东方仕女图式的当代转换,用眼光质询存在

 绘画     |      2020-01-06

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  人物画、肖像画历来是视觉艺术景色中最佳惹人注目的片段,人类通过肉体会认知识世界,作为视觉对象和视觉表象的人身是人类照应俺进而照应世界的不二等秘书诀和方式,由今后生可畏都部队艺术史以至能够裁减为人物形象史,或许说是身体的野史。

画画理论家贡布里希有一句名言:美术是风流倜傥种运动,所以书法家的同情是看他要画的事物,实际不是画他看来的事物。在明日以此欲望喷涌和心得翻新的花销知识时期,贡布里希所揭破的准则是或不是还适用呢?假诺您去雕饰江衡的美女成千上万小说,大概会具有察觉。在他的图像学里,三个非正规的图像形态靓女跃然画面。更有意思的是,那些长相各异的玉女脸上,三个崛起的图像符号一以贯之:大得前言不搭后语比例的眼眸。这部分又风流洒脱对大双眼正凝视着什么?当您作为观众去凝视那后生可畏注视时,又会有啥种开掘?

  Figure paintings and portraitures have always been the most attractive elements in the visual arts, people learn about the world through the body. Body as a visual object and visual representation is an approach in which people reflect upon themselves and the world at large, therefore the history of art can often be condensed to the history of portraits, or history of the body.

The art theorist Gombrich has a famous saying that, Painting is an activity, so the artists tendency depends on what he wants to paint, rather than painting what he perceives. In todays overwhelming flux of desire and the ever-renewing experience of consumption culture, is Gombrichs principle still applicable? If one reflects upon Jiang Hengs series of femme fatale, perhaps one would find the unique image of the femme fatale. What is more interesting is, among the varying faces of these beautiful women, one symbol transgresses them is their disproportionate eyes. What are those big eyes staring at? To stare into such gaze as an observer, what would you discover?

  此中女人形象越来越一时视觉的症结,作为颇有无可争论象征意义的标识,在单纯的生理意义之外,女人被每每授予各类社会的、文化的涵义,因而无论是是神州仍旧西方,风华正茂部女子视觉形象史既是艺术形象变迁史,也是美学意识的流变史,当然照旧社会形象嬗变史,映照出社会及文化的海洋桑田。

作者觉着,大双眼作为三个标记性的图像符号,或者正是画画大师美貌的女人数不尽小说要画的东西!

  Amongst which, the female figure becomes the visual focus of any given time. With distinctive symbolic meaning, besides its physiological meaning, females have been assigned to various social and cultural significances. Whether in the West or in China, a visual history of female portraits is not only an developmental history of art, but also the transformation of aesthetic ideology. Of course, it is also the history of social evolution, reflecting the diversity of a given society and culture.

I believe, the big eyes are a remarkable symbol is perhaps what the artist want to paint in his femme fatale series.

  而在视觉艺术领域,作为视觉符号和言语的点子图式具有举足轻重的意义,它既传达了视觉效果和审美心思,同期也解说了其文化意义、传播了连带知识语境,能够说,确立图式和天性化、风格化具备同构功能。对每三个歌唱家来讲,艺术图式的作者确立可谓其最高追求。女子形象图式的探究是人物画的关键命题,众多书法家们为此而老大穷经。绵延千年的中夏族民共和国仕女画佳作迭出,为人类知识进献了广大精髓和传说,《洛神赋图》、《捣练图》、《簪花仕女图》等至此让今世人动容折腰。从明清帛画以前,仕女图式随着一代、文化的变通而变化:魏晋佛祖贤妇的高古风骚,西魏富贵人家的充盈闲适,宋元平民的细致丰裕,直到晋朝偶尔,文化的减弱表征为女人形象的薄弱、忧郁和纤瘦。由此到了19世纪末20世纪初,所谓守旧仕女画的内涵相对固定,宣扬女子倚风娇无力的阴柔、赢弱、幽郁之美,追求和平、宁静、含蓄的作风,所以削肩、丹凤眼、柳叶眉、长方型脸、车厘子小口的名媛成为古板仕女形象的正经图式。

我们都知晓,花费社会是一个中度视觉化的社会,看不仅是花费体验的大道,更是生活的列席申明。文化与视觉的涉及,在及时达成了划时期的合谋。好酒固然巷子深的时期一无往返了,独有这几个看得见并掀起眼球的东西,才有出乎意料的吸引力。法兰西动脑筋家德波所谓景色社会的断言已成现实。美眉的大双眼在看大家的还要约请大家去看。于是,看自个儿及其方式表现遂成为江衡版画的骨干宗旨。

