach toward traditional culture and spirit, as well as his ecological views on the historic evolution of culture. When viewing his work from a distance, the viewer is able to read China’s modern pop cultural scenery in the painting. However, such symbols as “Five Stars”, and “Portrait of the Leader” are not standard “political pop art”. Huang Gang’s choice of expression is imagery, which excludes elements such as “persiflage”, “jeering”, and “sarcasm” so often seen in Chinese contemporary art since the 1990s. In the eyes of the contemporary art world, such techniques are perceived as flightiness and mass culture. On the contrary, his manner of expressing these symbols is almost “abstract”. A mere outline, or an expanse of changing but coordinated color, is enough to achieve this goal, all the while maintaining a stable and dignified visual effect. Moreover, when observed from up close, the viewer will discover that the simple style and the color background of these paintings are actually composed of objects, such as engraved wood blocks, sutras, and suitcases favored by herdsmen, all of which come from the artist’s own collection. These readymades have been transformed by the artist in different ways and combined into a picture. Depending on whether the artwork is viewed from a distance or up close, not only is there a visual difference between Chinese pop symbols and cultural heritage, an even more profound tension is created between historical evolution and varieties of cultural phenomena.

Sutra and engraved wood blocks are cultural evidence from a long gone era. Pop images such as the “pentagram” are a direct symbol of modern China. The relationship between these two becomes a critique of society’s rapid development and the changing cultural environment. The fact that relics such as wood blocks engraved with sutras were once a part of history makes them not only compelling spiritual symbols, but also serves as testimony to historic evolution and life’s moments of joy and sorrow. The fissure between Chinese classical culture and the development of a modern civilization has been debated more than once in cultural circles. Perhaps there really has been a fracture. Marxism, a radical philosophy in Western modernism, clashes in many ways with the “moderate” ideal of Chinese classical culture. This discussion can be phrased in more grandiose terms such as “The Struggle Between East and West”, which has been going on for almost a hundred years. In such a context the two appear to have almost nothing in common. Therefore, it stands to reason that the two different elements in Huang Gang’s picture constitute a pair of undeviating contradictions, further proof that the history of social progress is marked by the clash of civilizations.

However, the understanding of the artist is perhaps more concrete and unique. As the artist sees it, Buddhist sutras, especially those wood blocks engraved with text and images, are a product of painstaking effort on the part

of monks and craftsmen. They did not regard “engraving” as labor, but as a means of cultivating one’s character; an ideal path towards realizing their goal. Among his works, the five stars and portraits of the leader are symbols of a new civilization that has risen in the last century. They are closely linked with the modern social revolution in China. However, when compared with the qualities of tranquility, peace, and cultivation of character as espoused in Buddhist sutras, there is no question that revolution is assertive and drastic. Although I have mentioned above that these two are contradictory and incompatible, the artist has found something in common between these two in the act of improving one’s character. Huang Gang views the two, behavior and cultural symbolism, as factors in achieving an ideal life. They are two extremes, but beneath the surface is concealed a common purpose. Precisely because of this, Huang Gang’s works have a full measure of inconsistency and conflict as well as harmony and completeness.

IIIThe various symbols in the picture combine into a grand structure based

on cultural and historical change. Upon further investigation into the artist’s life experience and the art concepts that had influenced him, I discovered that historic awareness and personal experience in his painting are both important values in his art. Compared with Huang Gang, I belong to a younger generation of contemporary artists. Perhaps this makes it difficult for me to appreciate the way their generation feels about the 1960s and 1970s. However, through Huang Gang’s work and narrative, I gradually began to understand all that he has poured into his work. The culture at that time was not rigid and unyielding. A rich humanity can be found in the works of various artists of that era. Although their use of artistic images and symbols tended to be similar, perhaps those were the only elements capable of leaving profound and lasting impressions on the culture.

Like most people of his generation, the Chinese Cultural Revolution had a great impact on the young Huang Gang. However, what differentiates him from the majority of his generation is that it seems many things took place right before his eyes. As a youth, Huang Gang and his parents lived in a residential area not far from Tiananmen Square. It was right here, so close it almost seemed he didn’t have to step out the door, that he witnessed the grand occasion of Chairman Mao receiving the Red Guards. For many people, being able to witness this entailed long journeys from various locations throughout the country. If nothing else, these events explain how the Cultural Revolution made such a profound impression on the artist, and became a source of images and historic memory. Just as Huang Gang has said: The magnificent spectacle of red flags fluttering in front of Tiananmen is an unforgettable memory. Moreover, these historic images in the artist’s memory also include many special personal experiences, some of which are hard to believe. Besides painting, Huang Gang is also a sculptor. A series of bronze sculptures, or sculptures coated with red baked-enamel, such as The Three Woman Warriors, were fashioned for the theme, The Red Detachment of Women, one of the Eight Model Plays during the Cultural Revolution. However, the inspiration for these works did not come simply from

1. (USA) Ellen Johnson Laing: “Post-modernism in China”, World Art, p. 48, Issue 3 1996. Originally printed in “Asian Contemporary Art Workshop Discourse Collection”, Canberra

University, Australia, 1992.

書法系列Calligraphy Series

20 21

水; 2000; Water; Mixed media on panel; 60x60cm

古體寫水似水流，有主流與支流。

正方構分三等份，紅一分，紙拓白紙一分。

那些是支流，主流在上，是大水呀~~

22 23

風; 2000; Wind; Mixed media on panel; 60x60cm

有風有水，中國人講風水，風水一起。

千年前風水與現在黃鋼風水。

可談、可議、可觀。

2� 2�

畫境; 2000; The realm of painting; Mixed media on panel; 63x63cm

紅、金、黑三色，濃淡有緻地在板上游走。

多層的手法表現出作者完全掌握材質的親密度，

然後再用書法寫「畫」，有意有境有畫。

2�

金色轉輪; 2001; Golden Wheel; Mixed media on panel; 60x60cm

金色為主似大地，外拓有圓似太陽。

甲骨文為襯顯舊意，禪宗意境也是如此，

有虛有實。

2�

養云; 2005; Cultivating Clouds; Mixed media on panel; 107x107cm

字為養云似為養生，

另有作品「紫氣」，一圓一方，

天圓地方，養云為地，萬物養者、賢者、能者。

30 31

書法系列--紅大地(一); 2003; Calligraphy Series; Mixed media on panel; 127x84cm

紅色為大地，書寫似大山，山地間一氣呵成。

32 33

書法系列--紅大地(二); 2003; Calligraphy Series; Mixed media on panel; 127x84cm

3�

書法系列; Calligraphy series; Mixed media on panel; 108x108cm

書法的一點一橫有重有輕，有墨與紙的呼應。

但仔細端倪後，才知是板上，何為、如何，

只有作者知其為之。

3� 3�

書法系列; Calligraphy Series; Mixed media on

panel; 110x20cm (4 pieces)

