百國(guó)視覺(jué)盛宴：圖觀絲路精神亙古常新
——“2017·第七屆中國(guó)北京國(guó)際美術(shù)雙年展”縱覽

文本刊記者 張亞萌 Zhang Yameng 譯曹宇光Cao Yuguang

我眼中的歷史（布面丙烯）沙凡·艾哈邁德History Within My Eyes（Acrylic on Canvas）by Shaffan Ahmed

“15年前、2002年的9月，也是在中國(guó)美術(shù)館，首屆北京國(guó)際美術(shù)雙年展呈現(xiàn)在世人面前；15年過(guò)去，北京雙年展的成績(jī)單令國(guó)人和世界矚目，我有幸作為親歷者，作為該展的發(fā)起人，一直見證著它的發(fā)展和成長(zhǎng)?！敝袊?guó)美協(xié)主席劉大為在“2017·第七屆中國(guó)北京國(guó)際美術(shù)雙年展”開幕式上這樣回顧。

今年恰逢北京雙年展創(chuàng)辦15周年。15年，對(duì)于雙年機(jī)制與頻率的北京雙年展來(lái)說(shuō)，是接近5500天的一步步的成長(zhǎng)，對(duì)于歷史長(zhǎng)河，只是短短一瞬——9月24日至10月15日，由中國(guó)文聯(lián)、北京市人民政府和中國(guó)美協(xié)聯(lián)合主辦，以“絲路與世界文明”為主題的“2017·第七屆中國(guó)北京國(guó)際美術(shù)雙年展”在北京中國(guó)美術(shù)館舉辦，更成為“15歲”的北京雙年展的重要節(jié)點(diǎn)——共有來(lái)自五大洲102個(gè)國(guó)家的567位美術(shù)家?guī)?lái)601件作品，其中外國(guó)（含特展）作品411件、中國(guó)作品190件，涵蓋當(dāng)代繪畫、雕塑、裝置、影像以及其他多媒體作品。

絢麗奪目的視覺(jué)華章

600多件參展作品，600多種不同的藝術(shù)風(fēng)格，展覽主題“絲路與世界文明”得到的全球呼應(yīng)熱度一目了然。本屆北京雙年展是活動(dòng)創(chuàng)辦以來(lái)首次突破100個(gè)國(guó)家參展，也是全球迄今為止首個(gè)達(dá)到100個(gè)參展國(guó)家的美術(shù)展覽，表明了北京雙年展的國(guó)際知名度、影響力和吸引力日益提升，其中中非、斐濟(jì)、幾內(nèi)亞、洪都拉斯、馬爾代夫、巴勒斯坦、巴拿馬、塞舌爾、坦桑尼亞、也門等國(guó)都是首次參展。

“2013年秋天，中國(guó)國(guó)家主席習(xí)近平洞察世界發(fā)展的大勢(shì)、順應(yīng)國(guó)際合作的潮流，提出了共建絲綢之路經(jīng)濟(jì)帶和21世紀(jì)海上絲綢之路、即‘一帶一路’倡議。4年來(lái)，這一倡議得到全球100多個(gè)國(guó)家和國(guó)際組織的積極支持和廣泛參與，逐漸從理念轉(zhuǎn)化為行動(dòng)，從愿景轉(zhuǎn)化為現(xiàn)實(shí)，取得顯著成就。就在今年5月，‘一帶一路’國(guó)際合作高峰論壇成功舉辦，來(lái)自100多個(gè)國(guó)家的各界嘉賓齊聚北京，共商合作發(fā)展大計(jì)，盛況空前，成果豐碩。”中國(guó)文聯(lián)副主席李屹表示，雙年展融入“絲路精神”，將賦予其更加牢固的根基、更加廣闊的舞臺(tái)，也更加富有包容性、時(shí)代感和強(qiáng)大的生命力。

