Australian's Review
Newspaper (in Chinese)
JIWYE TO RECENT WORK
April 23 - May 11, 1998
QUADRIVIUM, Sydney, Australia
Thought is the basic necessity in our daily life. We cannot imagine how the world would be if one had no thought. The human being has developed in various ways in different regions therefore developed different pattern of thought. A culture must be shaped from the beginning of thinking, internal and external. We face different objects every day and we consider the relationship between objects and human beings. Is there a gap between objects and human beings? Are there any similarities in the essence between objects and human beings? How does the artist apply life on art when the source of art is life?Human beings have been considering these problems and have different viewpoints depending on the space and time in which they live. In the West, the thought is restricted to the external substance, there is no intercommunication with the internal mind. Therefore, many thinker wants to search for a new way of extreme freedom of thought from the external substance, such as Hegel, who explored and brought up the theory of absolute Idea.
In China, the thought of Zen exceeds the external substance and phenomena. It touches the essence directly so there is no difference in essence between phenomena and human being. Phenomena is human being, human being is phenomena. There is no gap between phenomena and our mind. We can be fully free in our mind when we face any external substance. It is not only the quintessence of Chinese traditional art but also the viewpoint of life and nature of the Chinese. This generation of Chinese live in both Chinese and Western thought. These two thoughts interact in the Chinese deeply and widely. The development of Chinese culture has been constructed through the acceptance and reflection of these two different thoughts in the 20th and 21st centuries.
As a Chinese contemporary artist, Jiwye To studied Chinese and Western philosophy and art in the Hong Kong Buddhist College in the late 80’s to research a new way in art. Over the years, after constant study and research, the thought of Zen and Phenomenology become his view on life and nature and the basic element of his art.Jiwye To’s recent works, MIND IS COSMOS, are based upon the thought of Zen. Within these works there is essence of phenomena, the elements of essence – point, drop, jump, flow, rush, sprinkle, turn and rotate. These lead us to the essence of substance and meditate how the essence constructs phenomena. Thus Jiwye To converts the concept, technique and element of Chinese traditional art in a new way – the manifest of different types of space and another visual images that bring us to another vision in our life.
杜之外的Mind is Cosmos（吾心即宇宙）系列，是將他「空」的思維作進一步的發揮。明顯而言，這系列作品的擬題是源於宋朝陸象山的「宇宙便是吾心，吾心便是宇宙」，這是陸九淵對為文的指標，他指出語言表現是該直接從心間流露，進入心中真知而不必經思維作用，正如嚴羽所言：「大抵禪道惟在妙悟，詩道亦在妙悟」，藝術又何嘗不是呢！中國藝術的精華就是在於其間不涉任何的知性思維，讓個人遊目騁懷，海闊天空。
杜之外這系列作品不落於任何知性形象，他只是將現象的本質呈露在觀者眼前，由觀者自行去冥思游想，因此畫面只是現象本質的流露―潑、灑、滴、衝、轉、跳、躍、旋，讓觀者直接走進現象背後的本質，冥思物象的原性如何構成現象界的一切。去除現象界的種種固有之障，以物觀物，明心而後見性，而後見本質。 二
