In 1997, Chinese artist Zhang Huan (b.1965) traveled to New York City to participate in the Asia Society’s Inside Out: New Chinese Art exhibition, invited by the renowned curator Gao Minglu. From there, Zhang extended his visit into an eight-year stay in Queens and embarked on an international tour of his iconic performance art practice, branded by extremity, violence, and his unwaveringly stoic face-a visual hallmark that came to symbolize his global image. After eight years abroad, Zhang returned to China in 2005, no longer an unknown underground artist but an internationally renowned star. With that return came a shift in practice: from body-centered performance to object-based works, including painting, sculpture, and installation. While many regard this transition as a move toward the marketization of his art, Zhang sees his objects as a continuation of performance. ${}^1$${}^1$^(1){ }^{1} In an interview with scholar RoseLee Goldberg, he describes his approach to objects as a kind of “staging”-treating motionless materials as conceptual performance installations . ${}^2$${}^2$^(2){ }^{2} This staging approach not only reframes his oeuvre from being viewed purely through the lens of performance to one that invites theatrical interpretation; it also transforms the mode of production. In suburban Shanghai, Zhang established a studio with more than 100 assistants, involving many people to help him “translate the initial ideas into a ‘staging.’” ${}^3$${}^3$^(3){ }^{3}
1997 年，中国艺术家张洹（生于 1965 年）受邀前往纽约参加亚洲协会举办的《内外：新中国艺术》展览，策展人是著名的高名潞。此后，张洹将行程延长，在皇后区居住了八年，并开始了他标志性的行为艺术实践的国际巡演，这些作品以极端、暴力和他坚定不移的冷静面孔为标志——这一视觉特征后来成为他全球形象的象征。在国外生活八年后，张洹于 2005 年回到中国，不再是一个默默无闻的地下艺术家，而是一位国际知名的明星。随着这次回归，他的创作方式也发生了变化：从以身体为中心的行为艺术转向基于物体的作品，包括绘画、雕塑和装置艺术。虽然许多人认为这一转变是他艺术市场化的表现，但张洹将自己的物体作品视为行为艺术的延续。 ${}^1$${}^1$^(1){ }^{1} 在与学者罗斯李·戈德堡的访谈中，他将自己对物体的处理方式描述为一种“舞台化”——将静止的材料视为概念性的行为装置。 ${}^2$${}^2$^(2){ }^{2} 这种分阶段呈现的方式，不仅将他的作品从单纯通过表演视角审视的框架中解放出来，转而引入戏剧化的解读可能；同时也彻底改变了创作模式。在上海郊区，张（艺术家名）建立了一个拥有逾百名助手的工作室，通过集体协作将"初始构想转化为'舞台呈现'"。 ${}^3$${}^3$^(3){ }^{3}

Zhang’s return to China also exposed him to a new reservoir of visual resources and materials embedded in everyday life in 2000s China, amidst the country’s post-socialist, turbo-capitalist economic expansion. ${}^4$${}^4$^(4){ }^{4} Reintegrating into the country he grew up in not only made him feel more grounded and rooted in daily life-it also introduced new object-based concepts and gave him access to everyday found materials for art-making, such as incense ash,
张的归国之旅也让他得以汲取 2000 年代中国后社会主义涡轮资本主义经济扩张时期，日常生活中蕴藏的视觉资源与材料宝库。 ${}^4$${}^4$^(4){ }^{4} 重新融入成长故土不仅使他获得更扎实的生活根基，更催生出以现成物为载体的艺术概念——诸如香灰等日常材料开始进入其创作视野，

door panels, and ox hide. ${}^5$${}^5$^(5){ }^{5} The fast-paced, forward-moving nation also prompted Zhang to turn back toward history—its traditions and religions: “Tradition is the body of a race, and religion is its spirit. Body and spirit form a complete existence. ${}^{"6}$${}^{"6}$^("6){ }^{" 6} Moreover, Zhang’s conversion to a Buddhist lay disciple deeply informed his artistic practice. While his earlier performance works of “endurance” have recently been reexamined through the lens of Buddhist meditative discourse, ${}^7$${}^7$^(7){ }^{7} his newer object-based performances are imbued with Buddhist beliefs in emptiness-”(everything) are only displayed as a form or shape, but actually empty" ${}^8$${}^8$^(8){ }^{8} —and the cyclicality of life and death, while also engaging a heartfelt sense of wish, echoing his Buddhist name Ciren 慈人 (benevolent human). ${}^9$${}^9$^(9){ }^{9}
门板和牛皮。 ${}^5$${}^5$^(5){ }^{5} 这个快节奏、不断前进的国家也促使张回头审视历史——它的传统和宗教：“传统是一个种族的身体，宗教是其灵魂。身体和灵魂构成了一个完整的存在。 ${}^{"6}$${}^{"6}$^("6){ }^{" 6} 此外，张皈依为佛教居士，深刻影响了他的艺术实践。虽然他早期关于“忍耐”的表演作品最近通过佛教冥想话语的视角被重新审视， ${}^7$${}^7$^(7){ }^{7} 但他较新的基于物件的表演则充满了佛教的空性信仰——“（一切）仅以形式或形状显现，实则皆空” ${}^8$${}^8$^(8){ }^{8} ——以及生死轮回的观念，同时也融入了一种发自内心的愿望感，呼应了他的佛教法名慈人（仁慈之人）。 ${}^9$${}^9$^(9){ }^{9}

One major strand of his object-based work directly connects to his engagement with Buddhism by transforming ash from incense burned in religious practice into artworks. Inspired by a worshipping scene at Longhua Temple, a Buddhist temple in Shanghai, where the floor was flooded with ash spilling from the giant incense burner, ${}^{10}$${}^{10}$^(10){ }^{10} Zhang has been creating two bodies of work using incense ash, the ash paintings and ash sculptures, since 2006. Believing that these ash remains are “message carriers,” ${}^{11}$${}^{11}$^(11){ }^{11} holding millions’ hopes, dreams, and blessings, Zhang imbues the works with a defining spiritual tone that shapes their interpretation. Furthermore, many of Zhang’s ash paintings are based on photographs. With images ranging from iconic historical moments to intimate portraits, Zhang adopts and further mediates these subjects through his use
他基于物件的创作主线之一与佛教修行直接相关——将宗教仪式中焚烧的香灰转化为艺术作品。受上海龙华寺（一座佛教寺庙）香火鼎盛的场景启发，巨型香炉中溢出的香灰铺满地面， ${}^{10}$${}^{10}$^(10){ }^{10} 张自 2006 年起开始用香灰创作两类作品：香灰画与香灰雕塑。他认为这些灰烬是"信息载体"， ${}^{11}$${}^{11}$^(11){ }^{11} 承载着千万人的祈愿、梦想与祝福，因此为作品注入了决定性的精神基调，塑造了其阐释维度。此外，张的许多香灰画以摄影作品为基底。从标志性历史瞬间到私密肖像，他通过香灰媒介对这些图像进行转译与重构，使摄影的叙事性成为作品视觉内容与形式构成的核心要素。

of ash to convey meaning-making photography integral to the visual content of the works and their formal construction.
香灰的运用不仅传递意义，更使摄影成为作品视觉内容与形式构建中不可分割的部分。

In contrast to his earlier performance piece, Zhang’s ash works have received relatively little scholarly attention. This lack of attention may stem from the material’s overtly didactic and symbolic qualities, which Zhang himself articulates in his artist’s statement emphasizing the ash’s function of spiritual calling and healing. In this case, the spiritual properties of ash confine the interpretations of Zhang’s ash painting into a passive process, and its replication of photographs could only mean a spiritual calling or healing of a specific object. Besides, the material’s association with Chinese Buddhist religious practice, which is oftentimes syncretic and politically directed, further positions the works in an uneasy place between the frameworks of religions, politics, and contemporary art. As art historian James Elkins observes, the interpretive discourses in contemporary art often exclude serious engagement with religion. ${}^{12}$${}^{12}$^(12){ }^{12}
与张早期的行为艺术作品相比，他的灰烬作品受到的学术关注相对较少。这种关注缺失可能源于材料本身强烈的说教性和象征特质——正如张在艺术家自述中强调的，灰烬承载着精神召唤与疗愈功能。在此语境下，灰烬的精神属性将对其作品的解读限定为被动过程，而它对照片的复制只能意味着对特定对象的精神召唤或疗愈。此外，材料与中国佛教修行（常具有融合特质和政治导向）的关联，进一步将这些作品置于宗教、政治与当代艺术框架间的暧昧地带。正如艺术史学家詹姆斯·埃尔金斯所言，当代艺术的阐释话语往往刻意回避与宗教的深层对话。 ${}^{12}$${}^{12}$^(12){ }^{12}