作為“一帶一路”精神最早的領(lǐng)悟者，中國(guó)藝術(shù)家的參展作品以題材的廣泛性、形態(tài)的多元性以及手法的多樣性精彩地回應(yīng)了“絲路與世界文明”這一主題?！霸谥袊?guó)藝術(shù)家的筆下，無(wú)論是古道明月、梵音漣漪，還是援非醫(yī)療隊(duì)；無(wú)論是神秘的燃燈節(jié)、苦水社火，還是今日都市的微生活；無(wú)論是逍遙游、萬(wàn)物生，還是跨越亞歐大陸的高鐵；無(wú)論是羅盤、指南針，還是海上絲路的全圖勝景，無(wú)不或高亢或低吟地?cái)⑹鲋z綢之路這條歷史上最為古老、世界上最為綿長(zhǎng)的人類互通共榮之路。在展覽的現(xiàn)場(chǎng)，迷人的古道氣息與生機(jī)勃勃的時(shí)代氣象交互相生，誘人的味道彌散于歷史的天空，入人心目，沁人心脾。比起傳統(tǒng)的再現(xiàn)手法，藝術(shù)家們似乎更愿意將作品當(dāng)作文化符碼來(lái)加以建構(gòu)，由此所洋溢出的象征、隱喻、寓言的意味，將觀者帶入冥思與遐想。”北京雙年展策委張曉凌說(shuō)。

尤其值得一提的是，為填補(bǔ)當(dāng)前大型“一帶一路”主題美術(shù)作品的空白，組委會(huì)專門組織國(guó)內(nèi)美術(shù)家在有限的時(shí)間內(nèi)完成了兩件大體量的主題作品：一件是鄭百重創(chuàng)作的6米長(zhǎng)的國(guó)畫《海上絲路新篇章》，一件是馮路敏等合作的8米長(zhǎng)的油畫《絲綢之路新篇章》。

國(guó)外藝術(shù)家的參展作品同樣佳作云集，完全可以連綴成絢麗奪目的視覺(jué)華章。那些鴻篇巨制，或展示由絲路連接的文明圣地的壯觀勝景，或以近乎抽象的面貌呼應(yīng)一種匯融與拓展的氣場(chǎng)；也有蕞爾小品，或抒發(fā)激情，或點(diǎn)化依稀朦朧的情致，洋溢出令人回味無(wú)窮的詩(shī)性。北京雙年展策委丁寧說(shuō)：“有些藝術(shù)家是運(yùn)用了類似蒙太奇的手法，將東西方的歷史情景、先賢人物或者文化符號(hào)拼接、疊合在一起，給人以朦朧而又真實(shí)的印象；有些藝術(shù)家在改造經(jīng)典的圖像材料的基礎(chǔ)上略加點(diǎn)綴，就營(yíng)造了歷史的傳奇感。藝術(shù)家們?cè)谒囆g(shù)語(yǔ)言的選擇與錘煉上頗多可圈可點(diǎn)之處，不僅僅是寫實(shí)、抽象的共存，而且也有象征手法、拼貼、跨類融合以及越出架上藝術(shù)范圍的有益嘗試，甚至更多地吸收了中國(guó)藝術(shù)或文化元素。”而那些來(lái)自當(dāng)今戰(zhàn)亂不息的古絲路沿線國(guó)家的作品，比如也門、敘利亞、伊拉克等，更充滿對(duì)和平發(fā)展的絲路精神的緬懷、憧憬和夢(mèng)想，尤其讓人動(dòng)容。

在北京雙年展策委王鏞眼中，本屆雙年展在藝術(shù)上有兩個(gè)重要的特征：寫實(shí)與浪漫風(fēng)格交織，趨同與求異趨向并存?！耙酝鈬?guó)作品以浪漫風(fēng)格為主，想象力比較豐富；中國(guó)的作品以寫實(shí)風(fēng)格為主，相對(duì)來(lái)說(shuō)想象力不夠豐富，缺少浪漫色彩。而本屆北京雙年展的作品中，很多外國(guó)作品在發(fā)揮浪漫想象的同時(shí)，增加了寫實(shí)的刻畫。同時(shí)，很多外國(guó)作品更多地吸收了中國(guó)元素，中國(guó)的作品也更多吸收了外國(guó)的元素。這說(shuō)明趨同的傾向與求異的傾向形成了巨大的張力，恰恰是在趨同、求異這種巨大的張力當(dāng)中迸發(fā)了創(chuàng)作的靈感，激發(fā)了藝術(shù)家的幻想。”他說(shuō)。

一部功率巨大的“引擎”

