Body Resource and Object

by Gu Zhenqing

When the body is dark, the soul is unable to independently illuminate.

Whether a unique luciferous spirit, belonging either to a sublimely faithful psyche, radiating awareness of the inner being from logical experiences, or it is constructed in a fusion of knowledge on the basis of intellectual studies, they all depend on the resource of human body’s entity, not merely on one’s transcendence. In the present era, we perceive object likeability in a new way. Entire profound human spiritualism and corporeity is sole, integrated, mutually supplementing mass. Moreover, soul could actually never become a subsisting object independent from the body. Understanding body as an object, and extracting a spiritual entity from its physical resource, will eventually lead to a sort of substance imaging mode，a kind of non-tangible visual image. Thereby artists simply transform the resource of their bodies to a set out of a voluntary space. There is a possibility that the spiritual rays emerging from the actual physical body might as well be an outset of fictitious images, accordingly unnoticeable, they become one of the greatest fascinations of contemporary art.

There are numerous, complicated image phenomena emerging in our presence. Exuberant images make us forget about the subject and the object. The bodies of artists are thoroughly entangled in the objective surrounding and sensible stimulations, in their perception the exterior images shape an individual mirror image, thereby forming an abundant language of the body. In overflowing variety of images the artist’s expression reveals a sort of awesome truthfulness in the ever more unauthentic reality. Ones body resource is a credibility. On basis of scientific confirmation and relying on ones own body, one is capable of perception of the object. It can be said that in a way pleasing sight, of Paramita and Heaven illusory mirage, is always partly hidden and partly visible. Namely, present and future at hand, are still distinct, as long as our bodies are able to percept it. The future evidently leeches on to every specific individual physical source, in order to still obtain its existence and continue to evolve. Illusiveness of Paramita and Heaven in fact represent a roam reminding us to perceive body resource as primal and essential.

Speaking about functional strength and the endurance of the artist’s body, it becomes a question of art object per se. Artists pursue for the artistic significance, already systematically and contextually  metamorphosis an operational object. Occidental cultural centrism influences artists to exert a strategy for adjusting to the colossal cultural monster. Artists use body resource to create art as a universal, conscious choice. In the context of globalization, the occidental authority on artistic statements arbitrarily exists in the international art society, while it influences the thought, strategies and instruments of Chinese artists. How to approach the need to grind in with occidental system of fine arts, while inducing and realizing ones own artistic value? The prevailing seed of utilitarian trends of thought subrogation, explicitly the modality of cultural symbols, arouses primal, pure, authentic body expressions, that might as well be one of initial methods to hurdle post colonialism and nationalism.

    Noticeable, in the rear of prevailing style in art society, a number of serene artists still have the eruptive power of their bodies and shall certainly pursue questions and examine the outlet of the humane spirit.