抽象向东——东方精神的在地（敦煌）特展
Abstraction Eastward: The Localization of Oriental Spirit (Dunhuang) Special Exhibition
展期：2025年11月28日—2026年01月26日
开幕：2025年11月28日 10:30
学术主持：邵亦杨
策展人：张涛
艺术家：梁铨、朱一虹、马可鲁、曹吉冈、马路、童振刚、沈少民、冯良鸿、郝云、黄佳、熊薇、郭工、郁涛、杨宏伟、徐红明、田卫、嘎让、杨黎明、钱佳华、于羊、迟群、范祯、尹思文、刘诗阳
主办：艺术粮仓
联合主办：南京艺术学院美术馆
学术支持：X 美术馆
协办：敦煌市文博会展事务中心、天熙文旅(敦煌)有限公司
支持单位：酒泉市大敦煌文化交流促进会、敦煌市文旅集团有限公司、敦煌文博投资有限公司、敦煌广至传媒会展有限公司
地点：敦煌国际会展中心｜甘肃省酒泉市敦煌市月牙泉镇文博东路2712号C馆二层
本次展览超越西方形式主义抽象范畴，回归东方哲学美学源头，探索内观体悟、与天地相参的创作方法论，呈现深植东方土壤的精神图景与创作逻辑。
This exhibition transcends Western formalist abstraction, returning to Eastern philosophical and aesthetic origins. It explores introspective, universe-harmonizing creative methodologies, presenting spiritual visions rooted in Eastern soil and creative logic.
“抽象”在西方艺术史的脉络中，通常指向对自然物象的简化、提炼与几何化，其终点是形式的自律与纯粹。而本次展览所提出的“抽象向东”，意在超越这一形式主义的范畴，回归到东方哲学与美学的源头。在东方语境中，“抽象”并非对客体的背离，而是对“道”、“气”、“意”、“韵”这些宇宙本真精神的捕捉与呈现。它是一种内观的、体悟的、与天地相参的过程。第一个“抽象”是语言与形式的探索；而“向东”的抽象，则是超越语言，直指心象与物性本身，是精神在物质世界中的“显形”与“栖息”。 本次展览旨在梳理并呈现一种深植于东方土壤的创作方法论：艺术家如何以其身体、心灵与智慧，在特定的“场地”中，唤醒沉睡的自然之力，使其呈现出超越具体物象的、恢弘而精微的精神图景。
我们所探讨的“东方性”，并非符号化的中国元素堆砌，而是内化于创作逻辑中的精神气质与方法论。它主要体现在以下五个维度： 1. “气”的场域而非“形”的构造，作品不强调僵硬的几何形态，而是营造一个流动的、充满生命能量的“场”。艺术家如同引导者，将风、水、光、声在空间中自然生发，让观众用全身心感知一种“气息”的弥漫与回荡。2. “时间”的参与者而非“空间”的征服者，西方艺术常带有“纪念碑式”的永恒感，试图对抗时间。而东方式创作则欣然接纳时间：四季更迭、草木枯荣、风雨侵蚀、日月交替，都是作品不可或缺的一部分。作品是“活”的，它在时间中生长、变化、消逝，体现了“无常”与“轮回”。 3. “物我合一”的体悟而非“主客二分”的观看，艺术家与自然不是对立的研究者与对象，而是交融互渗的伙伴。创作过程是一种“格物致知”的身体实践，是行走、是触摸、是聆听、是冥想。最终的作品，是艺术家心性与自然物性共鸣后的痕迹，是“山川与予神遇而迹化”的行动结果。
4. “留白”的想象而非“填满”的陈述，作品不追求信息的饱和，而是通过极简的介入，为自然本身的“言说”留出巨大空间。一片水洼映照的天空，一道犁痕指向的远山，一排竹子的摇曳……这些“留白”邀请观众用自身的生命经验去填充、去共鸣，完成最后的创作。
5. “农耕文明”的诗意而非“工业文明”的反思，许多创作的材料、技法和意象，根植于中国悠久的农耕文明记忆。泥土、稻禾、蚕丝、竹子、石材的运用，以及对节气、土地的敏感，都赋予作品一种深沉、内敛、循环的诗意，这与以机械和废弃工业景观为材料的西方早期艺术形成鲜明对比。
《抽象向东》并非指向一个更晦涩的终点，而是指向一个更本源的开端。它希望向世界展示，在中国的大地上，前卫的艺术实践，恰恰可能与最古老的智慧相连。这里的“抽象”，是褪尽铅华后的澄明，是艺术家将自身化为通道，让天地精神得以在其中自由流淌与显形的伟大尝试。最终我们梳理出的将不是一个“中国的抽象”，而是一个以“道-气-心-象-意-境”为哲学内核，以“笔墨、线条、空白、程式”为形式语言，贯穿于书法、绘画、园林、器物等多个门类的、宏大而深邃的“东方抽象精神体系”,献给世界的最独特、最深邃的价值。东西方抽象艺术是一部动态的、不断演变的交流史，它始于东方对西方的借鉴，为西方现代艺术突破瓶颈提供更多可能性成因。在发展过程中，呈现出“同途而殊归”的态势，因哲学根基不同，走向不同的精神深处：一个偏向理性建构与观念表达，一个偏向感性流露与生命体验。在当代全球化的背景下，它们不再是简单的二元对立，而是在每一位有深度的艺术家手中，被重新审视、解构与融合，共同丰富着人类对“抽象”艺术的深刻理解。更能让我们洞察不同文明如何通过艺术这一媒介，探索人类共同的精神世界。 In the context of Western art history,‘abstraction’ typically refers to the simplification, refinement, and geometrization of natural forms, culminating in the autonomy and purity of form. The concept of “Abstraction Orients East,” proposed by this exhibition, seeks to move beyond such formalist confines and return to the origins of Eastern philosophy and aesthetics.In the Eastern context, abstraction is not a departure from the object, but rather a capturing and manifestation of the fundamental spiritual principles of the universe, such as the Dao (the Way), Qi (vital energy), Yi (conception), and Yun (resonance). It is an introspective, experiential process of harmonizing with universe and earth. The ‘abstraction’ explores language and form; the abstraction that ‘orients east,’ however, transcends language to directly engage with the inner image and the nature of things—it is the manifestation and inhabitation of spirit within the material universe.This exhibition aims to examine and present a creative methodology deeply rooted in Eastern soil: how artists, through their body, mind, and wisdom, awaken dormant natural forces within a specific site, revealing spiritual visions that are at once vast and subtle, transcending concrete imagery.The‘Eastern sensibility’ we explore is not a mere accumulation of symbolic Chinese elements, but rather a spiritual temperament and methodology internalized