In addition to the spiritual functions provided in the materiality of ash, Zhang’s ash paintings are important as they are the "most technologically challenging and conceptually sophisticated body of work to date. ${}^{,{}^{13}}$${}^{,{}^{13}}$^(,^(13)){ }^{,{ }^{13}} Blurring the boundaries between mediums such as painting, photography, performance, and installation, ash paintings’ intermedial qualities and the use of organic materials also invite dialogue with contemporary artists such as Gerhard Richter and Anselm Kiefer. ${}^{14}$${}^{14}$^(14){ }^{14} The juxtapositional properties of the material, as both the utopianistic message carrier and a product of waste, further engages with the critical notion of “ruins” in contemporary Chinese art: a notion evolved in response to the vast programs of urban
除了灰烬物质性所承载的精神功能外，张的灰烬绘画之所以重要，还在于它们是"迄今为止技术难度最高、概念最为复杂的作品系列"。 ${}^{,{}^{13}}$${}^{,{}^{13}}$^(,^(13)){ }^{,{ }^{13}} 这些作品模糊了绘画、摄影、行为艺术和装置艺术等媒介的界限，其跨媒介特性以及对有机材料的使用，也引发了与格哈德·里希特和安塞尔姆·基弗等当代艺术家的对话。 ${}^{14}$${}^{14}$^(14){ }^{14} 这种材料既作为乌托邦式信息的载体，又是废弃物的产物，其并置属性进一步触及了中国当代艺术中关于"废墟"的批判性概念——这一概念源于改革开放时期大规模城市化进程，但正如学者泽维尔·奥特尔斯-尼古拉所言，它已演变为艺术家构建"关于熵、废弃与过时表征"的美学策略。

development of the reform era but as scholar Xavier Ortells-Nicolau argues, extend into an aesthetic strategy for artists to construct “a representation of entropy, waste, and obsolescence.” ${}^{15}$${}^{15}$^(15){ }^{15}
发展，但正如学者泽维尔·奥特尔斯-尼古拉所言，它已延伸为艺术家构建"关于熵、废弃与过时表征"的美学策略。 ${}^{15}$${}^{15}$^(15){ }^{15}

This paper foregrounds the relationship between ash and photographic imagery in Zhang Huan’s ash paintings to complicate pre-existing spiritual readings of this body of work. By analyzing how the material intervenes in the human figures and narrative of two early ash paintings, Great Leap Forward-Canal Building (2007) [figure 1] and Young Mother (2007) [figure 2], this paper illustrates the active engagement between the ash material and its photographic subjects. Drawn from a propaganda photograph celebrating a mass labor project, Great Leap Forward transforms ash-often associated with the notion of “anticipation,” a socialist utopian projection toward the future-into a medium of violence enacted on the human body, gesturing toward both a calling and a healing of the dystopian realities embedded in the painting and memory. The absence of historical or visual context in Young Mother, on the other hand, contemplates the very act of memory-making and its entangled relationship with wounds and trauma, questioning whether pain and violence are integral to the process of identification. By examining how material mediates the photographic subjects in these works, as well as the exhibitions of the works, this paper argues that Zhang’s ash paintings actively bridge past narratives and memories with the present act of calling while simultaneously questioning the possibility of a reconciliation.
本文通过凸显张洹香灰画中香灰与摄影图像的关系，对既有研究中关于该系列作品的精神性解读提出质疑。通过分析香灰材质在两幅早期作品《大跃进-运河建设》（2007）[图 1]与《年轻母亲》（2007）[图 2]中对人物形象及叙事的干预，本文揭示了香灰物质与其摄影母本之间的能动关系。取材于歌颂集体劳动的宣传照片，《大跃进》将通常承载"期待"意涵（即社会主义乌托邦式未来投射）的香灰转化为施加于人身的暴力媒介，既召唤又疗愈着画作与记忆中的反乌托邦现实。而《年轻母亲》对历史与视觉语境的抽离，则叩问记忆建构行为本身及其与创伤的纠葛关系，质疑痛苦与暴力是否构成身份认同的必要条件。 通过考察这些作品中物质如何中介摄影主题以及作品的展览方式，本文认为张的灰烬绘画积极地将过去的叙事和记忆与当下的召唤行为相连接，同时质疑和解的可能性。

The materiality of ash in Zhang’s paintings holds physical and symbolic weight. Collected by Zhang’s assistants from twenty temples in Shanghai each week, incense ash-a waste product of ritual-is visually unstable and granular, resisting precision and giving the
张的绘画中灰烬的物质性承载着物理与象征的双重重量。这些由张的助手每周从上海二十座寺庙收集的香灰——仪式废弃物——在视觉上呈现不稳定颗粒状，抗拒精确性，赋予画面

surface of Zhang’s paintings a muted, powdery undertone that often hovers between presence and erasure. Unlike traditional painting mediums such as pigment or ink, the physical properties of ash prevent it from saturating or penetrating the surface. Instead, it rests and clings, held in place only through layers of adhesives. Its visual qualities allow it to be accumulated and sculpted to convey a wide range of textures. To dramatize these textures, Zhang and his assistants also integrate materials that gesture toward the ritualistic acts that produce ash, such as joss paper and joss sticks-objects burned as offerings during temple rituals.
张的绘画表面呈现出一种柔和、粉状的底色，常常在存在与消逝之间徘徊。与传统颜料或墨水等绘画媒介不同，灰烬的物理特性使其无法渗透或浸染画面表面，只能通过层层粘合剂附着其上。这种视觉特质使其能够通过堆积和塑形来表现丰富的质感层次。为强化这些质感，张及其助手还融入了指向灰烬产生仪式的材料，如祭祀时焚烧的金纸和线香等供品。

The technological demand for making the ash paintings made incense ashes took up two of the ten workshops in Zhang Huan’s factory-like studio. ${}^{16}$${}^{16}$^(16){ }^{16} Divided into groups between an incense basic workshop and an incense creative workshop, Zhang’s assistants use ash to render the photographic images on room-size linen canvases. Under Zhang’s guidance, they sort the collected ashes into patchwork palettes in varying tones and textures, sifting the finer dust from the coarser flakes and the lighter tones from the darker ones. ${}^{17}$${}^{17}$^(17){ }^{17} The first step of making the ash paintings is to prepare the canvas with adhesives and apply a foundation of finely powdered ash onto its surface. This establishes a base tone for building up surface textures in the ideal photorealistic representation. ${}^{18}$${}^{18}$^(18){ }^{18} Photos documenting the process [figure 3] reveal that Zhang’s assistants render the giant paintings, section by section, carefully refining details to achieve an oftentimes technically precise replication of the image. And when certain materials-such as larger ash flakes or joss sticks-fail to achieve the desired sculptural effects, the ash is mixed with water and glue to create a “malleable, cement-like substance,” which is then finished with a final dusting of dry ash. ${}^{19}$${}^{19}$^(19){ }^{19}
制作香灰画的技术需求占据了张洹工厂式工作室中十个工坊中的两个。 ${}^{16}$${}^{16}$^(16){ }^{16} 这些助手被分为基础香灰工坊和创意香灰工坊两组，他们用香灰在房间大小的亚麻画布上呈现摄影图像。在张洹的指导下，他们将收集的灰烬按色调和质地分类，拼成调色板，从粗糙的薄片中筛出细尘，从深色调中分离出浅色调。 ${}^{17}$${}^{17}$^(17){ }^{17} 制作香灰画的第一步是用粘合剂处理画布，并在其表面涂上一层细灰作为基础。这为构建理想的照片级真实感表面纹理奠定了基调。 ${}^{18}$${}^{18}$^(18){ }^{18} 记录这一过程的照片[图 3]显示，张洹的助手们逐块绘制巨幅画作，精心雕琢细节，常常实现技术精确的图像复制。 而当某些材料——如较大的灰片或香棒——无法达到预期的雕塑效果时，灰烬会与水及胶水混合，形成一种“可塑的、类似水泥的物质”，最后再撒上一层干灰完成作品。 ${}^{19}$${}^{19}$^(19){ }^{19}

According to an artist statement composed by Zhang，the primary function of incense burning is to make wishes，and oftentimes，the wishes to call for something and the wishes to heal．Written for his 2007 solo exhibition at Haunch of Venison London，the first exhibition of his new object－based experiment，Zhang＇s statement explores his decision to employ this unconventional material．${}^{20}$${}^{20}$^(20){ }^{20} It also highlights that Zhang＇s interpretation of this material has extended from its religious practice but is understood through aspects of performance．Zhang traces the historical making of incense．Imported for state rites and religious ceremonies，incense was historically made from organic products such as dried grass and seeds，mixed with spices exported from Turkestan along the Silk Road，granting the capabilities to produce a sensorial experience when a person activates it by lighting it up．Rituals in worshipping the heavens and ancestors popularized the material into secular practices，into a part of everyday life，especially on festive occasions．The medium of flying incense smoke was further granted the affective quality by a single－sided＂message carrier＂－transmitting human wishes to the sacred－to an act of＂calling，＂bringing the ancestors and spirits closer to the believers，to quell their fears and engender hope and courage．In other words，the act of incense burning is an invitation sent to the deceased，asking them to return，reunite，and＂share a meal＂with the living．${}^{21}$${}^{21}$^(21){ }^{21} Moreover，Zhang also notes the reparative function of the incense ashes as they are used for medical purposes in Chinese folk traditions．${}^{22}$${}^{22}$^(22){ }^{22} Echoing his early visceral and confrontational performances，Zhang brings up the example of the use of ashes in traditional castrations in his statement．Succinctly described in the classical Chinese term＂smearing the wound with burnt ash＂（yi hui huo fu zhi以灰火傅之），a large amount of ash is often sprinkled to cover the wound of castration after the surgery as a painkiller，as an agent to stop the bleeding．
根据艺术家张的陈述，焚香的主要功能是许愿，通常包括祈求某些事物和祈求治愈。这份陈述是为他在 2007 年伦敦 Haunch of Venison 画廊的个展所写，这也是他首次展示以物品为基础的实验性创作。张在陈述中探讨了他选择使用这种非传统材料的决定。 ${}^{20}$${}^{20}$^(20){ }^{20} 同时强调，张对这种材料的理解已从宗教实践延伸出来，而是通过表演的各个方面来理解。张追溯了熏香的历史制作过程。熏香最初用于国家仪式和宗教典礼，历史上由干草和种子等有机产品制成，混合了通过丝绸之路从突厥斯坦出口的香料，当人们点燃它时，能够产生感官体验。祭天和祭祖的仪式使这种材料普及到世俗实践中，成为日常生活的一部分，尤其是在节日场合。飘散的香烟媒介被赋予了一种情感特质，成为单向的“信息传递者”——将人类的愿望传达给神圣的存在 换句话说，焚香的行为是向逝者发出邀请，请他们回来，与生者团聚，"共进晚餐"。 ${}^{21}$${}^{21}$^(21){ }^{21} 此外，张也注意到香灰的修复功能，因为在中国民间传统中，香灰被用于医疗目的。 ${}^{22}$${}^{22}$^(22){ }^{22} 与他早期内敛、对抗的表演相呼应，张抗抗在他的陈述中提到了传统阉割中使用香灰的例子。以灰火傅之），术后常在阉割伤口上撒上大量灰烬，作为止痛剂和止血剂。

