本文中的“存在”一词，不只是物理意义方面的客观存在，还包含着哲学意义上意识的存在，既是海德格尔所说的需要被论证的存在，也是萨特所说的先于本质的，却也是偶然的存在。艺术家的品格来源于自我的不断学习和提升，而艺术作品作为艺术家的主观创造，则是意识存在的外化与物质化表现。从艺术史的视野反观人类的视觉创造，我们会发现不同时代、不同个体的创作都有着不同的维度。这个维度不只是数学和物理学意义上的，还有着哲学方面的含义，比如对于视觉艺术的理解，就有着差异巨大的思维和表达角度，从内容、形式和技法，到情感、风格和观念，艺术家的维度是可以透过作品被看到的。
《莫名之境40#》200cmX280cm，布面油画
The term "existence"in this article not only refers to objective existence in physical sense, but also encompasses the existence of consciousness in philosophical sense.lt is not only Heidegger's concept of existence that needs to be argued for ,but also Sartre's concept of accidental existence that precedesessence.The character of an artist comes from continuous self-learning and improvement,while artistic works, as the subjective creation of an artist,are the externalized and materialized manifestation of the existence of consciousness.Looking back at the visual creation of human beings from the perspective of art history, we will find that the creations of different times and individuals have different dimensions.These dimensions are not just in the mathematical and physicalsense, but have philosophical implications as well. For example in the understanding of visual art, there are huge differences in thinking and expression perspectives. From content, form, and technique,to emotions, styles, and concepts, the artist's dimensions can be seen through their works.
《莫名之境37#》200cmX80cmX4，布面油画
严智龙的创作始于对人类早期图腾意识和神秘主义的研究。近二十年来，他在古与今、中与西之间辗转奔走，横跨了油画、水墨和雕塑三个领域，《床即是舞台》、《春秋鸟》和《莫名的世界》这三个系列次第诞生，其间充盈着人与物、自然与社会、时间与空间的复杂隐喻。在形式语言和思想观念两大方面，他不断地把自己的视觉探索与表达推向全新的维度，从象征主义、超现实主义和抽象表现主义的历史遗产中广泛汲取营养后，他一直在持续去除作品中若隐若现的具象符号，进而开创出了属于自己的有机抽象风格。
《床即是舞台9#》布面油画.100cmx200cm.2018
Yan Zhilong's artistic creation began with the study of early human to temic consciousness and mysticism.In the past twenty years,he has constantly changed his creative perspective between ancient and modern, Chinese and Western, spanning three fields: oil painting, ink painting, and sculpture. The three series “The Bed Is the Stage”, “The Navana Birds" and “The Inexplicable World” were born one after another, which are filled with complex metaphors of people and things, nature and society, time and space. In terms of both formal language and ideology, he continues to push his visual exploration and expression to new dimensions. Drawing extensively from the historical legacies of Symbolism,Surrealism and Abstract Expressionism, he has continued to remove the looming figurative symbols from his works, thus creating his own style of organic abstraction.
《莫名之境42#》200cmX150cm，布面油画
在宇宙的宏观与微观视觉维度中，各种生化物理存在的形象表面上尽管是千差万别的，但在如此纷乱庞杂貌似毫无秩序的形象之间，其实都存在着神秘的“拟态”、“分形”和“自相似性”等神秘现象，那是冥冥之中的混沌规律。也就是说，除了微观粒子与宏观天体间存在着结构、引力和衰变等方面相似性，微观世界里毛细血管的结构规律，也完全可以对应地球表面的树木、河流与三角洲，更呼应了爆炸后不断膨胀的遥远星云。与几何抽象的秩序化表达完全不同，严智龙的有机抽象风格，是原生生物形态与抽象艺术语言的融合，是对混沌规律的个人化视觉表达。他在作品中以各种曲线和不规则圆形为基本视觉形式，辅以节奏和韵律极其丰富的笔触，让色彩纷呈的画面爆发出持续繁衍滋长的、跨越具体物种造型的奇妙生命力，既抒发了他对形式实验的自由度，又饱含着他对“人类世”自然生态的无限关切。
《莫名之境39#》，280cmX180cm，布面油画
In the macroscopic and microscopic visual dimensions of theuniverse, although the images of various biochemical and physical entities appear to be vastly different on the surface,there are actually mysterious phenomena such as "mimicry","fractals”,and “self-similarity”among such chaotic and seemingly disordered images, which are the mysterious laws of chaos. That is to say, in addition to the structural, gravitational and decay similarities between microscopic particles and macroscopic celestial bodies, the structural laws of capillaries in the microscopic world can also correspond to the trees, rivers,and deltas on the Earth's surface, and further echo the distant nebulae that continue to expand after explosions. Unlike the orderly expression of geometric abstraction, Yan Zhilong'sorganic abstract style is a fusion of primitive forms and abstractartistic language, and a personalized visual expression of laws of chaos.In his works, he uses various curves and irregularcircles as the basic visual forms, supplemented by extremelyrich rhythms and rhythmic strokes, allowing the colorful images to burst out with a wonderful vitality of continuousreproduction and growth, crossing specific species shapes. This not only expresses his freedom in experimenting with form, but also embodies his infinite concern for the natural ecology of the "Anthropocene".
