中国非物质文化遗产·再发现研发工程：苏谢伟油画展
中国新闻联网唐军首发新闻
1月1日，将于宝安22艺术区2030道空间举行“中国非物质文化遗产：《中国基因》——苏谢伟油画展”。此前，画家苏谢伟先生感受良多，止录其一，供大家联同评论家野牛的介绍文字（《文化再发现：中国基因》），客观参照；并请出席画展当日下午三点的开幕式活动。
作画随感
Thoughts by Artist
苏谢伟
By Xiewei Su
对我来说，绘画是表现艺术家内心的幻象。而这种精神的幻象是一个艺术家的文化积淀。在画面中色彩与色彩之间的柔和与对比关系，各种符号的表示，表达出一种充满迷惑力的、纯洁的、神秘的精神世界。而这种神秘感是促使观者能够在画面前去探索、去品味、去交流、去感应。
For me, painting is a way to express imagination in the inner of an artist, and the imagination is the years of cultural accumulation of an artist. the use of colors, symbols, all display a kind of charm, pure and mysterious. And the mystery can make the audience further explore, taste, communicate and induce.
作为一个中国人，面对中华几千年浩瀚的文化。谁不激动？谁不震撼？我们几千年前的新石器时代、殷商、秦汉时代，出土的所有文物。都是令人激动的艺术品。那种单纯、朴素的符号，充满了神秘感，按现代抽象画的二度空间来理解，简直就是中国的抽象画。特别是甲骨文，简洁有力的线，和充满沧桑感的甲骨，是一种完美的结合。
As a Chinese, whoever can remain calm and un-shocked facing the rich Chinese culture of several thousand years? From the excavated cultural relic from Shang and Qin-Han Dynasty, the produce, creation, simplicity, charm and mystery, prove to be perfect abstract drawing. Especially the oracle bone, based on the second-dimension abstract drawing, a few simple lines can express the profound and outstandingness.
作为一个现代人，也不可能简单地模仿历史，而是怎样地把中国的这种文化基因，运用抽象手法表达出来，最近的作品，就是想在这方面进行探索，怎么样才能在画面上传达出这种中国的文化基因，运用这些抽象符号。色彩与色彩之间的魅力，和这种中国的文化基因完美的结合在一起。使一幅画能有更高的文化内涵，更有品味，更有生命力，更能经得起时间的考验。
As a modernist, it’s impossible to imitate history only, but to think about how to use an abstract way to express the
一幅作品必须传达出或许向观者能将感应到，各种符号和色彩以外的一种精神。是一种隐藏在他的表面形式和面的预示，就像历史给我们遗留下来的。最初人类处处见过的魔术符号，每走一步都感到震惊。也许这就是我要在画面上传递出来的一种感受吧。
An artwork msut be able to convey a special spirit out of the symbols and colors, it’s a indication under the exterior, just like what left over to us by history.
苏谢伟 广东省潮州市人
现为广东省建工设计院高级设计师。
1991年作品“革命烈士李春涛”入选广东省庆祝建党七十周年美
术作品展，并刊登在潮州市“韩江”杂志封面。
2007年“中国基因系列”作品二幅入选《中国当代艺术》。
2008年“中国基因系列”作品入选川美《大艺术》。
Xiewei Su, Chaozhou Guandong
Senior Designer of
Artwork of “Revolutionary martyr ChunTao-Li” was displayed
in the Artwork Exhibition in celebration of the 70th Anniversary
of the Foundation of the Chinese Communist Party in 1991, and published in cover of Chaozhou Magazine of “
2 Artworks of China Gene elected into “China Contemporary Art” in 2007
Artwork of China Gene elected into “Great Art” in 2008
苏谢伟2008年于广州Loft345
By Xiewei Su in Loft
Cultural Rediscovery –
Oil Paintings of Mr. Xiewei Su
中国非物质文化遗产·再发现研发工程
苏谢伟的《中国基因》（一）
（“非遗”再发现研发工程发起人） 野牛
Xiewei Su’s <China Gene I>
By Ye Niu
- Founder of
●苏谢伟的精神幻象
Spiritual Imagination of Xiewei Su
置身在黄拱烘、苏谢伟广州Loft345画室里，入眼50幅苏谢伟的抽象画作品，一种锐新、诡异、特定的“苏式色彩”直叩眼球，满眼皆是陌生而劲然、耸然而振奋的焕然图式，让思维顿生超然不群的优越感！画家要表达的对象化的东西和画面起到的实际效果以及观者感受到的美学意味，达到了一致，有一种被作者的才情漂洗过的净朗的美：沧桑千古，再浴出新。这种完全的严肃文化，其纯色彩、纯艺术的绝对创作，之里、之外、之中，强烈地呈现着一种精神的意向，是它们左右着并成就了这些作品。
Placing myself in the yellow-colored loft345 studio of Mr. Xiewei Su in
苏谢伟认为：画家应该表现自己内心的幻象，这种精神的幻象源于一个艺术家的文化积淀，画面上的色彩相处、对比关系、各种符号的形成，都受制于这种文化积淀和它的表层幻象。苏谢伟的这种精神幻象决定了它的画作的纯粹、神秘、魅惑的观感。
According to Mr. Xiewei Su, an artwork should be able to display the imagination of the inner of the artist. The imagination comes from the cultural accumulation of the artist, and finally gives birth to the mix of colors, contracts and combination of different symbols.
