国家艺术基金2025年度资助的传播交流推广项目《大道无分：中国园林文化当代艺术》国际巡展由中央民族大学美术学院发起并由中央民族大学主办，旨在促进中国优秀传统文化创造性转化及国际传播、促进中外文化交流互鉴。

《大道无分：中国园林文化当代艺术》国际巡展在宾夕法尼亚大学的举办既是一次推广，也是一次交流。此次展览由中央民族大学公派宾夕法尼亚大学访问学者刘向华副教授和宾夕法尼亚大学维兹曼设计学院玛丽莲·乔丹·泰勒总统教授肯·林姆（Kenneth R. Lum）共同策展。园林景观设计在宾夕法尼亚大学维兹曼设计学院拥有举足轻重的地位，这里是中国第一代著名建筑师梁思成和林徽因的母校，宾夕法尼亚大学维兹曼设计学院院长弗雷德里克·施泰纳（Frederick Steiner）教授2024年为林徽因先生追授了建筑设计专业的学士学位。这次展览将艺术思维与园林理念相融合，园林在中国是一个非常重要的文化艺术和学术资源，而当代艺术是在国际范围内传播推广中国园林文化的有效媒介。此外，展览还与宾夕法尼亚大学城的文化教育机构中华社区学习中心CCLC（Chinese Community Learning Center）合作为大学城社区华人和感兴趣的观众群体举办了关于中国园林文化水墨画的实践工作坊。

相较于西方尤其美国文化而言，中国传统园林的特质本质上是合作的，这源于中国传统园林的哲学理念：天地与我并生，万物与我为一。在中国传统园林文化的观念中，真理并非外在，她存在如园林里人与自然的和谐共存关系中。在中国园林里，造山可能同时意味着开池，万事万物相互塑造。造园方法论从根底里不是为了征服世界，而是在世界中找到共同的机会。人类在世界中的秩序是共享的：我们拥有共同的命运、共同的未来。思考合作、沟通及交流的可能和契机至关重要。过去20年，项目负责人及策展人一直将这一理念融入创作和艺术项目策划中，也试图将其融入日常工作和生活中。在中国，“园林”的概念源远流长，深深植根于中国文化传统。园林不仅仅是物质形态，更是心灵栖息的场所。此次在宾夕法尼亚大学展览的构思主题 “大道无分”这一理念根植于中国传统园林的道家及佛家观念传统。

本项目由彩票公益金资助—中国福利彩票和中国体育彩票、国家艺术基金资助。

展览时间： 2025年5月25日—6月8日

开幕研讨会时间：2025年5月29日 10:00—11:30

开幕时间：2025年5月29日 11:30 —12:30

工作坊时间：2025年6月1日 13:30 —15:30

展览地点：宾夕法尼亚大学查尔斯·亚当斯美术馆（The Charles Addams Fine Arts Gallery）

200 S. 36th Street, Philadelphia, PA 19104, USA

主办单位：中央民族大学

资助单位：国家艺术基金

承办单位：宾夕法尼亚大学

协办单位：费城华人社区学习中心（CCLC）、邻里桥发展平台（CCSC）

宾大官网展览链接：

https://www.design.upenn.edu/events/quest-truth-idea-garden-china-garden-cultural-contemporary-art-international-tour-exhibition

https://www.design.upenn.edu/post/xianghua-liu-penn-china-connections-and-garden-chinese-culture

2025年5月29日，由中央民族大学主办的国家艺术基金2025年度传播交流推广资助项目《大道无分：中国园林文化当代艺术》国际巡展在美国宾夕法尼亚大学查尔斯·亚当斯美术馆（The Charles Addams Fine Arts Gallery）顺利开幕。展览项目负责人刘向华首先介绍了中央民族大学与会领导及网络参会嘉宾有中央民族大学石亚洲副校长、中央民族大学美术学院乌日切夫院长、中央民族大学美术学院韩宇则书记、中央民族大学美术学院朴春子教授、中央民族大学美术学院钟捷教授、中央民族大学美术学院袁江名教授，艺术理论家和评论家周韧教授、赵炎教授，王建疆教授、黄逸民教授及参展艺术家，参加此场展览的艺术家包括（以姓名拼音为序）：安一辉、柴天滋、顿亚鹏、付晓东、李贵男、李知农、刘向华、马晗、潘雨晴、庞振豪、朴春子、隋建国、谈国栋、汪雨晴、乌日切夫、武志勇、张曙光、张玎珊、张金栋、赵静怡、郑克旭、钟捷；展览承办方负责人宾夕法尼亚大学玛丽莲·乔丹·泰勒总统教授肯·林姆（Kenneth R. Lum）介绍了宾夕法尼亚大学维兹曼设计学院现场与会嘉宾包括宾夕法尼亚大学维兹曼设计学院院长弗雷德里克·施泰纳（Frederick Steiner）教授、宾大美术系主任莎朗·海耶斯（Sharon Hayes）教授、宾大本科美术与设计系主任马特·内夫（Matt Neff）教授等，并对这次展览筹办的背景情况做了简要介绍。

