江屹作品 ⓒJIANGYIARTSTUDIO

“当代散文八大家”：林清玄

林清玄被誉为“当代散文八大家，是作家，著名文学家。他出生于1952年出生于中国台湾，1979年获得《中国时报》文学奖，1985年国家文艺奖。他的著作贯通他对佛教以及生命科学，反思都市文明的人生哲理，文学作品在中国大陆，台湾的影响力非常大。代表著作有《菩提十书》《清净之莲》《桃花心木》《生命的化妆》《身心安顿》等等。

林清玄遇见江屹

林清玄很少为艺术家写评论，他在1990年代遇见了旅日艺术家江屹的作品，成为了江屹作品的共鸣者，非常欣赏江屹的作品思想。或许江屹的物理博士和对于中国传统水墨和书法的深度理解和融合，正是林清玄所探究的生命科学以及对佛教的核心思想。林清玄先生2019年去世，他被誉为中国当代散文八大家之一，在这里分享他对江屹的作品的随笔文。

江屹：东方的达芬奇

江屹出生于中国，1980年代第一批中国高教部派遣留学日本研究物理学，获得物理学博士，是国际上首位的渗透学的博士论文。他的论文在美国发表，可以说是非常优秀的物理学家。江屹之父亲热爱书法，自然江屹对艺术的非常热爱，他的艺术才华并没有被物理学掩盖，反而融合在一起。日本美术馆策展人，收藏家在这一点发现了东方艺术的新的可能性。江屹的作品1980年代就结合了他的物理学背景和中国水墨，书法，用次元数学和分形数学的方式解析中国水墨的奥秘。被日本誉为首位中国跨界艺术家。1992年被邀请参展日本美术史中最重要的亚洲当代艺术展：《亚洲当代艺术之旅》（日本琦玉近代美术馆）。日本著名艺术家绢谷幸二评价江屹说：“艺术和科学在他身上融为一体，他的艺术道路正是达芬奇型的艺术之道”。新光三越百货店公司董事长吴东兴和候政廷文教公益基金会的候博文先生在1993年的作为赵无极为代表的中国抽象艺术中归纳了江屹的作品。其参展艺术家由朱德群，赵无极等14位艺术家，江屹是作为最年轻的艺术家参展。1995年获得千叶市美术馆特别奖，其雕塑作品被千叶市美术馆永久收藏。至今在洛杉矶，华盛顿DC，法国等国家举办个展。

2015年在中国美术馆的展览中，中国电视台做了专题采访，称江屹是东方的达芬奇式的人物，记者报道说：“江屹是最精通艺术的科学家，也是最精通科学的艺术家”。

江屹展出作品 JiangYi Art work

" Chinese 8 masters of contemporary prose": Lin Qingxuan

Lin Qingxuan is known as "Chinese 8 great contemporary prose writers and famous writers". He was born in 1952 in Taiwan, China. In 1979, he won the "China Times" Literature Award  National Literature Art Award in1985. His works are connected with his philosophy of life in Buddhism and Life Sciences, and his liteature strongly influence the on Chinese mainland and Taiwan is very great. His representative works are “ten books of Bodhi”,“pure lotus” ,“peach blossom heart wood” , “life make-up”, “body and mind settle down”, etc.

Lin Qingxuan meets Jiang Yi
Lin Qingxuan seldom comments on artists. In the 1990s, he met with the works of Jiang Yi, an Chinese artist who based in Japan. He became a resonance of Jiang Yi's works and appreciated Jiang Yi's concept. Perhaps Jiang Yi's Ph.D. in physics and his deep understanding and integration of traditional Chinese ink painting and calligraphy make Lin Qingxuan’s heart which deep in life science and Buddhism moving. Mr. Lin Qingxuan died in 2019. He is known as one of the eight great contemporary prose writers in China. Here he shares his essays on Jiang Yi's art works.

Jiang Yi: Da Vinci in the East
Jiang Yi, born in China, was sent by the Ministry of higher education of China to study physics in the 1980s dispatch to Japan, and obtained his Ph.D. in physics. He is the first doctoral dissertation on penetration in the world. His research was published in the United States, which can be said to be a very talent physicist. Jiang Yi's father loves calligraphy. Naturally, he loves art very much. His artistic talent is not covered by physics, but fused together. The curator and collector of the Japanese and Chinese Art Museum has found new possibilities for Oriental Art in this regard.

