細節
展望
假山石 4號
不鏽鋼 雕塑
版數:1/4
1997年作
簽名︰展望

展覽
1999年「長春國際雕刻邀請展」長春 中國
1999年 「延續-五人作品聯展」中國美術學院畫廊 北京 中國
1999年「瞬間 - 中國二十世紀末實驗藝術展」SMART藝術館 芝加哥 美國
2009年5月17日-10月4日「第七屆Blickachsen - 古老園林與城堡中的當代雕塑」巴特洪堡 德國

出版
2003年《中國藝術與文化》R.L.Thorp/ R.E. Vinograd合著 Prentice Hall 出版社 新澤西 美國
2005年《瞬間︰二十世紀末的中國實驗藝術》巫鴻著 芝加哥大學出版社 芝加哥 美國
2007年《展望:鏡花園》漢雅軒 香港 中國 (圖版為局部,第76頁)
2008年《新素園石譜》展望著 三聯書店出版社 北京 中國 (圖版為局部,第37、56-57頁)
2009年《展望︰園林烏托邦》范迪安主編 湖南美術出版社 長沙 中國 (圖版,第216頁)



「在我的假山石系列中,我的游思縈繞原來物料的材質。作品的鏡面,自能引起觀者最純粹的回應。這種由物質經驗所生的景象,滋養了人的精神」- 展望

展望假山石系列的創作靈感,來自北京市容的改變。高速的經濟發展下,北京市天際開始出現一棟棟趕建出來的高樓大廈,這些大樓的建築常會融入部分「傳統」的中式建築元素,如瓦片式屋頂,庭園裡擺座與整體景觀格格不入的文人石。對展望而言,這些元素反映了亞洲國家在面對西方現代及後現代文化的普遍心理,惶恐新事物會吞食舊東西,因此僵硬地保留這些傳統「符號」,卻遺失了其中蘊含的文化和核心價值。

展望把中國自宋代甚至更早以前,文人雅士把玩欣賞的文人石看成一個「符號」。古代文人閒時賞玩這些袖珍峰巒,欣賞其中歲月的痕跡,認為其崔巍的外表突現了造物的雄奇、重疊的層次表現了深度、石上的洞更有著一種天然的韻律之美。「瘦、透、漏、鄒、醜」是歷年來賞石的標準,如此講究,就是希望藉天然的文人石尋找沉澱心靈的片刻。隨時代變遷,出現在摩登大廈的文人石成了紀念的符號,失去了讓人沉澱心靈,回歸真我的功用。

展望以手工將一片片的不鏽鋼片錘打成精緻光滑的平面,根據在北京西南角的花卉市場購得的原石外形,創作出壯觀的《假山石 No. 4》(Lot 1033)。藝術家曾形容他的雕塑應該被稱作「石頭殼」,就是原石「符號」的複製。巫鴻評展望的藝術時說:「我們必須瞭解展望這裡的意圖並不在於調侃。他所說的『晶亮浮華的假性外貌特徵』並不一定是不好的品質,而他的不鏽鋼山石也不是對當代物質文化的諷刺和嘲弄。相反,他認為天然的假山石和它們的不鏽鋼複製品都是為了滿足人們的精神需要而選擇和創作的物質形態,它們不同的材質在不同的時代滿足了不同的需要。他所希望揭示的問題因此是當代文化中『真偽』的問題:究竟是哪一種山石 —是真正的天然山石還是他的不鏽鋼複製品 — 更真實地反映了眼下的中國文化?有趣的是,古人把天然太湖石稱作『假山石』。依展望來看,當這類古典文化中的觀賞石繼續被用來裝飾當代環境時,它們就真的成了『假』的了,但他用不鏽鋼製成的岩石即便是人造的,卻是我們這個時代的『真跡』。」

展氏一直矢志要把雕塑從二十世紀中國雕塑傳統解放出來,他的著眼點在於生活中的新與舊、自然與人工等陰陽對立的觀念。誠然,新事物的出現正不斷吞食舊東西,但對展氏來說,新的興起,並不一定代表舊的衰亡。展望的假山石,正是新與舊、傳統與當代、人工與自然的巧妙和諧融合。正如陰陽二元,只要社會許可,便會一直的相互調和。