  In the field of visual arts, the motif as visual symbols and language plays a pivotal role. It does not only achieve certain visual effects and satisfy aesthetic psychology, at the same time it explains the cultural significance and relevant cultural context entailed. In other words, to establish a motif and individual and stylistic elements are mutually effective. For each artist, to establish an artistic motif is considered his ultimate pursuit. The exploration of the female figure has been an important theme in portraiture. Many artists study the subject throughout their lives. The thousands of years of Chinese paintings on courtesan ladies have contributed a plethora of essence and legends to Chinese art. The Nymph of Luo River, Ladies Preparing Newly Woven Silk, Cout Ladies Wearing Flower Headdresses, are works still mesmerize the contemporaries. Since paintings on silk of the Han dynasty, paintings on courtesans have transformed with time and cultural transformation from being fluid and elegant wise women of the Wei and Jin dynasty, to the plumb nobles of the Tang dynasty, to the delicate and rich commoners of the Song and Yuan dynasty, to representation of cultural downfall with women portrayed as weak, melancholy and fragile. Therefore, at the end of the 19th century and beginning of the 20th century, the meaning of so-called traditional paintings on court ladies is relatively fixed, it exemplifies the feminine qualities of fragile beauty as gentle and exquisite, feeble, melancholic, soft, tranquil, and introverted. Therefore, the traditional courtesans are often portrayed with sloping shoulders, small eyes, thin eyebrows, slim faces, and tiny mouths.

As we know, the consumption society is a highly visual society, viewing is not only a way in which to experience consumption but a proof of existence. The relationship between culture and visual culture have reached unprecedented conspiracy in the present. The time of discovering a good drink in the deep alley has been long gone, what is before us are those in front of our eyes, emitting unimaginable power. The French philosopher Guy Debords so-called Social Landscape has became a reality. The femme fatales eyes while gazing at us invite us to stare back. Therefore, the act of viewing and its artistic representation became the basic top of Jiang Hengs paintings.

  在20世纪的历史进程和视觉文本中,女子形象成了颇有至关首要象征和突破意义的视觉符号,它与特性解放、观念解放、女人解放等核心紧凑相联,女性对自由和单身的呼叫呐喊成为一代最响亮最殷切的响声之生机勃勃,女性图式随之发生首要变化。建国后的革命水墨画中,根正苗红、不辞劳苦的铁姑娘是新时期美好女人的喉舌,在无产阶级文化大革命局动后的创痕美术、乡土现实主义、新古典主义等图案风尚中,女人多数被委以了性子化、人性化的精粹品格,何家英、王沂东、靳尚谊、杨飞云、陈逸飞等人的画里,女子形象美好而温柔。

明确,画画大师最关心看,但决不各类书法大师都自愿地把看自个儿作为展现对象。在江衡的多多雨后春笋画中,一再次出现身的名媛构成了一个贯穿性的号子原型,姑且称之靓妞体系。留意审视这一个女神,不免会被这多少个关于看的露出真理所感动。作者注意到,在江衡的玉女不知凡几小说中,多稀有一点点像瓷娃娃的各种女神,必定个个眼睛大得眩惑恐怖。这几个超过了常规比例的大双目,把视觉那个费用社会的最发急的感知体验方式,用意气风发种极端浮夸的情势呈现出来。不独有如此,透过那形色各异的视力和视野,花天酒地的种种视觉诱惑暗中传递出去。注意一下黑眼球的红眼病点处理,从模糊的圈子斑点(如《散落的物品36》卡塔尔,到附近咋舌号的反光(如《散落的货品54》State of Qatar,再到相符是窗框的映射(如《美貌的花儿2》卡塔尔,这两样的表明形式折射出眼睛对五洲的热望,映射出视野对生活万般奇妙的依依难舍。大家不由自己作主为那一个浮夸的眼睛所惊讶,为那多少个愿意的眼力所感召,为那些欲望化的眼光所迷魅。或者有理由说,美人之瞥不啻是叁个有关花费社会的视觉文化寓言。

  Throughout the historical development and visual archives of the 20th century, the female figure becomes the most symbolic and penetrating visual emblem. It is closely tied to the liberation of individualism, emancipation of conservative mentalities, and the emancipation of women. The womens scream for freedom and independence thus became the loudest sound of this era. Subsequently, the motif of women underwent significant transformation. The revolutionary art after the founding of the Peoples republic, the righteous, hardworking iron-women were representatives of the new era, in the scar art, folk realist art and new classical art after the Cultural Revolution, most women were portrayed with individualism, personal ideals and qualities. Among the paintings by He Jiaying, Wang Yidong, Jin Shangyi, Yang Feiyun, Chen Yifei and others, the female image is portrayed idyllically and moist.