In the 1980s, Jiang Yi's works combined his physical background with Chinese ink painting and calligraphy to analyze the mysteries of Chinese ink painting in the way of dimensional mathematics and fractal mathematics. Japan has become the first Chinese cross-border artist. In 1992, he was invited to participate in the most important Asian contemporary art exhibition in the history of Japanese Art:” a journey of Asian Contemporary Art ”held in Saitama Modern Art Museum in Japan. Wu Dongxing, chairman of Xinguang Mitsukoshi department store, and Mr. Hou Bowen of houzhengting culture and education public welfare foundation summarized Jiang Yi's works in 1993 in Chinese abstract art represented by Zhao Wuji. There are 14 artists including Zhu Dequn, Zhao Wuji and so on. Jiang Yi is the youngest. In 1995, he won the special award of Qianye Art Museum, and his sculpture works were permanently collected by Qianye Art Museum. So far, he has held individual exhibitions in Los Angeles, Washington, DC, France and other countries.

In the exhibition at the China Art Museum in 2015, Chinese TV reporters reported that JiangYi "Da Vinci in the East".

赵无极作品 ZhaoWuJi art work

朱德群作品 ZhuDeQun art work

江屹作品 JiangYi art work

《两湖鬼刀·神笔·江屹》    ——林清玄

1
“我宁愿自己的作品在漏洞百出中透出一点闪光，而不愿在一个低的层次上追求完整。”

初看江屹的画，使我感到一种莫名的震动，很难以说明那竟然是一张水墨画，虽然水墨淋漓，感觉上却是很油画的，在重重浸染的水墨之中，主题则在穿云带水中浮现。
朋友告诉我，江屹的画，有不少是从背面开始画的，因为是从背面开始，整个画作表达了一种厚重壮阔之感，与一般水墨的轻灵飘逸大有不同。
更令人震撼的是，江屹的画作都是具象与抽象并陈，写意与写实交杂，线条与浸染穿梭，充满了无限的自由，他在技法上几乎是没有任何约束的，这使他的画作有一种自由之美，美不胜收。我想到他在绘画杂感写的一段话：“不断地否定自己是需要勇气的，这种勇气不是人为的，而是依据作者的素质自然而然地涌现出来的，勇敢与蛮干毕竟不是一回事。”看江屹的水墨画确实能感受到他那种勇敢创新的素质。
我们过去对中国水墨画的印象早就固定了，水墨画无非是讲究灵的意境，或者是大量留白，或者是一丝不苟，特别是宋朝文人画流行以后。而江屹的画却充满了不确定因素，是多变的，弹性巨大的，那种感觉难以形容，就好像顽皮的孩子拿弹弓在打水墨画一样，令人心惊肉跳。
读著江屹大开大合的作品，使我对他这个人也感到莫大的兴趣，正如他在自叙所说的：“艺术到了最后，是艺术家的才能，阅历，修养的较量，技法已经不那么重要了，放个屁也是香的。”
  
2
“一个画家会画画，就一定能画中国画，也能画西洋画，也可以搞雕塑，当然，不一定什么都高。如果让毕加索画中国画，一定也能画得很好。”

身为一位艺术家，又是一位数理博士，江屹基本上认为艺术与科学是相通的，而艺术在高层次上也是相通的，一个艺术家只有在充分把握这种共性的基础，才可能谈到彼此间的区别。
他认为，一些很简单的中国画同时也是一幅很简洁，概括，具有思想性的好素描，因为素描是人对事物的看法，也是一种宇宙观的表现形式，所以他觉得有些人认为中国画没有素描是可笑的看法。
他认为散点透视法和立体派的原理相通；写意画则是表现主义和野兽派；讲意境则是象征主义，工笔画是新古典主义。。。
他强调： “传统的意义在于它能让人登上一个新的阶梯。” “应该在更高的层次上看中国画，画中国画，不能自己将自己的手脚捆起来。” “我想在极端物理意义上找到一种潜在的意识和感情，让物质和精神在高的层次上得到沟通。”
因此，江屹的艺术可以说是某种共振，某种刺激，某种挖掘，甚至某种碰撞的结果，表面形式反而不是那么重要了。他要抓住的是本质，就好像抓住了一个人的细胞就包含了人的身体相同的结构，“只要一个中国艺术家抓住这种本质，就不必过分强调传统或强调自己是中国人”江屹说。
 
3
“任何线条都不能谓之败笔，只要在适当的位置能表达作者的感情，都是好的。”

看江屹的水墨画使我深受感动，因为很久没有看到这样有生命力，有雄浑气魄的水墨画了。
很过瘾！
我想，艺术的创作应该是为了开展人的心灵空间而存在的，因此艺术的自由应该比规范还重要，艺术一旦规范大于自由，人的心灵就受到禁锢了。
特别是我们这个时代，一个新的感情的期许，格外需要在艺术上有所突破，给一些思维与想象空间。做一个时时以创新自期的艺术家，江屹的两湖鬼刀神笔是值得期待的。