兩年多前，當時我來墨爾本不久，適逢其會出席了藝術家杜之外一個名為Emptiness Contains Everything（空能納萬境）的畫展，主持開幕者是發行全澳及外國的藝術雜誌《Australia Art Monthly》的編輯彼德添士（Peter Timms）。席間與杜之外相談，得知他在七十年代中開始思考有關藝術的問題，特別是在中國及香港的現代藝術發展的問題，他對當時香港現代藝術發展問題，提出了很多質疑，如現代水墨畫的內涵、香港現代藝術中東方色彩的滲進、翻譯式的西方現代藝術模本等。八十年代在香港創辦藝術雜誌《熔爐通訊》，提倡及實踐嚴肅的藝術評論和分析。九十年代策劃藝術組織「藝術行動」，在世界各地辦展覽和學術會議來推展中國當代藝術。
在藝術方面，杜之外從質疑開始，由質疑帶引他去探求事象的本質來加以發展。他閱讀了很多中國畫論、中西哲學書籍，更在八十年代末入讀香港佛教能仁書院進修藝術及哲學，特別是佛學的思維。經過多年的思考，禪及現象學的思想成就了他的人生觀與藝術觀。早在1984年他的一件名為《靜觀自在》的作品中已可以見到他思維的端倪。整件作品以八十個鏡子作九九八十一正方形並排，中間放置了一幅合目的佛像，觀者的一舉一動成為這件作品的一部份，當觀眾在，整件作品熱鬧起來，觀眾不在，作品也沉寂下來，相當富禪意，以物觀物，主客為一，觀眾與作品為一，彼此互為一體，沒有鴻溝，觀是作品，作品是觀眾。1978年的作品《空能納萬境》更可見到他往後藝術思維的舖陳。在該作品內的題文，他自己說：
空，並非是不存在，而是妙有。因為一切現象自身之本質，就是空，一切現象，一切存在，皆自空而生，若能了解空之道，則能超越空，連空也空掉，達至真空。此時，人生一切皆為真空所解決，此際面對天地之悠悠，皆可遨遊逍遙。心而空則能容納萬境。一切即一一即一切。
引證在他的作品裏是大量畫面的空白，只是一個淡淡的空框，一片幽幽的淺藍，沒有任何日常識見的形象，給觀者空間的自由去建構，讓觀者海闊天空的馳騁，還觀者一個自行的定位。三
思想是我們人類日常生活的大方向，我們很難想像一個沒有思想的人能夠好好地活下去。每一個地區每一時代的人，一般而言是活在同一的思想模型裏，並發展出各自不同的姿采來。由於歷史的因素，這一代的中國人，大體來說在兩種思想型模下生活―「本有的」與「外來的」。其實二十世紀的中國文化也就在這兩種型模下相互吸收、反省而成為今天的中國人。
文化的凝聚與形成，是由慮身邊的事物開始，每天我們都會面對不同的事物，這些事物究竟與我們有甚麼關係？我們與事物之間有沒有距離？這些事物的本質與我們人類的本質有沒有相同之處？藝術源於生活，生活是需要面對日常不同的事物，這樣，藝術家又該如何面對萬事萬物？如何藉此而提升藝術的境界？西方的思想必源於一個對象，由對象而衍生內容，可說是由外在的物質而引發，卻因此而往往為物質所拘限，於是便在思想裏尋找極度的自由以求出路，至黑格爾就提出純粹思想的境界。人類很早已經思考過這些問題，不同時代，不同地域的人，會有不同的觀點。其中，中國的禪宗思想對這些問題提供了透徹的見解，禪宗傳燈錄就此有一相當著名的公案：
老僧三十年前參禪時，見山是山，見水是水；及至後親見知識，有箇入處，見山不是山，見水不是水；而今得箇體歇處，依然是見山只是山，見水只是水禪宗這種把人心所見，完全越離外在的對象而全然的回歸到對象內在的本性之中，達至邵雍所謂以物觀物的觀點。如果說，結構主義是從認識論轉而上至知識論，而禪宗思想則是超越結構主義的境界，越離知識論至達至本質論，直達外象本質，人與外象的本質無異，主客體相貫通，放下了人對事物的偏見，回復到事物的本質。由空至以物觀物的思維，是杜之外的人生觀，也是他的藝術觀。
渡渡
澳洲著名詩人及專欄作家
（澳洲《自立晚報》）
Art Monthly Australia Magazine Editor's
For his first exhibition in Melbourne, Jiwye To presents a curious mix of traditional Chinese scroll painting techniques and Western abstract expressionism.
Where there is social comments, it is veiled. One work, for example, depicts mountains, meticulously painted in a recognisable Chinese style, overwhelmed by angry black slashes
To the West, it might seem an uneasy combination of irreconcilable painting style, perhaps too mannered and decorative to be effective as political comment. But then political comment is not Jiwye To’s aim. Rather, he wants to provide objects of quiet contemplation.
I suspect that, in the end, Jiwye To’s paintings simply point out the inadequacies of the sort of cultural theory that underpins so many recent exhibition about our relationship with Asia.
Peter Timms
Editor of Art Monthly Australia
Concept
Meditation
Installation (Image of Buddha ,mirrors and spectators)
1984
Form
This art work is in a square arrangement with an image of Buddha in the middle of the installation. Thirty six mirrors surround the image of Buddha. The spectators are part of the art work when they stand in front of it . The art work can change the content depend on the change of the quantity and the movement of the spectators.
Implication
The work reflects the concept of Chinese philosophy – human and cosmos are as one. There is a contrast between the numerous spectators and the closing eyes Buddha. By the reflection of mirrors, spectators seem to exist with Buddha. They can experience lives by seeing themselves and the others simultaneously from the reflection of mirrors. They can think about their living deeply at the moment.
