這個春天，我想每一個人都深有感觸，這個春天，在我們身邊發(fā)生了太多非同尋常的事情，希望《瘟疫時期Plague period/2022》能引起共鳴，希望你參與到這個報告中來。這是一個在鞋中種植為表現(xiàn)手段的“環(huán)境”報告，如果你參與進來，請把你的“報告”拍成圖像發(fā)到網上，讓我們一起記憶這個春夏。
This spring, I believe everyone has a deep feeling, this spring, too many extraordinary things have happened around us, I hope the "report" of Epidemic /2022/ " Chinese people's shoes" can resonate with you. I hope you can participate in the report, diagnosis of our living space. One person's report is far from enough. This is an environmental report based on plant cultivation as the performance tool.I hope you can make a video of your "Epidemic report" and post it on the Internet with this report plan, or send it to my878766659@qq.com, so that we can remember this spring together.
《瘟疫時期Plague period/2022》，我從4月19日第一次種下草籽，然后不成功，學習，再種，到五月初，局部發(fā)芽了，今天早上已有花蕾——這種植物叫“酢漿草”。
楊佴旻 2022年5月22日 北京
MAGE
MAGE
瘟疫時期Plague period/2022
時間：2022年4月19日--
MAGE
MAGE
MAGE
瘟疫時期Plague period/2022
時間：2022年4月19日--
MAGE
MAGE
瘟疫時期Plague period/2022
時間：2022年4月19日-- 疫期報告·2020 楊佴旻 這個糟糕的冬春，改變著每一個人，地球上的一切都被改變，藝術家思想最多的已不是藝術本身?？粗侣劺锬切└腥竞退劳龅娜藗儯犞鞣N謠言傳說，內心非常焦慮，我開始想醫(yī)學，期待著靈丹妙藥，我想中醫(yī)到底是什么？人類初期，不分地域，人們都在用樹根、草葉、樹皮、野果、石塊、草灰等治療疾病。神農氏舍身嘗百草，我想在世界的西方一定還有一個白皮膚、藍眼睛的神農。那時的醫(yī)學沒有東西概念，傳統(tǒng)醫(yī)學是經過多少人、多少代人的實踐，甚至獻出生命積累的經驗。小時候在西山上，我手被劃破，正手足無措時，一個大孩子拿著一個蘑菇狀的東西跑過來，他說這是灰皰，它能止血；他劃開灰皰的頂部，里面露出深赭石色粉末，他把粉末涂到傷口上，血止住了，疼痛感也減弱了。后來，我知道那是菌類的一種，那是我第一次對醫(yī)療的記憶。那是人類最初的醫(yī)療。如果與現(xiàn)代醫(yī)療相比較，這是傳統(tǒng)醫(yī)學。我想一定是的，這無需考證，這是人類初期寶貴經驗的一種。
回到繪畫。人類最早的繪畫實則文字，之所以這么說，是因為人類最早的、舊石器時代的繪畫，其作用是為了記事，它們雖然刻畫了物像，其目的卻是最初的文字紀錄。從畫畫記事，到文字語言的形成，中國一直沿著繪畫（象形）的軌跡，而西方文字則逐步走入抽象。人類進入13世紀，隨著科學技術在歐洲的興起，繪畫從涂鴉期、到追求形似，畫家開始引入光影、解剖和透視學到創(chuàng)作之中。其代表人物有佛羅倫薩畫家皮耶羅·德拉弗朗西斯科（Piero della Francesca），約1420－1492。皮耶羅在繪畫之外致力于數學和幾何學研究，他的畫中強調數理幾何的嚴謹與平衡。他的代表作有阿雷佐城的圣弗朗西斯科教堂壁畫，其中《示巴女王禮拜神木》及《示巴女王與所羅門王會晤》最為著名。他為烏爾比諾公爵夫婦畫的肖像，是文藝復興時期的杰出作品。他晚年著有《繪畫透視法》及《論五種正規(guī)體》等。中國繪畫，從石器時代的巖畫，順沿著人類初期繪畫的形式拓展。從涂鴉到似與不似，直到19世紀引入光影、幾何學等科學因素，人類智慧經過一段漫長的離別之后再次匯和。
到此本文該結束了，我偏偏又想到了筷子。用兩個小棍兒夾東西吃，我想如今的刀叉民族曾經也是，在制鐵沒有發(fā)明前他們還能用什么吃飯？從山洞里走出來，東方人延續(xù)使用了那兩根棍兒，筷子，西洋人改用了鐵器。在中國，如果沒有外因，它還會沿著農耕文明的軌跡不知道走多久。好在人類走過的路都是我們的路。因為變化，而多樣，所以精彩。
災難時期，藝術家在努力呼喊，我更看重藝術對社會，對人心的撫慰，藝術喚醒世界的能力很有限，藝術撫慰世界的能力無與倫比。因此，人類創(chuàng)造了文學和藝術。越是災難世界需要撫慰。
目前這樣的時段，無論發(fā)生什么不愉快的事情，甚至多么悲傷，我們的內心必須保持自信，保持一種力量，使我們可以繼續(xù)能夠持有靈魂與感知。
2020年春 東京
MAGE
瘟疫時期Plague period/2022時間：2022年4月19日-- Epidemic period report Yang Ermin It’s been a terrible winter-spring, that changes everyone. Everything on earth seems altered. For artists, now their primary concern is no longer, if it had been, art itself. All the numbers of infections and deaths on the news, all the rumors and hearsays… cultivate my anxiety. I began to think about the medicine, the quest for magical cure, but what is the TCM (Traditional Chinese Medicine), anyway? In the early human history, through out the continents people were using plants, roots, grass leaves, bark, wild fruits, rocks and grass ashes to treat illnesses. In Chinese mythology, it was Shen Nong who tasted hundreds of herbs in order to identify their characteristics and taught people their medical uses. I assume that somewhere in the western world there had also been a Shen Nong with blue eyes and blond hair. By then there were no concepts of East/West in medicine. The traditional medicine paved its way through practices, generation by generation, with sometimes the price of peoples’ lives, then passed on as memory or experience. When I was little, I was once playing on the west hill and cut my hand. An elder boy ran off and fetched me a mushroom, told me that it was a Grey blister (灰皰) which would stop the bleeding. He cut it open by the top, took some of the dark ochre powder from inside and then put it on the wound. The bleeding was stopped immediately and the pain eased up. Later I learned that the Grey blister was a kind of fungi. That was my first memory of medical treatment. One that keeps its earliest form. Compared to modern medical science, it is in no doubt traditional. I am sure of it, no need of historical proof, this is one of the precious primordial human experiences.