這四拼小幅作品，可採單屏或二或三或四屏。

上下高低，我都試過都可，看環境、看狀況、看心

情。

我想黃鋼作此作品時，也是如此想法。任意隨意，

再加上一點禪意，佳品~~~

�0 �1

黃鋼近來的創作將他本身推向國際關注的焦點，他近年參與了多次

重要的展覽及在拍賣場上成功獲得收藏家的親睞。他近期的創作

主要包含了曼陀羅，菩提樹，舊皮箱子，五角星系列。我認為他的作品

主要探索了抽象藝術的本源：一、藝術儀式化，二、藝術物質化，並且

具有獨特的技法和氣勢。

空間的時間感

黃鋼將抽象藝術引導到強調社會性，批判性，遠離了強調色彩，線

條等藝術語言的視覺與心理作用；他的作品超越純粹抽象，用東方的抽

象語言延展了抽象繪畫的意義。他從2002年開始就不斷地在畫抽象畫，

對他來說，趙無極是他相當心儀的抽象派大師，他對趙的在用筆中融合

中國書法技巧和在對畫面經營上應用中國式宇宙觀特別欣賞，對他的作

品上分析，趙無極似乎有意識或無意識的影響了他對抽象畫的概念，但

就我看來，他的作品相比趙卻更加的中國式也更加的西方式。他對空間

的營造更立足於再現中國式的宇宙觀，這種觀點是來自於他受到中國南

宋山水畫哲學及東方美學思想的影響。

黃 鋼 使 用 了 壓 克 力 顏 料 ， 結 合 中 國 特 有 的 透 明 植 物 大 漆

（lacquer），用特別渲染的方法多次添加。他用作品質感來營造出南宋

山水畫中的朦朧空間感，造成視覺上對空間的不確定性，進而產生了空

間感，他在畫面上也大量使用濕筆等中國技法待乾之後再不斷反覆的覆

蓋上去，一層又一層，有時候他也會將已完成的部分除去，再重新來一

遍，最後使顏色之間沒有明顯的交接線。他所表現的空間感因此是近於

中國式的自然觀察而不同於西方式的強調視覺透視。

黃鋼對畫面空間的營造導致他產生了一種獨特的用筆，他偏好使用

大筆，側鋒強調畫面的動感而非細節。他創作時更強調使用畫筆的力量

和用筆的速度和運動方向。他的用筆造成了空間的流動感，更因此加深

了空間的不確定性，不難發現黃鋼對畫筆的運用基於他長期對中國書法

的瞭解和實踐，與其說他的作品是畫出來的，倒不如可以說他的作品是

寫出來的，我認為他的作品中空間感的再現是相當獨特而且是相當深刻

的。他的空間感並非視覺的再現，而是經由畫筆的運動痕跡對觀者所帶

來的時間感，進一步來說，他所營造的空間感是由時間將所再現出來的

是一種觀者感知上的投射，基於筆者的分析，我們便不難瞭解為何觀者

在欣賞黃鋼的作品畫面時會感到畫面在不停的變動，像是一幅活的畫，

充滿靈性。我個人認為黃鋼的作品體現了中國道教式的宇宙觀，宇宙是

變化不斷的，就像是由源源不斷的力量所衍生而來。這也就是為什麼我

認為黃鋼的作品比趙無極的作品更對中國式的繪畫及宇宙感提出了一種

獨特的實踐和深刻的理解和應用。

藝術魔法

就另一方面來說，我認為黃鋼對抽象畫和西方抽象畫大師康丁斯基

的作品產生相當有意義的對話，眾所周知，康丁斯基為抽象畫的先驅大

師，對他而言，抽象畫的意義不單是視覺形象上的單純化，而是一種精

神層面上的追求，他的基本著作總結了抽象畫中所表現的視覺能量，對

康丁斯基來說，抽象畫中更重要是說藉由這種能量，觀者可以由畫面體

驗到如宗教般的精神力量，這種對抽象畫的理解幫助我們解釋了黃鋼抽

象畫的另一層觸及到的意義。

我們都知道黃鋼的創作來源很大部分是根於他對西藏佛教長久的學

習和理解，從材料來說，他近期作品是選自西藏的印版經和舊皮箱子，

他將印版經或舊皮箱子拼在一起作為畫板，從構圖來說，他取材於藏傳

佛教中的曼陀羅為形式，是一種佛教的宇宙觀。除此之外，藉由康丁斯

基對抽象畫的理解，我們現在可以體會到他作品中和宗教的關聯表現在

我上述談到的他作品所產生能量上，在這裡，黃鋼和康丁斯基對繪畫的

瞭解不是形式或視覺地再現而是觀者冥想的一個視窗，從藝術理論的角

度而言，有學者就把藝術認為是一種魔法，不是一種視覺幻覺，而是根

植於人類在物質環境中的宇宙生成未知的原始的永恆的依存。

只有根據我以上分析強調的，才能充分解說黃鋼的創作動機或創

作意義。如果把他的作品理解為西方藝術的衍生，如德國二戰後大師

Anselm Kiefer（擅長在畫面上製造出朦朧的質感，以表現戰後德國為戰

敗國的歷史責任，和對人類文化再生的急切感）或是美國80年代的半

具象大師Julia Schnabel（主要以在日常生活中可取到的現成物如盤子等

拼在一起，組成創作的畫板，並在上面鋪上表現性極強的筆觸），那就

是形式上的理解了。只是黃鋼作品同樣有著Kiefer的厚實與深沉，並與

Schnabel一樣，具備了繪畫的宏大氣勢和高貴氣質。

物質化的繪畫

中國當代藝術近幾年的發展已開始尋求一種新的藝術概念和美學以

脫離自80年代以來以西方形式和圖像為主流的現象。這一方面是源於

藝術市場上不斷求新求變的市場邏輯，另一方面更是源於藝術家對自身

創作的要求與滿足感，黃鋼近期幾個系列反映了他對新的藝術潮流的探

索。他的作品強調了架上繪畫的手藝、技藝和生活性，他將長年收集到

的西藏宗教及生活材料加以加工組合，同時也強調這些材料在生活中的

時間性和精神性。他似乎想藉由此將中國的架上繪畫拉回到更本質的創

作層面上，而非主流中的強調概念及圖像似的應用，也就是說，繪畫的

意義不是在創作後的視覺再現而是包含了創作中的創作過程和創作前材

料的選用，繪畫的本質是和物質緊密地結合在一起的，因為這些材料具

有巨大的能量，經過時空的轉換，這些能量被藝術家放大，釋放出來。

黃鋼的強調繪畫的物質性和中國當代藝術家反繪畫物質性有極大的差

別。黃鋼作品的特點受到他的經歷的影響。黃鋼畢業於中央工藝美院環

境設計系，從大學的訓練中，他對材料的認識和應用比油畫專業的更為

深刻。其次，他擁有的二十年中日古董收藏經歷，和從體驗西藏宗教的

過程中發現人為藝術在那是不存在的。因為宗教的力量遠遠大於藝術，

兩者間的差異來自於宗教是產生於人類對自然力量的崇拜，而藝術是來

自於人類對工業物的加工。因此在他的作品中他更希望是選用現成物。

藉由對現成物的藝術處理，語言轉換，使其具有的精神能量按照藝術家

的創造思想去發展，他的藝術能將這些現成物所具有的精神力量和藝術

產生一種關聯。

黃鋼對宗教力量的探討也反映到了政治層面上，在他近期的作品五

星系列中，我們可以發現，他將紅色五角星或毛澤東的肖像和他的中國

式美學及西藏印經版並置，直接的產生了這些紅色經典符號和宗教符號

的對比，前者是直接的，色彩強烈的；後者是間接的，顏色溫和的。黃

鋼恰好能夠將這兩者的差別藉由視覺效果表現出來，但我認為，他的作

品另外重要的是在表現兩者的共同性。藉由並置政治和宗教這看似不相

干的思想來邀請觀眾探索兩者的關聯，結果是顯而易見的，正如他的作

品巧妙地展現。這兩種思想都是一種精神力的創作物，都是一種信仰。

五角星是常出現在社會主義社會的政治符號，但它更常代表一種前衛力

量的展現，它代表反叛、革命的力量，對理想主義的最高追求，這種追

求不正是和宗教所提倡的理想主義有共同性嗎？所以我認為黃鋼對政治

和宗教的取材不是單純的停留在形式主義上，而是更深一層的探索兩者

背後的深層意義。

論黃鋼抽象藝術的創造性楊心一

養云; 2005; 綜合媒材; 107x107cm生命之眼; 2005; 綜合媒材; 122x81cm 菩提樹; 2006; 綜合媒材; 124X244cm (局部)喜瑪拉雅山日出; 2006; 綜合媒材; 123x123cm (局部)

�2 �3

結論

在中國當代藝術家的創作主題中，除了大家耳熟能詳的政治題材或

是消費文化符號外，中國的古代文化也是一部分藝術家較為關注，尤其以

海外極為國際知名的藝術家為主，如徐冰使用中國的印刷術，蔡國強借用

中國煙火，黃永砅採用中國民間宗教及巫術。他們的創作會引起國內外關

注的主要原因是他們有系統的巧妙地將中國古老智慧轉變成了當代藝術形

式，這既是中國的，又是全球的，既是古代的，也是當代的，正是這種多

元性或是矛盾性體現了他們藝術的本質，而我認為黃鋼的作品也放在此一

脈絡來討論，並為其藝術找到一個學術上的定位，他借用作品來表達中國

式的宇宙觀，藉由抽象藝術的語言來表達一種無形的精神及能量。

但我認為黃鋼的作品不僅於此，他同時也藉由作品來尋找一種屬於

中國文人式的當代藝術。黃鋼出生和成長在北京，從小生長在具有深厚中

國文化歷史底蘊的家庭，父親是中國著名的中國工藝美術史學家，母親是

故宮博物院著名的考古學家，且從小就師從沈從文學習中國書法。他喜歡

收藏藝術品，無論是當代藝術或是古董，他對藝術有著敏銳而深刻的洞察

力。在如此強烈的中國文化薰陶下，他自小就立志成為一個藝術家。但對

他來說，藝術家不是一個職業，更不是一種工作，而是一種生活方式和對

事物觀察的本能，也就是一種自然而然的審美能力和對事物再現能力的實

現，在中國當代藝術中，這種對藝術家的認識是很根本的事，中國書畫家

講求與自然、山水的融合與對話，而創作是基於此的延伸，相對於西方藝

術來說，藝術家較強調概念的再現。黃鋼的架上繪畫就是在這種差異中顯

示出其獨特性和創作性。他將生活和創作結合，反省消費物質文化上對當

代精神的追求。

Creativity in the Abstract Art of Huang GangYang Xinyi

The recent works of Huang Gang have brought him international recognition. In recent years he has held many important exhibitions, and today art collectors and auction houses alike eagerly seek his works. His recent works include the following series: Mandala, Bodhi Tree, Old Leather Box, and Pentagram. I believe his works are an important means of understanding the origins of abstract art: 1. Art as ritual. 2. Art as material object, though crafted with skill and containing a unique energy.

Time in SpaceHuang Gang focuses his abstract art in a judgmental fashion on social issues,

rather than emphasizing the visual and mental effects created by artistic idioms, such as colors and contours. His work transcends pure abstraction and extends the meaning of abstract painting by means of an abstract oriental idiom. He has devoted himself exclusively to abstract printing since 2002. He especially admires the work of master abstract painter, Zhao Wuji, particularly the manner in which Zhao has incorporated the techniques of traditional Chinese calligraphy into his brushwork. He has also expressed admiration for Zhao’s use of the traditional Chinese view of cosmos in his composition arrangement. When analyzing Huang’s work, it seems that, consciously or unconsciously, Huang’s approach to abstract painting, has, to some degree been influenced by Zhao Wuji. In my view, Huang’s work is both more Chinese orientated and more westernized than Zhao’s work. Huang’s arrangement of space emphasizes the recreation of the Chinese view of the cosmos, and this aspect of his art is inspired by the landscape painting philosophy of the Southern Song Dynasty, as well as oriental aestheticism.

Huang Gang combines acrylic paint with transparent Chinese lacquer, which

has been extracted from plants, and then, using his own special technique, applies many layers during the course of the creative process. The texture of his work gives the feeling of a mist-shrouded space similar to that favored by the Southern Song landscape painters. Though this space is imperfectly perceived, a sense of space is nevertheless created. He also avails himself of many traditional Chinese techniques, such as the wet brush. Once the initial paint has dried, Huang will further apply layer after layer until he is at last satisfied. Sometimes, he will remove part of a completed work, and repeat the same process until every trace of the original has been obliterated. The spatial feeling in his art is closer to the Chinese way of natural observation, as opposed to the visual perspective of Western art.

The spatial arrangement of Huang Gang’s painting has forced him to use

his brush in a special way. He favors a large brush. The use of the side of the brush emphasizes the flowing sense of his painting rather than the detail. When he paints, he places more emphasis on the force, speed, and direction of his paintbrush. His brushwork style creates a flowing feeling of space, thereby deepening the sense of spatial uncertainty. It is not difficult to see that Huang Gang’s use of brush grew from his understanding and long-term practice of traditional Chinese calligraphy. His work is “written out” rather than “painted out”. It is my conviction that the recreation of space in his work is very unique

紅色三角塔; 2001; 綜合媒材; 80x80 cm (局部)

工作室一景--看得出黃鋼很用功，沒空間~

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and impressive. The sense of space is not recreated visually, but by means of his brush movement, he creates a sense of time in space. In other words, the space in his painting is a visual projection of the observer revealed by time. Based on my analysis, it is not difficult to understand why the viewer will feel the composition of a Huang Gang painting continues to move, even as they admire it. His painting gives the impression of being alive and full of spirit. Personally, I believe Huang Gang’s work expresses the traditional Chinese Daoist view of cosmos. The universe is constantly changing and this change seems to be driven by an eternal force. For this reason I believe that a comparison of Huang Gang’s work with that of Zhao Wuji reveals that Huang has invented a unique technique to apply his deep understanding of Chinese painting and the traditional Chinese view of the cosmos.

Art MagicOn the other hand, I believe Huang Gang has created a meaningful dialogue

with abstract art and the work of abstract artist, Wassily Kandinsky. It is a common knowledge that Kandinsky was the forerunner of abstract art. To him, the meaning of abstract painting was not merely simplifying visual image, but a spiritual pursuit. His basic theory concludes that abstract painting possess a visual energy. More importantly, by means of this energy, viewers are able to sense in abstract art a spiritual power that could almost be termed religious. This insight into abstract art enables us to perceive another level of meaning in Huang Gang’s abstract painting.

It is common knowledge that Huang Gang’s long-term study of Tibetan Buddhism has exercised a powerful influence on his art and insights. Among his recent subjects are woodblocks, formerly used to print Tibetan sutras, and old leather boxes. He arranged these woodblocks and leather boxes together to form a drawing board. This arrangement seems to have been inspired by the Mandala of Tibetan Buddhism, which represents the Buddhist view of the cosmos. According to Kandinsky’s philosophy, we can now understand the energy link between abstract painting and religion. Huang Gang and Kandinsky’s understanding of painting is not a question of form or visual representation, but rather a catalyst to facilitate viewer introspection. According to art theory, some scholars believe art to be a form of magic. It is not a visual illusion, but an unknown, primal, and eternal existence originating from the material universe within which man finds himself.

Only by consulting the above-mentioned analysis will one be able to understand the motivation driving Huang Gang’s creative art as well as the meaning of this work. If we regard his creative output as a product of Western art, i.e. like that of Anselm Kiefer, a post-WWII German master (whose specialty was turning out dreamy textured compositions, expressing the historic responsibility of Germany for her wartime defeat, and the pressing need to recreate human culture), or Julia Schnabel from the United States, a semi-figurative master painter of the early 1980s (whose primary technique was to incorporate in his composition manufactured items of daily use, such as plates, and paint over them with powerful and expressive brushstrokes). But these are mere form. Huang Gang’s work possesses the same solidity and depth as found in Kiefer’s art, while at the same time embodying the grandeur and noble qualities of Schnabel.

Incorporation of Extraneous Objects in Painting In recent years, the development of contemporary Chinese art has begun to

look for new aesthetic directions and new artistic concepts. It has turned away from the forms and images of Western art that had held sway since the 1980s. This was brought about by the ever-changing taste of the art market together with the demands the artist makes on himself and the satisfaction derived from his own art. The recent series produced by Huang Gang reflects his exploration of this new art trend. His easel painting emphasizes workmanship, craft, and the quality of everyday life. He combines his years of collecting Tibetan religious objects and everyday hand made items into his art, thereby stressing their timeless and spiritual qualities. He appears to be attempting to bring Chinese easel painting back to the basic level of creativity, rather than emphasizing the concepts and semi-images popular in mainstream art. In other words, the meaning of painting is not to recreate something visually, but lies in the artist’s creative thinking and his choice of materials before setting to work. The essence of painting is closely linked with the material used because these materials possess an innate energy. Placed in a different environment and in a different era, this energy is magnified and released by the artist. A vast gap lies between Huang Gang, with his emphasis on making objects a part of his painting, and those contemporary Chinese artists who cannot accept this approach. The uniqueness of Huang Gang’s art has been affected by his experience. He graduated from the Department of Environmental Design,

Central Academy of Art and Design. As a result of his college training, he had a more profound understanding of materials than of oil painting as a specialty. In addition, he has been collecting antiques from China and Japan for 20 years. From his experience in Tibetan Buddhism, he discovered that secular art does not exist in Tibet because the power of religion is far more influential than art. The difference between religion and art is that religion originates from Man’s worship of Nature’s power, while art is the result of Man’s tinkering with industrial objects. Therefore, he favors the use of objects that are ready to hand. By means of transforming readymade objects into works of art he has changed his idiom, thereby enabling Huang Gang to develop their innate spiritual energy into his artistic vision. His work has become a bridge, connecting the spiritual power of these everyday objects with art.

Huang Gang’s discussion of religious power applies equally to government. In his recent series, Five Stars, we discover that he has placed the red pentagram, or a portrait of Mao Zedong, together with his Chinese style aesthetics and the woodblocks used to print Tibetan sutras, thereby directly contrasting these classical red symbols with religious symbols. The former is straightforward, and brightly colored, while the latter is indirect, and has softer colors. Huang Gang is fortuitously able to express the difference between them by means of their visual effect. However, I feel another important aspect of his work is his manner of showing what these two have in common. By juxtaposing such seemingly unrelated topics as politics and religion, the artist encourages viewers to examine the relationship between them, and the result is obvious. Just as his work so cleverly reveals, politics and religion are both the creations of spiritual power. They are both a form of faith. The Red Star is a symbol often seen in a socialistic society, but is most frequently perceived as a display of avant-garde power. It represents the power of rebellion and revolution; the ultimate goal of Idealism. Isn’t this goal precisely that proposed by religion? So I believe that Huang Gang’s perception of a parallel between political and religious power is not merely an exercise in empty formalism, but rather represents an attempt to penetrate deeper into both.

ConclusionAmong the many themes contemporary Chinese artists draw upon to express

their creativity, aside from familiar political topics or symbols of consumer culture, some artists have turned their attention to traditional Chinese culture. This is especially the case with artists of international fame. For example, Xu Bing uses traditional Chinese woodblock prints, Cai Guoqiang makes use of the Chinese firecracker, while Huang Yongping turns to Chinese folk religion and witchcraft. Their creativity has attracted attention both home and abroad because they have systematically and ingeniously transformed the wisdom of old China into a contemporary art form. It is Chinese but at the same time, international. It is ancient, yet contemporary. This diversity and contradiction displays the essence of their art. In my opinion, Huang Gang’s artwork deserves to be ranked together with these luminaries and is worthy of academic study. He has displayed the Chinese view of the cosmos through his work. His idiom of abstract art reveals a kind of invisible spirituality and energy.