Idea
The artist provides a platform to let spectators to take part in the art work. The spectators are parts of the work. The artist uses the simple materials to create a versatile art work.
Magazine (In Chinese)
Newspaper (In Chinese)
Art Center
「蓮的聯想」是杜之外結集過去，指見將來的作品集。去年中元日，他遊罷台灣，返回工作室，目見昔工作室附近的荷塘，在細雨迷濛下的景象，使他撩起萬千聯想。他回思到自己的追尋經 過，也回思到過去的夢想。冄漸漸地，想念到自己的國家，更凝想傳統，感慨世事之變幻，人生倏忽。
杜之外內心的蓮，是東方的象徵，是家國的象徵，是純靜虛幻的象徵。蜻蜓在飛，徘徘徊徊，飄飄盪盪，尋尋覓覓，是畫家去追尋之訴說，也是畫家過去夢想之寄託。墨點方框，蓮瓣墨塊，是忘然物象的表徵，是變幻無常的表徵，但當萬物的變幻總是不離其中，萬物終歸於一點一線而已。回歸到純然，一切物象只是一個無可名的符號而已。
畫中的鏡片，是蓮塘澄淨水面的表徵，也是反映過去，照見目前的表徵。鏡片是實，也似乎是虛，萬象現於鏡上，一切是真，鏡中象，猶如鏡中，水中月，似真，其實是幻，似實，其實是虛，人生多變，真真假假，虛虛實實，皆無定界矣！萬物現於鏡，皆有時間性，今日之像，已非昔日之像，更非明日之像，但卻有關聯性，昨日、今日、明日皆貫通，昔日是童年，今日是青年，明日是老年；昨日是古典，今門是前衛，明日是傳統。人們不能看見身後的歷史，但，歷史就在眼前，就在掌中而已。
畫作的表現形式，是誇寫實與寫意，具象與抽象這兩個範疇，這都是因為畫家的需要而作，並非刻意去強調。寫實，是蓮的本體；寫意，是畫家內心的湧現；具象，是物之呈現；抽象，是物象經畫家淨化的形象。在技巧的運用方面，也混用了水墨淋漓，墨氣磅礡，水墨渾化，與工筆勾勒。 「蓮的聯想」可說是杜之外的分段站，在此之前，他徘徊於東西文化的抉擇與取捨的道路上，也在極力尋找自我，相信在此之後，他會肯定自我，肯定自己是一個東方人，活在東方，會為未來的東方而努力。
正如他在畫展的序言中所說：投入炎炎之中，自焚於時間之內，有誰不願。火浴之後，如火鳳凰之再生，鳳凰每五百年自焚輪迴一次，蓮則可說是每年輪迴一次。」希望他能在未來的歲月裏，努力不懈，潛修鍛鍊，以豐富自我，豐富日後的東方。
星晚周刊，一九八二年四月一日，香港
「萬事萬物經年都在變，變到人們難以預測。但只要人類保留著生命，並運用其有生之年多做事情，就是最有意義的了。」杜之外用上述的文字說明了他的畫展―《蓮的聯想》的主題所在，難怪有人謂，他的畫題充滿了哲理感，不是任何都理解得來的。
走進藝術中心包兆龍畫廊《蓮的聯想》的展場上，的確使人不易理解：整個畫展有五組畫，每組由八至十幅鏡屏組成，鏡屏上有的鑲嵌著畫，有的却是名符其實的可以照人的鏡，而且他的畫，不是孤單的蓮花，就是局部殘缺的蓮葉，不是印章，就是寥寥數點墨迹‥‥
原來杜之外要用傳統的國畫筆法，畫出現代人的感想。據杜氏的介紹，他要畫出有時代感的國畫來。第一組的《行》，透過點點足印、殘葉及紅蓮，組成人生追求的目標，象徵儘管有目標，但由於重重的限制，並不是必定能達到的。第二組是《尋尋覓覓》，象徵畫家願化作畫中的工筆蜻蜓，在蓮塘上振起雙翼，去尋找本港的「東方藝術精神」。第三組是用清代玉壐印章和仿古畫組成組成的《古今》，象徵古今文化的變幻。第四組是《飄往何方》，畫家從蓮花想到神話裏的觀音、佛祖，繪下了數幅片片殘荷的寫意圖，象徵佛法飄渺。最後一組是《變幻》，用數幅殘缺的蓮葉、蓮花來表達主題，說明物質在不斷變幻，人們應在不斷變化的社會中多做工作，促進東方藝術的發展。整個展覽看來想努力運用固有的傳統繪畫技法，透過畫面的構圖和組畫的陳設，以表達現代的概念，力求在東西方藝術的揉合上，創出香港的繪畫形式來。但不知觀者是否可以接受。
傑靈
文匯報，一九八二年四月十日，香港
At the turning point, Chinese culture came to his mind. He is aware that a youth of his nation should show the qualities of a patriot. However, the home country is such that he can do nothing for it. Thought tradition belongs to the past, we cannot ignore it. It is because tradition is always one after the other. The East artists of Yang Zhou were once the avant-grade artists. Today these eight artists have became the tradition, so the avant-grade of today will become tomorrow’s tradition. Things are changing all the time. However, there is the same law. Yesterday, today and tomorrow will all pass away. When one is facing such a circumstance, everything is actually a fancy. It is from this fancy that one can find oneself.
