No Realms No.4
傅文俊用医学临床的造影技术，结合电脑合成制作，做了一系列他称之为“无界”的摄影作品。
其视觉效果是令人震撼的：不独是虚幻线形和实体形象的强烈对比，更重要的是，现代造影和传统造像之间异乎寻常的并置。这种组合或取单色负片效果，或于饱满色彩中显现影痕，加上人体颅骨本身给人的惊悚感，其轮廓单纯、形象复杂、肌理丰富的画面，的确显得怪诞而又诡秘。
中国佛教信仰的世俗性值得研究，但即便是最实用的中国信徒，也得去面对问题。死亡恐惧不仅是产生宗教的心理基础，而且产生了原始人类对于另一世界的想象力——比如佛教造像的历史就不期而至成为中国古代艺术史的重要部分。运用此类形象作为创作资源，以个人选择、组合及后期处理的方式，去重新触及不能回避的终极问题，是傅文俊对当代消费文化和享乐主义风尚的反拨。人活在世上，也许只有意识到生之为生不过是向死而生的时候，人生才会去追求意义，艺术也才会有所价值。
Using medical clinical imaging technologies combined with computer-based compositing, Fu Wenjun has created a series of photographic works that he refers to as No Realms.
The visual impact is striking: not only does it lie in the sharp contrast between illusory linear forms and tangible figurative imagery, but more importantly in the highly unusual juxtaposition of modern imaging technologies with traditional modes of figuration. At times, the works adopt a monochromatic negative effect; at others, traces of imagery emerge within richly saturated colors. Combined with the inherent eeriness of the human skull, the images—defined by simple contours yet complex forms and dense textures—appear unmistakably grotesque and uncanny.
The secular nature of Chinese Buddhist belief is worthy of study, yet even the most pragmatic Chinese believers must ultimately confront a fundamental question. Fear of death is not only the psychological foundation from which religion emerges; it also gives rise to early humanity’s imagination of another world. In this sense, the history of Buddhist imagery has, almost inevitably, become a significant chapter in ancient Chinese art history. By drawing on such imagery as a creative resource—through personal selection, recombination, and post-production—Fu Wenjun re-engages with an ultimate question that cannot be avoided. This approach constitutes a conscious countercurrent to contemporary consumer culture and the prevailing ethos of hedonism. Perhaps it is only when one becomes aware that living is, in essence, a movement toward death that life begins to seek meaning, and art, in turn, acquires its true value.
关于作者：王林，批评家、策展人，四川美院教授、硕士生导师，西安美院客座教授、博士生导师
About the author: Wang Lin, art critic, curator, Professor and graduate tutor of Sichuan Fine Arts Institute, visiting professor and doctoral supervisor of Xi’an Academy of Fine Arts