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Huang Gang

轉動黃金印記 Revolving the Golden Imprint
Huang Gang
【目錄】

CONTENTS
發現當代

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

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
亞洲當代 中國當首
意是時間,也可以說,當代就是藝術家對當時人的生存環境
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,
和生存感覺的關注。我想在90年代初的中國「當代」一詞並
在材質、原料、視覺上的突破,有了一席之地。
未被重視,如果我記的沒錯,93年的威尼斯雙年展策展人
張曉剛 血緣-大家庭二號 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
Achille Bonito Oliva邀請了14位中國藝術家,以「東方漫步」 1995 180x230cm
顯受中國文化所影響。
為題展出,中國知名策展人張頌仁也是重要推手。那些中國
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
藝術家可能代表了當時所謂的當代表現,相較而言,我當時
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
所合作的藝術家似乎不那麼「當代」,以當下的語彙來說,
岳敏君 無題 1998 80x60cm 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。
他們或許可以被歸入較前衛或者「超前衛」。
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

王廣義 大批判系列-Coca Cola 74x66cm 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
成長中的中國當代藝術
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。
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 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

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 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

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 「James,你那大捲筒裡裝些什麼?」,我則回答,「是油畫」,一開

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 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

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 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 Atul Dodiya 每位父親, 失落(VIII) 274x157cm
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 性子直問究竟,他的回答卻讓我很不滿意,Hugh Moss說:「那都是二

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 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,

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 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

能為後天的拘束感到遺憾。 的。」我這才恍然大悟,被Hugh Moss一語點醒。他的真言讓我體會到

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 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

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 萌芽。
崔素榮 港口 2006 217x287cm
勵畫廊和萬玉堂等,台灣則有炎黃畫廊、山藝術及新墨色等。

丁方 悲劇的力量之六 葉永青 城市和鳥籠子 毛旭輝 剪刀和沙發 閻萍 母與子
1987-1988 134x161cm 1994 90x100cm 1995 77x78cm 1995 120x110cm
李錠雄 筆墨 2007 138x202cm 李桓權 坐著看書的人 2007 280x52x150cm 村上隆 Tokun 1995 35x35cm 


久松真一 「萬相」

西藏曼陀羅 約十八世紀 61x61cm

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 金色轉輪; 2001; Golden Wheel; Mixed media on panel; 60x60cm 王羲之 蘭亭序卷 (局部)
嘆其精準的工藝技巧與極緻質地。當你一靠近細
紅色三角塔; 2001; Red Triangle Tower; Mixed media on panel; 80x80cm
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 黃鋼藝術總觀
術,因此在每一件作品都耗盡了時間和體力,技術 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

準確得到印證。 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。

蔡國強 胎動II-為外星人作的計畫第九號
1992-1993 88x65cm

紅色曼陀羅 2002 105x105cm

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
西藏曼陀羅 17到18世紀 42x41cm
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
紅色曼陀羅 2005 105X105cm 徐冰 天書 1988 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 


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 板,明清時期的活字印刷版,用於銅塑與平面創作中。 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、
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 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 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
吧。 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 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
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 是前無古人也不會有來者的藝術家黃鋼所擁有。
出現菩提樹。 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
黃鋼從極簡的「紅色的牆」到大氣闊的「雪域佛經」,再至「我的 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
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, 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,
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, 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
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。 有而識別性高的符號。

蔡志松 故國.頌2 2000 50x52x180cm
劉力國 經典2004 2004 30x20x36cm

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
尹坤 年輕肥毛 2005 120x100cm
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

(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。

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

任哲 馬上拉弓 2006 50x65x50cm

李山 胭脂系列 1996 27x38cm
(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。

Andy Warhol, Mao, 1973, 67x56cm

(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
黃鋼 想起江山多嬌美 53x49x43cm
球生長不滅。 


Discovering Contemporary Art

Su Shi; the uninhibited joy of Dong Qichang’s script. I’m certain that Huang i.e. Liu Liguo and Ma Jun.
Gang looked to these renowned calligraphers for inspiration. •Bronze: The most commonly used material throughout history, and the
About the time when he achieved mastery of his calligraphy, an atmosphere material most familiar to artists such as Huang Gang, Sui Jianguo, Cai Zhisong,
of Zen began to permeate his works. Zen Buddhism reached its peak during Ren Zhe, Bourdelle, and Rodin.
China’s Song Dynasty, but it later developed into an import sect in Japan. •Iron: A material commonly seen in China. For example, Sui Jianguo and
Today, Huang Gang has brought Zen back to China and made it part of Chinese Liang Shuo are fond of using iron. It is suitable for placing outdoors. Battered
contemporary art. by the elements, it shows the ravages of time.
•Paper: Artists such as Li Dingxiong, Cai Guoqiang, and Chen Liu apply this
Chinese art was first introduced 15 years ago at the 45th Venice Biennale. visits, I volunteered to show him a few of the paintings. Included among Ancient Themes in Contemporary Art material and endow it with a special contemporary look.
It marked the appearance of contemporary Chinese art on the world scene, the painters of these oils were Shang Yang, Xu Jiang, Jing Shijian, Mao Yan, •Organic materials: For example, Gu Wenda uses human hair, and Kun Si
Huang Gang favors Tibetan artifacts and he has assembled a world-class
thereby enabling the international art community to realize, by the evidence of and Yan Ping, etc. After he patiently examined these works, I could hardly makes use of human and animal bodies. Working together with Cartier, the most
collection of Thangka. He copied the Mandala totem (14th to 15th century)
their own eyes and the touch of their hands, that China was now a presence in wait to hear what he had to say. However, to my dismay, his answer was not expensive artwork, named, For the Love of God, is a human skull studded with
onto his drawing board, and then applied Chinese lacquer to create a peeling
contemporary art. satisfactory. Hugh Moss said, “These artists are inferior oil painters”. I inquired diamonds, and created by the artistic genius, Damien Hirst.
and battered sense that can only result over a long period of time. However,
1993 was also the first time I was exposed to Chinese contemporary art, and further and he said, “The best oil painters are in Europe or the United States. •The materials used by Huang Gang are also very unique. For example, he
I must confess that I gasped with admiration when I saw how the vivid colors
I came into contact with some avant-garde artists of that era. In those days, When compared with their works, the paintings you brought with you can only incorporates woodblocks dating from the 14th and 15th centuries, that were
of the Thangka remained unaffected. I marveled at his meticulous skill of his
when discussing art with professors from various art academies, the term be regarded as second rate. However, for China, they are first rate.” Suddenly, used for printing sutras; Qing Dynasty woodblocks from which Chinese folk
handicraft and the texture he created. When you see it up close and touch it,
“contemporary” never came up. In Latin, “contemporary“ means, “time”. In thanks to Hugh Moss, I had an epiphany. His straightforward remarks enabled prints were made, and Qing Dynasty movable print, in his bronze sculpture and
you will understand. Huang Gang uses ancient images as a vehicle for his art.
other words, when artists spoke of “contemporary”, they had in mind the manner me to perceive the difference between Eastern and Western art. I believe that graphic artworks.
One can’t help but be moved by the way he has employed lacquer to capture the
in which people of that period lived, or their feelings towards their current perhaps what he said at that time was the case, because Chinese contemporary It should be noted that contemporary artists are skilled at using celebrity
spirit of the ancient Thangkas, and presented them for us to enjoy.
existence. I think that the concept of “contemporary” did not receive much art was just beginning to emerge. portraits for their subjects, and Huang Gang is no exception. For instance, let us
attention in China during the early 1990s. If memory serves me right, Achille take a close look at the results in his portrait of Mao.
Huang Gang had all the time he needed when he was creating his work. He
Bonito Oliva, the director of the 1993 Venice Biennale, invited 14 Chinese After 2005 Huang Gang turned to Yi Jing related themes for material. For
Chinese Contemporary Art Was the First to Emerge in Asia was eager to showcase his concepts and techniques, and for this reason spent
artists to jointly exhibit under the theme, “A Stroll in The Orient”. A well- example, there are works such as The Faraway Sun, The Equality of Day
In 2002, contemporary art in Korea and Japan has begun to attract considerable time and effort on each work, serving as testimony to his technical
known Chinese independent curator, Zhang Songren, also played an important and Night, and The Changes in Tai Ji. These paintings resonate with ancient
international attention. Korean artists are innovative in their creativity and virtuosity.
role in making this event possible. Those Chinese artists may have displayed Chinese wisdom and, by extension, to the composition showing how Yin and
change. They have made significant breakthroughs in the texture and use of raw
the so-called “contemporary expression” popular during that period. However, Yang complement one another. Motifs such as heaven, earth, and the hexagrams
materials, and this has gained them international recognition. Bold Arrangement, Careful Execution
in comparison with artists working with me at the time, the art of those artists I can be found in some of his paintings. Works such as The Sutra Pilgrim are
Careful observation and comparison reveal that some elements in their works The woodblocks used to print Buddhist sutras are considered holy objects in
came into contact with didn’t seem so “contemporary”. To use a modern phrase, elaborations based on these motifs. Finally, these various motifs are enhanced
are drawn from ancient or modern China. They have obviously been strongly Buddhism. While no one knows what kind of tree they come from, everybody
their art might even be considered as more advanced, or “super avant-garde”. and glorified in the work, Bodhi Tree,
influenced by Chinese culture. knows that the words were engraved with a knife by lamas. There are blocks
In recent years, Japanese artists have gained a firm foothold in the realm of with engravings on one side, while others are engraved on both sides. Some
From the minimal style of The Red Wall, to the grandeur of The Snow
The Growth of Chinese Contemporary Art international contemporary art. For example, there are artists of genius who have a handle, but the smaller ones have none. The surface of the woodblocks
Region Buddhist Sutra, and followed by My Red Star, has been a process
Many of the forerunners of Chinese contemporary art, i.e. Mao Xuhui, have combined their art with commerce, i.e. Takashi Murakami, Yayoi Kusama, is first covered with a black color, and then rubbed onto paper, tree leaves, or
of transformation from simplicity to complexity. In My Red Star, the work,
Ye Yongqing, and Ding Fang, emerged in 1985 during the New Art Wave and Yoshitomo Nara. Their art first gained international recognition before fabrics. They are then bound together in volumes containing anywhere from
My Box, has been incorporated for reassembling. The flowing white color
movement. Today’s leading contemporary artists, such as Yue Minjun, Zhang being re-introduced into Japan and Asia. This technique of first creating a name a few dozen to several hundred pages. Finally, a piece of wooden board with
symbolizes the snow on the high peaks. The movement of red color represents
Xiaogang, and Wang Guangyi, didn’t emerge until after 1989. However, when for their art and then marketing it throughout the world as a commercial product engravings such as characters or paintings, sometimes in colored form, is
life as a continual cycle of reincarnation. The black color is the fertile land;
observing the international world of contemporary art, the only weak spot in is worthy of emulation by Chinese artists. attached to the top and bottom of the bundle. In this manner, a volume of a sutra
a place where myriad beings grow; and from whence unlimited resources are
Chinese contemporary artists is their “philosophy”. The warnings or criticism Of course we mustn’t ignore artists from Southeast Asia. After the rise of the is ready for reading. The process of engraving the woodblocks requires much
provided.
by Chinese artists are grounded in their language as well as the reaction to their Chinese art market, many excellent contemporary artists from this region also time and wood, and wood is not easy to find in Tibet. Huang Gang, however,
Before I wrote this article, I knew that many comments have been written
surroundings. They can be free and spontaneous; address academic specialists began to emerge, such as Indonesia’s I Nyoman Masriadi. Other contemporary was inspired to choose this material for his flat surface. With the combination
about Huang Gang. For example, Yang Sinyi, Dao Zi, Sheng Wei, Wang Minan,
or the general public. I believe that the philosophy of Chinese art has achieved artists from Malaysia, Thailand, Vietnam, and India, with its cultural history of lacquer and the art of calligraphy, the resultant work of art is of the highest
and Liu Jianguo have all critiqued his work. However, I’d like to stress that it
a level of fine quality. However, Chinese social and political systems force the reaching far into the past, have long been favorably regarded by collectors in quality. Huang has created his own inimitable school of art.
is entirely likely that each person experiences a different reaction when viewing
artists to hold back, thus limiting their freedom of expression. The strength Europe and the United States.
Huang Gang’s work. Nevertheless, in the bottom of one’s heart, one can’t deny
of their criticism, transparency, and freedom, is therefore reduced. When I think the essence of Huang Gang’s collage of woodblocks for printing sutras
that Huang Gang’s idiom, energy, power to infect people, and his uniqueness,
compared with the leeway allowed European or American artists by their system Overview of Huang Gang’s Art and lead type setting, can be regarded as having the same importance as Cai
have never been matched by artists who have preceded him, nor will it ever be
of freedom, the restraints imposed on Chinese artists are a matter of regret. Guoqiang’s gunpowder art and Xu Bing’s transformation of Chinese characters.
The earliest works I have from Huang Gang in my collection are from his matched by those who follow.
When I traveled frequently between China, Hong Kong, and Taiwan in They all draw their inspiration from elements that are absolutely Chinese and
calligraphy series of 2000. Huang Gang began his traditional calligraphy Huang Gang explores various techniques and the possibilities of his painting
1994 and 1995, I observed that Hong Kong had more galleries dealing with can be counted among the four great inventions of China. Each artist has, in
training at a young age, thus giving him a solid foundation. Though he can with all the precision of Gerhard Richter. Time and again he will change his
contemporary art (this was especially true when compared to Taiwan art turn, interpreted them in different ways. To the eye, Huang Gang’s work is not
mimic the various styles of the ancient or contemporary calligraphy masters, style, replacing abstract elements with solid images. He roams between abstract
galleries). Those I recall from those days are the Hans TZ Gallery, Schoeni Art flat, but three dimensional, and consists of multiple layers which have the power
he has still created a style uniquely his own. Various styles of easy and smooth painting and imagery painting, just like the birth of the cosmos: From the Void,
Gallery, and Plum Blossoms Galleries in Hong Kong, while Taiwan had the to strongly affect the viewer. They can be considered as a living entity within
writing are revealed in his flat surface works. His skillful combination of the Absolute was born. From the Absolute, came the Two Polarities. From the
Yanhuang Art Gallery, Mountain Art, and New Ink Color Art. an environmental space, surrounded, giving off an ambience, a never to be
calligraphy and Chinese lacquer is unique in its approach and reveals a high Two Polarities, Four Symbols were born. From the Four Symbols, the Eight
During my stay in Hong Kong, I often brought along oil paintings rolled up forgotten visual experience that will make the viewers heart leap.
level of handicraft excellence. When viewed from a distance, the work emits a Trigrams were produced. Thus life continues. Huang Gang’s artwork is not
in a tube when I visited my friend living in Sha Tin. His name is Hugh Moss,
sense of great vitality. However, when viewed from up close, one finds that it is merely painting it is an environment. He did not invent specific totems, but he
and he was an agent for many contemporary artists. He would always ask
meticulously detailed. A Discussion of Contemporary Materials is skilled at combining images. After he assembles and combines them, they
me, “James, what do you have in that huge tube?”, and I would answer, “Oil
Huang Gang’s calligraphy is relaxed, solid, and flowing. It is similar to the •Porcelain: The technique of using porcelain has not reached it maturity in become specific and distinctly recognizable symbols.
paintings”. At first he showed no interest in looking at them. After several
carefully delineated quality of Ouyang Xun’s calligraphy; the flowing lines of Western art. However, many contemporary Chinese artists have used porcelain,