“The Association of Lotus” is figurative, abstract, realistic and full of expression. Figurative work shows any material object. Abstract work shows an object that has been treated by an artist. The realistic works shows the outer part of the lotus while the expressive work shows the inner world of the artist. When things are at the best, one cannot categorize them anymore.
Wong Hor-ying 1982
Hong Kong Art Centre Monthly, April, 1982
Mind is Cosmo
Emptiness Contains Everything
Meditation
The Association of Lotus
All is One
Time and Space are on the Move
Translation of the text:
“Emptiness” is not the same as “nothing there”, it is actually an extraordinary presence. This is so because the essence of phenomena is really emptiness. All phenomena and all existence arise from emptiness. If we can realize the truth of emptiness, we can transcend emptiness, empty emptiness itself, and reach absolute emptiness. At this time, everything in life can be resolved by absolute emptiness, at this point, we can face the infinite inscrutability of the universe feeling free and unconstrained. When the mind is empty, it can contain everything. All is one.
Details
Meditation
Installation (Image of Buddha ,mirrors and spectators)
1984
Form
This art work is in a square arrangement with an image of Buddha in the middle of the installation. Thirty six mirrors surround the image of Buddha. The spectators are part of the art work when they stand in front of it . The art work can change the content depend on the change of the quantity and the movement of the spectators.
Implication
The work reflects the concept of Chinese philosophy – human and cosmos are as one. There is a contrast between the numerous spectators and the closing eyes Buddha. By the reflection of mirrors, spectators seem to exist with Buddha. They can experience lives by seeing themselves and the others simultaneously from the reflection of mirrors. They can think about their living deeply at the moment.
Idea
The artist provides a platform to let spectators to take part in the art work. The spectators are parts of the work. The artist uses the simple materials to create a versatile art work.
Details
2002
Material
Coat
Shoulder Strap
Belt
Model
Cap
Emblem with image of Chairman Mao
Tie
Scarf (made in China)
Shirt
Trousers(made in China)
Bow
Chinese tunic suit
HeadscarfForm
1. The artist put all the material on the model and show it in posture.
2. Spectators may rally the model with different postures clothes.
Implication
1. Chinese tunic suit, emblem, trousers, scarf symbolic Chinese culture. Coat, tie, shoulder strap, shirt, bow cap belt symbolic Western culture.
2. The model with different kind of clothes is the symbol of cultural acculturation.
3. Spectators rally model’s clothes and postures, which means different person has his own viewpoint on cultural acculturation.
4. The result of cultural acculturation is the response of whole society.
Idea
1. Art is a kind of behavior. Everyone is the participant and creator of art.
2. Art is interactive. Artist and spectator are live in the art.
3. Artist provides a platform for spectators to create their own art.
4.Artists are providers not controllers.
Details
Form
The concept is to place the imitation of “ Bicycle Wheel” by March Duchamp in the middle of the exhibition and display the photos of the “Bicycle Wheel” next to it to let the spectators draw their own paintings.
Implication
From Plato, imitation is the element of art. Art was the imitation of external world in the past. Nowadays, What is the function of imitation ? Is art still need imitation?
“The Myth of Imitation” is an imitation of Duchamp’s work. He used the daily ready-made object to construct his work directly. Spectators can draw from the imitation of “Bicycle Wheel” and show their works on the display board.
What is art work in the exhibition ? Is it the installation or the paintings of the spectators? Is art means the imitation of the object or the object itself? Many non -Western artists like to imitate the Western art. Is the myth of imitation still existing in the world of art?
Idea
The artist provides a platform to the spectators to take parts in the art and fine the definition of art.
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