尔躬 - 云 The Order of Body - Cloud绢本设色
Mineral pigments on silk
147x96cm 2025
山水之身?
文 / 高士淯博士
我被画中眼睛深深吸引，很难说是你在观看画作，还是画作在观看你。那种注视不是凝视的欲望，也不是评判的眼光，而是一种近乎怜悯的静默，是来自永恒时间的观看。绢本呈现出近似琥珀的质感。琥珀是凝结的时间，看琥珀就像穿越一个时空的隧道，凝视一段被冻结的永恒。陈督兮的作品如同图像的琥珀，不是再现时间，而是收纳时间的层理痕迹。
时间，是他绘画的真正对象。
尔躬 - 水族#1 The Order of Body - Aquatic Animals#1绢本设色
Mineral pigments on silk
50x70cm 2023
欧洲静物画传统曾以腐烂的果实与枯萎的花朵暗示生命的无常，而中国花鸟画，则以盛开、枯败、再生的节律呈现天地往复。作为中国传统绘画的基本品类之一，花鸟画常在理学框架下的“存人伦、明教化”和文人“尚意”传统之外，陈督兮笔下人与走兽并无区别，花、鸟、虫、草各有宇宙，一种在图像之中重构人与世界、人与自然、人与时间关系的方式。
这种观看方式是一种“道”，一种实践，也是一种重新审视身体与物质世界关系的路径。它在图像中生成一种呼吸感，让观看者不再是置身事外的目击者，而成为气流与笔触共振的有机部分。这种观看，不止于审美或判断，而是一种感知伦理的训练：在不确定的视觉结构中保持沉静，在无法命名的图像中维持开放。老安布罗修斯·博斯查尔特 花卉静物
Ambrosius Bosschaert the Elder: Still Life with Flowers
铜板油画
Oil on copper
30x19.5cm 1617
尔躬 -兰花 The Order of Body - Orchid绢本设色
Mineral pigments on silk
70x50cm 2024
陈督兮的绘画既是图像，也是观照；既是形式，也是修行。他的画延续了儒释道三家观看传统的深层逻辑：在儒家，这是“尔躬”之身的自省与修身；在佛教，这是“观五蕴”、“观生不净”的修观法门；在道家，则是顺应气流、去形归道的视觉消融。陈督兮并不再现这些传统，而是将其观看精神加以变形与重组，在当代图像语境中重新提出“如何看”的问题。
他的《持颐》系列就是对这一问题的直接回应。《庄子·渔父》：“左手据膝，右手持颐以听。”在这组作品中，笔触不再只是描绘图像的工具，而成为时间自身的结构。那些不断延展、似乎永不止息的线条——时而流动如水脉，时而盘旋如指纹——既不依附于具象的身体，也不追求形象的完成，而是缓慢地在绢本上扩展，如山的脊背滑入云层，或是气于身体中流动。观《持颐》，也正是观身体的运行、观线条的节奏，观感知的生成。
水，是陈督兮语言中隐秘的支柱。成长于多水的四川，河流是他身体经验的一部分。他曾回忆2013年在都江堰写生时，因当地无法购买油彩而改用宣纸与勾线笔，自此转入绢本与水墨的世界，走入中国画的精神路径。水，在中国画传统中从不是简单的自然物象，而是哲学的形象。正如《道德经》所言：“上善若水”，水利万物而不争，其柔韧、其流动、其不居，是道的物化。水的节奏，也正是《持颐》作品的内在节律：不建立中心，不构造结构，而是持续地、不间断地、悄无声息地生成。
在陈督兮的《持颐》中，线条构成的水之逻辑使观者进入一场非叙事性的图像体验，如同临水而坐，视线随波而动，情绪随水而息。这让我想到马远的《水图》和杉本博司的《海景》，都是'逝者如斯夫'般对时间的永恒诘问。
绢本设色
Mineral pigments on silk
50x70cm 2025
这种视觉经验也让我联想起宋代图像文化中的“物候图”传统。所谓物候，是记录自然生长节律与时间变化的视觉语言，它不是对“物”的再现，而是对“候”的把握：花何时开、鸟何时鸣、露何时落。陈督兮的画面，也构成一种图像—时间系统：在每一笔笔触之间，时间如气流般被“写”进画面，而不是“描”在形体之上。
这种图像时间结构在《尔躬》系列中尤为明显。《尔躬》一词出自《论语·尧曰》：“咨尔舜!天之历数在尔躬”，原意是“自身”的修持和反观。陈督兮以此为名，实则将观看转化为观照，将绘画本体转化为修身实践。他描绘的不是身体本身，而是身体的生成结构，是自然之物在身体中留下的残痕与变形。
在《尔躬-秘鲁蜗牛》与《尔躬-百合》等作品中，那些螺旋、褶皱、切面、透明的结构——既像内脏，又似贝壳；既像植物根茎，又像山体剖面——模糊了生物与非生物、自然与人工、身体与风景的边界。图像不再是可识别之物的“再现”，而是一种生成性的视觉体——不断变形、不断退隐、不断生长。
尔躬-秘鲁蜗牛 The Order Of Body-Peruvian Snail
绢本设色
Mineral pigments on silk
50x70cm 2023
“观生”的思想在佛教传统中指向的并非生理存在，而是对“色身”的无常性与虚妄性的观照。从“九想观”到“观五蕴”，这些修观方法旨在解除对身体作为恒常实体的执著，使行者得以在身体变化中证入“无我”与“空性”。陈督兮的画正是对这一思想的视觉演绎：他的身体图像总在生成与分解之间，仿佛永远处在流动的'气'中。
笔者在发表于《第34届世界艺术史大会文集》的《身体风景:中国兰代艺术中的身体》一文中提出“身体即风景”的概念。比如《内经图》《修真图》等道教图像，呈现的并非外科式剖析的身体，而是一种“气”的流转结构，是身心一体、天人合一的视觉寓言。身体是山川河流的缩影，是天地节气的容器。因此图像的任务不是剖明身体，而是引导修身养性。中国古代图像的核心在于“图像构成的知识秩序”，它们不服务于写实，而服务于理解。陈督兮的作品正是这种“可观而不可尽言”的图像系统在当代的再激活。
与之相对，西方医学图像植根于一种主客体划分的知识体制：X光片、MRI、CT等形式的图像是将身体视为信息的源代码，一层一层地剖析、量化、归类。Jonathan Crary 曾指出，现代性中的观看是一种“技术化的感知”，观看不再是自然经验，而是制度性建构下的操控手段。陈督兮的图像实践，拒绝进入这种知识统治的观看机制。他的画不是“供观看”之物，而是构成新的“身体性”的图像：观者的身体必须进入，才能真正“看见”这些图像。
这正是陈督兮作品在当代图像政治语境中的抵抗意义。他所绘制的身体，不是可被编码、可被归档、可被控制的对象，而是作为风景、作为节律、作为气态的存在，是“未完成的身体”。督兮的创作回应了我提出的“身体即风景”的观点：身体观就是自然观，是宇宙观。在陈督兮的画中，身体不是“个体”，而是一个与山、水、植物、节气、气流、图像共同振动的“存在”。
尔躬 - 鸢尾 The Order of Body - Iris
绢本设色
Mineral pigments on silk
50x70cm 2025
因此，他的图像不是答案，而是练习。观看这些作品，如同进入一个无法命名的山谷，四周是未明的结构、浮动的线条和尚未结束的气息。而你，不再是观众，而是那气息中的一员。这些画不只是可见之物，而是可共处的气场；不只是身体的影像，而是知觉的训练。在它们中间，我们所修所求的，不只是对图像的感知，更是对他者、对自然、对自身的重新'观看'。