展览承办方负责人宾夕法尼亚大学玛丽莲·乔丹·泰勒总统教授肯·林姆（Kenneth R. Lum）首先介绍展览筹办的背景情况：

“在这次展览开始筹备之初，当刘教授刚向宾夕法尼亚大学发出申请做访问学者的邮件时，我们很快就同意了这个申请。因为对这个项目非常感兴趣，同时也因为和贵校的合作关系，我们对此非常重视。因为中央民族大学是一个非常重要的机构，旨在推广和理解中国少数民族丰富多彩的文化。所以当合作的想法提出时，我们认为值得探索，因为我觉得宾夕法尼亚大学和中央民族大学之间有很多交流和学习的机会，尤其是宾大维兹曼设计学院。我去过中国至少十多次，可能已经有十五次了。也去过民族大学，当时感受到了很多希望和正向的期待，因为民族大学是一个有趣且复杂的研究机构，专注于各种民族文化的学习，所以觉得这样的合作是非常棒的机会，能够整合中央民族大学和宾夕法尼亚大学的资源。从刘教授那里，我不仅学到了很多，也在合作中更了解自己作为华裔的身份，这确实是我内心一直感兴趣的话题。我一定要在现在提一下中央民族大学和宾大之间的关联。民族大学校园是由梁思成和林徽因设计的。梁思成先生和林徽因女士是宾大的校友，他们为民族大学建造了这样美丽的装饰建筑。刘教授也很开心能够在这样的建筑中教书，至今已有大约二十几年。对宾大而言，那两次成人礼也非常特殊——在他们入学的年代，其他学院因种种原因未招收中国留学生，但设计学院接受了他们。我要感谢维兹曼设计学院院长待会的发言，以及艺术系的关心。话不多说，接下来我要介绍我认识的最优秀的人之一——学生事务院长（“Dean of student life”），请他来讲几句。接下来要介绍的是宾大维兹曼设计学院的院长和美术系系主任，先请院长详细讲一下。”

Well，I’m honored to open this section this exhibition when professor Liu first contacted me about coming as a Visiting Scholar. I know how important it’s been to try to not affect maybe some of the speaking parts and I know how important it is in the context of China, and so this gives me a lot of hope because it’s a very complex institution that aims to promote and recognize the national minorities of China. And so I was just presented with the idea of cooperation. Well, let’s look into that because I think there’s a lot of opportunity for engagement and for learning on both sides—University of Pennsylvania and Minzu University of China, especially the Whitman School of College of Fine Arts there. From Professor Liu, I got to learn a lot about myself as ethnically Chinese—it is certainly an interest of my heart that goes very well. I’m grateful to the dean of the Whitman School here who will be saying a few words, as well as the chair of the art department there in a moment. So without further ado, I’m going to introduce the next speaker that I ever known is the Dean of Student Life.

美国宾夕法尼亚大学维兹曼设计学院院长弗雷德里克·施泰纳（Frederick Steiner）教授首先致辞：

“刚才Ken教授提到，他不仅从刘教授那里学到很多，也在合作中更了解自己和华裔身份，这是他最近越来越感兴趣的话题。

感谢来到这里，感谢组织这场精彩的活动，以及中央民族大学和国家艺术基金的支持。此刻意义重大，因为试图分裂的势力让世界变得污浊，而我们能相聚在一起，庆祝人类在艺术中拥有的驱动力，这一点令人振奋。首先非常感谢刘教授、中央民族大学和国家艺术基金会对这个项目的支持。

“大道无分”是一个非常好且切题的标题，因为在这样一个极具挑战的时期，作为沟通东西方的桥梁需要被搭建，我们曾在此有过合作吗？作为人类共同的目标和愿景，这个“伟大的真理”，离不开远见与中国的贡献。中国园林可以说是园林艺术中最复杂、最困难的，中国在其作品的灵感上一直引领世界。中国园林可能是世界上最复杂、最难的艺术，而且中国一直在这一艺术领域对国际产生影响和做出贡献。

在介绍阐释者与阐释之前，我想解释为何未提及阐释者与阐释两者之间的关联。我再次绕过答案实在是有所疏漏。然后他们——梁思成和林徽因就到了那里。事实上，他们的建筑还在那里（中央民族大学）。他们完成了整体布局，组织了外观，也开创了现代建筑，最后，因为他们能够在中国，他们也是出色的建筑师，因为他们尝试在中国引入（新古典主义），当然，他不会再回来了。对于中国人来说，我们很自豪能够拥有这种语言，这意味着你可以通过他们设计的建筑进入那个年代。

中国园林的审美和设计与美国建筑有着千丝万缕的联系。美国19世纪初有一个流派叫做超验主义（transcendentalism），就是去感受自然，让自然指导生活。超验主义在感受自然方面与佛教有一些极相符的观念，而佛教也在同时对近代美国社会和哲学发展有重要的影响。费城是一座充满历史的城市，而宾夕法尼亚大学的历史与基督教贵格派教徒息息相关。而贵格派也在自然对于人类的意义这件事上有着与超验主义相似的观点。被超验主义影响非常深的一位设计师弗雷德里克·劳·奥姆斯特德。他是美国纽约中央公园的设计师，同时也被认为是景观园林设计这个学科的创始者。他把设计园林的这个概念带到室外，带到园林的院墙之外。

景观设计的另一个非常重要的例子就是美国大学校园的设计。就像我们现在所在的宾夕法尼亚大学，学生只要走半个街区就能看到一些树和绿茵草坪，而这个就是我们刚才说的把园林带到室外的建筑理念的一个很好的应用。在美国建筑史中有许多思考关于自然的文化的例子。与此同时，美国的设计师们有很多可以从中国文化当中学习的地方。”

Thanks for being here and for organizing this wonderful event and the support of the Minzu university and China national arts Fund.

Great person at the moment because of the forces that want to divide are made that it’s dirty and so it’s great to be reminded that we can come together and celebrate what we’ve got of human in the Arts of a driving force. Oh, a great truth without the vision and the China. The gardens in China are arguably garden art’s most complex and difficult art, and thirdly, China has led the world in inspiration of its work.

