[b]Preface 1 (About »Chinese Context«)[/b]
»Pavilion to the Heart’s Insight« attempts to re-establish the notion of possible breakthroughs in contemporary art today, by drawing from a deep sense of self-awareness acquired from our daily experience of living in »the Chinese context«.

Although the contemporary world possesses neither a prophet nor a hero, it is significant that this same scene has managed to stimulate an ordinary person to engage in introspection (one which, admittedly, revolves around death and rejuvenation). That has resulted in my impulse to pen this book. Its genesis can be attributed to a sense of personal confusion, as well as the subsequent conversations with other creators and artists that this turmoil sparked off. All of this led me to abandon the shadow cast by monologues of art criticism and belief in the breadth of my knowledge, and instead move closer towards a sense of inter-subjectivity. That also indicates that the book is able to adopt an aspect of community, a truly »different« gathering spot. Naturally, such gatherings aim towards proliferation and conglomeration - just as disparate streams will finally meet to gush into the sea; we often forget that rivers and lakes originate from their return to their source. In disposing »my« knowledge and judgement; in abandoning the presuppositions that politics and culture have embedded within »us«; and in throwing out all preconceptions about the meaning of life and art, we arrive at a pleasant position of hope: perhaps with the beckoning of a new dawn, our vision will be restored to that same lucidity that newborns are blessed with, such that everything becomes richer and more WHOLE, and the doors of perception and living will once again gradually open to welcome us.

More often than not, »Pavilion to the Heart’s Insight« is conceived through the confluence of myriad »sub-literary forms« (including short stories, fictions, memoirs, correspondences, interviews, scripts, dialogues...), which leads it to take on an existence and character of its own. Through a variety of »remaining light« (in the words of Yang Fudong), this book reveals the lives behind the animated voices, and attempts to make connections between works of art and the inspirations and processes behind them.

This is a work that has various authors. It has only assumed the use of my hand and time to blend, fuse and set us off towards another spiritual dimension.

[b]Preface 2 (About »Contemporary Living«)[/b]
When we talk about contemporary living, what we are saying is: a life that does not possess a sense of risk is not considered contemporary living.

This implies that in stating that we are contemporary beings, we also acknowledge that we live in a fluid and fragmentary mode; we view the notion of »destiny« as »that which is elusive and cannot be grasped in life«. This suggests a belief that our fates continually alter themselves through new formulations and destructions in this atmosphere of constant change and unpredictability, with each short respite meant as a pause for rejuvenation before the journey commences once again.

This sense of constant movement annihilates Man’s desire to establish stability through hard work. Yet through the rapid process of inconstancy, we inevitably catch glimpses of instances where paths converge or intersect. Hence, what we deem as »here (at this certain place and time)« is in effect an opportunity to observe what would actually be »there (at that place and time)«. Perhaps the »glimpse« has replaced the »gaze« as the fundamental means of observation in contemporary living.

Although contemporary living is in a merciless pursuit of everything that possesses a sense of stability, it does not tend towards a new revolution, nor does it seek to attain some kind of new standard or power through the process of revolution. Rather, through its endeavours to adapt to different spaces, it aims to utilise and re-use the resources at its disposal, which then allows for the creation of temporary »valuable resting spots« – these intermissions are like pavilions in a Chinese classical garden – which are themselves situated in a »suspended space« between two architectural constructs.

Contemporary living is moving towards the reversal of modern living: it does not segregate progress from what is regarded as passé, or that which is of value from what is without value. Contemporary living has no rigidity of divisions and demarcations, but infinitely drives itself towards the concepts of »amalgamation« and »integration«. As it is not invariable, it is akin to »water« – which, according to Chinese philosophy, possesses strength precisely because, despite water’s frail appearance, its fluidity ensures its adaptability as well.

A contemporary being connotes one who possess a readiness to throw himself/herself into the vast and infinite ocean, and who will happy accept the fluctuations and unpredictability of the mighty waves. For instance, he/she no longer insists on moving in a specific direction, nor views »emptiness« as a dangerous indication of the end of a journey.

His/her place of origin is also where he/she wants to go, and the Fate that humanity has to bear is exactly that movement in between these points. Hence, contemporary living has been taking place for a long time – since the days of Socrates and Lao-Tzu. It resists any attempts to view a particular life as being more valuable than others. Because it is not rigid, it therefore cannot wither and dry up.

Aside from the world, where else do we live?

Aside from life, what else do we have?

[b]VOID[/b]

The void does not possess nor otherwise.

