Eidos of Life: Exhibition of Meneghetti’s OntoArte Paintings
       展览主办：湖北省博物馆、安徽博物院、中华世纪坛世界艺术馆 、意大利本体艺术美术馆、北京富意乐咨询有限公司
       Sponsored by: Hubei Provincial Museum, Anhui Province Museum, Beijing World Art Museum, Gallery of OntoArte of Trevi and FOIL Beijng Co.Ltd
       展出时间：湖北省博物馆2013年5月30日至7月28日、安徽省博物院2013年8月6日至10月13日、中华世纪坛世界艺术馆 2013年10月22日至12月22日
       Exhibition Dates: Hubei Province Museum May 30, 2013 to July 28, 2013
       Anhui Province Museum August 6,2013 to October 13,2013
       Beijing World Art Museum October 22,2013 to December 22,2013

       展览前言：
       祝辞
       艺术家和观众的区别在于，他们都面对最富有魅力的挑战，却方式不同。他们可以决定参与到这场游戏中，并赢得它：作为个体的人要重新发现自己生命本来的种子工程，并与之保持一致，而作为艺术家则是在方寸画布上，挑战自己的能力，二者都是“将世界变得更美好”。生命和艺术创造着永恒的奇迹：对于每个个体来说，都有无尽敞开的可能去感受不同程度的神性的存在。
艺术一直被认为是向人们提供解读自然世界的一种方式。而自然世界的创造，有着自己的标准。但在今天的艺术表现中，人们似乎无法认识这个标准。梅内盖蒂在其艺术作品中为我们再现了这个标准。那么，这个标准即“生命之相”也被称为本体自在。这就是本体艺术。
       对于梅内盖蒂而言，能够带领我们的感官走向美的、被称为“最根本的实在”的道路的作品，是本体艺术。我们每个人都是形而上之子。如果它呈现了形而上的存在，那么这部作品就是伟大的。它是人们重新找到自己的自然标准之路。因为，找寻自己的自然标准是我们每个艺术欣赏者的需要…艺术家不能擅自拒绝这种需求，将自己的抑郁、失败或疾病投射在作品中。那些，最多不过，我们称它为“社会的见证”。
       因此，本体艺术有着自己相当明确的定位：艺术行为的产生来源于直觉，而不是情绪的宣泄，也不是一些毫无意义的符号；产生本体艺术行为的人，能够同步回应自身力量的向量，与宇宙的灵魂相和谐。对梅内盖蒂而言，艺术家应具备这样一种高度，他是一个媒介，能将生命力量的伟大化为具体的东西，通过一件艺术品、一个手工制品表达出来。在这种情况下，艺术是活着的人们生命的艺术，也就是本体艺术。大师梅内盖蒂的功绩在于他把这种力量以明了和通俗的方式表现出来。他的画让我们循着这些路径，可以看到一个成功之人的所有思想、情绪、情感和激情，给正在被沉寂所吞噬的艺术世界，带来新的意义。
       梅内盖蒂通过他的本体艺术，想传递给大家的信息是：几十年里，他穿行于众多文化、土地之间，阅人无数。同样，这几十年里，我也跟随他的展览走遍了世界。我被中国伟大深邃的文化所深深震撼。此前，没有一个展览的命名是如此参透本体艺术的含义，通过三个极短的词“Eidos of Life ”（生命之相），就概括了梅内盖蒂全部思想和作品的含义。而梅内盖蒂的作品数量也不在少数。“Eidos”（相）来自希腊文ε?δο? ：造成一个事物是那样的因，一个事物所是的，没有它就失去了意义。我们看到中国，这也是我们所期待的，凭借它深邃而又无边的文化——它是中国无与伦比的伟大力量的见证——马上就领悟到梅内盖蒂作品的灵感，是来自于对某种东西的全身心的、透彻清晰的体验。这个东西凌驾于我们之上，生成着一切，同时，也一直存在于此时、此地。因此，“Life”（生命）一词体现了梅内盖蒂作品所有想要表达的含义：艺术是生命在追寻不断创新、走向生命的唯美过程中所使用的众多探索方式之一，特别是，从它本质讲，艺术更是代表了每个存在的真正的天性。
在这里，我要特别感谢湖北省博物馆，由于他们出色的组织工作，使得这一切得以有可能向悠久的中国文化展示。同时，我还要感谢安徽博物院和中华世纪坛世界艺术馆，他们作为巡展单位，为此次展览做出了积极贡献。
意大利本体艺术美术馆馆长 帕梅拉?贝尔纳贝伊
       COMMENDATORY MESSAGE
       The differentiating factor, in both the artist and the viewer, is the approach to the most fascinating challenge that the human being can decide to play and win: to recognise themselves in that identical design for life that “moves the world in the direction of beauty” on both sides of the canvas. The eternal miracle of life and art: the possibility for each individual to intercept any divine proportion.
