索卡北京 | 展位1.8 | 北京当代博览会2021

此款潮流公仔为创作者方文山与周杰伦之联名款，其设计理念即是以青花瓷副歌，“天青色等烟雨…”中的天青色为公仔设计之主色调，而天青色即为汝窑代表色之一。当初《青花瓷》之副歌创作源由，其实来自汝窑，而非青花瓷。另外，此公仔胸前护甲铁片之“青”字，为元代书法家赵孟頫的字体。除汝窑色调外，此款潮流公仔之身体组成部分，主体为复古型之机器人，以机械结构为其外型基础。创作者方文山将源自北宋年间，距今近千年的汝窑技艺，与来自约二百五十年前之工业革命的机械结构相结合，使得这款潮流公仔，兼具文化底蕴与机械文明的质感。

The design concept of this doll is based on the blue and white porcelain chorus and it is design by Vincent Fang and Jay Chou. The design of the doll is based on the chorus of the song "Blue and White Porcelain"  which is one of the representative colours of the Ru kiln. The original source for the chorus of Blue and White Porcelain" was in fact the Ru kiln, not Celadon.  The design of the doll is based on the body structure of a retro robot, combining the art of the Ru kiln, which dates back almost a thousand years to the Northern Song Dynasty, with the mechanics of the industrial revolution, which took place around 250 years ago, to give the doll the appearance of both a cultural and mechanical civilisation.

《烟花易冷》这首歌之创作灵感源自一本北魏杨衒之所撰，成书于东魏孝静帝时(西元547年)的《洛阳伽蓝记》。此书是一本集佛教典故、文学笔触、与朝代历史，以及地理人文于一身的千古名著。在创作者方文山看来，它同时也是一部文字纪录片，详实记载了洛阳城由盛极繁华到倾塌颓圮的过程。此件作品以歌词文字结合茶罐为基本的创作基调，茶罐上的歌词文字有隶书、行书、小篆，以及康熙字典体等。另外以金属铜绿作为陶质茶罐的色调，这使得此作品除了拥有歌曲赋予的纪念价值，以及各式歌词书法体供观赏外，还注入创意概念在茶罐上，添增了其收藏价值。

 The inspiration for the song "Faded Away" came from a book written by Yang Bozhi in the Northern Wei Dynasty, which was written in the time of Emperor Xiaojing in the Eastern Wei Dynasty (547 A.D.). The book is an ancient masterpiece that combines Buddhist allusions, literary touches, dynastic history, and geography and humanities. For its creator, Fang Wenshan, it is also a documentary, detailing the process of the city of Luoyang from its prosperity to its collapse. The basic tone of this work is to combine the lyrics with the teapot. The lyrics on the teapot are written in clerical script, running script, small seal script, and Kangxi dictionary style. The use of metallic copper green as the colour of the ceramic teapot not only gives this work the commemorative value of the song and the various calligraphic styles of the lyrics for viewing but also injects a creative concept into the teapot, adding to its collectability.

此件是以版画形式，将减字谱逐一雕刻后再逐字盖印的作品，其名称为《菊花台古琴减字谱》，也就是《菊花台》这首流行音乐的古琴谱。古代中国虽无西方世界所盛行的五线谱，但亦有自己承传千年的记谱法，除了《工尺谱》外，就是《减字谱》。此件《菊花台减字谱》的琴谱字体，取自距今四百五十多年前明代嘉靖年重刊本的《清湖琴谱》。这琴谱属指法谱，记载古琴如何弹奏的减字，则是多个汉字减化而成的合字。这减字绝大多数人无从辨识，这赋予了它神秘感，然后琴谱上的色调，刻意绘制成具铁锈色的怀旧感，这使得此件作品，除了神秘气息之外，更增添了具历史意味的岁月感。将这完备于唐代，至今已传承千年的古琴演奏指法谱，也就是减字谱，用来记载与弹奏现今的流行音乐，是个饶富趣味与具实验性质的尝试。相对于西方音符与线条式的琴谱而言，汉字形式的减字琴谱，更让我们有一种文化上的归属感与认同感。其木框原为台湾台北酒厂(现为华山1914文化创意园区)遗留下之老桧木，本物件年份可追朔至西元1930年，本为方文山之收藏品之一。