从这些作品的形式、技法上来看，它们是典型的西方抽象画；但是透过这些“外简内丰”的图式，更容易看到内在里的中国内容，它们是纯粹的中国文化基因。
From the format and techniques of the artwork, they are typical western abstract drawing, but from the simple pattern, it’s never hard to see the “Chinese” in side, they are purely Chinese gene.
这组作品由之冠名为《中国基因》！由于《中国基因》是多组系列作品，因此，此组作品被命名为《中国基因》（一）。
The artworks will be named as “China Gene”! However, “China Gene” will by combined by different series, the 1st series will be named as “China Gene I”.
为何称着《中国基因》？
Why “
●基因．1（题材基因）
1. Gene 1: Theme
组画系列《中国基因》都有非常强烈的精神导向性，而它们的源动力，都毫无二致地出于中国文化的源头——民族母体的文化基因。苏谢伟说，作为一个中国人，面对几千年浩瀚如海的中国文化时，谁不激动，谁不震撼呢？！就从出土的殷商、秦汉文物来看，那种创作、创造，单纯、朴素，却充满了神秘感和魅惑力！简直就是无出其上的抽象画，让人既怦然心动，又望而生畏。特别是甲骨文，按现代抽象画的二度空间来理解，简直神啦！那种沧桑感、神秘感，只是透过很简洁的线条就表现出了它的高深和卓然。
系列组画《中国基因》的创作，正是深深地植根于这种本民族的文化基因之中，它们既是题材，又是血液，又是骨殖，又是精神幻象的神秘源动力，苏谢伟追随着它，又交融于它，说不清是苏谢伟画它，还是它画苏谢伟，或者它们共同交溶在画和被画的整体所在之中，并体现在所有的细节影壁里。这正是《中国基因》成功的力量所在和源泉所在。
The
●基因．2（图式基因）
2. Gene 2: Gene Chart
如果我们把《中国基因》的题材看成文化基因的传统部分，那么，《中国基因》的整体图式，就是它的当下部分，也即是苏谢伟这个中国人创作、创造的发展部分，一个民族、一个国家，唯其此，它的文化才能传承，儿孙才能光大，否则就会萎缩、低沉，甚至发展致亡国灭种的地步。很多古文明或土著人的下场就是如此！因此，对这种传承、发展、创造的努力，怎样看重都不为过。对苏谢伟的《中国基因》作品和这种个人劳动我们正是这样上纲上线看待的。作为同种的炎黄子孙，我们也同样怀着如此耿耿于怀的中国情愫，视为己任！
这种“再创作”、“再发现”的努力，形成一种新的“基因”，代表“传统”在当下显示作用，赢得空间和时间，并再次获得存在权和发展权。因此“传统”得以不衰！
If we consider the theme of “China Gene” as the traditional part of the cultural genes, the patterns of the artwork are the current status of the gene, which is also the creation and development part of Xiewei Su, the Chinese. Only in this way, can the culture of a people, a country be carried forward. Therefore, great importance should be placed in the efforts of inheritance, development and creation. That’s also why we place so much importance on the artwork of “China Gene”.
The efforts of “re-creation” and “re-discovery” have formed a new gene, which represents the importance of “tradition” in current, to win the time and space for continuous existence and development.