10 11
看上去很美:黃鋼與他的藝術世界
—盛葳

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 Ⅰ
黃 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 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
八十八個青年; 2008; 綜合媒材; 100x100cm

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 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
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 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
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 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
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 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
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 (Marcel Duchamp)式的智慧,然而區別在於,杜象更注重物品對藝術
力。 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
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 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
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
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 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
Ⅱ 社會革命緊密相連,與佛經和雕刻行爲的靜謐、平和、修行相比,革命
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 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
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, 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
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 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
那麼,在後來《紅》、《毛主席》、《紅星與箱子》等作品中,則充分 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
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, 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
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 者行爲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
以及一位藝術家內心的個人世界。 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
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 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
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
觀。但「五星」、「領導像」等符號並非標準的「政治波普」,黃鋼採 中既充滿矛盾衝突,又包含了協調性和完整性。
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
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
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
中常見的「戲謔」、「調侃」和「諷刺」──這些方式,在眼下的藝術 Ⅲ
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。
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 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
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 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
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
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 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
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
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 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
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
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 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
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
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 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
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
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 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
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
文化現象形成的深層張力。 處,但也許他們是那個時代唯一影響深遠的文化烙印。
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,
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 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
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
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 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
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
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 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
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
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 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
意的。
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 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
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 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
在《雪域佛經》、《雪域經書》、《朝經之路》等作品中,藝術
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 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
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
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 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
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
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 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
──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
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 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」
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
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。 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
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
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
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
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 「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
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
大院裡曬家當 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 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,

12 13
Beautiful to the Eye: Huang Gang and His World of Art
—By Sheng Wei

兩種方式之毛; 綜合媒材; 88x172cm

E
xcitement 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
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 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 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
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 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
carving, Buddhist sutras, iron, and leather. The power of visual effect is the
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 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
life source of artistic works. However, Huang Gang’s work offers something
包還了藝術家的歷史問題和個人情感。 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 more. Therefore, when I approached the artist and spoke with him in the hope
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 of understanding the creative process behind these works; the source of his
materials, and his concepts; I discovered the hidden elements of culture, history,
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 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
or even emotion that support his art. Upon initial examination of the visual
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 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 effect created by his work, these elements, the important sources that make
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 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 Huang Gang’s work exciting and powerful, are not readily apparent. All these
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 ─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 visible and invisible elements combine to construct a complex artistic organism.
Comprehending the process behind each work of art is an adventure in itself.
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」 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?》
After several of these adventures, I began to understand the old culture in which
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 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 I had grown up, the colorful life that is mine today, a period of history that has
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 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 nothing to do with my generation, and the private inner world of an artist.
*
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 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
I
蘊含著不同家庭的歷史和生 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 Some items among Huang Gang’s body of work are quite huge. When
命本身的印記。黃鋼將這些 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爲 viewed from a distance, their dark red or brownish gray colors seem to project a
箱子拼貼在畫面上,以當代 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 majestic, dignified, ceremonial sensation. However, closer examination reveals
countless interesting details. The technique of “collage” is mandatory in nearly
藝術的形式將他們重新組織 其表面。其意義有如下幾點:其一,在不同時代的大衆文化之間作出一
all his works. The materials the artist uses most frequently are Buddhist sutras, nurtured his initial interest in antiquities. The education he received at the
起來,在莊重的外表下,儼 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, boxes, and the carved woodblocks from which Chinese New Year prints are Central Academy of Art and Design constructed a solid bridge between his
然成爲一種關於「生命」的 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 made. Here, the hand of Marcel Duchamp is evident, the difference being that interest in collecting antiques and his passion for artistic creation. Since 1980,
Duchamp paid more attention to manufactured items as art objects themselves, Huang Gang has been collecting wooden blocks used to print Buddhist Sutras.
禮拜儀式。 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
viewing them as readymades. These readymades are presented in such a way as After 20 years he has assembled an impressive collection, of which only a small
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
to challenge art history for they are commonly encountered in every day life, e.g. portion is seen in his works. However, when it comes to the quality and quantity
與中國當代藝術界時下 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 urinals, bottle racks, bicycle wheels, etc. Together, they construct a monument of his collection, one cannot help being surprised. It is precisely these factors
流行的調侃式波普藝術相比 的現代化。正是如此,我認爲他的作品在優雅的視覺形式之下,支撐力 to daily life. However, Huang Gang’s choice of objects is more complex. They that enable the artist to have such a profound understanding of the essence of
are not only readymades; materials that can be used for other purposes; they are traditional cultural heritage. Most importantly, the artist has transformed this
較,藝術家黃鋼的創作是嚴 是一種嚴肅的創作態度。
bearers of culture. On the one hand, these objects all have one characteristic understanding into his passion and devotion in creating contemporary art. To
肅的,這些創作並不是對當 in common: they exemplify ancient Chinese culture and are replete with me, this transformation is without question, extremely creative.
代文化的一種戲謔,而是充 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 compelling cultural characteristics. On the other hand, each one of them has
滿了對從古代到現代中國文 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 its own history and, as objects with cultural and historic significance, they have In his works, The Snow Region Buddhist Sutra, Snow Region Classic, and
become an important resource for the artist. Therefore, for Huang Gang, these The Sutra Pilgrim, the artist used a technique whereby the entire canvas is
明的思考,也涵蓋了從視覺 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
objects are not readymades in the Duchamp sense, they are powerful symbols of presented as a whole, thereby endowing the picture with a nostalgia, even a
形式到深層精神的專注。那 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 traditional culture resource. classical atmosphere. The artist did not meddle with the existing readymade
麼,他對表現主義手法的謹 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 objects in the painting – the sutra printing blocks - and left their visual effect
愛江山也愛美人; 2007; 銅; 高:80cm The artist’s constant use of these objects reveals an inseparable link between and power as it is. He regards these time enduring cultural heritage objects as
慎也就不難理解。在他最近 的責任和沈重卻早已悄然而來⋯⋯
his own experience and his private interest. Huang Gang was born into a family a self-sufficient life form, because through their own form they narrate their
創作的一系列作品中,他將 of intellectuals. His father was a renowned professor of Chinese Art at the
2008年元月於中央美術學院 history and cultural essence. The artist needs only to slightly tinker with them.
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 Central Academy of Art and Design and an outstanding researcher, while his However, such tinkering is necessary because nicety of form is not merely an
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 mother was a well-known expert on silk fabrics at the Palace Museum. Family aesthetic need, it also reveals the artist’s attitude toward traditional culture. It
* education and the childhood experience of exploring the Palace Museum, embodies the artist’s respect for the cultural tradition in which he grew up, as
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 注釋