The Body of Mountains and WatersI was deeply captivated by the eyes in the painting The Order of Body: Aquatic Animals—it's hard to tell whether you are observing the artwork or the artwork is observing you. This look holds neither the desire to gaze nor the impulse to judge, but rather a silence, akin to compassion, a witnessing emerging from time eternal. The silk canvas (juanben) exhibits an amber-like texture. Amber is time consolidated; observing amber resembles traversing a spacetime tunnel to behold frozen eternity. Chen Duxi's works function as amber of the imagery, not merely representing time but preserving the stratigraphic imprints of time. Time is the true subject of his paintings. The European still-life tradition used rotting fruits and withered flowers to signify vanitas, life's transience, while Chinese flower and bird painting (huaniaohua) reveals cosmic cycles through blooming, withering, and rebloom. As a fundamental genre of traditional Chinese painting, flower and bird works often exist outside either the Confucian framework of "preserving social ethics and enlightening society" or the literati's "expressive conception" tradition. In Chen Duxi's brush, humans and non-humans hold equal standing, while each flower, bird, insect, and grass manifests its own cosmo, representing a visual reconstruction of relationships between humanity and the world, nature and time.This mode of viewing is a form of Dao, a practice, and a path to reexamining the relationship between body and the material world. It generates a sense of respiration within the imagery, transforming the viewer from a detached witness into an organic participant resonating with qi currents and brushstrokes. Such viewing transcends mere aesthetics or judgment, becoming a training in perceptual ethics: maintaining composure within uncertain visual structures and sustaining an open mind toward unnameable imagery.
尔躬 - 火 The Order of Body - Flame
绢本设色
Mineral pigments on silk
70x50cm 2025
Chen Duxi's paintings are both images and contemplative acts; both formal expressions and spiritual cultivation. His work inherits the deep logic of viewing traditions from Confucianism, Buddhism, and Daoism： in Confucianism, it manifests as self-reflection and moral cultivation of the "physical self (Ergong, The Order of Body)"; in Buddhism, as meditative methods like "contemplating the wu yun (Five Aggregates)" and "observing the impurity of life"; in Daoism, as visual dissolution aligning with qi currents and transcending form to return to Dao. Chen does not replicate these traditions but transforms and reorganizes their viewing ethos, reposing the question of "how to view" within contemporary visual contexts. His Contemplate series directly responds to this inquiry. Zhuangzi's The Fisherman chapter states： "The left hand rests on the knee, the right hand holds the chin to listen." In these works, brushstrokes transcend their role as mere image-depicting tools to become structures of time itself. These endlessly extending lines, sometimes flowing like water veins, sometimes spiraling like fingerprints, neither adhere to concrete forms nor pursue figural completeness, but slowly expand