While Zhang’s statement addresses the material as having the quality of granting and sending wishes and hopes, incense ash, as a material, is the relic of this act, other than the act itself: the “sedimentary residue” of human actions. The material ash itself is a desolate object as it will be scattered into the sea or lakes, dumped into forests, or buried if not repurposed in Zhang’s practice. ${}^{23}$${}^{23}$^(23){ }^{23} Zhang’s 2006 series $A$$A$AA sh (2006) [figure 4] highlights the material’s qualities as ruins. In this series, Zhang fills life-sized canvases with ash and other found, ready-made, often trivial materials, and unlike his later photorealistic ash paintings, these works remained distinct in their complete absence of inferred subject matter. The varying shades, textures, and densities of ash in these paintings reflect Zhang’s material investigations, as some compositions consist of finely ground, single-toned ash, while others incorporate unfiltered flakes of ash in a variety of shades of grey. Particular works feature coarser grains that create a rough, uneven surface, while others clump the ash to mimic the sculptural quality of an oil painting. Despite his attempts to experiment with the textural and tonal quality of the material, $\mathrm{Ash}(2006)$$\mathrm{Ash}(2006)$Ash(2006)\operatorname{Ash}(2006) also offers valuable insight into Zhang’s interpretations of different materials, such as incorporating joss sticks and burned incense bases to highlight the origin of the ash material. By including the very objects that allude to the production of incense ash, these early works reflect on the materiality of ash- its production, consumption, and desolation.
张的陈述将这种材料描述为具有赋予和传递愿望与希望的特质，而香灰作为一种物质，则是这一行为的遗迹，而非行为本身：人类行为的“沉积残留物”。材料灰烬本身是一种荒凉的物体，如果不被张的实践重新利用，它将被撒入海洋或湖泊、倾倒在森林中或掩埋。 ${}^{23}$${}^{23}$^(23){ }^{23} 张 2006 年的系列作品 $A$$A$AA sh（2006）[图 4]突出了这种材料作为废墟的特质。在这一系列中，张用灰烬和其他现成的、常常微不足道的材料填满了真人尺寸的画布，与他后来超写实的灰烬画不同，这些作品因完全没有隐含主题而显得独特。画作中灰烬的不同色调、质地和密度反映了张对材料的探索，有些构图由精细研磨的单色调灰烬组成，而另一些则融入了未经过滤的、各种灰色调的灰烬片。特定作品采用较粗的颗粒，创造出粗糙不平的表面，而其他作品则将灰烬团块化，模仿油画的雕塑质感。 尽管他尝试探索材料的质感和色调特性， $\mathrm{Ash}(2006)$$\mathrm{Ash}(2006)$Ash(2006)\operatorname{Ash}(2006) 同时也提供了对张对不同材料解读的宝贵见解，例如通过加入香柱和燃烧过的香基来突显灰烬材料的来源。这些早期作品通过包含暗示香灰生产过程的实物，反思了灰烬的物质性——它的产生、消耗与荒芜。

In addition to these ash productions, Zhang also attaches pieces of found photographs to the canvases in the $Ash$$Ash$AshA s h series. This introduces another critical aspect to his ash paintings, one that is related to history and memories. The small-scaled photographs of human figures- often silver gelatin identity headshots prevalent throughout 20th-century China’s material and visual culture- are scattered across the life-sized canvases. Many are torn and obscured by ash as if their image and the inferred identities have been buried by the heavy layers of ash or unearthed
除了这些灰烬作品外，张还在 $Ash$$Ash$AshA s h 系列中将发现的照片碎片粘贴到画布上。这为他的灰烬绘画引入了另一个关键维度，与历史和记忆相关。那些小尺寸的人物照片——通常是 20 世纪中国物质与视觉文化中普遍存在的银盐明胶身份证头像——散布在真人尺寸的画布上。许多照片被撕裂并被灰烬遮蔽，仿佛它们的影像及所暗示的身份已被厚重的灰烬层掩埋或重新发掘。

from a site of relics. These photographs come from Zhang’s personal collection of found photographs that he sourced through desolate photo books or publications between the 1920s and the 1980s, such as the China Pictorials and People’s Liberation Army Pictorials. ${}^{24}$${}^{24}$^(24){ }^{24} The return to archival photographs not only echoes back to Zhang’s interests in history and traditions as one of the engines to move forward ${}^{25}$${}^{25}$^(25){ }^{25}, but the found/readymade/archival nature of these images also serve as an important form of historical evidence as they “record acts of eye witnessing” and “bear witness what is not put into words.” ${}^{26}$${}^{26}$^(26){ }^{26} At the same time, these archival photographs also convey a collective memory like how Zhang believes incense ash is a "collective soul, of our collective memories and good wishes, ${}^{,27}$${}^{,27}$^(,27){ }^{, 27} a function that media scholar Barbie Zelizer claims to go “beyond the mere authentication,” implying the “transmission to future generation.” ${}^{28}$${}^{28}$^(28){ }^{28}
这些照片来自张的个人收藏，是他从 20 世纪 20 年代至 80 年代间荒废的摄影集或出版物中搜集而来的，如《中国画报》和《解放军画报》。 ${}^{24}$${}^{24}$^(24){ }^{24} 回归档案照片不仅呼应了张对历史和传统的兴趣，将其视为前进的动力之一 ${}^{25}$${}^{25}$^(25){ }^{25} ，而且这些图像的现成/档案性质也作为一种重要的历史证据形式，它们“记录了目击行为”并“见证了那些未被言说之事”。 ${}^{26}$${}^{26}$^(26){ }^{26} 与此同时，这些档案照片还传递了一种集体记忆，正如张认为香灰是“我们集体记忆和美好祝愿的集体灵魂” ${}^{,27}$${}^{,27}$^(,27){ }^{, 27} ，这一功能被媒体学者 Barbie Zelizer 认为超越了“单纯的认证”，暗示了“向未来世代的传递”。 ${}^{28}$${}^{28}$^(28){ }^{28}

The testimonial implications of archival photos further grant photography its affective quality. In his book Camera Lucida, French literary theorist and philosopher Roland Barthes articulates the “eidos” of photography as a medium with a tautological nature: “a pipe here is always a pipe.” ${}^{,{}^{29}\text{Unlike painting or drawing, the "authenticity" given in the technology of}}$${}^{,{}^{29}\text{ Unlike painting or drawing, the "authenticity" given in the technology of }}$^(,^(29)" Unlike painting or drawing, the "authenticity" given in the technology of "){ }^{,{ }^{29} \text { Unlike painting or drawing, the "authenticity" given in the technology of }} photography maintains no perpetual gap between the image and its subject, seemingly copying the real without intervention, seemingly leaving objects untouched. ${}^{30}$${}^{30}$^(30){ }^{30} Such testimonial qualities and the seeming existence of the “real” allow photography to possess, in Barthes’ words, "the return of the dead. ${}^{31}$${}^{31}$^(31){ }^{31} Its ability to “evoke” the past connects to the power of affect- a kind of
档案照片的见证性特质进一步赋予了摄影以情感属性。法国文学理论家、哲学家罗兰·巴特在其著作《明室》中，将摄影的"本质"阐述为一种具有同义反复性质的媒介："这里的烟斗永远是烟斗。" ${}^{,{}^{29}\text{Unlike painting or drawing, the "authenticity" given in the technology of}}$${}^{,{}^{29}\text{ Unlike painting or drawing, the "authenticity" given in the technology of }}$^(,^(29)" Unlike painting or drawing, the "authenticity" given in the technology of "){ }^{,{ }^{29} \text { Unlike painting or drawing, the "authenticity" given in the technology of }} 摄影在图像与其主体之间不存在永恒的间隙，看似未经干预地复制现实，仿佛让物体保持原貌。 ${}^{30}$${}^{30}$^(30){ }^{30} 这种见证性特质及"真实"的表象存在，使得摄影能够如巴特所言拥有"亡者的回归" ${}^{31}$${}^{31}$^(31){ }^{31} 。其"唤起"过去的能力与情感力量的效力相连——这种

phenomenology that is＂a view of the object which was immediately steeped in desire，repulsion， nostalgia，euphoria．．${}^{32}$${}^{32}$^(32){ }^{32}
现象学是"一种对对象的观看方式，它立即浸透着欲望、厌恶、怀旧、欣快……" ${}^{32}$${}^{32}$^(32){ }^{32}

