陶冬冬的绘画：水之般若

水般若——陶冬冬个展

PRAJNA OF WATER

TAO DONGDONG SOLO EXHIBITION

艺术家 Artist

陶冬冬 Tao Dongdong

策展人 Curator

夏可君 Xia Kejun

展期 Duration: 2019.9.29-2019.11.10

地点：芳草地画廊·798 

北京市朝阳区酒仙桥路4号798中二街D09

Venue: Parkview Green Art 798 

D09, 798 Zhonger Street, No.4 Jiuxianqiao Road, Chaoyang District, Beijing

陶冬冬的绘画：水之般若    

Tao Dongdong's Paintings: Prajna of Water

文/夏可君

By Xia Kejun

在一个图像泛滥的网络时代，就如同《金刚经》所言的一切世间皆＂梦幻泡影＂，绘画的唯一责任就是去面对此散心状态而获得新的专意与凝心，即无所住而生其心，这需要艺术家激发生命的内在能量来逆转时代的目光。绘画就成为一种能量转化又要减熵的伦理，越是繁复越要凝定，越是深入漩涡越要形成节律共感，此能量转化的美学才是绘画与其它媒材艺术的不同之处。

We are living in an internet era dominated by images, in which everything can be associated to the illusionary bubbles, as described in the Dimond Sutra. The responsibility of the painter is to find the concentration and devotion within the chaotic distractions. It is important, as described in the Dimond Sutra "to find your own heart only when there is no attachment to the world"; so the artist has to gear up the inner power of his soul to redirect the attention of the current era. Painting, therefore, is characterized by a new ethical connotation that features both energy transformation and entropyreduction. The more complicated it gets, the more we should stay calm. The more we advance into the depth of swirls, the more it is necessary to find the resonant rhythm within. The aesthetics of energy transformation marks the difference between painting and other traditional media.

陶冬冬的绘画带给我们一种能量美学的新经验：无数晃动的灼热光波在涌动，又好似水纹色泡的彩虹在幻化，又好似宇宙极光余波弥漫的磁场，它们或聚集在佛的头像，扩散为灵光的射线，或聚集在文艺复兴肖像画的面孔上，发出神圣之美的容光。在名为《圣像》的这些作品上，即刻幻化的灵光由佛头的意念发动，打开绘画的内在磁场，建构起一个富有无尽波光水色舞蹈着的能量转化场域。这些波光与水泡还在震动，在波动，如梦似幻，绘画不只是观看，而是成为一种磁场的感应，一种光波的接纳。因此，绘画也成为一种生命能量与感应的谐调器。

The works of Tao Dongdong have offered us a brand-new experience about energy transformation. In the paintings we can find the rush of countless glittering waves, or the flickering illusionary rainbow on water; the magnetic field of the cosmos that spreads like the circles of sacred halos to the faces of renaissance portraits, adding grace to their faces. In the series of Holy Portraits, the sacred light is activated by the mind of the buddha: the magnetic character of the painting suggests the energy transformation, brimming with the colorful ripple dance on the water. Those light and bubbles are jiggling and spreading in a dreamy scenario, so that painting is not just a visual appreciation, but also involves a process of acceptance of light and waves in a magnetic field. Paintings have also become the synchronizer to induce the energy of life. 

陶冬冬，过去·现在·未来，2019，288 x 564cm，布面油画 ? 2019 陶冬冬

Tao Dongdong, Past·Present·Future，2019，288 x 564cm，Oil on Canvas ? 2019 Tao Dongdong

这些带着内在韵律震荡着的光波，是灵魂的流溢，是生命的面纱，也是水的般若，是生命与宇宙不止息节律共感的见证，画家的手就是去反复寻找着宇宙间流逝着的电波，使之凝定在我们心魂的呼吸中。

The light and waves vibrating with spiritual rhythms are the representation of souls, the veils of life, the prajna of water, and the witness of the inexhaustible beats of the universe. The painter looks into the transient electronic waves in the universe over and over again and condenses them in between the respirations of our hearts and our minds.