This piece is an engraving of the reduced character score in the form of a print and then stamped word by word, and its name is "Chrysanthemum Terrace Guqin Reduced Character Score", which is the guqin score of the popular music "Chrysanthemum Terrace". Although ancient China did not have the five-line notation that was prevalent in the Western world, it had its own notation that had been handed down for thousands of years, and apart from the Gongshaku score, it was the Minus Character Score. The script of this piece, "Juhuatai Minus Character Score," is taken from the "Qinghu Qin Score," which was reprinted in the Jiajing era of the Ming Dynasty more than 450 years ago. This is a fingering score, and the minus characters, which are used to record how to play the guqin, are a combination of reduced Chinese characters. The subtracted characters are unrecognizable to most people, which gives it a sense of mystery, and then the tone of the score is deliberately painted with a nostalgic rust colour, which adds a sense of history to this work, in addition to the mystery. It is an interesting and experimental attempt to use the fingering score of the guqin, which has been handed down for a thousand years since the Tang Dynasty, to record and play today's popular music. Compared to the Western note-and-line style, the Chinese character form of the diminutive score gives us a sense of cultural belonging and identity.

Budi Kustarto于1972年出生于印度尼西亚，是印尼重要的当代艺术家之一。1988-1992年间就读于Yogyakarta的Sekolah Menengah Senirupa（SMSR /美术高中），主修视觉传达；他于2003年毕业于印度尼西亚艺术学院雕塑系，其艺术实践围绕雕塑和绘画以及自画像格式展开。

作为一种二维媒介，绘画给库斯塔托带来了与雕塑截然不同的挑战。1998年，他被菲利普·莫里斯艺术奖授予十佳艺术作品之一。策展人里兹基·扎拉尼（Rizki A. Zaelani）解释说，布迪·库斯塔托（Budi Kustarto）的作品是“围绕极限问题的批判性回应。他认为自己会在极限内（石膏/玻璃纤维图像）成为自己。对布迪来说，自己就是一个“打印输出”。给予身份，含义，条件等的限制是结果，对布迪·库斯塔托而言，这里的限制无可厚非；我们的意识必须努力实现真理。极限使我们保持警惕，意识到生活，使我们人性化”

Born in Indonesia in 1972, Budi Kustarto is one of the country's leading contemporary artists, having studied visual communication at Sekolah Menengah Senirupa (SMSR / High School of Fine Arts) in Yogyakarta from 1988 to 1992, and graduated from the Sculpture Department of the Indonesian Academy of Fine Arts in 2003. His artistic practice revolves around sculpture and painting, and the self-portrait format.

As a two-dimensional medium, the painting presents a very different challenge to sculpture, and in 1998 he was awarded one of the ten best works of art by the Philip Morris Art Prize. Curator Rizki A. Zaelani explains that Budi Kustarto's work is a critical response to the question of limits. He thinks he will be himself within the limits (of the plaster/fibreglass image). For Budi, he is a 'print-out'. The limits are given to identity, meaning the condition is the result. And for Budi Kustarto, there is no excuse for the limits here; our consciousness must strive to realise the truth. Limits keep us alert, aware of life, humanise us."