Let’s get back to painting. The earliest drawings made by human were in fact writings, which is because the earliest Paleolithic drawings were actually records of events, although they depict the form of objects, their objective was to transmit a literal message -- the initial form of a text. From drawing notes to writing words, the Chinese language followed a pictorial (pictograph) path, whereas western languages converted themselves to the abstract. At the dawn of the thirteenth century, humanity witnessed the rise of science and technology, and the painting grew out of its scribbling stage, into the realm of resemblance and representation. Painters enrich their painting skills by extensive studies on light and shadow, on anatomy and perspective. One of the representatives of them is the Florentine painter Piero della Francesca (env. 1420-1492). Apart from his artistic creation, Piero devoted himself to mathematics and geometry, as demonstrated in the vigorous and well balanced geometrical vision in his paintings. His most acknowledged works include the frescos in the Basilica di San Francesco in Arezzo, among which the Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba. The portraits that he made for the Duke of Urbino and his wife was also a masterpiece of the Renaissance.
Later in his life, he wrote essays on art such as De prospectiva pingendi (On Perspective in Painting) and De quinque corporibus regularibus (On the Five Regular Bodies). Chinese paintings, on the other hand, followed a figurative path ever since the Paleolithic cave drawings, from graffiti to representation and then deformation. Until the nineteenth century, scientific elements, such as light and shadow and geometry, were finally introduced into the painting. Here at last human intelligence from separated worlds converge once again.
Now it seems that this article reaches its end, but what struck me just before closing this speech, was the idea of the chopsticks. Using two sticks to get food, I think it could also have been a solution for western people before Iron Age, before knife and forks were invented. What else could have been used anyway? Walking out of the caves, people continue to use the sticks in the East, the chopsticks, as they call it; whereas in the West, people picked up the iron. Without external forces, China could have continued its farming civilization for we don’t know how many centuries ahead. Luckily all tracks led by human contribute to our common history. Difference makes diversity and dynamic.
In catastrophe, artists call out hard to raise awareness. Art might not be as powerful as science and technology as to enlightening the world, but it has an unparalleled capacity to reveal and recover the inner world, that’s what I call its ultimate value for the society, for mankind. Nothing heals the heart as art does, that’s why literature and art were invented in the first place. More so in time of catastrophe, when we need comfort more than anytime.
At such a moment, no matter what happens or how worse the situation gets, or how sad we are, we must keep our self-confidence and the inner strength, for that’s the only way to nourish our soul and our sensibility.
MAGE
楊佴旻（YANG ERMIN）2019·羅馬 楊佴旻，中國曲陽人，藝術家、詩人、榮譽爵士，畢業(yè)于南京藝術學院，文學博士。１９９５年赴東瀛，在名古屋、世界多地生活與創(chuàng)作?，F(xiàn)為南京藝術學院校董及新水墨畫研究所所長，中國藝術研究院研究員，西班牙康普頓斯大學跨文化研究教授，法國國家自然歷史博物館當代人類文化學研究所自由研究員，美國圣賽德藝術中心客座研究員，河北大學新中國畫研究中心主任，李可染畫院終身研究員等；
2003年獲首屆哥倫比亞世界繪畫貢獻獎（美國），2010“吳作人藝術獎·造型藝術獎”提名藝術家，2014年胡潤藝術榜上榜藝術家、胡潤藝術榜在世少壯派國寶藝術家，2017年中國詩歌榜十大藝術家詩人，2018年獲榮譽爵士十字勛章（法國），2019年獲法國沃爾維克市榮譽市民，2020年胡潤藝術榜上榜藝術家，第六屆中國當代詩歌獎貢獻獎，2021年獲首屆“第一坊金逸獎”提名獎；
楊佴旻在世界多地舉辦個展，藝術作品曾獲得多種專業(yè)獎項，水墨畫作品被梵蒂岡博物館、中國美術館、巴黎市當代藝術庫收藏，著有畫冊、學術專著、詩集等。
