傅文俊 Fu Wenjun

“他心通”为何物？在中国古代有“以神遇而不以目视”的境界。在我们的日常生活中，常常会有仿佛自己能够知道他人心想的感觉，特别是在关系亲近的人之间这种感觉会更加强烈。诸如“心心相印”、“心有灵犀”、“心灵感应”等词语，昭示出两个人的心灵交流活动，这种感受是一种“一切尽在不言之中”的意会。他心通是佛教中的“六通“之一，百度百科中对他心通的定义是：他心通“全称他心智证通或智心差别智作证通。又作观心心数法智证通．知他心通、心差别通。即证得他心智．能如实了知他人心中差别相之神通力。……又据俱舍论卷二十七载，欲修他心通者．以色界四根本静虑为依地，先审查自己身心二相之前后变异辗转相随，后更观他人之身心，如斯加行成就，遂得如实知悉他人之种种心相。”如此看来，他心通是一种人性本来的感应，其精髓就在于能了知其他生命心念的能力。事实上，人本身便具有他心通的能力，只不过现代生活中日常杂乱的信息淹没了人天然的感受，加之现代生活的快节奏和人们的浮躁心态，使大家不易察觉他心通功能的存在。

What is thought reading? In ancient China, there existed an ideal state described as “encountering with the spirit rather than relying on the eyes.” In everyday life, we often experience moments in which we seem to know what others are thinking—an intuition that becomes especially strong between people who share close relationships. Expressions such as “hearts in perfect accord,” “a tacit understanding,” or “telepathic resonance” all point to a form of mental communication, an intuitive comprehension in which “everything is understood without being spoken.” Thought reading is one of the “six supernatural powers” in Buddhism. According to Baidu Baike, thought reading—formally known as the power of direct cognition of others’ minds—refers to the spiritual ability to truly perceive and comprehend the diverse mental states of others. As recorded in Abhidharmakośa, Volume 27, those who seek to cultivate thought reading must rely on the four fundamental meditative absorptions of the form realm, first observing the successive changes in their own body and mind, and then extending this observation to the bodies and minds of others. Through such disciplined practice, one ultimately attains the capacity to accurately discern the various mental states of other beings. From this perspective, thought reading may be understood as an innate human sensitivity, whose essence lies in the ability to perceive the thoughts and intentions of other lives. In fact, human beings inherently possess this capacity; however, in modern life, the constant flood of fragmented information overwhelms our natural perceptual faculties. Coupled with the accelerated pace of living and a generally restless state of mind, this makes it increasingly difficult for people to recognize the presence of thought reading within themselves.

五色目盲：物化的世界与灵性的失落
《老子》第十二章经中“有五色令人目盲：五音令人耳聋；五味令人口爽“，说出了物质技术的发展让世界并不那么美好，在这里人性真纯的”本真”状态和万物与人自然合一的“真人”世界，被“五色”、“五音”、“五味”杂乱的物化世界所掩盖。“人心纯白不备，则神生不定”。20世纪以来，科学技术的巨大发展使人类社会的物质财富空前繁荣和丰富，它给人类生活带来了无数的便利，然而，科技的高度发展同时伴随着人的内心灵性的失落，现代人把世界当成是一个可以利用和征服的对象，是一个实现自己意欲的场所，在这个物欲横流、人为物役、追求市场价值的时代，人心变得狡诈多伪，浮躁和拜物，自我意欲的人的贝性梭扭曲，现代人没有了心灵的澄明，何来心灵的感应？
傅文俊的“他心通”系列摄影作品，站在社会学的立场，对当下人类具体的社会问题及对人的生存状态进行思考，作品可以归入到带有未来学意味的领域。这种作为人性本真的心灵感应的他心通并不是飘渺虚无与唯心的，它是心灵之肇始又是心灵之归宿，是人性本应该能达到的境界。现代人他心通灵性的失落正是一种社会化物质喧嚣与精神伪装下对人性本真的遮蔽。因此，傅文俊的“他心通”系列完成的是一个带有时代性思考意义的实践。