Nevertheless, I feel there is more to Huang Gang’s art than meets the eye. His work reveals his search for a Chinese scholastic contemporary art. Huang Gang was born in Beijing and was brought up in a family where traditional culture was the foundation of day-to-day life. His father is a renowned Chinese art historian and his mother a well-known archeologist for the Palace Museum. From a very young age Huang Gang began the study of traditional Chinese calligraphy under the guidance of Shen Congwen. As a collector of art objects his insights into both contemporary art and antiques are precise and reflective. Immersed in a traditional background of this nature, at a very early age he vowed to become an artist. However, to him, the concept of “artist” is not a profession or a job, but a way of life and an instinctive ability to understand the world about him. In other words, it is a natural aesthetic ability, and a way to accomplish the recreation of things as they are. This fundamental understanding is shared in common by all contemporary Chinese artists. Chinese painters and calligraphers strive to create a dialog and become one with nature and the landscape. This is the foundation and continuation of their creativity. However, in the world of Western art, creative artists stress the recreation of their concepts. It is this difference between Chinese and Western arts that makes the easel painting of Huang Gang unique and creative. His art combines daily life and creativity, reflecting the search of contemporary spirit amidst the material culture of consumerism.

紅星菩提; 2006; 綜合媒材; 122x122cm (局部)

工作室前必經之路，好似朝經之路，朝向金黃大道。

白塔、菩提樹系列White Pagoda and Bodhi Tree Series

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白塔; 2005; White Pagoda; Mixed media on panel; 106x70cm

白塔之中存放的是佛教聖物，在藏傳佛教中象徵著佛陀的法教，亦是一種古老的曼

陀羅形式，由於外觀大多漆成白色，因此稱為白塔。黃鋼以木刻經板作拼貼，在時

空變換的當代情境之中，歷史悠久的白塔圖騰被賦予了嶄新的詮釋。

�3

雙塔; 2007; Double Pagodas; Mixed media on panel; 95x95cm

雙塔可能是黃鋼創作塔中僅有的雙塔構圖。

前頁有白塔，塔的外表色有白、黑、紅等。

此雙塔似雙黑塔，更雄偉地佇立著。

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飛翔; 2005; Wings; Mixed media on panel; 105x69cm

黃金箔有著殷商的饕餮紋飾，似一對展翅要高飛起舞。

雙邊黑色肥沃大地中有條金黃大道。

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紅色的牆; 2005; Red Wall; Mixed media on panel; 80x80cm

中國紅牆紅得有歲月感，想起那道紫禁城的紅牆，

五百年的紅牆，21世紀紅牆，

不同時空，異地相呼應，極美也簡。

��

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雪山盟; 2005; Snow Mountain; Mixed media on panel; 80x120cm

千年白雪峰頂，大地陪伴不離；黑白相間，靈動有力，

神秘有感的誓約，再約千年吧，雪山再盟。

�0 �1

朝經之路; 2006; Pilgrimage to the Buddhist Scriptures; Mixed media on panel; 169x123cm

金色大道蜿蜒且深遠，但有跡可循，朝向陽光，朝向大道，前去即可取經，取得心中的經~

�2 �3

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菩提樹; 2005; Bodhi Tree; Mixed media on panel; 244x122cm

佛陀靜思，得道於菩提，苦修、樂修、歡喜修，將苦轉樂，歡喜轉眾生，慈悲轉眾生，成佛後

菩提無所不在，讓眾生修。此件正中有棵大菩提樹，由大地串起，直達雪峰，陪伴著有無數經

文、取經人、朝聖人，往人間傳聞中的香格里拉邁進。

��

菩提樹; 2006; Bodhi Tree; Mixed media on panel; 244x124cm

茂盛的菩提樹籠罩著大地生長的萬物，樹枝狀交錯放射延展，

我曾經獨自站在此畫前，感到全身被包圍著，沉靜且寬喜，

這樣的感覺，在筆者於紐約MoMA莫內的睡蓮大作前，才有這相同的感受。��

��

紅星菩提; 2006; Red Star Bodhi Tree; Mixed media on panel; 122x122cm

曼陀羅、日月系列Mandala and Revolving Series

�2

紅色三角塔; 2001; Red Triangle Tower; Mixed media on panel; 80x80cm

極簡主義的直線、直角，單一鮮紅的金字塔，明確表現出主題。

這也有曼陀羅意像，三角金字塔中在中國的紅之角塔。

因為經版環繞，神佑、天佑、意念佑~

�3

��

紅色曼陀羅; 2002; Red Mandala; Mixed media on panel; 105x105cm

這張視覺上幾乎像極了一張14至15世紀間的曼陀羅唐卡，

因為創作者是唐卡的收藏愛好者，他完全可以掌握到顏色、格局及歲月感。

此件是平藝術空間費力從美國尋回的，

就像曼陀羅天圓地方，轉向何處，就到何處吧，

也許再過些時間也會轉到他處，但真希望永遠擁有它。

��

紅色曼陀羅; 2005; Red Mandala; Mixed media on panel; 105x105cm

曼陀羅是佛教藝術中最為為人所知的圖騰，往往由三角形、四角形及圓形

所構成，以須靡山(Mount Meru)為世界之軸，用來代表整個宇宙。曼陀羅

又指諸神的宮殿、居所，另有一稱為「壇城」。圖案中每個精密複雜的細

節，皆有其特定的象徵意義與相對應的修道儀式。

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方形曼陀羅; 2002; The square Mandala; Mixed media on panel; 64x64cm

�0

金色壇城; 2005; Golden Mandala; Mixed media on panel; 105x105cm

寬大厚重且深遠的壇城，佛教最高指示區，無量佛無數佛，

佛陀說無數如恆河的沙一般，壯闊浩瀚、神秘感動

是這件作品給人的感覺吧！

��

黑色轉動; 2007; Black Wheel; Mixed media on panel; 80x80cm

「一個古人一個今人，一個僧人一個當代藝術家，一信徒一無神論者，

一匿名和一位簽名者，這兩個人，在一個特定的歷史瞬間，一起創造了

這個作品。」 ──汪民安

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紅色轉動; 2007; Red Wheel; Mixed media on panel; 80x80cm

小轉經; 2007; Revolving; Mixed media on panel; 80x80cm (4 pieces)

前有兩件轉動系列的銀白及黑紅，

中間有一直條。跟這四角的轉經，

有如啟動計算時間的儀晷，

因為日照讓倒影來表示時間，

又像是一個開關啟動刻度再出發，

能源一開一關，如日月般，有明有暗。

��

�1

大圓城; 2004; Circle of Life; Mixed media on panel; 80x80cm

外方內圓，外方，內無數圓，

有天地、日、月，有無數生靈於大圓城內，

生生不息。

太極; 2006; Tai Chi; Mixed media on panel; 80x80cm

這張結合了轉經啟動與太極易經中的轉化，

代表創作者完全融入於中國老祖先的易經，

他獨創一格的手法，有傳統、有現代、更當代。

�3�2

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晝夜平分; 2004; Equinoctial; Mixed media on panel; 110x110cm

在和平的大地上，金色代表欣欣向榮，

日月與地球的關係永恆不變，只是權衡著白天與黑夜誰消誰長。

春夏秋冬，黑夜白晝，交替循環，公平地不多不少。

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喜瑪拉雅山日出; 2006; The Himalaya Sunrise; Mixed media on panel; 123x123cm

「宗教力量遠大於藝術，宗教是人類對自然力量的崇拜，

而藝術來自於人類對工業性物質的加工。」

──楊心一

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法輪常轉; 2005-2007; Revolving; Mixed media on panel; 180x120cm

