张嘉匀
1983 出生于上海
2006 毕业于中央美术学院
现居上海，职业艺术家，上海市创意设计工作者协会会员
Zhang Jiayun
1983 Born in Shanghai
2006 Graduated from the Central Academy of Fine Arts
Currently lives in Shanghai, a professional artist, a member of Shanghai Designer Association
“创作每幅作品之前，我会将自己调整到真诚、恭敬的正念状态，身净、心静、礼敬……给予作品尽可能的纯净度，以便观想及静心。” 这是张嘉匀创作的过程，更是她修行的过程。
"Before creating each work, I will adjust myself to a sincere and respectful state of mindfulness. I will give the work as much purity as possible for contemplation and meditation." This is the process of Jai Zhang's creation and her practice.
对于她修行般的创作，中国佛教协会副会长觉醒大和尚这样评价：
夫圣教之入华，乃以教典转译为先导。转梵言成华语，以应东土众生之根机。语言疏分，语译亦有其规，故唐玄奘三藏明五种不翻，其中有秘密不翻者，即如陀罗尼是也，吾人所谓“咒”者，实乃佛陀时代之语言也。
古今大小丛林道场，早晚二时功课中，必有梵呗；有僧住处，即梵声常演、法音长流。持诵诸佛心咒，则可安心悟道。吾亦时常持诵、观想诸陀罗尼，心中常有法喜，深得法利。
今张嘉匀居士，皈依圣教有年，法名法匀。居士宿植德本，智慧深利。皆因往昔种诸善根，方有今日福慧与善行。深于信仰，善于画工，别具一格；其创作，融心咒于画宣，现密意于丹青。居士的《海印三昧》、《莲池海会》和《无垢》等，以梵言心咒为符，藉以极致细密之线条，画法工细、匠心独运，勾勒唯美图形。吾观其画，梵符成行、咒语成阵、矩阵成画。于明暗虚实、深浅变化之中，展现重重无尽之缘起法界；在线条运转、墨色晕染中，现其喜悦，展其安详，表其虔诚。
居士以时代最先进之方式，传播佛法甚深密意。吾念及此，感怀非常，故而值此画册行将付梓之际，谨对法匀居士致以最诚挚之祝福！
For her spiritual creation, master Juexing, the vice president of the Chinese Buddhist Association, said so.
The introduction of Buddhism into China is dominated by the study of the translated scriptures. In order to correspond to the Chinese context, there are some rules in translating Sanskrit into Chinese. In Tang Dynasty, master Xuanzang did not translate in five situations. Among them, mantras are the language of the Buddha's time, and they are secret words. He would not translate.
In ancient and modern times, there are recitations of mantras in the morning and evening classes. In monk's residence, there will be chanting, and the sound of Dharma will flow. If you recite mantra, you can get closer to enlightenment peacefully. I often recite and think about all kinds of mantras. My heart is full of Dharma joy and Dharma benefit.
Jai Zhang has been a lay Buddhist for many years. Because of all kinds of good roots planted in the past, her wisdom is deep and beneficial. With her devout faith and good painting skills, she presents the image of secret mantra words on the canvas, which is unique. Her recent works, such as the Sagara-Mudra-Samadhi, Lotus Sea, and Spotless, use Sanskrit mantra as characters, and with extremely fine lines and exquisite layout to outline beautiful figures. When I look at these paintings, the Buddhist mantra is arranged in a perfect array. In the change of light and shade, there are endless origins of Dharma field. In the operation of the line and the gradual change of color, it shows joy, serenity and piety.
By using the most advanced way of this era, householder Jai Zhang spreads the profound meaning of Buddhism. I feel deeply about this and give her my best wishes.
关于《念》
言念者，于曾习境，令心明记不忘为性，定依为业。
“《念》系列是我从佛教经典中提炼出来的象形图形。摘取东密真言文献的心咒部分，选其巴利文的罗马字母注音，细密地排列组合，整合出与内容相契合的图形。每一幅图对应一句经典中的本尊心咒。观者可以依据作品中的注音文字，方便地、准确地念诵出发音。真言咒语虽属秘语，但不少咒语有其格式及规律，有些文字有意涵（如名号、名相、经典浓缩总结、皈敬或祈祷等）有些文字则取其音效。持诵的音效既是音波、频率，也是声能，更是个体与整体的共鸣。”
About Chanting
"Chanting series are pictographs extracted from Buddhist classics, extracting the mantra of Japanese traditions, and using the Roman alphabet phonetic notation in Pali canon, which is arranged and combined in detail to integrate the graphics corresponding to the content. Each work corresponds to a mantra in the classic.The audience can recite the pronunciation conveniently and accurately according to the phonetic characters in the works. Although mantra is secret, many mantras have their own forms and rules. Some words have meanings (such as name,appearance, condensed summary of classics, conversion or prayer, etc.) while others take their sound effects. The sound effect of recitation is not only the sound wave and frequency, but also the sound energy and the resonance between the individual and the whole."