across silk scrolls, like mountain ridges disappearing into clouds, or qi flowing through the body. Viewing Contemplate becomes observing bodily processes rhythms, tracking line rhythms and witnessing the forming of perceptions. Water forms the hidden pillar in Chen Duxi's visual language. Growing up in watery Sichuan (literally means Four Rivers), rivers flow through his bodily experience. He recalled that during 2013, sketching at Dujiangyan, an ancient irrigation system originally constructed around 256 BC in Sichuan, forced by unavailable oil paints to adopt Xuan paper and outlining brushes, he entered the realm of silk scrolls and inkwash, stepping onto Chinese painting's spiritual path. In this tradition, water never merely depicts nature but embodies philosophy. As Tao Te Ching states: “Supreme good is like water", which benefits all without contention, its suppleness, flux and impermanence materialize Dao. Water's rhythm pulses through Contemplate series works, no established center, no constructed framework, but sustained, ceaseless and silent generation. In Chen Duxi's Contemplate series, the logic of water formed by lines immerses viewers in a non-narrative visual experience, as if they are sitting by water, with gaze and emotions swaying along ripples and water flows. This evokes Ma Yuan's Water Paintings and Hiroshi Sugimoto's Seascapes, both posing eternal inquiries into time akin to Confucius' "thus do things flow away like this".持颐-岩洞 Contemplate - Caver
绢本设色
Mineral pigments on silk
50x70cm 2025
This visual experience also recalls the tradition of Wuhou Tu (phenological diagrams) in the Song Dynasty culture of images. Wuhou (phenology) refers to a visual language documenting the rhythms of natural, seasonal growth and temporal shifts—not a representation of "things" but a grasp of "seasonality": the seasons when flowers bloom, birds sing, or dew falls. Chen's compositions similarly form an image time system: between each brushstroke, time is "written" into the painting like air currents, rather than "delineated" upon forms. This temporal structure of imagery is particularly represented in the Ergong series (The Order of Body). The term Ergong originates from Confucius' Analects Yao Yue: "Heaven's ordained sequence resides in your very person (Ergong)," originally signifying the cultivation and introspection of "self". By adopting this title, Chen transforms viewing into contemplation and painting's ontology into embodied practice. He portrays not the body itself, but its generative structure, the traces and transformations imprinted on the body by natural forces. In works such as ”Peruvian Snail” and “Calla Lily Plant”, the spiral, folded, cross-sectional, and translucent structures, which resemble both internal organs and seashells, plant rhizomes and mountain profiles, blur boundaries between living and nonliving entities, natural and artificial forms, bodily and landscape elements. The images no longer serve as representations of identifiable objects, but manifest as generative visual entities that are continuously deforming, receding, and growing.