除主題展外，本屆北京雙年展共設(shè)有“格魯吉亞當(dāng)代藝術(shù)特展”“希臘當(dāng)代藝術(shù)特展”“印度尼西亞當(dāng)代藝術(shù)特展”“蒙古國(guó)當(dāng)代藝術(shù)特展”“從丁托列托到利蘭加的藝術(shù)之旅”“北京雙年展歷屆捐贈(zèng)作品特展”6個(gè)特展。其中不僅有丁托列托、達(dá)利這樣閃耀世界美術(shù)史的大師力作，還囊括格魯吉亞、希臘、印度尼西亞、蒙古國(guó)等各國(guó)的近百位當(dāng)代優(yōu)秀藝術(shù)家的扛鼎之作，遴選自500多件北京雙年展藏品的幾十件歷屆各國(guó)捐贈(zèng)作品，也能讓觀眾一睹歷屆北京雙年展展品的精彩篇章。

“絲路精神與題材所喚醒的想象力與美學(xué)渴望，源源不斷地轉(zhuǎn)化為藝術(shù)家們創(chuàng)建新形式、新語(yǔ)言的實(shí)踐。趨同與求異兩種傾向之間的巨大張力，產(chǎn)生了東西方藝術(shù)交流融合而又異彩紛呈的壯麗景象?？梢哉f(shuō)，這些參展作品本身就是世界文明交流互鑒的結(jié)果，就是東西方文明在絲路題材上交流融合的藝術(shù)表現(xiàn)?！眲⒋鬄檎f(shuō)。北京雙年展國(guó)際策展人、加拿大策展人齊妮亞·貝尼沃爾斯基認(rèn)為：“絲路與世界文明”的核心是東西方的連通；絲路關(guān)注的是溝通和互相連接，而且也需要互相關(guān)注以及互相促進(jìn)——它是一種非殖民化的溝通。

絲路的歷史和現(xiàn)實(shí)題材歷來(lái)都非常充沛鮮活，沿路各國(guó)在共商、共建、共享的實(shí)踐中，在實(shí)現(xiàn)民心相通的過(guò)程中所涉及的國(guó)際友誼、民族交往和文化融合的深度故事皆可以入畫?！氨緦脜⒄棺髌繁绕饌鹘y(tǒng)的再現(xiàn)手法，美術(shù)家們似乎更愿將主題視作文化符號(hào)來(lái)加以建構(gòu)，而不單純發(fā)思古之幽情。絲路精神與題材所喚醒的想象力與美學(xué)渴望正源源不斷地轉(zhuǎn)化為藝術(shù)家們創(chuàng)建新形式、新語(yǔ)言的實(shí)踐。由此所展現(xiàn)出的象征、隱喻、寓言的意味，將觀眾帶進(jìn)無(wú)盡的遐想。在那里，絲路將被幻化為巨大而深邃的民族史詩(shī)，將蘊(yùn)含在其中的精神一一呈現(xiàn)訴說(shuō)?！敝袊?guó)美協(xié)副秘書長(zhǎng)、北京雙年展策委陶勤說(shuō)。

為方便民眾觀展，本屆北京雙年展特別設(shè)置了一些很暖心的環(huán)節(jié)：加大展簽尺寸、增加作品說(shuō)明等中英文導(dǎo)覽信息；特意選取部分有關(guān)絲路風(fēng)光、交通工具、駱駝等內(nèi)容的作品圖像制成休息區(qū)凳子的座套，使觀眾在觀看以外還能通過(guò)如此“可觀可坐”的方式和作品產(chǎn)生奇妙的接觸與互動(dòng)；同時(shí)設(shè)置“我眼中的北京雙年展”微印相明信片互動(dòng)環(huán)節(jié)，觀眾可以將作品拍照免費(fèi)制作成國(guó)際通用的郵資明信片并現(xiàn)場(chǎng)郵往包括“一帶一路”國(guó)家在內(nèi)的世界各地，與遠(yuǎn)方的朋友分享自己眼中的北京雙年展。

黃河之水天上來(lái)——壺口大瀑印象（布面油畫）嚴(yán)雋泰The Water of Yellow River Comes from Heaven—Impression of Hukou Waterfall (Oil on Canvas) by YAN Juntai