艺术评论家林路教授曾以《心莲静开》这样表达《念》系列的观后之感：
心中的莲花在静谧中开放，幻化成斑斓的锦织，勾招光灵的咒语吐出美妙的音韵，一层一层弥散在世俗的时空，归零一切烦躁的欲念——这就是张嘉匀借助咒语的大开大合，创造出的神奇秘境。
每一次心莲静开，都是一组咒语后能量聚积与延伸。在这之前，咒语虽有象征但无法具象解读，它以其超越语言层面的魔力，只能慢慢修持进入精微层面的声能……而这一次，张嘉匀以其不凡的功力，将这样精微层面的声能转换成视觉的“一生二，二生三，三生万物”的曼陀罗，让现代人的生存方式多了一份可以静默面对、并且籍以升华的灿烂空间。尽管画面做的都是各位本尊的心咒，然而作为佛经精华部分的心咒，足以让目迷五色的心魔平息与心灵安顿，或者说，能持诵心咒，足矣……
细察这些似迷宫般衔接的咒语，每一画面都有着特殊的含义，生命的哲学与智慧也许都在里面了；远观曼陀罗般晕开的光华，艺术的创造依然显得如此精妙。若能日日面对化为念力，愿力，或者就在那不经意的瞬间，看清了世事的无常，看轻了世事的无常。用张嘉匀的话说：做咒语图的经历使我回归与学会观照，那是种缘分，感恩生命中所有的经历——让我们一起感恩！
Professor Lin Lu, artcritic, once expressed the feeling after viewing Chanting series as "Lotus opens in the quite and peaceful heart".
The lotus in the heart opens in silence and turns into a colorful brocade. The mantra of the light spirit is drawn, and the beautiful rhyme is spewed out. Layer by layer, it disperses in the secular time and space, and returns to zero. This is the magic secret created by Jai Zhang with the help of the mantra.
Every time the lotus opens, it is the accumulation and extension of energy after a group of mantra. Before that, although mantra had symbols, they could not be interpreted concretely. With their magic power beyond the language level, they could only slowly cultivate the sound energy into the subtle level. This time, Jai Zhang, with her extraordinary skill, transformed the subtle level sound energy into the visual mandala of "Dao brings one, one brings two, two brings three, and three brings everything"; provide modern people a peaceful way of life and a brilliant inner space. Although the work is dazzled by a riot of colour, the mantra as the essence of the Buddhist Scripture is enough to calm down the spirits and settle down the body, or to hold the heart into nothingness.
A close examination of these labyrinths like mantra shows that each work has a special meaning, and the philosophy and wisdom of life in it; from a distance, the artistic creation is still so exquisite. If you can face it day by day and turn it into a force of mind and desire, or just in that casual moment, you can see the impermanence of the world and let it go in mind. In Jai Zhang's words, the experience of making mantra artistic work makes me return and learn to observe. It's a kind of fate. I'm grateful for all the experiences in my life - let's be grateful together!
那些本尊经典中的心咒，有些以精准的数量陈列于画面中，有些则数量抽象到无限，这也对应着定课持修的“量到无量”。从斑斓的幻彩到单纯的黑白，对应着非有妙有的空性之光。 “我努力尝试去除个性化，让图形组成不带情绪的功能性画面，并将形、音与意形成相互契合的联通过程，供观者观想静心。然而，凡所有相皆是虚妄。再企图去除个性化实则仍属个性表达。这事千人千表达，一人亦可千表达。于一相，譬如莲花，重重无尽的真义谛，不可说，说即错，不可画，画即错。各种表达皆不如实。所以于一切修行道具，仅是象征。观者可以拿它作为所缘境，训练专注力、定力、练声，但不能执着于相。”
Some of the mantras in the original classics are displayed in the picture in precise quantities, while others are abstracted to infinity in quantity, which also corresponds to the"quantity to infinity" of constant practice. From the colorful illusion to the simple black and white, it corresponds to the light of emptiness.