「我認為黃鋼對政治和宗教的取材不是單純的停留在形式主義上，

而是更一層的探索兩者背後深層的意義。」 ──楊心一

雪域法輪; 2004-2008; Revolving in the Snow Terrain; Mixed media on panel; 220x122cm

日正當中，法輪自在常轉，大地昇起和平之勢；

高原冰封依舊，大地生靈不息。佛經、佛陀常在口中，常在心中。此件為直式的轉經系列大件作品，

太陽、雪域、佛經版，各層各階不偏不倚，旭日再東昇。

100

10�

轉動日月; 2007; Revolving; Mixed media on panel; 200x200cm

正中心的大轉輪是地球，經版精緻地錯落、排序嵌入，密不可分，

有如地球的萬物生靈，一日，一月，一季，一年地轉動，

轉動日與月，平衡著，罩佑著金色圓城中的每一粒沙。

10� 10�

太陽遠去之三星拱照; 2007; Fading Sun; Mixed media on panel; 122x244cm

月球最小，次之太陽，最大者應是地球，千萬年規律的運行，別太近，別太遠，地球

自轉自行自保。這是筆者最愛的一件，太陽遠去有三件，各有精采，誰可擁有，誰有

福份之星拱照，照亮大地，光明人生。

金色曼陀羅; 2007; Golden Mandala; Mixed media on panel; 244x100cm

「看黃鋼作品有一種感受，一直不斷吸引著我，於是我開始思考這些「刺激」的來源和性質。」──盛葳

「黃鋼強調繪畫的物質性和中國當代藝術家反繪畫物質性有極大的差別。」 ──楊心一

10� 10�

110 111

兩地平分; 2004; Division; Mixed media on panel; 147x85cm

「他們不僅僅是一種現成的且隨時可以被用作它途的

『物質』，更是一種文載體。」 ──盛葳

112 113

渡過日月; 2007; Crossing; Mixed media on panel; 200x300cm

「雕版物透過黃鋼的手，沉默的意義重新被喚醒了，久遠的歷史痕跡得到了

回溯，沉睡的命運借助畫面獲得了曙光。」 ──汪民安

11� 11�

三重世界; 2007; Triple World; Mixed media on panel; 180x80cm

「佛經雕版自身已經是一個濃厚的意義載體了，

即便脫離它原有的語義，它的意義也不能輕易地被改變和放棄。」──汪民安

11� 11�

沒有對某種堅不可摧的東西的持久信靠，

人就不能有尊嚴地生活下去，一切藝術亦然。

——題記

在藝術代群上，黃鋼屬於'60後藝術家，然而其藝術旨趣、藝術意

志乃至生活經歷多半不同於這一藝術代群，而更接近現代主義高峰期向

後現代轉化的先鋒藝術精神。這同時表明，多元化時代潮流中的'60後

藝術家，大都有著豐富的個體主體性面目。黃鋼近10年創作的繪畫、雕

塑作品，涉及宗教、文化、身體等嚴肅的題旨，而其觀念和方法，又完

全是異質的疏離式的破題。不難看到，黃鋼的創作始終與各種主流保持

著審慎的距離，猶如一股潛流的激進運行，從同一性模式的裂隙迸發、

奔湧而來，匯聚在當下，溢出一個貧乏而繁雜的時代的文化容器。

藝術創造自由的有限性和無限性的媒介，都在於語言。而視覺語言

更是極其有限的，因此語言的創造力考驗著每個藝術家。「畫其所想，

而不畫其所見」的創造觀念，達成了當代藝術的價值認同。黃鋼的繪畫

藝術語言創新性，概括而言有三種相互辯證、相互融合的意向，其一是

後極少主義的簡約和內斂；其二是抽象表現主義的氣韻、線條運動速

度、情感化的塗繪和靈動多變；其三是西藏雪域歷史文化符號的神秘與

厚重。這三種視覺語言的融合，經由佛教性靈之淨化，進而得以有機強

化，博得有意義的形式。

從佛理上來說，性靈理念產生於南朝，其社會背景是佛教盛行。佛

經、佛論尤其喜歡用「心」、「神」、「靈」、「性」等概念。佛教義

學的核心是「心性」。梁代的大士傅弘《心王銘》宣稱：「識心見佛，

是心是佛。……淨律淨心，心即是佛。除此心王，別無他佛」。「心作

萬有，諸法皆空」。（宗炳《明佛論》）「三界所有，皆心所作」。

（鳩摩羅什譯《大智度論》卷二十九）黃鋼的繪畫語言，從形式極限激

發性靈，正是性靈的強度敲響了其藝術的鐘磐。語言實驗在過去的現代

性審美觀念裡，似乎意味著一種「自有自在」的本體論自信，似乎「實

驗」本身一勞永逸地解決了意義的歸宿，其實未克語言巴別塔之謎。只

有後現代語言的衍異觀念、語言-話語權力考古臨到漢語思想之後，視

覺藝術語言才得到一個祛蔽的歷史契機，在世俗中追求聖潔，為性靈表

徵。

黃鋼的畫面使用了大量佛經刻板，這不僅僅止於材料性質的實驗或

外觀裝飾，佛經刻板蘊涵著刻經僧侶的靈修，聖潔的刻寫勞作透出的生

命資訊，也傳達出菩提的信念而自行湧現佛性或空觀。另一種畫面材料

是高原犛牛的皮革，由古舊的皮箱拆解熨平之後，拼接鑲嵌，構成畫面

語言，它們是雪域文化索引性的符號，引向自然本體的存在的追尋，經

由人化的自然，皮箱成為藏民或僧侶的生活用具，儲存著藏人的生活及

其文化傳承的秘密，這種用具性在未經藝術家上手打開之前，還只是歲

月打擊下的日益破舊的器物，像佛經刻板使用的木料一樣，當它們被結

合進畫面語言，就變成性靈的載體，承載著大地的事物本身。

在《我的箱子》這件大尺幅的代表性作品中，除了佛經刻板，拆

解的皮箱，畫家還拼接少量仿造的虎皮和紅五星，構成了祭壇畫的視覺

意味，黑褐色把上述四種材料統一、平衡在無景深的對稱構圖中，儘量

使對象性的影響單純，使雄渾的主調沉下來，營造一種宏大、悲劇性的

肅穆。而在畫面的上端，白色的背景有著紅與黃的融滲、漫漶，深度的

隱喻因此被顯示出來，老虎的王氣、紅星的霸氣、佛光的蒼茫，是以內

斂的張力混成的，其平面鋪展並不容納形式主義教條，不是用平面的物

質真實克服視幻覺，也不是回到物象或具象本身，而是迂迴到被隱喻的

所指腹地，達到現象學的還原，讓材料是其所是。這一切都是要激發精

神領域的沉思冥想，超越塵世的俗念。黃鋼在此把基弗爾引為自己的同

路，同時也擯棄了波普藝術那種即物形的機械主義，綜合材料的使用並

非為材料的陌生感考慮，旨在為了解放材料鎖閉的預言，對於史蘊的直

覺和自然的感悟力本身也是預言的能力，逸出了世俗經驗和社會反映，

性靈體現的預言就是一種預見性，在當代，具有預見性是一個優秀藝術

家不可或缺的條件。

《我的箱子》可以看作是黃鋼的材料性繪畫藝術之綱領性表現，

他向觀者敞開了性靈之門，「箱體」空間帶我們邁入超驗的門檻。這一

系列作品使用的媒材具有不可複製性，諸如經版、皮箱等有著先於繪畫

本質的生命存在，而其精心製作的難度和時間的消耗之長，都是當代架

上藝術少有的，其工藝性的精煉基礎，奠定在黃鋼青年時期在中央工藝

美術學院嚴格的專業訓練，以及後來作為教師的研究型積累。離開體制

後的十多年來，黃鋼把雪域文物的收藏行為當作文化資源的積累方法，

同時，雪域文化特殊的啟示精神，也使一個有精神渴求的收藏者受到內

在的「剃度」，因此，對其繪畫本體的正當理解，相應地定位於性靈闡

釋，就不是流於外在的空泛附會。在印象上，那些依靠雪域文化媒材構

成的大比例的色塊，營造出勢不可擋的物質在場，然而，這是某種不可

公度的啟示精神的在場，靜觀自得，性靈的臨到，生成了渾然一體的蒼

茫和神秘。

從《我的箱子》闡釋可知，黃鋼的極少主義語言運用上並不完全

贊同極少的藝術形式——那種完全非符號化的物質性以及物理意義的在

場性，他的繪畫語義結構中的「少」，包涵簡約、克制、內斂、限定的

意向，力圖將世俗繁雜事物拋開，克制物欲的貪求，當物欲和貪念被靈

性淨化，留下了廣袤的空曠、內心的空靈。在有規律的幾何形式構成畫

面之中，除了傾心凸現經版的刀筆之美、經文的神秘意味，經版始終是

性靈、後極少以及＇60後的當代藝術史地位——評黃鋼的綜合媒材繪畫島子

太陽遠去; 2005; 綜合媒材; 240x120cm

我的箱子; 2006; 綜合媒材; 244x122cm (局部) 行雲流水; 綜合媒材; 直徑:155 cm

11� 11�

菩提靈性的表徵符號，而不僅僅是一種簡潔的物件，例如《夢之舟》、

《佛經》、《朝經之路》、《轉經》、《行雲流水》、《菩提樹》、

《大轉經》、《金色的曼陀羅》等，進一步地，在空間表現上，在經版

或皮革構成的實體空間之外，其非實體空間恰當地運用了書寫性和塗繪

性的表現主義語言風格，在經版的金黃色域背景上塗繪、滴瀝黑褐色、

有的則間以大漆塗刷那些紅星。尤其當結合並抽象了紅色敘事語義後的

「紅星」系列，畫家毅然把「極少」的原教旨消解了，進而借鑒了唐卡

佛教聖像圖式，用來諷喻極權人物的自我神化，藉此疏離于大量氾濫的

毛圖像。極少主義風格上的中性、非個性化、機械式被有效改變，朝向

隱喻或是象徵意義轉換。這也是黃鋼的材料性繪畫最有趣的地方，因此

稱之為「後極少」更為合適。

當我們說黃鋼的「後極少」表現在繪畫極少主義歷史語境中有現實

意義，就在於風格論的「極少」已經終結了，而社會反映論、權利消費

主義以及後殖民意識遮蔽了當代藝術的精神渴求，人們期待藝術領域提

供新的批評性的預言，而不是流行的欲望化的視覺圖像貪婪。極少主義

可以直接追溯到抽象主義藝術家蒙德里安和俄國構成主義等一些前輩藝

術家，甚至還可以聯想到包豪斯的美學觀。極少主義以色彩的自然屬性

平塗構成，簡單明瞭，排除引起視幻覺的藝術手法。數學體系作為它們

的組合基礎，把作品減縮到基本的幾何形狀。減少到最後，結果是取消

物質轉為概念。藝術超越界限，與相關人文學科、與人的日常生活，互

融、互滲，展現人們的精神活動。雖然人類一直是在展現精神活動，以

後仍然會是一如既往，可是，我們還是期望這樣表述：人的使命無法過

寄於宗派教條、人文思想、理性主義、藝術形式……人的使命基於生存

的狀態之中，生存的狀態讓我們為不可見證、不可再現的實在做一個見

證。繪畫極少主義在北美出現之後，一度與繁雜的生存現實衝撞達成相

應的和諧，繼而人們發現，把握客觀世界淨化秩序的樣式實驗結果難以

兌現。實驗走到了極限。

據此，我們一般會認為後現代藝術家洞察到物質屬性的藝術作品的

限制，再擴展到人類社會生活的維度。當代中國出現了一種稱之為「都

市禪」的「極多主義」，據說就是上述生活形式的擴展。然而，何謂人

類社會生活的維度？藝術如何擴展這種維度？人類社會生活不容納精神

渴望和純正信仰嗎？「都市禪」與寺廟休閒旅遊消費有本質的區別嗎？

純正的信仰僅僅只「對心理有安慰作用」嗎？這些追問必然顯現著當代

藝術最為根本的問題。

實際上，後極少主義的啟示性與禪的方法有共通性，禪及傳統

藝術乃是「間離」（interval）的藝術，西方傳統藝術則是「連接」

（connection）的藝術，所以東方藝術要把觀眾融合到它的「間離」之

中，或者觀眾自身融入「間離」之中，然後將一切連接起來，所以觀眾

參與創作。而根據鈴木大拙的說法，禪的方法乃是直接地整個融入物件

之中，無疑這種「整體融入」乃是當代藝術及生活的方法。至於它的契

機，則是來自資訊時代的電子媒體的衝擊，因為電子媒體要求人們動用

全身的感官，視覺只是人的「五感」之一罷了，而靈感則是神靈所賜。

禪的方法是整體地聯結天地人神，去靜觀萬事萬物，當代藝術的媒介解

放也是以「齊物」的觀念，將卑微的事與物全看作藝術。當然，這裡所

謂的西方傳統乃指文藝復興。約翰、凱奇說：「文藝復興以前的藝術，

不論東方西方，莫不建立在同樣的基礎之上，尤以東方藝術，一直走著

正途，至於自我表現的藝術乃是文藝復興以後的觀念，它與過去的藝術

比起來顯然是異端」。因此「極多主義」只是數量上對西方「極少」語

用學的回應乃至不幸濫用，而並非在質量上對「極少」語義學的觀念擴

張。在其悖謬處，為視覺感官欲望的圖像貪婪提供了貧乏的說辭。禪悟

不可分為都市/鄉村，廟堂/山林。靜觀自得，一念成佛。

黃鋼的綜合媒介藝術，顯現出性靈化的後極少美學追求，回到內心

的空無視像體悟禪味禪機，發現了純粹抽象的貧乏和晦暗，靈性化的後

極少藝術諳熟自己的秉性，在物的構成中拓出時空通達之道，以靈性拯

救物化的世界。靜觀自得，是在藝術、個體生命與精神世界之間的生成

的信靠能力，有了這種能力，其畫面對形與色才會產生最純粹的抵抗和

刪除，才會以最簡約的形式形成自己獨特的畫風。靈性的空間並無時間

限定，或者說，時間只是空間完全敞開後純粹的面目，空間由此贏得尊

重。

由黃鋼的藝術個案引申出一個相關話語，不妨提示出來聊以探討：

當代藝術如果存在著一個「整一現代性」的話，或許在一定程度上可以

概括'85新潮時期的藝術狀態，反映出那一時期的思想解放訴求和現代

主義審美水準，而對於'60後來說，整一性的宏大理想並沒有認同感。

'60後的創作實踐意味著「整一現代性」所假設的範式在這一代人的藝

術意志中出現了實質性的分化、逆轉，'70後乃至'80後都是這種分化、

逆轉的複雜現象的進行時—從根本上朝向多元化、異質性不斷演繹和變

異。從1990年代以來，觀念攝影的出現、行為藝術介入公共空間、女

性主義藝術的實踐、身體藝術的自覺、後抽象的興起、後殖民意識的疏

離、新歷史主義的關照等，多是由'60後驅動並使之高潮迭起，'60後表

明了後現代性精神所賦予的中國先鋒藝術新的生命力。如果說當代藝術

的文化邏輯是否思性的位移，當代藝術的當代性則是後現代精神的表

徵。藝術批評和研究，應該更多地考察'60後現象的歷史因素和現實狀

況。黃鋼在主流之外取得的異質性藝術成就，再次有力印證了'60後藝

術家在當代藝術歷史上不可混淆和抹煞的地位。

2008年初春，清華園

廢墟中與毛共存

山之巔; 2007; 綜合媒材; 244x122cm

作品《山之巔》速寫草圖

120 121

Man can’t lead a life of dignity without an indestructible faith to support him -- and the same for art - Preface

Huang Gang belongs to the generation of artists who emerged after the 1960s. However, his artistic goal and purpose, or even his life experience, differs greatly from other artists of this generation. Huang Gang has more of the avant-garde spirit found in the transitional period between the peak of modernism and the rise of post-modernism. It also shows that most of the post-1960s artists, who were part of the multifaceted trends of that period, retain a diversified individualism. In the last ten years, Huang Gang’s paintings and sculpture have included such serious topics as religion, culture, and the physical body. His concepts and method are completely alien and removed from others. It is not difficult to see that he has always carefully kept a distance between his creative work and the various mainstream arts. It is like a hidden torrent, relentlessly surging onwards to burst forth from a crack created by its persistence, and overflow into the cultural container holding a hodge-podge of popular poor-taste.

Idiom is the medium for creating an art form that may be either limited or unlimited. Visual idiom is especially limited. Therefore, the creation of a personal idiom is a challenge for every artist. The concept, “paint what you think, not what you see”, has become a shared value in the world of contemporary art. The creative painting idiom of Huang Gang can be roughly divided into three categories which are dialectical and can be integrated: 1. The simplicity and restraint of post-minimalism. 2. The spirit, speed of contour movement, painting with emotions, and flexible changes, found in abstract expressionism. 3. The mysterious and profound historic and cultural symbols of the snowy region of Tibet. Purified by Buddhist spirituality, the combined effect of these three visual languages is strengthened and becomes much more meaningful.

According to Buddhist theory, the concept of spirituality emerged in the Southern Dynasty. It was an era when Buddhism thrived. Concepts such as “mind”, “soul”, “spirit”, and “fundamental nature” are often found in Buddhist sutras and theory. During the Liang Dynasty, the great scholar, Fu Hong, claimed in his text, The Mind King: “When greeting Buddha with an enlightened mind, the mind and Buddha are one… When you are disciplined and your mind is purified, your mind is Buddha. Except for this Mind King, there is no other Buddha.” “Your mind contains everything. All dharma is illusory” (Discourses on Understanding Buddhism, by Zong Bing). “Everything that exists in the Three Realms is derived from your own mind” (c.f. Chapter 29, A śāstra ascribed to Nāgārjuna in the Greater Prajna-paramita sutra, translated by Kumārajīva).

The painting idiom of Huang Gang inspires spirituality in its extreme form, and it is precisely this strength which forms the spiritual foundation of Huang Gang’s art. The experiment of idiom, in the earlier sense of modern aesthetics, seemed to indicate some kind of ontological confidence in “freedom”. It seemed that “experiment” would forever solve the problem of “meaning”, but in fact it did nothing to solve this Tower of Babel myth. It is not until the concept of different idioms, an outgrowth of post-modern idiom, and the search for the power of the spoken language touched Chinese philosophy, that the idiom of visual art was able to find its place in history. It has become a quest for purity, and a symbol of spirituality in this secular world.