within the creative process. It is primarily expressed through the following five dimensions:1.Energy Over Form: Creating Fields, Not Structures.Works prioritize the cultivation of a dynamic, energetic field rather than the construction of fixed geometric forms. Artists act as conduits, allowing elements like wind, water, light, and sound to arise naturally within the space—inviting the audience to sense a pervasive, breathing presence.2. Time as Co-Creator, Not an AdversaryRather than seeking to conquer time in the manner of Western monumentality, these works embrace temporal flow. Seasons change, plants grow and decay, weather leaves its trace—each piece lives and transforms, embodying impermanence and cyclical renewal.3. Oneness with the World: Beyond the Observer and the ObservedArtists engage with nature not as detached observers but as intimate collaborators. The creative process unfolds through physical immersion—walking, touching, listening—and the work becomes a trace of that resonant encounter between inner mind and outer world.4. The Imagination of‘Empty Space,’ Not the Statement of ‘Fullness’Works do not seek informational saturation. Instead, through minimal intervention, they leave ample room for nature itself to ‘speak.’ A puddle reflecting the sky, a furrow in the earth pointing toward distant hills, the swaying of bamboo…… such reserved spaces invite viewers to fill them with their own life experiences, to resonate, and to complete the final act of creation.5. The Poetics of Agrarian MemoryRooted in the long tradition of agrarian civilization, works draw from materials such as soil, rice straw, silk, and bamboo. This connection to land, season, and organic rhythm evokes a deep, cyclical poetry—distinct from the industrial vocabulary of early Western land art.”Abstraction Orients East” does not point toward a more obscure end, but rather toward a more fundamental beginning. It seeks to show the world that on this land, avant-garde artistic practice may be deeply connected to the most ancient wisdom. Here, abstraction is the clarity that emerges when all ornament is stripped away; it is the artist becoming a conduit through which the spirit of heaven and earth flows freely and takes form.What we ultimately outline is not a‘Chinese abstraction,’ but a grand and profound system of Eastern abstract spirit—one rooted in the philosophical core of Dao–Qi–Heart–Image–Conception–Realm, expressed through the formal language of brushwork, line, emptiness, and convention, and manifested across disciplines such as calligraphy, painting, garden design, and object-making. It is a unique and profound contribution to the world.The relationship between Eastern and Western abstract art represents a dynamic, evolving history of exchange. It began with the East learning from the West, yet has also offered pathways for Western modern art to break through its own limitations. Over time, the two traditions have developed‘from common origins toward distinct ends.’ Rooted in different philosophical foundations, they have diverged into different spiritual depths: one tends toward rational construction and conceptual expression, the other toward emotional flow and lived experience.In the context of contemporary globalization, they are no longer a simple binary opposition. In the hands of every profound artist, they are re-examined, deconstructed, and integrated, collectively enriching humanity’s deep understanding of ‘abstraction.’ Through this lens, we gain insight into how different civilizations use art as a medium to explore the shared spiritual world of humanity.