少年时习山水，常被那些讲究气息的所谓笔韵，皴法，墨染拖得筋疲力乏，对此也了无兴致。而引我着迷的，却是发现那些藏在山石河岸边犄角旮旯的小人、小房子、小村舍；或是找到一处暗溪；隐于山脊背后的秋林；伸向远方迷雾中的风景......让我深嗜其中的，是宋山水中层层叠叠，谜一般亦高度发达的空间设置。 法国哲学家保罗·维利里奥Paul Virilio曾说现代实体空间的本质是轨迹，是基于时间与光学的移动领域，在梅洛·庞蒂Maurice Merleau-Ponty的知觉现象学影响下，作出了对现代空间实质于知觉层面上敏锐的分析。难不成宋人早已体察出观景不过是对移动空间的知觉注脚？或是一种对于“看”本身于精神轨迹的划过罢（仅限自我解嘲）！物理位置的消失，替代的是仿佛来自神明的视角，亦如GPS技术接通世外；某些特定的场域，如村墅庙堂、巨石峰谷，已成古人在精神的山水地图中可分辨的定位情愫。 因而，本次展览对于山水名作的引用，仅以对古人空间知觉认知的试探为契机，而非其他，来者勿误。 彭涛 2018年10月 Before you enjoy the exhibition, I have a ‘clarification’ to make: the usage of all the mater pieces in the exhibition, included in the posters and backgrounds, are out of my personal admiration of these great artist such as DONG Yuan, FAN Kuan and so on. This is not an attempt to embarrass oneself to compare one’s work with theirs nor to express some profound meaning of the traditional Chinese painting (also it is not possible to interpret the ambiguity). This is an act of passion and all these materials of the master pieces are sourced from the internet (with varied pixels in absolutely random order). I studied the landscape painting of ancient China when I was young, as a child, I was often exhausted by the ‘qi’ embedded in the painting techniques, those ‘bi yun’ (brushstrokes to rhyme), those texturing methods such as ‘cun fa’ (wrinkled-texture) and those‘mo ran’ (ink strokes); they have worn-out my passion and instead, I was often drawn to those little figures, tiny houses and mini villages that were hidden in the corners; the discovery of a creek in the shadow, the autumn woods behind the back of the mountain; the landscapes that reached far into the mist in the back… what really fascinates me are the mysteriously layered yet highly advanced space arrangements in the landscape painting of Song Dynasty. The French philosopher Paul Virilio once said that the truth about modern physical space is trace, which is a moving field that based on time and optics. Under the influence of Maurice Merleau-Ponty’s Phenomenology of Perception, his sharp analysis for the reality of modern space is via the lens of perception. Maybe, people from Song Dynasty had already realized that landscape viewing is merely making a cognitive footnote of the moving space? Or it is just stroking the spiritual trace as they ‘viewing’ the space from different angles (just for self-mocking)! The disappearing of physical location and the replacement of a God-like perspective, almost like the GPS technology has broke into the paintings and into those Song people’s mind. Some special scene such as temples and cottages, peaks, valleys and boulders, for ancient Chinese people these are distinguishable sentimental location markers on their spiritual Shanshui maps. Therefore, the reference of landscape painting of ancient China master pieces in this exhibition is only an attempt to understand the spatial perception cognition of ancient Chinese minds, there are no other intention and I wish to cause no misunderstandings. 译者：高思敏（英国流行文化专业翻译） 2018年11月