从「浮图·園」文博艺术体验展浅谈佛教与中国艺术的关系及中国书画时代的分野
From NY Funtique Exhibition to discuss Buddhism and different stages of Chinese art
书中，我对黄执中的一个观点感悟很深。他说：人类对知识的想象，向来便有两种：一种是拼图，别一种是积木。我觉得，我们这个时代，确实很难静下心来阅读一两小时，特别是手机阅读，都是利用碎片时间进行的，比如坐车、排队。
以菩提智慧“禅悦境界”为核心，以行知、观止、八苦、心幡、唯识、蝶梦、精舍为七个展陈区域，将各类佛像、壁画、书画、文玩器物为载体，以金、银、铜、瓷、竹、陶、水晶、琉璃、绿松石等为材质，再以禅悦智理相架构，是浓园「浮图·園」文博展的显性特征。从此次展览，更是可以梳理出中华文化中“禅”的重要作用，看到其对中华文化、特别是中华艺术的深远影响，使我们可以脱离宗教的视野，以艺术、哲学的角度去看“人间佛教”的广阔内涵，汲取其蕴养以润艺与哲。
Taking the Bodhi wisdom “Zen and Joy” as the core，while “learn while doing”，“Inner peace”，“suffering”，“prayer flag”，“consciousness”，“waking dream” and “Abode” are used as the seven exhibition subjects. Buddha statues，murals，paintings，and cultural objects are considered as carriers，and it also exploit materials like gold，silver，copper，porcelain，bamboo，pottery，crystal，colored glaze，turquoise，etc.
These are the dominant features of the first NY Funtique exhibition. From this exhibition，we can see the important role of “Zen” in Chinese culture and see its far-reaching influence on Chinese civilazation，especially on Chinese art. From the perspective of art and philosophy，we can see the broad connotation of “Buddhism” and employ it to nourish art and philosophy at the same time.
Peony has five petals，just as Zen has five schools，which is the beginning of the prosperity of Buddhism in ancient China. Changes come from heart，knowledges come from consciousness，people nourish heart to abnegate lust，restrain nature to help others，be kind thus liberate self，be benevolent and have mercy on others，which are the actions of saints. From restriction we can find inner peace，thus get wisdom，which is not only a way of personal practice，but also the practice of philosophy and art.
对于中国艺术来说，佛教是避不开的一个篇章。其对中国艺术的影响，在魏晋南北朝时期从其传入中国开始（特别是禅宗正式大规模传入），从石窟的大范围建立，对中国艺术的造型能力的塑造即起到了至关重要的作用。
文中描写的中心人物是一个地下党员的女儿.当时国民党反动派残酷地逮捕屠杀地下党员,白色恐怖笼罩着重庆上空.这姑娘的父亲因党组织遭到破坏而离开了家.母亲也因受到追踪特务的殴打而吐了血,然而,这位小姑娘不像一般孩子那样惊惶。
For Chinese art，Buddhism is an unavoidable chapter. Its influence on Chinese art began in the Wei and Jin Dynasties when it was introduced into China (especially the formal large-scale introduction of Zen ideology of Buddhism). A large scale of grottoes established，which has played a crucial role on the forms of Chinese art.
*横置观看
唐-王维 凡画山水，意在笔先。
传 唐 王维 著色山水-江皋会遇图全卷
而对中国绘画艺术来说，其影响更大，在有中国佛教之前（特别是禅宗哲学思想形成之前），窃以为，中国画应该是其第一时代，是追求形的时代，可以称之为中国画的古典主义时代，以顾吴（顾恺之吴道子）、二阎（阎立德、阎立本）为代表；在有禅的思想后，中华文化汲取了佛教的哲学意味，并运用于绘画艺术之中，同时将作画人由传统的专业画者拓展到文人士大夫之中，改变了行画统治的时代，中国画开始有了写意画、士夫画，格调为之一变，其更多承载了画面之外的思辨与情趣。
我认为这是中国画第二时代的篇章，即中国画的浪漫主义时代，这是中国画的意象、写意时代，将艺术的直觉变之为艺术的自觉，这个时代一直延续到元，但其影响一直到今天也还是存在的，是融入中国画灵魂之中的。在禅宗一系列经典公案中我们就可以同时体味到中国画的写意未尽、意在画外之意。这个时代以王维《山水》为启，以山不是山、山还是山等意论为始，他也成为中国南画之祖。
For Chinese painting，its influence is even greater. Before there was Chinese Buddhism (especially before the formation of Zen philosophy) ，I thought that Chinese painting was at its first stage，the era of pursuing form，it can be called the Classical Era，represented by Gu Kaizhi，Wu Daozi，Yan lide and Yan liben. After the introduction of Zen philosophy，Chinese culture absorbed and applied it to painting，at the same time，the painter was extended from the traditional professional painters to the literati，changing the Classical Era. Chinese painting began to have freehand brushwork and scholar-bureaucrat painting，and its style changed，it bears more meaning and interest outside the picture.
