松美术馆新展“宇宙人萧勤”已于3月13日正式对公众开放，展览将持续至6月13日。此次首次呈现的沉浸式展厅吸引了众多观众前来打卡，不少观众在现场看到原作都被打动，很观展之余，让我们更多的学习和理解萧勤艺术背后的故事，今天听联合策展人许剑龙从一个「圆」说起~
缘生 —— 《宇宙人：萧勤》
联合策展人：许剑龙
萧勤老师的故事要从一个无休止的「圆」说起——这「圆」既是他艺术世界混沌初开之「缘起」；是他与创作结下的不解之「缘」；更是他的精神之旅在迂回曲折中渐趋于光明和圆满的象征。中国人自古对「圆」就有着一种缱绻的想象与执念：「人有悲欢离合，月有阴晴圆缺，此事古难全。」萧勤的八十六年，光阴荏苒，他既在跌宕起伏中饱尝风霜，亦于静定沉思间沉淀出豁达智慧。
上世纪六十年代，萧勤在意大利米兰发起「庞图国际艺术运动」。「庞图」是意大利语「点」的音译，意味着宇宙的开端与基本元素，自此，「圆点」也成为萧勤这一时期乃至其贯穿终生的代表性符号。彼时的萧勤受到欧洲战后空间主义、欧普艺术、动态艺术等诸多前卫抽象艺术思潮的冲击，但他却决心根植于自身的东方文化背景，回归内心自省来探求艺术的本质，开辟出一条东西文化争鸣的道路，从而抗衡强大而单一的西方话语。
萧勤于1964年在意大利米兰所创作的一组题为《缘生》的作品，被选作此次展览的图录封面。作品以简洁明丽的色点及天圆地方的图形在大面积留白之画面上流淌，气韵生动，呈现出萧勤依循「禅」的踪迹，主动而自觉地从东方哲思脉络中突围，对中国传统、东方文明中「缘」的寻根。佛教经典《杂阿含经》有云：「有因有缘生世间，有因有缘世间生；有因有缘灭世间，有因有缘世间灭。」万物有因有果，生生灭灭，不断轮回。
萧勤，《缘生-2》，布面丙烯，60 x 50cm，1964年，松美术馆在展
另一幅作品《注定》的创作也起于萧勤对「缘」的思考。幼时的他与妹妹因父母相继离世而被迫寄养于两地，数十年后二人才得以相聚，然而已是沧海桑田。自幼颠沛流离、寄人篱下的兄妹二人正如《注定》中两个不得相遇的「圆」一般遭受着命运的拨弄，然而也正是这意外的「噩运」，形塑了萧勤的生命情境，并促成萧勤追求艺术的契机。
萧勤，《注定》，布面丙烯，69 x 79cm，1963年，松美术馆展厅
萧勤亦从传统道家阴阳学说中获得灵感，在《二元》中，上下两个「圆」象征着「阴阳」二元，与四道绿色线条的排布可见「两仪四象」之精髓。在他最为经典的几个系列之中，《静观》、《劲》、《大地》、《道之始》等以或圆或方的元素作为画面主体，暗含中国传统「天圆地方」理念。
萧勤，《道之始-2》，布面丙烯、墨水，70 x 50cm，1962年，松美术馆在展
而在《光之跃动-5》、《超越永久的花园-2》、《生命力》中，他以「上八下二」的比例分割画面，形成具有强烈个人风格的构图。正如萧勤本人所言：「我是属于玄学的、宗教的、神秘学的、综合的倾向，我自己的‘二元性’可说是从我一出生就开始，从小我就对自己的人生发生怀疑并时有做探讨的需求。」
萧勤，《光之跃动-5》，布面丙烯，140 x 110cm，1964年，松美术馆在展上世纪六十年代，随着苏联宇航员尤里·加加林首次踏进太空，美国「阿波罗」号升空登月，地球上掀起一股宇宙探秘之浪潮。当时年轻的萧勤亦如孩童般对世界怀揣着鲜活的好奇及希冀，热切地向往穿越太空秘境、一窥造物秘密的神祉。对西方艺术、哲学、宗教、神秘学、天体物理学的研究与领悟，尤其是对藏传佛教唐卡艺术的理解，成为了萧勤回应宇宙本质的重要支撑。他的视觉表达也以此为转折，转向彻底的抽象化，一如《希望之光》、《放射》、《宇宙脉动》中所呈现的宇宙能量主题，是萧勤在「庞图运动」中极具代表性的构图，记录了六十年代风靡于西方艺术与设计界的美学元素，他开始高频地利用律动的光线、太阳、辐射性波束等元素作为冲击生命力量的意象，将自身的宇宙观与自然观落实在抽象绘画的实践上。星球日复一日围绕轨道运转，此时期萧勤笔下的「圆」象征着周而复始的能量汇聚之处。渺小的「小我」渴望进入浩瀚的「大我」圆融合一，萧勤又何尝不在讲述我们降生于世与这自然法则间所缔结的千丝万缕的缘分呢？
萧勤，《宇宙脉动》，布面丙烯，140 x 290cm，1965年，松美术馆在展
1990年经历丧女之痛后，萧勤从悲欢离合、世事变迁里顿悟，他的宇宙景观也因此有了新的主题。艺术家往无限看，终究看透妄念执念，在苍茫天地间找到安放心灵的归属。他走入生命中最柔软感性的部分，创作出《在永久花园的莎芒妲-2》、《宇宙之爱》等作品。萧勤从宇宙大我，回归到对人类的终极关怀、对生命真谛的豁达体悟在千变万化的创作形态里慢慢沉淀，时光流转之下，回归生命净土，大道至简，返璞归真，回归最圆满之境界。
萧勤，《在永久花园的莎芒妲-2》，布面丙烯，130 x 160cm，1999年，松美术馆在展
「回首向来萧瑟处，归去，也无风雨也无晴。」萧勤手中幻化出的时而混沌初开、时而浩瀚无边的宇宙联想或许正是他对自己人生道途与艺术象限的描摹，也正是他无为却又无所不为的禅修姿态的观照。
当我静观萧勤老师的画作，品读其波澜起伏的人生经历时，心潮随他画中变幻莫测的色彩而摇曳。回首与萧勤老师共同走过的旅程，更无比珍惜从这「圆满」时光中幻化出的「缘满」。从2016年3812中国香港画廊举办的「萧勤—无尽能量」；2017年，九米长的《光之跃动2016》被收纳进「中国澳门美狮美高梅主席典藏」；2018年于中国香港大埔慈山寺举办的展览「明光—向升华致敬」以及在上海艺术宫举办的「回家」艺术大展；2019年，吉美国立亚洲博物馆举办的「禅色：萧勤绘画展」大展；去年在拉脱维亚马克·罗斯科艺术中心所呈现的萧勤85岁寿辰大型回顾展「在我的开始是我的结束：萧勤的艺术」，一路走来到今天北京松美术馆呈现的「宇宙人：萧勤」。萧勤向世界发扬东方美学与宗教哲学，以其伟大精神中提炼出的正面能量影响世人，带着强大的精神力量荣归故土。一切正如「圆」般回归初心，又马不停蹄开始下一个轮回。
我特别感谢松美术馆在疫情期间依然抱持对艺术的信念，举办这次意义非凡的展览，也衷心感激萧勤老师和萧勤国际文化艺术基金会的信任与支持，感激与我紧密合作的联合策展人Philip Dodd。
“艺术是一件永恒没有止境的工作与探索研究，它的道路曲折而永远走不完；正像这个世界、这个宇宙是永远走不完的一样。”
——萧勤
当年萧勤老师从堂姐萧淑芳手中接过一盒舶来彩色蜡笔，使他下定决心向艺术启程。正如同这盒蜡笔一样，相信萧老师的精神宇宙也将持续启迪无数代人，成为他们内心某团火焰的「缘起」。
2021年2月2日
写于中国香港