On the other hand，Zhang＇s use of photographic images challenges Barthes＇view on photography and raises questions about what layer of reality has been recorded by its lens．As Zhang points out in his interview，he recognizes the＂stageness＂in some of the photographs as they are，sometimes professionally lit with directors calling shots of positioning the bodies into ＂modeled actions and behavior，＂and were published in what he considered to be party－distributed propaganda materials．${}^{33}$${}^{33}$^(33){ }^{33} Moreover，the action of translating these－either testimonial or staged－small photographic images into paintings on large－scale canvases also further departs the images from their testimonial purposes．Painting photographic subjects disturbs the clear distinction between photography and forms such as drawings，paintings，and cinema，in which the former＂presents＂reality while the latter＂represents＂and mediates realities．${}^{34}$${}^{34}$^(34){ }^{34}
另一方面，张对摄影图像的运用挑战了巴特关于摄影的观点，并引发了对镜头记录下哪一层现实的质疑。正如张在采访中指出的那样，他意识到某些照片本身就具有"舞台性"——这些照片有时采用专业布光，导演指挥着身体姿态以呈现"模式化的动作与行为"，并被他认为是党宣材料的一部分而发表。 ${}^{33}$${}^{33}$^(33){ }^{33} 此外，将这些或纪实或摆拍的小幅摄影图像转译成大幅画布上的油画，更进一步剥离了图像的见证功能。将摄影主题绘画化，模糊了摄影与素描、油画、电影等形式之间的清晰界限——前者"呈现"现实，而后者"再现"并中介现实。 ${}^{34}$${}^{34}$^(34){ }^{34}

Zhang＇s use of material in Great Leap Forward－Canal Building（2007）directly engages with these questions of reality by transforming a propaganda photograph into a work of ash painting．Based on a photograph depicting the canal－building process in Taishan County， Guangdong，Great Leap Forward－Canal Building（2007）is a ten－meter－long ash painting mounted on a two－meter－high solid foundation．The original photo，published in the fourth issue of China Pictorial 人民画报（Renmin Huabao）in 1972，captures hundreds of workers digging a
在《大跃进--修运河》（2007）中，张晓刚通过将一张宣传照片转化为白灰画作品，直接介入了这些现实问题。原照片发表于 1972 年第四期《人民画报》（人民出版社），拍摄了数百名工人开挖水渠的场景。

canal. This image exemplifies the kind of “staged” propaganda that Zhang discusses, as it was taken to celebrate the successful completion of a water project in Taishan that year.
这条运河的形象体现了张所讨论的那种“摆拍”宣传，因为这张照片是为了庆祝当年台山水利工程的成功竣工而拍摄的。

In his catalogue essay, scholar Robert Storr positions Great Leap Forward as an “anti-monumental monument” for its formal association with the tradition of (Western) history painting. Pointing to Zhang’s relatively unconventional subject choice for a canvas of such grandiosity, Storr argues that Zhang centers an “unimportant” image of labor to compel viewers to bear witness, pushing the representation of common labor to uncommon limits. ${}^{35}\mathrm{By}$${}^{35}\mathrm{By}$^(35)By{ }^{35} \mathrm{By} employing these “common laborers of uncommon devotion,” Storr suggests that Zhang aims to recentralize the historical narrative around those who physically make history. ${}^{36}$${}^{36}$^(36){ }^{36}
学者罗伯特·斯托尔在其目录文章中，将《向前进》定位为一座“反纪念碑式的纪念碑”，因其在形式上与（西方）历史绘画传统相关联。斯托尔指出，张选择了一个相对非传统的主题来呈现如此宏大的画布，他认为张聚焦于一个“不重要”的劳动形象，迫使观众见证，将普通劳动的表现推向不寻常的极限。 ${}^{35}\mathrm{By}$${}^{35}\mathrm{By}$^(35)By{ }^{35} \mathrm{By} 通过运用这些“具有非凡奉献精神的普通劳动者”，斯托尔暗示张旨在重新将历史叙事围绕那些实际创造历史的人展开。 ${}^{36}$${}^{36}$^(36){ }^{36}

However, Zhang’s subject choice departs from the heroic celebration of labor found in the original context. Instead, the material ash deemphasizes the human bodies, rendering them as images of drifting subjects vulnerable to the overwhelming forces of nature. The canvas is divided diagonally by the canal, with hundreds of figures standing on either side of the massive waterway, illustrating the laborious process of constructing this human-made channel-one that connects and redirects bodies of water in service of human desire. On the rugged earth stand hundreds of silhouetted bodies, their presence marked only by subtle highlights indicating their hats and clothing. Rendered in the darkest shade of ash, the jagged edge of the canal anchors the composition as a visual focal point, possessing a monstrous, absorbing quality that starkly contrasts with the fleeting, insubstantial, and minor depiction of human figures. Vast fields and mountains stretch and dissolve into the ground in the background. In contrast to this fierce and visually defined landscape, the human bodies are neither emphasized nor celebrated. Instead, they are deindividualized and nearly dehumanized—reduced to an indistinct “mass” of laborers
然而，张的主题选择偏离了原语境中对劳动的英雄式颂扬。相反，物质性的灰烬淡化了人体的存在，将其表现为漂泊的主体形象，脆弱地面对自然的压倒性力量。画布被运河斜向分割，数百个人物站立在这条巨大水道的两侧，展现了开凿这条人造水道——连接并改道水体以满足人类欲望——的艰辛过程。崎岖的土地上矗立着数百个剪影般的人体，他们的存在仅通过暗示帽子与衣着的微妙高光得以显现。运河锯齿状的边缘以最深的灰烬色调呈现，成为构图的视觉焦点，具有一种吞噬性的怪物特质，与转瞬即逝、无实质且微小的人像描绘形成鲜明对比。广袤的田野与山脉在背景中延展并消融于大地。与这片凌厉且视觉分明的景观相比，人体既未被强调，也未被颂扬。 相反，他们被去个体化，近乎非人化——沦为模糊不清的劳动者"大众"。

who are not only indistinguishable from one another but, at times, barely separable from the rugged earth itself.
不仅彼此难以区分，有时甚至与崎岖的大地本身几乎融为一体。

Remediated with ash, the notion of canal building symbolically mirrors the many water projects initiated during Maoist China, both in the historical reference of the title and the moment when the subject takes place. However, the title “Great Leap Forward” introduces a historical incongruity with the moment captured in the image. Great Leap Forward refers to China’s radical Five-Year Industrialization Campaign between 1958 and 1962, whereas the image is sourced from an issue of China Pictorial, one of the few publications permitted during China’s Great Proletarian Cultural Revolution. It captures a scene from this decade-long (1966-1976) socio-political movement aimed to preserve Chinese socialism through the purging of “decadent” and “feudal” capitalist and traditional elements. Marking two of the most contentious episodes in modern Chinese history, the title and the subject seem misplaced-if not deliberately anti-chronological—and introduce a significant historical disjunction to the moment captured in the image. This gap between the title and subject draws attention to the “staged” quality of the scene and invites skepticism about the photo’s “authenticity.”
用灰烬补救后，运河建设的概念象征性地反映了毛泽东时代中国启动的许多水利工程，无论是标题的历史参考还是主题发生的时刻。然而，标题 "大跃进 "与画面中捕捉到的时刻存在历史不协调。大跃进 "指的是 1958 年至 1962 年间中国激进的 "五年工业化运动"，而这幅作品则出自《中国画报》，这是中国 "无产阶级文化大革命 "期间为数不多的允许出版的刊物之一。它捕捉了这场长达十年（1966-1976 年）的社会政治运动中的一个场景，这场运动旨在通过清除 "腐朽的 "和 "封建的 "资本主义和传统因素来维护中国的社会主义。作为中国现代史上最具争议性的两个事件，标题和主题似乎是错位的--如果不是故意反时间顺序的话--并为画面所捕捉的瞬间引入了一个重要的历史断层。标题和主题之间的差距使人注意到场景的 "舞台化 "特质，并对照片的 "真实性 "产生怀疑。