Undoubtedly, the painter is most interested in viewing, yet now all painters consciously treat viewing as the object of representation. In Jiang Hengs numerous series, the reoccurring image of the femme fatale became the transgressing emblem, thus entitled the Femme Fatale Series. Examining these women in detail, we cannot help to be shocked by the naked truth about viewing. I noticed that Jiang Hengs femme fatale series are somewhat akin to the ceramic dolls, because their eyes are nevertheless scarily large. These usual proportions have displayed the most crucial sensation for this consumption society with the most exaggerated manner. Moreover, behind the plethora of gazes and stares, myriads of visual enticements sip out. Noted is the highlight of on the dark eyes, from the ambiguous round dot (in Scattered Object 36) to the reflection similar to an exclamation mark (in Scattered Object 54), or the seemingly reflection of the display window (Beautiful Flower 2). These ways of expression reflect the eyes desire to the wonders of this world, and the lingering visions on the enigmas of life. We cannot help but to feel appalled by those exaggerated eyes, drawn to those longing eyes, and attracted to the gazes of desire. Perhaps there is reason of these womens glance is a visual culture fable of the consumption society.

  90年间以来成本知识浩浩汤汤带给了新的股票总市值新的见地,物种类成为新文化的温床、母体、制约者和规训者,作为耗费知识观望者、陈说者、表现者的女人形象必然爆发首要转折和改换。敏感的视觉乐师们怎么勾勒大家时期的女人形象?只怕说现代外婆图式应该什么绘制?为时期女子画像,创建具有现代性的贵妇图式,是方法面前蒙受的非常重要挑衅,也是音乐家的基本点机会。

图蓬蓬勃勃,马格利特《虚假的镜子》(一九二九State of Qatar

  Since the 1990s, consumer culture has brought forth new values and new ideals. The materialistic system became the breading ground, nourishing body, restriction and regulator for the new culture. The female figure as the observer, narrator, player of the consumer culture, certainly would undergo drastic changes. How would the sensible visual artist portray the female figure of our time? In other words, how would one paint the image of the contemporary courtesan? To paint the portrait of the contemporary women in the style of courtesan women, yet without losing a sense of time, became the biggest challenge for artists, at the same time, it was also an important opportunity.

图二,江衡《蝴蝶飞飞》(2005卡塔尔(قطر‎

  在繁多品格迥异的作品中,音乐家江衡绘制了后生可畏份出其不意的视觉答卷。从90时代开头,江衡就努力埋首于现代玉女的编写,《靓女鱼》系列、《满天星》体系、《散落的物料》类别、《成本时期的风景》类别,平昔到二零一零年的《花蝴蝶》、《蝴蝶飞飞》类别,好看的女人,是画面一定的中坚。能够说,他是今世靓女图的赤血丹心的搜求者、创我。

此处,笔者想通过参考相比较两幅画来相比,从当中只怕大家能够解读出江衡大眼美人图的复杂性意味。风流浪漫幅能够比较的是比利时王国超现实主义美学家马格利特的《虚假的老花镜》(图意气风发卡塔尔国。在此画中,马格利特依附眼球的镜面反射,清晰重现出生龙活虎幅蓝天白云的忠诚情况。作为超现实主义乐师,此幅画只怕反映了记念中的梦幻之景,但却是以无比真实的本来风貌来表现,颇具个别假作真来真亦假的情致。反观江衡文章,比方《蝴蝶飞飞》(图二卡塔尔国,美丽的女孩子的眼力充满了惊叹,她在注视这些世界。不仅仅用本身的肉眼,况兼依赖火镜来审视那些世界,要把那么些世界看个领悟。要是说马格利特超现实主义的见地折射出的真诚风景是以反语情势的梦幻来表明的话,那么,在江衡的美眉这里,眼光却是中度梦幻地实在表达。换言之,美眉充任后生可畏种审美那一个充满了物欲的开销世界象征符号,逼真地展现出今日那个视觉文化时期的真谛:用肉眼去大量并花销这几个世界。这里,眼睛被中度象征化和浮夸化了。的确,只要对及时平时生活稍加打量就能意识,一切吸引人的东西首先表现为风景(spectacleState of Qatar。满世界都已经转变为形象,德波说得好:景象是由以下事实所产生的,即今世人完全成了观众。那就招致了花香鸟语在今世社会中的统治和强力。当公众水滴石穿于经常生活审美化的座谈时,叁个重要的实际情况在江衡的创作中被公布出来了,这正是明天的学识是豆蔻梢头种体验性的文化。体验的首要性措施便是视觉,眼睛不止打量着漫天,恰如画面上那美丽的女人中度象征性的眼力相近,更重视的是,大家还要依靠各个本事花招在视觉上开支这一知识,会聚透镜可是是各类数字本事、传播本领、视觉本事和费用技能的特性符号而已。于是,看这些本来最广泛的行为,以某种素不相识化的效应表现出来,它拆穿出在费用时期的视觉文化转变中,视觉欲望及其快感已升级为存在的铁证格局自身看故作者在。马格利特式的睡梦镜像已经远去,赏心悦指标女子本人作为视觉对象的大眼凝视,既是三个被表现的图像符号,又是二个呼吁观众步向视觉花费并分享视觉盛宴的约请。不但用眼睛去心得,更要用火镜生机勃勃类的手艺花招去放大要验。