The void is not the raison d’être for one and all, nor is it the world’s abode.

The void is a daily relation and condition.

It accommodates the transformation of all entities, without encouragement or restriction.

The void is neither one nor two.

It does not originate from subjectivity nor does it move towards objectivity.

A piece of fabric can either become clothing or art – because of the void.

We are not within the scope of knowledge in that instant when we become aware of the void. More importantly, we have become the medium through which the void is shown (the instant of awareness of the void has transformed all surrounding entities).

The void does not hide.

The void does not care if it is being implied, can be implied, or endeavours to be implied.

Perceptions do not indicate existence, the void does not construct itself. (Seng Zhao, Vimalakirti Nirdesa Sutra, Fifth Scroll)

The void will still finally be here.

The void has no beginning and no end.

[b]Field – Heart[/b]
1
We have been unable to see our own face since our birth.
Nevertheless, through the eyes of others, we have »seen« ourselves, and similarly, we have seen »others«¹.

2
The face’s demeanour and direction is a sort of metaphorical positioning: it looks at others to know itself, through a sustained encounter with the world.
In other words, from the moment of birth, we are cast into a situation where we are trapped within »whole entities« which are separated one from the other, leading to our fostering of relations and drive towards fusion. Unless the »I« is understood as a kind of metaphor, we would be unable to grasp its true meaning. »I« implies an intended »not-I« belief, and as such, »I« - as a notion – embraces all of us; it constitutes life and everything.

3
Hence, the silent world has – through the impulse of intentions – let out its own voice (to express itself).

4
It seems that the world is both a mystery that is worth examining (because of its silence), as well as a place worth (and necessary for) living in (because it has expressed itself). The former indicates an inexhaustible repository of knowledge to be investigated; it leads to questions about »how we can ›know‹ the world« - and through this, »knowledge is power«. The latter will be driven by a daily practice based on the intergradation with the life process, where the focus will be on »how to ›listen‹ to« the world – and subsequently, the question of »how to live in« becomes more important.²

5
If we unanimously agree that this is our premise: that we only live in this particular world, where this common »Tao« applies, then we will be unable to live in the world before this one, nor can we live in the world after this one. What this means is: all our contemplations are acts that take place »in this world«. No one can therefore say that they are »first« in conceiving a »thought« or having a »first thought«.

6
Lao-Tzu’s school of philosophy was born out of a circumstance particular to China, and from the start, it does not assume a superhero-type world where some sort of perfection and progress exist. It urges us to listen without prejudice to the voice emanating from the world itself, then build on the foundations of life by living by the tenets of »suitability« and »fusion«. »Tao« proposes a means for us to enter the threshold of the world as well as a way for us to live our lives in practice. Through this, it is evident that there is a divergence between »Tao« and the search for knowledge³ in the usual sense.

This implies that what is important is not the correct explanation or discourse, but rather to find the »Way« for the resolution of dilemmas and into a path for your own life.

7
The language used in the discussion of »Tao« (or »Way«) could be considered as a type of metaphor to describe one’s relationship with the world. These words are not just meant to be »spoken«. It always »directs« itself beyond language. That is to say, it enables people to »act«.⁴

8
Language has already suggested that »I« has to constitute the »we« who are in a discourse, thus allowing for mutual influence and communication⁵. Just like the formation and widening of ripples, the myriad interweaves and influences that we encounter in our lives will mould our lives and impact its ebb and flow.

9
When fields are confined within artificial categories (of what man defines as »a necessary method of existence«), they become understood as various social fields of study: sociology, psychology, political science, management studies, science, art, and so on.

Social living is considered a valuable practicality. It utilises a method of interference (for instance, in insurance matters, the stock market and the law system) to control life’s mobility, direction and ability to foretell the future. This then allows for a more robust, organised and centralised articulation to counterbalance the Fate that we do not know of as yet, as well as our fear of the void.

10
Because social living endeavours to construct an existence that is »exhibited«⁶, it is often interpreted as the entirety of a life (because what one sees is taken to be what »is«). However, the inherent nature of social living already implies that it is an aspect of LIFE, and therefore can never be all there is to life. As such, that which is »exhibited« will always just be a portion of what life constitutes. There is always the possibility that more would be revealed, thus allowing us to peek at what happens behind the scenes – namely, the territory which is »void«. When the visual form and method of exhibition demonstrate the intensity of social living, such that it beckons – if not compels – people to »watch«, a kind of »remaining light« might very well be able to break through the »artificial« and »people-centred« nature of social living.