Taking “Great Leap Forward” as a metaphor for anticipation and hope-one of the shared, persistent drives for socialist utopianism throughout Maoist China- the photographic subjects echo the ash’s spiritual properties of calling. For many, the Mao era was composed of numerous (failed) projects of wishing-moments when hundreds of millions of Chinese devoted themselves to building a better world yet "suffered from hunger and strife at unprecedented scales. ${}^{n77}$${}^{n77}$^(n 77){ }^{n 77} This utopian desire for a better future guided by socialism is embedded even in the title itself: Great Leap Forward, which carries a profound sense of aspiration as a literal phrase. Almost like a mantra of wish, the phrase evokes a sudden, ambitious, even dramatic step
以 "大跃进 "为喻，摄影主题呼应了 "大跃进 "灰的精神属性--"大跃进 "是整个毛泽东时代的中国对社会主义乌托邦的一种共同的、持久的推动力，是对期待和希望的隐喻。对许多人来说，毛泽东时代是由无数（失败的）许愿计划组成的--数以亿计的中国人致力于建设一个更美好的世界，但却 "遭受着前所未有的饥饿和纷争"。 ${}^{n77}$${}^{n77}$^(n 77){ }^{n 77} 这种对社会主义引导下的美好未来的乌托邦式渴望甚至体现在标题本身：大跃进 "作为一个字面上的短语，蕴含着深刻的愿望。这个短语几乎就像一个愿望的咒语，让人联想到一个突然的、雄心勃勃的、甚至是戏剧性的步骤

forward-an imagined leap through obstacles in pursuit of rapid transformation. Initiated by Mao and taken up by local leaders and peasants, the utopian agency fueled the Great Leap Forward, raising the hopes of millions of farmers for national transformation through the rapid industrialization of rural areas, including the large-scale reshaping of the landscape to achieve socialism. ${}^{38}$${}^{38}$^(38){ }^{38}
跃进——一种想象中跨越障碍、追求快速变革的飞跃。由毛泽东发起，地方领导和农民响应，这种乌托邦式的能动性推动了“大跃进”，通过农村地区的快速工业化（包括大规模改造地貌以实现社会主义）提升了数百万农民对国家转型的期望。 ${}^{38}$${}^{38}$^(38){ }^{38}

Such collective drive-rooted in the imagined construction of a better time and place through labor-echoes the notion of the future that scholar Paola Iovene frames as anticipation. ${}^{39}$${}^{39}$^(39){ }^{39} Anticipation, as Iovene defines it, departs from the commonly interpreted notion of destination, which often conflates with nationalist ideals of progress and competitiveness. ${}^{40}$${}^{40}$^(40){ }^{40} Instead, anticipation “involves fears and aspirations that shape lives and narratives in their very unfolding,” engaging an experience of the future that is phenomenological and affective rather than strictly ideological. ${}^{41}$${}^{41}$^(41){ }^{41} This embodied sense of anticipation also resonates with the making of the potentially “staged” photographic source: rather than being dismissed as “lies” or “fake,” the act of directing, staging, and producing the image can be interpreted as another utopian expression, in which laboring bodies are used as media to “express, realize, and constitute” celebratory images of utopia. ${}^{42}$${}^{42}$^(42){ }^{42} In this light, the incense ash used to render Great Leap Forward materializes the spirit of anticipation embedded in both its title and photographic subject.
这种植根于通过劳动想象构建更美好时空的集体驱动力，呼应了学者 Paola Iovene 提出的"预期"概念。 ${}^{39}$${}^{39}$^(39){ }^{39} Iovene 定义的"预期"不同于通常被解读为目的地（常与民族主义进步观和竞争意识混为一谈）的概念， ${}^{40}$${}^{40}$^(40){ }^{40} 而是"包含在生活与叙事展开过程中塑造它们的恐惧与渴望"，呈现一种现象学层面、情感驱动的未来体验，而非纯粹的意识形态。 ${}^{41}$${}^{41}$^(41){ }^{41} 这种具身化的预期感也与"摆拍"照片的创作形成共鸣：导演、摆布和生产图像的行为不应简单斥为"谎言"或"造假"，而可视为另一种乌托邦表达——劳动身体作为媒介被用来"表达、实现并构成"庆典式的乌托邦图景。 ${}^{42}$${}^{42}$^(42){ }^{42} 由此观之，塑造大跃进图像的香灰物质化了潜藏于作品标题与摄影主题中的预期精神。

Yet, the dystopian realities unfold a juxtaposition between this socialist utopian “anticipations” and its resulting destruction, leading to death and wounds in both human bodies and nature. Failing to deliver the economic and technological transformation it once promised,
然而，反乌托邦的现实揭示了这种社会主义乌托邦式"预期"与其导致的毁灭之间的鲜明对比，给人类身体和自然都带来了死亡与创伤。由于未能兑现其曾承诺的经济与技术变革，

the Great Leap Forward escalated into the greatest famine in human history-driven by Maoist “voluntarism, impetuosity, and military-style mobilization”-resulting in an estimated thirty-five to fifty million deaths from starvation between 1959 and 1961. ${}^{43}$${}^{43}$^(43){ }^{43} And the Cultural revolution was notoriously known as it traumatized millions and destroyed cultural heritage on an unprecedented scale. ${}^{44}$${}^{44}$^(44){ }^{44} A profound distortion of human relationships marked it—and of the relationship between humans and nature-as ethics, kinship, and individual agency were sacrificed to revolutionary zeal, and nature was framed as something to be “conquered.” ${}^{45}$${}^{45}$^(45){ }^{45}
大跃进在毛泽东"唯意志论、急躁冒进和军事化动员"的推动下演变成人类历史上最严重的饥荒——1959 至 1961 年间约造成三千五百万至五千万人饿死。 ${}^{43}$${}^{43}$^(43){ }^{43} 而文化大革命则以创伤数百万人、空前规模摧毁文化遗产的恶名昭著。 ${}^{44}$${}^{44}$^(44){ }^{44} 它标志着人际关系——以及人与自然关系——的深刻扭曲，伦理、亲情和个人能动性都被革命狂热所牺牲，自然被塑造成需要"征服"的对象。 ${}^{45}$${}^{45}$^(45){ }^{45}

In this case, a close examination of Great Leap Forward reveals Zhang’s mediation as posing challenges to its own utopian associations of the materials and the subject. While Zhang’s Great Leap Forward faithfully replicates the original image, its materiality texturally disturbs the composition, visually constructing a scene in which the human figures appear under attack from joss sticks. Using his unconventional choice of material to build texture, Zhang dramatizes the scene by scattering ash flakes across the sky, resembling detritus crumbling from above. These flakes disrupt the perspective and visual depth of the photographic subject, drawing viewers closer to the surface and emphasizing the work’s materiality through its sculptural texture. Zhang further spreads joss sticks across the canal to materially engage both the canal and the human figures. In this case, the material that once referenced the origin of incense ash in Ash (2006) now visually echoes the tools-and weapons-used in canal-building during the Maoist era, evoking the violence of a time marked by extreme human interference in the natural world and unusually distorted human relationships. ${}^{46}$${}^{46}$^(46){ }^{46} Coated in the darkest shade of ash, these broken joss sticks serve, on one level, as a visual extension of the fractured ridges of the wounded canal,
在这种情况下，仔细观察《大跃进》，就会发现张的调解对其自身关于材料和主题的乌托邦式联想提出了挑战。虽然张的《大跃进》忠实地复制了原始图像，但其材料的质感从构图上扰乱了画面，在视觉上构建了一个人物受到香火攻击的场景。张晓刚采用了非常规的材料来构建质感，他在天空中撒下灰片，就像从上而下的碎屑，从而将场景戏剧化。这些灰片破坏了摄影主题的透视和视觉深度，吸引观众走近作品表面，并通过其雕塑般的质感强调了作品的物质性。张进一步在运河上撒上香烛，使运河和人物都具有物质性。在《灰》（2006 年）中，这种材料曾是香灰的起源，而现在则在视觉上呼应了毛泽东时代修建运河时使用的工具和武器，唤起了那个时代的暴力，其特点是人类对自然世界的极端干预和异常扭曲的人际关系。 这些被最深色灰烬覆盖的断裂香柱，在某个层面上，是受伤运河破碎山脊的视觉延伸，

suggesting the brutality inflicted on the land. On another level, they cluster around the center-right foreground, surrounding-and at times covering-the “insubstantial” human figures, as if these falling objects have struck the figures themselves.
暗示着这片土地遭受的暴行。在另一个层面上，它们聚集在画面中右前景处，环绕着——有时甚至遮蔽了那些“虚幻”的人形，仿佛这些坠落的物体击中了人物本身。

Moreover, the ritualistic functions of joss sticks further delineate the relationship between the utopianistic “anticipation” and the dystopian realities. In this work, Zhang’s use of the joss stick does more than perform violence or underscore the vulnerability of the human figures in the painting. These materials, once vessels of hope and ritual that symbolize the historical structural and subjective forms of anticipation, now point to one of the very perpetrators of that violence: the anticipatory wishes for a better future that are, though ideologically guided, genuinely made by the human bodies. Therefore, Zhang’s seemingly ahistorical approach embodies the real sentiments and memories carried within the painting’s historical title and subject, complicating the understanding of the fabrications and truths, wishes and realities, and the performing and being performed bodies in history and narratives.
此外，香火的仪式性功能进一步划分了乌托邦式“期待”与反乌托邦现实之间的关系。在这件作品中，张洹对香的使用不仅施加暴力或突显画中人像的脆弱性。这些材料曾是承载希望与仪式的容器，象征着历史结构和主观期待形式，如今却指向暴力的实施者之一：那些虽受意识形态引导，却由人类身体真诚发出的对更美好未来的期待愿望。因此，张洹看似非历史的手法实则体现了画作历史标题与主题所承载的真实情感与记忆，使人们对历史与叙事中的虚构与真相、愿望与现实、表演与被表演的身体的理解变得复杂。