  Among different styles, the artist Jiang Heng presents a visual answer much to our surprises. Since the 1990s, Jiang Heng has been painting the femme fatale of the present, Femme Fatale-Fish, Starry Night, Scattered Objects, Landscape of the Consumption Era, until the Butterfly, Fluttering Butterfly series of 2008, beautiful women has been the main character throughout. We can say, Hes an avid explorer and creator of contemporary paintings of beauty.

Here, I would like to make a comparison by referring to two paintings, from which we will perhaps decipher the complex meaning of Jiang Hengs images of femme fatale. One of the paintings is the Belgian surrealist painter Rene Magrittes The False Mirror (Image I), in this painting, Magritte used the reflection of the eye to represent the realistic image of white clouds in the blue sky. As as surrealist painter, perhaps this painting reveals the dreamlike view found in ones memory, yet are presented in its actual natural form, which can seem to have the somewhat tromp loeil effect. Looking back into Jiang Hengs paintings, Fluttering Butterfly (Image II), the gaze in his femme fatales is filled with curiosity, shes staring into this world. Not only with her won eyes, but uses a magnifying glasses to examine this world, because she wants to see the world with clarity. If Magrittes surrealist gaze reflect the actual view is a sarcastic approach to express imagination, then the gazes of Jiang Hengs femme fatale must be the true expression of utter imagination. In other words, femme fatale as a symbol of material desire of the consumption world, has vividly revealed the truth of todays visual culture: using ones eyes to wager and consume this society. Here, the eyes are highly exaggerated and symbolized. Indeed, with slightest attention to our everyday life, one would notice anything that is attractive is first shown as a spectacle. The entire world has been transformed to images, as Debord stated, the spectacle is caused by facts, in other words, people today are observers. This let to the spectacles monopoly and violence in contemporary society. As people are absorbed in the discussion of the everyday aesthetics, an important fact is revealed in Jiang Hengs work, that is, todays culture is an experiential culture. And the primary approach to experience is seeing, the eyes not only approximate everything, just as the symbolic gaze of these beautiful women, but most importantly, people need to appropriate various techniques to consume such culture visually. The magnifying glass is the representation of various digital technology, communication devices, visual technology and consumption methods. Therefore, viewing, the most common behavior is shown in a rather estranged effect, it displays the visual desire and its gratification has been augmented to ways in which to verify ones existence in the transformation of visual culture of the consumption era I see therefore I am. Magrittes dreamlike mirror is behind us, the beautiful women as the visual object, stares with their big eyes, are visual emblem represented, as well as the invitation to the viewers to enjoy such visual feast. Not only can one experience with their naked eyes, but also with the assistance of the magnifying glass to enlarge such experience.

  可是,江衡的漂亮的女子却全然打破了我们的视觉惯式和情感预期:华侈艳丽的背景上,大双眼小嘴巴的正经美女们鲜艳欲滴,丰满的身体和水草般丰茂的毛发显示出逼人的常青和明媚。与淑女相伴的是鱼、花朵、蝴蝶那么些古板仕女图中平日现身的意象,所以只是从难题上看,跟古板仕女图并无分别。在写作于二〇〇〇年的《费用时期的风光》之10中,以致现身了极其守旧的水墨意境。

从那之后,作者想说,画面上这一个大得怕人却又特别真实的美人眼睛,成为黄金时代种当下经历之文化的表示。美丽的女孩子及其眼光的双重性质赤裸地表现出来。作为观者,面对这画,我们实际上是在看那美眉看,凝视这雅观的女子的注视。一方面,美人是作为我们的镜像而留存;其他方面,大家在目送靓妹的注指标同一时候,也成为仙人凝视的镜像,此乃视觉文化的视界互文性的辩证法。谈起这里,我们越来越深厚地知道了梅鹿辄庞蒂的话:看正像贰个十字街头相符,是兼顾方面交汇遇合之点。大家所见和使之被见的东西,在存在之物上的这种进动,正是看本身。

