中国的当代艺术发展到今天，一个最核心的问题越来越凸显出来：就是作为一位来自中国的当代艺术家，如何用中国的本土语言去述说一种当代的、普世性的情愫。在此，所谓的普世性是一种语言共通性的前提，它必然以西方的现代主义艺术为参照；而所谓的本土语言既是一种身份、又是一种借此与西方主流相区别的重要表征。因而，一个完满的中国当代艺术家必然面临着两面作战的尴尬。即必须在与中国古典、现代西方的双重对峙中讨生活、找出路。但是，往积极的方向上说，这又是非常有意义的，至少它提供了一个悖论性的语境、提供了一个相与对立、折冲的空间让有志于此的中国艺术家们去博取、去化通，在夹缝中求生存，在矛盾中升沉。
张大我先生1943年生于陕西。早年的张先生生活在一个具有丰厚文化背景的家族中，其外祖父马玉藻[幼渔]先生是民国时期北京大学蔡元培校长麾下”五马三沈二周”的马二先生----- 文學院国文系主任。四外公马衡[叔平]先生是民国最后一任和建国后第一任故宫博物院院长、著名考古学家。其父张万里先生是著名的语音学专家、翻譯家、書法家，与启功先生交谊颇深。 因而，张先生很早的时候就离开了家乡，少年、青年时代基本上是在天津、北京二地渡过的。也是因为这些背景，张先生得以请益于吴玉如、李鹤年、张正宇、启功等京津一带的名士书家，求学问课、修炼书法也就成了张先生年轻时代的主要爱好。
张先生“大我妙墨”的创作源头之一是中国传统书法。大家知道，传统书法特别是草书创作，素来强调瞬间性的“畅神”“铭刻”。那种将书写行为简化为一种生命之流，尽力舍弃一切点画形象之后的大象无形，一直是中国艺术的最高境界。张先生早年执着于传统书法创作，自是对此了如指掌。但是张先生的作品中又绝不是传统书法、传统草书的简单翻版，无论从外形上看，还是就表现方法上讲，那又是决绝的、新异的样式。在此，他化取的是草书的精神——那种可遇而不可求的技道合一的“兴会”，而具体的草书点画、字形等等则被完全舍弃。这是一种美丽的舍弃，当众多点画技巧的考虑被彻底清除之后，袒露出来的才是一个活脱脱的自我，一种现代的中国艺术精神。它不是“断了线的风筝”，它的精神内核指示着中国传统道家解衣磅礴的高峰体验，指示着传统山水画家矻矻以求的“往往醉后”的物我两忘。因而，它的根基又是中国的。
张先生艺术创作的另一个理论源头是来自西方行动性绘画的启示。所谓的行动性绘画，即是将“过程”作为艺术创作的最主要目的，而不仅仅归于画面。它最集中地表现在抽象表现主义画家如波洛克、德库宁等人的身上。这种做法的心理学基础是弗洛伊德的潜意识心理学，同时，也一定程度上应和着中国传统艺术中的禅悦精神。即认为最好的作品应当是艺术家完全“忘我”地“投入”到作品中，在创作作品时，艺术家和作品之间应当是一而二、二而一的关系。由此，作品画面才有可能成为艺术家瞬间心理的最真实的记录，成为一种艺术化的“心电图”。张先生对于传统草书严格的形式性的化约与这种行动性绘画有关，因此，它表现出非常强烈的行动性和过程性。这种行动性和过程性是打开了传统草书在形式维度上的自我封闭之门的重要推力，它把草书严格的形式规定化通为一种自足自洽而又自我完满的
因而，从本质意义上讲，张先生的艺术在恣纵狂放的表象之下蕴涵着一种深刻的理论梳理与开拓。即，在中国性的层面张先生借鉴了传统草书的创作手法、创作思想，但又以现代性的形式自律原则为主导，剔除了古典艺术中形式的公共性要求所带来的压抑，从而在根源处夯实了中国传统艺术朝向现代转换的基础；而在现代的意义上，张先生执着于一种本土的、地道的中国传统艺术精神的表达，以道家的思想置换西方的弗洛伊德心理学，使之成为一种与行动派绘画似有关联，但又决然不同的表现并以此凸显其中国身份、中国色彩。这种双向的折中化合不仅有效地消解了中国现代艺术两面作战的困境，亦使在传统与现代的双重维度上保证了自己艺术的丰满收获。
由此，张先生一旦解开了传统与西方之间的悖论式结构，在悖论的语境中找到了一条两得其利而又两不相害的路径，其艺术创作所焕发出来的活力必然是空前的。“大我妙墨”之后，张先生一方面在这一主要的进路上耕耘，另一方面则把自己的目光拓展到更加多维的向度中。在这十多年的时间里，张先生还创作了许多以水墨为主的作品。如果仅就外貌而言，这批作品似乎与其“大我妙墨”是两种截然不同的风格。但是，张先生告诉我们，那些纵横排闼、变化不可方物的作品，其艺术精神的本质是与“大我妙墨”一脉相承的。也就是说，它们在快速直呈的创作过程，在狂草般的精神畅扬方面是一致的。所不同的是，在这一类作品中，张先生更加注重作品之深邃意境的刻画与水墨材料本身的姿彩横生。在对不同材料如水墨、丙烯、宣纸、美国皮纸等等物性的把握上，张先生希望在一定的“越界”之后，能够重新找回水墨之为水墨的本质所在。所以，遍观张先生的这一类作品，我们发现，那些崭新的水墨笔触、肌理、留痕之外，更多的是一种中国式的抽象韵味——一种与传统水墨不同，但又在精神本质上息息相关的现代表达。
