王天德 孤山3-2 宣纸、皮纸、碑帖、焰 163x32cm 2007年

王天德没有任观念脱缰而去,而是在水墨语言的边缘止住了脚步,将观念与水墨语言的不同表达结合了起来。他的艺术个性不是以某种固定的风格或主题体现的,几乎每隔一段时间,他的作品就会出现变化,这表明他是走在观念道路上的艺术家,但与此同时,他又不愿舍弃水墨语言,如前所说,他是一个以水墨为方式的艺术家,其原因是他钟情于水墨,甚至与水墨有拂之不去的“情结”。在我看来,他是真正理解了中国水墨作为语言本体的独特品质和它在当代文化观念关照下具有的发展可能性,或者说,他的水墨“情结”的核心就是传统文人艺术中笔墨的精神性。

从2002年开始的《数码系列》可以视为王天德在当代观念与水墨方式结合上做出的推进,在这批作品中,形象是抽象形态的符号,这种符号是用燃着的香烟在中国传统宣纸上“烧写”出来的,他同时将抽象的水墨“书写”与用香烟之火的“烧写”叠合起来,使作品成为既象“画”又象“书”的面貌。由于他在水墨艺术上有良好的素养,也即我们通常称道的笔墨感觉,还有他的书法经验,他在水墨书写和香火烧制上都能表达出感性十足,自然流畅的心理意绪,从而使作品具有独特的形态和丰富的含量,既经得起视觉的品读,又提供了迷幻的文化想象。这种做法是他创造“后现代”文本的一路作风,作品系列冠以“数码”这种当代称谓,显然让人获得理解其文化涵义的路径。

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By Fan Di’an

The most prominent feature in the painter Wang Tiande is that he always roams around the margin of ink-painting art, combining the concept art and ink-painting way altogether, a showing changeable style and theme. Generally we may even sort him into the line of concept artist, trying best to give up regular language of painting, As I said before, he is an artist who uses the language of ink as a methodology; he is in love with ink, to the point where he could not rid himself of his obsession even if he tried. In my view, he truly understands the importance and uniqueness of Chinese ink as the basis of an artistic language and the possibilities for developing this language within the framework of conceptualism. To put it another way, his Oedipus is to rebuild the traditional Chinese litterateurs’ sprit in his works, and his reconstruction work started since 2002. From his pieces such as Digital series, all images are abstract symbols, most of which were not drawn with pen brush but made by his burnable dog-end of cigarette on the rice paper, beside the ink trace he made with pen brush. His burned painting or calligraphy achieves a sense of fluidity and emotional expressiveness. The result is an artwork that is rich in both form and content and more than stands up to visual scrutiny, and that at the same time reveals an almost hallucinogenic cultural imagination. This approach is a way in which Wang Tiande creates his own kind of ‘postmodern text’. The use of the contemporary term ‘Digital’ as the title of the series also is an obvious signifier guiding the viewer towards the underlying cultural implications.

【编辑：姚丹】