Huang Gang’s painting makes generous use of the woodblocks on which sutras are carved and which are used for printing Buddhist texts. These are not merely an experiment with materials or exterior decoration. The actual toil of carving these woodblocks contributes towards spiritual improvement, the goal of all monks. The essence of their lives has been engraved into the woodblocks through their laborious carving of these Holy Scriptures, expressing their Buddhist faith and revealing their Buddha nature or mediation on the “void”. Another item found in his paintings is leather made from yak hide. He removed them from old suitcases, ironed them, and then patched them together to form the idiom of his composition. These symbols of a snow region culture lead one to seek the existence of natural essence. After contact with human hands, these leather suitcases became household items of daily use by Tibetans or Tibetan monks. They conceal the secret of the Tibetan way of life and their cultural heritage. Before being opened by the hand of the artist, they were nothing but old objects doomed to gradually decay with the passage of time. Like the engraved woodblocks used for printing sutras, when they are combined to form the idiom of painting, they become a vehicle of spirituality, embodying the essence of myriad beings.

In his large sized representative work, My Box, in addition to the sutra woodblocks and pieces from leather boxes, the painter has also incorporated a small quantity of artificial tiger skin and the red star. When combined together, they have the visual effect of an altarpiece. The dark brown color unifies the above-mentioned four materials, balancing them in a

Spirituality, Post-Minimalism, and the Post-1960s Status of Contemporary Art – A Critique of Huang Gang’s Multi-Medium Painting Dao Zi

尚未運用到畫作上的古董經版

symmetrical composition that is without perspective. The artist has tried to reduce the influence of objectivity, toning down the main vigorous atmosphere to create a majestic and tragic solemnity. The white background in the upper part of this painting is blended with, and permeated by, red and yellow colors. The well-hidden metaphor is therefore revealed. The regal quality of the tiger, the tyrannical aura of the red star, and the indistinct light of Buddha, are created by a restrained power. The arrangement of the painting does not include the theory of formalism. The genuine objects on the surface are not meant to solve the problem of visual illusion. Their purpose is not to attract viewer attention to the shape or image of the objects, but serve rather to indicate a hidden meaning. This way, one is able to prove the restoration theory of phenomenology and the essence of all the materials will remain the same. The combined effect is intended to inspire a spiritual meditative mood and transcend the secular desires of this world. Huang Gang has sided himself with Anselm Kiefer, and abandoned the material theory of machinery that dominates Pop Art. His use of multi-medium has nothing to do with reducing the strange feeling that new materials project, but is a foretaste of freeing restrictions regarding material usage. His visionary ability can also be seen in his intuitive understanding of history’s hidden narratives and his perception of Nature. His vision has freed itself from secular experience and the influence of society. A prophecy reveling spirituality is a form of vision. In the contemporary world, vision is something that is essential to an outstanding artist.

My Box, can be seen as the guiding principle for Huang Gang’s art of painting with a combination of materials. He opens viewer receptivity to spirituality, allowing the space of the “box” to transcend us. The medium used in this series of works cannot be reproduced. For example, the woodblocks from which sutras

are printed and leather boxes. They possessed a life before they became part of the painting. The difficulties of producing these works and the long investment of time on the part of the artist, are rarely seen in contemporary easel art. The fine craftsmanship in these works is the result of Huang Gang’s solid training as a young man at the Central Academy of Art and Design, and the research he later conducted as a teacher. For more than a dozen years, following his departure from the educational system, Huang Gang viewed collecting artifacts from the snow region as a means of assembling his cultural resources. Meanwhile, the inspiration brought forth by the culture of this snow region has purified this collector who was thirsty for spirituality. Therefore, his proper understanding of painting unquestionably represents his interpretation of spirituality, in contrast to superficial, vacuous conclusions reached through false analogy. The large blocks of colors present in these cultural artifacts from the snow region give an impression of a latent dynamic quality. However, this immeasurable spirit of inspiration will be attained through quiet observation. The presence of spirit has created an indefinable mystery.

From the interpretation of My Box, one learns that Huang Gang’s minimalist idiom does not completely approve of minimalism as an art-form – the non-symbolic materialism and the presence of physics. The minimalist concept in his painting idiom includes aspects of simplicity, control, restraint, and limitation. He tries to eliminate various secular items, and control the greed for material gain. When material desire and greed are purified by spirituality, the vast, light, and free inner world is all that remains. In his regular and geometrical compositions, aside from the excellent sharp strokes that he wholeheartedly intends to express the mystery of the woodblocks, woodblocks should be seen as the ultimate symbol to express the spirituality of Bodhi,

工作室一角，黃鋼的小護法獅與夕陽共舞

122 123

rather than merely simple objects. This trait can be seen in works such as The Dream Boat, Buddhist Sutra, The Sutra Pilgrim, Prayer Wheel Sutra, Floating Clouds and Flowing Water, Bodhi Tree, Large Prayer Wheel Sutra, and Golden Mandala. In his expression of space, aside from the real space constructed by woodblocks and leather, a virtual space is created by a writing and painting style using the idiom of expressionism. The background to the woodblocks was painted a golden color and dark brown paint was dripped onto the painting. Red stars were painted with Chinese lacquer in some of the paintings, especially the Red Star series, where the abstract style is combined with the red narrative idiom. The painter determinedly ignored the principle of minimalism, and called upon the Thangka image to cynically criticize the self-established divinity of totalitarian dictators. This way, he was able to distance his art from the ubiquitous image of an all-powerful Mao. The neutral, non-characteristic, and mechanical traits found in Minimalism have been efficiently altered, and transformed into metaphors or symbols. This is one of the intriguing qualities in Huang Gang’s painting with extraneous materials. With this in mind, perhaps the term “post-minimalism” would be a more fitting way to describe his art.

When speaking of Huang Gang’s art in the idiom of minimalist painting history, it is realistic to regard his work as an expression of “post-minimalism” because he has carried minimalism to a new level. Issues such as social reflection, consumerism, and the idea of post-colonialism have blinded contemporary artists to the pursuit of spiritually. People expect art to portend a new criticism rather than providing a popular and desirable visual image. The school of Minimalism can be traced directly back to abstract artist Piet Cornelies Mondrian, the Russian school of Constructivism, and even Bauhaus aestheticism. Minimalist painting embodies the natural quality of colors. It is simple and straightforward, eliminating visual illusion. Rules of mathematics are incorporated into this art style, and the arrangement of the painting is reduced to geometric forms. In the end, material form is transformed into concept. Art knows no boundaries. It fuses with, and penetrates into studies of humanity and daily life to display man’s spiritual activities. Man has always display his spiritual activities, and will continue to do so. However, we’d like to state: As people, we should not be limited by region, humanity, rationalism, or art forms… Based on our existence, we are able to become witnesses to a reality that is unattested and cannot be recreated. When minimalist painting first emerged in North America, it clashed with the complexities of reality, but later,

harmonized with it. However, it wasn’t long before people discovered that the goal of this experiment of purifying world order with objectivity was difficult to achieve. The experiment had reached its limits.

According to this theory, most of us assume that post-modern artists will perceive the limitations imposed on artwork by the material used, and by extension will apply this awareness to the aspect of life style. A phenomenon known as “City Zen” or “Maximumism”, has emerged in modern China. This is said to be a development of the above-mentioned life style. However, what exactly is life style? How can art help expand this thing called “life style”? Is society incapable of incorporating spiritual longing with pure belief? Is there an essential difference between “City Zen” and paying money to take part in a temple tour? Is pure belief merely a placebo to comfort the psyche? These questions are precisely the same basic questions addressed by contemporary art.

In fact, the inspiration of post-minimalism and Zen derive from the same source. Zen and traditional art are an “interval art”, and traditional Western art is a “connected art”. Oriental art is trying to draw viewers into the “intervals”, or else enable viewers to blend themselves into the “intervals”. Ultimately, everything falls into place, as viewers become part of the creative work. According to D.T.Suzuki, Zen means to directly immerse oneself into an object. No doubt this “total immersion ” is both a means to create contemporary art and a way of living. The rise of contemporary art has been triggered by the impact of electronic media in this information age. Electronic media requires people to open all their senses, and visual perception is only one of Man’s five senses. Inspiration comes from the divine. Zen is a way to completely connect heaven and earth, Man and God, and an attitude enabling them to quietly observe the earth’s myriad beings. The liberation of medium usage in contemporary art is also based on this concept of regarding minute things and objects as art. It goes without saying that traditional Western art mentioned here refers to Renaissance art. John Cage stated: “Renaissance art is the art of the past. East or West, it doesn’t matter, for the foundation is all the same. This is especially true of Eastern art, which has always been on the proper path. The belief that art is the expression of individualism is a post-Renaissance concept. It is hieratic when compared to the art of the past.” Therefore, “Maximumism” is more a put-down of the Western term “Minimalism”, rather than an actual concept of increasing quantity, as implied by the concept of Minimalism. What is absurd

is that Maximumism poorly justifies the greed for images to fulfill visual desire. Enlightenment can’t be limited to city or rural villages; nor to high social position or reclusive life style. By quietly observing one may gain insight. With determination to achieve enlightenment, one can become a Buddha.

The multi-medium art of Huang Gang has revealed his quest for the spiritual aestheticism of post-minimalist art. Examination of the void in his inner world and the insights gained from Zen, has enabled him to discover the insufficiency and obscurity of pure abstract painting. The spirituality of post-minimalism is perfectly suited to this painter’s nature. From the structure of objects he is able to create a path connecting time and space, thereby providing salvation to a material world by means of spirituality. The process of quiet observation and the insights it yields, have become a source of dependable power, generated through a combination of art, the individual, and the spiritual world. This power enables the painter to develop an unadulterated ability to resist and expurgate forms and colors from the composition of his painting. In the end, the simplest form emerges and this becomes his unique painting style. Spirituality is not restricted by time. Or, to put it another way, perhaps time becomes the true feature of space when the structure of space is totally demolished. Because of this, space wins our respect.

This individual case of Huang Gang’s art has created a related discussion, which I see no harm in bringing up at this point: If a quality such as “unified modernity” had existed, at least to some degree, in contemporary art, the “1985 New Art Trend” would have been regarded as contemporary art because it reflected the liberated thinking of that era and the aestheticism of modernism. However, this grand concept found no audience after the 1960s. Post-1960s artwork showed that this concept of “unified modernity” had polarized and changed for the worse in the minds of that generation of artists. The same complicated process also took place in the 1970s and 1980s. Fundamentally, art had become more and more diversified and developed into a multiplicity of forms. Since the 1990s, conceptual photography has emerged, performance art can be found in public space, Feminist art is being practiced, body art has caught the attention of artists, post-abstract art has become popular, the idea of post-colonialism has disappeared, and New Historicism has begun to exert influence. The diversity of these art trends is the result of post-1960 art movements. This shows that the post-modernism emerging after the 1960s, infused vitality into

Chinese avant-garde art. If we consider the direction the cultural logic of contemporary art is now heading, we can regard present trait of contemporary art as a symbol of post-modernism. When one undertakes art criticism or research, one needs to pay attention to the historic facts and social environment after the 1960s. The fact that, outside of mainstream art, Huang Gang’s art is highly regarded by the art world, is further testimony to the fact that post-1960s artists have definitely gained an important place in the history of contemporary art.

Spring 2008, Qinghua Garden

太極;2006; 綜合媒材; 80X80cm (局部)