The Blindness of the Five Colors: The Objectified World and the Loss of Spirituality
In Chapter 12 of the Dao De Jing, Laozi writes: “The five colors blind the eye; the five tones deafen the ear; the five flavors dull the palate.” This passage reveals how the development of material techniques does not necessarily render the world more beautiful. Here, the genuine and pure state of human nature—the original authenticity of being—and the world of the true person, in which humanity and all things exist in natural unity, are obscured by the chaotic, objectified realm of the “five colors,” “five tones,” and “five flavors.” As the saying goes, “When the human mind is no longer pure and whole, the spirit becomes unsettled.”Since the twentieth century, the tremendous advancement of science and technology has brought unprecedented prosperity and abundance in material wealth, offering countless conveniences to human life. Yet this rapid technological progress has also been accompanied by a profound loss of inner spirituality. Modern individuals increasingly regard the world as something to be exploited and conquered, a site for the fulfillment of personal desire. In this era dominated by rampant materialism—where people are enslaved by objects and market value is relentlessly pursued—the human mind becomes cunning, restless, and fetishistic. The nature of the self is distorted by desire; clarity of the inner spirit is lost. Without such inner clarity, how can genuine spiritual resonance still arise?
Fu Wenjun’s Thought Reading photographic series approaches these issues from a sociological perspective, reflecting on concrete social problems of contemporary humanity and on the conditions of human existence itself. The works may be situated within a field imbued with a sense of futurism. The notion of thought reading as an authentic form of spiritual resonance rooted in human nature is neither illusory nor idealistic. It represents both the origin and the destination of the human spirit—an अवस्था that humanity is inherently capable of attaining. The modern loss of the spiritual dimension of thought reading is, in fact, the result of socialized material noise and layers of spiritual disguise that obscure humanity’s original nature. In this sense, Fu Wenjun’s Thought Reading series constitutes a practice of profound contemporary significance, one that engages critically with the spirit of its time.

虚拟呈现：视觉真实与心理真实
这是一个虚拟网络、电子风暴、数字空间、新媒体密集交织着的社会，有人曾预言”网络将重塑世界”。如今互联网已经走进千家万户，与每个人的生活息息相关。虚拟社会、数字空间已不是未来学的奇妙预言，它正以无孔不入的技术手段渗透到人们的日常生活之中。人们已经习惯了每日穿梭于虚拟和现实两个世界之间，越来越多的人，尤其是年轻人与其相信现实生活中的视觉真实，毋宁在虚拟技术制造的虚拟的世界中寻求自己的精神世界和幻觉空间，寻求着自己心理的真实境界。数字空间对现实社会的整体介入与虚拟技术在视觉经验上的丰富与刺激，赋予了当代艺术家和大众一种全然不同的生存经验与生活感受，同时也丰富了人们穿梭于虚拟与现实之间的感官体验．
这种新的感官体验迫使人们重构新的视觉情境，这类似干能指（图像）与所指（语言）之间的意指系统（语境）的重建。傅文俊的《他心通》系列作品的能指即艺术家经由摄影技术及后期处理所最终达成视觉呈现的图像：而所指即观者面对图像所形成的自己的语言，它是一种对图像理解的文本阐释。这种文本的解读需要在一定的语境中来完成。在由能指向所指的转化之间靠的是一种意指系统的建构。如今我们生存在一个“现实与虚拟”相结合，人们的“视觉场”发生巨大变化，被编码的社会环境发生巨大变迁的时代，在这种全新的意指系统下我们对图像必定会有全新的理解。同时，这种生存经验和感受又无时无刻不激发着艺术家新的创作灵感与观念滋生，傅文俊”他心通”系列的学术立场恰恰是对于这种生存经验与文化生态的一个回应。

