《奇迹之境——艺术家手作书》
 The Wonderland of Artist’s Books

开本：215mm×280mm
重量：1840g
时间：2024年
客户：江苏凤凰美术出版社

Size: 215mm×280mm
Weight: 1,840g
Year: 2024
Client: Jiangsu Phoenix Fine Arts Publishing Ltd.

如果用尽量简单的词汇描述艺术家手作书，那么它应该是“可翻阅的艺术品”。因为它的阅读性和分享性，应将艺术家手作书归类为书，以区别于其他艺术作品。艺术品的属性又赋予其延展性和互动性。

If to describe artist’s books in the simplest terms, we may consider “readable artworks”. Due to their readability and shareability, artist’s books ought to be classified as books, thereby distinguishing themselves from other works of art; meanwhile, their other attribute of being an artwork also endows them with extensibility and interactivity.

该书是2020年出版的《书之极》的续篇，书名为《奇迹之境：艺术家手作书》。翻阅书籍的柔软触感，像抚触丝绸带来的丝滑。封面图像选自书中的一件艺术家作品，一只手一把手术刀，体现了“手作”的概念。我时常感慨做书的过程就像医生做解剖手术一般，剖析书中的每一处细节，并努力寻找一个合乎的叙事逻辑，构建起一个清晰的阅读框架。开篇的扉页、序言、目录均以银色油墨印刷在60g黑色纸上，呈现出一种整体感。书中介绍的50本艺术家手作书根据不同的体量进行富有节奏的编排，犹如一个跃然纸上的展览。书与书之间用黑色薄纸间隔，以便于检索。50本手作书的介绍印刷在35g薄纸上，以单页的形式轻松地夹在所在黑色页面上。这些散落的超薄页面也源于我翻阅这些艺术家手作书的真实体验而迸发出的创作灵感。

As a sequel to The Codices of the Masters (published in 2020), this book is titled The Wonderland of Artist’s Books. The soft texture of the pages feels as smooth as silk. The cover image, selected from one of the artworks in the book, shows a hand holding a scalpel, embodying the concept of “handmade”. I often reflect on how creating a book is akin to a surgeon performing a dissection, as we need to meticulously analyze every detail within the book and strive to find a coherent narrative logic for a clear reading framework. The title page, preface, and table of contents are all printed in silver ink on 60g black paper, forming a sense of unity. The 50 artist’s books introduced this time are arranged rhythmically based on their sizes, resembling a real exhibition on paper. Thin black sheets are used as separators between the books for easy reference. The introduction to each book (printed on 35g thin paper), is attached independently to the corresponding black page. Such a loose-leaf design also derives from my real experience of flipping through these artist’s books.

书籍的封底以插图的形式表现，源于书中的第50本艺术家手作书《书之爱》的插图元素。封底的插图与封面的摄影，两种艺术创作语言形成对比，封面的黑与封底的白亦构成一个黑白的立体空间。

The back cover features an illustration inspired by the 50th artist’s book Philobiblon. The illustration contrasts with the photography on the front cover, as they stand for two different artistic creation languages. Besides, the black and white backgrounds respectively of the front and back covers also create a three-dimensional black-and-white space.