“今日歡聚，盡情展示和交流；明朝分別，滿載喜悅和友情?！崩钜僬f(shuō)。這正是15年北京雙年展達(dá)成的7次交流“盛景”。作為制度性的展覽，北京雙年展只有堅(jiān)持才是勝利，威尼斯雙年展堅(jiān)持了一百多年，所以它在世界藝術(shù)領(lǐng)域的話語(yǔ)權(quán)和選擇權(quán)無(wú)可比擬。中國(guó)美協(xié)駐會(huì)副主席兼秘書長(zhǎng)、北京雙年展總策劃徐里介紹，從最近幾屆來(lái)看，參加者最多的是美國(guó)和法國(guó)等歐美國(guó)家，所以展覽不僅是對(duì)第三世界的國(guó)家產(chǎn)生影響，還已經(jīng)影響到西方發(fā)達(dá)國(guó)家。正如媒體所言，北京雙年展作為一部功率巨大的“引擎”，無(wú)疑會(huì)牽動(dòng)未來(lái)中國(guó)乃至世界的美術(shù)格局，讓藝術(shù)的感染力超越時(shí)空、跨越國(guó)界，“各美其美，美人之美，美美與共，天下大同”，其獨(dú)特的影響力必將在延續(xù)不斷的運(yùn)作中持續(xù)凸顯出來(lái)?！覀兌际菑墓爬系挠文?xí)r代一路走來(lái)，經(jīng)歷了絲路上的艱難與辛勞，也享受著成就與榮耀，磨礪出了開拓精神與堅(jiān)韌性格，使友好與互通成為我們彼此心之所向。有了這個(gè)基礎(chǔ)，“一帶一路”必定行穩(wěn)而至遠(yuǎn)，連接起屬于我們的命運(yùn)共同體。

“It was in September of the year 2002, 15 years ago and also here in NAMOC that the first Beijing International Art Biennale (BIAB) was presented to the world. In the past 15 years, BIAB has achieved an outstanding result in the focus of Chinese people and the people all over the world. As its initiator and undertaker in the process, I have witnessed its development and growth.” Liu Dawei, president of China Artists Association(CAA) reviewed BIAB at the opening ceremony of the 7thBIAB.This year is the 15thanniversary of BIAB. 15 years mean a gradual growth of nearly 5500 days for BIAB, an event under the mechanism of two-year frequency while this period is only a short instant in the stream of history. From September 24 till October 15, the 7thBIAB, jointly sponsored by CFLAC, Beijing Municipality and CAA, with the theme of “The Silk Road and World Civilizations”, was held at NAMOC in Beijing. Consisting of 601 artworks by 567 artists from 102 countries of five continents,including 190 artworks from China and 411 artworks from abroad,this exhibition marked a significant milestone in its 15 years of evolution, with extensive coverage of contemporary painting,sculpture, installation, video and other multi-medias.

Magnif i cent Chapter of Visual Arts

Over 600 artworks with varied styles have highlighted an unprecedented worldwide passion in echoing the theme “The Silk Road and World Civilization” of this BIAB. For the first time in BIAB’s history, the total number of its participant countries has surpassed 100 and BIAB has become the first fine art exhibition that affracts over 100 participant countries in the world so far,both of which indicate an increasing international reputation,influence and attraction of BIAB. For the first time, Central Africa,Guinea, Honduras, Maldives, Palestine, Panama, Seychelles,Tanzania and Yemen became the participant countries of BIAB.

“In the autumn of 2013, Chinese President Xi Jinping, through his observation of the trend of global development and in accordance with the tide of international cooperation, put forward the initiative of establishing the ‘Silk Road’ economic belt and 21stCentury Maritime Silk Road, ie, ‘B&R’ Initiative. In the past 4 years, gaining active support and extensive participation from over 100 countries and international organizations, this initiative has gradually become concrete action in the reality with well-seen achievements. In this May, ‘B&R’ International Cooperation Summit was successfully held in Beijing where distinguished guests from more than 100 countries gathered to discuss future development plans in an unprecedented way and with fruitful concensus.” LI Yi, executive vice president of CFLAC expressed, “The Silk Road Spirit will provide a more solid foundation and a more spacious platform for BIAB with powerful vitality, inclusiveness and reflectior of the times”.