Virtual Presentation: Visual Reality and Psychological Reality
We live in a society densely interwoven with virtual networks, electronic storms, digital space, and new media. It was once predicted that “the internet would reshape the world.” Today, the internet has entered nearly every household and is intimately bound up with daily life. Virtual society and digital space are no longer wondrous prophecies of futurism; through pervasive technologies, they have penetrated every aspect of everyday existence. People have grown accustomed to moving daily between the virtual and the real. Increasingly, many—especially younger generations—rather than trusting the visual reality of lived experience, seek their spiritual worlds and spaces of illusion within technologically constructed virtual realms, searching there for a form of psychological reality. The comprehensive intervention of digital space into real society, together with the richness and intensity that virtual technologies bring to visual experience, has granted both contemporary artists and the general public a fundamentally different mode of existence and lived sensation. At the same time, it has expanded and intensified the sensory experiences of those who constantly traverse the boundaries between the virtual and the real.
This new mode of sensory experience compels people to reconstruct fresh visual situations, akin to a reconfiguration of the signifying system (context) between the signifier (image) and the signified (language). In Fu Wenjun’s Thought Reading series, the signifier consists of the images ultimately realized by the artist through photographic techniques and post-production processes, while the signified is the viewer’s own language formed in response to the image—a textual interpretation of its meaning. Such interpretation can only be accomplished within a specific contextual framework. The transition from signifier to signified depends on the construction of a system of signification. Today, we inhabit an era in which reality and virtuality are intertwined, the human “visual field” has undergone profound transformation, and the encoded social environment has been radically reshaped. Within this entirely new system of signification, our understanding of images is inevitably renewed. At the same time, these lived experiences and perceptions continually stimulate new creative impulses and conceptual developments in artists. The academic position of Fu Wenjun’s Thought Reading series is precisely a response to this condition of contemporary experience and its surrounding cultural ecology.

他心通：心理视觉化图像
傅文俊的摄影作品“他心通”系列，是对心理现象超现实的视觉化图像分析。作品中所呈现出的心理视觉化图像，是一种对“他心通”内心世界的积极想象，类似于密宗的观想，也更类似于道家的内观存想之术。在作品中，人的思维以一种视觉化图像呈现，我们可以清晰地看到作品中‘他’的思维图像。此时“他”脑子里在想的是形形色色的佛像抑或是其他，总之我们在傅文俊的作品中清清楚楚地看到了“他”的精神世界，当然这是艺术家以一种超现实主义手法的艺术呈现。当我们面对这样一件作品时，其实我们是在对他人想象的一种观看。通常我们的思维或者是精神世界都是秘而不宣的，而傅文俊在人的心灵和想象之间巧妙地找到了联结的方式，他将人类的他心通感受视觉化，让观者有一种对生命的探秘和窥视的快意和叹息。这些可视、可感触的图像，其实记录，蕴含了艺术家对图像的认识，也反映出艺术家的文化心理和一种社会文化环境。
艺术家从他心通的内心世界寻找创作的灵感，结合中国古代的哲学思想，并引用超现实主义艺术表现形式来呈现画面。人体”X“摄像结合了艺术特征，可以说，傅文俊的”他心通”系列作品既有图像本身的韵味又包含了哲学、宗教学、历史学、美学、文化人类学等领域的深厚哲理。同时，《他心通》系列又是对现实空间、虚拟空间、心理空间的综合交叉与观念穿插，就摄影作品本身而言，这已不再是单纯的影像的记录。这种穿插与综合交叉不仅是作品本身的技术手段，而是融入到创作理念的一种具体化的话语形式，这正是作品本身的重要突破。

