土地治愈|宋陈土壤艺术中的道家生态美学意蕴
以天人合一为基础的感物美学意蕴
The Aesthetic Implications of
the Oneness of Heaven and
Humanity as a Foundation for
Sensory Experience
在道家哲学中，人与自然是一个有机的整体，其核心思想是天人合一。道家的“自然”不是仅仅指自然界，而是一个天地万物生灵浑然一体的存在。这意味着万物同根同源，皆有灵性，人立于天地之间，能与万物交相感应，在这个过程中物使人的情志生发，从而产生不同的审美体验，而人的情志同样能影响物的状态。对于道家而言，感物的最高境界是“致虚极，守静笃”（《道德经》第十六章），是对精神自由的至高追求。
In Taoist philosophy, man and nature are an organic whole, with its core idea of the oneness of heaven and humanity. “Nature” in Taoism not only refers to the natural world, but encompasses all things in the universe, including living beings. This means that all things share the same origin and possess spirituality. Humans stand between heaven and earth, and can interact with all things, which in turn can stimulate their emotions and lead to different aesthetic experiences. For Taoists, the highest level of sensory experience is “zhixu ji, shoujing du 致虚极，守静笃” [Achieve the utmost in emptiness and hold steadfast in quietude]. This is the ultimate pursuit of spiritual freedom.
宋陈，行走的山水系列，
泥土综合装置，
220×130×120cm，2019
Song Chen, Walking Landscape,
Integrated Soil Installation,
220×130×120 cm, 2019
“泥土是构成这个世界最基本的物质，泥土孕育了自然万物，它意味着能量与神性的合一。” ——宋陈
“Soil is the most fundamental material constituting this world, and it nurtures all things in nature. It signifies the unity of energy and divinity.” —Song Chen
《行走的山水》以土壤为质料，将山水、树木、园林和身体融合在一起，体现出一种物我相融的哲思，身体的上半部分被山水所代替，或许也意味着一种忘我的境界。当艺术品被安放在不同的时空并被记录下来，由于某种类似于蒙太奇的效应，艺术品仿佛行走于天地之间，但其本身又是静态的物，由此产生一种动静结合，“万物负阴而抱阳，冲气以为和”的生态美学意蕴。物的情志在这里被巧妙的展现出来。
Walking Landscape uses soil as its material to integrate mountains, rivers, trees, gardens, and the body, embodying a philosophical concept of the integration of self and nature. The upper part of the body is replaced by the landscape, perhaps implying a state of selflessness. The upper half of the body is replaced by landscape, perhaps implying a state operhaps implying a state of selflessness. As this artwork is archived in various spaces at different times, a montage-like effect creates the illusion of this artwork walking between heaven and earth. It remains yet a static object, producing an ecological aesthetic of the combining movement and stillness, “wanwu fu yin er bao yang, chong qi yi wei he 万物负阴而抱阳，冲气以为和” [All things bear shade on their backs and the sun in their arms; By the blending of breath from the sun and shade, equilibrium comes to the world] The emotional state of an object is cleverly demonstrated in this artwork.
宋陈，大地之子，
泥土混合装置，
直径430cm，2019
Song Chen, Son of the Earth,
Soil mixed installation,
Diameter 430 cm, 2019
宋陈的另一装置艺术作品《大地之子》同样表达了人与天地合一的思想。物的情志经由创作者之手，变得具象，泥塑的大地之子模糊了人与植物的边界，仿佛扎根于宇宙之中，像婴孩卧于母亲的子宫之中，展现出人与自然的共生关系，同时有着道家所说的“复归于婴孩”的意蕴。
Another installation artwork by Song Chen, Son of the Earth, also expresses the idea of the oneness of heaven and humanity. The emotional state of the object, through the hands of the creator, becomes concrete. The earthy “Son of the Earth” blurs boundary between human and plant, as if rooted in the universe, like a baby lying in its mother’s womb, demonstrating a symbiotic relationship between human and nature, conveying the meaning of “fu gui yu yinghai 复归于婴孩” [To be a simple child again] as described in Taoism.
道的朴素美——返璞归真
The Simple Beauty of Taoism –
Return to Nature
多年来，宋陈一直以“土”为“语”，用最朴素的质料唤醒人们对大地的敬畏以及对本源的回溯。我们总能在宋陈的作品中看到一种混沌、朴素而古拙的气息，看到一种冲淡、古朴、野性的美。土壤的质料赋予作品苍凉感，警示人们注意对土壤的保护，其中有一种一以贯之的气作为作品的筋骨，承载着生命之源赋予人们的希望。
For years, Song Chen has used soil as a visual language to re-awaken awe for the earth, bringing people back to our origins. We see in his works a chaotic and simple atmosphere, a dilute, ancient and wild beauty. The material of the soil conveys a sense of desolation, warning people to pay attention to the protection of soil. A constant energetic serves as backbone for the work, carrying hope for people as a source of life.