As a portrait of multiple wounded subjects-wounded bodies, wounded nature, and wounded memory-Great Leap Forward echoes Roland Barthes’ sentimental approach to photography, treating the photographic subject as a wound. ${}^{47}$${}^{47}$^(47){ }^{47} Spiritually invoked and manifested through the properties of ash, the wounded subjects of Great Leap Forward also engage with ash’s capacity to heal. In this sense, the literal act of applying ash to the canvas becomes a spiritual process of healing. However, Zhang’s activation of the viewer through modes of viewing simultaneously questions the very possibility of healing. Rather than being hung on a vertical wall, the work rises from a two-meter-high steel cuboid at its debut at PaceWildenstein New York in 2008. Storr positions the steel foundation in conversation with minimalism, as in
作为一幅描绘多重创伤主体——受伤的身体、受伤的自然与受伤的记忆——的肖像，《大跃进》呼应了罗兰·巴特对摄影的感伤主义解读，将摄影对象视为创伤本身。 ${}^{47}$${}^{47}$^(47){ }^{47} 这些通过灰烬属性在精神层面被召唤并显现的创伤主体，同时也与灰烬的治愈能力产生互动。在此意义上，画布上涂抹灰烬的实际行为转化为一种精神层面的治愈仪式。然而，张洹通过观看模式对观者的激活，同步质疑着治愈本身的可能性。该作品 2008 年在纽约佩斯·怀尔登斯坦画廊首展时，并未垂直悬挂于墙面，而是从两米高的钢制立方体基座上升起。斯托尔将这一钢铁基座与极简主义艺术进行对话性并置，正如

the works of Richard Serra. ${}^{48}$${}^{48}$^(48){ }^{48} Requiring viewers to climb up a scaffolding that he provides, Zhang activates the viewers by prompting them to engage with a certain hardship in the act of viewing while signaling the impossibility of obtaining a comprehensive, unslanted image of this wounded past. By encouraging new forms of difficulty for the viewers’ ways of viewing, Zhang further questions the possibility of accessing, preserving, and recovering from a traumatic past in his attempts at calling and healing: a past that is staged upon a monolithic and enduring cuboid, like history itself.
理查德·塞拉的作品。 ${}^{48}$${}^{48}$^(48){ }^{48} 张氏通过要求观众攀爬他提供的脚手架，激活了观者的参与性，促使他们在观看行为中直面某种艰辛，同时暗示着要获取这段伤痕历史的全面、无偏颇影像是不可能的。通过为观众的观看方式设置新的难度，张进一步质疑了接触、保存以及从创伤历史中恢复的可能性——这段历史被浇筑在如同历史本身般永恒不朽的立方体上，成为他试图召唤与治愈的过往。

In contrast to the historical framework of Great Leap Forward and Zhang’s use of (a)historicity as a tactile metaphor to reveal the complexities of collective memory, Young Mother is one of Zhang’s many ash paintings based on photographic subjects that are impossible to trace. Derived from an unclaimed photograph collected by Zhang at a demolition site during his time in urban China, Young Mother centers on an anonymous, unclothed woman seated against a hazy, indistinct background. Rendered as the sole subject of focus, this unknown figure marks a stark departure from the insubstantial mass of bodies seen in Great Leap Forward. Moreover, unlike the previous work, where dramatic textures created by joss sticks perform and articulate the violence embedded in historical narratives, Young Mother employs a muted tone of tenderness, painted entirely with finely ground ash. While the piece has received almost no scholarly attention-perhaps due to its unidentifiable referent-it, like Great Leap Forward, explores the relationship between pain and memory. Yet rather than exposing the wounds of history, Young Mother turns inward, reflecting on the act of remembrance itself, as well as its paradox of calling and healing, while echoing the materiality of incense ash.
与《大跃进》的历史框架和张晓刚用（非）历史性作为触觉隐喻来揭示集体记忆的复杂性不同，《年轻母亲》是张晓刚众多基于无法追溯的摄影主题的灰烬绘画之一。这幅作品源自张晓刚在中国城市生活期间于拆迁现场收集的一张无人认领的照片，画面中心是一位无名、赤裸的女性，坐在朦胧模糊的背景前。作为唯一的焦点对象，这个未知形象与《大跃进》中虚无缥缈的人群形成鲜明对比。此外，与之前作品中通过香灰创造的戏剧性质感来表现和阐述历史叙事中蕴含的暴力不同，《年轻母亲》采用了一种柔和的温情色调，完全用细磨的灰烬绘制而成。尽管这件作品几乎未受到学术关注——或许是因为其无法辨认的指涉对象——但它与《大跃进》一样，探索了痛苦与记忆之间的关系。 然而，《年轻母亲》并未直陈历史伤痕，而是向内探索，既反思记忆行为本身及其召唤与疗愈的悖论，又呼应香灰的物质性。

48 "“A Worker’s Paradise Lost’: Canal Building,” 102.
48 《“失落的工人天堂”：运河开凿》，第 102 页。

An enlarged portrait of a young female figure occupies the $250\times 400\mathrm{cm}$$250\times 400\mathrm{cm}$250 xx400cm250 \times 400 \mathrm{~cm} canvas, where the scale generates a sense of immensity while establishing a direct and intimate relationship between subject and viewer. A light source from the right side of the canvas delineates her facial features and creates a visual focus that greets the viewer at eye level. Her gaze is direct, and the hasty strokes of highlights on her lips suggest a trembling motion, as if she is about to speak. There is no suggestion of emotion on her face. Still, the subtle traces of motion accentuate the possible amateur quality of the photographic subject, suggesting that it was likely taken by someone close to her, further intensifying the corporeal intimacy between the figure and the viewer. Edges of her torso are defined by extremely blurry outlines and visually dissolved into the decontextualized background, departing from the weight and presence conveyed through the comparatively more detailed portrayal of her face. This insubstantial torso and ambiguous space evoke a sense of anonymity, mirroring the unidentifiable subject in the painting. At the same time, the fading contours suggest a kind of archaicness, as if the figure is slowly disappearing and being forgotten by history. However, as the viewer’s eye moves toward the bottom of the canvas, two streaks of white disrupt the portrait’s muted tonal palette with a graphic intensity that verges on shock. Laid over a lighter, translucent layer of ash across her chest, these streaks form the brightest and most defined shapes in an otherwise blurred composition, almost like breast milk erupting from her body and pouring down to the lower edge of the canvas. Unlike the seemingly realistic visual approach of the rest of the image, the two streaks of white suggest an overly dramatized, unrealistic, and almost explicitly artificial rupture to the body.
画布上呈现了一幅放大的年轻女性肖像，其比例营造出宏大感，同时在被摄主体与观者之间建立起直接而亲密的关系。来自画布右侧的光源勾勒出她的面部轮廓，形成与观者视线平齐的视觉焦点。她目光直率，唇部高光部分的急促笔触暗示着颤动，仿佛正要开口。面部看不出情绪波动，但细微的动态痕迹强化了被摄者可能非专业的特质，暗示这张照片或许出自亲近之人手笔，进一步加深了人物与观者之间的身体亲密感。躯干边缘以极度模糊的轮廓呈现，在视觉上消融于去语境化的背景中，与面部相对细致的刻画所传递的重量感和存在感形成反差。这种虚幻的躯干与模糊空间唤起匿名感，与画中人物身份不明的状态相呼应。 与此同时，逐渐淡化的轮廓暗示着某种古老感，仿佛画中人物正缓慢消逝并被历史遗忘。然而，当观者视线移至画布底部时，两道白色笔触以近乎震撼的图形强度打破了肖像画柔和的色调。这些覆盖在她胸前半透明灰烬薄层上的白色痕迹，构成了整幅模糊构图中最明亮、最清晰的形态，宛如从她体内喷涌而出的乳汁，顺着画布下缘流淌而下。与画面其他部分看似写实的视觉处理不同，这两道白色呈现出一种过度戏剧化、超现实且近乎刻意为之的身体裂痕。

The subject and style of the work position Young Mother within two different series that reflect Zhang’s approach to history and the act of remembrance: the Youth series (2007) and the Titled series (2007). Both series consist of works made entirely from ash painting. The former
作品主题与风格将《年轻母亲》归入体现张洹历史观与记忆行为的两个系列：2007 年的《青春》系列与 2007 年的《题名》系列。这两个系列均由全灰烬绘画作品构成。前者
comprises portraits of youths, ranging from young generals and soldiers to figures like Young Mother, whose actions and identities cannot be visually identified. ${}^{49}$${}^{49}$^(49){ }^{49} The latter incorporates a more diverse group of subjects, including unidentifiable figures such as Young Mother and Blind Girl (2007), as well as recognizable individuals like the renowned ink artist Qi Baishi (2007) and the Taoist deity Zhong Kui (2007), along with scenes containing multiple human figures. A shared characteristic among the paintings in the Titled series is their abstracted stylistic approach: the outlines of human figures are often intentionally blurred into the background. At the same time, some features remain intact. This stylized rendering of figures creates a visual effect distinct from other series of Zhang’s ash paintings. The figures dissolve into a heat haze, as if consumed in the process of ritualistic burning of incense, as well as other objects. ${}^{50}$${}^{50}$^(50){ }^{50} This visual strategy echoes the material production of the works through incense ash. Young Mother, one of the most frequently exhibited paintings in the series, adopts this same visual trope: while her face remains intact, her body diffuses into the background.
作品包含了一系列青年肖像，从年轻的将军、士兵到像“年轻母亲”这样无法通过视觉确认行为与身份的人物。 ${}^{49}$${}^{49}$^(49){ }^{49} 后者涵盖了更多样化的主题，包括难以辨识的角色如“年轻母亲”和《盲女》（2007），也有可识别的人物如著名水墨艺术家齐白石（2007）和道教神祇钟馗（2007），以及包含多个人物形象的场景。“题名”系列画作的一个共同特点是其抽象化的风格手法：人物轮廓常被刻意模糊，融入背景之中，同时保留某些清晰特征。这种风格化的人物表现方式创造出与其他张氏香灰画系列截然不同的视觉效果——人物仿佛消融在热霾中，犹如在焚香仪式过程中与祭品一同被焚化。 ${}^{50}$${}^{50}$^(50){ }^{50} 这种视觉策略与作品通过香灰进行物质生产的本质形成了呼应。 《年轻母亲》作为该系列中最常展出的画作之一，沿用了相同的视觉隐喻：她的面容保持完整，身体却逐渐消融于背景之中。

