华鸟的圆——读《圆系列》之翡翠和水

      Round of Hua Niao - Reading the work of jadeite and water of Round Series

By Shen Wen and Yang Hong sheng : 

      Translated by Dr. Sun Jing qiang

      编者按：一件看不懂的艺术作品，我们的第一反应就是从视觉上寻找线索去理解和欣赏。作者杨宏声和沈文在与华鸟结识以来，真实地记录他们的感想，为我们提供了欣赏华鸟作品的途径。

      Editor's note: the work of art cannot read, and our first reaction is to look for clues from the visual to understand and appreciate. Since acquaintance with Hua Niao, Yang Hong sheng and Shen Wen have recorded their true feelings, and provided us with a way to appreciate the work of Hua Niao.

      华鸟：如果作品不那么另人费解的话，那很不错。但是，我们回不到那个时代了吧，对于作品的不理解性，我们需要解读。如果艺术家本人谈点创作感想、动机、或一段经历、几本书、几位好友的交谈录是能够引发人们对作品的理解的话，我将乐此不彼。不过，作品是最重要，我希望听到不同的语言和声音。

     Hua Niao: If the work is not so puzzling, then it is very good. However, we cannot return to that era of it. For the work not to be understood, we need to interpret. If the artist herself talk about feelings, motives of the creation, or an experience, a few books, the conversation of several friends are able to lead people to understand the work, I will be very happy. However, the work is the most important; I hope to hear different languages and sounds.

（华鸟《圆系列》作品）

Round Series of Hua Niao

华鸟的圆——读《圆系列》之翡翠和水

文/沈 文

     石器时代，人和石头的关系，朴拙而实惠，石头以碎裂提供原始的锋利，或以笨重表现钝力；人用力量高举石头或投掷，获取猎物和权力，石头是英雄辈出的最有力工具。

只是到了你的圆世纪，熔岩的高温改变了石头的精度、密度和纹理，直到翡翠的透亮逐年明朗，高贵的冷美之光，隐现在庞大的水系，脱颖而出的美感，早已和一切文明同频共振，冷峻而迷人。  

      于是，颂扬洪荒开石，轻握翡翠，英雄总是风流倜傥。

创世的精神，经由水的浸润、福泽、维系，使一块石头的坚硬和仿佛坚硬的隔阂，水洗出厚重醇正的绿色清透，暗蕴圆通的能量，层级排列，高高在上，触碰彼此，发出明亮而低调的清脆；这也是彼此认同的质感，好听，好看，绿光的血液互相流通，安静奢华，彼此照应。

      Round of Hua Niao - Reading the work of jadeite and water of Round Series

By Shen Wen

      In the Stone Age, the relationship between man and stone is simple and affordable. The stone provide the original sharp by the form of fragmentation, or the blunt by the bulky; people with their strength lift high rock and throw, get prey and power, and stone is the most powerful tool of the heroes.

      Just to your century of Round, the high temperature of the lava changed the accuracy, density and texture of the stone. Until the translucent jadeite became bright year by year, noble and cold beauty is hidden in the huge water system, the beauty stands out, and all the civilizations with the same frequency have resonance, solemn and charming.

     So, praising the pioneers of opened stone, gripping jadeite light, the hero is always romantic suave.

     The spirit of creation, through the infiltration, grace, maintaining of water, made a stone hard and as if it had the hard gap. Water washed out the thick, pure and green clearness, dark, round and transparent energy, hierarchical arrangement, high above, touching each other and issuing a bright and low-key crisp; this is also texture recognized with each other, nice, good-looking, green blood circulation, quiet and luxurious, taking care of each other.

（沈文接受央视《半边天》节目采访）

（Shen Wen accepted CCTV Half the Sky program interview）

沈文：企业家。上海后海派旗袍的创立者，他也致力于植物护肤品的研发生产。近年来，他深入研究华鸟艺术，并积累了近百篇评论文章，在艺术评论上具有独立特行的风格。

Shen Wen is an entrepreneur, and he created a new cheongsam– the style of post-Shanghai and committed to the development and production of plant skin care products. In recent years, he studies intensively Hua Niao’s art, and accumulate nearly 100 review articles with the unique style in the art of comment.

读华鸟作品笔记

杨宏声

      近年来，在华鸟的画展和画室里看到她的画，不时会有想法，也有讨论，时常会做一些笔记以备忘。

      华鸟的《圆系列》先是三幅，似乎是组画，但是每一幅又是独立的，在主题上是一致的，也是连贯的。乍一见到《圆》——各由金属和珠宝排列组成的各种字体的圆，我为之震惊，我的想法是：这几幅画到底要表达什么？是不是过于时尚化了，是不是行画的画法啊？诸多的疑虑盘绕着我，使我再仔细去看，再观，再感，再想，觉得不尽然也！事情没那么简单。

