解衣般礴

文/荣剑

艺术领域，谁更自由，古人还是今人？庄子用解衣般礴界定美学境界，亦是一种自由状态。如清初画家恽南田的诠释:若无人之意，然后化机在手，元气狼藉，不为先匠所拘，而游于法度之外。由此看来，自由取决于解衣，解除衣之束缚，达至自然天成，即可自由，此乃古人的精神自由。然而，庄子逍遥游般的想象却没有进一步想象到，解衣不仅仅是一种观念的呈现，而可以是一种物化形态，这是蒋宛霖的山水物语之微妙境界，古人想象力难以企及。从物质走向物语，材料转化为语言，此乃今人的精神自由和物质自由。

山水画的现代转换，取决于观念与材料的双重突破，而材料之选择更是殊为难得，需要有更为自由的奇思异想，也需要有足以炫技的制作功夫，非一时取巧可以取胜。蒋宛霖的“解衣”是另一重自由境界，以后现代解构的精神，将风马牛不相及的两种材料混搭出山水画境，化衣物废料为神奇，同时显示传统笔墨技法之精微，两种不同语言的反差构成视觉张力，富有情趣，品味高雅，妙不可言，令人叹为观止。

艺术无限，尽显庄子高明，假物以游世，无物不然，无物不可！

Presence of Mind

Written by / Rong Jian

Whether ancient people or modern people have more freedom in art, Zhuangzi defines the aesthetic realm with calm and leisure, which is also a state of freedom. In the interpretation of Yun Nantian, a painter in the early Qing Dynasty, who displayed unconstrained, free and casual emotion without being imprisoned by his ancestors and could achieve broad imagination.

The modern transformation of landscape painting depends on the double breakthrough of ideas and materials, since the choice of materials is even more rare, which requires more free whimsy and dazzling production skills. It can’t win on tricks. Jiang Wanlin "undressed" is another free boundary, with modern deconstruction spirit, she combines the two kinds of material mixing scenery picturesque scene, turning clothes waste into magic, which shows the subtlety of traditional brush and ink techniques. The contrast of two different languages constitutes visual tension, which is full of interest and elegant taste for the wonderful and amazing emotions.

Art is infinite and depicts Zhuangzi's wisdom, since everything has its proper and appropriate place.