Before I introduce the clarifier and clarify, I would be remiss why I do not mention the link between the clarifier and clarify. Clarifier and clarify, I would be remiss why I do bypass the answer again.And they were there.In fact, their buildings were still there. Whole layout, they did the organization of the look and also the founding of modern architecture. Lastly, because in China, there are also amazing architects trying to introduce (neoclassical) in China. Of course, he doesn’t come back. For the Chinese, so we’re proud to have this language. It means you through the years in the building designed by uncle.

The aesthetics and design of Chinese gardens are closely related to American architecture. There was a genre in the early 19th century in the United States called transcendentalism, which was to feel nature and let nature guide life. Transcendentalism has some very consistent concepts with Buddhism in terms of feeling nature, and Buddhism also has an important influence on the development of modern American society and philosophy. Philadelphia is a city full of history, and the history of the University of Pennsylvania is closely related to Christian Quakers. The Quakers also have a similar view on the significance of nature to humanity. Frederick Law Olmsted, a designer who was deeply influenced by Transcendentalism. He is a designer of Central Park in New York, USA and is also considered the founder of the discipline of landscape garden design. He brought the concept of designing gardens outdoors and outside the garden walls.

Another very important example of landscape design is the design of American university campuses. Just like the University of Pennsylvania where we are now, students can see some trees and green lawns by just walking half a block, and this is a good application of the architectural concept we just mentioned to bring gardens to the outdoors. There are many examples of thinking about the culture of nature in American architecture. At the same time, American designers have a lot to learn from Chinese culture.

宾大美术系主任莎朗·海耶斯（Sharon Hayes）教授现场致辞：

“谢谢，很荣幸。正如普林斯（Prince）所说，在这个时代，跨越国界和海洋面临诸多挑战。

我想衷心感谢所有参与者：国家艺术基金、刘教授、参展艺术家以及在座的各位。正是大家的努力，让这些艺术品远渡重洋，来到费城并陈列在我们的美术馆中。

与Ken教授不同，我从未去过中国。但在过去25年里，我非常荣幸能在美国教授艺术，与来美学习艺术的中国学生及全球各地的学生密切合作。

尽管我对中国艺术家所处环境的了解可能不够全面，但这些交流和贡献是深刻且无价的。

在宾大美术系，我们的教学理念不仅是帮助学生塑造单一身份，更是希望他们发展和培养自己的视野、想象力，以及对艺术能为文化和世界带来什么的理解。

对于今天在场的艺术家们，当我们与艺术相遇时，既能在其中看到自己，也能看到他人。这次展览不仅让我们看到文化的共通点，也让我们欣赏到因未知——不同的语境、语言和理解——而带来的认知拓展，这正是艺术实践的力量所在。

感谢刘教授和参展艺术家们，这是我们合作的开端。我们希望在未来的岁月里继续培育这段关系。

Thank you. It’s a pleasure. And I think in this moment, as Prince mentioned, there are so many challenges to moving across borders and across oceans. I want to really thank everyone involved: the National Arts Fund, Professor Liu, the artists, and all of you here, for the effort that has brought these artworks across the ocean to Philadelphia and into our gallery.

Unlike Professor Lum, I have never been to China. For 25 years, I have had the extreme pleasure and privilege of teaching art in the U.S., working closely with Chinese students studying art in America, as well as students from around the world.

While my understanding of the conditions impacting Chinese artists may be incomplete, the contributions and dialogues have been deep and invaluable.

In the Department of Fine Art, we approach art teaching by helping students not just pursue a single identity, but develop and cultivate their own vision, imagination, and understanding of what art can achieve for our culture and beyond.

For the artists here today, when we engage with art, we both see ourselves and others in that encounter. This exhibition highlights both the recognition of shared cultural points and the appreciation for the expansion that comes from encountering the unknown—different contexts, languages, and understandings—which makes this practice so powerful.

Thank you to Professor Lu and the artists in the exhibition for the beginning of this partnership. We hope to continue and nurture this relationship in the years to come.

展览主办方中央民族大学美术学院院长乌日切夫教授致辞：

女士们、先生们大家好！首先，我代表中央民族大学美术学院对《大道无分：中国园林文化当代艺术国际巡展》宾夕法尼亚大学展览顺利举办表示热烈的祝贺！对宾夕法尼亚大学威兹曼设计学院的友好合作表示感谢！

此次展览在宾夕法尼亚大学举行，既是宾夕法尼亚大学百年校友梁思成和林徽因两位著名中国现代设计领域先驱所开创的国际学术交流的回响，也延续着中国园林文化艺术海外传播的悠久脉络，中国园林文化及其当代艺术创造性转化已成为中国与英语国家乃至世界各国文化艺术交流的重要媒介和桥梁。

《大道无分：中国园林文化当代艺术国际巡展》秉持“大道无分”的国际策展理念，聚焦园林文化视角，在国际语境下，通过中国传统园林文化的当代视觉艺术转化所展现的理念和方法，在应对人类共同面对的困境及挑战中，发掘和探索中华民族传统智慧创造性再生的可能及路径。

此次展览融通中国园林文化精神与当代艺术哲学理念，以鲜活动人的艺术形式弥合文化差异，首次以中国少数民族为主的当代艺术家团体与宾夕法尼亚大学之间展开交流合作，既呈现民族文化特质，又展现中国式现代化艺术创新，成为促进不同文化之间沟通、理解、包容和互鉴的桥梁，对推动中华优秀传统文化在当代语境下的创造性转化与国际传播具有显著价值与意义。

大道无分！祝愿中央民族大学与宾夕法尼亚大学的交流合作道路越走越宽阔！通过我们刘向华教授在相关方面的访问和学习，可以促进两校进一步的友谊合作。欢迎各位领导、艺术家和教授们来我们学院及学校访问交流。祝愿友谊万古长青！祝各位老师、艺术家身体健康，幸福快乐！谢谢！

Ladies and gentlemen, hello! First of all, on behalf of the Academy of Fine Arts of Minzu University of China, I would like to extend my warm congratulations on the successful holding of the exhibition “The Great Way Has No Divisions: International Tour of Chinese Garden Culture and Contemporary Art” at the University of Pennsylvania! Thank you for the friendly cooperation of the Weitzman School of Design at the University of Pennsylvania!