       Art has always been conceived as a means to provide human taste with an interpretation of the nature of the world. And this nature has a criterion by which it creates. But in the expression of today's art, it seems to have become incomprehensible.  Meneghetti reintroduces this criterion into art. This eidos is called the ontic In-itself. And this is OntoArte.
       For Meneghetti, the work that establishes the path of our senses to what Bell called the “ultimate reality” is OntoArte and if the result embodies the metaphysics of which we are children, then the work is great. This is the path of the man rediscovering his criterion of nature. Because this is what the observer demands ... and the artist cannot afford to obstruct it by projecting his own depression, failure or illness. At most we can define this as a “sociological testimony”.
       OntoArte, therefore, occupies a specific position: the act is the result of an intuition that cannot arise as an emotional discharge or a gratuitous sign, but must originate from a man capable of providing a synchronous response to the vectoriality of its force in harmony with the spirit of the universe. For Meneghetti, the artist must be able to mediate the greatness of the life force through a concrete artefact, an artistic product. In this case, art becomes living art for the living, in other words OntoArte. Master Meneghetti must take the credit making this force clear and remarkable. Indeed, his paintings are simply the means by which each idea, emotion, feeling and passion of the successful man gives meaning to the silence that threatens to engulf the world of art.
       The message Meneghetti has sought to transmit for decades through his OntoArte is his journey through myriad cultures, personalities and countries. For decades too, I have followed his exhibitions throughout the world. And I was particularly struck by the wonder of China. Nobody has ever given an exhibition such a deeply centred title that, in just three short words sums up all his thoughts, all his output - which is considerable - and his whole idea: Eidos of Life. Eidos, from the Greek : what causes a thing to be what it is, and without which it loses its meaning. We had to wait for China, that with its deep-rooted and immense culture - a reflection its enormous and unmatched capabilities - immediately realized that the light of the works of Meneghetti is the result of total and transparent contact with the creative “beyond” that is always here and now. Thus the word Life reveals all the meaning in the work of the Master: art as a quest for the different methods that life uses in creating new experience open to the living aesthete and especially in its essence the art of representing the true nature of each being.
       All of this can be transmitted to the rich Chinese culture thanks to the Hubei Province Museum, which deserves the deepest gratitude for the wonderful organization of this exhibition and the Anhui Museum and World Art Museum of the China Millennium Monument, where Meneghetti's journey in China will continue.
Barbara Bernabei
       Dircetor of Gallery of OntoArte of Trevi

       安东尼奥?梅内盖蒂是本体心理学的开创者，本体心理学以研究人的精神活动的原始动因，其中也包括对存在的认识为特点，促进人的自我实现为目标。它是继心理学的行为主义、精神分析和人本主义之后的新发展。
       梅内盖蒂认为，表现颓废、悲观、病态，而不教人文明、智慧和优雅的作品不是艺术，只有表现真善美、表现“存在”和生命意向的艺术才是真正的艺术。自20世纪70年代本体心理学诞生以来，他创作了大量的雕塑、建筑、绘画等本体艺术作品，以此来表现“本体自在”的美学境界。因此本体绘画不是纯粹的艺术作品，而是生命哲学的图式。
       梅内盖蒂早年受过良好的艺术训练，但在形式上，本体绘画与20世纪以来现代绘画非写实主义的潮流一致。但他以图像诠释本体哲学，则与其他现代绘画作品有明显的区别。这种“学者画”在当今西方绘画坛较为罕见。
       梅内盖蒂本人对中国文化有所涉猎，其作品有不少流露出中国文化的韵味。在他看来，无论东方西方有多少差异，追求健康的人生和生命的自我实现，在自身看到“存在”是完全一致的。这既是本体心理学的使命，也是本体艺术的目的。
       Foreword
Antonio Meneghetti is the founder of Ontopsychology, a branch of psychology that studies primitive causes of human mental activity – including understanding of “being” – and aims to promote self-realization of human beings. Ontopsychology marks a new development after behaviorism, psychoanalysis and humanistic psychology.