14 15
well as revealing his effort to transform this into a contemporary art form. of monks and craftsmen. They did not regard “engraving” as labor, but as a the play. Included were the artist’s recollections of his youth. The features of by American Pop Art of the 1960s in developing into its present art form. These
means of cultivating one’s character; an ideal path towards realizing their goal. the “woman warriors” are more pronounced. The artist recalled: female images artworks have made direct use of the visual imagery of the Cultural Revolution,
II Among his works, the five stars and portraits of the leader are symbols of a new were rarely seen in those days. As a youth, most of my impressions about to mock or tease the practical world and commercial society. However, the
If the artist’s last series of works reveals a respect for traditional culture civilization that has risen in the last century. They are closely linked with the women came from this play. Another factor was that the female image, whether work of Huang Gang reflects the artist’s thoughts on culture and reveals its
and spirit, in his recent works such as Red, Chairman Mao, and Red Star and modern social revolution in China. However, when compared with the qualities portrayed in reality or in art, without exception were depicted as possessing constructive value. After all, although mockery and destruction can momentarily
Box, one can perceive the artist’s modern approach toward traditional culture of tranquility, peace, and cultivation of character as espoused in Buddhist sutras, masculine traits of exceptional strength or endurance. Therefore, it is easy to create a shocking effect, they take no responsibility for cultivating culture and
and spirit, as well as his ecological views on the historic evolution of culture. there is no question that revolution is assertive and drastic. Although I have understand that Huang Gang’s art is not simply a rendering of social images, but building a future. In her article, “Post-modernism in China”, Ellen Johnston
When viewing his work from a distance, the viewer is able to read China’s mentioned above that these two are contradictory and incompatible, the artist at a deeper level embodies the artist’s personal history and emotions. Laing, an American art critic, does not see Chinese Political Pop Art becoming
modern pop cultural scenery in the painting. However, such symbols as “Five has found something in common between these two in the act of improving established in Post-modernistic art in China. One of the reasons is that Chinese
Stars”, and “Portrait of the Leader” are not standard “political pop art”. Huang one’s character. Huang Gang views the two, behavior and cultural symbolism, When employing readymades, the artist not only pays macroscopic attention artists are not concerned about mass culture in China. For Ellen Johnston Laing,

Gang’s choice of expression is imagery, which excludes elements such as as factors in achieving an ideal life. They are two extremes, but beneath the to issues of culture, he also prizes such characteristics as the personal intimacy folk pictures such as “The Picture of Red Peony and the Little Girl” , are close
“persiflage”, “jeering”, and “sarcasm” so often seen in Chinese contemporary surface is concealed a common purpose. Precisely because of this, Huang Gang’ and feeling of these objects. This is especially so in works such as My Box, to being considered as mass culture. This is exactly the case with Huang Gang’
art since the 1990s. In the eyes of the contemporary art world, such techniques s works have a full measure of inconsistency and conflict as well as harmony and Red Star and Box. At first glance, it is probably difficult for the viewer to s work. He has collected folk woodblock prints for the New Year season, and
are perceived as flightiness and mass culture. On the contrary, his manner of and completeness. grasp the meaning of the theme: box. However, if one looks closely, they will by careful selection, assembling, and cutting, has utilized them as background in
expressing these symbols is almost “abstract”. A mere outline, or an expanse notice that the iron pieces, fur pieces, even locks and chains, come from boxes his pictures. Next, he paints them over using visual images popular during the
of changing but coordinated color, is enough to achieve this goal, all the while III in the artist’s collection. These boxes originally belonged to early herdsmen Chinese Cultural Revolution, which took places decades after these prints were
maintaining a stable and dignified visual effect. Moreover, when observed from The various symbols in the picture combine into a grand structure based in the Tibetan region or other parts of the country. When they moved, they made. Its significance can be summed up as follows: 1. The artist has linked pop
up close, the viewer will discover that the simple style and the color background on cultural and historical change. Upon further investigation into the artist’s packed everything of value into these boxes for travel. In he mind of the artist, arts from different eras for the purpose of constructing an historical narrative.
of these paintings are actually composed of objects, such as engraved wood life experience and the art concepts that had influenced him, I discovered that in a certain sense this box represents a family; several lives. It bears the stamp 2. Through his own efforts, the artist shows his respect for traditional culture
blocks, sutras, and suitcases favored by herdsmen, all of which come from historic awareness and personal experience in his painting are both important of different family histories, as well as life itself. Huang Gang attached these – just as Huang Gang himself has often said, traditional culture is not merely
the artist’s own collection. These readymades have been transformed by the values in his art. Compared with Huang Gang, I belong to a younger generation “boxes” to a picture, and by employing a contemporary art form, recombined something to scorn. This profound Eastern culture and tradition is worthy
artist in different ways and combined into a picture. Depending on whether of contemporary artists. Perhaps this makes it difficult for me to appreciate the them into a work of art. Under the solemn exterior, it has become a ritual of of veneration, for it will become the source and inspiration of future culture
the artwork is viewed from a distance or up close, not only is there a visual way their generation feels about the 1960s and 1970s. However, through Huang celebrating “life”. development. 3. Based on his respect for the resources of traditional culture, the
difference between Chinese pop symbols and cultural heritage, an even more Gang’s work and narrative, I gradually began to understand all that he has artist presents traditional visual images in a contemporary manner in an attempt
profound tension is created between historical evolution and varieties of cultural poured into his work. The culture at that time was not rigid and unyielding. A When compared with the cynicism of pop art, which is what Chinese to modernize traditional culture. Precisely because of this, I feel that the visual
phenomena. rich humanity can be found in the works of various artists of that era. Although contemporary art favors at present, Huang Gang’s art is serious. His works elegance of his works is sustained by the artist’s earnest attitude toward the
their use of artistic images and symbols tended to be similar, perhaps those were do not mock contemporary culture. Instead, they reflect the thoughts of the creative process.
Sutra and engraved wood blocks are cultural evidence from a long gone era. the only elements capable of leaving profound and lasting impressions on the artist regarding Chinese civilization, from ancient times to the present, as well
Pop images such as the “pentagram” are a direct symbol of modern China. culture. as his attention to both visual forms and the deep level of spirituality in his To me, Huang Gang’s artistic creativity embodies the following three levels
The relationship between these two becomes a critique of society’s rapid artwork. Therefore, it is not difficult to understand why he is so careful in his of value: His profound response toward cultural change; his memories of the
development and the changing cultural environment. The fact that relics such Like most people of his generation, the Chinese Cultural Revolution had a manner of artistic expression. In his recent series, he combined traditional new China; and the experiences he underwent during social reform. These
as wood blocks engraved with sutras were once a part of history makes them great impact on the young Huang Gang. However, what differentiates him from woodblock prints used for celebrating Chinese New Year with political images, values are properly displayed by the artist’s minute attention to contemporary
not only compelling spiritual symbols, but also serves as testimony to historic the majority of his generation is that it seems many things took place right before linking a former pop culture with today’s fashionable theme. In so doing, he art, his recognition of Eastern civilization, and his reflections on society. It is
evolution and life’s moments of joy and sorrow. The fissure between Chinese his eyes. As a youth, Huang Gang and his parents lived in a residential area not not only expressed a definite link, but also revealed a breach of differences. precisely the combination of all these complex elements that constitute the art
classical culture and the development of a modern civilization has been debated far from Tiananmen Square. It was right here, so close it almost seemed he didn’ Without doubt this has enriched the world of contemporary art. Moreover, after world of Huang Gang. His art is beautiful to see. However, a sense of heavy
more than once in cultural circles. Perhaps there really has been a fracture. t have to step out the door, that he witnessed the grand occasion of Chairman reviewing his works, it is very meaningful to discuss the difference between responsibility has long since crept in to lurk among these aesthetic forms.…
Marxism, a radical philosophy in Western modernism, clashes in many ways Mao receiving the Red Guards. For many people, being able to witness this his art and contemporary Chinese art. First, Huang Gang’s work has drawn
with the “moderate” ideal of Chinese classical culture. This discussion can be entailed long journeys from various locations throughout the country. If nothing upon many similar cultural resources, i.e. the five stars, images of the leader, January 2008, Central Academy of Fine Arts
phrased in more grandiose terms such as “The Struggle Between East and West”, else, these events explain how the Cultural Revolution made such a profound and images from the Chinese Cultural Revolution. However, there are obvious
which has been going on for almost a hundred years. In such a context the two impression on the artist, and became a source of images and historic memory. differences. This is especially clear in his latest creative work. From the
appear to have almost nothing in common. Therefore, it stands to reason that the Just as Huang Gang has said: The magnificent spectacle of red flags fluttering standpoint of art history, there is no doubt that Chinese Pop Art was influenced
two different elements in Huang Gang’s picture constitute a pair of undeviating in front of Tiananmen is an unforgettable memory. Moreover, these historic
contradictions, further proof that the history of social progress is marked by the images in the artist’s memory also include many special personal experiences,
clash of civilizations. 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-
However, the understanding of the artist is perhaps more concrete and enamel, such as The Three Woman Warriors, were fashioned for the theme, The
unique. As the artist sees it, Buddhist sutras, especially those wood blocks Red Detachment of Women, one of the Eight Model Plays during the Cultural
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
engraved with text and images, are a product of painstaking effort on the part Revolution. However, the inspiration for these works did not come simply from University, Australia, 1992.