出版
R.L. Thorp R.E. Vinograd, Chinese Art and Culture, Prentice Hall , Inc., New Jersey, USA, 2003.
H. Wu, Transience: Chinese Experimental Art at the End of the Twentieth Century , University of Chicago Press, Chicago, USA, 2005. Hanart T Z Gallery, Zhan Wang: Flowers in the Mirror , Hong Kong, China, 2007 (details illustrated, p. 76).
Z.Wang, New Suyuan Stone Catalogue, Joint Publishing Company, Beijing, 2008 (illustrated, pp. 37 & 56-57).
D. Fan, ZHAN WANG: Garden Utopia, Hunan Fine Arts Publishing House, Changsha, China, 2009 (illustrated, p. 216).
展覽
Changchun, China, Changchun Invitational Sculpture Exhibition, 1999.
Beijing, China, Gallery of Central Academy of Fine Art, Continuation - Group Show of Five Artists, 1999.
Chicago, USA, Smart Museum of Art, Transience: Chinese Experimental Art at the End of the Twentieth Century, 1999.
Bad Homburg vor der Hohe, Germany, Blickachsen 7: Contemporary Sculpture in the Historic Bad Homburg Kurpark and Castle Gardens , 17 May-4 October 2009.

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拍品專文

"In my series of works copying jiashanshi, I force the imagination to play upon the texture of the original material. By way of the mirror surface of the copy, I can induce a most direct and pure response from the viewer. Such visions produced through experience of the material nurture the life of the human spirit."
-ZHAN WANG

Zhan Wang's first inspiration for his Artificial Rock series came from Beijing's changing urban environment. During a period of rapid growth and development, Beijing's skyline was increasingly dotted with hastily constructed high-rises, often capped with "traditional" Chinese architectural elements, such as tiled roofs; the courtyards of such buildings might also gratuitously include a traditional scholar's rock. For the artist, these monuments represented a mockery of Chinese culture, reducing it to a fixed set of appropriations and symbols, but no longer a site of contemplation or aesthetic engagement. For the artist, these elements revealed the responses of Asian countries when confronting the invasion of Western modern and post-modern culture. It is a fear of being swallowed by the new things, that make the old choose to stiffly keep the traditional symbols which have now lost their cultural meaning and core values.

In Zhan's eyes, the scholar's rocks, which have been appreciated and enjoyed by the Chinese literati since the Song Dynasty or if not even earlier, are "symbols". Aptly labeled "Scholar Rocks", the smaller size were carried around affectionately by Chinese literati who took these portable mountains into their sanctuaries, admiring the rocks for surfaces that suggest great age, forceful profiles that evoke the grandeur of nature, overlapping layers or planes that import depth, and hollows or perforations that create rhythmic, harmonious patterns. A set of five principal aesthetic criteria - thinness (shou), openness (tou), perforations (lou), wrinkling (zhou) and uniqueness (chou) - have long been identified for judging scholar's rocks. However, the scholar's rocks decorating modern skyscrapers today are only monuments missing their beautiful qualities and the function of provoking meditation.

The artist hammered the stainless steel pieces into fine smooth panels by hand, and further sculpted them into this magnificent work, Artificial Rock No. 4 (Lot 1033), based on the shape of a real rock he bought back from the flower market in the Southwest Beijing. Zhan said his sculptures should be viewed as "the shell of rocks", since they are duplications of the symbols of real stones. As Wu Hong has written, "We must realize that to Zhan Wang, glittering surface, ostentatious glamour, and illusory appearance are not necessarily bad qualities, and that his stainless-steel rocks are definitely not designed as satire or mockery of contemporary material culture. Rather, both the original rockeries and his copies are material forms selected or created for people's spiritual needs; their different materiality suits different needs at different times. The problem he addresses is thus one of authenticity: Which rock- the original or his copy- more genuinely reflects contemporary Chinese culture? Interestingly, the Chinese call natural rockeries jia shan shi, or "fake mountain rocks." According to Zhan Wang, such rocks, even if made of real stones, have truly become "fakes" when used to decorate a contemporary environment. But his stainless-steel rocks, though artificial, signify the "genuine" of our own time".

Zhan centralizes his focus on freeing sculpture from the restrictions inherent in the 20th Century Chinese sculptural traditions. Notably, he is concerned with the relationship between the opposing forces of old and new, natural and man made form. These forces have always formed a yin-yang dichotomy within which we negotiate our lives. While the new is rapidly eradicating the old, he suggests that tradition need not disappear despite the ascendancy of the modern. Zhan Wang's Artificial Rock is the perfunctory and quintessential example that old and new, natural and manufactured can coexist as a harmonious whole, just as yin and yang does so long as society is given the outlets and resources to bridge those divides.

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