Through the aspects of materiality and imagination present in one’s existence, what the individual finally responds to is life’s invitation, rather than that of apparent social living. The individual seeks to build relations with the world, and these do not always have to be relations with society⁷. While the »heart« is considered as a metaphorical territory of each individual, in some way, it has also been seeped into and incorporated within the vision of what a social life constitutes, where it directly interacts with other fields. Through the common sense of emptiness and motion shared by the physical and emotional fields, as well as an appreciation for flux and differences in humanity, the world’s »emotional evidence«⁸ is formed.

11
Just as an individual can only become an individual in a metaphorical sense, this »emotional evidence« is not a »true diagnosis« of an individual’s psychological state, but rather a »glimpse« in a metaphorical sense. Through this practice of relative motion to develop »an insight to the heart«, we allow for a greater degree of lucidity about the world.
The fields and heart can interact and have a glimpse of one another’s nature⁹. This means that the heart and field cannot be described as entities on the metaphysical or material level, but can only be exposed in the sense of a medium.
Thus, »emotional evidence« or the »heart’s trace« is that of its own nature. It is not artificially constructed nor constructed for others. Rather, it is a process of piety that is drawn from the heart, and which leads to achievement of the body. It does not have to develop a particular significance in social behaviour, but it has the power to alter life’s direction and vitality dramatically ¹⁰.

12
If we view art works as bearing a similitude to the glimmers of light emitted from »emotional evidence« onto water, then what is important certainly does not lie in the intensity of the light source, but rather whether it can clearly be seen from the bottom of the water, and through that aid us in traversing life’s tributaries and flows.
Art, as a »way« of life, does not demonstrate a rigidity to the notion of »art« itself.

13
As an artificial means of moving towards the natural »Way«, »art« exists in all acts of mankind, rather than possessing some sort of special existence. »Art« is present in commerce, politics¹¹, food, and social relations. It exists in human behaviour that is re-released (reinterpreted) without taking on more with each reproduction.
If we say that art can be presented by art works, then it can also be presented through various strata and levels of human living. Each presentation will therefore also touch on the related techniques, as well as the decisions taken that determine the existence or manifestation of the natural way (or »Tao«), which does not demonstrate a rigidity to the boundary between art and non-art¹².

14
In a way, because the freedom to pursue a life practice towards the »Natural Way«, it is therefore presented as art.

[b]Destiny[/b]
There is the knowledge of Destiny, as well as belief in Destiny.

Both attempt to provide an answer, but finally alter the idea of »that which is about destiny« to »that which decides destiny«. This objectifies the notion of Destiny as one possessing a static state of existence.

If we regard the commencement of daily life processes as that which we generally term as Destiny, then Destiny can only exist in »this side« of our day-to-day world. This implies that we can only live amongst it, and that we can only try with our »heart« to experience it without thoroughly understanding it. It means that we feel, appreciate and inquire about all of this through the process of living. It connotes that we accompany life through all travels down the road. All that we do and act upon will therefore be related to the way we live our lives.

Our efforts in trying to know Destiny reflects human beings’ endeavours to know ourselves. When we work diligently to move closer towards that which we do not have a grasp on, in effect, we are seeking for an indication as to the direction which we want to head towards. Thus, it would inevitably provide a guide to a choice that will impact upon the value and meaning of life.

In the end, it has to do with the possibility of HAPPINESS in life – namely, the natural living of everyone without interference as well as their personal belief in their individual way of life themselves.

Hence, our hope for self-knowledge is fused into the pursuit of wisdom in life.

If this indicates a way of playing with surroundings, then art presents the state of nature in entities within these entities. Through this, we get a glimpse of the whole world. Art releases each entity’s existence within the »voids« of the world, and attempts to move towards their natural state of being in this here-and-now that moves and changes ceaselessly.

Take life as it is; accept death as truth. Destiny’s insight would have provided infinite possibilities in the development and proliferation of art.

It’s time to return to our abode, without any possessions.

(I bought 8 items from supermarket and got a bill. If you read all the second word of each item name, from top to bottom, you will discover something extraordinary. (Answer translated in English: Whoever believes in him should… have eternal life. John 3:16)
(Pak Sheung Chuen)

The book »Pavilion to the Heart’s Insight« by Hu Fang will be published in early 2008 by Vitamin Creative Space, Haizhuqu Guangzhou, China (http://www.vitamincreativespace.com).

 

 

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