16 17
書法系列
Calligraphy Series
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~~

20 21
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。

22 23
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。

24 25
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。

27
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。

28
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。

30 31
書法系列--紅大地(二); 2003; Calligraphy Series; Mixed media on panel; 127x84cm

32 33
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。

35
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~~~

36 37
論黃鋼抽象藝術的創造性
楊心一

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

(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 藝術魔法
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 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
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 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
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 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
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 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,
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 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
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 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
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 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
Schnabel一樣,具備了繪畫的宏大氣勢和高貴氣質。 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。
中國式的自然觀察而不同於西方式的強調視覺透視。 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
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
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 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
物質化的繪畫 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
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 象畫的另一層觸及到的意義。
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 產生一種關聯。
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 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
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 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
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 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,
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 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
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 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
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 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
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 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
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
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 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
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 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
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 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
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 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
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 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
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 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
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, 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
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 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。
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 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。
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 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
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 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
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。 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
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 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
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 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
獨特的實踐和深刻的理解和應用。 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
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 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
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
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 背後的深層意義。

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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
Creativity in the Abstract Art of Huang Gang
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
Yang Xinyi
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 The recent works of Huang Gang have brought him international recognition.
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 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
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
the following series: Mandala, Bodhi Tree, Old Leather Box, and Pentagram.
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 I believe his works are an important means of understanding the origins of
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 abstract art: 1. Art as ritual. 2. Art as material object, though crafted with skill
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 and containing a unique energy.

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
Time in Space
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 Huang Gang focuses his abstract art in a judgmental fashion on social issues,
代精神的追求。 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
工作室一景--看得出黃鋼很用功,沒空間~
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)

42 43
Central Academy of Art and Design. As a result of his college training, he had their creativity, aside from familiar political topics or symbols of consumer
a more profound understanding of materials than of oil painting as a specialty. culture, some artists have turned their attention to traditional Chinese culture.
In addition, he has been collecting antiques from China and Japan for 20 years. This is especially the case with artists of international fame. For example, Xu
From his experience in Tibetan Buddhism, he discovered that secular art does Bing uses traditional Chinese woodblock prints, Cai Guoqiang makes use of
not exist in Tibet because the power of religion is far more influential than art. the Chinese firecracker, while Huang Yongping turns to Chinese folk religion
The difference between religion and art is that religion originates from Man’ and witchcraft. Their creativity has attracted attention both home and abroad
s worship of Nature’s power, while art is the result of Man’s tinkering with because they have systematically and ingeniously transformed the wisdom of
industrial objects. Therefore, he favors the use of objects that are ready to hand. old China into a contemporary art form. It is Chinese but at the same time,
By means of transforming readymade objects into works of art he has changed international. It is ancient, yet contemporary. This diversity and contradiction
his idiom, thereby enabling Huang Gang to develop their innate spiritual energy displays the essence of their art. In my opinion, Huang Gang’s artwork deserves
into his artistic vision. His work has become a bridge, connecting the spiritual to be ranked together with these luminaries and is worthy of academic study.
power of these everyday objects with art. 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.
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, Nevertheless, I feel there is more to Huang Gang’s art than meets the eye.
or a portrait of Mao Zedong, together with his Chinese style aesthetics and His work reveals his search for a Chinese scholastic contemporary art. Huang
the woodblocks used to print Tibetan sutras, thereby directly contrasting these Gang was born in Beijing and was brought up in a family where traditional
classical red symbols with religious symbols. The former is straightforward, culture was the foundation of day-to-day life. His father is a renowned Chinese
and brightly colored, while the latter is indirect, and has softer colors. Huang art historian and his mother a well-known archeologist for the Palace Museum.
Gang is fortuitously able to express the difference between them by means From a very young age Huang Gang began the study of traditional Chinese
of their visual effect. However, I feel another important aspect of his work is calligraphy under the guidance of Shen Congwen. As a collector of art objects
his manner of showing what these two have in common. By juxtaposing such his insights into both contemporary art and antiques are precise and reflective.
seemingly unrelated topics as politics and religion, the artist encourages viewers Immersed in a traditional background of this nature, at a very early age he
to examine the relationship between them, and the result is obvious. Just as his vowed to become an artist. However, to him, the concept of “artist” is not a
work so cleverly reveals, politics and religion are both the creations of spiritual profession or a job, but a way of life and an instinctive ability to understand the
紅星菩提; 2006; 綜合媒材; 122x122cm (局部)
power. They are both a form of faith. The Red Star is a symbol often seen in a world about him. In other words, it is a natural aesthetic ability, and a way to
socialistic society, but is most frequently perceived as a display of avant-garde accomplish the recreation of things as they are. This fundamental understanding
power. It represents the power of rebellion and revolution; the ultimate goal of is shared in common by all contemporary Chinese artists. Chinese painters
Idealism. Isn’t this goal precisely that proposed by religion? So I believe that and calligraphers strive to create a dialog and become one with nature and the
Huang Gang’s perception of a parallel between political and religious power is landscape. This is the foundation and continuation of their creativity. However,
and impressive. The sense of space is not recreated visually, but by means of his
not merely an exercise in empty formalism, but rather represents an attempt to in the world of Western art, creative artists stress the recreation of their concepts.
brush movement, he creates a sense of time in space. In other words, the space Only by consulting the above-mentioned analysis will one be able to
penetrate deeper into both. It is this difference between Chinese and Western arts that makes the easel
in his painting is a visual projection of the observer revealed by time. Based understand the motivation driving Huang Gang’s creative art as well as the
painting of Huang Gang unique and creative. His art combines daily life and
on my analysis, it is not difficult to understand why the viewer will feel the meaning of this work. If we regard his creative output as a product of Western
Conclusion creativity, reflecting the search of contemporary spirit amidst the material culture
composition of a Huang Gang painting continues to move, even as they admire art, i.e. like that of Anselm Kiefer, a post-WWII German master (whose
Among the many themes contemporary Chinese artists draw upon to express of consumerism.
it. His painting gives the impression of being alive and full of spirit. Personally, specialty was turning out dreamy textured compositions, expressing the historic
I believe Huang Gang’s work expresses the traditional Chinese Daoist view of responsibility of Germany for her wartime defeat, and the pressing need to
cosmos. The universe is constantly changing and this change seems to be driven recreate human culture), or Julia Schnabel from the United States, a semi-
by an eternal force. For this reason I believe that a comparison of Huang Gang’s figurative master painter of the early 1980s (whose primary technique was to
work with that of Zhao Wuji reveals that Huang has invented a unique technique incorporate in his composition manufactured items of daily use, such as plates,
to apply his deep understanding of Chinese painting and the traditional Chinese and paint over them with powerful and expressive brushstrokes). But these
view of the cosmos. 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
Art Magic qualities of Schnabel.
On 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 Incorporation of Extraneous Objects in Painting
common knowledge that Kandinsky was the forerunner of abstract art. To him, In recent years, the development of contemporary Chinese art has begun to
the meaning of abstract painting was not merely simplifying visual image, but look for new aesthetic directions and new artistic concepts. It has turned away
a spiritual pursuit. His basic theory concludes that abstract painting possess from the forms and images of Western art that had held sway since the 1980s.
a visual energy. More importantly, by means of this energy, viewers are able This was brought about by the ever-changing taste of the art market together
to sense in abstract art a spiritual power that could almost be termed religious. with the demands the artist makes on himself and the satisfaction derived
This insight into abstract art enables us to perceive another level of meaning in from his own art. The recent series produced by Huang Gang reflects his
Huang Gang’s abstract painting. exploration of this new art trend. His easel painting emphasizes workmanship,
craft, and the quality of everyday life. He combines his years of collecting
It is common knowledge that Huang Gang’s long-term study of Tibetan Tibetan religious objects and everyday hand made items into his art, thereby
Buddhism has exercised a powerful influence on his art and insights. Among stressing their timeless and spiritual qualities. He appears to be attempting to
his recent subjects are woodblocks, formerly used to print Tibetan sutras, and bring Chinese easel painting back to the basic level of creativity, rather than
old leather boxes. He arranged these woodblocks and leather boxes together emphasizing the concepts and semi-images popular in mainstream art. In other
to form a drawing board. This arrangement seems to have been inspired by words, the meaning of painting is not to recreate something visually, but lies
the Mandala of Tibetan Buddhism, which represents the Buddhist view of the in the artist’s creative thinking and his choice of materials before setting to
cosmos. According to Kandinsky’s philosophy, we can now understand the work. The essence of painting is closely linked with the material used because
energy link between abstract painting and religion. Huang Gang and Kandinsky’ these materials possess an innate energy. Placed in a different environment
s understanding of painting is not a question of form or visual representation, and in a different era, this energy is magnified and released by the artist. A
but rather a catalyst to facilitate viewer introspection. According to art theory, vast gap lies between Huang Gang, with his emphasis on making objects a
some scholars believe art to be a form of magic. It is not a visual illusion, but an part of his painting, and those contemporary Chinese artists who cannot accept 工作室前必經之路,好似朝經之路,朝向金黃大道。
unknown, primal, and eternal existence originating from the material universe this approach. The uniqueness of Huang Gang’s art has been affected by his
within which man finds himself. experience. He graduated from the Department of Environmental Design,

44 45
白塔、菩提樹系列
White Pagoda and Bodhi Tree Series
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。

48 49
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。

53
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。

54 55
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。

56 57
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。

58 59
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~

60 61
62 63
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。

64 65
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。
66 67
紅星菩提; 2006; Red Star Bodhi Tree; Mixed media on panel; 122x122cm

69
曼陀羅、日月系列
Mandala and Revolving Series
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~

72 73
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。

74
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。

76
方形曼陀羅; 2002; The square Mandala; Mixed media on panel; 64x64cm

78
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!

