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摘要:   Daozi and his art work: Saintism   岛子及其圣水墨   Patricia Karetzky   帕特里夏。克雷斯基 (纽约州立大学亚洲艺术教授)   Grace Wang   翻译 王歌诗   Daozi, born in 1956 i ...

  Daozi and his art work: Saintism


  Patricia Karetzky

  帕特里夏。克雷斯基 (纽约州立大学亚洲艺术教授)

  Grace Wang

  翻译 王歌诗

  Daozi, born in 1956 in Qingdao under the given name Wang Min, is a well-known art critic, writer, and professor at Tsinghua University in Beijing。 As a result of his participation in the 1989 Tian’anmen incident he was arrested and put in jail。 He explained it was there, in jail, that he first encountered Christianity, which he calls the new Christianity to distinguish it from its more traditional institutional forms。 Today, he and others from the academic community in Beijing, along with people from his neighbourhood, meet for unofficial weekly prayer meetings in a variety of local places。 In the aftermath of recent personal turmoil, Daozi’s faith has become more resolute, and being a visual person he turned to painting as a form of meditation, and it soon became a form of prayer。 In addition, revitalizing the traditional Chinese ink painting technique was an important choice for him, as he is keenly aware of the secondary role this medium has taken in the realm of painting since the introduction and subsequent domination of Western oils and acrylics on canvas。 Daozi calls his work, Saintism:


  When we say Saintism art, in a broad sense we mean Christian art。 In a narrow sense, Christian art emphasizes a more direct communication of the Christian faith, with clear missionary overtones。 Because of this, in the contemporary semantic landscape it has been put in absolute service to theology and the essentials of the church。 Thus it has appeared as confined and marginalized。 However, Christian art in its broad sense is “Saintism art。” It is art that does not only face the historical gospel and the church that defends it, but, rather, it also echoes the continually life-giving truth of the kingdom of God, and places importance upon the individual experience of the Christian faith, upon its characterization amidst the contemporary milieu, and upon the connections in the themes and subject matter of every work。 It gives expression to the grace and truth, suffering and redemption, compassion and universal love of Christ。 Thus, “Saintism

  art” changes with the aesthetics of the times, and on its own demonstrates free visual form and style。 Through the deep spiritually moving power of Christ, people will also enter into the realm of sacred meaning。 Among the mysteries of God, there is the mystery of freedom, which continually widens that which once chose a narrow field of vision, and helps us out of the woods right now。


  Large-scale and freely executed with broad brushes in an ink wash medium on rice paper, the paintings evoke in a semiabstract manner traditional Christian symbols—a cr cifix of simply arranged stalks of bamboo, angels in flight, haloed figures, a wine chalice, and a crown of thorns。 These are the central themes of his improvisational monochromatic ink works, which have at times occasional splashes of colour。 Executed during long meditative prayer sessions, these paintings, in their immediacy and evocative technique of free brushwork, resemble the spontaneous work of the thirteenth century Song dynasty Zen masters。 In this way, Daozi has combined spiritual works of the past, using the technique and medium of Zen ink painting, with Christian iconography。 His art, like much of the Chinese practice of Christianity, displays little of

  Western aesthetic culture—they are more representative of a domestic Chinese development。 In recent works, Daozi is making more abstract compositions characterized by a liberal use of gold leaf, and, in addition, he carves seals with religious emblems and, in Chinese literati fashion, discretely applies them onto the rice paper。



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