  However, Jiang Hengs beautiful women have completely subverted our visual habits and psychological expectations: under the glamorous background, the standardized large eyes and small lips in women are bright, their voluptuous bodies and the seaweed-like hair are vivid beauties of youth. Accompanying the beauties are fish, flower, butterfly, images that often appear in traditional courtesan paintings. Therefore, thematically speaking, they are not much different from its traditional counterparts. In Landscape of Consumption Era X from 2003, one could even notice the realm attained in traditional ink painting.

Therefore, I would like to comment that the scarily large yet real eyes have became the cultural emblem to experience current culture. The dichotomous quality of the femme fatale and their gazes are presented literally. As a viewer, confronted with this painting, we are in fact viewing the gaze of this beauty and stare into her stare. On the one hand, these beautiful women exist as the image in the mirror; on the other hand, while we stare into their stares weve became the image in the mirror of their gaze, this is the dialectics of visual culture. It helps us to further understand Maurice Merleau-Pontys statement, Viewing is like being at the crossroad, it is where all directions meet. What people perceive and made seen, evolves above existence, is the act of viewing.

  不过,泾渭明显的间隔无独有偶出今后常娥的随身:江衡的玉女们美则美矣,却是无法经受的淑女,不止不富有温香软玉的慈悲质地,替代它的倒是一股严寒的、不可左近的机械的暗意、物的寓意。纵然斜眼媚笑,美丽的女生们滚圆的玻璃珠子般的眼睛里射出的依旧冷冰冰的光,她们的笑容约束而寒冷,好似不食尘世烟火,与画面鲜艳的糖果色调形成宏大的间距,三个冷冰冰一个伏暑。美女们即便青春无敌,但不可触摸不可能交谈,未有活跃的生命气息,正如《蝴蝶飞飞》中的花蝴蝶,纵然鲜艳却缺少活力贫乏生命,只好形成标本。

随着,我们来相比较此外意气风发幅画,即美利坚合众国Pope的代表人员维塞尔曼的《伟大的U.S.A.裸女第59号》。笔者不清楚江衡的红颜成千上万是不是境遇美利坚协作国Pope艺术的那位代表人物的启示。但相比较五个人的七种是余音袅袅的。风华正茂种类简单来说的相像不必重申了,比方美貌的女人不胜枚举这种创新意识本人。笔者感兴趣是之类开掘,在Wiesel曼的U.S.裸女系列画中,一向就不画眼睛,因此来卓绝地重申了仙女的轻薄特征;而在江衡的淑女数不胜数中(如图三《蝴蝶飞飞17》卡塔尔(قطر‎,性感的艳俗就像是被瓷娃娃式的玻璃效果间离了,但却凸现了美丽的女生的大双眼及其盛满欲望的视力。

  Yet, the obvious distinction resides in these beauties: Jiang Hengs femme fatales, although beautiful, are yet non-consumable, not only do they lack the warm quality of tame fragrance and preciousness, instead are replaced with the sense of unapproachable mechanical and material flavor. Even their flirtatious smirk, and what transmits from their round glassy eyes are still frigid stares, their smiles are reserved and cold, as if they are unworldly, which contrasts with the bright candy colors of these images. One is frigid, the other warm. Even though these beautiful women are youthful, but they are unreachable and cant communicate with, lacking any liveliness, just as the butterflies in Fluttering Butterfly, although bright in color, but lacks life, which can only be made into samples.

Then lets compare the other painting, the American Pop artist Tom Wesslemanns The Great American Nude 59. I am uncertain whether Jiang Hengs femme fatale series are influenced by this American Pop artist. Although the comparison of these two artists can be mesmerizing. Without mentioning the similarity of their series of works, in terms of their creativity. What interests me is that Wasslemanns Nude series have never painted the eyes onto the women, in order to emphasize the sexy characteristics of women; whereas in Jiang Hengs femme fatale (Fluttering Butterfly 17) the kitsch sexiness seem to be separated from the glassy effect of the ceramic-like dolls, yet highlights the big eyes and her desire filled gaze.