注：林清玄(1953— )，笔名秦情、林漓、林大悲等。台湾高雄人，1953年生于中国台湾省高雄旗山。毕业于中国台湾世界新闻专科学校，曾任台湾《中国时报》海外版记者、《工商时报》经济记者、《时报杂志》主编等职。他是台湾作家中最高产的一位，也是获得各类文学奖最多的一位。
林清玄的作品曾多次被中国台湾、中国大陆、中国香港及新加坡选入中小学华语教本，也多次被选入大学国文选，是国际华文世界被广泛阅读的作家，被誉为“当代散文八大家”。

江屹在北京工作室 Jiang Yi Art studio in Beijing

Famous litterateur Lin Qingxuan:"Ghost sword, God brush : JiangYi"

"Ghost sword · God brush · Jiang Yi" -- Lin Qingxuan

1. "I'd rather have a little bit of a flash in my work than a low level of integrity."

When I first saw Jiang Yi's painting, I felt an inexplicable shock. It's hard to explain that it was a Chinese ink painting. Although the ink was incisive, it felt very oil painting. In the heavily stained ink and wash, the theme emerged in the water of Chuanyun belt.

My friend told me that many of Jiang Yi's paintings start from the back, because they start from the back. The whole painting expresses a sense of massiness and magnificence, which is quite different from the lightness and elegance of ordinary ink and wash.

What's more shocking is that Jiang Yi's paintings are both concrete and abstract, with the mixture of freehand brushwork and realism, and the shuttle between lines and immersion, which is full of infinite freedom. He has almost no restrictions on his techniques, which makes his paintings have a kind of beauty of freedom and beauty. I think of a paragraph he wrote in his essay on painting: "it takes courage to constantly deny yourself. This kind of courage is not man-made, but naturally emerges according to the quality of the author. Courage and recklessness are not the same thing after all." Looking at Jiang Yi's ink painting, we can really feel his brave and innovative quality.

In the past, our impression of Chinese ink painting has been fixed for a long time. Ink painting is nothing more than the artistic conception of paying attention to spirit, or leaving a lot of blank space, or being meticulous, especially after the popularity of literati painting in the Song Dynasty. However, Jiang Yi's paintings are full of uncertain factors. They are changeable and flexible. The feeling is indescribable. It's like a naughty child playing ink painting with a catapult. It's frightening.

Reading Jiang Yi's works, I also feel great interest in him, as he said in his self narration: " at the end, art is the competition of talent of the artist, experience, training. Actually techniques are not so important, the same as fart is also fragrant."

2. "If a painter can draw, he must be able to draw Chinese painting, Oil painting and sculpture. Of course, everything is not necessarily high level. If Picasso is allowed to draw Chinese paintings, he will certainly be able to draw very well. "

As an artist and a doctor of mathematics and physics, Jiang Yi basically believes that art and science are interlinked, and art is also interlinked at a high level. Only when an artist fully grasps the basis of this commonness can he talk about the differences between them.
In his opinion, some very simple Chinese paintings are also a simple, general and thoughtful sketch. Because sketch is people's view of things and a manifestation of the world outlook, he thinks it is ridiculous that some people think that there is no sketch in Chinese painting.
He thinks that the principle of scattered perspective is similar to that of Cubism; freehand brushwork is expressionism and fauvism; artistic conception is symbolism; meticulous painting is neoclassicism...
"The significance of tradition is that it takes people up a new ladder," he stressed "We should look at Chinese painting at a higher level. We should not tie our hands and feet together when painting Chinese painting." "I want to find a kind of potential consciousness and emotion in the extreme physical sense, so that the material and the spirit can be communicated at a high level."
Therefore, Jiang Yi's art can be said to be the result of some resonance, some stimulation, some excavation and even some kind of collision, but the surface form is not so important. What he wants to grasp is essence, just as if grasping a person's cell contains the same structure of human body. "As long as a Chinese artist grasps this essence, he doesn't have to overemphasize tradition or emphasize that he is Chinese," said Jiang Yi.
 
3."No line can be called a failure, as long as it can express the author's feelings in an appropriate position, it is good."

I was deeply moved to see Jiang Yi's ink painting, because I haven't seen such a vigorous ink painting for a long time.

It's fantastic!

I think that the creation of art should be for the development of people's spiritual space, so the freedom of art should be more important than the norms. Once the norms of art are greater than the freedom, people's mind will be imprisoned.

Especially in our times, a new emotional expectation, especially need to make a breakthrough in art, to give some space for thinking and imagination. To be an artist who always hopes to be innovative, Jiang Yi's Gost Sword and God Brush is worth looking forward to.

Jiang Yi exhibiiton in China DAMEI Art Museum 中国达美美术馆江屹个展海报