This exhibition is held at the University of Pennsylvania. It is not only an echo of the international academic exchange pioneered by Liang Sicheng and Lin Huiyin, two famous pioneers in the field of modern Chinese design, but also continues the long-standing context of the overseas dissemination of Chinese garden culture and art. The creative transformation of Chinese garden culture and its contemporary art has become an important medium and bridge for cultural and artistic exchanges between China and English-speaking countries and even countries around the world.

“The Great Way Has No Divisions: International Tour of Chinese Garden Culture and Contemporary Art” adheres to the international curatorial concept of “The Great Way Has No Divisions”, focuses on the perspective of garden culture, and in the international context, through the concepts and methods displayed by the contemporary visual art transformation of traditional Chinese garden culture, in response to the common difficulties and challenges faced by mankind, explores and explores the possibility and path of creative regeneration of traditional Chinese wisdom.

This exhibition integrates the spirit of Chinese garden culture and the philosophy of contemporary art, and bridges cultural differences with vivid and moving art forms. It is the first time that a contemporary artist group mainly composed of Chinese ethnic minorities has carried out exchanges and cooperation with the University of Pennsylvania. It not only presents the characteristics of national culture, but also shows the innovation of Chinese modern art. It has become a bridge to promote communication, understanding, tolerance and mutual learning between different cultures. It has significant value and significance for promoting the creative transformation and international dissemination of China’s excellent traditional culture in the contemporary context.

There is no difference in the road! I wish the road of exchange and cooperation between Minzu University of China and the University of Pennsylvania will become wider and wider! Through the visit and study of our Professor Liu Xianghua in relevant aspects, we can promote further friendship and cooperation between the two schools. Welcome leaders, artists and professors to visit our college and school. I wish the friendship will last forever! I wish all teachers and artists good health and happiness! Thank you!

展览主办方中央民族大学副校长石亚洲教授致辞并宣布展览开幕：

“向在线参加开幕式的各位朋友表示最热烈的欢迎！我想这是一次破冰之旅，也是中央民族大学和宾夕法尼亚大学传统友谊的现代呈现。现在我宣布（大道无分：中国园林文化当代艺术国际巡展）中美艺术家画展正式开幕！祝展览取得圆满成功，也欢迎各位美国艺术家到中央民族大学、到中国访问交流，谢谢大家！”

“I would like to extend my warmest welcome to all the friends who are participating in the opening ceremony online! I think this is an ice-breaking journey and a modern presentation of the traditional friendship between Minzu University of China and the University of Pennsylvania. Now I declare the official opening of the Chinese and American Artists Exhibition (The Great truths Without Division: International Tour of Chinese Garden Cultural Contemporary Art)! I wish the exhibition a complete success, and I also welcome all American artists to visit Minzu University of China and China for exchanges. Thank you all!”

参展艺术家代表、中央民族大学美术学院朴春子教授会上分享了作品创作心得及展览感言：

“各位教授、各位艺术家，大家好！我是中央民族大学美术学院的教授朴春子，也是向华教授多年的同事。今天，很荣幸参加国家艺术基金交流推广项目“大道无分-中国园林文化当代艺术国际巡回展”在美国的宾夕法尼亚大学美术馆举行开幕研讨会。中国的园林艺术是融合了自然美学、诗画意境与哲学思想的综合性文化载体，具有“虽由人作，宛自天开”的审美艺术境界。我这次参展的两件作品，是通过中国最为传统的工笔重彩画技法，利用天然材料制作而成的宣纸、毛笔、墨、植物颜料，以及女性、鸟、太湖石等东方元素的符号，想要表达当下人与自然的和谐共存关系。通过这次巡回展，希望中美之间打破交流壁垒，拉紧文化纽带，共创美好未来。在此，感谢向华教授的展览邀请，祝展览圆满成功！”

Dear professors and artists, I am Piao Chunzi, a retired teacher from the Academy of Fine Arts at Minzu University of China, and a colleague of Professor Liu Xianghua. It is a great honor to participate in this promotion project exhibition sponsored by the National Art Fund. The two works I have contributed to this exhibition employ traditional Chinese meticulous brushwork with heavy color techniques. Using Xuan paper, writing brushes, ink, and light color pigments, they depict subjects such as women, birds, and Taihu stones, aiming to express the harmonious coexistence between humanity and nature.Through this exchange exhibition, I look forward to fostering more cultural exchanges and mutual understanding between China and the United States. Due to time constraints, I will not elaborate further.First and foremost, I would like to thank Professor Xianghua for the invitation to this exhibition. Finally, I sincerely wish this exhibition a complete success! Thank you all!

