对话杨诘苍：我的画从墨与笔中走出 Yang Jiecang And A Journey In Ink!

杨诘苍1956年出生于佛山，曾是2016年约翰·莫尔绘画奖（中国）的权威评委。其艺术生涯的起点深植于对中国传统文化的深厚理解和热爱。杨诘苍的爷爷是旧社会破落地主，接受过传统的私塾教育，受爷爷影响他自三岁便开始学习执毛笔写字。杨诘苍使用毛笔就像中国人吃饭要拿筷子一样，对他来说从一开始是一种日常的需要。

Yang Jiecang was born in Foshan in 1956 and was the senior judge of the 2016 John Moores Painting Prize (China). The starting point of his artistic career is deeply rooted in his profound understanding and love for traditional Chinese culture. 

Yang Jiecang's grandfather was a landlord in the old society who had received traditional private education. Influenced by his grandfather, he began to learn to write with a brush at the age of three. Yang Jiecang's use of a writing brush is like Chinese people's use of chopsticks when eating, which was a daily necessity for him from the beginning.

八五新潮时期的中国艺术家们在当时都试着寻求更新、更开放的艺术形式，并不断向西方艺术接近。广美毕业的杨诘苍则是带着未解开的自身矛盾，满是疑惑的跌撞进了西方世界。1989年于巴黎蓬皮杜艺术中心举办的展览“大地魔术师”被讨论了无数次。在他的代表作中《千层墨》系列，杨诘苍将混合了中药成分的墨一层层叠加渲染，形成了一种独特的视觉效果。这种技法不仅展示了中国传统画的精髓，还融入了现代艺术的创新元素，使得作品在视觉上呈现出一种陌生而迷人的美感。

During the New Wave period of the 1980s, Chinese artists were trying to seek newer and more open art forms and constantly approaching Western art. Yang Jiecang, a graduate of the Guangzhou Academy of Fine Arts, stumbled into the Western world with unresolved personal conflicts and doubts. 

The exhibition "Magiciens de la terre" held at the Centre Pompidou in Paris in 1989 has been discussed countless times. In his representative work, the "100 Layers of ink" series, Yang Jiecang layered and rendered ink mixed with traditional Chinese medicine ingredients, creating a unique visual effect. This technique not only showcases the essence of traditional Chinese painting, but also integrates innovative elements of modern art, making the work visually present a strange and fascinating aesthetic.

此外，他还创作了一系列运用古代铸币模具的绘拓画，这些作品通过对历史元素的解构和再造，传达出对传统文化的深刻反思和独特见解。反复堆墨的行为映射杨诘苍作为外来的独立个体而进行的自我书写：身体介入画面也并不为解决问题，而是将他自身对于身份、记忆、姿态的追问以动态平衡的方式架空，从而等待消解。这也正是杨诘苍期待与这个世界保持的理想距离，也因一切材料的有限（笔、墨、纸和身体），才使得他进得去，也出得来。

就像巴黎蓬皮杜某位艺术家说的那样，比起水墨艺术家，杨诘苍更像是以为是书法家。他擅长运用书法、水墨画以及绢本工笔等传统技法，并结合现代艺术的理念和技法，创造出既具有传统韵味又充满现代感的艺术作品，他的画是从墨与笔中走出来的而并非水墨。杨诘苍的艺术观念深受禅、道家和佛家思想的影响，这些思想中的反叛精神、独立意识以及对自然和宇宙的深刻洞察都体现在他的艺术作品中。

In addition, he has created a series of painting rubbings using ancient coinage molds. Through the deconstruction and reconstruction of historical elements, these works convey profound reflections and unique insights into traditional culture. 

The act of repeatedly piling ink reflects Yang Jiecang's self-writing as an independent individual from outside: the physical intervention in the picture is not to solve problems, but to suspend his own questioning of identity, memory, and posture in a dynamic equilibrium, thus waiting for resolution. This is precisely the ideal distance that Yang Jiecang desires to maintain from the world. It is also due to the limited resources of pen, ink, paper, and body that he can enter and exit.