Among the first to comprehend the essence of the “B&R”Initiative, Chinese artists have given a brilliant reply to the theme“The Silk Road and World Civilizations” with works extensive in subjects, diverse in forms and varied in techniques. “Under the brush of Chinese artists, be it a bright moon high above the ancient path vibrating with the sound of Sanskrit, or medical aid teams to Africa; be it the mystic Lamp Festival and Shehuo (a kind of folk performance during the Spring Festival) in Kushui County, or micro-life in today’s metropolises; be it “unfettered”and “symbiosis”, or high-speed trains across Eurasia; be it a compass, or a panorama of Maritime Silk Road, all tell the story of mutual exchange and common development as witnessed by the Silk Road, the most ancient and long-drawn road in the world. On the site of these works, the charm of ancient path intertwines with the vigor of the age, which generates a tempting aroma permeating into the sky of history, and then into people's hearts like a fresh wind. In comparison to traditional techniques of representation, it seems that the artists prefer to frame their works with cultural codes so that the overflowing symbols, metaphors and allegories may draw their audience into a realm of meditation and reverie where the Silk Road is turned into a profound national epic, and the inherent truths of the Silk Road unveil themselves one by one. In the remote Nomadic Age, the Chinese nation had already become the founder of international order, when the trials and tribulations as well as achievements and honors by and by molded a pioneering spirit and tenacious character in the Chinese people. It is on this basis that the Belt and Road Initiative is drawn, with steady and promising progress.” ZHANG Xiaoling, a domestic curator of BIAB commented.

What should be mentioned in particular was that the organizing committee this BIAB gathered some Chinese artists to complete two giant theme artworks within a limited time in order to make up for the possible vacancy of the large-scale “B&R” artworks.One is a 6-meter-long traditional Chinese painting A New Chapter of the Maritime Silk Road by ZHENG Baizhong and the other is a 8-meter-long joint production The New Chapter of the Silk Road by FENG Lumin and other three Chinese artists.

As for the participant artworks by foreign artists, their gala of excellent works has constituted a dazzling chapter of visual arts as well. Some are large-scale paintings with either magnificent landscapes of cultural sanctuaries in connection of the Silk Road or a unified atmosphere of integration and expansion in abstract presentation while others are tiny sketches of either romantic expressions or filmy beauty filled with poetic aftertaste. “Some artists employ a method similar to Montage which patch and put together the Eastern and Western backgrounds, sages or cultural symbols to strike their audience with a sense of vagueness and realness. Some remake classic pictures with slight embellishments for legendary effects. This BIAB shows many commendable points of artists in their selection and polishing of artistic languages. There are not only coexistence of realism and abstraction, but also meaningful attempts at symbolism, collage,cross-category fusion and those beyond the scope of easel art,including bold absorption of artistic and cultural elements of China.” DING Ning, a domestic curator of BIAB uttered. Those artworks from such turbulent countries along this ancient Silk Road as Yemen, Syria and Iraq are immersed with longing,expectation and dream for a peaceful development in the spirits of the Silk Road, which has deeply touched Chinese audiences.

In terms of manifold artistic expressions, a marked feature of the works on show is a mixture of realistic and romantic styles and coexistence of integration and difference. “Foreign works in previous BIABs inclined to be romantic and full of imagination,while domestic works in general tended to be realistic and comparatively lacking in imagination and romantic sense. In the 7thBIAB, there are more realistic depictions found in romantic foreign works, and more romantic elements in realistic domestic works. In other words, works both at home and abroad show a mixture of realistic and romantic styles, only the emphases differ.Compared to works in previous BIABs, foreign works in this BIAB have taken in more Chinese elements, and Chinese works more foreign ones. There is inclination of convergence. In the meantime, each retains its distinct local features and traditions.In between the tendencies of seeking common grounds and reserving differences has formed a huge space of development which has aroused artists’ imagination as inspiration for their artistic creation.” WANG Yong, a domestic curator of BIAB concluded.

A Powerful Engine of Fine Arts

Besides the theme exhibition,six special exhibitions, namely the “Special Exhibition of Contemporary Art of Georgia”,the “Special Exhibition of Contemporary Art of Greece”,the “Special Exhibition of Contemporary Art of Indonesia”,the “Special Exhibition of contemporary Art of Mongolia”,the “Tour of Art from Tintoretto to Lilanga” and the “Special Exhibition of Donated Artworks from Previous BIABs”, took place as scheduled. Brilliant masterpieces by Tintoretto and Dali, outstanding artworks by nearly 100 artists from Georgia,Greece, Indonesia and Mongolia as well as selected dozens of works among more than 500 donated pieces enabled the audiences to appreciate excellent chapters in the history of BIAB in all sessions.