80
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

84
紅色轉動; 2007; Red Wheel; Mixed media on panel; 80x80cm

86
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。

89
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。

91
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。

92 93
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。

95
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

96
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

98 99
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
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。

104
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。

106 107
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

108 109
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

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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

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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

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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

沒有對某種堅不可摧的東西的持久信靠, 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
人就不能有尊嚴地生活下去,一切藝術亦然。
萬有,諸法皆空」。(宗炳《明佛論》)「三界所有,皆心所作」。
——題記
(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

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 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

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 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

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 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

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 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

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 徵。

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、 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

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。 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

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 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

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, 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

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

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 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

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 合進畫面語言,就變成性靈的載體,承載著大地的事物本身。

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 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 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
化,博得有意義的形式。 在《我的箱子》這件大尺幅的代表性作品中,除了佛經刻板,拆 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 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
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 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 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,
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 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 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 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
經、佛論尤其喜歡用「心」、「神」、「靈」、「性」等概念。佛教義 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 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 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
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 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
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 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
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 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
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, 茫和神秘。
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。 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
《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, 場性,他的繪畫語義結構中的「少」,包涵簡約、克制、內斂、限定的
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 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
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 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
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 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

太陽遠去; 2005; 綜合媒材; 240x120cm

116 117
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
廢墟中與毛共存 作品《山之巔》速寫草圖
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
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》、 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 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
《佛經》、《朝經之路》、《轉經》、《行雲流水》、《菩提樹》、 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 重。
《大轉經》、《金色的曼陀羅》等,進一步地,在空間表現上,在經版 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
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 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 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:
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、 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 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
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 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 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
「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 兌現。實驗走到了極限。 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。
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 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 '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
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 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 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、
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 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 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
稱之為「後極少」更為合適。 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 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
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 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? 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
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 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 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
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 藝術最為根本的問題。 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
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 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 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
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 藝術乃是「間離」(interval)的藝術,西方傳統藝術則是「連接」 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
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 (connection)的藝術,所以東方藝術要把觀眾融合到它的「間離」之 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
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 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 術家在當代藝術歷史上不可混淆和抹煞的地位。
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 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
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 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 2008年初春,清華園

山之巔; 2007; 綜合媒材; 244x122cm

118 119
Spirituality, Post-Minimalism, and the Post-1960s Status
of Contemporary Art – A Critique of Huang Gang’s Multi-
Medium Painting
Dao Zi

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
尚未運用到畫作上的古董經版
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, The painting idiom of Huang Gang inspires spirituality in its extreme form, and 工作室一角,黃鋼的小護法獅與夕陽共舞

who were part of the multifaceted trends of that period, retain a diversified it is precisely this strength which forms the spiritual foundation of Huang Gang’
individualism. In the last ten years, Huang Gang’s paintings and sculpture have s art. The experiment of idiom, in the earlier sense of modern aesthetics, seemed
included such serious topics as religion, culture, and the physical body. His to indicate some kind of ontological confidence in “freedom”. It seemed that
concepts and method are completely alien and removed from others. It is not “experiment” would forever solve the problem of “meaning”, but in fact it did
difficult to see that he has always carefully kept a distance between his creative nothing to solve this Tower of Babel myth. It is not until the concept of different
work and the various mainstream arts. It is like a hidden torrent, relentlessly idioms, an outgrowth of post-modern idiom, and the search for the power of the
surging onwards to burst forth from a crack created by its persistence, and spoken language touched Chinese philosophy, that the idiom of visual art was
symmetrical composition that is without perspective. The artist has tried to are printed and leather boxes. They possessed a life before they became part of
overflow into the cultural container holding a hodge-podge of popular poor- able to find its place in history. It has become a quest for purity, and a symbol of
reduce the influence of objectivity, toning down the main vigorous atmosphere the painting. The difficulties of producing these works and the long investment
taste. spirituality in this secular world.
to create a majestic and tragic solemnity. The white background in the upper of time on the part of the artist, are rarely seen in contemporary easel art. The
part of this painting is blended with, and permeated by, red and yellow colors. fine craftsmanship in these works is the result of Huang Gang’s solid training as
Idiom is the medium for creating an art form that may be either limited Huang Gang’s painting makes generous use of the woodblocks on which
The well-hidden metaphor is therefore revealed. The regal quality of the tiger, a young man at the Central Academy of Art and Design, and the research he later
or unlimited. Visual idiom is especially limited. Therefore, the creation of sutras are carved and which are used for printing Buddhist texts. These are not
the tyrannical aura of the red star, and the indistinct light of Buddha, are created conducted as a teacher. For more than a dozen years, following his departure
a personal idiom is a challenge for every artist. The concept, “paint what merely an experiment with materials or exterior decoration. The actual toil of
by a restrained power. The arrangement of the painting does not include the from the educational system, Huang Gang viewed collecting artifacts from the
you think, not what you see”, has become a shared value in the world of carving these woodblocks contributes towards spiritual improvement, the goal
theory of formalism. The genuine objects on the surface are not meant to solve snow region as a means of assembling his cultural resources. Meanwhile, the
contemporary art. The creative painting idiom of Huang Gang can be roughly of all monks. The essence of their lives has been engraved into the woodblocks
the problem of visual illusion. Their purpose is not to attract viewer attention to inspiration brought forth by the culture of this snow region has purified this
divided into three categories which are dialectical and can be integrated: 1. The through their laborious carving of these Holy Scriptures, expressing their
the shape or image of the objects, but serve rather to indicate a hidden meaning. collector who was thirsty for spirituality. Therefore, his proper understanding of
simplicity and restraint of post-minimalism. 2. The spirit, speed of contour Buddhist faith and revealing their Buddha nature or mediation on the “void”.
This way, one is able to prove the restoration theory of phenomenology and painting unquestionably represents his interpretation of spirituality, in contrast
movement, painting with emotions, and flexible changes, found in abstract Another item found in his paintings is leather made from yak hide. He removed
the essence of all the materials will remain the same. The combined effect to superficial, vacuous conclusions reached through false analogy. The large
expressionism. 3. The mysterious and profound historic and cultural symbols them from old suitcases, ironed them, and then patched them together to form
is intended to inspire a spiritual meditative mood and transcend the secular blocks of colors present in these cultural artifacts from the snow region give an
of the snowy region of Tibet. Purified by Buddhist spirituality, the combined the idiom of his composition. These symbols of a snow region culture lead one
desires of this world. Huang Gang has sided himself with Anselm Kiefer, and impression of a latent dynamic quality. However, this immeasurable spirit of
effect of these three visual languages is strengthened and becomes much more to seek the existence of natural essence. After contact with human hands, these
abandoned the material theory of machinery that dominates Pop Art. His use inspiration will be attained through quiet observation. The presence of spirit has
meaningful. leather suitcases became household items of daily use by Tibetans or Tibetan
of multi-medium has nothing to do with reducing the strange feeling that new created an indefinable mystery.
monks. They conceal the secret of the Tibetan way of life and their cultural
materials project, but is a foretaste of freeing restrictions regarding material
According to Buddhist theory, the concept of spirituality emerged in the heritage. Before being opened by the hand of the artist, they were nothing
usage. His visionary ability can also be seen in his intuitive understanding of From the interpretation of My Box, one learns that Huang Gang’s minimalist
Southern Dynasty. It was an era when Buddhism thrived. Concepts such as but old objects doomed to gradually decay with the passage of time. Like the
history’s hidden narratives and his perception of Nature. His vision has freed idiom does not completely approve of minimalism as an art-form – the non-
“mind”, “soul”, “spirit”, and “fundamental nature” are often found in Buddhist engraved woodblocks used for printing sutras, when they are combined to form
itself from secular experience and the influence of society. A prophecy reveling symbolic materialism and the presence of physics. The minimalist concept
sutras and theory. During the Liang Dynasty, the great scholar, Fu Hong, the idiom of painting, they become a vehicle of spirituality, embodying the
spirituality is a form of vision. In the contemporary world, vision is something in his painting idiom includes aspects of simplicity, control, restraint, and
claimed in his text, The Mind King: “When greeting Buddha with an enlightened essence of myriad beings.
that is essential to an outstanding artist. limitation. He tries to eliminate various secular items, and control the greed
mind, the mind and Buddha are one… When you are disciplined and your mind
for material gain. When material desire and greed are purified by spirituality,
is purified, your mind is Buddha. Except for this Mind King, there is no other In his large sized representative work, My Box, in addition to the
My Box, can be seen as the guiding principle for Huang Gang’s art of painting the vast, light, and free inner world is all that remains. In his regular and
Buddha.” “Your mind contains everything. All dharma is illusory” (Discourses sutra woodblocks and pieces from leather boxes, the painter has also
with a combination of materials. He opens viewer receptivity to spirituality, geometrical compositions, aside from the excellent sharp strokes that he
on Understanding Buddhism, by Zong Bing). “Everything that exists in the incorporated a small quantity of artificial tiger skin and the red star.
allowing the space of the “box” to transcend us. The medium used in this series wholeheartedly intends to express the mystery of the woodblocks, woodblocks
Three Realms is derived from your own mind” (c.f. Chapter 29, A śāstra ascribed When combined together, they have the visual effect of an altarpiece. The dark
of works cannot be reproduced. For example, the woodblocks from which sutras should be seen as the ultimate symbol to express the spirituality of Bodhi,
to Nāgārjuna in the Greater Prajna-paramita sutra, translated by Kumārajīva). brown color unifies the above-mentioned four materials, balancing them in a

