历史的断裂与自我生成——论朵夫在圆明园时期的艺术思想结构
Fracture and Self-Genesis: The Philosophical Structure of Dove’s Yuanmingyuan Period
摘要（Abstract）
在中国当代艺术从意识形态向个体意识转型的关键阶段，圆明园画家村成为思想实验的中心。朵夫（张峰，Dove）在这一语境中完成了艺术语言与精神结构的双重突破，其1991至1993年间的代表作——《封面设计》《指针》《绳子》《权力与音乐的默契》——构成了他圆明园时期的思想谱系。
这些作品以材料、符号与装置的复合方式，探讨了时间、权力、信仰与个体意识的内在逻辑，揭示了艺术家在文化断裂中的自我生成过程。通过对绘画语言的否定与重构，朵夫实现了从具象叙事到精神结构的跨越。本文结合评论家刘骁纯、易英与刘彦的早期评论，论证朵夫如何以“自我否定”与“材料哲学”回应九十年代初中国艺术的精神危机，并指出其作品在中国当代艺术史中代表了从社会经验到形而上自省的思想转向。
关键词： 朵夫（张峰）；圆明园画家村；材料语言；精神结构；中国当代艺术
Abstract
During the transitional period of Chinese contemporary art from ideology to individual consciousness, the Yuanmingyuan Artists’ Village became a crucible for experimental thought.
Within this context, Dove (Zhang Feng) achieved a dual breakthrough in both artistic language and spiritual structure. His representative works between 1991 and 1993 — Cover Design, Pointer, Rope, and Tacit Understanding of Power and Music — form the intellectual constellation of his Yuanmingyuan period.
Through the interweaving of material, symbolism, and installation, these works investigate the internal logic of time, power, faith, and subjectivity, revealing the artist’s process of self-formation amid cultural fracture.
By negating and reconstructing the conventions of painting, Dove bridged the passage from figurative narrative to spiritual structure. Drawing upon early critiques by Liu Xiaochun, Yi Ying, and Liu Yan, this paper argues that Dove’s “self-negation” and “philosophy of material” articulate a profound response to the spiritual crisis of early 1990s Chinese art, marking a critical shift from social experience toward metaphysical introspection.
Keywords: Dove (Zhang Feng); Yuanmingyuan Artists’ Village; Material Language; Spiritual Structure; Chinese Contemporary Art
一、圆明园：断裂的发生地
I. Yuanmingyuan: The Site of Fracture
圆明园不仅是地理的空间，更是精神的裂隙。它见证了中国艺术家在意识形态瓦解与个体觉醒之间的过渡，是一种历史与心理的双重现场。艺术家们在废墟中居住，以孤独换取思想的自由。
在此语境中，张峰（朵夫）完成了他艺术史上的一次关键转折——从学院油画的语言规范中出走，进入一种精神性的实验。他的艺术从未建立在风格之上，而是建立在不断否定与再生的过程之中。
Yuanmingyuan was not merely a geographical site but a fracture in consciousness. It marked the threshold where Chinese artists transitioned from ideological control to individual awakening—a terrain both historical and psychological. Amid the ruins, artists traded isolation for intellectual freedom. Within this context, Dove (Zhang Feng) enacted a decisive rupture, departing from the academic norms of oil painting into an experimental field of spirit. His art was never based on “style,” but on the perpetual process of negation and regeneration.
二、《封面设计》：自我观看的仪式
II. Cover Design: The Ritual of Self-Gaze
1991年的《封面设计》是朵夫圆明园时期的起点。这件巨幅三联画以自画像为中心，通过重复、遮蔽与对称构建出一种视觉的压迫感。它揭示了艺术家在社会语境中的双重身份：被观看者与自我凝视者。
正如易英所言，这件作品是一场“自我告别的仪式”——朵夫以嘲笑自身的方式完成了对艺术家神话的瓦解。
作品表明，他已开始从图像的再现转向意识的反思，从个人心理走向文化符号。
Created in 1991, Cover Design marks the beginning of Dove’s Yuanmingyuan period. This triptych centers on the self-portrait but transforms it through repetition, concealment, and symmetry into a visual field of oppression. The work exposes the artist’s dual position as both the observed and the self-observing.