Thought Reading: Psychological Visualized Images
Fu Wenjun’s Thought Reading photographic series offers a surreal visual analysis of psychological phenomena. The psychologically visualized images presented in the works constitute an active imaginative projection of the inner world of thought reading. This approach is comparable to visualization practices in Esoteric Buddhism, and even closer to the Daoist techniques of inner observation and contemplative visualization. In these works, human thought is rendered in the form of visual images, allowing us to clearly perceive the images of “the other’s” thinking. At that moment, what occupies “his” mind may be various Buddhist figures or other imagery; in any case, Fu Wenjun’s works enable us to see, with striking clarity, the spiritual world of “the other.” Of course, this is an artistic presentation realized through a surrealist approach. When we encounter such a work, we are, in effect, viewing another person’s imagination. Ordinarily, our thoughts and inner spiritual worlds remain unspoken and concealed. Yet Fu Wenjun deftly discovers a point of connection between the human mind and imagination, transforming the experience of thought reading into a visual form. This allows viewers to experience both the thrill and the quiet awe of probing into and glimpsing the mysteries of life. These images—visible and sensorially tangible—function as records that embody the artist’s understanding of imagery itself, while simultaneously reflecting his cultural psychology and the broader socio-cultural environment in which he works.
Drawing inspiration from the inner world of thought reading, the artist integrates ancient Chinese philosophical ideas and employs surrealist modes of expression to construct the visual field. By combining X-ray imaging of the human body with artistic intervention, Fu Wenjun’s Thought Reading series achieves a synthesis in which the images possess both their own aesthetic resonance and a profound philosophical depth, encompassing philosophy, religious studies, history, aesthetics, and cultural anthropology. At the same time, the Thought Reading series represents a complex intersection and conceptual interweaving of real space, virtual space, and psychological space. From the perspective of photography itself, these works are no longer mere records of visual reality. This interpenetration and cross-disciplinary synthesis function not simply as technical devices, but as a concrete discursive form embedded within the artist’s creative philosophy—marking a significant breakthrough in the work itself.

傅文俊的《他心通》视觉艺术呈现出一种深邃的人生体悟，以及“每个人都是未来佛”的普世情怀。作品摒弃任何社会和历史维度以及每个人身份的尊卑，地位的悬殊，在这里都无差别地澄净为生命的本真面貌，使我们面对的是他们的内心，而不是任何世俗表象。从作品中我们读出了“每个人只要努力修为，早晚都会成佛，即使他现在不成佛，以后也一定会成佛“的生命哲理和普世情怀，这恰恰与中国古代佛家精神相遇合。作者以一种冷静、清晰的观察方式，将自己的心灵介入物象，在视觉的基点上确立了社会的、历史的，心理的世界。所以．我把傅文俊的“他心通”摄影系列看成是一种心理视觉化的图像研究。尽管绘画艺术对内心世界刻画的先例早已有之，我们可以追溯到19世纪法国被誉为梦幻绘画先驱的卢梭，以及揭示人隐蔽的心灵和表现人们内心的表现主义绘画和致力于探讨人类的先验层面，糅合了本能，潜意识和梦的经验的超现实主义艺术等等。然而，与绘画艺术相比，傅文俊的“他心通”摄影艺术创作则以更直观的视觉图像将人类的心理世界呈现出来．以一种可感知的艺术形式回应了我们这个时代。

Fu Wenjun’s Thought Reading visual art presents a profound reflection on life, imbued with the universal humanistic belief that “everyone is a future Buddha.” The works discard all social and historical hierarchies, as well as distinctions of status or rank; here, every individual is equally purified and reduced to the authentic essence of life itself. What confronts us is not any worldly appearance, but the inner mind. From the works, we discern a life philosophy and universal compassion that holds: “as long as one diligently cultivates oneself, one will sooner or later attain Buddhahood; even if one has not yet become a Buddha, one will inevitably do so in the future.” This outlook resonates deeply with the spirit of ancient Chinese Buddhism. Through a calm and lucid mode of observation, the artist allows his own consciousness to enter into the realm of objects, establishing—at the very foundation of vision—a social, historical, and psychological world. For this reason, I regard Fu Wenjun’s Thought Reading photographic series as a study in the psychological visualization of images. Although precedents for depicting the inner world have long existed in painting—ranging from the nineteenth-century French painter Henri Rousseau, hailed as a pioneer of dreamlike imagery, to Expressionism, which sought to reveal hidden states of mind, and Surrealism, which explored the a priori dimensions of human existence by integrating instinct, the unconscious, and dream experience—Fu Wenjun’s Thought Reading photographic practice differs in its use of more immediate visual imagery. Through photography, it renders the human psychological world with heightened directness, responding to our contemporary era in a perceptible and compelling artistic form.