zhangtingqun.com - Critique

意志的形状

张庭群的艺术实践是对意志的摹写和研究。年复一年，日复一日，他在纸上、布上进行着西西弗斯般的耕作，留下令人目眩神迷的线条阵域。为此，在作画的时候，他必须心无旁骛，排除纷扰，以保证那种连贯的气息可以按照意志的指令不差毫厘地投射到画面上。而在意志通过张庭群之手释放自身的过程之后，呈现出来的则是由弧线或不规则线体构成的无尽的交叠关系。这些线条在看似“凌乱”的表象背后，却指射着某种不可名状的深渊，它是最复杂的纠缠，是最单纯的丰富，也是最自然的结局——也许那正是意志的栖息之所和每一个偶然指向的终极。正如斯宾诺莎（Baruch Spinoza）所言，“人的行动和欲望像是处理线、面、体那样的精确。人的行为可以像任何其他自然现象一样精密地用原因和结果以数学的关系来解释。人们习惯于认为自己是自由的，并且能够做出自由的选择，但也许实际上却来自于先在原因的设定。正如张庭群的画面逻辑那样，他并没有干预意志的走向，只是屏气凝神地遵从着自然的安排，辕辙自有定数，它们发生着自我的编织，而这也许就是东方哲学最为精华的地方。无论是战国时期的思想家荀子提出的“虚一而静”，还是佛教当中的“三昧”，都强调，专注和空虚并非目的，而是前提，只有虔诚的单一才能进入意志的鸿富，这是东方的智慧，也是张庭群的方式。

－－梁舒涵博士

The Shape of Volition

Zhang Tinqun`s artistic expression is the crystallization of empirical exploration and interpolation on manifestations of the human consciousness harnessing volition and life-force into palpable artworks. Guided by Buddhist pursuits of self-cultivation, day after day and year after year, Zhang Tingqun yields his brush on paper and canvas with unfaltering attention and unwavering steadfastness. Charged with serene mindfulness and fluid momentum, the uninterrupted coherence of his motivation and will coupled with the ebb and flow of his breath, send forth a pulse which sets forth the most natural course and shape for each brush stroke. The visible continuity of seamlessly fused irregularities extends into an endless and complex mesh of intertwining linear and ecliptic forms. Hence, just as Imagery and imagination find representation, the essence of being and willing find expression through the mind-body unison at the core of Zhang Tingqun`s creative process.

As the brush delivers this will to its destination, it traces a myriad paths and intersections, rendering the individuality and singularity of each thread of paint inextricable form the entanglement and profusion of the stratified pattern. The confluence of chance and consequence, occurrence and outcome, overlap in the paradigm of nature`s expanse and inherent simplicity, gliding through time and space vectored by the artist`s self-determination. The dense disarray of disparate fine lines, bends and curves in tightly knit webs depict the ultimate chaos- the potential and impetus beyond systems of order and matter - while also alluding to the self-regulating equilibrium and intricate balance that prevails in nature. Nuanced by Baruch Spinoza`s conceptions of the self and the universe, particularly the analogy between the predictable manifestation of man`s actions and desires, and the measurable precision in the behavior of lines, surfaces and volumes, Zhang Tngqun`s paintings suggests that people`s output, like all known natural phenomena, can be deduced and quantified through scientific logic and mathematical calculation. This implies that man`s belief that he is free and exercises freewill may only hold within the parameters of decisive laws of Nature. Hence, the artist's mindful will is woven through planar and crossing realms by deep concentration and attunement to Nature`s predetermined designs, distilling rich artistic conception and sophisticated mastery into elements of bare simplicity shaped by the harmony attained with a visible reality. This approach is omnipresent in Zhang Tingqun`s art and ancient Oriental philosophies, correlating with teachings of Xun Zi, as early as China`s Warring States period (479–221 BC): "the unique nature of things can only be perceived through openness of mind and humbleness of heart", as well as in the Sisyphean concept of "Samadhi", which implies that profound awareness requires mental stillness and oneness with the present.

Liang Shuhan Dr.

来自海另一侧的美学之舟

（文 | 张正霖博士）

张庭群先生是我许多年的好友，在2005年时，我即与他和他的创作相遇，并留下很深刻的印象。我们都是学习美术的人，虽然从海峡的两侧，在不同的时间里走上各自的艺术之路，但也因此让我对于庭群的艺术，有着不同的、甚或是更深一层的阅读空间，并且体会其中的况味。

这样的表达，似乎暗指着我们将依靠某种作品的发生学（Embryology），来解释庭群的创作。彷佛有个最内在的动机，等待观者抽丝剥茧地来检视艺术家，由浅入深、由表象而进入真实。此处，我反而想试着逆转此一过程。倘若作品中所展现出的视觉形式和语汇，便是画家唯一能够将意义传达给观者的媒介，不需依靠过度的言语。那么，回到作品，便成为你我最有意义的、体会艺术的美学之舟。藉由乘坐着它，靠近我们的艺术家。

作品诉诸于观者的视觉和脑海，并在剎那间凝聚成意趣不一的心象。许多时候，心象是具有温度的，即使看似莫名，内里却蕴藏着生存的脉动。观者与作者也于此处连结，在互相凝望中产生可能的共感。意在言外，却已然包含在形式之中。

由此思索，作品除了是作者的自我表现外，她同时也一次次邀请观者打开新的意义世界。形式与风格是第一义，若我们将视线投向庭群较早期的创作，便可发现，他的创作语汇不断由具象，朝向抽象的境域迈进。亦或可进一步说，张庭群将他的作品里的指涉，不断还原、不断简约、不断结晶。这是艺术家成熟的过程，某种程度上也象征着他与创作的关系，愈发深沈。