As critic Yi Ying observed, it represents a “farewell ritual” — a dismantling of the myth of the artist through irony. The painting demonstrates Dove’s shift from representation to reflection, from psychological introspection to cultural symbolism.
三、《指针》：时间与权力的装置
III. Pointer: The Installation of Time and Power
《指针》（1992）以沙发、红布、方桌与时钟构成一件空间装置。灵感来自宾馆前台的一排世界时钟，艺术家将这种“时间的差异”转化为“文明的裂痕”。
在作品中，时间成为权力的隐喻，时区的排列象征着全球文化的分层。刘骁纯指出：“这是绘画向结构性思维的转变，使时间的秩序成为意识的结构。”
此作不仅拓展了绘画的边界，也开启了朵夫作品中关于时间与权力关系的哲学母题。
In Pointer (1992), Dove constructs a spatial installation using a sofa, red cloth, square table, and a series of clocks. Inspired by the rows of world clocks in hotel lobbies, he transformed “temporal difference” into a metaphor of “civilizational fracture.”
Here, time itself becomes an allegory of power, the arrangement of time zones suggesting the stratification of global culture. Critic Liu Xiaochun described it as “a shift from painterly to structural thinking, where the order of time becomes the structure of consciousness.”
The work expanded the limits of painting and inaugurated a philosophical motif of time and authority that would persist in Dove’s art.
四、《绳子》：材料的哲学与精神的疼 痛
IV. Rope: The Philosophy of Material and the Pain of Spirit
《绳子》（1992）以绳索、铁链、剔骨刀与海绵等日常物件构建出一种“物质的神学”。
朵夫不再将材料视为形式装饰，而是赋予其精神性。绳索既象征连接，也象征束缚；它既指向文明的起源，也预示秩序的断裂。
易英认为，《绳子》“超越了材料的视觉性，将其转化为意义的载体”，在中国早期当代艺术中，这是一次由物质通向精神的跨越。
Rope (1992) constructs a “theology of material” from everyday objects—rope, chain, boning knife, sponge.
Dove no longer treats material as formal ornament but endows it with spirituality. The rope signifies both connection and restraint, both the origin of civilization and the rupture of order.
As Yi Ying noted, Rope “transcends the visual function of material, turning it into a carrier of meaning”—an unprecedented leap from matter to spirit in early Chinese contemporary art.
五、《权力与音乐的默契》：理性的幻象
V. Tacit Understanding of Power and Music: The Illusion of Rationality
此作以圆形结构统摄全画，圆象征着时间的循环、理性的幻象与权力的自洽。
刘骁纯认为，这件作品“形式感极强，但材料的精神性尚可更深”，这一评价预示了朵夫后期作品中对“灵性结构”的追求。
音乐在此并非主题，而是秩序的隐喻——一种权力在美学化中的潜形。
在这一作品中，朵夫已从社会隐喻转向形而上的探索，为他后来十字架与几何抽象的精神方向埋下伏笔。
This work employs a circular structure dominating the entire composition — the circle symbolizing cyclical time, the illusion of reason, and the self-referential nature of power.
Liu Xiaochun observed that while “the sense of form is powerful, the spiritual potential of material could be deepened,” a remark that foreshadowed Dove’s later pursuit of “spiritual structure.”
Music here functions not as theme but as metaphor for order — the hidden form of power aestheticized.
In this piece, Dove moves from social allegory to metaphysical exploration, prefiguring the spiritual trajectory of his later cross and geometric works.
六、结语：废墟中的神性
VI. Epilogue: Divinity in the Ruins
圆明园的废墟是历史的隐喻，更是意识的象征。
在这片断裂中，朵夫完成了从“自我表现”到“自我生成”的过渡。
他以行为代替风格，以材料代替语言，以思想代替姿态。
刘彦在1993年评论中说：“朵夫的作品像信号灯，不断敲击我们的眼睛。”
这信号灯，正是九十年代中国艺术精神觉醒的微光。
The ruins of Yuanmingyuan serve not only as a historical metaphor but as a symbol of consciousness itself.
Within this fracture, Dove completed his passage from self-expression to self-creation.
He replaced style with action, language with material, and gesture with thought.
As Liu Yan wrote in 1993, “Dove’s works strike our eyes like signal lights.”
That signal light was indeed the faint illumination of China’s spiritual awakening in the 1990s.