Origin of Life：“ The Artist as Astronaut: Hsiao Chin ”Hsiao Chin's story must begin with an endless ‘circle’—this circle is at once the primordial chaos from which his artistic world begins, the endless ties of destiny which have emerged from his creation, and a symbol for the light and perfection to which the long, winding road of his spiritual journey has always led. The ancient Chinese have always had an obsession with circles, equating the circle with the full moon, with perfection and fulfillment in life. In his 86 nears, Hsiao Chin has faced the tests of wind and rain, and accumulated great wisdom in moments of silent reflection.In the 1960s, he founded the Punto International Art Movement in Europe. ‘Punto’ means ‘point’ in Italian, and refers to the beginning and most basic element of the universe. From then on, the ‘point’ became a marker for Hsiao Chin's creations in that period, and one which threads through his entire creative life. Hsiao Chin was influenced at the time by such European postwar art movements as Spatialism, Op Art, Kinetic Art and various schools of abstraction, but deep down, he was still rooted in his own Eastern cultural background, and turned to an introspective probing of the essence of art, through which he forged a path for cultural contention between East and West to resist the powerful one-sided Western discourse. A work from a series Hsiao Chin created in Milan, Italy in 1964, titled Origin of Life, has been chosen as the cover of this exhibition catalogue. In the artwork, simple and bright points of colour, and images evoking the round heavens and square earth, flow across a large area of blank space to create a vivid, spiritually resonant image that puts Hsiao Chin's adherence to Zen on full display as he actively breaks through the threads of Eastern philosophical thought in a quest for his roots in Chinese tradition and the ‘origins’ Eastern civilization. The Agama Sutra, a classic Buddist text, writes: ‘From origins and effects, all things in the mortal world arise; from origins and effects, all things in the mortal world are destroyed.’ All things in the universe have a cause and effect, all things arise and are destroyed, in a constant, ceaseless cycle. Another artwork, titled Il Predestino, is rooted in Hsiao Chin's thoughts on ‘origins.’ When he was a child, due to the death of his parents, he and his sister were forced to be raised separately, reunited only decades later, by which time both of them were completely changed. This brother and sister, drifting alone, far from one another, were at the mercy of the whims of fate, just like the two ‘circles’ that may never meet in Il Predestino, but it was precisely this fate that shaped Hsiao Chin's life, and brought him on the path of art.Hsiao Chin has also drawn inspiration from the concept of yin-yang duality in traditional Daoism. In Two Elements, the two circles, one above and one below, symbolize the two basic elements of yin and yang, while four green lines are arranged in a manner evoking the essence of the ‘two polarities and four phenomena.’ In some of his most classic series, such as Contemplation, La Forza, Great Earth and The Beginning of Tao, round and square elements evoke the traditional Chinese concept of a round heaven and square earth. In Dancing Light–5, Transcending the Eternal Garden–2, and La Forza di Vita, he divides the picture into a proportion of ‘eight above and two below,’ forming a composition with a highly distinctive personal style. As Hsiao Chin has said, ‘I tend overall toward the metaphysical, toward religious mysticism. You could say that my own 'duality' is something I have had since I was born. From a young age, I've always had doubts about my own life, and a need to explore.’In the 1960s, as the Soviet cosmonaut Yuri Gargarian entered space for the first time, and the American Apollo spacecraft landed on the moon, the world was swept up in a wave of interest in cosmic exploration. The then young Hsiao Chin was full of fresh curiosity and wonder about the world. He yearned to cross the depths of outer space, and penetrate the mysteries of creation. His research and insights into Western art, philosophy, religion, mysticism and astrophysics, and particularly his understanding of Tibetan religious painting, became crucial foundations in his response to the essence of the universe. His visual expression also made a turn here toward total abstraction. The theme of cosmic energy expressed in such works as Light of Hope, Radiation and Vibrazione Universale are highly representative compositions from Hsiao Chin's time in the Punto movement. Documenting the aesthetic elements that were widely popular in the art and design of the West in the 1960s, he began frequently using such elements as light rays, the sun, and beams of radiation as imagery to strike at the power of life, and root his views of nature and the cosmos in an abstract painting practice. The planets follow their orbits day after day, and in this period, Hsiao Chin's circles came to represent cyclical gatherings of energy. The infinitesimal self yearns for fusion with the vast ‘self’ of the cosmos. Was Hsiao Chin not trying to tell us about the intricate, myriad connections between the world in which we are born and these principles of nature?The tragic experience of losing his daughter in 1990 gave Hsiao Chin new insights into the joys and sorrows of life, and his vision of the cosmos thus gained a new subject. The artist looked to the infinite and penetrated human illusions and stubborn notions to find a place of sanctuary for the soul in this vast world. He entered into his softest, most sensitive period in his life, creating such works as Samantha nel giardino eterno-2, and Love of the Universe. In his journey from the great cosmic self back to ultimate concern for humanity, his enlightenment into the true nature of life has slowly accumulated into his creative state, and through the passage of time, he has returned to the pure land of life, to the path of simplicity and sincerity, back to the fullness of that circular realm.