  是的,江衡的佳丽便是我们一代的标本,物质时代的肌体标本。现代知识对身体的重申到达前所未闻的珍重程度,肉体与阶级、身体与权力、身体的意义和政策一贯是关注火爆,但人体的身体化和社会化的机能被联合于费用社会的物化和欲望化,由此赏鉴性、身体性、细节性等视觉性特征询到前无先人后无来者的加剧。

图三,江衡《蝴蝶飞飞17》(二零零六卡塔尔

  Precisely, Jiang Hengs femme fatales are samples of our time, the body sample of a material era. The focus on the body in contemporary culture has reached an unprecedented height, body and class, body and power, the meaning of the body and strategy have always been the points of focus, but the physicality of the body and its social implications have been generalized as the materialized consumption society and our desire for it. For this reason, the decorative, physical, and details of visual characteristics are enforced.

图四,Wiesel曼《伟大的美利坚协作国裸女59号》(一九六三卡塔尔

  肉体是肉眼(目光、视觉卡塔尔关切的靶子,眼睛的含义当然主要。江衡美人最惊人的难为他们的眸子,它们被大写特写,大、圆、亮,大概是独具画面包车型客车骨干到处。创作于2005年的《新偶像一代――小编可以所以自身高兴》,其构图创新意识肖似于流传在网络上的佳丽自拍像,那豆蔻年华类照片因为用手提式有线电话机或相机自拍,对焦不许而平常变成画面包车型客车变形,江衡画面中的美人民代表大会头、尖脸,便是豆蔻年华副规范的网络大眼娃娃图。在《散落的物料》体系中,眼睛比例被越来越放大,有些乃至现身面临非人类的不适感。回想古板仕女画中眼睛多少个黑点、嘴唇三个红点、眉毛一条线的混淆面目轻松发掘,仕女图的图式已经发生骚动的浮动。

从油画守旧上说,中华夏族民共和国写生历来重申眼睛是传神写照之阿堵,所谓画龙不点睛的轶事是张弛有度的。Wiesel曼画女不点睛显著有其余的思索,恐怕是在他看来,那么些裸女已深陷到了只有身而还没心的境地了,由此作为心灵窗口的传神阿堵也就从未有过须要了,恐怕说,独有那红唇、乳头等标记,工夫备凸现好莱坞式性感特征高度象征意义,眼睛已落后为腹背之毛之物。江衡的仙人数不清文章反其道而行之,眼睛乃此连串小说最基本的图像符号。画女不但必点睛,何况以极度浮夸方式来点睛。性感的艳俗在江衡笔下的淑女这里已经不复是什么独特核心,他要抒发的恐怕是眼睛与世风的象征关系:那是叁个面对视觉统治的时期,生存的欢愉和阅世有赖于视觉的握住。由此,江衡的美人成千上万作品便越出了英式波普艺术的艳俗性感窠臼,切入多个现代文化的视觉宗旨:看的质询性。Wilde早已提议,占卜仿东西与见到相像东西全然区别。大家得以每日看世界,却有希望什么也尚无见到。江衡美眉点不清这瞪大的肉眼和持有穿透力的眼光,或者是在狐疑看自身,召唤看的临场,把看径直调换为看到。因为东西存在是因为大家看到它们,我们见到什么,大家怎么看到它,那是依影响大家的方法而决定的。(王尔韩文卡塔尔那不正是音乐家想要大家知道的真相吧?

  Body is where the eyes (gaze, visualize) focus, which certainly grant them unusual meanings. The ultimate attraction of these beautiful women are their eyes, they have been over emphasized, they are large, round and bright, occupying the centre attention of every image. The New Idol Time I am beautiful therefore I am Happy from 2007, compositionally resemble to the self-portrait photographs posted on the internet. Since these photos are usually taken with ones cellphone or camera, they can often be out of focus making the image rather distorted. The beautiful women in Jiang Hengs paintings usually have a large head, slim face, a typical cartoon picture found on the internet. In Scattered Objects, the proportion of the eyes are further magnified, some rather non-human characteristics can be uncomfortable. Looking at courtesan ladies in traditional paintings where their eyes are drawn with two black dots, lips as one red dot, and eyebrows as a line, and the undefined contour could tell us the composition for courtesan painting have undergone significant changes.