As an artist from the Pompidou Center in Paris said, Yang Jiecang is more like a calligrapher than a painter. He is good at using traditional techniques such as calligraphy, ink painting, and meticulous brushwork on silk, and combining them with modern artistic concepts and techniques to create artworks that are both traditional and modern. 

His paintings come out of the ink and brush, not the ink itself. Yang Jiecang's artistic concept is deeply influenced by Zen, Taoism, and Buddhism. The rebellious spirit, independent consciousness, and profound insight into nature and the universe in these ideologies are reflected in his artworks.

到今天杨诘苍都把自己广美的毕设创作《屠杀》《大火》（1982年）裱挂在工作室中，警示自己从哪里要到哪儿去，他坚持自我的艺术道路和创作理念，使得他的作品在当代艺术界中独树一帜。在杨诘苍看来中国毛笔文明有中国文人几千年积聚的意识体，生死与共、朝夕相处的一种行为方式，毛笔最重要的东西就是通过手部不断的训练而找到了心中的灵。虽然如今的杨诘苍一提笔所牵动的仍是遍布于他肌肉、骨骼、神经和血液中自幼学习传统艺术的惯性记忆，但他在学习传统水墨过程中的反复练习却成为了他自洽和向外抵抗的资本。

To this day, Yang Jiecang has hung his final project from Guangmei University, "Massacre" and "Fire," in his studio as a warning to himself about where he came from and where he is going. His persistence in his artistic path and creative philosophy has made his work unique in the contemporary art world. 

In Yang Jiecang's view, the Chinese writing brush civilization has a consciousness body accumulated by Chinese literati for thousands of years, a way of behavior of living and dying together, and living together day and night. The most important thing about the writing brush is to find the spirit in the heart through continuous training of the hand. 

Although Yang Jiecang's writing today still involves the inertia memory of traditional art that has been learned since childhood in his muscles, bones, nerves, and blood, his repeated practice in learning traditional ink painting has become a capital for his self-consistency and external resistance.

在多年旅居西方的经历中，杨诘苍观察到，尽管许多西方艺术家也运用墨进行创作，但他们的出发点往往侧重于点、线、面、黑、白、灰这些基本元素的掌控，这些元素在西方艺术中同样被视为易于理解和操作的元素。而纸与墨作为中国最具有代表的符码，在当代实用功能的丧失，意味着可能更有效地提升其艺术功能。毛笔教育应被拾起，正是由于当代书法艺术已经摆脱了日常性、实用性的束缚，才可能进入形式感颇强的实验创新。因此杨诘苍对约翰·莫尔绘画奖（中国）增设水墨奖这一举措持有高度评价，他认为这一变化为水墨艺术开启了无限可能。他满怀期待地表示，这样的改变不仅能够激励更多专业学院内的艺术家参与，更有望吸引来自广泛背景、非传统学院派的人士加入到这一评选活动中来，共同推动水墨艺术在当代的多元发展。

During his years of living in the West, Yang Jiecang observed that although many Western artists also use ink for their creations, their starting point often focuses on the control of basic elements such as points, lines, surfaces, black, white, and gray, which are also considered easy to understand and manipulate in Western art. 

As the most representative symbols in China, the loss of practical functions in contemporary times for paper and ink means that they may be more effectively used to enhance their artistic functions. The education of brush writing should be picked up, precisely because contemporary calligraphy art has broken free from the constraints of everydayness and practicality, making it possible to enter a strong sense of form and experimental innovation. 

Therefore, Yang Jiecang highly praised the addition of the Chinese Ink Award to the John Moores Painting Prize, believing that this change has opened up infinite possibilities for ink art. He said with great expectations that such changes would not only motivate more artists from professional colleges to participate, but also attract people from a wide range of backgrounds and non-traditional academic backgrounds to join the selection process, and jointly promote the diverse development of ink art in the contemporary era.