张庭群早期的作品，再现着当代中国发展中的城市意象，以及里头跃然的人性欲望。在亮眼的背景中，城市作为演化中的符号，与传统追求吉祥的器皿相互结合。今古交会，也从而为我们犀利点出当代社会精神面貌的某个侧面，构成反思的纵深。而在约2010年前后，城市意象在他的画作里渐次隐身，取而代之的是拥有哲思的线条、色块与凝聚的氛围。如《2010.6.11》一作，便由多彩的线条，不规则的构筑出恍若心绪的时空，彷佛音声与言语彼此交错、牵系。而在《2011》与《2012.10.17》两作里头，色彩愈发的简单，层次则愈发的丰富，展现出作者坚实的绘画技巧。站在此岸，创作者有如一位技艺高超的指挥家，向距离不等的彼岸上的观者传达旋律，而一波波海浪，便是那些画中的线条、笔触和色调。浪拍击着视觉接收的彼岸，也彷佛在敲打着无声之音，而观者则向化身为知音人，屡屡聆听着这无声中的、秘密的、生命的歌曲。

抽象性的作品，其真谛远不在于解答，而在于直观。透过抚触画作中的每个韵律、舒张和节点，去沁入生命经验的种种。庭群的《2010.12.31》，以及之后的《2012.8.29》，乃至《2014.8.6》，绘画内的空间俨然被滋长中的线条所不断侵蚀、占据、包裹，这是否也隐喻着艺术家在创作之时的内心世界呢？答案终究是甚多层次的，但可以肯定的是，当我们在尝试接近与屡屡述说着作品所蕴含的世界时，我们即已在走进一个美感经验构筑成的宇宙。主、客体之间的隔阂，亦将暂时遭到屏弃。而只有优秀的、具有潜质的，对人性具有观照的艺术家，能为我们指向此一境界。

张庭群的壮年，和所富有的创作能量，我相信他将在这个已然召唤出的境界里，为你我走得更深、更深。驱策着我们所搭乘的美学之舟，往更澄明、更生气盎然、更丰沛有情的境地走去。

The boat of aesthetics from the other side of the sea

(Article | Dr. Zhang Zhenglin)

Mr Zhang Tingqun is my friends for many years, in 2005, I met him and his creation, and left a deep impression. We are all learning art, although from both sides of the straits, in the different time onto the road of their art, but also so let me for the division of art, has a different, or even a deeper reading space, and to know the condition.

The expression, and seems to be dark, pointing to we will rely on the genesis (Embryology) in some works, to explain the creation of the division of. As there is a the most intrinsic motivation, the cobwebs waiting for the viewer to examine the artist, distinguished, into the real by appearances. Here, I want to try to reverse the process. If the works displayed in the form of visual and vocabulary, is the painter only medium to communicate meaning to the viewer, does not need to rely on excessive words. Then, back to work, become my most meaningful, you experience the raft of artistic aesthetics. By taking it, close to our artists.

Works to resort to the viewer's vision and mind, and in a moment's interest and condensed into a different heart like. Many times, the heart is like temperature, even seem baffling, but inside contain the pulsation of survival. The viewer and the author also links here, possible empathy in gazing at each other. This paper, are already included in the form.

The thinking, work besides is the author of the self-expression, she also invite the viewer to open the new meaning world. Form and style is the first righteousness, if we turn our attention to court the creation of the group of earlier, can be found that his vocabulary by representational, toward the realm of the abstract. Or can be further says Zhang Tingqun will refers to, in his works constantly reduction, contracted, continuous crystallization. This is a process of mature artists, to some extent, also a symbol of his relationship with creation, more and more deep.

Division of the early works of the contemporary China in the development of city image, and in moving human desire. In the background of bright eye, and the city as a symbol of evolution, combined with the traditional pursuit of auspicious vessels. Gujiao, today also to our sharp points out the one side of the contemporary social spirit. Constitutes a deep reflection. In about 2010 years before and after the city image in his paintings gradually stealth, instead with lines and colors of philosophizing with condensed atmosphere. Such as "2010.6.11" for the first time, then by the colorful lines, irregular build out of the ashes of the mood of the time and space, as the intersect, enhancing the sounds and words. In the "2011" and "the 2012.10.17" for the two, colour is more simple, level are increasingly rich, showing the author solid painting skills. Stood on the shore, the creator as a skilled conductor to convey to the ranging distance from the viewer on the other side of the melody, and a wave wave, is those lines in the picture, brushwork and color. Waves slap on the other side of the visual receive, also as if he were banging silent voice, while the viewer to become soul mate, often listen to the silent, secret, life in the song.

Abstract works, its essence is not the answer, but in the intuitive. Through touch painting each rhythm, blood and node, to your life experience. Division of 2010.12.31, and later the 2012.8.29, and even the 2014.8.6, painting in the line of the space has been growing continuously eroded, occupy, package, whether this is a metaphor of artists in the creation of the inner world of the? Answer to what is, after all, multi-level, but what is certain is that when we are trying to close and repeatedly telling works contained in the world, we have entered a aesthetic experience built into the universe. Gap between the main, object, will temporarily was dismissed. And only good, have the potential, artists of human nature has witness, for us to the realm.

Zhang Tingqun prime of life, and the rich creative energy, I believe he will be in the state of this raises a already, for you I go deeper and deeper. Drives what we take the boat of aesthetics, the more transparent, more exuberant, more abundant sentient beings of the situation.