尔躬 - ?铃? The Order of Body - Fruit of Chinese Toona
绢本设色
Mineral pigments on silk
70x50cm 2025
The concept of Guansheng (contemplating existence) in Buddhist tradition refers not to physiological being, but to contemplating the impermanence and illusory nature of the se shen (material body). From jiuxiangguan (Nine Perceptions Contemplation) to contemplating the wu yun, these meditation practices aim to dissolve attachment to the body as a permanent entity, enabling practitioners to realize "anatman (nonself)” and "emptiness" through bodily transformations. Chen Duxi's paintings visually articulate this philosophy： his bodily images perpetually oscillate between generation and disintegration, as if eternally suspended in the flowing "Qi (vital energy)”.In Body as Landscape: The Representation of the Body in Chinese Contemporary Art, published in the Proceedings of the 34th World Congress of Art History, I proposed the concept of "the body as landscape”. Taoist images such as Neijing Tu (Inner Landscape Diagram) and Xiuzhen Tu (Cultivation Diagram) do not depict surgically dissected bodies but rather present a circulation structure of qi, serving as visual allegories for the unity of body, mind, and harmony between heaven and humanity. The body becomes a microcosm of mountains and rivers, a vessel containing cosmic rhythms. Thus, the purpose of images is not to anatomize the body but to guide self-cultivation. The core of ancient Chinese images lies in the "an order of knowledge constructed through images"—they serve not mimicking reality but understanding. Chen Duxi's works reactivate this contemporary iteration of an image system that is "observable yet inexhaustibly ineffable”.In contrast, Western medical imagery is rooted in a knowledge regime that divides the subject from the object: X-rays, MRIs, CT scans, and similar forms treat the body as a source code that contains, therefore, it needs to be dissected, quantified, and categorized layer by layer. Jonathan Crary (American art critic and essayist) argued that modern visuality constitutes "techniques of the observer" where seeing is no longer natural experience but an institutionalized instrument of control. Chen Duxi's pictorial practice resists entering this visually governed knowledge apparatus. His paintings are not objects "for viewing" but images that construct new forms of “corporeality”. The viewer's body must physically engage to truly "see" these works.
尔躬 - 鹰 The Order of Body - Eagle
绢本设色
Mineral pigments on silk
70x50cm 2025
This is precisely the resistant significance of Chen Duxi's works within the context of contemporary politics of images. The bodies he paints are not objects to be encoded, archived, or controlled, but existences as landscape, as rhythm, as qi state—the "unfinished body”. Chen Duxi's practice responds to my proposed concept of "body as landscape"： the perspective on the body is the perspective on nature, the perspective on the cosmos. In Chen Duxi's paintings, the body is not an individual, but a being that resonates with mountains, rivers, plants, seasonal nodes, airflow, and images. Thus, his images are not answers, but exercises. To view these works is to enter an unnamable valley, surrounded by undefined structures, undulating lines, and unfinished qi. You are no longer a spectator, but a participant within that breath. These paintings are not merely visible objects, but cohabitable qi fields; not mere representations of bodies, but training of perception. Through them, what we cultivate and seek is not just observing images, but a "viewing" of others, nature and the self. In this way, painting becomes a method to approach the Dao.
