听·见·韵 II 

Hearing Rhythm, Seeing Rhythm  II

        在中国传统审美视觉中，诗书画三者，既承载着意境，又包含着形式。而在传统文人审美观中，这三者更是化作了一种复杂而统一的艺术表达，你中有我，我中有你。

        作为声音与视觉表达的艺术实践，听·见·韵 系列作品尝试通过一系列的声音-视觉空间的艺术实验，来探究和展示深藏在中国传统韵律表达中的规则与逻辑。并以此为基石，在回收传统的同时，以当代新媒体艺术为媒介，进一步展开艺术创作。

声音 Sound Work

2022

20min33sec

Chinese poetry, writing, and painting (like all cultural forms of expression) in the context of Chinese aesthetics, contain both meaning and form. In the context of Chinese lyric aesthetics, altogether, they became a comprehensive integrated art form, one is always in another.

This series, Hearing Rhythm, Seeing Rhythm, of experimental vocal and visual performance, is an attempt to disclose/reveal (with sonic-visual space) the formative rhythmic patterns that constitute deeply rooted traditions of Chinese cultural expression. It is a series of artistic work aiming to reclaim the traditional culture. Meanwhile, it is a series of contemporary creative experiments based on the tradition. 

作 品 简 介 

        听·见·韵 系列是以中国传统诗词中的韵律为创作根基的多媒体装置作品。诗词歌赋是中国传统文化中的精髓，是前现代历史中无法抹除的浓墨重彩，即使在千百年的发展演变之后，合辙押韵依旧是中国传统诗词和谐优美流传千年的重要根基之一。即便在五四运动中，白话文运动与 “新诗” 的改革也未能真正的打破中国人对传统诗词的韵律之美的推崇。似乎在我们的直觉中，传统诗词的格律韵调从来便是本该如此的。然而同许多根植于传统的文化现象一样，我们似乎很难系统性的讲述它们的重要性源自何处，也无法直观的向局外之人传达它们的深刻意义。作为对于传统中国的一种回收，同时也是对当代新媒体艺术在这一回溯中创生性的探讨，听·见·韵 系列作品从声音，影像，绘画，空间等维度以艺术实践的方式提出了作者实验性的探索与尝试。

Hearing Rhythm, Seeing Rhythm II

视频 Video

20min33sec

听·见·韵 II 则是在 I 的基础上更加深入的探究声音与视觉的关系。对于中国传统诗书画关系的理解可以被认为是中国文人审美观最根本的特征。启功先生曾说 “书画同核” ，苏轼也曾赞叹过王维 “诗中有画，画中有诗” 。从宋元文人画开始，便有书法入画，诗画一体，三种相对独立的创作形式汇成了一种综合的，复杂的，厚重的艺术表达，而这种艺术表达也铸就了独属于中国的文人审美观。

Hearing Rhythm, Seeing Rhythm II: Drawing the Rhythm

纸本设墨 Ink on rice paper

All 140 x 35cm

Altogether, Hearing Rhythm, Seeing Rhythm II is a sonic-visual work still working with rhythm and poetry, as the previous series of Hearing Rhythm, Seeing Rhythm.

At the same time, this is an experiment dealing with the integration, transformation, and the creativity of artistic forms in the context of Chinese lyric aesthetics.

Meanwhile, the paintings are a kind of rhythmic drawings of the accumulation of painted sonic gestures.

They are all different and layered up, as how they were presented in the vocal performance. And the repetition of the paintings tells the repetition of the listening experiences as well.

Then once again, the noise from the sound component feed back into the paintings with the ink and brush, thus, as Su Shi (苏轼, 1037 - 1101 a.d.) once said, “poetry in painting and painting in poetry.”

Hearing Rhythm, Seeing Rhythm II : Bring in the Wine

The sound starts with the repeated singing of poetry, and the drawings show the process of drawing the sound patterns while listening to the vocal performance. The visual movement became the record of the sound. Then the feedback from the process of the drawing, the gestures, the movement, the passion, joined in the sound work as a form of noise.

Therefore, the sound piece itself became a complex integrated art form of vocal and visual expressions.

  在当代多媒体艺术创作的语境中，诗书画这三者的关系也可以理解为声音（诗词的吟诵）与视觉（书画/影像）之间的关系。听·见·韵 II 所探讨的便是在中国文人审美观下声音与视觉所形成一种复杂而厚重的综合表达，以及这种表达的艺术表现力。空间中的笔墨和时间中的韵律是否能够互相转换乃至相互成就，从而产生根植于传统却成长于当下多媒体环境中的 “创生性” 。听·韵 II 起始于对李白的《将进酒》的反复吟诵，韵律与情感在声音的跌宕中形成了一种强烈的听觉 “图腾” ，被跃然纸上的笔墨记录下来。这种 “大写意” 似的 “手势” 记录随着声音的韵调和起伏翩然起舞，似书，似画，又好似仅仅是所听到的声音罢了。与此同时，这种 “记录” 在作画过程中又从声音的层面上被捕捉下来，于是视觉的 “记录” 被再一次反哺到听觉中去，逐渐形成了一层又一层朦胧却强烈的噪音，如晨雾般附着于人声之上，继而这一层 “噪音” 又一次的被听觉捕捉，付诸笔端，融入笔墨，陡增了画面的水墨交融与层次感，正所谓

“诗中有画，画中有诗” 。