三人行必有我師--與岳敏君、任思鴻合影。

雪域佛經系列Snow Terrain Series

12� 12�

雪域佛經之大地甦醒; 2006; Buddhist Scriptures on the Snow Terrain

-Land awaken; Mixed media on panel; 200x200cm

光陰飛快，大地又睡了五千年，快快醒吧！白雪冰封即將被融退，因為

頌萬佛之經，將從地中竄起。

12� 12�

雪域佛經之傳家至寶; 2007; Buddhist Scriptures on the Snow Terrain-

Treasure of heritage; Mixed media on panel; 200x200cm

高山白雪下，大地沉睡，經版似由天而降的護法，與箱子、大地爭法，

自然不爭不奪，你們都傳家之寶，見者分福、分平安。

130 131

雪域行舟; 2006; Canoeing on the Snow Terrain; Mixed media on panel; 210x105cm

陸上行舟，是力量巨大，推著希望之舟航向希望的高嶺，最接近天堂的雪域中，是人間香格里拉吧。

一個古人一個今人，一個僧人一個當代藝術家，一信徒一無神論者，一匿名和一位簽名者，這兩個人，

在一個特定的歷史瞬間，一起創造了這個作品。

天際無邊; 2006; Infinite Universe; Mixed media on panel; D:100cm

半邊天際，半邊大地，

白雪將要覆蓋大地，大地上無數的小太陽，

小曼陀羅相排相併，相容相惜。

132 133

13� 13�

行雲流水; Flow; Mixed media on panel; D:155 cm

圓造型兩分出雪域的白，

畫法舞墨於天際大地上的經版指向朝聖取經之路，

靈動、感動。

13� 13�

九個太陽; 2007; Nine Suns; Mixed media on panel; 200x65cm

遠古時代，據傳有九個太陽，現實中只能有一個太陽，還好黃鋼的是金太陽，

九個輪迴。九九八十一是多、是數不清的！

雪白高峰下，金色大地中，排列著九個小曼陀羅似太陽，金照，今照，不生，不滅。

13� 13�

黃金印記; 2006; Golden Imprint; Mixed media on panel; 190x56cm

2007年冬，某日下午去訪黃鋼，開門見佛陀正坐於黃鋼工作室中。

因為我是佛教文物的收藏者，黃鋼也是，共通、共愛、共享，離去前，黃鋼喜捨，小平我樂得。

佛陀成佛後四處講經，佛教隨行弟子，十到百到八百不等，傳教時，有弟子問：「佛有多少於世間上?」佛陀答，如恆河沙無數。

正央坐佛陀，應是18世紀的銅件，作者再將原件成版，拓成佛陀，左右兩旁如弟子無數受教、受經，排排跪坐，虛心受教。

1�11�0

1�2 1�3

山之巔; 2007; The Peak; Mixed media on panel; 244x122cm

「黃鋼作品同樣有著Kiefer的厚重與深沉，並與Schnable一樣，具備了繪畫的宏大氣勢與高貴氣質。」──楊心一

1�� 1��

金色的冰湖; 2007; Gold Iced Lake; Mixed media on panel; 244x244cm

「黃鋼將抽象引導到強調社會性、批判性，遠離了強調色彩、線條等藝

術語言的視覺與心理作用，他的作品超越純粹抽象，用東方的抽象語言

延展了抽象繪畫的意義。」 ──楊心一

我的紅星、我的箱子系列My Red Star My Boxes Series

1��

我的紅星; 2005; My Red Star; Mixed media on panel; 60x60cm

「黃鋼藝術創作是在尋求屬於中國文人式的當代藝術。」──楊心一

1�1

我的金星; 2005; My Gold Star; Mixed media on panel; 80x80cm

1�2 1�3

我的紅星與愛國者; 2008; My Red Star and Patriot; Mixed media on panel; 122x88cm

「黃鋼無意強行改變雕版的語義，也沒有對經版做出強制性的改造，相反地他保持了雕版

的原樣性，讓它成為畫面本身。」 ──汪民安

1��

兩種不同方式之雙星; 2007; A couple of Red Stars; Mixed media on panel; 122X122cm (2 pieces)

這樣的表現方式，陰與陽互映，在作品「兩種方式之毛」中，黃鋼也曾這樣表現過。

在大紅星簡樸的線條中，呈現出黃鋼處理經版與圖騰技法上不凡的自信與精確。

1��

我的紅星; 2007; My Red Star; Mixed media on panel; 180x180cm

碩大的紅星，外圍一層經版，與下層經版有明顯起伏。在上的白峰，嶺的左

右，隱約的看到日月相伴，滿佈下半部的經版，整齊的肅立於紅星旁，漸層由

淺到墨黑，如知其白，守其黑。

1�� 1��

我的箱子; 2006; My Box; Mixed media on panel; 244x122cm

「我的箱子，有千種樣，統一、平衡在無景深的對稱構圖中，盡量

使對象性的影響單純，使雄渾的主調沉下來，營造一種宏大悲劇性

的肅穆。」 ──島子

1�0 1�1

我的紅星˙我的箱子; 2007; My red star˙My box; Mixed media on panel; 135x94cm

「黃鋼將生活和創作結合，反省消費物質文化上對當代精神的追求。」──楊心一

1�2 1�3

我的紅星˙我的箱子; 2007; My Red Star, My box; Mixed media on panel; 122x244cm

橫幅式，正中央上方有紅星，中間有橫披展開的藏箱，似虎紋的獸皮讓人感到震撼；底部下二處嵌

入許多經版，白的雪峰，正中央紅星流動，白與棕、黑色相間，多層多重的材質與設色多變。黃鋼

一直強調說，創作「我的紅星．我的箱子」系列多數，但數這幅最佳最愛~

1��

我的紅星; 2007; My Red Star; Mixed media on panel; 200X180cm

我的紅星; 2007; My Red Star; Mixed media on panel; 200x180cm

此件正方形的紅星，依舊是黃鋼擅長且成熟的佈局。聖母峰上白雪千年，紅星解放西藏人民，與大中

國共甘、共榮，不見刀刃，只見和平處。

1�� 1��

我的紅星我的箱子; 2005; My Red Star, My Box;

Mixed media on panel;300x200cm

巨幅的大紅星，可能僅有兩件(200x300cm)。在

多種材質的大幅巨作中，拼貼作品與架上油畫的

難易，我想僅有黃鋼知道兩者是不可相比的，其

力道、氣韻、規律、佈局都遠甚於架上油畫，我

想身為油畫創作者的你不會有異議吧!

1�� 1��

我的紅星之世界之嶺; 2008; My Red star–Summit of the world; Mixed media on panel; 220x105cm

濃郁流動的白，是這件橫幅最精采之處。2008年的黃鋼已更能掌握到自動與半自動的白、黑、紅，各種

顏色的脈動，好似身上流動的血液，感覺它在你血管流竄，自然的呼、自然的吸。

1�0 1�1

1�2 1�3

北京記憶; 2007; Beijing Memory; Mixed media on panel;

244x105cm

似蘇聯紅場的布幕飄動著，紅、橙、黃，呈現出紅星主義

半邊天啊!黃鋼有意地將中國字的經版嵌在紅星布帘上，

上白下紅，調和得好！中國盛世將在21世紀發光發熱，紅

星、紅塵啊~

1��1��

1�� 1��

北京記憶No.2; 2008; Beijing Memory No.2 ; Mixed media on panel;