Although its subject appears decontextualized and unidentifiable, the maternal and wounding themes in Young Mother align with established visual lineages in Chinese contemporary art, providing a critical framework for its interpretation. First, the mother subject echoes the practice of many female artists in China. Portrayed and performed in response to the changing socio-political history in China, female artists like Feng Jiali and Xing Danwen turn the pregnant body—as well as pregnancy itself—into a form of art. ${}^{51}$${}^{51}$^(51){ }^{51} As art historian Cui Shuqin argues, such use of pregnant bodies not only highlight the roles of women that often been overlooked in heavy masculinist narratives of Chinese history, but also challenges it by raising
尽管画作主体看似脱离语境且难以辨识，但《年轻母亲》中蕴含的母性与创伤主题与中国当代艺术既定的视觉谱系相呼应，为解读提供了关键框架。首先，母亲主题延续了中国众多女性艺术家的创作实践。冯佳丽、邢丹文等女性艺术家通过描绘和演绎怀孕的身体及怀孕本身，将其转化为艺术形式，以此回应中国社会政治历史的变迁。 ${}^{51}$${}^{51}$^(51){ }^{51} 正如艺术史学家崔淑琴所言，这种对孕体的运用不仅凸显了在中国宏大男性叙事历史中常被忽视的女性角色，更通过提出质疑来挑战这种叙事传统。

“men’s fear:” a fear toward "the destructive forces the pregnant body embodies and the subversive potential that is beyond control. ${}^{,52}$${}^{,52}$^(,52){ }^{, 52} Julia Kristeva also discusses the maternal body as the ultimate example of the abject in her Powers of Horror, arguing that it is a place where the division between self and other becomes blurred and where the body remains on the margin, possessing the power to transgress. ${}^{53}$${}^{53}$^(53){ }^{53} On the other hand, the wounded bodies of women have also been well-explored by female performance artists such as He Chengyao. In one of her works, she inserts 99 acupuncture needles into her body to reexperience the torture her disturbed mother endured during the Cultural Revolution. ${}^{54}$${}^{54}$^(54){ }^{54} For women artists in China, the maternal body becomes a site of challenge and a means of expressing physical and generational pain. Moreover, the notion of the wounded body also engages with the lineage of performance art in China, where the earliest performances in the 1980s demonstrated a collective, national wounded body and transitioned into active violence on personal bodies in the 1990s, which Zhang himself also heavily took part in to explore the corporeal limits of existence. ${}^{55}$${}^{55}$^(55){ }^{55}
“男性的恐惧”：一种对“怀孕身体所体现的破坏性力量及其难以控制的颠覆潜力”的恐惧。 ${}^{,52}$${}^{,52}$^(,52){ }^{, 52} 朱莉娅·克里斯蒂娃在《恐怖的力量》中也讨论了母性身体作为卑贱的终极范例，认为它是自我与他者界限模糊之处，是处于边缘地带的身体，具有越界的力量。 ${}^{53}$${}^{53}$^(53){ }^{53} 另一方面，女性行为艺术家如何成瑶等人也对女性受伤的身体进行了深入探索。在其一件作品中，她将 99 根针灸针刺入体内，重新体验精神失常的母亲在文革期间遭受的折磨。 ${}^{54}$${}^{54}$^(54){ }^{54} 对中国女性艺术家而言，母性身体成为挑战的场域，也成为表达身体与代际痛苦的手段。此外，受伤身体的概念也与中国行为艺术的脉络相关——1980 年代最早的行为艺术展现了集体性的、民族性的受伤身体，到 1990 年代则转变为对个人身体的主动暴力，张本人也深度参与其中，以探索存在的肉体极限。 ${}^{55}$${}^{55}$^(55){ }^{55}

However, unlike the embodiment of pregnant bodies in the works of women artists or the self-inflicted pain central to performance art, Zhang approaches and wounds the subject from the outside. He makes no attempt to embody or perform the figure of a mother. Instead, the maternal subject most likely remained a stranger to Zhang. Barthes’ Camera Lucida demonstrates photography’s affective capacity to register and associate unrelated subjects with personal experiences. ${}^{56}$${}^{56}$^(56){ }^{56} Therefore, Zhang takes the role of an observer, to look back to the past, and “recalls” and reapproaches this stranger through the symbolic functions of ash. Moreover, the
然而，与女性艺术家作品中怀孕身体的体现或行为艺术中以自我施加痛苦为核心不同，张从外部接近并伤害这一主题。他并未试图体现或扮演母亲的形象。相反，母亲这一主题对张来说很可能仍然是个陌生人。巴特的《明室》展示了摄影的情感能力，能够记录并将无关主题与个人经历联系起来。 ${}^{56}$${}^{56}$^(56){ }^{56} 因此，张扮演了观察者的角色，回顾过去，并通过灰烬的象征功能“回忆”并重新接近这个陌生人。此外，

identity of a mother in Young Mother is marked by an intentional wound to her body. The explosive ends touching her skin underscore the intensity of the violence inflicted upon the body, depicting an imagined, distorted harm that affectively evokes pain in the viewer. The simultaneous representation of breast milk further identifies the subject as a mother, suggesting that pain is inherent in the process of becoming one. Such exposure of bodily fluids, pain, and maternity once again draws on Kristeva’s notion of the abject: the revelation of bodily matter transgresses conventional boundaries of cleanliness. At the same time, the display of vulnerability transgresses the social boundaries between the subject and the viewers.
《年轻母亲》中母亲身份的标识，是她身体上那道刻意的伤口。爆炸物末端触及她皮肤的瞬间，凸显了施加于身体的暴力强度，这种想象中的扭曲伤害在情感上唤起观者的痛感。乳汁的同步呈现进一步确认了主体作为母亲的身份，暗示痛苦是成为母亲的必经之路。这种体液、痛苦与母性的暴露再次呼应了克里斯蒂娃关于"卑贱"的概念：身体物质的揭露逾越了清洁的常规界限。与此同时，脆弱性的展示也打破了主体与观者之间的社会边界。

In addition to their association with bodily fluids such as breast milk, the two streaks of white also imitate scratches on a photograph. Built upon layers of the lightest shades of ash, the delicacy of the two streaks of white also visually departs from the blurry, ambiguous portrait, competing for attention in a way that makes them impossible to ignore. In this sense, they establish intimacy and memory through the exposure of the vulnerable act of breastfeeding while simultaneously disrupting such intimacy. While the photographic subject of Young Mother is impossible to trace, the sprayed and sprinkled ash around her chest mimics the stains and dust that often accumulate on aged photographs. This subtle destruction of a soft, hazy image destabilizes the idea of photography as a fixed and eternal record of memory-an idea Barthes defines as photography’s affirmation of the “truth of its subject” through processes of identification and testimony. ${}^{57}$${}^{57}$^(57){ }^{57} These marks, in their intrusion and overtaking of the image, highlight the unstable, fragmented nature of memory itself. When considered alongside their other functions-as markers of identity and triggers of affective responses such as pain and recognition-they reveal the paradoxical relationship between wounds and memory: pain and wounding lie at the center of the act of “calling” and “healing” the memories, even the ones that
除了与母乳等体液相关联外，这两道白色还模仿了照片上的划痕。它们建立在最浅色调的灰烬层之上，其精致感在视觉上与模糊不清的肖像形成对比，以一种令人无法忽视的方式争夺注意力。就此而言，它们通过暴露哺乳这一脆弱行为建立亲密感和记忆，同时又破坏了这种亲密感。虽然《年轻母亲》的拍摄对象无从追溯，但喷洒在她胸部的灰烬模仿了老照片上常见的污渍和灰尘。这种对柔和朦胧图像的微妙破坏，动摇了摄影作为固定永恒记忆记录的观念——巴特将这种观念定义为摄影通过识别和见证过程对其"主体真实性"的肯定。 ${}^{57}$${}^{57}$^(57){ }^{57} 这些标记在侵入和占据图像的过程中，凸显了记忆本身不稳定、碎片化的本质。 当结合其作为身份标识和触发痛苦、认知等情感反应的其他功能来看时，这些伤痕揭示了创伤与记忆之间矛盾的关系：痛苦与伤害恰恰处于"召唤"与"疗愈"记忆这一行为的核心，即便是那些属于完全陌生之人的记忆。

belong to someone entirely unknown. This also mirrors the paradox in the material of ash. Zhang’s act of applying ash to the canvas intends to “invite” and “heal” this specific memory, which also scratches and wounds the body and the memory. However, the mother figure only exists and is demarcated through the act of calling and wounding.
这也映射了灰烬材料本身的悖论。张将灰烬涂抹于画布的行为，意在"邀请"并"疗愈"这段特定记忆，而这一过程同时也在抓挠并伤害着身体与记忆。然而，母亲形象唯有通过这种召唤与伤害的行为才得以存在并被界定。