Speaking of traditional painting, Chinese paintings have always emphasized the key of passing on the spirit through the eyes, which explains not drawing the eyes to dragons. Wasslemanns women without eyes perhaps originate in other thinking, perhaps in his view, these nude women have became soulless bodies, therefore it is unnecessary to draw the window to their soul, or perhaps only the lips and nipple can best represent the sexual characteristics of Hollywood symbolism, and the eyes became dispensable. Jiang Hengs femme fatale series on the contrary, depict the eyes are its core emblem. It is not only a must to paint the women with eyes, but had to be done in the most exaggerated approach. The sexy kitsch is no longer a novelty under Jiang Hengs brush, what he would like to express is the symbolic relationship between the eyes and the world, where the world is in a visually dominated era, the joy of ones existence and experience relies on ones visual command. Hence, Jiang Hengs femme fatale series transcends the American Pop art kitsch art, but penetrates into the visual topic of modern culture: the inquest of viewing. Wang Erde has pointed out before that, to view an object is entirely different from having seen an object. We look at the world daily, but could have seen nothing at all. The big eyes in Jiang Hengs femme fatale series with piercing gazes is perhaps questioning the act of viewing, calling on the presence of viewing, transforming viewing from seeing. The objects existence is because we have seen them, what we see, how we see it, depends on the art influencing us. Isnt that the truth the artist would like us to know?

  批评家杨小彦把江衡的美眉们称作物欲偶像,美术师本人也撰写了名称叫《偶像时期》和《新偶像一代》的多如牛毛小说,可以看到风海瑞温斯顿丽的女生真的成了时期的偶像,但这种说法自个儿却余音袅袅、发人深思:是哪个人的偶像,是艺术家的,男子的只怕时期的?还恐怕有,是偶像被物欲化了,如故物欲被偶像化了,或然是物欲与偶像的同质与同构?

用作停止语,笔者想说,画面上那多少个浸透了看的伏乞力量的秋波,不断地在揆情度理和核算着观众的眼光,质询着大家:你是或不是感悟到消费时期的视觉体会的真理了?你是还是不是把看产生了见到?你是不是从看到中看看了看的反思性?一如Merlot庞蒂所言:对象在大家肉眼前面,消除并散发出它们的实业,它们一向理解我们的眼神,它们核算着大家的躯体与世风完成的一路协商。

  The critic Yang Xiaoyan calls Jiang Hengs femme fatale as Idols of Desire, and the artist has also created series of works entitled Idol Time, New Idol Time, in other words, these fashionable women have indeed became the idol of our time. However, such explanation conjures many meanings that prompt one to reflect: whose idols are they, the artists, the mens or that of the time? Has the idol been materialized, or the material desire is idolized, or do the material desire and idolization mutually feed into each other?

In summary, I would like to say that the gazes on the images soaked up with invitation constantly approximates and contests the viewers gaze, questioning us whether we have understood the truth from the visual experience of this consumption era? Whether you have transformed seeing to viewing? Have you witnessed the reflexive nature in viewing? As Merleau-Ponty stated, the object is below our eyes, that rejects and disperses their truth form, they question our gaze directly. They challenge the agreement we have reached with our body and this world.

  所谓偶像即当代人欲望的对象化,是个体欲望的更动和代替性满足。江衡的偶像美丽的女子该怎样归类?她们的艺术形象和社会形象怎样牢固?古板视觉文本中的女子形象大多分为精灵与妖女两类,前面三个是水滴石穿、温柔、贡献的化身,前面一个则是所谓致命的女子,赏心悦目无比而又非常冷残忍,是欲望诱惑的化身,唯美主义者笔头下的莎乐美就是那般三个独占鳌头。那么,江衡的佳丽归于哪个地方?她们是优秀人格的化身,依旧恶之花?鲜明,她们超级小概简单分类,她们是大家时代唯有的成本美貌的女人、花销偶像,是时代的衍生物。女孩们时尚、性感、漂亮,但空洞、冷傲、忧虑、以至心焦,那是今世人自己境况的照射,她们是开销知识狂喜时期自己心焦的时代症候、精气神疾患的投射和载体。

  The so-called idol is the object in which people today desire, it transposes and replaces ones desire. What would Jiang Hengs femme fatale categorize to? How would their artistic form and social image be defined? Among the female figures in traditional visual archive, it is usually categorized as angels and witches, the former is self-sufficient, gentle and a giver, where the latter is often the one who would take your life, although extremely beautiful, yet are frigid and senseless, embodying desire and attraction, Salome under the aesthetist is a typical example. So how should Jiang Hengs beautiful women be categorized? Are they embodiments of ideal individual qualities or the flower of evil? Obviously, they cannot be categorized simply, they are intrinsic femme fatale of our consumption era, idols of consumption, the byproduct of this era. The girls are fashionable, sexy, beautiful, but empty, indifferent, melancholic, or even anxious these are reflections of our own situation of our generation, they are the ailments of ones anxiety, psychosis, or carriers of a time of hyped consumer culture.