‘Looking back on that bleak stretch behind me, I shall return, whether wind and rain, or fair weather’ (Su Shih). The cosmic connections that spring forth from Hsiao Chin's hands, sometimes like the primordial chaos, sometimes like the vast expanse, are perhaps his depictions of the trajectory of his own life, and artistic dimensions, and his contemplation of a Zen state of total action through non-action.When I take in Hsiao Chin's paintings and consider his eventful life, my heart sways along to the profound chromatic shifts. Looking back over the path I have traveled with him, I cherish the great fullness that has arisen from his circle. Our shared journey began with the exhibition Hsiao Chin: Endless Energy, held in 2016 at 3812 Gallery; followed by the accession of the nine-meter painting Dancing Light 2016 into the MGM COTAI Chairman's Collection in 2017; the exhibition Bright Light – Homage to Ascendance at the Tsz Shan Monastery in Hong Kong, and Hsiao Chin Coming Home at the China Art Museum, Shanghai, in 2018; The Colours of Ch’an. Tribute to Hsiao Chin at Musee Guimet in Paris in 2019, and the large-scale retrospective exhibition, In my Beginning is my End: the Art of Hsiao Chin, held in the artist's 85th year at the Mark Rothko Art Center. Now we come to this exhibition at the Song Art Museum in Beijing, The Artist as Astronaut: Hsiao Chin. Hsiao Chin promotes Eastern aesthetics and religious philosophy to the world, influencing humanity with the positive energy he refines from this great spirit, and bringing a powerful spiritual strength back to his homeland. Like the circle, all returns to the original mind, only to rush off once again into another cycle.I would like to express my deep gratitude to Song Museum for holding fast to their faith in art during this pandemic, and holding this highly significant exhibition. I would also like to thank Hsiao Chin and the Hsiao Chin International Art Foundation for their trust and support, as well as my co-curator Philip Dodd, with whom I collaborated closely.‘Art is an endless, boundless endeavor of exploration and research, its road winding and never-ending, just as this world, this universe, can never be fully explored.’All those years ago, Hsiao Chin received a box of imported crayons from his cousin Xiao Shufang, and he resolved to set out on this artistic journey. Just like this box of crayons, I hope that Hsiao Chin's spirit will continue to inspire countless others, and become the spark which ‘originates’ that fire within their hearts.Written on February 2, 2021关于许剑龙
3812画廊联合创办人及艺术总监（中国香港、英国伦敦）水墨艺博创办人兼总监（中国香港2015-2017）艺术及古迹资料研究联合创办人（中国香港2013 - 2017）中国香港康乐及文化事务署艺术博物馆咨询委员会成员（2014 - 2016）中国香港艺术发展局艺术教育顾问（2014 – 2016）中国香港艺术中心监督团成员（2009 - 2012）许剑龙为著名文化企业家、艺术顾问、策展人以及收藏家，在过去多年一直致力推动中国当代艺术发展，尤以推动水墨艺术的市场发展为人熟悉。许剑龙旗下的艺术企业经营模式既广且深，包括于伦敦及中国香港成立3812画廊，并于2018年宣布创办全球首个以水墨艺术为主题的文化品牌—水墨现场（INK NOW），建构一个综合性、开放型、跨地域、多功能的水墨艺术平台，融合学术与商业，并以「东方根性，当代表现」为立足点，把属于华语文化圈的水墨推向国际。 许剑龙于2019年1月成功在中国台北举行首届水墨现场大型艺术展博会，其策展及空间设计荣获2019年中国台湾室内设计大奖展览空间设计奖。同年11月，他带领水墨现场进驻上海，与上海苏宁艺术馆共同举办「水问」当代水墨展览及首个国际论坛，集结11位艺术家及多位国际知名学者参与。近年又获得何超琼女士委任成为中国澳门路凼美狮美高梅项目的艺术顾问及策展人，建构集团的典藏项目等大型国际艺术项目。此外，许剑龙也曾于2011至2017年担任中国香港典亚艺博的总监，并在2015年于中国香港推出全球首个当代水墨艺术展博会「水墨艺博」。
当前展览“宇宙人萧勤”
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萧勤&黄宏达，《无限》，数字艺术装置，2021年，松美术馆展厅
周二至周日10:00—18:00
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