陈督兮，1983年出生于成都，2006毕业于川音成都美院，现生活工作在北京。主要个展：2025，源因，Fang Gallery，上海；2025，陈督兮：主观世界，形与流之间，The FQM，纽约，美国；2024，谷响，新氧艺O2art，北京；2023，尔躬，秋萌画廊，纽约，美国；2022，水纟文，茶所，北京；2021，落霞沉繁星，王府中环· 十王府，北京；2019，陈督兮同名个展，艺术 8，巴黎，法国；2019，太野，五五画廊，上海；2017，“，春分之?”个展，中法大学历史博物馆，里昂，法国；2016，“动静等观”个展，五五画廊，上海；2015，“秋毫之末”陈督兮个展，艺术 8 中法大学遗址，北京；主要群展：2024，文石新翠，The FQM，纽约，美国；2023，夏夜，新氧艺 O2art，北京；2022，北京之吻，法国国立吉美亚洲艺术博物馆，巴黎，法国；2022，新雨后，秋萌画廊，纽约，美国；2021，深圳 OCAT 双年展，深圳；2019，大地女神盖娅，香榭丽舍娇兰旗舰店，巴黎，法国；2018，澄怀味象，秋萌画廊，纽约，美国；2018，佛国山水 ll- 静水深流，喜马拉雅美术馆，上海。
Chen Duxi, born in Chengdu in 1983, graduated from the Chengdu Academy of Fine Arts, Sichuan Conservatory of Music in 2006, and currently lives and works in Beijing. His major solo exhibitions include: "The Root Cause" at Fang, Shanghai in 2025; "Subiective Realm: Between From and Flow" at Fu Qiumeng Fine Art, New York, USA in 2025; "Echoes in the Valley" at 02art, Beijing in 2024; "Your Body" at Qiu Meng Gallery, New York, USA in 2023; "Water Patterns" at Tea Space, Beijing in 2022; "Sunset Sinks with Stars" at WF Central, Beijing in 2021; "Chen Duxi" (solo exhibition of the same name) at Art 8, Paris, France in 2019; "Wilderness" at 55 Gallery, Shanghai in 2019; "The Sound of the Spring Equinox" at the Historical Museum of Sino-French University, Lyon, France in 2017; "Contemplating Motion and Stillness" at 55 Gallery, Shanghai in 2016; and "The Tip of a Autumn Hair" (Chen Duxi Solo Exhibition) at the Art 8 Sino-French University Site, Beijing in 2015. His major group exhibitions include: "Literati and Rocks Amidst Verdant bloom" at Fu Qiumeng Fine Art, New York, USA in 2024; "Summer Night" at 02art, Beijing in 2023; "Kiss of Beijing" at the Musée Guimet (National Museum of Asian Arts), Paris, France in 2022; "After the New Rain" at Qiu Meng Gallery, New York, USA in 2022; the OCAT Shenzhen Biennale in Shenzhen in 2021; "Gaia, the Earth Goddess" at the Guerlain Flagship Store on the Champs-élysées, Paris, France in 2019; "Meditating on Aesthetic Connotations" at Qiu Meng Gallery, New York, USA in 2018; and "Buddhist Landscape II - Still Waters Run Deep" at the Himalayas Art Museum, Shanghai in 2018.
