内容提要
菩提，是一棵树的名字，佛祖释迦牟尼曾在这树下静坐七天七夜，战胜了无数邪恶诱惑，觉悟成佛。菩提，也因此在佛学中被引申为开
悟的智慧。如今，佛经中的这棵树在艺术家郭燕的作品中不断幻化变身，成为世人共同追寻却又遥不可及的目标。
近五年来，郭燕的创作经历了几个系列的更迭，从最初漂浮于城市上空的男男女女到现今围绕菩提树盘旋升飞的小精灵们，她作品
中的意向诉说着人类内心的共同经验，画面形象具有强烈的女性意识，作品内涵却又超越了性别局限。那些轻盈飘飞的美丽诱惑，终将
在时光流转中随风而逝，但深沉旷远的智慧，却可以经由色相而直达本心。
郭燕作品中的“菩提”，其实是一个人倾心修炼并获得顿悟的过程。在充盈着诱惑的浮世红尘之中，内心空明静寂的人，自然可以
把外界也看透看空，这样就无所谓抵抗诱惑了，因为诱惑原本就不存在。此种心境，恰如禅宗六祖慧能著名的偈子：“菩提本无树，明
镜亦非台。本来无一物，何处惹尘埃。”
本次展览经历了近一年的筹备，郭燕的作品也在这一年之中经历了实质性的蜕变。从形式语言、情感张力到精神内涵，她开始把过
去未能表达清楚的内心境界展现得越来越直接，越来越明晰。菩提，应该是个人修为的一种隐喻，这个展览所呈现的作品，也只是郭燕
对自身经验的阶段性表白。希望每个人都能够找到自己的方法，了悟内心的真实和生命的意义。（文章来源：《菩提---郭燕作品》
Bodhi is the name of a tree. Sakyamuni meditated under the bodhi tree for seven days and seven nights, overcoming countless evil
temptations, was then thoroughly enlightened and became the Buddha. Thus, bodhi implies the intelligence of enlightenment in Buddhism.
Nowadays, this tree from Buddhism incessantly transforms in artist Guo Yan’s works, becoming a remote goal for common people to
pursue.
In the last five years, Guo’s creation experienced the changes of several series – from men and women floating in the sky beyond
cities to the present elves flying around the bodhi tree. Her works intend to narrate human beings’ inner common experiences, and the
images present a strong touch of feminism, however, the works’ connotations exceed the limitation of sex gender. Those airily flying
beautiful temptations would eventually go away with the wind as time elapses, whereas, the profound intelligence could reach the heart
through appearance.
In Guo’s works, “bodhi” is actually the process of a person cultivating vital energy and obtaining enlightenment. In the human
society full of temptations, a person with a quiet and clean inner world could naturally see through the outer world, therefore temptation
doesn’t matter at all, as it doesn’t exist in the first place. This is just like that famous verse created by Master Huineng, the Sixth
Patriarch of Zen Buddhism:
“There is no bodhi tree,
Nor stand of a mirror bright,
Since all is void,
Where can the dust alight?”
The preparation of this exhibition lasted for almost one year, and Guo Yan’s works also experienced a substantial transition. From
formal language, emotional tension to spiritual connotation, she expresses the inner world that was elusive to her in the past more and
more directly and clearly. Bodhi is supposed to be a metaphor of individual cultivation, and these exhibits are only Guo Yan’s
expression of her own experiences for the present phase. I hope everyone could find his/her own way, and understand the inner truth
and the significance of life.
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