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太極;2006; 綜合媒材; 80X80cm (局部)

rather than merely simple objects. This trait can be seen in works such as The harmonized with it. However, it wasn’t long before people discovered that the is that Maximumism poorly justifies the greed for images to fulfill visual desire. Chinese avant-garde art. If we consider the direction the cultural logic of
Dream Boat, Buddhist Sutra, The Sutra Pilgrim, Prayer Wheel Sutra, Floating goal of this experiment of purifying world order with objectivity was difficult to Enlightenment can’t be limited to city or rural villages; nor to high social contemporary art is now heading, we can regard present trait of contemporary
Clouds and Flowing Water, Bodhi Tree, Large Prayer Wheel Sutra, and Golden achieve. The experiment had reached its limits. position or reclusive life style. By quietly observing one may gain insight. With art as a symbol of post-modernism. When one undertakes art criticism or
Mandala. In his expression of space, aside from the real space constructed by determination to achieve enlightenment, one can become a Buddha. research, one needs to pay attention to the historic facts and social environment
woodblocks and leather, a virtual space is created by a writing and painting According to this theory, most of us assume that post-modern artists will after the 1960s. The fact that, outside of mainstream art, Huang Gang’s art is
style using the idiom of expressionism. The background to the woodblocks was perceive the limitations imposed on artwork by the material used, and by The multi-medium art of Huang Gang has revealed his quest for the spiritual highly regarded by the art world, is further testimony to the fact that post-1960s
painted a golden color and dark brown paint was dripped onto the painting. Red extension will apply this awareness to the aspect of life style. A phenomenon aestheticism of post-minimalist art. Examination of the void in his inner world artists have definitely gained an important place in the history of contemporary
stars were painted with Chinese lacquer in some of the paintings, especially known as “City Zen” or “Maximumism”, has emerged in modern China. This and the insights gained from Zen, has enabled him to discover the insufficiency art.
the Red Star series, where the abstract style is combined with the red narrative is said to be a development of the above-mentioned life style. However, what and obscurity of pure abstract painting. The spirituality of post-minimalism
idiom. The painter determinedly ignored the principle of minimalism, and exactly is life style? How can art help expand this thing called “life style”? Is is perfectly suited to this painter’s nature. From the structure of objects he is Spring 2008, Qinghua Garden
called upon the Thangka image to cynically criticize the self-established society incapable of incorporating spiritual longing with pure belief? Is there able to create a path connecting time and space, thereby providing salvation to
divinity of totalitarian dictators. This way, he was able to distance his art from an essential difference between “City Zen” and paying money to take part in a material world by means of spirituality. The process of quiet observation and
the ubiquitous image of an all-powerful Mao. The neutral, non-characteristic, a temple tour? Is pure belief merely a placebo to comfort the psyche? These the insights it yields, have become a source of dependable power, generated
and mechanical traits found in Minimalism have been efficiently altered, and questions are precisely the same basic questions addressed by contemporary art. through a combination of art, the individual, and the spiritual world. This power
transformed into metaphors or symbols. This is one of the intriguing qualities enables the painter to develop an unadulterated ability to resist and expurgate
in Huang Gang’s painting with extraneous materials. With this in mind, perhaps In fact, the inspiration of post-minimalism and Zen derive from the same forms and colors from the composition of his painting. In the end, the simplest
the term “post-minimalism” would be a more fitting way to describe his art. source. Zen and traditional art are an “interval art”, and traditional Western art form emerges and this becomes his unique painting style. Spirituality is not
is a “connected art”. Oriental art is trying to draw viewers into the “intervals”, restricted by time. Or, to put it another way, perhaps time becomes the true
When speaking of Huang Gang’s art in the idiom of minimalist painting or else enable viewers to blend themselves into the “intervals”. Ultimately, feature of space when the structure of space is totally demolished. Because of
history, it is realistic to regard his work as an expression of “post-minimalism” everything falls into place, as viewers become part of the creative work. this, space wins our respect.
because he has carried minimalism to a new level. Issues such as social According to D.T.Suzuki, Zen means to directly immerse oneself into an object.
reflection, consumerism, and the idea of post-colonialism have blinded No doubt this “total immersion ” is both a means to create contemporary art and This individual case of Huang Gang’s art has created a related discussion,
contemporary artists to the pursuit of spiritually. People expect art to portend a way of living. The rise of contemporary art has been triggered by the impact which I see no harm in bringing up at this point: If a quality such as “unified
a new criticism rather than providing a popular and desirable visual image. of electronic media in this information age. Electronic media requires people modernity” had existed, at least to some degree, in contemporary art, the “1985
The school of Minimalism can be traced directly back to abstract artist Piet to open all their senses, and visual perception is only one of Man’s five senses. New Art Trend” would have been regarded as contemporary art because it
Cornelies Mondrian, the Russian school of Constructivism, and even Bauhaus Inspiration comes from the divine. Zen is a way to completely connect heaven reflected the liberated thinking of that era and the aestheticism of modernism.
aestheticism. Minimalist painting embodies the natural quality of colors. It is and earth, Man and God, and an attitude enabling them to quietly observe the However, this grand concept found no audience after the 1960s. Post-1960s
simple and straightforward, eliminating visual illusion. Rules of mathematics earth’s myriad beings. The liberation of medium usage in contemporary art is artwork showed that this concept of “unified modernity” had polarized and
are incorporated into this art style, and the arrangement of the painting is also based on this concept of regarding minute things and objects as art. It goes changed for the worse in the minds of that generation of artists. The same
reduced to geometric forms. In the end, material form is transformed into without saying that traditional Western art mentioned here refers to Renaissance complicated process also took place in the 1970s and 1980s. Fundamentally,
concept. Art knows no boundaries. It fuses with, and penetrates into studies of art. John Cage stated: “Renaissance art is the art of the past. East or West, art had become more and more diversified and developed into a multiplicity of
humanity and daily life to display man’s spiritual activities. Man has always it doesn’t matter, for the foundation is all the same. This is especially true of forms. Since the 1990s, conceptual photography has emerged, performance art
display his spiritual activities, and will continue to do so. However, we’d like Eastern art, which has always been on the proper path. The belief that art is can be found in public space, Feminist art is being practiced, body art has caught
to state: As people, we should not be limited by region, humanity, rationalism, the expression of individualism is a post-Renaissance concept. It is hieratic the attention of artists, post-abstract art has become popular, the idea of post-
or art forms… Based on our existence, we are able to become witnesses to a when compared to the art of the past.” Therefore, “Maximumism” is more a colonialism has disappeared, and New Historicism has begun to exert influence.
reality that is unattested and cannot be recreated. When minimalist painting first put-down of the Western term “Minimalism”, rather than an actual concept of The diversity of these art trends is the result of post-1960 art movements. This 三人行必有我師--與岳敏君、任思鴻合影。
emerged in North America, it clashed with the complexities of reality, but later, increasing quantity, as implied by the concept of Minimalism. What is absurd shows that the post-modernism emerging after the 1960s, infused vitality into

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雪域佛經系列
Snow Terrain Series
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。

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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。

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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。

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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。

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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。

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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。

136 137
138 139
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。

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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

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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

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

149
我的金星; 2005; My Gold Star; Mixed media on panel; 80x80cm

151
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

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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。

154
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。

157
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

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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

160 161
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~

162 163
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。

165
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!

166 167
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。

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170 171
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~

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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

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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。

178
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。

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拼貼和雙重繪畫
文/汪民安

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 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 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
黃 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 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 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
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 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 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
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。 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 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
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 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 (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
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 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 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
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 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 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
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 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, 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
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 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 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
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 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 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
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 連。 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
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 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 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
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 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 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
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 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 種獨立的繪畫性。
藍天下的白塔,悠悠的佇立於古老雪域之上。
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 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 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
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 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 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。 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
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 義上,畫面聚集和對照了兩個時代的精神狀態。 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 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
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 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 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 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
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 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 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 式包含有深度:深度就埋伏在單純的形式中。
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 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。 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, 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
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 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 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
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 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 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
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: 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 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
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 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 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
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 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 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
起創造了這個作品。 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 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
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。 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 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,
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 佛經的語義在五角星中閃爍,在爬梳,在跳躍。 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
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 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 載,被背負,被啟示,即便面目模糊,它還是需要喃喃低語。
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 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
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, 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
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 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
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 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
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 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
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 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
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 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