" I try hard to get rid of personalization, let the graphics form a functional picture without emotion, and form a connecting process of shape, sound and meaning for the viewer to contemplate and meditate. However, all appearances are illusory. Further attempts to remove personalization are still personal expressions. A thousand people can have a thousand expressions, and one person can have a thousand expressions. For example, such as lotus, there is endless truth, which cannot be said, said is wrong, and not painted, painted is wrong. All kinds of expressions are not true. Therefore, all the props of practice are only symbols. The audience canuse it as the environment to train their concentration and voice, but they can't stick to the appearance."
创作《念》系列，张嘉匀跳脱了创作者情绪“抒发”的角度，她不是为创作埋下伏笔的隐士，而是以创作来消融自我的修士。她把图形与心咒扩展至无限的时空层面，在创作中自我认知、在创作中破除障执。而观者也跳脱了“鉴赏”的角度，以默诵的音、以观想的形，趣入心之觉知。
In creating the series of Chanting, Jai Zhang breaks away from the point of view of the creator's emotional "expression". She is not a hermit who foreshadows the creation, but a monk who melts herself with creation. She extends the figure and the mantra to the infinite space-time level, self-awareness in the creation, breaking the barriers in the creation. And the viewer also jumps out of the angle of "appreciation" and enters the mind with the sound of silent recitation and the form of visualization.
出生之时，我们用哭声与外界交流，学语之时，咿呀成为我们与外界交流的媒介。张嘉匀选择“咒”作为音声媒介，更是视觉媒介，承载内化的正知，也成为她与观者交流的介质。 “咒”字最初是“祝”的意思。咒又名真言、明、总持、陀罗尼，具有思维工具的意涵。“gate gate paragate parasamgate bodhi svaha。这是《心经》中的最后一句咒语：揭谛 揭谛 波罗揭谛 波罗僧揭谛 菩提萨婆诃。选用巴利文的罗马字母注音，而不是该发古唐音的汉字或华美神秘的梵藏文。这样方便大众持诵。有了这样的注音，就能更准确的念诵。咒音本就有一定的声能，精准的发音会让能量振动与感应效果更好。”
At birth, we use crying to communicate with the outside world, and then babbling becomes the medium of communication. Jai Zhang chooses "mantra" as the sound medium, and is also the visual medium, which carries the internalized positive knowledge, and becomes the medium for her communication with the audience. “ The word mantra originally means ‘wish’, also known as the true word, and Dharani, has the meaning of thinking tools. ‘Gate gate paragate parasamgate bodhi svaha’ is the last mantra in the Heart Sutra. Instead of the Chinese characters or the mysterious Sanskrit Tibetan language, the Roman alphabet of Pali is chosen. This is convenient for the public to recite. With such a note, people can recite it more accurately. The mantra has certainsound power. Accurate pronunciation will make energy vibration and induction better."
《念》系列是张嘉匀对不同心咒的解读表达，整个系列更是她精进修炼的过程。 “大篇幅的构图都是对称的，或是有中心点的，在表达其象征意涵的同时，也是一种定力的训练。我希望现代人的生存方式可以多一份静默直面，这样能平息不少虚妄烦恼，让静心与自律更方便的融入现代生活。”
Chanting series is Jai Zhang's interpretation and expression of different mantras, and the whole series is her process of intensive cultivation. “ The composition of the work is symmetrical or has a central point, which is a kind of training of concentration while expressing its symbolic meaning. I hope that modern people can have a quiet and peaceful attitude on facing life, so as to calm down a lot of false troubles, and let meditation and self-discipline more convenient into modern life."