艺术理论家及评论家代表、上海师范大学周韧教授会上发言：

“各位教授、各位艺术家，大家好！我是周韧，非常衷心地祝贺我的好朋友刘向华教授，在国家艺术基金的赞助下举办了这样一场展览。我和刘向华教授很早就认识了，我们曾在上海师范大学共同参与过“别现代艺术”研讨会及艺术展，当时向华教授也参展了。“别现代”是上海师范大学王建疆教授提出的具有中国艺术特色的理念，刘向华教授虽非刻意围绕这一理念创作，但他的绘画风格极具中国“别现代主义”特征——既有中国传统水墨的特色，又融合了现代性与后现代特征的混合气质。正因如此，我们当时邀请刘向华教授参展，他的作品也展现出了极高的成熟度。如今数年过去，我认为他的艺术一方面坚守了本真，另一方面在技法与融合层面更加娴熟。这次展览中，我不仅看到了刘向华教授的作品，也欣赏到了中央民族大学及国内其他艺术家的优秀创作，深感欣喜。部分作品需要细细品味，但整体而言，它们通过现代手法很好地呈现了中国园林艺术的内涵。再次祝贺刘向华教授！我觉得“大道无分”这个展览主题非常精妙，短短四字便蕴含了中国文化的深厚底蕴。希望通过这场展览，能够进一步推动中美之间的艺术交流，谢谢大家！”

Dear professors and artists, Hello everyone! I am Zhou Ren, and I am truly delighted to congratulate my good friend, Professor Liu Xianghua, on hosting this exhibition with the sponsorship of the National Art Fund. Professor Liu Xianghua and I have known each other for a long time. We previously participated together in the “Bie Modern Art” seminar and exhibition at Shanghai Normal University, where Professor Liu also exhibited his works. “Bie Modern” is a concept with distinct Chinese artistic characteristics proposed by Professor Wang Jianjiang of Shanghai Normal University. Although Professor Liu did not deliberately create his works around this concept, his painting style inherently embodies the characteristics of Chinese “Bie Modernism”—blending the essence of traditional Chinese ink painting with a hybrid quality of modern and postmodern features. For this reason, we invited Professor Liu to participate in the exhibition at that time, and his works demonstrated a high level of maturity.Over the years, I believe his art has, on the one hand, stayed true to its original vision, and on the other hand, become more proficient in technique and the integration of diverse elements. In this exhibition, I am delighted not only to see Professor Liu’s works but also to appreciate the excellent creations by artists from Minzu University of China and other domestic institutions. While some works require careful contemplation, as a whole, they vividly present the connotations of Chinese garden art through modern techniques.I would like to congratulate Professor Liu Xianghua again! I find the exhibition theme “Dadao Wufen” (The Great Dao Knows No Boundaries) extremely profound. These four simple characters encapsulate the rich heritage of Chinese culture. I hope that through this exhibition, we can further promote artistic exchanges between China and the United States.Thank you all!

艺术理论家及评论家代表、中央美术学院赵炎教授会上发言：

“大家好，非常高兴有机会参加讨论，首先祝贺展览顺利举办。这次展览主题“园林”很有意思，园林本身是历史悠久的文化符号，体现了人类对自然的文化想象，无论在西方还是中国，都是重要的文化载体。园林也是综合性的艺术体，它不仅包含对自然的想象、改造和再创造，还融入了雕塑、绘画、装饰等多种艺术元素，这一点在东西方都是共通的。以当代展览形式勾连起跨越东西方的园林文化载体，并用当代艺术手法展现其在当下的艺术性延伸，我认为非常有意义。展览中作品形式多样，有传统水墨、油画、雕塑、数字艺术等，呈现了当代艺术多元化的发展面貌，也探讨了与空间、自然、当代文化相关的命题。以往艺术史叙事常是线性的，比如从架上绘画到观念艺术、装置艺术，再到数字化、虚拟化艺术甚至AI生成艺术。但在我看来，各种艺术形式并无价值优劣之分，它们可以在当代多元化的文化环境中产生共振。这次展览的作品选择就体现了这一点，它打破了线性叙事逻辑，更像是德勒兹所说的非线性、多元化共生的“块茎式”逻辑。在欣赏展览时，接触不同类型的作品和创作手法，能从园林主题出发，生成新的艺术创作启发。感谢刘老师的邀请，再次祝贺展览成功！”

Hello everyone, I am very glad to have the opportunity to participate in this discussion and first of all, congratulate on the successful opening of the exhibition. The theme of this exhibition, “Gardens,” is fascinating. Gardens themselves are time-honored cultural symbols that embody humanity’s cultural imagination of nature, serving as important cultural carriers in both the West and China. Gardens are also comprehensive art forms. They not only involve the imagination, transformation, and recreation of nature but also integrate various artistic elements such as sculpture, painting, and decoration—a common feature in both Eastern and Western cultures. Connecting cross-cultural garden traditions through a contemporary exhibition and using modern artistic techniques to extend their artistic meaning in the present context is, in my view, of great significance. The exhibition showcases diverse art forms, including traditional ink painting, oil painting, sculpture, and digital art, presenting the pluralistic development of contemporary art while exploring themes related to space, nature, and contemporary culture. Art history narratives have often been linear, such as the progression from easel painting to conceptual art, installation art, and now digital, virtual, and even AI-generated art. However, in my opinion, various art forms are not superior or inferior in value; they can resonate within today’s pluralistic cultural environment. The selection of works in this exhibition reflects this philosophy, breaking away from linear narrative logic and embodying what Deleuze termed a “rhizomatic” logic of non-linear, pluralistic coexistence. When appreciating the exhibition, engaging with different types of works and creative techniques can inspire new artistic perspectives starting from the theme of gardens.Thank you, Professor Liu, for the invitation, and congratulations again on the success of the exhibition!