宋陈，土书系列
（本，900 mm × 1400 mm；
色，100 mm × 1600 mm；
薼，700 mm × 1200 mm；
尘，100 mm × 1600 mm；
土，550 mm × 1250 mm），
混合泥土书法作品，2018
Song Chen, Earth Calligraphy Series
（Ben 本，900 mm x 1400 mm；
Se 色，100 mm x 1600 mm；
Chen 薼，700 mm x 1200 mm；
Chen 尘，100 mm x 1600 mm；
Tu 土， 550 mm x 1250 mm）,
Mixed Earth Calligraphy Works, 2018
樸(可作朴)是道的本质，代表着本真、淳然、原始的状态，犹如木之未成器者。然而，我们早已不是孩童，当人因社会构建而迷失自己，樸的意义在于超越，是一种“绚烂至极而归于平淡”的境界。朴素美是去伪存真的美，是恢复一切事物本来面貌的趋向。
Pu 樸 [simplicity] is the essence of Tao, representing a state of authenticity, simplicity, and originality, like the uncarved wood. However, as we are no longer children and become lost in ourselves due to social constructs, the meaning of pu lies in transcendence, a state of being “brilliantly rich and returning to nature.” The beauty of pu is the beauty of removing falsehoods and restoring everything to its true appearance.
老子在《道德经》中多次谈及樸，如“道常无名、樸”、“见素抱樸”、“敦兮其若樸”、“复归于樸”等。第三十七章，老子解释了樸的重要作用:“道常无为而无不为。侯王若能守之，万物将自化。化而欲作，吾镇之以无名之樸。”当万物自生自长而至贪欲萌作时，道的真樸能起到安定的作用。
Lao Zi often mentioned pu in the Tao Te Ching, such as in, “The Tao, considered as unchanging, has no name. Though, in its primordial simplicity it may be small,” or, “A wise man lives a natural and simple life,” and “To keep an unpretending simple self,” as well as “The simple infant man in him we hail.” In Chapter 37, Lao Zi explains the important role of pu, “The principle of the universe follows natural laws, without trying to ‘do’ anything. As it follows natural laws, nothing is neglected. If a ruler can follow this principle, then all the things in his nation will take place in a natural way. During the process, if selfishness appears, then the simplicity that has no name must be used to dissolve it.” When all things are self-generated and growing and greed and desire begin to arise, the true simplicity of the Tao can have a stabilizing effect.
回归：反者道之动，弱者道之用
Return: Reversion is the Action
of Tao and Gentleness is
the Function of Tao
“反”的两个含义：一是循环往复，二是相反。下面我们主要通过宋陈的土壤生态作品介绍“反”的内涵中“回归”与“柔弱”产生的生态美学意蕴。
The term “reversion” has two meanings: one is to cycle back and forth, and the other is to be opposite or contrary. Here we mainly explore the ecological aesthetic significance of return and softness generated by the concept of reversion through the introduction of Song Chen’s soil-based ecological artworks.
“天之道，损有余而补不足。人之道，则不然，损不足以奉有余。”(《道德经》第七十七章)人类常常做出一种偏离“道”的行为，从人与自我、人与社会到国家政治，由于私心多欲，常与“自然”相悖，那么要达到和谐美的存在状态，有时就不得不反其道而行之。
“Tian zhi dao, sun you yu er bu bu zu. Ren zhi dao, ze buran, sun bu zu yi feng you yu 天之道，损有余而补不足。人之道，则不然，损不足以奉有余” [1] [The way of heaven reduces surplus to make up for scarcity. The Way of man reduces scarcity and pays tribute to surplus.) Human beings often behave in ways that deviate from the Tao, whether in relation to self, society, or politics. This is due to excessive desire and self-interest. To achieve a state of harmonious beauty, it is sometimes necessary to take a different approach and go against the norm.
宋陈、三强、胡隽佳，大地疗愈，
上海新桥美术馆，2021
Song Chen, Sanqiang, Hu Juanjia,
Earth Healing, XinQiao Art Museum, 2021
宋陈发起的《大地疗愈》系列，以土壤生态行为仪式的方式演绎了对“天人合一”思想的回归。看似繁复的形式超越了形式本身，在这里成为一种召唤真樸的方法，让人们抛弃繁杂的思想和缭乱的声色，以最纯粹的能量链接大地、宇宙、他人，回归到生态整体的循环中。
The Earth Healing Series initiated by Song Chen uses the form of soil-based ecological ritual to interpret a return to the concept of the oneness of heaven and humanity. The seemingly complicated form transcends itself and becomes a way to evoke simplicity, allowing people to abandon complex thoughts and distractions of the world, connecting with the earth, universe, other people through purest energy, returning within a cycle of ecological wholeness.