千手千眼 数字版画，综合材料 2017
A thousand hands and a thousand eyes
Digital Prints, Composite Materials
80x80cm
作品中的咒语摘自《千手千眼观音大悲咒心咒》: om vajra dharma hrih.
om 起始音效 / vajra 金刚 / dharma 法 / hrih 观音种子字
The mantra in the work is extracted from the Mantra of A Thousand Hands and A Thousand Eyes Guanyin's Great Mercy Mantra : om vajra dharma hrih.
om as initial, sound effect / vajra as vajra diamond / dharma as dharma / hrih as Guanyin’s seed word
“创作《念》系列之前，我花了很长的时间研习真言咒语。并按照其象征意涵去观想，画了不少的宝石。尽管道可在瓦砾，万法皆空性。但菩萨为使世人升起欢喜心也以璎珞作装饰。由此选择令人易升起欢喜心的钻石。钻石又名金刚石。象征着世间的坚不可摧又无坚不摧，来对应此心咒中的 vajra dharma（金刚法）。大乘六度中有忍辱般若密，就是修忍辱渡彼岸的意思。我想：金刚石在成为熠熠生辉的宝石级钻石过程中也是修了不少忍辱的。”
画面于微小处是修忍辱而“化茧为蝶”的马眼钻石，画面的整体造型则是由粒粒钻石镶嵌成的绽放莲花。莲花象征着智慧与慈悲，对应着莲花部观音的悲智不二。而塑造莲花形象的条条蔓枝宛如千手一般，散粒的眼形白钻又像千眼一样。
"Before I created the" Chanting "series, I spent a long time studying mantra. And according to its symbolic meaning to think, I painted a lot of gemstones. While as Dao can be in rubbles, and the methods are out of emptiness. But the Bodhisattva also decorated with beautiful jade to raise the joy in people’s heart. Thus I choose the diamond that makes it easy to raise the joy. It symbolizes the character of indestructible and being able to destruct anything in the world, so as to correspond to the name of the mantra Vajra dharma. In the Six Pramitas of Mahayana, there is a certain degree of humiliation, which means to cultivate the meaning of "endure humiliation in order to cross the other side". I think: diamond has also been through humiliation in the process of becoming a brilliant gem grade diamond. "
The tiny part of the work is of horse eye shape diamond that "turns from cocoon into butterfly", and the overall shape is a blooming lotus inlaid with diamond grains. Lotus symbolizes wisdom and mercy, corresponding to those qualities of Guanyin. The lotus shaped branches are like a thousand hands, and the scattered eyes shaped white diamonds are like a thousand eyes.
绿度母 数字版画，综合材料 2017
GreenTara
Digital Prints, Composite Materials
60x60cm
作品中的咒语摘自《绿度母本尊心咒》: om tare tu tare ture svaha.
om 起始音效 / tare 救度母 / tu 坚强 / ture 快速强壮 / svaha 圆满成就
The mantra in the work is extracted from Green Tara Mantra : om tare tu tare ture svaha.
om as start, sound / tare as save Tara, protect / tu as strong / ture as strong, fast / svaha as complete success
“相传，绿度母是观世音菩萨救度众生时，右眼流下的泪滴所化。她发愿将协助观音一起救渡众生。我借用水滴形的祖母绿来表达绿度母。祖母绿被赋予了仁慈、信心、幸运、幸福、喜悦等含义，与修持绿度母的功德相似。”
在修行的过程中，张嘉匀在“没有围墙的心灵学院”中认知与觉知。 “相较于传统经典的人物造像，容易被误解为有神论或偶像崇拜，然其本质并非如此。所以我这么做也可以提供更多种选择，条条大路通罗马。作为观想的道具所缘境。一切有为法本质都是有漏的，所以于一切相仅是表法。”
"It is said that the Green Tara is the teardrop from the right eye when Guanyin was saving all living beings. She made a wish to help Guanyin save all living beings together. I use drop shaped emerald to express the Green Tara. Emerald is endowed with the meaning of kindness, confidence, luck, happiness and joy, similar to the cultivation of Green Tara's virtue. "
In the process of practice, Jai Zhang gets her recognition and awareness in the "College of mind without walls". “Compared with the traditional classic figures, it is easy to be misunderstood as theism or idolatry, but it is not so. By doing this, I can provide more choices as all roads lead to Rome. It is an imaginary prop to support visualization. The essence of all the teachings being created is flawed, so it is only a metaphoric expression of what it is teaching about. "
精进 数字版画, 综合材料 2018
Diligence
Digital Prints, Composite Materials
100x80cm
作品中的咒语摘自《精进波罗蜜》和《精进咒》
The mantra in the work is from Deligent Paramita Mantra and Deligent Mantra.
