肉身的见证——论朵夫《腊肉》中的献祭与灵性
The Witness of Flesh — On the Sacrifice and Spirituality in Dove’s Cured Meat
在朵夫的艺术历程中，《腊肉》（2009）是一件具有里程碑意义的作品。它以真人比例的雕塑形式，将艺术家自身的形象剖开，在身体内部植入十字架。作品以硅胶制成，外观逼真、冷峻、甚至令人不安。它直面肉身与灵魂的张力，成为艺术史上少有的、以身体为信仰容器的作品。
In Dove’s artistic journey, Cured Meat (2009) marks a pivotal moment. This life-sized sculpture depicts the artist’s own body, dissected open, with a cross embedded within his flesh. Made of silicone, it appears unsettlingly lifelike — a confrontation between the physical body and spiritual essence, and one of the rare works in art history to treat the human body itself as a vessel of faith.
这件作品的题目“腊肉”，源自中国传统年节中供奉祖先的祭品。朵夫将这种“祭祀”转化为一种精神上的自我献祭——他不是在供奉他者，而是将自己献给上帝。艺术家以身体为祭坛，以血肉为媒介，将十字架安放于体内，这是信仰最直接也最极端的具象化。
The title Cured Meat refers to the preserved meat used in traditional Chinese rituals to honor ancestors. Dove transforms this act of offering into a spiritual self-sacrifice — not an offering to others, but to God Himself. The artist turns his body into an altar, his flesh into a medium, embedding the cross within himself — the most direct and radical embodiment of faith.
在艺术史的脉络中，十字架作为符号的出现从未停止：从格吕内瓦尔德的《伊森海姆祭坛画》，到达米恩·赫斯特的药片与骷髅，都在试图探问救赎的可能。然而，朵夫的《腊肉》突破了象征的界限，将基督的受难转化为艺术家个体的灵魂体验。他不是在描绘信仰，而是在肉身中重演它。
Throughout art history, the cross has remained a persistent symbol — from Grünewald’s Isenheim Altarpiece to Damien Hirst’s pills and skulls — all seeking to question redemption. Yet Dove’s Cured Meat transcends mere symbolism, transforming Christ’s passion into an artist’s personal spiritual ordeal. He does not depict faith; he re-enacts it within his own flesh.
《腊肉》不仅是一件雕塑作品，更是一种神学的宣言。它以身体的有限性指向永恒的维度。十字架在这里不再是形象的再现，而是灵性在肉身中的显现。朵夫让观者直面一个关于存在的终极命题——当信仰被肉体承载，当灵性穿透物质，人是否能重新认识“人”这一形象本身？
Cured Meat is not merely a sculpture, but a theological declaration. It uses the finitude of the body to point toward the eternal. The cross here is no longer a representational image but the manifestation of spirituality within flesh. Dove confronts viewers with an existential question: when faith inhabits the body and spirit penetrates matter, can humanity rediscover the essence of being human?
这件作品的诞生，是朵夫艺术语言一次重要的转折。从九十年代圆明园时期的自我解构，到2000年后的十字架绘画，再到《腊肉》的自我献祭，朵夫始终在追问：当艺术失去灵魂，身体是否还能成为通向神的路径？ 他的答案，是以血肉作证。
The creation of this work marks a turning point in Dove’s artistic language. From his self-deconstructive works during the 1990s Yuanmingyuan period to the cross paintings after 2000, and finally to the self-sacrifice in Cured Meat, Dove has continually asked: when art loses its soul, can the body still serve as a passage to the divine? His answer is given through the testimony of flesh.
正如朵夫在一首诗中所写：
“你的身体正是他人的圣殿，
而我，我的皮囊就是我自己——
一个人的教堂。”
As Dove once wrote in his poem:
“Your body is another’s temple,
And mine, my skin, is myself —
A church of one.”
在《腊肉》中，这一诗意成为现实。艺术家以自己的身体——那具可朽的肉身，
完成了信仰与艺术的最后融合。
In Cured Meat, this poetic vision becomes real.
Through his own perishable body, Dove achieves the ultimate union of faith and art.