内容提要
　　序言
　　吕澎
　　“CYMK”，是今天印刷技术使用的色彩模式，所有复杂的图像，正是在“C”（青）、“M”（品红）、“Y”（黄）、“K”（黑）的构成中呈现的。由于过去的教育导致的对经典作品的崇拜与敬畏，当杨冕发现仅仅是依靠四种色彩的结合，就能够复制那些人类经典，他感到吃惊——“那些从小到大所接触的这些图像竟然是“CMYK”四个色点构成的”。这使他再一次地对图像本身的安全性产生深深的质疑。艺术家通过电脑放大找出这四种色彩的分布与排列，简化色彩的密度，呈现出一种对原图发生改变的现象。艺术家揭示说：无论那些经典是如何地具有复杂而神秘的细节，仍然是“CMYK”决定着它们在传播中的面貌与魅力。现在，一个由“CMYK”的内在结构被放大之后呈现在我们的面前，由此产生的图像与效果将改变我们对图像的理解和认识。
　　有趣的是，杨冕对自己的这次实验最早采用的是新印象派画家修拉（Georges Seurat）的作品《大碗岛上的星期天》。修拉作品的“点彩”经过“CMYK”的过滤，所形成的色点在效果上容易与“点彩”有所混淆，而事实上，杨冕正好希望将不同的色点产生的来源和差异提示出来形成一种比较，即便是纯色点，最后的图像也是有根本的不同。早年，西涅克（Paul Signac）和修拉告诉人们：无需调和，人们就可以从色点的安排中认识和理解这个世界，我们的眼睛将自动调和色彩以复原艺术家转述的世界。今天的印刷术成功地发展了这个原理，并复制出尽可能接近原作的图像。从这个角度上讲，我们完全可以将杨冕的“CMYK”系列看成是对新印象派的当代致敬，只是，“CMYK”系列不是来自对新印象派的简单的视觉分析，而是来自对现代印刷复制的深深质疑，因为事实上，杨冕也非常清楚，“CMYK”系列仅仅是个基本通道，所谓的复原仍然是不可能的。
　　“CMYK”系列的实验包括西方经典与中国古代绘画。由于“CMYK”系列复制的是印刷物，而印刷物本身就是对原作的复制，于是，作为“CMYK”的文本本身的可疑性就更加严重，正因为如此，那文明的传达在多大程度上具有真实性呢？鲁明军谈道：“如果说印刷本身是一种叙事的话，那么杨冕的‘CMYK’无疑是一种叙事的再叙事。如果再加上原作底本，那么杨冕的‘CMYK’叙事则已是第三重转译的文本。” （鲁明军 《‘CMYK’：‘元图像’实验与视觉考古》，2011年）结果，所谓的“标准”再次成为被怀疑的对象，当艺术家明确了这样一个图像的生成过程，明确了“CMYK”同样是一种“标准”的假设之后，他决定再次地来制定自己所理解的“标准”。这一次，杨冕是从语言的层面进行分析，他完全撇开了图像的社会学或者政治学的含义，而将注意力仅仅放在图像生成的方式上。结果，他完成了一种看上去具有风格意义的语言程序。
从工业时代出现的机械复制所产生的问题早就被本雅明（Walter Benjamin）这样一些思想家所揭示，现在，艺术家杨冕借着复制的技术去创造新的图像，这个态度与方法已经祛除了本质主义的焦虑，而表现出一种富于智慧的后现代态度。的确，原作的“精神”与“气质”已经发生了衰减与变异，不过，一种新的图像的产生却是来自那些饱含着“内在性”的图像，它们承接着一种图像生成的上下文逻辑。尽管“CMYK”系列的图像仍然具有感染性，但是，杨冕通过对图像本身的不信任所产生的那些新图像具有方法论的意义，艺术家所要解决的问题仍然不是手工绘画本身的偶然性与趣味性，而是涉及人类文明的一些基本的判断：工具、方法与权力问题。
　　杨冕说：“我今天的作品和我以前的作品, 他们在气质上是一致的，是对图像的安全性做研究。” （殷嫣《关于图像的安全性—殷嫣与杨冕的对话》，2011年）基于这样的立场，杨冕保持了他的艺术的连贯性与逻辑性，无论哪一个阶段，视觉的观念与标准始终是杨冕在解决的课题，并产生出对于中国新绘画有贡献的结果，这使得杨冕的艺术在中国当代艺术中占有特殊的位置。
　　（节选自《视觉的观念与标准——杨冕的艺术》）
PREFACE
　　Lü Peng
　　“CMYK” is a color mode used in printing technique today which presents all complicated image in “C” (cyan), “M” (magenta), “Y” (yellow) and “K” (key black) compositions. Owed to the past education which leads worships and revere to master pieces, Yang Mian was very surprised when he found out that only the composition of four colors, one can count on to reproduce those human master pieces — “All those images that I was familiar with since childhood was merely made by four “CMYK” dots”. Again he deeply doubted the safety of image itself. Through computer zooming, the artist found out distribution and composition of those four colors, then reduce the density of colors and presented a look that changed the original image. The artist revealed that: no matter how complicated or mysterious those master pieces would have been, “CMYK” was still the key that decides their appearance and charisma in propagation. Now, an effect of zoomed composition of “CMYK” was presented in front of us, the image and effect shall change our understanding and knowledge to images.
　　It’s very interesting that Yang Mian adopted New Impressionist Georges Seurat’s work The Sunday Afternoon on the Island of La Grande Jatte at the very beginning. After filtrated by “CMYK”, those color dots made by pointillism and CMYK can easily mixed with each other, as a matter of fact, it is the comparison created by different source Yang Mian wished, even single-colored dots creates basically different images. In his early years, Paul Signac and Seurat told us: without any toning people could understand this