這個(gè)春天，我想每一個(gè)人都深有感觸，這個(gè)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(shí)期Plague period/2022》能引起共鳴，希望你參與到這個(gè)報(bào)告中來(lái)。這是一個(gè)在鞋中種植為表現(xiàn)手段的“環(huán)境”報(bào)告，如果你參與進(jìn)來(lái)，請(qǐng)把你的“報(bào)告”拍成圖像發(fā)到網(wǎng)上，讓我們一起記憶這個(gè)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(shí)期Plague period/2022》，我從4月19日第一次種下草籽，然后不成功，學(xué)習(xí)，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(shí)期Plague period/2022
時(shí)間：2022年4月19日--
MAGE
MAGE
MAGE
瘟疫時(shí)期Plague period/2022
時(shí)間：2022年4月19日--
MAGE
MAGE
瘟疫時(shí)期Plague period/2022
時(shí)間：2022年4月19日-- 疫期報(bào)告·2020 楊佴旻 這個(gè)糟糕的冬春，改變著每一個(gè)人，地球上的一切都被改變，藝術(shù)家思想最多的已不是藝術(shù)本身?？粗侣劺锬切└腥竞退劳龅娜藗?，聽(tīng)著各種謠言傳說(shuō)，內(nèi)心非常焦慮，我開(kāi)始想醫(yī)學(xué)，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(shù)根、草葉、樹(shù)皮、野果、石塊、草灰等治療疾病。神農(nóng)氏舍身嘗百草，我想在世界的西方一定還有一個(gè)白皮膚、藍(lán)眼睛的神農(nóng)。那時(shí)的醫(yī)學(xué)沒(méi)有東西概念，傳統(tǒng)醫(yī)學(xué)是經(jīng)過(guò)多少人、多少代人的實(shí)踐，甚至獻(xiàn)出生命積累的經(jīng)驗(yàn)。小時(shí)候在西山上，我手被劃破，正手足無(wú)措時(shí)，一個(gè)大孩子拿著一個(gè)蘑菇狀的東西跑過(guò)來(lái)，他說(shuō)這是灰皰，它能止血；他劃開(kāi)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(lái)，我知道那是菌類的一種，那是我第一次對(duì)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(xué)。我想一定是的，這無(wú)需考證，這是人類初期寶貴經(jīng)驗(yàn)的一種。
回到繪畫。人類最早的繪畫實(shí)則文字，之所以這么說(shuō)，是因?yàn)槿祟愖钤绲?、舊石器時(shí)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(jì)錄。從畫畫記事，到文字語(yǔ)言的形成，中國(guó)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(jìn)入13世紀(jì)，隨著科學(xué)技術(shù)在歐洲的興起，繪畫從涂鴉期、到追求形似，畫家開(kāi)始引入光影、解剖和透視學(xué)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(shù)學(xué)和幾何學(xué)研究，他的畫中強(qiáng)調(diào)數(shù)理幾何的嚴(yán)謹(jǐn)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(huì)晤》最為著名。他為烏爾比諾公爵夫婦畫的肖像，是文藝復(fù)興時(shí)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(guó)繪畫，從石器時(shí)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(jì)引入光影、幾何學(xué)等科學(xué)因素，人類智慧經(jīng)過(guò)一段漫長(zhǎng)的離別之后再次匯和。
到此本文該結(jié)束了，我偏偏又想到了筷子。用兩個(gè)小棍兒夾東西吃，我想如今的刀叉民族曾經(jīng)也是，在制鐵沒(méi)有發(fā)明前他們還能用什么吃飯？從山洞里走出來(lái)，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(guó)，如果沒(méi)有外因，它還會(huì)沿著農(nóng)耕文明的軌跡不知道走多久。好在人類走過(guò)的路都是我們的路。因?yàn)樽兓?，而多樣，所以精彩?/p>
災(zāi)難時(shí)期，藝術(shù)家在努力呼喊，我更看重藝術(shù)對(duì)社會(huì)，對(duì)人心的撫慰，藝術(shù)喚醒世界的能力很有限，藝術(shù)撫慰世界的能力無(wú)與倫比。因此，人類創(chuàng)造了文學(xué)和藝術(shù)。越是災(zāi)難世界需要撫慰。
目前這樣的時(shí)段，無(wú)論發(fā)生什么不愉快的事情，甚至多么悲傷，我們的內(nèi)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(shí)期Plague period/2022時(shí)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(guó)曲陽(yáng)人，藝術(shù)家、詩(shī)人、榮譽(yù)爵士，畢業(yè)于南京藝術(shù)學(xué)院，文學(xué)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(shù)學(xué)院校董及新水墨畫研究所所長(zhǎng)，中國(guó)藝術(shù)研究院研究員，西班牙康普頓斯大學(xué)跨文化研究教授，法國(guó)國(guó)家自然歷史博物館當(dāng)代人類文化學(xué)研究所自由研究員，美國(guó)圣賽德藝術(shù)中心客座研究員，河北大學(xué)新中國(guó)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(xiàn)獎(jiǎng)（美國(guó)），2010“吳作人藝術(shù)獎(jiǎng)·造型藝術(shù)獎(jiǎng)”提名藝術(shù)家，2014年胡潤(rùn)藝術(shù)榜上榜藝術(shù)家、胡潤(rùn)藝術(shù)榜在世少壯派國(guó)寶藝術(shù)家，2017年中國(guó)詩(shī)歌榜十大藝術(shù)家詩(shī)人，2018年獲榮譽(yù)爵士十字勛章（法國(guó)），2019年獲法國(guó)沃爾維克市榮譽(yù)市民，2020年胡潤(rùn)藝術(shù)榜上榜藝術(shù)家，第六屆中國(guó)當(dāng)代詩(shī)歌獎(jiǎng)貢獻(xiàn)獎(jiǎng)，2021年獲首屆“第一坊金逸獎(jiǎng)”提名獎(jiǎng)；
楊佴旻在世界多地舉辦個(gè)展，藝術(shù)作品曾獲得多種專業(yè)獎(jiǎng)項(xiàng)，水墨畫作品被梵蒂岡博物館、中國(guó)美術(shù)館、巴黎市當(dāng)代藝術(shù)庫(kù)收藏，著有畫冊(cè)、學(xué)術(shù)專著、詩(shī)集等。