曾健勇1971年生于广东澄海，毕业于国立华侨大学艺术系中国画专业，结业于中央美术学院版画助教进修班。无论在意识形态上或是其作品的水墨技法上，曾健勇俨然创造出当代中国水墨不容忽视的艺术风格。中国画专业科班出身的他，并没有选择固守传统国画的艺术样式，而是以传统的材料语言结合更具当代特色的主题进行创作，因此，曾健勇被认为是新水墨艺术运动的代表人物之一。

曾健勇早期作品以儿童肖像为主，跳脱水墨的传统主题，发展出个人独特的新水墨风格，特别善于探索精神层面的具象化，以各式隐喻与社会性符号提出思辨。他探索从中国传统绘画 中提取出规则，以此来观察和表现自然，从而获得新的自由。曾健勇近年的创作从带有超现 实主义色彩的场景绘画，到更为综合、宏大的“绘画剧场”，愈来愈摆脱特定题材的限制，转 向对绘画本体，特别是绘画空间的研究，探讨水墨在空间中展开的可能性。

Born in 1971 in Chenghai, Guangdong, Zeng Jianyong graduated from the Art Department of the National Overseas Chinese University with a degree in Chinese painting and completed a workshop on printmaking at the Central Academy of Fine Arts. Whether in ideology or ink and wash techniques, Zeng Jiangyong has created an artistic style that cannot be ignored in contemporary Chinese ink and wash. Coming from a professional background in Chinese painting, he did not choose to stick to the traditional style of Chinese painting. Still, he used the traditional language of materials in combination with more contemporary themes. As a result, Zeng Jianyong is considered one of the representatives of the new ink and wash art movement.

Zeng's early works, mainly portraits of children, departed from the traditional themes of ink painting and developed his own unique new ink style, which was particularly adept at exploring the spiritual dimension of figuration, using various metaphors and social symbols to present his thoughts. He explores the rules extracted from traditional Chinese painting to observe and represent nature, thereby gaining new freedom. In recent years, Zeng's work has evolved from surrealist scene painting to a more integrated and ambitious 'theatre of painting', increasingly moving away from the constraints of specific subject matter and towards the study of painting itself, particularly the space of painting, to explore the possibilities of ink and wash unfolding in space.

张英楠的作品总是带着很强的失落感，在这张《再见未来》作品中，巨大玻璃窗的空间留露出一股孤独与伤感。画面的正中央的一道被孤立的光线，与整个冷调的空间造成强烈的对比。象征着寂寞的社会的比喻手法。光线折射在几何感的楼梯空间，两者的颜色对比造就了一种疏离感。《再见末来》表达了人与社会疏离、对未来既憧憬又不安及，反映了这世代人的无奈。

Zhang Yingnan's works always carry a strong sense of loss, and in this work《See the future again》, the space of the huge glass window reveals a sense of loneliness and sadness. An isolated light in the centre of the picture creates strong contrast with the cold tone of the space. It is a metaphorical symbol of a lonely society. The light is reflected in the staircase's geometric space, and the contrast in colour between the two creates a sense of alienation. Goodbye to the End expresses the alienation of people from society, their longing for the future and their uncertainty, reflecting the helplessness of this generation.

赵博1984年出生，毕业于鲁迅美术学院并获硕士学位。他成长于沈阳这座重工业与富含历史文化的古城，创作借由强烈反差的象征场景，凸显对现实文明的省思与反馈。在当代这个高度信息化，景观化的全球消费社会当中，赵博通过作品展现了一种独特的情景感，魔幻般的场景、炫丽狂野的色彩暗喻着现代光怪陆离的社会纷乱，信息爆炸，以及对个体精神上的迷失等诸多问题的思考。他的作品被震旦集团、克丽缇娜集团、台湾典藏杂志等收藏。

Born in 1984, Zhao Bo graduated from the Lu Xun Academy of Fine Arts with a Master's degree. He grew up in Shenyang, an ancient city rich in heavy industry and history and culture. His work draws on contrasting symbolic scenes to highlight his reflections and feedback on the reality of civilisation. In the midst of the information explosion and environmental pollution, Zhao Bo presents a unique sense of tragedy through his works. The magical apocalyptic scenes and dazzling wild colours allude to the chaos of modern society and the anxiety of spirituality. His works have been collected by the AURORA Museum of Art, Christina Group and Taiwan Collection Magazine.