Beyond the wounded image and body, the exhibition of Young Mother further complicates the notion of calling and healing. In his 2007 solo exhibition at London’s Haunch of Venison, Zhang positioned Young Mother in dialogue with his sculpture-performance piece Berlin Buddha (2007) [figure 5 and 6]. Consisting of two Buddha sculptures in identical form-a four-meter-high sculpture made of compressed ash and its metal cast—Berlin Buddha performs as Zhang invites viewers to remove the final piece of the mold encasing the ash Buddha’s face. The head of the sculpture collapses immediately, and its ash ruins remain throughout the exhibition, with parts of the once-intact form continuing to disintegrate under the force of gravity. ${}^{58}$${}^{58}$^(58){ }^{58} Hanging on the wall between the two sculptures, Young Mother serves as a witness to the sculpture’s month-long performance within the white cube gallery.
除了受伤的形象和身体，《年轻母亲》的展览进一步复杂化了召唤与治愈的概念。在 2007 年伦敦 Haunch of Venison 的个展中，张洹将《年轻母亲》与他的雕塑-行为作品《柏林佛》（2007 年）[图 5 和图 6]置于对话之中。《柏林佛》由两尊形态相同的佛像组成——一尊四米高的压缩灰烬雕塑及其金属铸件——张洹邀请观众移除包裹灰烬佛面部的最后一块模具，以此展开表演。雕塑的头部随即坍塌，其灰烬残骸在整个展览期间保留，曾经完整的形态部分在重力作用下持续瓦解。 ${}^{58}$${}^{58}$^(58){ }^{58} 悬挂在两尊雕塑之间的墙面上，《年轻母亲》成为白色立方体画廊中这场为期一个月雕塑表演的见证者。

Positioning Young Mother as the only painting in conversation with Berlin Buddha returns us to the act of wish-making and the gaze within a Buddhist context, while evoking a sense of cyclicality across generations. In the Buddhist temple, people make wishes to the Buddhas-and the Buddhas, with smiles, gaze back. However, in this installation, the Buddha’s face has collapsed into a heap of ash-the very ash that once burned in its name. The mother figure, rendered in that same ash, now gazes back at the Buddha, receiving no response. Here, Zhang traces a circle: the act of witnessing, and perhaps the wish-making indexed through it, folds back on itself. Young Mother becomes something more than her photographic source, which served as a testament and witness. She now performs as a witness to an event and the
将《年轻母亲》作为唯一与《柏林佛像》对话的画作，将我们带回到佛教语境中的许愿行为与凝视之中，同时唤起一种跨世代的循环感。在佛寺里，人们向佛像许愿——而佛像则以微笑回望。然而在这件装置作品中，佛面已坍塌成灰烬堆——正是那些曾以佛之名燃烧的灰烬。用相同灰烬塑造的母亲形象，如今回望着佛像，却得不到任何回应。张在此勾勒出一个循环：见证的行为，或许还有通过它所指代的许愿，都反诸己身。《年轻母亲》超越了其摄影原作的见证属性，转而成为某个事件的见证者，而

photograph now witnesses something new. The idea of cyclicality is also embedded in the figure of the mother herself, a generational presence who carries the capacity to give life and to mark beginnings. She stands at the generative center of the cycle, embodying the layered roles of subject, witness, and vessel for both memory and futurity.
照片此刻见证着全新的事物。循环的理念也蕴含在母亲形象本身——这个世代相传的存在，既孕育生命又标记开端。她立于循环的创生中心，承载着主体、见证者、记忆与未来容器等多重角色。

In conclusion, ash in Zhang Huan’s paintings mediates its photographic sources to challenge the presumed spirituality of the medium. In Great Leap Forward-Canal Building and Young Mother, the material ruptures the human figure to reflect on the very act of remembrance-whether it be a dominant historical narrative or a forgotten personal memory—and even questions the possibility of healing and remembrance. By confronting viewers with images both intimate and monumental, personal and collective, these works resist the closure of historical narrative. Instead, they reopen spaces for uncertainty, trauma, and cyclical returns, where memory becomes not a static archive, but a performance enacted through material, gaze, and time.
总之，张洹画作中的香灰通过调和摄影素材，挑战了媒介被预设的精神性。在《大跃进-运河建设》与《年轻母亲》中，这种物质材料撕裂人体形象，既反思了记忆行为本身——无论是主流历史叙事还是被遗忘的个人记忆——甚至质疑了治愈与记忆的可能性。这些作品通过呈现亲密与宏大、个人与集体并置的影像，迫使观众直面无法闭合的历史叙事。相反，它们重新开启了不确定、创伤与循环回归的空间，在这里记忆不再是静态档案，而是通过物质、凝视与时间展开的表演。

Engaging with the notion of ruins in Chinese contemporary art, this paper foregrounds an under-examined body of work that constructs multiple layers of ruination: material ruins that yield wounded images, and psychological ruins that emerge from their contemplation. These notions of ruin are further complicated by the utopian wishes and anticipatory affects embedded in the spiritual properties of the ash-properties that index the very act of remembrance. This reading reapproaches the study of socialist utopianism and its dystopian aftermath from a meta-critical perspective. At the same time, the material-focused analysis contributes to the materiality-turn in global art history, reinterpreting Zhang’s post-performance practice-and Chinese contemporary art more broadly-beyond a purely ideological reading. In these works,
本文围绕中国当代艺术中的废墟意象展开，聚焦于一组未被充分探讨的作品群——它们构建了多层次的废墟叙事：既呈现物质层面的废墟（催生伤痕图像），又衍生心理层面的废墟（源自观者的凝视）。这些废墟概念因灰烬物质性中蕴含的乌托邦愿景与预期情感而更显复杂，这种精神属性恰恰指向了记忆行为本身。该研究从元批判视角重新审视社会主义乌托邦主义及其反乌托邦余波，同时通过物质性分析呼应全球艺术史的"物质转向"，将张洹的表演后实践（乃至更广义的中国当代艺术）从纯粹的意识形态解读中解放出来。在这些作品中，
material is not passive or illustrative, but active and embodied. Like Zhang’s earlier performances, the ash paintings stage their own kind of action-one that unfolds not through the body, but through matter: mediating the subject, disintegrating, clinging, and bearing witness over time.
物质并非被动或图解式的存在，而是具有能动性与具身性。如同张洹早期行为艺术，其香灰画作也呈现某种独特的行动逻辑——这种行动不通过身体展开，而是经由物质本身实现：中介主体、逐渐崩解、顽强附着，并在时间维度上持续见证。

Figure 1. Zhang Huan, Great Leap Forward-Canal Building, 2007.
图 1. 张洹，《向前进——运河建设》，2007 年。
Accessed through The Allure of Matter : Materiality across Chinese Art. Edited by Orianna Cacchione and Wei-Cheng Lin. Chicago: Published by the University of Chicago’s Center for the
摘自《物质的魅力：中国艺术中的物质性》，由 Orianna Cacchione 和 Wei-Cheng Lin 编辑。芝加哥：芝加哥大学东亚艺术中心与斯马特美术馆联合出版。

Art of East Asia and Smart Museum of Art.
东亚艺术中心与斯马特美术馆。

Figure 2. Zhang Huan, Young Mother, 2007. From Zhang Huan. Edited by Zhang, Huan, Yilmaz
图 2. 张洹，《年轻母亲》，2007 年。选自《张洹》，由张洹、Yilmaz Dziewior 和 Robert Storr 编辑。2009 年。张洹接受 RoseLee Goldberg 访谈。伦敦：
Dziewior, and Robert Storr. 2009. Zhang Huan Interview by RoseLee Goldberg. London:
Dziewior 与 Robert Storr 合编。2009 年。《张洹访谈录》，采访者 RoseLee Goldberg。伦敦：
Phaidon.  Phaidon

Figure 3. Zhang Huan’s assistant working on Great Leap Forward-Canal Building at
图 3. 张洹的助手在创作《大跃进-运河建筑》时的场景
PaceWildenstein New York. From Zhang Huan. Edited by Zhang, Huan, Yilmaz Dziewior, and
佩斯·怀尔登斯坦纽约。来自张洹。由张洹、伊尔马兹·德维奥尔和
Robert Storr. 2009. Zhang Huan Interview by RoseLee Goldberg. London: Phaidon.
罗伯特·斯托尔. 2009. 张洹访谈（采访者：罗斯李·戈德堡）. 伦敦: 费顿出版社.

Figure 4. Zhang Huan, Ash, 2006. Accessed through http://www.zhanghuan.com/index en.aspx.
图 4. 张洹，《灰烬》，2006 年。访问网址：http://www.zhanghuan.com/index en.aspx。

Figure 5. Installation view of Zhang’s exhibition Ash at Haunch of Venison London. October 2007. From Zhang Huan. London: Phaidon.
图 5. 张洹展览《灰烬》在伦敦鹿腰画廊的现场装置图。2007 年 10 月。选自《张洹》。伦敦：费顿出版社。

Figure 6. Photo of the opening of Ash at Haunch of Venison London. October 2007. From Zhang Huan. London: Phaidon.
图 6. 张洹《灰烬》在伦敦鹿腰画廊开幕现场照片。2007 年 10 月。选自《张洹》。伦敦：费顿出版社。

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