这些神秘震荡的水纹与波光，这些生命与宇宙律动的能量磁场，不是随便就可以画出的，其中有着绘画的悖乱与困难：一方面，要让每个细小波纹与水泡的色彩，波折与曲折的变化都要达到令人眩目的程度；另一方面，在不断深入刻画和重新调整的反复过程中，最后的图像又要取决于耐心的寻找与调节，绘画就成为一种生命感应频道的调节。需要二个方面的反复调整，直到一种自在流动的大节律与神秘的旋律回响在画面上，一个巨大回旋的空间被描绘出来，绘画才找到自身存在的准则！

It is not as easy as it seems to draw the mysterious jiggling ripples and waves as well as the magnetic field that reflects the rhythm of life and universe, due to the existence of paradoxes in the painting. On one hand, every infinitesimal ripple or wave is given unique colors and the undulating lines and curves shall all be presented in a fascinating fashion; on the other hand, in the back-and-forth adjustment and depiction, the final result is subject to the patient exploration and re-adjustment, so that the painting process also reflects the adjustment of induction channels of life. It takes a great deal of re-adjustment on both aspects until a free flow of the general rhythm that echoes with mysterious melodies appears on the painting and a grand swirling space is presented, which is exactly the time when the painting finds the principle of its existence.

陶冬冬，千里江山图，2018，200 x 420cm，布面油画 ? 2019 陶冬冬

Tao Dongdong, China Blue, 2018, 200 x 420cm, Oil on Canvas ? 2019 Tao Dongdong

在新的《灵山》系列上，水的般若向着自然的元素性还原，从佛教与基督教的神圣光芒回到了自然的气化状态，有着石如云动的幻化，有着云彩的装饰性，或看似一幅古代青绿山水的云屏，或从如意的云纹中幻化开来，种种的神奇变幻，有着艺术家自己对于山水画的独特理解，这是想象中的无人仙境或者太虚幻境，所见并非所识，这是对于山水画后面的自然元素律动的捕获，是对一种现代性所缺乏的永恒性的捕获。画面上的云，石，光，气都达到了完全的融合，其整体融化为无止息波动的磁场，充分体现了一种绘画的宇宙神秘主义，这是自从克里姆以来已经丧失的绘画能量，这是东方般若智慧的当代转化。

In the latest work called Spiritual Mountains, the prajna of water is reduced to the natural elements, from a glorious status of Buddhism and Christianism to a vaporized form in the natural world, displaying the rocks rolling like colorful clouds that are decorative and, in the meantime, serves as the screen with patterns of green mountains and clear rivers inspired by the cloud patterns of traditional Chinese Ruyi. The magical changes come from Tao's unique understanding of traditional Chinese landscape paintings. It is the imaginary scenarios that only exist for the immortals where everything is not what it seems. Tao Dongdong has accurately captured the rhythm of natural elements in the illusionary world and has found the eternity that modernity never contains. In the painting, the clouds, rocks, light, vapor are all perfectly blended into the ever-changing magnetic field, conveying a sense of spatial mysticism, the painting energy that has been lost since Gustav Klimt's age but takes on a new look through the transformation of oriental wisdom of prajna.

陶冬冬绘画的当代意义在于：聚集了东方宗教的止观法，吸纳了西方宗教流溢饱满的灵光，对应着宇宙信息的微妙震动，转化了现代技术脑电波的感应，同时还面对了现代性心智的危机而实行了内在的转化。在一个越来越内心纷乱的虚无时代，绘画乃是对我们心魂目光的调节与转化，让我们进入生命能量转化的磁场，让我们的凝视被改变，获得一种般若的灵性定力，并融入生命的浩瀚。

Tao Dongdong's works enjoy great significance in contemporary era for its combination of the serene observation method in oriental religions and the glorious grace in the western religions, reflection of exquisite vibration of the information of universe, transformation of the modern technology of brain wave induction, and the assimilation of the perils of modern mindsets. In face of the era of emptiness where people are constantly distracted, paintings still serve as the adjusting harbor to let us find a transformative magnetic field for life, to let our observation undergo more changes so as to obtain the calmness of prajna and to be embraced by the enormity of life.