在泥土装置《殇土·土壤婴孩》中，宋陈用多年收集的“病态土壤”搭建了一个垂死状的婴孩和死寂的子宫。老子说：“人之生也柔弱，其死也坚强。草木之生也柔脆，其死也枯槁。”土壤婴孩让我们目睹了柔弱与枯槁之间的巨大张力，以无声的力量，带来灵魂的震颤和行动的可能。
In the soil installation Sentimental Soil·Soil Baby, Song Chen uses “sick soil” collected over many years to create a dying baby and a lifeless womb. Lao Zi said, “Ren zhi sheng ye rouruan, qi si ye jianjiang. Caomu zhi sheng ye roucui, qi si ye kugao 人之生也柔弱，其死也坚强。草木之生也柔脆，其死也枯槁.” [Human beings are soft and supple when alive, but stiff and straight when dead. The myriad creatures, the grasses, and trees are soft and fragile when alive, but dry and withered when dead.) The soil baby allows us to witness the enormous tension between softness and rigidity, bringing soulful tremors and possibilities for action through silent force.
宋陈，《土地治愈》展览现场，
生病的土壤，2019
Song Chen, The exhibition Healing Land,
Sick Soil, 2019
参考文献：
[1] 陈鼓应，《老子注译及评介》，北京：中华书局，2017年。
[2] 曾繁仁，《生态美学导论》，北京：商务印书馆，2010年。
[3] 张世英，《天人之际——中西哲学的困惑与选择》，北京：人民出版社，1994年。
[4] 李建，《中国古代感物美学的生态意蕴》，载《南华大学学报（社会科学版）》，2018年。
[5] 王璐璐，《论道家的生态美学思想》，辽宁：沈阳师范大学，2015年。
[6] 雷琰，《人诗意地栖居——试论道家的生态美学观》，载《湖北教育学院学报》，2007年。
[7] 苏州本色美术馆，《艺术场域实验｜从苏州本色到苏州园林，宋陈〈行走的山水〉系列》
https://mp.weixin.qq.com/s/a_uixl5ymjE2ddrOMNyK7A
[8] 苏州本色美术馆，《首届在“世界土壤日”开幕的〈土地治愈〉当代艺术展览》
https://mp.weixin.qq.com/s/hRUUmSVKqqaKwmuqI-JjIg
[9] 大地疗愈公众号，《〈大地疗愈〉艺术疗愈项目·第二季》
https://mp.weixin.qq.com/s/S0DtOtIM6h9UTAT3Jaizug
References
[1] Chen Guying, Annotation, Translation and Introduction of Laozi, Beijing: Zhonghua Book Company, 2017.
[2] Zeng Fanren, Introduction to Ecological Aesthetics, Beijing: The Commercial Press, 2010.
[3] Zhang Shiying, Between Heaven and Humanity: The Confusion and Choice of Chinese and Western Philosophy, Beijing: People’s Publishing House, 1994.
[4] Li Jian, Ecological Implications of Ancient Chinese Aesthetics of Sensibility, Journal of Nanhua University (Social Sciences), 2018.
[5] Wang Lulu, On the Ecological Aesthetics of Daoism, Liaoning: Shenyang Normal University, 2015.
[6] Lei Yan, Poetically Inhabiting the Earth: A Discussion of the Ecological Aesthetic View of Daoism, Journal of Hubei Institute of Education, 2007.
[7]Suzhou True Color Museum, Art Field Experimentation: From Suzhou Vernacular to Suzhou Garden, Song Chen's Walking Landscape Series.
https://mp.weixin.qq.com/s/a_uixl5ymjE2ddrOMNyK7A
[8]Suzhou True Color Museum, The first "Land Healing" contemporary art exhibition opened on World Soil Day
https://mp.weixin.qq.com/s/hRUUmSVKqqaKwmuqI-JjIg
[9] Earth Healing Public, Earth Healing Art Project - Season 2
https://mp.weixin.qq.com/s/S0DtOtIM6h9UTAT3Jaizug
* 图片由艺术家宋陈提供
* 感谢美国艺术史学者康书雅Sophia.Kidd & 助手钟婷的文章
Images courtesy of the artist
钟婷
字时止， 四川大学汉语言文学专业文学学士， 言履文化与艺术和 Nuance Art & Culture 的研究与内容开发实习生，从事内容研发。她的兴趣包括冥想和艺术与文化的写作，以此来理解我们生活的世界。她对艺术的感知来源于对人及存在关系的觉知与悲悯。
职位：
内容研发部撰稿人
电子邮箱：
culture@yanluartsandculture.com
Zhong Tink
Tink Zhong was born in Huizhou, Guangdong in 1998. Shizhi is her style name. She graduated from Sichuan University with a degree in Chinese Language and Literature. Currently Tink develops content while furthering aims in research and development at Yanlu Arts & Culture and Nuance Art & Culture. Her passions include meditation and writing about art and culture as a means to understand the world we live in. Her perception of art comes from compassion and awareness of human and existential relationships.
Position:
Research & Content Development Writer
E-mail:
culture@yanluartsandculture.com
来源：言履文化与艺术
作者：钟婷
翻译：钱思程
编辑：毛菁
责编：
小元 康书雅
Source：Yanlu Arts ＆ Culture
Author：
Zhong Tink
Translator : Jack
Editor: Mao Jing
Editor in Charge：
Xiaoyuan
Dr. Sophia Grace Kidd
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