真诰—鲁大东个展

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2021年7月17日下午4点，空间站很荣幸的举办《真诰——鲁大东个展》开幕，届时将会有鲁大东的声音和行为表演。鲁大东的职业是中国美院现代书法研究中心的副主任，同时又是著名的书法艺术家，行为表演艺术家，文字语言学家，与人乐队主唱，易经风水师，影像研究者……在各个毫不相干的领域涉足颇深，各项皆能达到顶尖级水平。《真诰》意为真人口授之诰，真人是道教对神仙人物的尊称，由南朝道士陶弘景所编撰，记录了东晋杨羲、许谧、许翙等人的"通灵"的事迹。道教对文字系统的崇拜体现在文字的各种形式上，以及仪式中对神秘文字的使用。宋张君房所辑《云岌七签》卷七，有一段专述道教文字“八显”，也就是八种字体：“一曰天书，‘八会’是也。二曰神书，云篆是也。三曰地书，龙凤之象也。四曰内书，龟龙鱼鸟所吐者也。五曰外书，鳞甲毛羽所载也。六曰鬼书，杂体微昧，非人所解者也。七曰中夏书，草艺云篆是也。八曰戎夷书，类于昆虫者也。”鲁大东在展厅中墙上用鸟虫篆、云篆、花篆等不同形式的书体的精湛书写，同时用“五岳真形图”的方式，将文字与图画互相揉合，完成了北京在地创作的9个不同方位上的文字城门楼。这九座楼有的已经消失，但是此次鲁大东却用俚语、民谣、真言等内容，将它们从历史的时空中召唤出来，完成了一次北京历史风水全阵容的实现。也用篆隶的文字形式的书写将我们上拉入秦汉的青铜器的铭文时代，行草楷书写形式的中古遗存，以及晚期民国的装饰字体。同时，也非常感谢法国远东学院汉学家范华教授所提供的古代充满神秘文字和符号的道教法器，以及中央美院设计学院史论部主任周博教授所提供的民国早期字体设计书籍。文献展示的部分，也正是鲁大东突破传统书风，向更广阔的文字形式系统吸收语言形式开放的历史性的对照。中国书法的象形文字的属性已然决定可以作为图像，尤其是道教的神秘文字更甚，作为世界艺术史图像史空缺的盲点，鲁大东以对传统融会贯通的吸纳，回应书法史上的各种语言形式上的典故，拓展书法史新的边际，以及他作为特殊个体与当下语境中的时空场域关系，给出了新的创作上的可能.

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本次展览由道教青年学者袁宁杰作为学术指导，知名策展人付晓东策划，是继2018年《地天通——时空的神圣秩序》之后的再次合作，尝试着将传统、当代、宗教、艺术等藩篱打破的更进一步的尝试。

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At 4 pm on July 17, 2021, the space station will be honored to host the opening of "The Declaration of Perfected——Lu Dadong Solo Exhibition", when we will enjoy Lu Dadong's voice and performance. Lu Dadong holds the position of the deputy director of the Modern Calligraphy Research Center in the China Academy of Art, who is also a famous calligraphy artist, performance artist, linguist, the lead singer of the Yuren band, I Ching Fengshui expert, video researcher. He involves in various fields where he can reach the top level.

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The "Declaration of Perfected" means an enlightenment from an Zhenren who is the title of honor given to immortals in Taoism. It was compiled by Tao Hongjing, a Taoist priest of the Southern Dynasties, which records the "psychic" deeds of Yang Xi, Xu Mi, Xu Hui and others in the Eastern Jin Dynasty.Taoism’s worship of the writing system is embodied in various forms of writing and the use of mysterious writings in rituals.In the seventh volume of "The Yunjiqiqian" compiled by Zhang Junfang of the Song Dynasty, there is a paragraph dedicated to the Taoist characters named the "Eight Xian", that is to say eight fonts. "One is the heavenly script which is the 'Eight Hui' . The second is the sacred font which is the Yunzhuan . The third is the font from the earth, which is the image of dragon and phoenix. The fourth is the Nei font which was made by the tortoise, dragon, fish and bird. The fifth is the Wai font which was made by the scales and  feathers. The sixth is the ghost font which are miscellaneous and incomprehensible. The seventh is Zhongxia font, namely the Cao Yi Yun Zhuan. The eighth is the Rongyi calligraphy which is similar to the insects. " Lu Dadong makes exquisite writings on the wall in the exhibition hall using the the bird and insect character, cloud character, flower character, etc. At the same time, he mixes the text and pictures to complete 9 written city gates in different orientations. Some of these nine gates have disappeared, but this time Lu Dadong will use slang, folk rhymes, mantras and other contents to summon them in the history, completing the realization of a full lineup of Beijing historical geomantic omen. He also draws us into the age of bronze inscriptions in the Qin and Han dynasties with the writing in the form of Seal and Clerical Script, who will write the medieval remains of the cursive writing form, and the decorative fonts of the late Republic of China.Meanwhile, I am very grateful to Professor Fan Hua, a Sinologist at the Far East Institute of France, for providing the ancient Taoist instruments full of mysterious words and symbols, and Professor Zhou Bo, the director of the History Department of the Central Academy of Fine Arts, for providing the books designed with the font type in the early of the Republic of China.The displayed part of the document is also the historical contrast of Lu Dadong breaking through the traditional calligraphy and absorbing the opening of language forms into a broader text form system.The attributes of the hieroglyphs of Chinese calligraphy can be used as images, especially the mysterious words of Taoism. As the blind spot of the vacancy in the history of world art history, Lu Dadong responded to the allusions in various language forms in the history of calligraphy by absorbing the traditional integration, who expand  the new margins in the calligraphy history. As a special individual, he makes new creative possibilities for the relationship of the space-time field in the current context.

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Guided by Yuan Ningjie, a young Taoist scholar, and planed by the well-known curator Fu Xiaodong, this exhibition is a further attempt to break down barriers such as the tradition, contemporary, religion, art, etc., following after the cooperation of Link Heaven and Earth —Sacredness rule of Time and Space in 2018.

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