清华工艺美院毕业的艺术家陶冬冬，也在美国画过巨大的壁画，而且有在永乐宫临摩过壁画的机缘，其立体感与浮雕感给艺术家留下了不可抹灭的原初感应，这导致他用了几十年的努力来接近那种神秘的质感，这就是画家寻找到异常富有表现力的颜料，在反复捕获波光的律动中，让颜料的质感接近于一种有着凸凹感的琉璃立体感，也许这就是敦煌绘画的内在秘密，而在陶冬冬这里，如此的油画质感让绘画的色彩异常鲜亮灿烂，那些无尽波动的色光似乎不可抹去，让绘画无限接近于永恒。

Graduated from the Department of Art and Crafts of Tsinghua University, the artist Tao Dongdong used to draw huge-size murals in the United States and had the opportunity to make facsimiles of murals in Yongle Palace in Shanxi China. Those experiences have left deep impression on him and formed his instinct sensitivity to reliefs in his creation. Even decades after those experiences, he has been striving to approximate to that sense of mystery, looking for the extremely expressive pigments that look like relief glazes in constant readjustment of light and waves. Such feature of pigments is also the essence of Dunhuang murals. In Tao Dongdong's paintings, the tones of oil painting render his works ever more impressive and magnificent, in which the bright light and everchanging colors are never fading and bring the works a lot closer to eternity.

“水般若——陶冬冬个展” 展览现场 ? 2019 芳草地画廊

Exhibition View of Prajna of Water Tao Dongdong Solo Exhibition ? 2019 Parkview Green Art

 关于艺术家 | About the Artist

陶冬冬，旅美艺术家，现工作生活于北京；毕业于中央工艺美术学院（现清华大学美术学院)，后赴美北卡罗莱纳大学获得艺术硕士学位，期间专研戏剧美术，曾制作完成美国最大壁画；荣获美国总统杰出艺术家奖，美国艺术家特殊人才；曾多次参加国内外艺术展览，作品被国内外多家美术馆、画廊及私人所收藏。

Tao Dongdong, U.S.-living artist, currently based in Beijing. Tao graduated from Central Academy of Arts and Crafts (now Academy of Fine Arts, Tsinghua University), and later achieved a Master’s degree at the University of North Carolina in the U.S. where he specialized in theatre arts and created the largest scale fresco in the whole country. He was awarded American Presidential Award for Excellent Artists, Special Talents of American Artists. He has participated in multiple exhibitions at home and abroad, and his works have been collected by various art museums, galleries and privates.

关于作者 | About the Author

夏可君, 哲学家、评论家与策展人。曾留学于德国与法国，现任教于中国人民大学，为文学院教授。夏可君已经出版个人著作十多部，以「无用」为核心概念，已经出版了几本相关著作：《一个等待与无用的民族——庄子与海德格尔的第二次转向》，《无用的神学——班雅明、海德格与庄子》，让庄子与海德格尔、班雅明、卡夫卡以及德里达等人对话，试图打开一种跨文化哲学对话的可能性，并且让无用、虚以及余让的概念生成为当代哲学的核心概念。同时，作为非常有影响的当代艺术的评论家与策展人，他也提出了虚薄艺术、余象与虚托邦等概念，并在国内外策划过一系列相关展览。

Xia Kejun, is a philosopher, art critic and curator. He studied at University of Freiburg in Germany and University of Strasbourg in France. He is a Professor in the School of Liberal Arts in Renmin University of China, Beijing.

Xia Kejun has published more than a dozen works, around the key concept of "Useless", he has published several related works: "A Waiting and Useless Nation – Zhuangzi and Heidegger's Second Turn", "Useless Theology - Benjamin, Heidegger and Zhuangzi"．Xia tries to let Zhuangzi or Daoism enters into deep dialogues among Heidegger, Benjamin, Kafka, and Derrida, in order to open up the possibility of a cross-cultural philosophical dialogue, and let these concepts: Useless(Wuyong), Chora(Xu) and Remnant(Yu) become the core concepts of contemporary philosophy. In addition, as a very influential critic and curator of contemporary art, Xia has also proposed the concepts of Infra-mince Art, Infra-image and Enchorial-topia, and has curated a series of related important exhibitions in China and Europe.

芳草地画廊·798  Parkview Green Art 798

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