除了在架上水墨中寻找到新的处女地之外，张先生也创作了一批影像和装置的作品。这些作品大多是从水墨、书法出发，是对这两种中国资源的再阐释与再利用。和专门做影像装置的当下艺术家们相比，张先生的此类作品完全是一种不同的境界。其作品思维触角之变换不居、发人深省，在当下的影像装置领域也是非常少见的。
张先生已经年过六十了，其创作活力依然保持着如年轻人一般的健旺兴盛的劲头，在时下的成名艺术家中可谓绝无仅有。我想，这应当得益于他对中国艺术的现代之路的不懈追寻；得益于他前半生在中国传统艺术中的沉潜；得益于张先生奔走世界各地的人生经历。所谓永恒的铭刻或者铭刻的永恒，希望以瞬间性的当下留住通往历史的永恒——在这个基点上所有的艺术都是相通的。张先生的艺术创作一面牵连着古典，一面应对着现代，而最终又将这些深沉的思考融入到瞬间性的笔墨挥洒，它展示的是一条通往宇宙洪荒大美的永恒之境。
AN ETERNAL IMPRINT – a critique on the art of Zhang Dawo
The core issue becoming more and more apparent today in the development of Chinese contemporary art is how Chinese artists communicate artistically in the world-wide arena, using their native language. Whilst it is important that western contemporary art is used as a reference point, the Chinese identity possesses a significant contrast from the mainstream of western art. Hence, to succeed as a Chinese contemporary artist, the artwork must address both traditional Chinese expectations and those of current western culture. Looking on the positive side, this can be a very challenging and evocative task. At the very least it has provided an environment in which an idealistic Chinese artist is challenged to achieve recognition in considerably differing cultures.
Zhang Dawo, as a migrant Chinese artist, is a case in point. Zhang Dawo was born in 1943 into a culturally aware family in ‘Shanxi’. His grandfather, Ma Yuchoa (nicknamed Youyu), the Head of the Chinese Literature Department, was one of the ‘Five Mas, Three Shens and Two Zhous’ under Cai Yuanpei, the Principal of the Beijing University. The other grandfather, Ma Heng, the famous archaeologist, was the first Director of the Gugong Museum (in the Forbidden City, Beijing). His father, Zhang Wanli, was the famous phoneticist and a good friend of Qi Gong. When young, Zhang left his hometown and spent his childhood and youth in Tienjing and Beijing. This gave him the opportunity of being taught by eminent scholars such as Wu Yulu, Li Henian, Zhang Zengyu and Qi Gong, which motivated him into taking up the discipline of Shufa (Chinese Calligraphy) as a ‘hobby’.