正三角形的透视阶梯是画面的主题，摘抄的心咒细密排列出这座由近及远的阶梯。阶梯的灭点设在正三角形的中心位置，给人以安定感。画面的纵轴线上，环绕排列的心咒在深、浅的作用下，形成宁静而持久的光晕如涟漪般层层铺开。 “精进作为大乘六度之一，其涵意是作勤不放逸，精进渡彼岸。层递的阶梯代表修行需要靠理性，如理作意。阶梯消失于光明则象征着顿入空性的理性之超越。”
The perspective ladder of equilateral triangle is the theme of the picture, and the mantra extracted from it is closely arranged to form this ladder from near to far. The vanishing point of the ladder is located in the center of the regular triangle, which gives people a sense of stability. On the vertical axis of the picture, the mantra arranged around it forms a quiet and lasting halo under the contrast of depth, spreading out layer by layer like ripples. “As one of the Six Paramitas of Mahayana, the meaning of ‘diligence’ is to work hard and not to let go, in order to cross to the other side. The ladder of hierarchy represents that the practice needs to rely on reason, such as reason for meaning. The disappearance of the ladder in the light symbolizes the transcendence of reason.”
前行 数字版画, 综合材料 2018
Forward
Digital Prints, Composite Materials
100x100cm
作品中的咒语摘自《般若心咒》: gate gate paragate parasamgate bodhi svaha.
gate 行 / paragate超越 / parasamgate 一起超越 / bodhi觉 / svaha 圆满成就
The mantra in the work is extracted from Prajna Mantra : gate gate paragate parasamgate bodhi svaha.
gate as go / paragate as surpassing / parasamgate as surpassing together / bodhi as feeling / svaha as complete achievement
“这是华人世界最广为流传的《心经》中最后一句《般若心咒》，意思差不多是：去吧，去吧，一起去彼岸成就圆满觉性。” 在明暗的构成下，水平的横向寓意着时间的变化，从过去、现在直到未来。时间的横轴在黑白的交织中渐变，无明与明本为一体，此岸即彼岸。 青青翠竹皆是法身，郁郁黄花无非般若。空性无处不在，要识得它，就在前念与后念的缝隙，非过去非未来的当下契入纵向那道本觉的性光。
"This is the last sentence of Prajna Mantra in the Heart Sutra, which is the most popular in the Chinese world. It almost means go, go, go to the other side to achieve complete consciousness." Under the composition of light and shade, horizontal means the change of time, from the past, the present to the future. The horizontal axis of time is gradually changing in the interweaving of black and white. Black and white is originally integrated, and this shore is indeed the other shore. The green bamboos are Dharma bodies, and gloomy and yellow flowers are nothing but Prajna. Emptiness is everywhere. When you recognize it, it is in the gap between the former and the latter, which is the present, not the past and not the future. By doing so, you will enter the vertical light of the original consciousness.
般若 数字版画，综合材料 2018
Prajna
Digital Prints unplugged, Composite Materials
60x60cm
作品中的咒语摘自《般若佛母本尊心咒》: om prajna prajna maha prajna svaha.
om 起始音效 / prajna 般若 / maha 大 / svaha 圆满成就
The mantra in the work is extracted from the Mantra of Prajna Buddha Mother : om prajna prajna maha prajna svaha.
om as starting, sound effect / prajna as highest wisdom / maha as great / svaha as complete achievement
“这句是般若佛母的名号咒。般若即空性智慧。非空之空为真空，非有之有为妙有，空性非顽空，是种真空妙有。缘起上是有的，自性却是不存在的。” 如何用可视化的二维平面去形容高维的本觉性光，这是张嘉匀在创作上的琢磨。她做的数字版画本身是静态的，但观者若从成品的不同光线角度去观察的话，就会发现这个坛城结构的平面可以照耀出流光般的幻彩，同时它无需耗能插电，正如无所不在的空性本身也是简单质朴的。
"This is the name mantra of Prajna Buddha mother. Prajna is the wisdom of emptiness. The emptiness of non-emptiness is real vacuum. The existence of non-existence is marvelous existence. The emptiness is not obstinate emptiness, but the existence within real vacuum. There exists the origin, but self nature does not exist. " How to use the two-dimensional plane to describe the high-dimensional intrinsic light is Jai Zhang's effort in her creation. Her digital printing is static, but if the viewer looks at it from different angles, he will find that the plane of the mandala structure shines as illusionary streams, and it does not need electric power, just as the omnipresent emptiness itself is simple and unadorned.