  风趣的是,作为卡通一代最初的参预者之大器晚成,江衡的淑女就好像来自童话中的不老仙境:从90年间最早,他的嫦娥们差不离严守原地,同样的大双眼小嘴巴粉浅浅莲灰的身体发肤细腻柔滑,吸重力还是、青春仍然。自古红颜如老马,不允许尘间见高大的老话在江衡的画里拿到最棒的浮现。

  What is interesting is, as a early participant of the cartoon generation, Jiang Hengs beautiful women seem to have originated from the eternal realm of fables: since the 1990s, his beautiful women have had little change, their eyes are big, lips are rosy and small, skin soft and glossy, attractive and youthful. The saying of the beautiful woman is like a noble general, who should not allow others to witness her age are best represented in Jiang Hengs paintings.

  由此,大家能够说,江衡的描绘是现代成年人童话的视觉版本:唯美的图像、美艳的农妇、永恒的后生,知足了人类的痴人说梦欲望,诗意的生活、纯真的年纪在视觉奇观中反复和复发,它们仿如能治愈顽固的疾病的药丸,温暖着陷入生活泥淖的中年人。

  Therefore, we can say that Jiang Hengs paintings are a visual representations of adult fables: aesthetically pleasing images, beautiful women, eternal beauty that satisfy peoples desire to image, the poetic life, and revisit the simple years through visual phenomenon. They seem to be able to cure chronic disease and provides warmth to those adults in dire conditions of life.

  倘使从色彩角度更是剖析特别风趣,糖果色是江衡使用成效最高的色系:深紫、粉蓝、浅湖蓝、橙黄,再增加书法家合意使用的平面平涂未有明暗的门道,营造了具有明显装饰意味的童话色彩。美貌的蝴蝶结、苹果、玫瑰、雪地靴平时出未来画里,它们既具有浓烈的性别意味,也是童话中平时利用的意象。由此,能够说,江衡有意或下意识创设了风流倜傥副洛Rita式的成长视觉童话。当然,是消费主义的童话,唯美并且欲望。

  It is even more interesting to analyze from the angle of colors applied. Candy colors are what Jiang Heng utilize the most: pink, baby blue, lemon, orange, plus the artists favorite flat colors without applying any techniques of dimensionality, to render the fable-like decorative effect. The beautiful butterfly bows, apple, roses, stilettos are often found on these images, they not only display strong gender implications, but motifs often used in fables. Therefore, Jiang Heng has created a fable for adults in Lolita style. Of course, the fable of consumption is both aesthetically pleasing and to be desired.

  即便书法大师以为本人已经给他的尤物打上了中华标记诸如金喜鱼、月份牌之类的意境,但江衡的佳丽总体依旧国际化的红颜,尤其是最早作品,Barbie娃娃和日本动画美女郎的黑影时常隐约可见。

  Even though the artist thought he has stamped Chinese symbolism to his femme fatale with goldfish, new-year calendars and etc, although Jiang Hengs beautiful women are international, especially in his earlier series, the likelihood of Barbie dolls and Japanese anime girls often appear in his composition.

  但近日的著述却早先表现东方代表,越发是《蝴蝶飞飞》种类,在秉持平素的唯美主义风格同一时间,画面空灵、寂静,带有醒目东方式的幽暗意味。画里的丽大家不仅仅头发从未来的新民主主义革命变回了花青,何况从机械美眉造成了生命力美貌的女人,她们会微笑,甚至含有娇嗔捣蛋的深意。风流罗曼蒂克幅幅嫦娥蝴蝶图神秘而悠久,于安静中表现浓艳,艳丽和清静获得统意气风发,展现出东方代表。至此,大家能够说,江衡的佳丽是东方仕女图式的现世发挥,在仕女画的长廊里,江衡的转变独出新裁,不可代替。当然,作为叁个兼有性格、创新力旺盛的音乐家,江衡视觉图式的嬗变及其美学价值值得中度期望和越来越关心。

  However, works from recent years began to showcase oriental flavors, especially in the Fluttering Butterfly series, while maintaining his aesthetic style, his imageries are void, tranquil with apparent oriental sense of calmness. The beautiful women in these painting have transformed from having red hair to dark hair, from the robotic beauty to being organic, they smile or even slightly naughty. Images of the beautiful women and butterflies are enigmatic and distant, the richness sips out from tranquility, where glamour and tranquility unites a true oriental flavor. For which we can claim that Jiang Hengs femme fatales are the modern expression of oriental courtesan motif, in the history of the painting on court ladies, Jiang Hengs transformation is unique and irreplaceable. Of course, as a stylistic and creative artist, Jiang Hengs evolution in visual motif and the elevation of aesthetic values awaits our future attention.

  摘之《音乐家图像志江衡》