艺术家南汐《一火成塔》以破碎之形唤醒文化回响

· 南汐个人项目《一火成塔》

· 展览单元：“中非一家人”特别单元

· 开幕时间：2025年12月20日

· 展览地点：北京瑞吉酒店 阿斯特厅

· 主办单位：北京对外文化贸易协会、斯闻画廊

刘阳 Nancy Liu

1985年出生于中国北京，现工作于北京

“崇高感的裂缝”系列2020年---2025年

白陶、匣钵泥、钨丝、自配釉

图文资料艺术家工作室惠允

破碎之塔的系列，以陶瓷这一铭刻中华文明基因的材料，重塑“塔”这一深邃的文化符号。作品通过其破碎、割裂的形态，不仅触及了现代崇高性的美学核心，更完成了一场与中国传统精神世界的深度对话，在废墟中唤醒集体无意识的古老回响。

展览现场

展览现场

陶瓷与塔：文明基因的“双重复合”

陶瓷，是火与土的结晶，是中华文明从实用走向礼序、从凡俗通往精神的物证。而“塔”，自印度窣堵坡东渐以来，早已深度汉化为中国文化的崇高意象：它是佛教理想的载体；是镇守山河的灵物；是文人登高抒怀的凭栏。刘阳将这两种深植于集体记忆的符号并置，却赋予其破碎的形态，构成了双重解构。陶瓷的脆性与塔的永恒性形成强烈悖论，这并非简单的毁灭，而是将传统的“永恒崇高”转化为一种“无常的崇高” 。这种无常，深得禅宗“诸行无常”与道家“物壮则老”的哲思精髓，使崇高感从不朽的壮丽，为对流转、破败与重生的深邃冥思。

审美参与：更为“内观”的仪式转化

在中国传统中，登塔是一项富有仪式感的精神活动，是“更上一层楼”的向外追寻与向上超越。刘阳的破碎之塔，取消了“登临”的可能性，从而将这场仪式的方向彻底扭转——由外求转为内观。观者无法拾级而上，只能环绕、凝视、乃至在想象中触摸那些断裂的剖面与尖锐的裂痕。我们面对观想”或“面壁”，是自身及时代精神的废墟，审美参与由此成为一种自我疗愈与精神重构的修行。

活动现场

活动现场

集体无意识的唤醒：从“结构的坍塌”到“精神的归巢”

塔，在中国人的集体无意识中，是“聚”与“护”的象征。它凝聚佛法、聚拢文运、镇护一方安宁。它的破碎，因此不仅仅是一个物理结构的坍塌，更象征着内在秩序与精神寄托的失落。这种割裂感，精准地击中了现代人普遍存在的“精神失所”的焦虑。

然而，东方智慧的精髓在于“否极泰来”。陶瓷碎片那如玉般的温润光泽，以及在断裂处所保留的手工痕迹，暗示着一种于破碎中留存的精神火种。它唤起的不再仅仅是巴别塔式的沟通绝望，更是 “归巢”的本能——即使旧塔已倾，那种对于精神归宿、对于文化向心力的渴望，反而在废墟之上被更强烈地激发出来。

《时间的沙塔》 40x40x60 黑陶 海绵 沙石 2024年

《通天塔》局部

《九重台》匣钵泥、自配釉 60x20cm 2024年

《通天塔》 陶瓷雕塑 35X78cm 2023年

艺术家简介：刘阳（南汐）

1985出生于北京；本科毕业于中国传媒大学；曾就读伦敦艺术大学Fine Art 专业；候汐生活艺术工作室主理人；目前，中央美术学院硕士在读。作品先后在美国纽约洛杉矶，德国柏林欧尔布西特美术馆、北京当代艺术馆、北京798美颂画廊、798第零空间、上海库伯美术馆、苏州金谷里艺术中心、西安崔振宽美术馆展览。参与国内艺术博览会，主要包括艺术北京、广州艺博等。

Liu Yang's Fragmented Pagoda is a profound exploration of traditional Chinese spiritual symbols through contemporary art. It uses the “fragility” of ceramic tocontrast the “solidity” of the pagoda, employing formal “fragmentation” to reflectspiritual “cohesion.” The workshifts the viewer’s focus from the outward pursuit of“ascending to look afar” to the inward act of “confronting fragmentation,” creating ametaphorical modern ritual. Ultimately, it awakens a collective memory embedded in our heritage—of order, shelter, and transcendenceembodied by the pagoda—not to dwell on loss, but to discern an unextinguished, jade-like glow within civilization’s cracks, and to reflecton how to rebuild a spiritual “pagoda” for the wandering soul today.

The Fragmented Pagoda series reinterprets the profound cultural symbol of the pagoda through ceramic—a material deeply encoded withChinese civilization. Through its fractured forms, the work engages with modern aesthetic sublimity while entering into deep dialogue with traditional Chinese spirituality, awakening echoes of the collective unconscious from the ruins.

Ceramic and Pagoda: A “Dual Composite” of Cultural Identity

Ceramic, as the crystal of fire and earth, embodies Chinese civilization’s evolution from utility to ritual, from the mundane to the spiritual. The pagoda, originating fromthe Indian stupa, has been deeply assimilated into Chinese culture as a sublime form: a vessel of Buddhistideals, a guardian of sacred geography, a structure from which literati drew inspiration. Liu Yang brings these two deeply rooted symbols together, yet presents them in fragmented form, enacting a dual deconstruction. The inherent fragility of ceramic contrasts with the pagoda’s symbolic permanence—transforming the traditional “sublime of eternity” into a “sublime of impermanence.” Resonating with theChan Buddhist teaching that “all conditioned things are impermanent” andthe Daoist notion that “what flourishes must decay,” this shiftturns sublimity frommajestic permanence into a meditation on flux and renewal.

Aesthetic Participation: A Ritual Turned Inward

In traditional Chinese practice, ascending a pagoda was a spiritual ritual—an act ofoutward and upward transcendence, as captured in the phrase “climbing yet one story higher.” Liu Yang’s fragmented pagoda denies this physical ascent, redirecting the ritual from externalpursuit to inner contemplation. Unable to climb, the viewer is left to circle, observe, and imaginatively trace the fractured planes and sharp edges. What we confront is not an object for serene meditation, but the ruins of ourselves and our time. Aesthetic participation thus becomes a form of self-reckoning and spiritual reparation.

Awakening the Collective Unconscious: From Structural Collapse to Spiritual Homecoming

In the Chinese psyche, the pagoda symbolizes gathering and protection—it concentrates spiritual power, channels literary energy, andsafeguards a locality. Its fragmentation, then, signifies more than physical collapse: it evokes the loss of inner order and spiritual grounding, echoing the modern sense of existential displacement.

However wisdom teaches that “after extremity comes reversal.” The jade-like warmth of the ceramic shards and the visible traces of the artist’s hand at broken edges suggest a spiritual spark preserved within the rupture. What is awakened is not only a Babel-like despair overfailed communication, but a deeper instinct for homecoming—even as the old structure falls, the longing for spiritual return and cultural cohesion burns more intensely amid the ruins.