展览承办方负责人玛丽莲·乔丹·泰勒总统教授肯·林姆（Kenneth R. Lum）会上发表讲话：

“大家好！我认为与其说这是一段结束语，不如说是一个新篇章的开始。此次展览的主题令人深受启发，相信在场各位都对其充满兴趣。在教育合作层面，我期待宾夕法尼亚大学与中央民族大学这样的跨机构交流能够走向更深、更广的维度。我们共同见证的不仅是一场展览的举办，更是中美艺术与学术合作关系的美好开端。愿我们以此为契机，持续深化彼此的联结，共同探索文化交流的更多可能。感谢各位的参与！”

Hello everyone! I believe this is not so much a concluding remark as the beginning of a new chapter. The theme of this exhibition is deeply inspiring, and I trust everyone here is equally interested in it. In terms of educational cooperation, I look forward to deeper and broader cross-institutional exchanges between institutions like the University of Pennsylvania and Minzu University of China. What we are witnessing together is not just an exhibition, but a beautiful beginning to Sino-U.S. artistic and academic collaboration. May we take this opportunity to continuously deepen our connection and jointly explore more possibilities for cultural exchange. Thank you all for your participation!

别现代理论创始人、上海师范大学美学与美育研究所所长，美国中国别现代研究中心荣誉主任兼学术顾问王建疆教授的致辞：

“女士们、先生们大家早上好、深夜好！

首先，我代表别现代主义学术团体和艺术团体对宾夕法尼亚大学《大道无分——中国园林文化当代艺术国际巡回展览》的顺利召开表示热烈的祝贺！

本次展览是在北卡来罗纳卫理公大学之后的第二次展览，是中央民族大学和宾夕法尼亚大学的一件大事，也是别现代主义艺术的一个盛举。

这个展览英文名为“园林理念中的求真精神”，非常有意思。在我看来，这种精神就是别现代主义精神，是一种时代精神。别现代主义就是区别真伪，实现真正的现代化而非伪现代化。别现代主义的“别”字有两层意思。第一层是对杂糅的、似是而非的社会形态进行识别、区别；第二层是别样的，特别的，也就是民族风的。就前者而言是忠实地反映现实，就后者而言就是敢于冒险，别出一路。做到了这两点，就具有了别现代主义的求真精神。

本次展品在“园林”“自然”的主题下，体现了”真“与”道”的叠加，而非单纯的描绘和民族色彩的展现，他们带来的想象空间和精神启迪已经在本次展出前得到了广泛的认可。尤其是刘向华和隋建国等人的水墨画和雕塑以及装置艺术，都具有这方面的突出特点。

本次展出选择宾夕法尼亚大学举行，也让著名中国建筑学家梁思成和林徽因的光芒再次喷发。梁思成和林徽因是中国现代设计领域的先驱。但由于他们生活和成长在半殖民地半封建的中国，因此，梁思成和林徽因的艺术只代表现代与前现代的某种结合，具有“古为今用”“洋为中用”的特点，而与我们这个时代所表现出来的现代、前现代、后现代的杂糅状态，与别现代主义的既要反对伪现代、建构真实的现代，又要勇于探索、别出一路的时代精神不尽相同。此次展览中，该项目负责人刘向华先生及其团队的作品兼具别现代主义艺术形态的杂糅性和勇于探索、别出一路的双重特征。

关于别现代主义艺术，美国中国别现代研究中心主任、艺术史家基顿.韦恩教授认为，中国的艺术不是现代或后现代，而是别现代。为什么？原因就在于前现代、现代、后现代三者的杂糅并生以及中国艺术家表现出来的文化批判精神。

项目负责人刘向华教授是我的老朋友，他对别现代主义高度认同，并身体力行，创造别现代主义艺术。在我和美国艺术史家基顿.韦恩教授主编的《别现代：作品与评论》和我们共同策划录制的《别现代与别现代主义艺术》音像制品中，他都是别现代主义艺术的代表人之一，他的作品能够利用中国传统水墨渲染和后现代的戏仿、拼贴、杂糅的手法，表现现代启蒙意识和批判意识，具有明显的别现代主义特征。他的《忍者瀑布》《海天浴场》《卧游》《濯缨水阁》《城市山林》《出水莲》等，都是几种不同时代特征的叠合与杂糅，形成了时代空间化的想象张力。作品的名称是自然山水，但其求真精神体现了大道自然，其寓意和象征所指都是当代人的反思和批判意识；其多种手法的并用，使其成为名副其实的别现代主义艺术家。

随着别现代主义（biemodernism, 维基百科）思潮在国际上的兴起，我希望看到更多的具有别现代主义艺术风格的中国艺术走向美国并影响世界。

别现代主义艺术国际巡展已在美国举行过数次，虽然此次宾夕法尼亚展不叫别现代主义艺术展，但如上所述，其精神属于别现代主义。因此，我代表别现代主义学术团体和艺术家团体，对刘向华团队的成就表示最热烈的祝贺。

最后，预祝《大道无分——中国园林文化当代艺术国际巡回展览》再次取得圆满成功！”

Ladies and gentlemen, good morning/evening!

First of all, on behalf of the Bie-modernist Academic and Artistic Groups, I would like to extend my warmest congratulations on the successful launch of the University of Pennsylvania’s “大道无分——中国园林文化当代艺术国际巡回展览”!

This exhibition is the second exhibition following the one held at the Methodist University in North Carolina. It is a major event for Minzu University of China and the University of Pennsylvania, and also a grand celebration of Bie-modernist art.