海印三昧 数字版画 2016
Sagara-Mudra-Samadhi
Digital Prints
80x180cm
作品中的咒语摘自《乳海真言 》、《一字轮水咒 》、昆达利尼瑜伽中第二能量中心之创造轮、如来种子字：vam
The mantra in the work is from Incantation of Milky Sea, Water Mantra, the creative wheel of the second energy center in Kundalini Yoga, and the Seed Word of Buddha : vam.
在一望无际的大海面前，杂念、烦扰，甚至是忧愁都渺为泡沫。每一滴妄念或是每一滴自我，都消融于无垠的海洋，铺陈出一片宁静。她所描绘的这片海有深邃处的覆藏，亦有鲜明处的浮现。取名《海印三昧》，因海印者，妄尽心澄，犹如平静之海无象不现。描绘了寂静等持的模样。也通过这幅作品能感染观者去体会一呼一吸间，那中间停顿的安宁。
In the boundless sea, miscellaneous thoughts, annoyance, and even worries are nothing but bubbles. Every drop of delusion or self melts in the boundless ocean, laying out the scene of tranquility. The sea she described has a deep cover and a bright appearance. It is named " Sagara-Mudra-Samadhi ", because the seal of sea is full of clarity, just like the calm sea underneath of which there’re a lot of things going on. It depicts the silent waiting. Also through this work can infect the viewer to experience the peaceful pause in between each breath.
莲花生 数字版画 2016
Padmasambhava
Digital Prints
120x120cm
作品中的咒语摘自《莲花生大士本尊心咒》: om ah hum vajra guru padma siddhi hum.
om ah hum 能量音效词 / vajra 金刚 / guru 上师 / padma 莲花 / siddhi 成就 / hum 音效
The mantra in the work is extracted from the Heart Mantra of Master Padmasambhava : om ah hum vajra guru padma siddhi hum.
om ah hum as energetic sound effect words / vajra as Vajra / guru as master / padma as lotus / siddhi as achievement / hum as sound effect word
作为《念》系列中少有的色彩强烈的作品，张嘉匀用饱满且浓厚的对比色勾勒了莲师的鲜活感，同时修行过程中不只有宁静更有满逸无限的欢喜。
As one of the rare works with strong colors in the series of Chanting, Jai Zhang uses full and strong contrast colors to outline Padmasambhava's sense of freshness. At the same time, in the process of practice, there is not only tranquility but also infinite joy.
如果说《念》系列是一场修行的前行，那么张嘉匀以显微摄影及综合材料创作的《宇宙》系列则是一种非中心化，非符号化的现量游戏。在她捕捉的微观宇宙里，暗藏着生命的缘起与世界的无限，深埋着一连串无中生有又成住坏空的故事线索，没有宏观的壮丽掠影，皆是极微而成的无限“宇宙”。
If "Chanting" series is a way of practice, then "Universe" series created by Jai Zhang with microphotography and comprehensive materials is a kind of non-centralized and non-symbolic intuitive game. In the microcosm she captured, there are hidden origin of life and the infinity of the world. There are a series of story clues that come out of nothing and become the circle of the space. There is no grand macro glimpse. They are all infinitesimal "universes".
初成 数字版画，综合材料 2014
Preliminary
Digital Prints, Composite Materials
90x200cm
心念与生命乃至万物的本质，有着诸多相似之处。生为女性的张嘉匀更加敏感于生命的话题，细枝末节处总能让她产生通感与联想。 “我会因为某一个细节而观察许久，当它们如生活碎片在显微镜下形成一个整体的时候，奇妙的事情就发生了，我脑海中的片段画面成为了一个以时间为轴的连续剧情。”
There are many similarities between mind and life and the essence of all things. Jai Zhang, born as female, is more sensitive to the topic of life, and details can always make her feel and make associations. “ I will watch for a long time at a certain detail. When it forms a whole picture under the microscope like life debris, wonderful things may happen. The fragments in my mind become a continuous plot with time as the axis. "
《初成》探究的是生命缘起，画面的左边，星落点点，似是非是的呈现出一副风花雪月的景象；画面的中间，母体腹中三月胎儿的影像忽明忽暗；画面的右边则是近景的抽象心形和远景的星辰。
Preliminary explores the law of dependent arising. On the left side of the picture, there are shining stars, which seems to present a scene of romance; In the middle, the image of the three-month fetus in the womb is in bright and dark; On the right side, there are the abstract heart shape of the close shot and the stars of the distant view.