事实上，一个民族、一个国家，它的文化或基因传承，并不都是积极有效的劳动，甚至绝大多数人都处在消极和麻木的位置上，只是被动地完成着肉身的进食、消化和情欲的索取及付出，对一个种族的存亡和未来而言，它们并未承担起基因赋予它们的责任和义务。这也是基因自身存在的“无效黑洞”！就文明现象来看，特别如此！这使基因的传承、复制、优化成为问题！面对这种情况，基因实施了它的自保策略，即：数量策略！依靠极大量的繁殖，来确保万分之一的传承胜算——获得类的发展和“复制”。这和男女受孕是一样的，男人的几百万头精子，洪水一般喷涌进女人的生殖地带，与极大量的卵子交溶碰撞，才万分辛苦地成就一二卵子受精，从而孕育出新的生命来。不可谓不艰辛而煞费苦心矣！自然界的众多生物都是采取了这种手段而后保的。“数量策略”十分有效，如：蚂蚁、蜂群、茅草、虾蟹等等，概不例外。
In reality, the inheritance of culture of a people and a nation tend to be ineffective, even in most cases, the majority are in passive and sackless status, only performing dining, digesting and sexual giving and receiving as a common human being, for the existence and future of their people or nation, they never realize their obligation to carry it forward. This may be the so-called “ineffective black holes” that exist with genes of mankind. It is the same for civilization, which brings issues to the inheritance, copy and optimization. Facing this situation, the gene uses the “self-protection” strategy, in other words, quantity strategy to realize their inheritance, copy and optimization. Abundant propagation is used to ensure success even once every ten thousand cases. Just look at pregnancy of human being, a few million sperms of male spew as flood into the procreation area of females, to dissolve and hurtle with the abundant ovum, in the process, only 1 or 2 sperms can succeed and thus produce a new life. In natural life, majority of biology use the “quantity strategy”, e.g. ants, bees, grass, shrimps and crabs, and the strategy does proves to be effective.
● 基因．3（画家基因）
●
● Gene 3: Artist Gene
● 当我们把某种题材和作品看成一种基因和传承时，有一种事物也符合这种标准，哪，就是画家本人。苏谢伟就是这种画家基因。他的中国血液导致了他的炎黄文化情结。这种文化情结沉淀在我们的肌肤里、骨髓里，决定着我们的某种热情和使命。文化情结沉淀在我们的肌肤里、骨髓里，决定着我们的某种热情和使命。就像在创作《中国基因》时的苏谢伟。其实非独苏谢伟是这样，每一个人都是这样！一代又一代的人都是这样！无论你多么“现在”，你一定有你久远的“过去”，无论多么久远，它也都能够延伸到“现在”，除非基因的复制中断了、出了问题，传承就是基因复制。中国古人说：“不孝有三，无后为大！”这是把“遗传”提到了封建文化的最高点“孝”的准则上，作为一种绝对尺度，至高无上。
When we look at certain theme and artwork as a kind of gene and inheritance, the artist himself follows the same rule as well. Mr. Xiewei Su is of this kind. His Chinese blood makes him a Chinese culture complex. The culture complex stays in the skin, blood and marrow, determining the certain passion and mission. This applies to everybody and every generation, not Xiewei Su only. No matter what you are now, you must have your “past”, no mater how far away your “past” it is, it can be extended to ‘now”, unless problems occur in the copy and inheritance of Gene. There is a Chinese saying “there are three ways to be unfilial, the worst is to not produce off-spring”, this is to bring “inheritance” to “being filial” which was very common and popular in feudalism culture.
个人作为类的基因“复制”的一个点，以肉身的方式存在，似乎有些个别而无甚相关，但事实并非这样，每一个个人，都有类的“附身”，都是一种传承的结果，都有非常遥远的渊源，能够在当下“现身”，是一种选择的优胜，包含了极高度的文化抽象！它们以基因的方式积淀着，但谁能够继续被选择下去，往往出局的可能性很大。这使继续优胜成为一个问题！
An individual as a point of Gene copy, exist in the format of human body, seems very individual and non-relevant. However, this is not the fact, every person is the result of inheritance with very faraway origin, the existence in presence is a kind of superiority. The superiority accumulates by Gene, however, the survivals have very high possibility of being eliminated, which brings continuous superiority and survival become a problem.