The English name of this exhibition, “园林理念中的求真精神” is very interesting. In my opinion, this spirit is the spirit of Bie-modernism, which is a spirit of the times. Bie-modernism is about distinguishing between truth and falsehood, and achieving true modernization rather than false modernization. The word “bie” in Bie-modernism has two meanings. The first meaning is to identify and distinguish between mixed and specious social forms; the second meaning is different, special, that is, ethnic. The former means faithfully reflecting reality, while the latter means daring to take risks and blazing a new trail. Achieving these two points embodies the spirit of seeking truth in Bie-modernism.

Under the themes of “gardens” and “nature,” the exhibits in this exhibition reflect the superimposition of “Real” and “Dao,” rather than simply depicting ethnic colors. The imaginative space and spiritual inspiration they bring have been widely recognized even before this exhibition. In particular, the ink paintings, sculptures, and installation artworks by Liu Xianghua, Sui Jianguo, and others are outstanding in this regard.

The exhibition was held at the University of Pennsylvania, allowing the ideas of renowned Chinese architects Liang Sicheng and Lin Huiyin to shine once again. Liang Sicheng and Lin Huiyin were pioneers in the field of modern design in China. However, because they lived and grew up in semi-colonial and semi-feudal China, their art represented a combination of modern and pre-modern elements, characterized by the principles of “using the past for the present” and “using foreign ideas for Chinese purposes.” This is different from the mixed state of modern, pre-modern, and post-modern expressed in our era, and the spirit of Bie-modernism, which opposes pseudo-modernism, constructs a true modernism, and dares to explore and break new ground. In this exhibition, the works of Mr. Liu Xianghua, the project leader, and his team combine the dual characteristics of Bie-modernism’s mixed art forms and courageous exploration and breaking new ground.

Regarding Bie-modernist art, Professor Keaton Wynn, director of the Center for Chinese Bie-modern Studies in the USA and art historian, believes that Chinese art is neither modern nor postmodern, but rather Bie-modern. Why? The reason lies in the coexistence of pre-modern, modern, and postmodern elements, as well as the spirit of cultural criticism expressed by Chinese artists.

The project leader, Professor Liu Xianghua, is an old friend of mine. He strongly identifies with Bie-modernism and puts it into practice by creating Bie-modernist art. In Bie-modernism: Works and Commentary, edited by American art historian Professor Keaton Wynn and myself, and in the audio-visual production Bie-modernism and Bie-modernist Art, which we jointly planned and recorded, Liu Xianghua is one of the representatives of Bie-modernist art. His works utilize traditional Chinese ink painting techniques and postmodern parody, collage, and eclectic methods to express modern enlightenment and critical consciousness, with obvious characteristics of Bie-modernism. His works, such as 《忍者瀑布》《海天浴场》《卧游》《濯缨水阁》《城市山林》《出水莲》 are all a blend of different characteristics from various eras, forming an imaginative tension of “time spatialization.” The titles of his works are all natural landscape scenes, but their spirit of truthfulness embodies “the natural way,” and their meanings and symbols refer to the reflection and critical consciousness of contemporary people. The use of multiple techniques makes him a true Bie-modernist artist.

With the rise of Bie-modernism(Wikipedia: https://en.wikipedia.org/wiki/Bie-modern ) internationally, I hope to see more Chinese art with a Bie-modernist style go to the United States and influence the world. The Bie-modernism International Touring Exhibition has been held several times in the United States. Although the exhibition at the University of Pennsylvania is not called the Bie-modernism Art Exhibition, as mentioned above, its spirit is Bie-modernism. Therefore, on behalf of the Bie-modernism academic community and artist community, I would like to express my warmest congratulations to Liu Xianghua’s team for their achievements.

Finally, I wish the international touring exhibition “大道无分——中国园林文化当代艺术国际巡回展览” every success!

美学家、艺术理论家、淡江大学黄逸民教授的致辞：

刘教授展览中的水墨画《大荒山》、《青埂峰》、《无稽崖》、《湘江旧迹》这些作品的灵感都来源于中国古典文学作品曹雪芹的《红楼梦》中的园林，所以我想分享一些关于这些著名园林的感想。

《红楼梦》的灵感来源于女娲补天的神话故事。在《红楼梦》中，蓝埂峰的无稽崖上留下了一块石头。这块剩下的石头成为了《红楼梦》的主人公贾宝玉。

刘教授的水墨画中，女性形象的石头，或类似于崇高石头的女性形象，都令人联想到贾宝玉，她既具有深刻的女性气质，又来自一块被丢弃的石头。

刘教授的水墨画中，女性形象的石头，以及类似崇高石头的女性形象，也让人联想到《红楼梦》中的林黛玉。林黛玉创作了一首诗，献给她的爱人贾宝玉。诗中，林黛玉提到了古湘江的传说。她也为贾宝玉流下了许多眼泪，染红了大观园中她隐居处周围的竹林。

我想分享一些关于虚构的园林——大观园——的想法。它体现了中国古典道教和佛教园林美学。正如我将要论述的，这些美学传统是深刻的女性主义的，或者说是非父权制的。

虚构的大观园是一个充满女性气息的空间，让人联想到女性主义后结构主义思想家朱莉娅·克里斯蒂娃的“空间”（chora）概念。“空间”代表着对主流父权思维——线性和等级制——的反抗和对抗。 《红楼梦》中虚构的大观园，是非线性和非等级制的。它基于差异和非二元论。差异和非二元论深深地体现了女权主义，也深深地契合了道教和佛教的原则。差异和非二元论也是生活在一个兼顾自然和文化的世界的基础。