太阴 数字版画, 综合材料 2019
Taiyin
Digital Prints, Composite Materials
90x68cm
小事中蕴藏着大道理，寻常的景象、场景也会在明暗的聚集、凹与凸的起伏中凝结出浩瀚宇宙中的存在。太阴常指月亮，“阴”在中文语境的含义很多，也可以理解为凹进去的东西，正如图像上呈现的似凸实凹的一碗月亮。
Small things contain great truth. Ordinary scenes will condense to form the existence of the vast universe in the gathering of light and dark, concave and convex, and ups and downs. Taiyin often refers to the moon. "Yin" has many meanings in the Chinese context. It can also be understood as something concave, just like a bowl of moon in the image.
受 数字版画, 综合材料 2020
Perception
Digital Prints, Composite Materials
100x100cm
《宇宙》系列似是而非的影像空灵、无限又寂静。从《念》到《宇宙》不由得令我想起两段禅宗诗句。“时时勤拂拭，莫使惹尘埃。”“本来无一物，何处惹尘埃。”《念》是有为的，有所造作的。《宇宙》则呈现了虚空的无为感。 “空无非顽空，无常无自性空，真空不空，妙有虚空。《宇宙》系列可能会是我未来持续做的主题。希望能趋向无相，无限与寂静。”
The specious images of the Universe series are ethereal, infinite and silent. From Chanting to Universe, I can't help but think of two Zen verses, “ Wipe it frequently, and don't make it dusty. " “ There is nothing in the world, which can we get dusty. "Chanting" is promising and artificial while the Universe presents a sense of nothingness. "Emptiness but not obstinate emptiness. Impermanence has no self. It’s emptiness, vacuum. Real vacuum is not simply emptiness but marvelous emptiness. The Universe series may be the theme I will continue to do in the future. Hope I can tend to be formless, infinite and silent.”
这两个系列皆是张嘉匀多年修行的阶段性总结。作为艺术家，她用非传统的方式讲述了传统的故事，印证了“禅”本身不受时空及风格限制的属性。佛教的语言在她手中转化为具象的视觉表达，梵音之美从声入形，幻化成观者心境深处的大开大合之姿。正应合了所谓念念不忘必有回响，而这回响来自于她内心持久的一份坚韧与笃定。观其作品，仿佛在天籁音色缭绕之中，跨越世间险阻与内心坎坷，最终交织勾勒出所向往的一切美好与宁静，终究还是站在原处，观望自己。
These two series are the periodic summary of Jai Zhang's practice for many years. As an artist, she tells traditional stories in an unconventional way, which proves that Zen is not limited by time, space and style. In her hands, Buddhist language is transformed into concrete visual expression, and the beauty of Sanskrit sound is transformed from sound to form into the open and close attitude of the viewer. It should be in line with the so-called the never forgotten. There must be an echo, and this ECHO comes from her inner persistent tenacity and determination. Looking at her works, it seems that the viewer is surrounded by the sounds of nature, crossing the dangers and frustrations of the world, and finally interweaving and outlining all the beauty and tranquility she is yearning for. After all, she still stands in the original place and looks at herself.
主要展览
2020 上海华视影廊联展，华视影廊，上海，中国
2019 光路社联展,莫干山路画廊,，上海，中国
2018“海上新力量喜迎十九大”联展，中华艺术宫，上海，中国
2017“念II” 个展，玉佛寺，上海，中国
2016 Photo Shanghai 年展，上海展览中心，上海，中国
2016“念I”个展，华视影廊，上海，中国
2014 极炯色——爱普森显微摄影联展，爱普生影艺坊，上海，中国
Selected Exhibitions
2020 Shanghai HS Gallery Joint Exhibition, HS Gallery, Shanghai, China
2019 LIGHTWAY Joint Exhibition, Moganshan Road Gallery, Shanghai, China
2018 The Celebrations of the 19th National Congress of the Communist Party of China from Young Talents, China Art Museum, Shanghai, China
2017 "Chanting II" Solo Exhibition, Jade Buddha Temple, Shanghai, China
2016 Photo Shanghai Annual Exhibition, Shanghai Exhibition Center, Shanghai, China
2016 "Chanting I" Solo Exhibition, HS Gallery, Shanghai, China
2014 Preliminary Epson The Distant Color Photomicrography Exhibition, epSITE, Shanghai, China