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高士淯博士是一位艺术史家，策展人和艺术家。高博士荣获利华休姆学术新秀奖，现负责关于新技术变革和数字时代新艺术的大型研究项目。高博士在英国爱丁堡大学获得艺术史博士学位并任教其艺术史和展览学的研究生课程。高博士先后于爱丁堡大学和中央美术学院获得现当代艺术：历史，策展与批评的理科硕士和文科学士学位。她目前的研究和实践关注当代艺术和视觉文化中的身体，性别，生态学，后人类主义，新物质主义，科技与新媒体。
高博士曾在全球知名的博物馆和画廊担任策展工作，包括斯蒂尔斯画廊（爱丁堡）、中央美术学院美术馆（北京）、维多利亚和阿尔伯特博物馆（伦敦）以及伦敦艺术大学艺术中心（伦敦）。高博士曾在包括牛津大学，伦敦大学学院，北京大学，中央美术学院在内的众多世界知名大学和学术机构讲座。高博士艺术创作展于上海双年展，爱丁堡艺术学院展等，并被包括荷兰莱顿大学图书馆等国际知名机构收藏。 高博士的研究写作与评论文章发表于国际一流学术期刊和书籍中，近年以英文为主的发表可见于英国Journal of Contemporary Chinese Art，法语文章可见于法国蓬皮杜艺术中心。高博士目前受邀为美国杜克大学出版社 Camera Obscura期刊担任中国当代艺术特辑的编辑。 高博士曾组织并主持参与众多顶级国际学术会议，其中包括国际艺术史委员会（CIHA）举办的世界艺术史大会，CCVA年会，英国汉学年会（BACS），艺术史协会年会（AAH）和亚洲研究协会年会（AAS）。
Dr. Shiyu Gao is an art historian, curator, and artist whose work explores critical intersections between art, science, and technology, focusing on the body, ecology, asymmetry, feminism, queer technoscience, and expanded media art.
Shiyu is awarded the prestigious Leverhulme Early Career Fellowship and leads a major project on art and digital surveillance. Shiyu earned their PhD in History of Art and MSc in Modern and Contemporary Art from the University of Edinburgh, following a BA from the Central Academy of Fine Arts (CAFA), Beijing.
Shiyu has taught art history and theory at the University of Edinburgh and lectured at institutions including the University of Oxford, UCL, Peking University, and CAFA.
As a curator, Shiyu has worked with leading museums and galleries, including Stills (Edinburgh), CAFA Art Museum (Beijing), and the V&A Museum (London). As an artist, Shiyu's work has been exhibited at the Power Station of Art, Shanghai Biennale, Whitespace Gallery, Edinburgh College of Art, and Parkside Gallery, Birmingham. Shiyu’s work has been held in collections such as the Leiden University Library.
Shiyu's writings appear in multiple languages across leading academic journals, books, and curatorial platforms, including Camera Obscura (Duke University Press, forthcoming), Journal of Contemporary Chinese Art (Intellect), and publications by the CAFA Art Museum, MSU Broad Art Museum, and the Centre Pompidou, Paris.
Shiyu has presented, organised and chaired panels at prestigious international conferences, including the Association for Art History (AAH) Annual Conference, the Association for Asian Studies (AAS) Annual Conference, the British Association for Chinese Studies (BACS) Annual Conference, the European Association for Chinese Studies (EACS) Biennial Conference, and the World Congress of Art History (CIHA).
新氧艺O2art成立于2011年，早期以策划不固定空间的展览项目形式存在，长期代理并运营职业艺术家的当代艺术机构。2018年，在北京顺义创办新的O2art艺术空间，2022年迁至798艺术区。画廊深耕当代艺术领域，在多元化的艺术风格中，寻找与陪伴具研究精神的创作者。我们的理念是通过展览呈现与职业跟随，推出优秀的中国艺术家个案。未来将保持专业与开放，成为融合国际沟通的艺术资源平台，以研究、呈现、参与，成为中国当代艺术生态中不可或缺的成员。
O2art was established in 2011. Initially operating as a project-based exhibition space, it has long been intricately involved in championing and fostering professional contemporary artists. In 2018, we opened a new space in Shunyi, Beijing, and moved to the 798 Art District in 2022. The gallery has been deeply involved in the contemporary art field, seeking and accompanying artists with a research-driven spirit across diverse artistic styles. Our philosophy is to present exhibitions and support the professional development of artists, introducing outstanding Chinese artists to the art world. Moving forward, we aim to maintain professionalism and openness, becoming a platform that bridges international communication and art resources. Through research, presentation, and participation, we strive to become an indispensable part of the Chinese contemporary art ecosystem.
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