182 183
Collage and Double Painting
By Wang Minan

雙塔配豪宅。

One finds multiple collages made up of extraneous objects in Huang Gang’ chemical materials. This pair of hands is modern, hands that belong to an One might think he is trying to hide or cover up the words of the sutras.
s works: collages of modern and historic symbols; collages of board, which are industrial and secular world. The meeting of these two pairs of hands, each However, his intent is to allow us to discover and read the sutra. If we consider
botanically derived, and leather boxes, which are made of animal skin; collages coming from a different time and space, can be regarded as a coming together the engraving done by the monk as the first writing, Huang Gang’s application
of red and black colors; collages of industrial and natural objects; collages of oil of two different eras and cultures. Or, more precisely, it is a meeting of two becomes a second writing or a re-writing. The immediate effect of this re-
painting skills and sculptural technique; collages of religion and politics. These different life styles: a slow-paced life style of a disciple in the old days vs. the writing is that the viewer must make an effort in order to see the words of the
series of collages have contributed to the complexity and profusion of meanings bustling life style of a modern man. Huang Gang’s painting has captured two sutra. In fact, this painting-over, or “cover up”, creates an irresistible temptation
in Huang Gang’s work. eras and two life styles. Basically, it has captured the spiritual state of two eras and many people who want to discover what the painting conceals, will try
The most significant trait in Huang Gang’s works is his use of woodblocks, and contrasted the difference between them. their best to approach the painting for a closer look. However, few people
formerly used to print Tibetan sutras. These woodblocks in themselves are This conclusion is based on the aspect of artists’ hands and techniques. On can understand the contents of a sutra. The meaning is concealed. From the
works of art. They were engraved by the monks in Tibetan monasteries, and the level of the image itself, we can see a contrast between two symbols. This standpoint of reading, they have become an impenetrable language; a collection
can be regarded as the artwork of the monks. The woodblocks not only bear contrast is not based on the respective skills of hands, nor of the physical body. of ornamental symbols. They are an ornamental space; and a pure-form painting
the characters of the Buddhist sutra, they have survived the passage of time, It is a contrast in concepts. It is obvious that we see here a contrast between space is thus established. Therefore, the detailed inspection of a sutra text has
and time has therefore been engraved into the woodblocks as well. Thus these religion and politics. Huang Gang places old objects, such as woodblocks become an unusual viewing experience. People seem to see a double painting,
woodblocks bear double marks: the marks of engraving and time. In other and leather boxes which serve as drawing board, together with images of Mao or two paintings: one painting for admiring it in its entirety from a distance; a
words they bear the signs of art and history. Today, the manner Huang Gang and red stars. Be it Mao or red star, in the idiom unique to China, they are the painting made of wooden boards (leather boxes); an abstract form on boards.
utilizes these woodblocks is not in usual way of putting readymade objects classical political symbols embodying political idiom. The sutras possess a Or, it can either be considered as a collage of dark wooden boards and red star,
to use. Generally, when the artist employs a readymade object, he has the religious idiom, and these two idioms meet here in this painting. In fact, they or of Mao’s image on a wooden board. This is the effect created if the painting
tremendous power to transform it. He is able to disperse the original idiom encounter each other in art. Huang Gang even uses woodblocks to construct the is viewed from a distance. On the other hand, when seen up close, some people
of this readymade object and create a new one for it. The readymade object images of Mao or the red star. The woodblocks become the structure that forms are able to perceive the existence of another painting. Fine and detailed patterns,
therefore loses its original idiom in the process, and a new idiom is forced upon both the red star and the Mao image. The immediate impression is that the red the uneven textures, the unidentifiable symbols, and the zigzag, sinewy lines –
it. However, in Huang Gang’s hands, the woodblock itself already embodies a star appears to be playing the musical notes of a Buddhist chant; the meaning of all these strange symbols that can hardly be recognized by anybody constitute
powerful meaning. Even if it is removed from its original idiom, its meaning the Buddhist sutra sparkles and dances in the red star. another painting; a painting space that is woven from countless minute symbols
cannot be easily changed or surrendered – as a matter of fact, Huang Gang has Why this particular combination? In fact, it’s difficult to say exactly and various patterns. Indeed, as symbols, the words of a sutra do not stand for
no intention of changing the idiom of these woodblocks, nor does he transform what special result this contrast and combination is meant to achieve. Is it a an infinite and complicated world. Here, the sutra symbol is no longer confined
them at will. On the contrary, he keeps the woodblocks as they are, placing combination contrasting faith in government with faith in religion? Or, is it to some kind of religious doctrine, but has become a manifestation of a simple
them in an important position in his painting, thereby making the woodblocks illustrative of the bitter difference between politics and religion? No matter visual effect. It embodies an independent quality of painting.
become the painting. In this sense, Huang Gang has summoned the ancient what, both red star and Mao unquestionably call to mind political belief. Mao Viewed from this standpoint, Huang Gang’s painting consists of a double
meaning of the woodblocks and activated their hidden significance, rather than and the red star are both symbols of communism. At one time the power of vision; a double visual experience. It is amazing that a single work of art is
giving them a new meaning. Through the hand of the artist, the silent meaning these symbols carried an impact equal to that of religious faith. Although the able to embody two paintings or two spaces! It is fair to say that one painting is
of the woodblocks is awakened. Their mark in history has been rediscovered principles these two represent are poles apart, the effect they have on people is created by two paintings. The depth of painting is unfolded by Huang Gang’s
and their fate of being forgotten now exposed in a new light. In these works, we strikingly similar. To put it another way, the distinction between the effect of art. However, the “depth” here does not refer to the “depth” concealed beneath
see that hands of two different artists have met; the hand of the carver and the political-speak and religious-speak is not sharply defined. However painting the painting, but that the painting itself includes depth in its composition. In
hand of the painter are joined. These two pairs of hands have come togetherr in is a different matter due to the contrast in symbols, painting composition, and other words, the “depth” is hidden within the simple form.
the space shrouded by time. In this sense, these works are in fact a dialogue, a colors. The red star and Mao images protrude forth and take up the center of The concept of “depth” being hidden in a simple form, bears anther level of
dialogue and cooperation between two people – one ancient, one modern; one the painting. They are a shade of red that appears harsh to the eye. However, meaning. Many of Huang Gang’s works are a collage of Tibetan leather boxes
a monk, the other a contemporary artist; one a disciple of Buddha, the other an they have an air of solemnity and a powerful symmetry in direct contrast to the (including the various ornamentations affixed to them) and woodblocks used
atheist; one anonymous, the other the signee. These two people, at a special dark and gloomy colors randomly scattered around them. Though their forms to print Buddhist texts. When these woodblocks are fitted to the top of leather
moment in history, have created these works together. are different, it does not interfere with the analogy of political rule and religious boxes, they look like pieces of patching. These leather boxes have withstood
What took place during this dialogue? We’ve seen the meeting of two pairs belief. In this sense, Huang Gang’s works re-examine the sensitive relationship the battering of weather, which gave them the quality of hardship and a fate that
of hands. One pair of hands focused on the details of carving. The process between politics and religion. As a matter of fact, throughout history mankind was determined by Nature. They were traveling gear, something to hang on to
of engraving these woodblocks is a means of self-cultivation. Its significance has been ruled for extensive periods by caesaropapism. Even in this era of when a person went out to meet his destiny. However, through the patchwork
matches the meaning in the engraved words of the Buddhist sutra. It seems separation of church and state, politicians sometimes utilize a religious approach of Huang Gang, people perceive that what is supporting these leather boxes is
that we can also perceive a pair of hands holding a knife, patiently engraving to achieve their goals. On the contrary, religion has never disassociated itself the patch-like doctrine. People not only recognize the complicated connection
characters on the wooden board. The hands persistently repeat the same from politics. Politics and religion are always intertwined – although in Huang between political and religious idioms, they also notice that the Buddhist sutra
engraving process. They never tire, become impatient, and are always quiet. Gang’s art, the political and religious idioms of each diminish the force of is on the move. What the leather boxes carry this time is a doctrine rather
At the same time, we perceive another pair of hands. These hands belong to the other, and though his works are meant to defuse any political or religious than items for daily usage. We know that this doctrine, although in pieces
a painter. They do not repeat any process and work randomly, moving freely conspiracy, we still detect a byzantine and murky relation between politics and and difficult to understand, needs to be rediscovered and expressed. More
wherever the painter pleases. His muse and the painter’s insights inspire the religion. importantly, it needs to be loaded, carried, and inspired. Even if the features are
movement of this pair of hands. They employ the help of physical body and Moreover, Huang Gang applies layer upon layer of paint to these woodblocks. difficult to recognize, it needs to be chanted in low tones.