“The spirits and subjects of the Silk Road have aroused enormous imagination and aesthetic inspiration that unceasingly evolves into artists’ practice of novel formality and language in arts. Moreover, the tendency of seeking common grounds and reserving differences is a huge space of development which gives rise to a splendid scene where the Eastern and Western arts integrate but each is unique on its own. It is safe to say that the works on exhibition themselves are the outcome of exchange and mutual learning among world civilizations, and that they are artistic expressions of the Eastern and Western civilizations in their mutual exchange and convergence on the theme of the Silk Road,” LIU Dawei commented. As Xenia Benivolski, an international curator of BIAB from Canada, held, the core of‘The Silk Road and World Civilizations” is the connection of the East and the West and thus by Silk Road we should focus on communications and mutual exchanges under the prerequisite of reciprocal focus and benefit as non-colonial communication.As the historical and current situations of the Silk Road always involve plentiful interesting topics, those in-depth stories of international friendship, national communication and cultural integration in the process of mutual negotiation, construction and sharing between the countries along the Silk Road can be painted in artworks. “Compared to the traditional representation approach, the participant artists in this BIAB seem to prefer to take the theme as a cultural token in their creations instead of mourning for the days of yore. The spirits and subjects of the Silk Road have aroused enormous imagination and aesthetic inspiration that unceasingly evolves into artists’ practice of novel formality and language in arts. The implication from the subsequent symbolism, metaphor and fable has brought the audience into boundless imagination where the Silk Road has become a giant and profound epic with narrations of its spirits one after another,” TAO Qin, a domestic curator of BIAB and deputy secretary general of CAA remarked.

For the audiences’ convenience, this BIAB designed some considerate details in particular such as size expansion of exhibits tags and Chinese-English captions for each exhibit. Moreover,some images of landscape, transportation such as camels along the Silk Road were printed on the covers of chairs in the rest area so that audiences could have a magic touch and interaction with those typical Silk Road expressions. In the meanwhile, an interesting game of “BIAB in My Eyes”, i. e, postal card made of mini photos, was created so that audiences could make an international postal card with the pictures they took in the venue of BIAB and send it worldwide, including “B&R” countries, so as to share BIAB with their remote friends.

今年又上帕米爾（中國(guó)畫·紙本彩墨） 史國(guó)良Pamir Revisited (Ink and Color on Paper) by SHI Guoliang

“We gather today to showcase and communicate to our utmost while we bid goodbye tomorrow full of joy and friendship.” LI Yi, executive vice president of CFLAC concluded. Indeed, it has become an invariably touching scene of those 7 editions of BIAB in the past 15 years. As an institutionalized event, only continuity in BIAB is a true victory. It is only the legendary continuity of over a century that has endowed Venice Biennale with unparalleled power in discourse and choice in the global art arena. As XU Li, executive vice president and secretary general of CAA introduced, artists from such European and American countries as USA and France have become the majority among participants of the recent sessions of BIAB and therefore the influence of BIAB has reached the developed countries in the West as well as the developing countries. As acclaimed by some media, BIAB has evolved into a powerful engine that will enable artistic appeal to transcend time and boundary, and cause great change, in the fine arts layout of China and even the world. As Chinese aesthetics,among varied civilizations around the world, stress on artistic diversity as well as respect and harmony. its unique influence will continuously function in the ongoing process of BIAB.Having traveled since the ancient period of nomadism, undergone the hardship and toil all along the Silk Road, and enjoyed achievement and glory, Chinese people have established their own enterprising spirit and character of perseverance, and realized the common desire for friendship and mutual communications. On such a basis, “B&R” Initiative will witness a stable and sustainable development in connection with our common destiny community.

絲路舞者（雕塑）塔蒂阿娜·密特拉Dancer of the Silk Road (Sculpture) by Tatiana Mitra

佛朗哥-弗蘭克-弗朗茨-弗朗西斯科-弗朗西斯（赤土陶器）彼得·貝文（選自“北京雙年展歷屆捐贈(zèng)作品特展”）Franco-Frank-Franz-Francisco-Francois (Terracotta) by Peter Bevan (from the Special Exhibition of Donated Artworks from Previous BIABs)