●存在是一种具体，但包含了极高度的文化抽象
Existence is concrete, but contains very high level cultural abstraction
个人是具体的，更多以空间的方式存在，文化是抽象的，更多以时间的方式存在。时间，抹去了几乎所有的空间特征，只以精神、理念、哲学等等非物质的样态存在，高浓度地体现在一些事物之中。如果要表达这种非物质的精神、理念、哲学等等对象，无疑，抽象化是一种非常好的形式、本质一体化的艺术审美。这也许和西方现代派的“极少主义”观念思潮一脉相生，最少限的特征表现了最大限的内容。如此来看，从题材、文化和艺术理念的认知来说，选择抽象表现手段表达抽象文化内涵，这正是一种智者所见。以《中国基因》的具体创作来例谈，它正是因循了这一思路，从而达到了对象、方式、画家，高度统一的地步。
Human being is concrete, they exist in space, however, culture is abstract, they exist in times. Time can erase out almost all characteristics that ever exist in space, but those in existence of spirit, theory and philosophy will last for ever. If you want to express the non-material sprit, theory and philosophy, definitely, abstraction is the best way, to use least characteristic to reflect maximum contents. Using China Gene as an example, because it follows the rule, it realizes the harmony of subject matter, format and artist.
但是抽象也带出了一个矛盾，即：大量的事物被时间抹去了存在的空间向度，换句话说，时间使诸多事物在历史中失去了存在的身影。时间像一条看不见的洪流，玉石俱焚地将所有一度的事物统统带进它的烟波中，永远地销声匿迹。时间，又像一把巨大的熨斗，把作。这种工作做不好，就会文化消亡，甚至灭种。一些地区或民族就承受了这种悲剧。
However, abstraction brings a contradiction, time erased our the trace of may concrete matters. Time is just like a onrush, it brings all ever-presence matters into its wave and destroy it completely. Time, is also like a huge iron, if it doesn’t work well, the culture will die out even to extinct. Some regions or peoples suffer from this kind of tragedy.
一个民族，一个国家，只有当它的基因传承、复制、优化呈现出一种优良样态时，它才会在历史中保持强势地位，鼎立于国家纷呈的众多民族之中。而文化基因的传承、复制、优化是它的不二向心力。我们汉民族在多次民族败北中之所以能够倒而不败、危而复兴，最关键的得力点，就是它的文化：语言、生产方式、生活方式、艺术、哲学、价值观等，起了海含而化之的内在之力（近现代我们的生产方式落后了）。而文化基因的传承、复制、优化事实上是个“再发现”的过程，它不是一个简单的一对一的传承和复制。因为一种“复兴”、“强盛”、“优势”，它是不会从天上掉下来的，它必须有它的前人基础，脚必须踩在坚实的地面上，较高的地面上。就是吸收外来文化，也不可能凭空接纳，也需要本民族的文化基础起作用。比如佛教东来而后本地化那样。另外，传承，也包含着不断优化的新的选择，创造性的发展，这是一种事物的两面同在。
Only when the gene inheritance, copy and optimization are in a healthy process, a people or a nation can maintain its strength in history. The Han People can remain indefectible at loss, thrive after danger, the key point is the culture, which includes the language, the productivity, the living style, the arts, the philosophy and even the value, all these are motivations from the inner of each Chinese people. The inheritance, copy and optimization of gene is, in fact, the process of “re-discovery”, it’s not a simple one-to-one inheritance and copy, because a renewal, strive and superiority will never come by themselves, it must have solid foundation established by their ancestors. Even if absorbing foreign culture, it will never admit without foundation, the cultural foundation of the people plays an important role, just like the Buddhism, it comes from the East but localized perfectly in
因此，如何在时间的湮灭中不断地优化、传承、复制本民族的文化、精神、价值理念，使其良好地处在历史的潮头中，盛而不衰，海含而创新，这成为一个国家战略的重中之重；如何将这种优化、传承、复制文化基因的国家战略机制化，这成为一种技术考量；如何将这种国家战略及它的机制化，以政府的方式、民间的方式、市场的方式有效推广和应用，一个巨大而充满宝藏的工程。
Therefore, how to continuously optimize, inherit and copy the culture, spirit and value of the Chinese People as time goes by, to ensure that we always stay prosperous in the upsurge of history, is the upmost important thing in a country strategy. How to strategize the optimization, inheritance, and coy of cultural gene becomes a special technique, how to further promote and apply the national strategy in the form of government, civilian and market, becomes a huge and valuable project.
野牛(诗人、评论家)