· 南汐個(gè)人項(xiàng)目《一火成塔》

· 展覽單元：“中非一家人”特別單元

· 開(kāi)幕時(shí)間：2025年12月20日

· 展覽地點(diǎn)：北京瑞吉酒店 阿斯特廳

· 主辦單位：北京對(duì)外文化貿(mào)易協(xié)會(huì)、斯聞畫(huà)廊

劉陽(yáng) Nancy Liu

1985年出生于中國(guó)北京，現(xiàn)工作于北京

“崇高感的裂縫”系列2020年---2025年

白陶、匣缽泥、鎢絲、自配釉

圖文資料藝術(shù)家工作室惠允

破碎之塔的系列，以陶瓷這一銘刻中華文明基因的材料，重塑“塔”這一深邃的文化符號(hào)。作品通過(guò)其破碎、割裂的形態(tài)，不僅觸及了現(xiàn)代崇高性的美學(xué)核心，更完成了一場(chǎng)與中國(guó)傳統(tǒng)精神世界的深度對(duì)話，在廢墟中喚醒集體無(wú)意識(shí)的古老回響。

展覽現(xiàn)場(chǎng)

展覽現(xiàn)場(chǎng)

陶瓷與塔：文明基因的“雙重復(fù)合”

陶瓷，是火與土的結(jié)晶，是中華文明從實(shí)用走向禮序、從凡俗通往精神的物證。而“塔”，自印度窣堵坡東漸以來(lái)，早已深度漢化為中國(guó)文化的崇高意象：它是佛教理想的載體；是鎮(zhèn)守山河的靈物；是文人登高抒懷的憑欄。劉陽(yáng)將這兩種深植于集體記憶的符號(hào)并置，卻賦予其破碎的形態(tài)，構(gòu)成了雙重解構(gòu)。陶瓷的脆性與塔的永恒性形成強(qiáng)烈悖論，這并非簡(jiǎn)單的毀滅，而是將傳統(tǒng)的“永恒崇高”轉(zhuǎn)化為一種“無(wú)常的崇高” 。這種無(wú)常，深得禪宗“諸行無(wú)?！迸c道家“物壯則老”的哲思精髓，使崇高感從不朽的壯麗，為對(duì)流轉(zhuǎn)、破敗與重生的深邃冥思。

審美參與：更為“內(nèi)觀”的儀式轉(zhuǎn)化

在中國(guó)傳統(tǒng)中，登塔是一項(xiàng)富有儀式感的精神活動(dòng)，是“更上一層樓”的向外追尋與向上超越。劉陽(yáng)的破碎之塔，取消了“登臨”的可能性，從而將這場(chǎng)儀式的方向徹底扭轉(zhuǎn)——由外求轉(zhuǎn)為內(nèi)觀。觀者無(wú)法拾級(jí)而上，只能環(huán)繞、凝視、乃至在想象中觸摸那些斷裂的剖面與尖銳的裂痕。我們面對(duì)觀想”或“面壁”，是自身及時(shí)代精神的廢墟，審美參與由此成為一種自我療愈與精神重構(gòu)的修行。

活動(dòng)現(xiàn)場(chǎng)

活動(dòng)現(xiàn)場(chǎng)

集體無(wú)意識(shí)的喚醒：從“結(jié)構(gòu)的坍塌”到“精神的歸巢”

塔，在中國(guó)人的集體無(wú)意識(shí)中，是“聚”與“護(hù)”的象征。它凝聚佛法、聚攏文運(yùn)、鎮(zhèn)護(hù)一方安寧。它的破碎，因此不僅僅是一個(gè)物理結(jié)構(gòu)的坍塌，更象征著內(nèi)在秩序與精神寄托的失落。這種割裂感，精準(zhǔn)地?fù)糁辛爽F(xiàn)代人普遍存在的“精神失所”的焦慮。

然而，東方智慧的精髓在于“否極泰來(lái)”。陶瓷碎片那如玉般的溫潤(rùn)光澤，以及在斷裂處所保留的手工痕跡，暗示著一種于破碎中留存的精神火種。它喚起的不再僅僅是巴別塔式的溝通絕望，更是 “歸巢”的本能——即使舊塔已傾，那種對(duì)于精神歸宿、對(duì)于文化向心力的渴望，反而在廢墟之上被更強(qiáng)烈地激發(fā)出來(lái)。