In adulthood, Zhang took up in-depth research of traditional calligraphy and in the process accumulated valuable experience. However, the dramatic changes in the contemporary art movement in the early 80’s disturbed the calm and comfortable way of life for traditional scholars. Influenced perhaps by the new contemporary movement or alternatively, disappointed by the decline of traditional Chinese Art, Zhang emersed himself in vibrant Modern Calligraphy and the creation of many contemporary artworks. At the same time he started to deeply ponder on the fate of future Chinese traditional art, which, in the second part of his life, led to the gradual realisation of his life’s goal.
Moving into the 90’s, the Chinese contemporary art movement gradually changed from the schewarmerei of the early years and settled slowly into a more contemplative and calming period. At a time when many Chinese people were seeking change and expansion, as well as money-making opportunities, Zhang made an unexpected choice and emigrated to Australia.
In retrospect, Zhang said, “The reason for that decision at the time was my hope to gain a different perspective from others within China and to weigh up the Chinese contemporary art movement by comparing and contrasting it with that of the west; and, by seeking a way of using Chinese calligraphy as a resource and outlet for contemporary art.”
Since 1992, when Zhang emigrated to Australia as a professional artist, Zhang has shuttled between China and many other countries excelling despite the contradictions of Chinese versus western contemporary art. He has also progressively made break-throughs with new techniques and methods of communicating. After more than a decade, displays of Zhang Dawo’s artworks generate feelings of awe in his peer artists and the art world in general. His Chinese contemporary artworks have lasting appeal and illustrate Zhang’s dedication and discipline of thought and practice over ten odd years. The lyrical dance of the calligraphy brush and ink subtly change the transient into an unending song. One can sense, through the unfolding of Zhang’s exhibition, the birth of Chinese contemporary art. His self-confident approach to this meandering and euphemistical painting style shows great promise.
The contemporary artworks of Zhang are many facetted. Some are centred on Xian (Chinese calligraphic strokes of lines and curves), which focus on the expression of the transient moment. Others concentrate on changes in ink tone, which explore the blending of the universe and the boundless desolation in his painting of Shuimo (painting using Chinese ink). Yet others are images installed as manifestation for the sake of manifestation, but the most prominent are the Xian works known as ‘Dawo Miaomo’ (miao - marvellous and mystic, mo-ink).
The origin of Zhang’s ‘Dawo Miaomo’ is clearly found in Chinese Traditional Calligraphy. We all know that with traditional calligraphy, and especially caoshu script, the emphasis is on the transient moment of the artist’s pen that results in ‘smoothness’ and the ‘eternal imprint’ of the finished work. The ability to condense the Shuxie (Chinese calligraphic penmanship) movement into the flow of life, completely eliminating the individual strokes and lines to form an attractive abstract, is the highest state or level to be achieved in Chinese art. Zhang’s experience as a traditional calligraphist in his early years, must have given him a thorough understanding of this, but his current artwork is not traditional, nor is it the simple replica of traditional caoshu; whether looking at the shape or method of expression, it is definitely a new form. Here he transcribes the spirit of caoshu – a happy ‘encounter’ of skill and theory that occurs unexpectedly, yet beyond the reach of desire. The systematic strokes and form of caoshu have been beautifully abolished, exposing a lively, naked form. This is the spirit of contemporary Chinese art – it is not ‘a kite flying with a broken string’. The nucleus of this spirit indicates the insight gained by traditional Tao’s highest level of experience of inner freedom and that of ‘forgetting both materialistic desires and oneself’ – as expressed by traditional Chinese landscape painters. Thus the basis of this spirit is very Chinese.
