绿野的风——郑丽晶个人展
the wind over the green field—solo exhibition of Zheng lijing

2026年7月18日，展览《绿野的风——郑丽晶个展》于北京798艺术区又生空间CYCLE SPACE开幕。对传统的回访，往往比面向未来的臆想更需要勇气。郑丽晶的创作，选择的不是符号化的挪用，而是一条沉潜于物质深处的路径。她从石窟壁画与浮雕相接的边界中，提炼出一种绘画与薄塑共生的形态。并以坦培拉这种古老技法为媒介，将其转化为个人化的视觉语言。她的创作，究其根本，是对一个问题的持续追问：在世俗评价体系之外，个体如何建立内在的秩序，以抵抗精神的虚无。 石窟壁画的力量，常显现在它与雕塑交界的模糊地带。麦积山北周“薄肉塑”即为例证——裸露处以薄浮塑造形，衣饰以绘画完成，二者在同一壁面彼此嵌合。郑丽晶在敦煌、麦积山、炳灵寺的考察中，敏锐地捕捉到了这一状态：形象既非全然依附于墙面的纯绘画，亦非完全脱离墙体独立的雕塑，而是浮雕与绘画在同一个平面上相互生成的“居间”地带。黑格尔在《美学》中曾论述，浮雕让形象从基底中显现，恰如精神从物质中升起却不完全分离。郑丽晶的浅浮雕坦培拉探索，正是这种古老共生方式的当代回响。 On July 18th, 2026, ‘Wind Over Green Field - Zheng Lijing‘s Solo Exhibition opened at CYCLE SPACE in the 798 Art Zone, Beijing. A return to tradition often demands more courage than a speculative leap into the future. Zheng Lijing’s creative approach does not rely on symbolic appropriation; rather, she pursues a path that sinks deep into the material itself. From the boundary where cave murals meet relief sculpture, she extracts a form that marries painting with thin modelling, and through the ancient medium of tempera, transforms it into a distinctly personal visual language. At its core, her work is a sustained inquiry into one question: beyond the frameworks of worldly judgment, how can an individual establish an inner order capable of resisting spiritual emptiness? The power of cave murals often reveals itself in the blurry zone where painting and sculpture converge. The Northern Zhou "thin‑relief" at Maijishan is a telling example—exposed flesh is shaped in low relief, while garments are completed with brushwork, the two interlocking seamlessly on the same wall surface. During her field studies at Dunhuang, Maijishan, and Bingling Temple, Zheng Lijing keenly recognised this condition: the image is neither a pure painting wholly affixed to the wall nor a freestanding sculpture detached from it, but rather an "in‑between" realm where relief and painting generate each other on a single plane. Hegel, in his Aesthetics, noted that relief allows form to emerge from its ground, much as spirit rises from matter without fully separating from it. Zheng’s exploration of low‑relief tempera is a contemporary reverberation of this ancient symbiosis.