《時(shí)間的沙塔》 40x40x60 黑陶 海綿 沙石 2024年

《通天塔》局部

《九重臺(tái)》匣缽泥、自配釉 60x20cm 2024年

《通天塔》 陶瓷雕塑 35X78cm 2023年

藝術(shù)家簡(jiǎn)介：劉陽(yáng)（南汐）

1985出生于北京；本科畢業(yè)于中國(guó)傳媒大學(xué)；曾就讀倫敦藝術(shù)大學(xué)Fine Art 專業(yè)；候汐生活藝術(shù)工作室主理人；目前，中央美術(shù)學(xué)院碩士在讀。作品先后在美國(guó)紐約洛杉磯，德國(guó)柏林歐爾布西特美術(shù)館、北京當(dāng)代藝術(shù)館、北京798美頌畫(huà)廊、798第零空間、上海庫(kù)伯美術(shù)館、蘇州金谷里藝術(shù)中心、西安崔振寬美術(shù)館展覽。參與國(guó)內(nèi)藝術(shù)博覽會(huì)，主要包括藝術(shù)北京、廣州藝博等。

Liu Yang's Fragmented Pagoda is a profound exploration of traditional Chinese spiritual symbols through contemporary art. It uses the “fragility” of ceramic tocontrast the “solidity” of the pagoda, employing formal “fragmentation” to reflectspiritual “cohesion.” The workshifts the viewer’s focus from the outward pursuit of“ascending to look afar” to the inward act of “confronting fragmentation,” creating ametaphorical modern ritual. Ultimately, it awakens a collective memory embedded in our heritage—of order, shelter, and transcendenceembodied by the pagoda—not to dwell on loss, but to discern an unextinguished, jade-like glow within civilization’s cracks, and to reflecton how to rebuild a spiritual “pagoda” for the wandering soul today.

The Fragmented Pagoda series reinterprets the profound cultural symbol of the pagoda through ceramic—a material deeply encoded withChinese civilization. Through its fractured forms, the work engages with modern aesthetic sublimity while entering into deep dialogue with traditional Chinese spirituality, awakening echoes of the collective unconscious from the ruins.

Ceramic and Pagoda: A “Dual Composite” of Cultural Identity

Ceramic, as the crystal of fire and earth, embodies Chinese civilization’s evolution from utility to ritual, from the mundane to the spiritual. The pagoda, originating fromthe Indian stupa, has been deeply assimilated into Chinese culture as a sublime form: a vessel of Buddhistideals, a guardian of sacred geography, a structure from which literati drew inspiration. Liu Yang brings these two deeply rooted symbols together, yet presents them in fragmented form, enacting a dual deconstruction. The inherent fragility of ceramic contrasts with the pagoda’s symbolic permanence—transforming the traditional “sublime of eternity” into a “sublime of impermanence.” Resonating with theChan Buddhist teaching that “all conditioned things are impermanent” andthe Daoist notion that “what flourishes must decay,” this shiftturns sublimity frommajestic permanence into a meditation on flux and renewal.

Aesthetic Participation: A Ritual Turned Inward

In traditional Chinese practice, ascending a pagoda was a spiritual ritual—an act ofoutward and upward transcendence, as captured in the phrase “climbing yet one story higher.” Liu Yang’s fragmented pagoda denies this physical ascent, redirecting the ritual from externalpursuit to inner contemplation. Unable to climb, the viewer is left to circle, observe, and imaginatively trace the fractured planes and sharp edges. What we confront is not an object for serene meditation, but the ruins of ourselves and our time. Aesthetic participation thus becomes a form of self-reckoning and spiritual reparation.

Awakening the Collective Unconscious: From Structural Collapse to Spiritual Homecoming

In the Chinese psyche, the pagoda symbolizes gathering and protection—it concentrates spiritual power, channels literary energy, andsafeguards a locality. Its fragmentation, then, signifies more than physical collapse: it evokes the loss of inner order and spiritual grounding, echoing the modern sense of existential displacement.

However wisdom teaches that “after extremity comes reversal.” The jade-like warmth of the ceramic shards and the visible traces of the artist’s hand at broken edges suggest a spiritual spark preserved within the rupture. What is awakened is not only a Babel-like despair overfailed communication, but a deeper instinct for homecoming—even as the old structure falls, the longing for spiritual return and cultural cohesion burns more intensely amid the ruins.