world in the composition of color dots, our eyes will tone colors automatically to restore the world conveyed by the artist. Today, the printing techniques successfully developed this theory and reproduced images that as close to the original copy as possible. Speaking from this angle, we could totally consider Yang Mian’s “CMYK” series as contemporary salutation to New Impressionism, only that “CMYK” series are not simple visual analysis to New Impressionism, but deep doubts to modern reprint copying. Because, Yang Mian actually knows very clearly that “CMYK” series are merely a basic channel, the so-called “restoration” is impossible.
　　The “CMYK” series experiments include master pieces of western and Chinese classic paintings. As “CMYK” series are printed works, and printing itself is copy of original work, therefore the textual dubiety of “CMYK” is more important and that the reason how truthful is the transmitting of civilization? Lu Mingjun has his saying: “If printing itself was a narration, Yang Mian’s ‘CMYK’ is doubtlessly re-narration of a narration. If count the original work as well, Yang Mian’s “CMYK” narration should be the third text that was translated.” (Lu Mingjun, “‘CMYK’: ‘Meta-image’ Experiments and Visual Archaeology, 2011) As a result, the so-call “standard” became the object of doubt again. When the artist assured such process of image and assured “CMYK” was as well a hypothesis that it’s a type of “standard”, he decided to create the “standard of his own understanding again. This time, Yang Mian analyzed from linguistic aspect. He totally skipped the sociological or political meaning of image and only focus on the way of the image created. As a result, he completed a linguistic program that seems to be stylized.
　　The problems born by mechanical reproduction since Mechanic Era has solved by thinkers such as Walter Benjamin long enough. Nowadays, artist Yang Mian tried to create new images by copying methods; this attitude has already got rid of the anxiety of essentialism and presented with a post-modern attitude of wisdom. Indeed, the “spirit” and “temperament” of the original work is reduced or alienated, but the born of a new image was originated from those images full of “innateness”, they carried on a contextual logic created by image. Although “CMYK” series contains infectivity in its image, those new images created by Yang Mian’s distrust to image itself contains methodological meanings, the problem the artist trying to solve is still not occasionality or interest of hand drawing but some basic judgments involved human civilization: tool, method and power.
　　Yang Mian said: “My works today and my works of past are identical on temperaments, they are researches to the safety of image.” (Yin Yan, “About the safety of image - Yin Yan’s Conversation with Yang Mian”, 2011) Based on such standpoint, Yang Mian kept his continuity and logic of his art. No matter on which phase, visual concept and standard are always the subject to be solved by Yang Mian and produced contributive result to Chinese new painting which permits Yang Mian a special status in Chinese contemporary art history.
　　(a passage from "The Visual Idea and The Standard--Dragos Niculescu.Positioning Art ")