《春秋鸟12#》82cmX76cmX40cm，钛金镀彩雕塑,2023
严智龙对于艺术表达维度的超越，还体现在他对各种物质媒介的探索与控制过程中。首先，他在绘画实践里尝试跨越中西藩篱，在油画和水墨作品中融汇了东方写意与西方表现，在国际化语境里体现出许多植根于本土化传统的动机与情绪，这是他对艺术史中既定地域风格的超越；其次，他在绘画创作的视觉效果中展示出了异常丰富的虚实关系，通过多层重迭的、半透明的绘画技巧尝试表达了画面内在空间的反复叠加，各种正负形象凭借气脉贯通的笔触和色彩自由生长，这是对二维平面局限性的超越；另外，在他最新的钛金镀彩系列雕塑作品中，粗粝稳固、朴厚凝重的团块结构和纤细灵动、轻盈飘逸的金属丝形成了力度和节奏方面的鲜明对照，三维立体世界里的色彩和线条开始具备了二维平面世界中的绘画性魅力，这又是对空间维度的超越。
《春秋鸟11#》76cmX42cmX25cm,钛金镀彩雕塑.2023
Yan Zhilong's transcendence of the dimensions of artistic expression is also reflected in his exploration and control of various material media. Firstly, in his painting practice, he attempts to cross the barriers between China and the West,blending Eastern freehand brushwork with Western expressionin his oil and ink paintings.In the context of internationalization,he reflects many motivations and emotions rooted inlocalized traditions, which is his transcendence of established regional styles in art history.Secondly,he demonstrates an unusually rich relationship between the imaginary and the real in the visual effects of hispainting creations, trying to express the repeated superposition of the inner space of the picture through multi-layered overlapping and translucent painting techniques, and the free growth of all kinds of positive and negative images by virtue of the airy brush strokes and colors, which is a transcendence of the limitations of the two-dimensional plane. In addition, in his latest titanium color-plated series of sculptures, the rough,solid, thick and heavy mass structure and the thin, flexible and light metal wires form a stark contrast in terms of strength and rhythm, and the colors and lines in the three-dimensional world begin to possess the pictorial charm of the two-dimensional plane world,which is again a transcendence of spatial dimension.
《莫名之境-9#》200cmX100cm,水墨.2024
在A1技术开始逐步渗透到视觉艺术创作的领域之后，手工绘画的意义和价值正在经历前所未有的挑战和质疑，目前的AI技术平台尽管能够惟妙惟肖地模仿各种既有的艺术风格，但艺术家极富个性的思想观念、观察视角和情感表达仍然是无法替代的，手工绘画原作所天然拥有的细腻而丰厚的质感与肌理也是打印设备望尘莫及的，在当下时空里，手工绘画的原真性审美趣味依然是高等碳基生命与硅基人工智能之间难以逾越的鸿沟。近二十年来，严智龙持续地探寻着艺术意义上的存在观念，继而进入有机抽象风格探索的新维度。这种介于超现实主义和抽象表现主义之间的个人风格，是他力图触及精神自由的持续努力，是他在视觉探索路途上的全新发现，是他在延续多年的三大系列之后对超自然意识的精彩表达，我衷心期待他对现有存在维度的再次超越。
《莫名之境-8#》水墨2024
After AI technology gradually penetrates into the feld of visual art creation,the signifcance and value of handmade painting are facing unprecedented challenges and doubts.Although the current Atechnology platforms can vividly imitate various existingart styles,the highly personalized ideas, observationperspectives,and emotional expressions of artists are still irreplaceable.The delicate and rich texture of handmade original painting works are also beyond the reach of printing equipment.In the current era, the authentic aesthetic taste of handmade painting remains an insurmountable gap between avanced carbonbased life and silicon-based artifcial intelligence.In the past two decades, Yan Zhilong has continued to explore the concept of existence in an artistic sense, and then entered a new dimension of organic abstract style exploraticn.This personal style, which lies between Surrealism and Abstract Expressionism，is his continuous effort to reach spiritual freedom, his new discovery on the path of visual exploration, and his wonderful expression of supernatural consciousness after the continuation of three major series for many years.I sincerely look forward to his further transcendence of the existing dimensions of existence.
（文/李旭，策展人、艺术评论家、上海戏剧学院教授，2024年9月9日写于沪上，来源：对应神学
艺术家简介
严智龙，中国当代艺术家，艺术哲学博士，上海戏剧学院教授，博士生导师，德国杜塞尔多夫美术学院访问学者，长期从事图腾艺术研究与当代思辨。
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