《红楼梦》中的三个主要人物象征着大观园。

1. 第一个人物，即主人公贾宝玉，既是道教人物，又是女性人物。（一些学者有力地论证了贾宝玉是同性恋或跨性别者。）无论如何，贾宝玉并不符合父权制的规范。他代表了道教男女二元论。他今生是男性，却梦想来世成为女性。

2. 佛教是大观园的另一大特色，而最能体现这一特色的人物是林黛玉，贾府“自然而然”地爱上了她。林黛玉住在园中一栋竹林环绕的房子里。竹子中空，象征着佛教的“空”的理念。

3. 薛宝钗是小说中的第三个重要人物。贾府最终娶了薛宝钗为妻。与林黛玉在大观园的隐居处不同，大观园是一处竹林环绕、溪水流淌的隐居处，薛宝钗的隐居处则完全是人造的，象征着文化（人性）。它点缀着奇形怪状的巨大石头，完全是人造的。

林黛玉和薛宝钗的隐居处体现了道家“不二法门”的理念，即自然与人工（文化）共存。

大观园最有趣的一点是，林黛玉和薛宝钗在那里组织了一个诗社。这象征着文化因自然而生。花园里的诗歌创作体现了中国古典园林的韵味。

大观园的另一个有趣之处在于它强调圆融。这座盛开的花园，同时也是凋零的花朵堆。生死轮回，也体现在这座花园中。它强调了始与终的循环，这体现了佛教中“色”的理念，即“空”。大观园的起源是“大荒山”。

The ink paintings in Professor Liu’s exhibition include the Great Wasteland Mountain (大荒山), Blue Ridge Hill （青埂峰), Nonsense Cliff (無稽崖), and Xiangjiang River Ruins （湘江舊跡). These all are inspired by the fictional gardens of the Chinese literary classic text, Dream of the Red Chamber by Cao Xueqin, so I’d like to share some thoughts about these famous fictional gardens.

Dream of the Red Chamber is inspired by the myth of the Goddess Nuwa, who mends the broken sky with some stones. In Dream of the Red Chamber, one of the stones is left on the Nonsense Cliff of Blue Ridge Hill. This leftover stone becomes Jia Baoyu, the protagonist of Dream of the Red Chamber.

Professor Liu’s ink paintings of stones that have female forms, or of female forms that resemble sublime stones, are remarkably evocative of Jia Baoyu, a figure who is both profoundly feminine and comes from a discarded stone.

Professor Liu’s ink paintings of stones that have female forms and of female forms that resemble sublime stones, also bring to mind the character of Lin Daiyu in Dream of the Red Chamber. Lin composes a poem. It is dedicated to her love, Jia Baoyu. In her poem, Lin refers to a legend of the ancient Xiangjiang River. Lin also sheds many tears for Jia Baoyu. They stain the bamboo that surrounds her retreat in the gardens of Da Guan Yuan, or Grand View Garden.

I’d like to share some more thoughts about the fictional garden, Da Guan Yuan, or Grand View Garden. It exemplifies classic Daoist and Buddhist Chinese garden aesthetics. As I will argue, these aesthetic traditions are deeply feminist, or non-patriarchal.

The fictional Da Guan Yuan is a feminine space that brings to mind feminist poststructural thinker Julia Kristeva’s concept of chora. Chora represents the rebellion against and opposition to dominant patriarchal thinking, which is linear and hierarchical. The fictional garden in Dream of the Red Chamber, the Da Guan Yuan garden, is non-linear and non-hierarchical. It is based on difference and non-dualism. Difference and non-dualism are deeply feminist as well as deeply Daoist and Buddhist principles. Difference and non-dualism also are the basis of living in a world that accommodates nature as well as culture.

Three main characters in Dream of the Red Chamber symbolize the Da Guan Yuan garden.

1. The first character, the protagonist, Jia Baoyu (賈寶玉) is both a Daoist and feminine character. (Some scholars have persuasively argued that Jia is homosexual or trans gender.) In any case, Jia Baoyu does not fit patriarchal norms. He represents the Daoist dualism of male and female. A male in his present life, he dreams to be a female in his next life.

2. Buddhism is another major characteristic of the Da Guan Yuan, and the human character that most represents this characteristic is Lin Daiyu, whom Jia “naturally” loves. Lin lives in a house surrounded by bamboo groves in the garden. Bamboo, hollow inside, represents the Buddhist concept of “emptiness.”

3. Xue Baochai, is a third important character in the novel. Jia is supposed to marry Xue. In contrast with Lin’s retreat in the Da Guan Yuan, a retreat surrounded by bamboo groves through which a river flows, Xue’s retreat is completely artificial and represents culture (the human). It is dotted with strange and gigantic grotesque stones, and is entirely human-made.

The two different retreats — Lin’s and Xue’s —represent the Daoist principle of non-duality, the coexistence of nature and artifice (culture).

What also is most interesting about the Da Guan Yuan is that Lin and Xue organize a poetry club there. This represents that culture is enhanced by nature. Poetry writing in the garden represents the classic Chinese garden.

Another interesting aspect of the Da Guan Yuan is it emphasizes roundness and circularity. This garden of blooming flowers is also the mound of dying flowers. The circle of life and death is reflected in this garden. The circle of the beginning and end is emphasized in this garden. It is illustrated in the Buddhist concept of beauty (色), which is empty (空）. The origin of the Grand View Garden is the “Great Wasteland Mountain”（大荒山）.

研讨会现场

开幕研讨会结束后现场与会嘉宾参观了展览，本场展览将持续至6月8日。

展览现场

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