目录
《早春图》 布面油画
Early Spring
Acrylics on canvas
480×110cm×3,2011

《早春图》 宋•郭熙
Early Spring
Song
Guo Xi

《春消息图》 布面油画
Click Image to Enlarge
Acrylics on canvas
100×350cm×2,2011

《春消息图》 元•邹复雷
Click Image to Enlarge
Yuan
Zou Fulei

《兰亭序》 布面油画
Lan Tingxu [Calligraphy]
Acrylics on canvas
150×750cm,2011

《兰亭序》 晋•王羲之
Lan Tingxu
Jin
Wang Xizhi

《诸上座帖》 布面油画
Acrylics on canvas
120×480cm,2011

《诸上座帖》 北宋•黄庭坚
Letters [Calligraphy]
The Northern Song
Huang Tingjian

《永乐宫朝元图》 布面油画
Chao Yuantu of The Murals in Yongle Palace
Acrylics on canvas
380×1330cm,2011

《永乐宫朝元图》 隋唐•佚名
Chao Yuantu of The Murals in Yongle Palace
SuiTang
Anonymous

《瑞鹤图》 布面油画
Cranes
Acrylics on canvas
280×84cm,2010

《瑞鹤图》 宋•赵佶
Cranes
Song
Zhao Ji

《橘绿图》 布面油画
Orange Green Map
Acrylics on canvas
190×190cm,2010

《橘绿图》 南宋•佚名
Orange Green Map
The Southern Song
Anonymous

《枇杷山鸟图》 布面油画
The Diagram of Loquat
Acrylics on canvas
190×190cm,2010

《枇杷山鸟图》 南宋•林椿
The Diagram of Loquat
The Southern Song
Lin Chun

《叭叭鸟图》 布面油画
Baba Bird Figure
Acrylics on canvas
380×190cm,2010

《叭叭鸟图》 南宋•法常
Baba Bird Figure
The Southern Song
Fa Chang

《翠竹翎毛图轴》 布面油画
Bamboo Feathers of Shaft
Acrylics on canvas
300×190cm,2011

《翠竹翎毛图轴》 南宋•佚名
Bamboo Feathers of Shaft
The Southern Song
Anonymous

《梅竹双雀图》 布面油画
Plum Blossom,Bamboos and Two Birs
Acrylics on canvas
480×110cm,2010

《梅竹双雀图》 宋•佚名
Plum Blossom,Bamboos and Two Birs
Song
Anonymous

《写生蛱蝶图》 布面油画
Butterflies
Acrylics on canvas
130×460cm,2011

《写生蛱蝶图》 北宋•赵昌
Butterflies
The Northern Song
Zhao Chang

《枇杷山鸟图》 布面油画
Bird Perching a Loquat Branch
Acrylics on canvas
190×190cm,2010

《枇杷山鸟图》 北宋•赵佶
Bird Perching a Loquat Branch
The Northern Song
Zhao Ji

《富贵花狸图轴》 布面油画
Caolico Cat under peonies
Acrylics on canvas
230×190cm,2011

《富贵花狸图轴》 北宋•佚名
Caolico Cat under peonies
The Northern Song
Anonymous

《渔村小雪图》 布面油画
Light Snow over Village
Acrylics on canvas
290×190cm×8,2011

《渔村小雪图》 北宋•王诜
Light Snow over Village
The Northern Song
Wang Shen

《溪山行旅图 》 布面油画
Travellers among Mountains and Streams
Acrylics on canvas
480×190cm,2011

《溪山行旅图 》 宋•范宽
Travellers among Mountains and Streams
Song
Fan Kuan

《天池石壁图》 布面油画
Huang Gongwang,Stone Cliff at Heavely Pond
Acrylics on canvas
480×190cm×8,2011

《天池石壁图》 元•黄公望
Huang Gongwang,Stone Cliff at Heavely Pond
Yuan
Huang Gongwang

《山水图轴》 布面油画
Landscape
Acrylics on canvas
280×190cm,2011

《山水图轴》 明•沈周
Landscape
Ming
Shen Zhou

《雪景寒林图》 布面油画
Forest with Snow
Acrylics on canvas
220×190cm×8,2011

《雪景寒林图》 北宋•范宽
Forest with Snow
The Northern Song
Fan Kuan

《山水册页之一》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之二》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之三》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之三》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之四》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之四》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之五》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之五》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之六》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之六》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之七》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之七》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之八》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之八》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之九》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之九》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之十》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之十》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之十一》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之十一》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《山水册页之十二》 布面油画
The Jung-hsi Studio
Acrylics on canvas
100×81cm×12,2011

《山水册页之十二》 元•倪瓒
The Jung-hsi Studio
Yuan
Ni Zan

《临流独坐图》 布面油画
Sitting alone by a Stream
Acrylics on canvas
280×190cm,2011

《临流独坐图》 北宋•范宽
Sitting alone by a Stream
The Northern Song
Fan Kuan

《春山秀色图 》 清•高俨
The Beautiful Scenery in Spring Muntain
Qing
Gao Yan

《稚川移居图》 布面油画
Zhichuan Resettlement
Acrylics on canvas
320×140cm,2011

《稚川移居图》 元•王蒙
Zhichuan Resettlement
Yuan
Wang Meng

《春宫之一》 布面油画
The Frist of the Shunga
Acrylics on canvas
120×100cm,2011

《春宫之一》 明•仇英
The Frist of the Shunga
Ming
Qiu Ying

《春宫之二》 布面油画
The Second of the Shunga
Acrylics on canvas
120×100cm,2011

《春宫之二》 明•仇英
The Second of the Shunga
Ming
Qiu Ying

《时轮金刚》 布面油画
Kalachakra
Acrylics on canvas
280×190,2011

《时轮金刚》
Kalachakra