184 185
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。

188 189
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

190 191
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。」

192 193
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

196 197
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」。

199
《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

200 201
雕塑部分
Sculptures
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。

204 205
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。

206 207
持寶塔的毛; 2007; Mao with Pagoda; Bronze; H:63cm

208 209
Good毛三式; 2007; 銅; Triple
Good Mao; Bronze; H:120cm

210 211
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

212 213
沉思者; 2007; Penseur ; Bronze; H:80cm

214 215
毛的雙手; 2008; Mao's Hands ; Bronze; H:80cm

216 217
三娘教子; 2007; Red Detachment Women with Mini Me; Bronze; H:120cm

218 219
Huang Gang
1961年 生於北京 1961 Born in Beijing
1984年 畢業於中央工藝美院 1984 Graduated from China Central Academy of Art and Design
1991 Attained Master degree, China Central Academy of Art
1991年 獲中央工藝美術學院碩士學位
Won “Ikui Hirayama” Award
獲淂”平山鬱夫”獎學金
Lecturer in China Central Academy of Art and Design
任教於中央工藝美術學院
1995 Won silver award of the first Beijing International Environment Art Exhibition
1995年 獲首屆北京國際環境藝術展銀賞 Specially interviewed by Le Figaro Magazine
接受法國費加洛雜誌採訪 2000 Solo Exhibition, J. Gallery, Hong Kong
1997年 參加中國國際藝術博覽會 Solo Exhibition, Atlantic Gallery, Munich, Berlin, Hamburg and Frankfurt, Germany
2001 Solo Exhibition, The Royal Monceau, Paris
1999年 北京嘉瑞畫廊個展
New York Asian Art Fair, Baolin Gallery, New York
2000年 個人作品展 J畫廊 香港
Arts of Pacific Asia Ocean Fair, Baolin Gallery, Los Angeles
個人作品巡展 德國慕尼黑、柏林、漢堡、法蘭克福
The Exhibition of “Science and Art”, China National Art Museum, Beijing
2001年 個人作品展 法國巴黎 The Exhibition of “In Search of”, Walsh Gallery, Chicago
亞洲藝術博覽會 紐約 2002 New York Asia Arts Fair, Baolin Gallery, New York
亞洲太平洋藝術博覽會 美國 Shanghai Art Fair, Jiarui Gallery, Shanghai
2003 Solo Exhibition in Gallerie Zuger, Santa Fe
“科學與藝術”展 中國美術館 北京
Group Exhibition “Asian Modernium”, D’Adamo Woltz Gallery, Seattle
“In Search Of”畫展 Walsh畫廊 美國芝加哥
Chicago Art Fair, Chicago, Walsh Gallery
2002年 紐約藝術博覽會 寶林畫廊
2004 The exhibition in the Art Institute of Pittsburgh, Pittsburgh
上海藝術博覽會 嘉瑞畫廊 Beijing International Art Fair, Beijing
2003年 個人作品展 Zuger畫廊 美國聖塔菲 Korea International Art Fair, Seoul
亞洲現代藝術聯展 D’Aadamo Woltz畫廊 美國西雅圖 798 Art Festival, Beijing
2005 Beijing International Art Fair, Beijing
芝加哥藝術博覽會 Walsh畫廊 美國芝加哥
Solo Exhibition, Anna Ning Gallery, Hong Kong
2004年 中國藝術家聯合巡展 匹茲堡藝術學院畫廊 美國
The exhibition in Gallerie Zuger, Santa Fe
北京國際畫廊藝術博覽會 北京
Arts of Pacific Asia Ocean Fair, Baolin Gallery, Los Angeles
韓國國際藝術博覽會 韓國漢城 2006 Art Beijing, Beijing
北京798藝術節 Solo exhibition in Modern Art Gallery, Taipei
2005年 個人作品展 安娜寧畫廊 香港 2007 Group Exhibition “Mao, Visions Contemperaines”, JGM Gallery, Paris
Solo Exhibition, Anna Ning Fine Art, Hong Kong
個人作品展 Zuger畫廊 美國聖塔菲
Solo Exhibition, Linda Gallery, Singapore
北京國際畫廊藝術博覽會 北京
Taipei Art Fair, Taipei
2006年 藝術北京
Beijing International Art Fair, Beijing
個人作品展 現代畫廊 台灣 Exhibition of Ten Artists from Beijing and New York, A Space, Beijing
2007年 “毛,當代藝術視覺” JGM畫廊 法國巴黎 International Contemporary Art Fair, Ping Art Space, Hong Kong
個人作品展 安娜寧畫廊 香港 Asian Contemporary Art Fair, Ping Art Space, New York
2008 Solo Exhibition “Beijing Memory”, Asia Art Center, Taipei
個人作品展 林大畫廊 新加坡
2008 Group exhibition “I’m READY”, Ping Art Space, Taipei
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

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

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索引 INDEX 索引 INDEX
書法系列
水; 2000; Water; Mixed media on 雪山盟; 2005; Snow Mountain; 大圓城; 2004; Circle of Life; Mixed 雪域行舟; 2006; Canoeing on the 我的紅星·我的箱子; 2007; My 紅色娘子軍; Red Detachment of
panel; 60x60cm Mixed media on panel; 80X120cm media on panel; 80x80cm Snow Terrain; Mixed media on Red Star, My Box; Mixed media on Women; Mixed Media on panel;
panel; 210x105cm panel; 135x94cm 120x110cm

風; 2000; Wind; Mixed media on 朝經之路; 2006; Pilgrimage to the 太極; 2006; Tai Chi; Mixed media 天際無邊; 2006; Infinite Universe; 我的紅星·我的箱子; 2007; My 《1966》;2007;《1966》; Mixed
panel; 60x60cm Buddhist Scriptures; Mixed media on panel; 80X80cm Mixed media on panel; D: 100cm Red Star, My Box; Mixed media on Media on panel; 120x150cm
on panel; 169X123cm panel; 122x244cm

畫境; 2000; The Realm of Painting; 菩提樹; 2005; Bodhi Tree; Mixed 晝夜平分; 2004; Equinoctial; Mixed 行雲流水; Flow; Mixed media on 我的紅星; 2007; My Red Star;
Mixed media on panel; 63x63cm media on panel; 244X122cm media on panel; 110 x110cm panel; D: 155cm Mixed media on panel; 200X180cm

雕塑作品
金色轉輪; 2001; Golden Wheel; 菩提樹; 2006; Bodhi Tree; Mixed 喜瑪拉雅山日出; 2006; The 九個太陽; 2007; Nine Suns; Mixed 我的紅星·我的箱子; 2005; My 御龍天子; 2007; Dragon
Mixed media on panel;60x60cm media on panel; 124X244cm Himalaya Sunrise; Mixed media on media on panel; 200X65cm Red Star, My Box; Mixed media on Dominator; Bronze; H: 120cm
panel; 123x123cm panel; 300x200cm

養云; 2005;Cultivating Clouds; 紅星菩提; 2006; Red Star Bodhi 法輪常轉; 2005–2007; Revolving; 黃金印記; 2006; Golden Imprint; 我的紅星之世界之巔; 2008; My 毛·YES·毛; Mao·YES·Mao;
Mixed media on panel; 107x107cm Tree; Mixed media on panel; Mixed media on panel; 180X120cm Mixed media on panel; 190x56cm Red Star – Summit of the World; Bronze; H: 95cm
122x122cm Mixed media on panel; 220x105cm

書法系列--紅大地(一); 2003; 雪域法輪; 2004-2008; Revolving 山之巔; 2007; The Peak; Mixed 北京記憶; 2007; Beijing Memory; 持寶塔的毛; 2007; Mao with
Calligraphy Series; Mixed media on in the Snow Terrain; Mixed media media on panel; 244x122cm Mixed media on panel; 244x105cm Pagoda; Bronze; H:63cm
panel; 127X84cm on panel; 220x122cm

曼陀羅 日月系列
書法系列--紅大地(二); 2003; 紅色三角塔; 2001; Red Triangle 轉動日月; 2007; Revolving; Mixed 金色的冰湖; 2007; Gold Iced Lake; 北京記憶No.2; 2008; Beijing Good毛三式; 2007; Triple Good
Calligraphy Series; Mixed media on Tower; Mixed media on panel; media on panel; 200x200cm Mixed media on panel; 244x244cm Memory No.2; Mixed media on Mao; Bronze; H:120cm
panel; 127X84cm 80x80cm panel; 244x105cm

書法系列; Calligraphy series; Mixed 紅色曼陀羅; 2002; Red Mandala; 太陽遠去之三星拱照; 2007; 八十八個青年; 2008; Eighty-Eight 一切反動派都是紙老虎; All
media on panel; 108x108cm Mixed media on panel; 105x105cm Fading Sun; Mixed media on panel; Youths; Mixed Media; 100x100cm Reactionaries Are Paper Tigers;
122X244cm Bronze; 53x49x43cm
我的紅星·我的箱子系列

書法系列; Calligraphy Series; 紅色曼陀羅; 2005; Red Mandala; 金色曼陀羅; 2007; Golden 我的紅星; 2005; My Red Star; 年輕時代; 2008; Juvenile Age; 想起江山多嬌美; Recalling the
Mixed media on panel; 110x20cm Mixed media on panel; 105X105cm Mandala; Mixed media on panel; Mixed media on panel; 60x60cm Mixed Media; 100x100cm Beauty of the Country; Bronze;
244x100cm 53x49x43cm

方形曼陀羅; 2002; The Square 兩地平分; 2004; Division; Mixed 我的金星; 2005; My Gold Star; 沉思者; 2007; Penseur; Bronze; H:
Mandala; Mixed media on panel; media on panel; 147x85cm Mixed media on panel; 80x80 cm 80cm
64x64cm
革命系列
白塔 菩提樹系列
白塔; 2005; White Pagoda; Mixed 金色檀城; 2005; Golden Mandala; 渡過日月; 2007; Crossing; Mixed 我的紅星與愛國者; 2008; My 兩種方式之毛; Twins Mao; Mixed 毛的雙手; 2008; Mao's Hands;
media on panel; 106x70cm Mixed media on panel; 105x105cm media on panel; 200x300cm Red Star and Patriot; Mixed media media on panel; 176x172cm Bronze; H: 80cm
on panel; 122x88cm

雙塔; 2007; Double Pagodas; 黑色轉動; 2007; Black Wheel; 三重世界; 2007; Triple World; 兩種不同方式之雙星; 2007; A 毛澤東的Good Good; 2007; Mao's 三娘教子; 2007; Red Detachment
Mixed media on panel; 95x95cm Mixed media on panel; 80X80cm Mixed media on panel; 180x80cm couple of Red Stars; Mixed media Good Good; Mixed media on panel; Women with Mini Me; Bronze; H:
on panel; 122X122cm 110X150cm 120cm

飛翔; 2005; Wings; Mixed media 紅色轉動; 2007; Red Wheel; 雪域佛經之大地甦醒; 2006; 我的紅星; 2007; My Red Star; 紙老虎; 2007; Paper Tiger; Mixed 愛江山也愛美人; 2007; Mao
on panel; 105X69cm Mixed media on panel; 80X80cm Buddhist Scriptures on the Snow Mixed media on panel; 180X180cm media on panel; 122X122cm and Red Detachment of Woman;
Terrain -Land Awaken; Mixed Bronze; H: 80cm
media on panel; 200x200cm

紅色的牆; 2005; Red Wall; Mixed 小轉經; 2007; Revolving; Mixed 雪域佛經之傳家至寶; 2007; 我的箱子; 2006; My Box; Mixed 三個毛; Triple Mao; Mixed Media
media on panel; 80X80cm media on panel; 80X80cm Buddhist Scriptures on the media on panel; 244x122cm on panel; 150x50cm
Snow Terrain-Treasure of
heritage; Mixed media on panel;
200x200cm

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國家圖書館出版品預行編目

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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