      华鸟作画，一直都是用心和用意颇深的。我们略可于画的命题上领会到画家作画之意，更可以推断出作为艺术家的绘画的精神性和思想性。当然，一些命题仍可继续推敲。有一天王安桅先生（2010上海艺博会宣传部主任）来访，我们一起披览华鸟的画册，于此三幅画亦有所评论。略记之，提供“华鸟艺术讨论会” （无锡博物院《华鸟作品展》）上继续研讨。 

     《圆》的每一幅乃圆字的书写、由篆、隶、楷、行、草、甚至新体的构成，间有描绘（如翡翠和水）赋予圆字以实体性——金属和宝石的质感。于字体的排列有碑文的模式，又不是碑文。是绘画字体、或字体绘画。

     “翡翠和水”，晶莹透绿之水横溢画面；水光则上射下落，呈垂直状，构成一个动态的十字。水流溅起，激起水花，如珠如泡影，似写其空幻之变，又写其质地：让人想起翡翠在生成时的模样。翡翠质感之稳定和流动之水，形成对照。

      因此，整个地观察《圆系列》，无论金、铁、翡翠、水、银，都是资源，既是经济资源、生活资源；也是文化资源、艺术资源。其圆相，让我们记起它的渊源和流变。因此，作为财富生成之圆，与作为物象之本之圆，它们之间，确实是有联系的。 

      《圆》乎《圆》乎，大雅大俗乎……

Notes of Reading the work of Hua Niao
By Yang Hong sheng

        In recent years, seeing her paintings in Hua Niao 's exhibition and studio,  there will be ideas, discussions from time to time and often some notes to memorize.

        In Hua Niao’s Round Series, there was firstly three pieces, and it seems that there is the group painting, but each one is independent. They are consistent on the subject, but also coherent. At first glance to the Round – which are arranged by the metal and jewelry in a variety of roundness, I was shocked, my idea is: what is expressed in some paintings in the end?  Are they not too fashionable and are they professional paintings? Many doubts around me, so I look carefully, notice, feel, and then think, and I do not think so! Things are not that simple.

     Hua Niao’s painting has always carefully and intentionally deep ideas. We can only draw on the meaning of the proposition of the painter, but also the spiritual and ideological from artist's painting can be inferred. Of course, some propositions can continue to be scrutinized. One day, Mr. Wang Anwei (Director of Propaganda Department of Shanghai Art Fair 2010) visited us. We appreciated Hua Niao’s paintings (The book of Hua Niao’s Solo Exhibition in the Wuxi Museum) discussed the three pieces of them. I write some ideas down and provide them for Hua Niao’s Art Symposium.

     Every piece of the Rounds  is written in seal, regular style font (Zhuan, Li, fixed, line, grass) and even in a new font, some time with a description (such as jadeite and water), giving round characters an entity - the texture of metals and gems. The inscription mode, or not the inscription in the font arrangement. A drawing font, or a font painting.

     " Jadeite and water", crystal clear and green water flows in the landscape; water light is shot up and drops down, vertical, which constitute a dynamic cross. Water splashing, sparkling water, such as beads and bubbles, like writing its fantasy change, and its texture: reminiscent of jadeite in the generation of the appearance. the stability of jadeite texture and flowing of water are compared.

     Therefore, the whole observation of the Round Series, gold, iron, jadeite, water, silver, all of them are resources and also economic resources, living resources, cultural resources, artistic resources. Its roundness lets us remember its origins and theology. Therefore, as a round of the generation of wealth and as the roundness of the thinness, between them, is indeed linked.

     Round, both noble and vulgar….

（右一：杨宏声，于无锡博物院《华鸟作品展》）

(Right: Yang Hongsheng at Hua Niao exhibition in the Wuxi Museum)

杨宏声：哲学博士。上海市社会科学院哲学研究所研究员、《国际中国哲学学会》世界哲学与美学研究中心执行主任。是世界著名哲学家成中英氏享誉中外的英文《中国哲学季刊》(1973)、《国际中国哲学学会》(1974)、《国际易经学会》(1985)的成员之一。于华鸟艺术之研究上发表多篇学术论文。

       Yang Hongsheng: Ph.D. philosophy researcher of Institute of Shanghai Academy of Social Sciences, Executive Director of International Chinese Philosophy Society World Philosophy and Aesthetics Research Center(1973), one of the members of the world famous philosopher Cheng zhongying English-edited International Chinese Philosophy Society (1974), International Book of Change (1985), publishing many academic papers in the study of Hua Niao Art.

      孙景强（本文翻译）：华东师大和巴黎七大联合培养博士。长期从事传统国学文化和西方哲学研究。东方智慧开发研究院讲师。东方智慧总裁研修班研究员。维学智慧领袖研修班研究员。中国学习力教育协会副会长。《V6学习力执行系统》研究员。

      Sun Jing qiang（Translated by）:

      Joint Training Doctor of East China Normal University and Paris Diderot University.  Engaging in traditional Chinese culture and Western philosophy for a long time. Instructor of Oriental Wisdom Development Institute. Researcher of President Class of Oriental wisdom. Researcher of Leaders Class of Dimension Wisdom. Vice president of China Association for Learning Capacity Education. Researcher of V6 Learning Capacity Executive System.