Another source of Zhang’s theoretical concept is derived from the western actionism in painting. The definition of western actionism is that the process is the most important aspect in painting, not just the painting. This is demonstrated most by abstract expressionism artists such as Pollock and De Kooning. The psychological basis of this type of art is the Freudian subconscious. At the same time, to some extent, it also corresponds to the Zen spirit of traditional Chinese art. The best artworks are produced when the artist completely ‘forgets him or herself’ and is totally engrossed in the work. Whilst working, the relationship between the artist and the work should be “A is B and B is A’. Then perhaps for a split second, the painting could become the most accurate record of the artist’s psyche, rather like some sort of ‘artistic cardiogram’. The transformation of the strict pattern of the traditional caoshu script by Zhang is related to actionism in painting. Thus his work has a very strong expression of actionism and process, which is important in opening up the strict format of traditional caoshu. The stringent format is transformed into a self-determined, practical process, which overrides and replaces the set standard to that set by the individual artist, him or herself.
Beneath what appears to be the free and unrestrained style of Zhang’s work, strict rules are being developed and worked out. On the surface, he borrows the traditional caoshu technique and concepts for creating his work and at the same time he is guided by the current style of self discipline, whilst negating the pressures brought to bear by traditional art in following the universal rules; and, in consolidating the basis for transmuting traditional Chinese art into modernism. Zhang’s approach to modernism is to express the pure spirit of Chinese traditional art and enhance the Chinese identity, but replace the thinking of Tao with western Freudian psychology, thereby connecting with actionism. The blending of the two domains not only effectively avoids the predicament of Chinese contemporary art fighting on two fronts, but also ensures a bountiful harvest within the framework of both traditional and contemporary art.
Once Zhang revealed the common link (buolun) between Chinese traditional and western contemporary art, in the language of buolun, he found a pathway that benefited from both aspects whilst keeping the two in harmony. This provided a matchless vigour in the resulting artworks. After “Dawo Miaomo’, Zhang continued to develop his style further, whilst at the same time casting his vision yet further to new dimensions. Within around ten years Zhang created many Shuimo based artworks. On the surface, these appear to be differentfrom ‘Dawo Miaomo’, but according to Zhang, the apparently chaotic and unsettled lines and curves in fact share the same essence and spirit as ‘Dawo Miaomo’. What differ are the levels of consciousness the artist tries to capture and the variety of medium that has been used. Once he is confident about the use of materials such as Chinese ink, acrylic, rice paper, American leather paper, etc. and has a breakthrough, he hopes to rediscover the fundamental nature of the traditional shuimo medium. Thus, looking at an overview of all his shuimo work, we discover that apart from his new method of penmanship, traces and footprints, there is the lasting appeal of Chinese abstract art – something different from traditional shuimo and yet sharing the spiritual essence of modern expression.
Apart from looking for new horizons in framed artwork, Zhang has also worked producing photographic images and art installations. Most of this work is created through shuimo and shufa (Chinese calligraphy) using reinterpretations of these two Chinese concepts. Compared with other photographic and installation artists, his works take one into a completely different dimension. The concept and feel of Zhang’s works are varied, unsettling and fathomless – a rarity even in the fields of photographic image and installation art.
Zhang is already in his 60’s, but he retains the vigorous creativity of a young person, rare amongst famous artists like himself. I think this is because he continues his search into the expression of modern Chinese art, a consequence of his earlier in-depth study of Chinese traditional art and his rich experience gathered from wide overseas travel. He hopes that through the transient moment he will be able to retain a perpetual, eternal imprint, shared by all similar art-forms. Zhang’s skill is in holding the classic in one hand and contemporary expression in the other and ultimately blending his deep thoughts with the transient brushstroke of ink, providing a pathway to the state of universal and eternal beauty.
By Lan Peixian
Head of Art Theory, Ninbo Museum, Zhejiang
Scholar, Dept of Comparative Res. In shufa and Painting,
National Centre of Art, Beijing