244x105cm

黃鋼使用了壓克力顏料，結合了中國特有的透明植物大漆(Lacquer)，用特

別渲染的方法多次添加。 ──楊心一

1��

八十八個青年; 2008; Eighty-Eight Youths; Mixed Media; 100x100cm

物質化的銅環，黃鋼用簡易手法焊接共88片銅扣，扣住的乃是40~50年代

蘇聯青年的生命。

1�0 1�1

年輕時代; 2008; Juvenile Age; Mixed Media; 100x100cm

多種媒材乃黃鋼專業的收藏系列，文物個體上有千年及近百年的的

各項材質，「年輕時代」此種手法為頭一遭，有空間感、材質感、

透視感。

1�2 1�3

黃鋼的作品存在著多重拼貼和嫁接。現代記號和歷史記號相互拼

貼，植物性的木板和動物造皮箱的相互拼貼，紅色和黑色的拼

貼，化工物和自然物的拼貼，油畫技術和雕刻技術的拼貼，宗教和政治

的拼貼。這一系列的拼貼，使得黃鋼的作品呈現出複雜而豐富的意義。

這些作品中最顯著的是黃鋼對西藏的佛經雕板的運用。這些雕板本

身就是作品，它們由西藏寺院的僧人所刻制，這是些僧人的作品，它們

不僅雕刻了佛經文字，而且還穿越了漫長的歷史霧靄，雕刻了時光。這

些雕板作品因此具有雙重的痕跡：雕刻的痕跡和時間的痕跡，我們也可

以說，藝術的痕跡和歷史的痕跡。現在，黃鋼對它們的挪用，就不是對

一般意義上的現成品的挪用。通常，在對現成品的挪用過程中，藝術家

有一種巨大的改造能力，他使現成品脫離原有的語境，而使之進入到一

個新語境中，現成物就在這樣的語境轉換過程中喪失了原來的語義，而

被強行賦予一個新語義。但是，在黃鋼這裡，這裡的佛經雕板自身已經

是一個濃厚的意義載體了，即便脫離了它原有的語境，它的意義也不能

輕易地改變和放棄——事實上，黃鋼也無意強行改變雕板的語義，他並

沒有對雕板做出強制性的改造，相反，他基本保持了雕板的原樣性，並

且，讓雕板佔據著相對重要的位置，讓雕板成為畫面本身。就此，黃鋼

與其說是重新賦予了雕板本身新意義，不如說是重新啟動了它的古舊意

義，啟動了它的潛在意義。這個雕板正是通過藝術家之手，它沈默的意

義重新被喚醒了，它久遠的歷史痕跡得到了回溯，它沉睡的命運借助畫

面獲得了曙光。正是在這些作品當中，我們看到，一雙手和另一雙手相

逢了，雕刻之手和塗抹之手相逢了，這兩雙手穿透了歷史迷霧在相互觸

摸。就此，這個作品實際上是一種對話，好像是兩個人的合作和對話：

一個古人一個今人，一個僧人一個當代藝術家；一個信徒一個無神論

者，一個匿名者和一個簽名者。這兩個人，在一個特定的歷史瞬間，一

起創造了這個作品。

在這個對話過程中，出現了什麼？我們已經看到了兩雙手的重逢。

其中一雙手是精雕細刻，全神貫注，雕刻本身就是自我修煉的技術，雕

刻，同它所雕刻的佛經的語義相互吻合。我們仿佛看到了一雙握住刀子

的手在畫板上的耐心，它們持久地重複，毫不厭倦，毫不急躁，毫不喧

嘩。同時，我們也看到了另一雙手，這是一雙塗抹的手，它們不重複，

隨機，充滿偶然，興之所至，這雙手的運動，是借助於靈感和悟性，借

助於身體，借助於化工材料。這是現時代的一雙手，是一雙工業世界和

世俗世界的手。這兩雙不同時間和空間的手的交彙，也可以說，是兩種

時代的交彙，兩種文化的交彙——讓我們更準確地說——這是兩種生活

方式的交彙：一個古舊信徒的緩慢生活和一個現代人的奔波生活的交

彙。這個畫面，就將兩個時代和兩種生活方式聚集起來，在最根本的意

義上，畫面聚集和對照了兩個時代的精神狀態。

這是從手的角度，從技藝的角度而言的。在另外一個層面上，在

圖像本身的層面上，我們還是看到了兩種符號對照。這種對照，不是從

手的勞作出發的，不是從身體出發的，這種對照，是一種觀念的對照。

這裡非常明顯的是，存在著有一種宗教和政治的對照。黃鋼將雕板，皮

箱這些古老的器物作為底版，在上面重新組合了毛的形象，組合了五角

星。無論是毛還是五角星，在中國的特有語境中，都是標誌性的政治符

號，它們有它的政治語義。而這些經文有它們的宗教語義。這兩種語義

在這裡交匯了，準確地說，是在藝術中交匯了。黃鋼甚至直接將經文雕

板作為毛或者五角星的形象構圖的要素：佛經雕板構造了五角星，構造

了毛的形象。這樣的直接效果是：好像五角星在彈奏佛經的音符；好像

佛經的語義在五角星中閃爍，在爬梳，在跳躍。

為什麼要進行這樣的組合？事實上，我們很難說這種對照和組合

有什麼特殊而具體的思慮：這是政治信仰和宗教信仰的類比性的結合

嗎？或者，這是政治和宗教之間的彼此尖銳反諷？無論如何，五角星或

者毛，確實令人想到了政治信仰。毛或者五角星是我們的共產主義圖騰

符號，它巨大的符號力量曾經產生的效應，同緣自於宗教的信仰效應是

相似的。儘管二者的教義完全不同，但是，它們對人所產生的作用方式

是相似的。顯然，政治語義和宗教語義的效果並非截然相互排斥——儘

管從畫面上來看，它們在符號上，在構圖上，在色彩上是處在一個劇烈

的對照的狀態：五角星或者毛從畫面中突出出來，並且佔據著整個畫面

的重心，它們呈現令人刺眼的紅色，莊重並且具有強烈的對稱感，同畫

面的四周的無序的晦暗色彩處在一種直接對立的狀態。儘管在形式上是

對立的，但並不妨礙政治統治和宗教信仰之間的類比性。黃鋼的這些作

品，在這個意義上，重新思考了政治和宗教的敏感關係。事實上，政教

一體化統治了人類的漫長時期。即便在現代社會，即便在政教分離的時

代，政治有時候採納的就是宗教的形式，反過來，宗教從來就沒有和政

治脫離干係。政治和宗教總是難解難分——儘管在黃鋼的這些作品中，

政治和宗教的各自語義都有效地沖淡了對方，儘管這些作品在有意地

馴服政治和宗教的合謀，我們還是看到了這種複雜的政治宗教的內在勾

連。

不僅如此，黃鋼不斷地對這個佛經雕板進行塗抹，看上去，這種

塗抹是掩飾經文，是將經文覆蓋住，但是，實際效果是，它相反地要我

們去發現和辨識經文。如果說，僧人對佛經的雕刻是經文的第一次書寫

的話，那麼，黃鋼則是第二次書寫，我們可以將黃鋼的這種塗抹理解成

再書寫。這種再書寫的一個直接效應是，人們不得不去仔細辨認佛經。

事實上，正是因為這種塗抹和“掩飾”，在這樣的作品面前，人們總是

忍不住要去拼命接近畫面，要去細察畫面，要穿透畫面的掩飾和塗抹痕

跡，人們的目光總是要在畫面上耐心搜索，要辨識那些模糊的細小符

號。事實上，這些佛經幾乎沒有人能讀懂，它將自身的意義封閉起來，

這樣，從閱讀的角度看，它就變成了一個無法穿透語義的單純的裝飾性

符號，建立了一個裝飾性空間，一個純形式的繪畫空間。這樣，對佛經

文字的細察，也構成了一種奇特的觀畫經驗。在此，人們似乎看到了雙

重繪畫，看到了兩幅畫：一幅是遠距離看的，是一個整體，是一個木板

（皮箱）畫，是一個木板上的抽象圖式，或者說，是一個深色木板和五

角星的拼貼，是木板上的毛澤東的形象。這是遠距離看到的畫面。但在

另外一個層面上，人們在近距離看到的另外一張畫，這是些細密的圖

式，是些充滿質感的凹凸，是些無法確定語義的符號，是些彎彎曲曲充

滿迴旋感的蔓延線條——這些奇特的幾乎沒有什麼人認識的符號構成了

另外一張畫，另外一個繪畫空間，一個由無數細小符號所編織起來的繪

畫空間，一個由各種圖案編織起來的空間——確實佛經文字符號並非不

是一個無限的繁複世界。在此，經文符號，不僅僅是作為一種宗教教義

而出現的，而且還是作為一種單純的視覺符號而出現的，它自身具有一

種獨立的繪畫性。

就此，這實際上包含著雙重觀看，雙重視覺經驗。一幅作品，居然

存在著兩張繪畫，居然有兩個空間存在其中！我們也可以說，一張畫是

由兩張畫所構成。黃鋼就此打開了繪畫的深度，這個深度並不是通常所

說的意義埋伏在畫面之後的深度，而是繪畫表層就包含著深度，畫面形

式包含有深度：深度就埋伏在單純的形式中。

我們還可以說，深度埋伏在形式中，還有另外一層意義。黃鋼的許

多作品是由西藏人的皮箱（以及皮箱上的各種飾物）和佛經雕板拼貼而

成的。這些佛經雕板鑲嵌在皮箱上面，像是一塊一塊的補丁。這些皮箱

本身遭受過風雨的侵蝕，它們有自身的坎坷，有自身的風化命運。它們

是旅行物，是命運飄搖的浮橋。但是，黃鋼的縫補，讓人們看到，支撐

這些皮箱的，是那些補丁式的教義。在此，人們不僅看到了政治和宗教

的語義的複雜勾連，而且還看到了佛經在旅行。皮箱子這次背著的，不

是衣食行李，而是教義。那些教義，儘管是片斷的，令我們難以理解，

但是，我們知道，它需要被再現，需要表達，更重要的是，它需要被裝

載，被背負，被啟示，即便面目模糊，它還是需要喃喃低語。

拼貼和雙重繪畫文/汪民安

藍天下的白塔，悠悠的佇立於古老雪域之上。

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One finds multiple collages made up of extraneous objects in Huang Gang’s works: collages of modern and historic symbols; collages of board, which are botanically derived, and leather boxes, which are made of animal skin; collages of red and black colors; collages of industrial and natural objects; collages of oil painting skills and sculptural technique; collages of religion and politics. These series of collages have contributed to the complexity and profusion of meanings in Huang Gang’s work.

The most significant trait in Huang Gang’s works is his use of woodblocks, formerly used to print Tibetan sutras. These woodblocks in themselves are works of art. They were engraved by the monks in Tibetan monasteries, and can be regarded as the artwork of the monks. The woodblocks not only bear the characters of the Buddhist sutra, they have survived the passage of time, and time has therefore been engraved into the woodblocks as well. Thus these woodblocks bear double marks: the marks of engraving and time. In other words they bear the signs of art and history. Today, the manner Huang Gang utilizes these woodblocks is not in usual way of putting readymade objects to use. Generally, when the artist employs a readymade object, he has the tremendous power to transform it. He is able to disperse the original idiom of this readymade object and create a new one for it. The readymade object therefore loses its original idiom in the process, and a new idiom is forced upon it. However, in Huang Gang’s hands, the woodblock itself already embodies a powerful meaning. Even if it is removed from its original idiom, its meaning cannot be easily changed or surrendered – as a matter of fact, Huang Gang has no intention of changing the idiom of these woodblocks, nor does he transform them at will. On the contrary, he keeps the woodblocks as they are, placing them in an important position in his painting, thereby making the woodblocks become the painting. In this sense, Huang Gang has summoned the ancient meaning of the woodblocks and activated their hidden significance, rather than giving them a new meaning. Through the hand of the artist, the silent meaning of the woodblocks is awakened. Their mark in history has been rediscovered and their fate of being forgotten now exposed in a new light. In these works, we see that hands of two different artists have met; the hand of the carver and the hand of the painter are joined. These two pairs of hands have come togetherr in the space shrouded by time. In this sense, these works are in fact a dialogue, a dialogue and cooperation between two people – one ancient, one modern; one a monk, the other a contemporary artist; one a disciple of Buddha, the other an atheist; one anonymous, the other the signee. These two people, at a special moment in history, have created these works together.

What took place during this dialogue? We’ve seen the meeting of two pairs of hands. One pair of hands focused on the details of carving. The process of engraving these woodblocks is a means of self-cultivation. Its significance matches the meaning in the engraved words of the Buddhist sutra. It seems that we can also perceive a pair of hands holding a knife, patiently engraving characters on the wooden board. The hands persistently repeat the same engraving process. They never tire, become impatient, and are always quiet. At the same time, we perceive another pair of hands. These hands belong to a painter. They do not repeat any process and work randomly, moving freely wherever the painter pleases. His muse and the painter’s insights inspire the movement of this pair of hands. They employ the help of physical body and

chemical materials. This pair of hands is modern, hands that belong to an industrial and secular world. The meeting of these two pairs of hands, each coming from a different time and space, can be regarded as a coming together of two different eras and cultures. Or, more precisely, it is a meeting of two different life styles: a slow-paced life style of a disciple in the old days vs. the bustling life style of a modern man. Huang Gang’s painting has captured two eras and two life styles. Basically, it has captured the spiritual state of two eras and contrasted the difference between them.

This conclusion is based on the aspect of artists’ hands and techniques. On the level of the image itself, we can see a contrast between two symbols. This contrast is not based on the respective skills of hands, nor of the physical body. It is a contrast in concepts. It is obvious that we see here a contrast between religion and politics. Huang Gang places old objects, such as woodblocks and leather boxes which serve as drawing board, together with images of Mao and red stars. Be it Mao or red star, in the idiom unique to China, they are the classical political symbols embodying political idiom. The sutras possess a religious idiom, and these two idioms meet here in this painting. In fact, they encounter each other in art. Huang Gang even uses woodblocks to construct the images of Mao or the red star. The woodblocks become the structure that forms both the red star and the Mao image. The immediate impression is that the red star appears to be playing the musical notes of a Buddhist chant; the meaning of the Buddhist sutra sparkles and dances in the red star.

Why this particular combination? In fact, it’s difficult to say exactly what special result this contrast and combination is meant to achieve. Is it a combination contrasting faith in government with faith in religion? Or, is it illustrative of the bitter difference between politics and religion? No matter what, both red star and Mao unquestionably call to mind political belief. Mao and the red star are both symbols of communism. At one time the power of these symbols carried an impact equal to that of religious faith. Although the principles these two represent are poles apart, the effect they have on people is strikingly similar. To put it another way, the distinction between the effect of political-speak and religious-speak is not sharply defined. However painting is a different matter due to the contrast in symbols, painting composition, and colors. The red star and Mao images protrude forth and take up the center of the painting. They are a shade of red that appears harsh to the eye. However, they have an air of solemnity and a powerful symmetry in direct contrast to the dark and gloomy colors randomly scattered around them. Though their forms are different, it does not interfere with the analogy of political rule and religious belief. In this sense, Huang Gang’s works re-examine the sensitive relationship between politics and religion. As a matter of fact, throughout history mankind has been ruled for extensive periods by caesaropapism. Even in this era of separation of church and state, politicians sometimes utilize a religious approach to achieve their goals. On the contrary, religion has never disassociated itself from politics. Politics and religion are always intertwined – although in Huang Gang’s art, the political and religious idioms of each diminish the force of the other, and though his works are meant to defuse any political or religious conspiracy, we still detect a byzantine and murky relation between politics and religion.

Moreover, Huang Gang applies layer upon layer of paint to these woodblocks.

One might think he is trying to hide or cover up the words of the sutras. However, his intent is to allow us to discover and read the sutra. If we consider the engraving done by the monk as the first writing, Huang Gang’s application becomes a second writing or a re-writing. The immediate effect of this re-writing is that the viewer must make an effort in order to see the words of the sutra. In fact, this painting-over, or “cover up”, creates an irresistible temptation and many people who want to discover what the painting conceals, will try their best to approach the painting for a closer look. However, few people can understand the contents of a sutra. The meaning is concealed. From the standpoint of reading, they have become an impenetrable language; a collection of ornamental symbols. They are an ornamental space; and a pure-form painting space is thus established. Therefore, the detailed inspection of a sutra text has become an unusual viewing experience. People seem to see a double painting, or two paintings: one painting for admiring it in its entirety from a distance; a painting made of wooden boards (leather boxes); an abstract form on boards. Or, it can either be considered as a collage of dark wooden boards and red star, or of Mao’s image on a wooden board. This is the effect created if the painting is viewed from a distance. On the other hand, when seen up close, some people are able to perceive the existence of another painting. Fine and detailed patterns, the uneven textures, the unidentifiable symbols, and the zigzag, sinewy lines – all these strange symbols that can hardly be recognized by anybody constitute another painting; a painting space that is woven from countless minute symbols and various patterns. Indeed, as symbols, the words of a sutra do not stand for an infinite and complicated world. Here, the sutra symbol is no longer confined to some kind of religious doctrine, but has become a manifestation of a simple visual effect. It embodies an independent quality of painting.

Viewed from this standpoint, Huang Gang’s painting consists of a double vision; a double visual experience. It is amazing that a single work of art is able to embody two paintings or two spaces! It is fair to say that one painting is created by two paintings. The depth of painting is unfolded by Huang Gang’s art. However, the “depth” here does not refer to the “depth” concealed beneath the painting, but that the painting itself includes depth in its composition. In other words, the “depth” is hidden within the simple form.

The concept of “depth” being hidden in a simple form, bears anther level of meaning. Many of Huang Gang’s works are a collage of Tibetan leather boxes (including the various ornamentations affixed to them) and woodblocks used to print Buddhist texts. When these woodblocks are fitted to the top of leather boxes, they look like pieces of patching. These leather boxes have withstood the battering of weather, which gave them the quality of hardship and a fate that was determined by Nature. They were traveling gear, something to hang on to when a person went out to meet his destiny. However, through the patchwork of Huang Gang, people perceive that what is supporting these leather boxes is the patch-like doctrine. People not only recognize the complicated connection between political and religious idioms, they also notice that the Buddhist sutra is on the move. What the leather boxes carry this time is a doctrine rather than items for daily usage. We know that this doctrine, although in pieces and difficult to understand, needs to be rediscovered and expressed. More importantly, it needs to be loaded, carried, and inspired. Even if the features are difficult to recognize, it needs to be chanted in low tones.

Collage and Double PaintingBy Wang Minan

雙塔配豪宅。

革命系列Revolution Series

兩種方式之毛; Twins Mao; Mixed media on panel; 88x172cm (2 pieces)

兩種方式，一種儀式，黃鋼擅長以人物剪影嵌入式拼貼，空間塗繪，靈動多變。

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1�0 1�1

毛澤東的Good Good; 2007; Mao's Good Good; Mixed media on panel; 110X150cm

「黃鋼繪畫有三種互相融合的意象，其一是後極少主義的簡約和內斂。」──島子

1�2 1�3

紙老虎; 2007; Paper Tiger; Mixed media on panel; 122X122cm

1946年8月6日，毛澤東在和美國記者安娜˙路易斯˙斯特朗 (Anna Louise Strong)

的談話中指出：「一切反動派都是紙老虎。看起來，反動派的樣子是可怕的，但是

實際上並沒有什麼了不起的力量。從長遠的觀點看問題，真正強大的力量不是屬於

反動派，而是屬於人民。」

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三個毛; Triple Mao; Mixed Media on panel; 150x50cm

「有效利用文化資源，這些物品已不單是杜象藝術意義上的現成品，而是成為一種強而有力的傳統文化象徵。」 ──盛葳

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紅色娘子軍; Red Detachment of Women; Mixed Media on panel; 120x110cm

黃鋼作品，盛葳說「看上去很美且充滿大器、質地和儀式感」。

200 201

《1966》; 2007; 1966; Mixed Media on panel; 120x150cm

「政治與宗教，這兩種思想都是一種精神力的創作物，都是一種信仰。」──楊心一

雕塑部分Sculptures

20� 20�

御龍天子; 2007; Dragon Dominator; Bronze; H:120cm

毛的名言中：「一代天驕，成吉思汗，只識彎弓射大鵰。」。中國20

世紀的天子何止射大雕，五千年的龍都在他手掌中，如來佛也。數萬

風流人物，還看今朝，龍之天子，無人能出其右。雙腳踏東海雲，手

掌立五爪龍，笑容堅定，立姿大器，有喜悅，有嚴肅，不浮，不誇。

20� 20�

毛‧YES‧毛; Mao‧YES‧Mao; Bronze; H:95cm

江山已一統，盛世空前，安坐在似雲似山的毛，

一派輕鬆自在，見自在，觀者也自在。

20� 20�

持寶塔的毛; 2007; Mao with Pagoda; Bronze; H:63cm

210 211

Good毛三式; 2007; 銅; Triple

Good Mao; Bronze; H:120cm

212 213

一切反動派都是紙老虎; All Reactionaries Are Paper Tigers; Bronze; 53x49x43cm 想起江山多嬌美; Recalling the Beauty of the Country; Bronze; 53x49x43cm