       Real art, as Meneghetti sees it, expresses the true, the good, the beautiful, and the meaning of “being” and life, rather than displaying corruption, pessimism and illness that go against human civilization, intelligence and elegance. Since his founding of Ontopsychology in the 1970s, Meneghetti has created a large number of OntoArte artworks of sculpture, architecture, painting, etc. that exhibit the aesthetics of “ontic in-itself”. Hence his OntoArte paintings are not pure artworks but the imagery of philosophy of life.
       Meneghetti was well trained early in his life in Western classical painting techniques, but in form, his OntoArte painting accords with the trends of modern non-representational painting which have started since the 20th century. His use of imagery to interpret Ontopsychology, however, distinguishes his works from other types of modern paintings. Such “scholarly paintings” is rare in the Western modern painting world.
       Meneghetti has interest in Chinese culture, and many of his works show elements of Chinese culture. To him, however different the Eastern and Western cultures are, they agree with each other in terms of the pursuit of a healthy life and the self-realization of life, and the perception of “being” in itself. That is not only the mission of Ontopsychology, but also the goal of OntoArte.
       一、形与神
       Form and Intentionality
       梅内盖蒂一直认为，进行绘画创作首先需要学习、实践和经年的练习。这是第一规则，除此之外，别无他径。梅内盖蒂向我们展示了他漫长的学习之路。并不仅仅是从早期艺术作品，即使在近期的作品中，掌握形象画的技巧对梅内盖蒂后来转入更高的、非形象画的创作是多么重要。
       艺术家成功地将透视法运用在非形象画中，给观赏者带来一定的视觉深度，将其带入到一个敞开的空间。
       Meneghetti has always maintained that to do this it is necessary to attend a school, learn, practice, and exercise for years. Obedience to this key rule is fundamental for an artist. Meneghetti shows his long learning process not only in his early artistic production but also in more recent works, as though he wanted to stress for the discerning observer the importance of mastering the figurative before leaping into the higher realms of the informal.   
       The Artist was able, also in the informal, to give the perspective that gives depth to the eye of the viewer, taking him into a dimensional window where his pleasure is afforded new spaces.
       二、色非色
       The colour that we see in painting is not just colour.
       不同组合颜色的最好方法不在于它成为表现现象的媒介，而是在于它能唤起对自身“光的流动”的反映。光是真正的画者。身处那一环境中的人则是美的评判者。
因为人们可以感知颜色，感觉到它的震颤，并从内在观看它，又由于还有灵感，于是就只有那些颜色或那个颜色能够最大程度地表达那一事物。于是，艺术家游戏于物体和光的关系，将它拆解，然后再用高于形式的、更概括的方式将它重新塑造。
       The optimal point of fusion among the different chromatic components is not something that mediates its phenomenic exposure but what recalls the “race of light” itself. Light is the true painter. And the human being in that context is its aesthetic criterion.
       As colour is felt, transmits vibrations and can be viewed inside, given an inspiration, the maximum event is reached only with those colours or with that single colour. Thus, by intervening in the relationship between object and light, the artist breaks light down, to reassemble it in a synthesis   that is superior in formal significance.
       三、生命之相
       Eidos of life
       艺术必须善于领会事物的因，必须善于领会形式的纯粹，之后再激活本能。对于人类的任何一个热爱生命的个体来说，艺术都是决定性的。它让那真正让我们喜悦、欣慰，是我们的灵魂和价值的地方，产生共振。
       Art must be able to grasp causality, the formal simplicity that activates the instinct;
Art is paramount for any human being with self-love, who loves life. It transmits vibrancy in that part where we are celebration, solace, soul, value, important, not only for ourselves but also for those who recognize us, who make us live who give us existence.
       四、禅境
       Vision of Zen
梅内盖蒂认为，黑色是光线用以描绘艺术秩序的方式，即用以突出白色的空间感。这是他喜欢的类型，他认为黑色形成的是本质的、无与伦比的画作。这里可以感到对禅这一学派的认知，
在召唤深刻禅文化的同时，这位艺术家并不想只是模仿东方国家，而是想简单地强调，艺术同生命的最终哲学紧密相联。
According to Meneghetti, blacks are the way light marks the orders of art: they are needed to enhance the spatiality of white. This is the genre that he prefers, defining them essential, absolute paintings. There is a clear feeling of knowledge of the Zen school,
In recalling the deep Zen culture, the Artist does not intend to encourage imitation of the East, but he just wants to stress how art is related to the ultimate philosophy of life.