《我是猫》读书心得感悟与体会1 《我是猫》是日本著名的作家夏目漱石的处女作,发表于1905年。作者在书中以猫的身份来观察生活。这是一只善于思索、有见识、富于正义感、但至死也没有学会抓老鼠的猫。它观察着当时的人们,发出了自己对。
The way I see it， this is the chapter of the second stage of Chinese painting，that is，the Romantic Era. This is the age of imagery and freehand brushwork in Chinese painting，turning artistic intuition into artistic self-awareness. This era has continued until the Yuan Dynasty，but its influence still exists until today，and integrated into the spirit of Chinese painting. In a series of classic stories of Zen，we can also appreciate the freehand brushwork，and the extended meaning of Chinese painting. This era was inspired by Wang Wei's landscape painting and began with the idea that a mountain is not a mountain，a mountain is still a mountain. He also became the founder of Southern Chinese Painting.
作品主题 煌煌10卷的《昆虫记》一书，以其瑰丽丰富的内涵，唤起人们对万物，对人类和对科普的深刻省思。作者将昆虫的多彩生活与自己的人生感悟融为一体，用人性去看待昆虫。通过详细、深刻地描绘，各种昆虫的外部形态和生物习。
元时动乱，中国画以山水为大宗，托复古而寻新路。或以书入画、或不拘本体，强调个性，是中国画的第三个时代，这是个人英雄主义时代，这个时代一直延续到清末、西学东渐的时候，这个西不但是西方的艺术理论，还包括其哲学思想，使其不断融入到中国画创作及理论之中来，以康有为提出“合中西而为画学新纪元”、“以复古为革”为始，形成了中国画的第四时代，这是自我革命时代。
Yuan Dynasty’s turmoil stimulated Chinese landscape painting to search a new road. It was the third stage of Chinese painting，the era of individual heroism，which lasted until the end of the Qing dynasty，when western culture spread to the east. The western culture talked above is not only the western art theory，but also its philosophy，which constantly integrated into the creation and theory of Chinese painting. The fourth stage of Chinese painting was formed by Kang Youwei's idea of “combining Chinese and western painting into a new era” and “taking retro as a revolution”，which was an era of self-revolution.
《清衣江两岸》，陈子庄，（展陈设计：手机扫描能观看AR动画）
到今天科技发展，日新月异，互联网的到来使艺术从业者视野开阔，汲取知识的途径宽广便捷，内容丰富饱满。随着新技术的发展，从AI作画、云展览到元宇宙空间等，从艺术创作的方法到展呈方式的变化，如大火燎原，裹挟着艺术自觉的切合于时代的变幻，应该说是中国画被迫地进入了其第五时代，也是互联网科技时代。
With the rapid development of science and technology，the advent of the Internet has broadened the horizons of art practitioners and enabled them to acquire knowledge in a wide and convenient way with rich content. From AI painting，cloud exhibition to meta-universe space，from the method of artistic creation to the change of presentation，technology carried the art consciously in line with the changes of the times. It should be said that Chinese painting was forced into its fifth stage，the era of Internet technology.
展览创新
Innovation in exhibition
丝语献芹，贻笑方家。
周凯，艺术评论家、诗人。现任成都市芙蓉文化研究会副会长、武侯区美术家协会秘书长，原中国人才研究会书画人才专业委员会秘书长
出品：杨丽
视觉&审校：蒋懿嘉
翻译：阳海珠
排版：陈媛媛
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