21� 21�

沉思者; 2007; Penseur ; Bronze; H:80cm

21� 21�

毛的雙手; 2008; Mao's Hands ; Bronze; H:80cm

21� 21�

三娘教子; 2007; Red Detachment Women with Mini Me; Bronze; H:120cm

220 221

愛江山也愛美人; 2007; Mao and Red Detachment of Woman; Bronze; H:80cm

1961年 生於北京

1984年 畢業於中央工藝美院

1991年 獲中央工藝美術學院碩士學位

獲淂”平山鬱夫”獎學金

任教於中央工藝美術學院

1995年 獲首屆北京國際環境藝術展銀賞

接受法國費加洛雜誌採訪

1997年 參加中國國際藝術博覽會

1999年 北京嘉瑞畫廊個展

2000年 個人作品展 J畫廊 香港

個人作品巡展 德國慕尼黑、柏林、漢堡、法蘭克福

2001年 個人作品展 法國巴黎

亞洲藝術博覽會 紐約

亞洲太平洋藝術博覽會 美國

“科學與藝術”展 中國美術館 北京

“In Search Of”畫展 Walsh畫廊 美國芝加哥

2002年 紐約藝術博覽會 寶林畫廊

上海藝術博覽會 嘉瑞畫廊

2003年 個人作品展 Zuger畫廊 美國聖塔菲

亞洲現代藝術聯展 D’Aadamo Woltz畫廊 美國西雅圖

芝加哥藝術博覽會 Walsh畫廊 美國芝加哥

2004年 中國藝術家聯合巡展 匹茲堡藝術學院畫廊 美國

北京國際畫廊藝術博覽會 北京

韓國國際藝術博覽會 韓國漢城

北京798藝術節

2005年 個人作品展 安娜寧畫廊 香港

個人作品展 Zuger畫廊 美國聖塔菲

北京國際畫廊藝術博覽會 北京

2006年 藝術北京

個人作品展 現代畫廊 台灣

2007年 “毛，當代藝術視覺” JGM畫廊 法國巴黎

個人作品展 安娜寧畫廊 香港

個人作品展 林大畫廊 新加坡

北京與紐約十位藝術家聯展 A空間 北京

亞洲國際藝術博覽會 平藝術空間 香港

亞洲藝術博覽會 平藝術空間 紐約

2008年 “北京記憶” 亞洲藝術中心 台北

2008年 聯展“我準備好了” 平藝術空間 台北

1961 Born in Beijing

1984 Graduated from China Central Academy of Art and Design

1991 Attained Master degree, China Central Academy of Art

Won “Ikui Hirayama” Award

Lecturer in China Central Academy of Art and Design

1995 Won silver award of the first Beijing International Environment Art Exhibition

Specially interviewed by Le Figaro Magazine

2000 Solo Exhibition, J. Gallery, Hong Kong

Solo Exhibition, Atlantic Gallery, Munich, Berlin, Hamburg and Frankfurt, Germany

2001 Solo Exhibition, The Royal Monceau, Paris

New York Asian Art Fair, Baolin Gallery, New York

Arts of Pacific Asia Ocean Fair, Baolin Gallery, Los Angeles

The Exhibition of “Science and Art”, China National Art Museum, Beijing

The Exhibition of “In Search of”, Walsh Gallery, Chicago

2002 New York Asia Arts Fair, Baolin Gallery, New York

Shanghai Art Fair, Jiarui Gallery, Shanghai

2003 Solo Exhibition in Gallerie Zuger, Santa Fe

Group Exhibition “Asian Modernium”, D’Adamo Woltz Gallery, Seattle

Chicago Art Fair, Chicago, Walsh Gallery

2004 The exhibition in the Art Institute of Pittsburgh, Pittsburgh

Beijing International Art Fair, Beijing

Korea International Art Fair, Seoul

798 Art Festival, Beijing

2005 Beijing International Art Fair, Beijing

Solo Exhibition, Anna Ning Gallery, Hong Kong

The exhibition in Gallerie Zuger, Santa Fe

Arts of Pacific Asia Ocean Fair, Baolin Gallery, Los Angeles

2006 Art Beijing, Beijing

Solo exhibition in Modern Art Gallery, Taipei

2007 Group Exhibition “Mao, Visions Contemperaines”, JGM Gallery, Paris

Solo Exhibition, Anna Ning Fine Art, Hong Kong

Solo Exhibition, Linda Gallery, Singapore

Taipei Art Fair, Taipei

Beijing International Art Fair, Beijing

Exhibition of Ten Artists from Beijing and New York, A Space, Beijing

International Contemporary Art Fair, Ping Art Space, Hong Kong

Asian Contemporary Art Fair, Ping Art Space, New York

2008 Solo Exhibition “Beijing Memory”, Asia Art Center, Taipei

2008 Group exhibition “I’m READY”, Ping Art Space, Taipei

Huang Gang

222 223

雕塑作品

索引 INDEX

水; 2000; Water; Mixed media on

panel; 60x60cm

風; 2000; Wind; Mixed media on

panel; 60x60cm

畫境; 2000; The Realm of Painting;

Mixed media on panel; 63x63cm

金色轉輪; 2001; Golden Wheel;

Mixed media on panel;60x60cm

養云; 2005;Cult ivating Clouds;

Mixed media on panel; 107x107cm

書法系列--紅大地(一); 2003 ;

Calligraphy Series; Mixed media on

panel; 127X84cm

書法系列--紅大地(二); 2003 ;

Calligraphy Series; Mixed media on

panel; 127X84cm

書法系列; Calligraphy series; Mixed

media on panel; 108x108cm

書法系列; Ca l l ig raphy Ser ies ;

Mixed media on panel; 110x20cm

白塔; 2005; White Pagoda; Mixed

media on panel; 106x70cm

雙塔; 2007; Double Pagodas;

Mixed media on panel; 95x95cm

飛翔; 2005; Wings; Mixed media

on panel; 105X69cm

紅色的牆; 2005; Red Wall; Mixed

media on panel; 80X80cm

雪山盟; 2005; Snow Mountain;

Mixed media on panel; 80X120cm

朝經之路; 2006; Pilgrimage to the

Buddhist Scriptures; Mixed media

on panel; 169X123cm

菩提樹; 2005; Bodhi Tree; Mixed

media on panel; 244X122cm

菩提樹; 2006; Bodhi Tree; Mixed

media on panel; 124X244cm

紅星菩提; 2006; Red Star Bodhi

Tree; Mixed media on panel ;

122x122cm

紅色三角塔; 2001; Red Triangle

Tower; Mixed media on panel;

80x80cm

紅色曼陀羅; 2002; Red Mandala;

Mixed media on panel; 105x105cm

紅色曼陀羅; 2005; Red Mandala;

Mixed media on panel; 105X105cm

方形曼陀羅; 2002; The Square

Mandala; Mixed media on panel;

64x64cm

金色檀城; 2005; Golden Mandala;

Mixed media on panel; 105x105cm

黑色轉動; 2007; Black Wheel;

Mixed media on panel; 80X80cm

紅色轉動; 2007; Red Whee l ;

Mixed media on panel; 80X80cm

小轉經; 2007; Revolving; Mixed

media on panel; 80X80cm

索引 INDEX

書法系列

白塔 菩提樹系列

曼陀羅 日月系列

大圓城; 2004; Circle of Life; Mixed

media on panel; 80x80cm

太極; 2006; Tai Chi; Mixed media

on panel; 80X80cm

晝夜平分; 2004; Equinoctial; Mixed

media on panel; 110 x110cm

喜瑪拉雅山日出; 2006 ; The

Himalaya Sunrise; Mixed media on

panel; 123x123cm

法輪常轉; 2005–2007; Revolving;

Mixed media on panel; 180X120cm

雪域法輪; 2004-2008; Revolving

in the Snow Terrain; Mixed media

on panel; 220x122cm

轉動日月; 2007; Revolving; Mixed

media on panel; 200x200cm

太陽遠去之三星拱照; 2007 ;

Fading Sun; Mixed media on panel;

122X244cm

金 色 曼 陀 羅 ; 2 0 0 7 ; G o l d e n

Mandala; Mixed media on panel;

244x100cm

兩地平分; 2004; Division; Mixed

media on panel; 147x85cm

渡過日月; 2007; Crossing; Mixed

media on panel; 200x300cm

三重世界; 2007; Triple World;

Mixed media on panel; 180x80cm

雪域佛經之大地甦醒; 2006 ;

Buddhist Scriptures on the Snow

Terrain -Land Awaken; Mixed

media on panel; 200x200cm

雪域佛經之傳家至寶; 2007;

Buddhist Scr iptures on the

Snow Ter ra in-Treasu re of

heritage; Mixed media on panel;

200x200cm

雪域行舟; 2006; Canoeing on the

Snow Terrain; Mixed media on

panel; 210x105cm

天際無邊; 2006; Infinite Universe;

Mixed media on panel; D: 100cm

行雲流水; Flow; Mixed media on

panel; D: 155cm

九個太陽; 2007; Nine Suns; Mixed

media on panel; 200X65cm

黃金印記; 2006; Golden Imprint;

Mixed media on panel; 190x56cm

山之巔; 2007; The Peak; Mixed

media on panel; 244x122cm

金色的冰湖; 2007; Gold Iced Lake;

Mixed media on panel; 244x244cm

我的紅星; 2005; My Red Star;

Mixed media on panel; 60x60cm

我的金星; 2005; My Gold Star;

Mixed media on panel; 80x80 cm

我的紅星與愛國者; 2008; My

Red Star and Patriot; Mixed media

on panel; 122x88cm

兩種不同方式之雙星; 2007; A

couple of Red Stars; Mixed media

on panel; 122X122cm

我的紅星; 2007; My Red Star;

Mixed media on panel; 180X180cm

我的箱子; 2006; My Box; Mixed

media on panel; 244x122cm

我的紅星·我的箱子系列

我的紅星·我的箱子; 2007; My

Red Star, My Box; Mixed media on

panel; 135x94cm

我的紅星·我的箱子; 2007; My

Red Star, My Box; Mixed media on

panel; 122x244cm

我的紅星; 2007; My Red Star;

Mixed media on panel; 200X180cm

我的紅星·我的箱子; 2005; My

Red Star, My Box; Mixed media on

panel; 300x200cm

我的紅星之世界之巔; 2008; My

Red Star – Summit of the World;

Mixed media on panel; 220x105cm

北京記憶; 2007; Beijing Memory;

Mixed media on panel; 244x105cm

北京記憶No.2 ; 2008 ; Be i j i ng

Memory No.2; Mixed media on

panel; 244x105cm

八十八個青年; 2008; Eighty-Eight

Youths; Mixed Media; 100x100cm

年輕時代; 2008; Juvenile Age;

Mixed Media; 100x100cm

兩種方式之毛; Twins Mao; Mixed

media on panel; 176x172cm

毛澤東的Good Good; 2007; Mao's

Good Good; Mixed media on panel;

110X150cm

紙老虎; 2007; Paper Tiger; Mixed

media on panel; 122X122cm

三個毛; Triple Mao; Mixed Media

on panel; 150x50cm

革命系列

紅色娘子軍; Red Detachment of

Women; Mixed Media on panel;

120x110cm

《1966》;2007;《1966》; Mixed

Media on panel; 120x150cm

御 龍 天 子 ; 2 0 0 7 ; D r a g o n

Dominator; Bronze; H: 120cm

毛·YES·毛; Mao·YES·Mao;

Bronze; H: 95cm

持寶塔的毛; 2007; Mao with

Pagoda; Bronze; H:63cm

Good毛三式; 2007; Triple Good

Mao; Bronze; H:120cm

一 切 反 動 派 都 是 紙 老 虎 ; A l l

Reactionaries Are Paper Tigers;

Bronze; 53x49x43cm

想起江山多嬌美; Recal l ing the

Beauty of the Country; Bronze;

53x49x43cm

沉思者; 2007; Penseur; Bronze; H:

80cm

毛的雙手; 2008; Mao's Hands;

Bronze; H: 80cm

三娘教子; 2007; Red Detachment

Women with Mini Me; Bronze; H:

120cm

愛江山也愛美人; 2007 ; Mao

and Red Detachment of Woman;

Bronze; H: 80cm

22�

叢書名：中國當代名家系列

書名：黃鋼—轉動黃金印記

作者：許志平

執行編輯：葉人瑜 陳若盈

出版者：藏新藝術有限公司

地址：台北市大安區安和路二段179號

電話：02-27383317．27383318

傳真：02-27382977

定價：NTD4,500

2008年8月初版一刷

Title : Eminent Chinese Artists—Huang Gang : Revolving the Golden Imprint

Author : Chih-Ping Hsu

Executive Editor : Ren-Yu Ye, Elise Chen

Publisher : Ping Art Space

Address : No.179, Sec.2, Anhe Road, Taipei

Tel : +886-(0)2-27383317．27383318

Fax : +886-(0)2-27382977

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