郑州｜廖渊：光中行

在我们这个被数据和地图精密测绘的时代，世界在认知上仿佛已被穷尽，地理的极限消失，取而代之的是一种存在的贫困与感知的收缩。然而回望历史，古人虽占有的土地有限，却凭借想象力将浩瀚山川星河纳入石刻、绘画与诗歌，通过艺术将未知转化为精神的栖息之所。这种“建造世界”的冲动，在魏晋南北朝时期达到高潮：草原的雄浑、丝路的异域智慧与南方清玄风尚相互碰撞，在动荡中完成文明的扩容，为隋唐盛世奠定基础。
那时的佛陀造像低垂的眼睑并不望尘世，却映照众生；流动的衣褶既是雕刻，也是时间痕迹。它们与“空有不二”的哲学思维共同构筑可感知的无限——艺术成为理念的感性显现。当曹操吟出“星汉灿烂，若出其里”，正是将浩瀚宇宙吸纳为灵魂的可居之地。

如今我们虽无法回归留白的世界，却能重拾“将宇宙纳入一瞬”的观看之道。廖渊在“光中行”的实践，并非简单怀古，而正是对这种崇高理念的唤醒：光成为感知速度的隐喻，指引我们在日常裂隙中发掘过去，在熟悉土地上发明新的象征。
文明的生机源于精神的超越与交汇。真正的无限不在幻想图景中，而在每一次将有限材料——石头、色彩、文字或生活——转化为包容宇宙的微小中心。艺术的本性即永恒的再造与回溯，它本身就是对抗“世界穷尽”的无限运动。当作品成为行走的光，便在万象中照见永恒。

In our era， meticulously mapped by data and cartography， the world appears to have been exhaustively charted in cognition. The geographical frontiers have vanished， replaced by a poverty of existence and a contraction of perception. Yet， looking back at history， though the ancients possessed limited land， they harnessed their imagination to incorporate vast mountains， rivers， and starry skies into stone carvings， paintings， and poetry. Through art， they transformed the unknown into spiritual sanctuaries. This impulse to ＂construct worlds＂reached its zenith during the Wei， Jin， and Northern and Southern Dynasties: the rugged grandeur of the grasslands， the exotic wisdom of the Silk Road， and the ethereal customs of the South collided amidst turmoil， achieving an expansion of civilization that laid the foundation for the golden age of the Sui and Tang dynasties.
The lowered eyelids of Buddha statues from that time did not gaze upon the mortal world， yet they reflected all beings； the flowing drapery of their robes was both sculpture and the trace of time. Together with the philosophical thinking of ＂non-duality of emptiness and form，＂ they constructed a perceptible infinity-art became the sensuous presentation of ideas. When Cao Cao chanted， ＂The stars ablaze in the celestial river， as if within my grasp， ＂he was absorbing the vast cosmos into the habitable space of his soul.
Though we cannot return to a world of deliberate blank spaces today， we can reclaim the way of seeing that ＂encapsulates the universe in an instant.＂ Liao Yuan＇s practice in ＂Walking in Light＂ is not mere nostalgia but an awakening of this sublime concept: light serves as a metaphor for the speed of perception， guiding us to unearth the past in the crevices of daily life and invent new symbols on familiar ground.
The vitality of civilization stems from the transcendence and convergence of the spirit. True infinity lies not in illusory visions but in every act of transforming finite materials-stone， color， words， or life-into microcosms that encompass the universe. The nature of art is eternal recreation and retrospection； it is in itself an infinite movement against the ＂exhaustion of the world.＂When a work becomes walking light， it illuminates eternity mirrored in all things.