用眼光质询存在,作为中国消费时代象征的美女和由美女象征的中国消费时代

 绘画     |      2020-01-07

生龙活虎,符号美术的新表示方向

图片 1

江衡以少年老成种特有的玉女画,呈出了和睦的个人风格。显出本人的个人风格是现代中华油画的风姿浪漫种出场格局。这一位风格的现世情势,从岳敏君、庞飞、张晓刚这里,形成了少年老成种固定套路,富含了三大特点,后生可畏,以意气风发种非具体的形制方式创设形象,正因为非现实,而能够发泄风姿洒脱种特有的私家符号;二,这一切实形象有所蛛丝马迹的象征性,正因为马迹蛛丝,轻便为大家释疑,为大众精晓,获得最佳的流传效果;三,那叁性子影象颇有配方式的复制性,配方杰出直陈式语义,复制能够不断地巩固成效。不要紧把那蓬蓬勃勃节晚会办会室法称为符号型艺术。邱加以其家庭照片变成了本人的家文化(鸠拙之家State of Qatar的私人民居房符号,何勇以其大批宣传画(配以花费符号卡塔尔(قطر‎变成了协调的政治戏讽的个人符号,曾梵志以其丑面丑身(丑讽之人卡塔尔国变成了协调政治丑讽的村办符号。江衡以相符准绳推出了协和的名媛符号,与张、王、岳的面向过去与当今的关联分歧,江衡的仙子符号呈出的是生机勃勃种今后与前程的关系,假如说,张、王、岳的议程首若是豆蔻梢头种文化/政治批判,那么,江衡的措施则是风姿浪漫种社会/文化批判。假设说张、王、岳的艺术批判更加多地是针着后生可畏种政治文化,那么,江衡的方式批判更加的多地照准着几日前的开支知识。从意气风发种更广泛角度看,那二种办法对于中华夏儿女民共和国社会转型的办法表明,都得以扩充多地点的辩驳读解,拥有甚多的论述空间。从美术历史上讲,对当下华夏成本知识的秘籍表现、艺术思想、艺术批判,是二个正值最初的趋势,当那意气风发主旋律在江衡小说中以好看的女人符号显示出来时,美术表明与学识内容的关联,获得了在画图上和在文化上的再一次推进。

图案理论家贡布里希有一句名言:美术是生龙活虎种运动,所以美术大师的帮助是看她要画的事物,实际不是画他看见的东西。在明天以此欲望喷涌和体会翻新的耗费知识时代,贡布里希所拆穿的规律是不是还适用呢?假诺你去斟酌江衡的仙人成千上万小说,只怕会全体开采。在他的图像学里,三个独特的图像形态美丽的女生跃然画面。更加有趣的是,这几个长相各异的淑女脸上,多少个凸起的图像符号一以贯之:大得驴唇马嘴比例的眸子。那某些又生机勃勃对大双眼正凝视着什么?当你充作观众去凝视那三只看见时,又会有什么种发掘?

I. New Direction for the Aesthetics of Symbolism

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?

Jiang Heng presents his individual style with the unique paintings of femme fatales. To present ones individual style is the approach in which contemporary Chinese art is revealed. Such individual style has became a fixed model followed by artists like Zhang Xiaogang, Wang Guangyi, Yue Minjun, encompassing three characteristics: one is to compose with non-realistic forms, through which ones unique individual emblem is revealed; two, the actual form has a comprehensible symbolism, and because its comprehensible, it is easy for experts and the public to understand, as a result to be well promulgated; three, such form has a formulaic approach for reproduction, the concoction highlights the narrative connotation , reproduction that reinforces its effect. Why dont we call such art as symbolic art. Zhang Xiaogang formed his personal symbol of family culture (the idle family) with family photos; Wang Guangyi found his personal symbol of political satire with big character posters (and symbols of consumption); Yue Minjun formed his personal political criticism with vilified figures. Similarly, Jiang Heng used the symbol of the femme fatale as his trademark, unlike Zhang Xiaogang, Wang Guangyi and Yue Minjuns exploration of the past and present, Jiang Hengs femme fatale presents the relationship between the present and the future. If the art of the Zhang Xiaogang, Wang Guangyi and Yue Minjun is a type of art/political criticism, then Jiang Hengs art is a criticism of culture and society. If the former focuses on political culture, then Jiang Hengs work focuses on todays consumption culture. From a broader perspective, both these approaches provide multiple theoretical interpretations on Chinas social transition, all of which offer rooms for interpretation. Art historically, it is the beginning of artistic representation, reflection, and criticism on the current consumer culture in China. Jiang Hengs symbols of femme fatale push forward artistic cultural representation in terms of artistic expression and cultural content.

本人认为,大双眼作为一个标记性的图像符号,或然正是艺术家美眉数不尽小说要画的事物!

二,文章俯拾即是的内在结构

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

江衡创设的漂亮的女子画,是花费时期的法子象征。它对团结创作三个多样的命名《花费时期的景点》,主体形象是美貌的女人与餐具,适逢其会优越了人类的三种为主的欲念:色与食。这里且不对这一花样好些个里的内含和代表进行深入分析,而要强调讲其从命名上卓绝了常娥与开销社会的联络。因而扩大看去,江衡不断推出的以玉女为大旨的小说俯拾正是:《美观的女孩子》种类、《美眉鱼》连串、《花季》连串、《墨紫》体系、《花蝴蝶》体系、《散落的货色》连串、《满天星》种类都是对开销社会的黄金时代种表现,都是透过美观的女子来言说以往的开支社会。而创作命名中的主词:美人、鱼、蝴蝶、花季、深青灰、物品都装有生龙活虎种紧凑的意思关联,那朝气蓬勃关联合共产党汇成八个含义之网,使漂亮的女子的含义在汇聚/扩散/弥漫/加强当那生龙活虎组组类别小说的对当今社会的成本与嫦娥的生机勃勃体关系有了风流浪漫种重申,有了风华正茂种精通,江衡的别的一些表面上看起来与好看的女人未有提到的触目皆是文章,《花布》类别、《流亡类别》、《玩物猪》类别也都是这种和那种格局与名媛不胜枚举关系了起来:《花布》种类中的基本成分,正是赏心悦指标女子成千上万中的基本因素,能够说是风流洒脱种有美丽的女生在镜头外的多种。《流亡》类别中的箭,是仙女成千上万中本有的元素,是仙女成千上万中的明喻;《流亡》类别中的虎,虽是女神数不清中从未的要素,却是赏心悦目标女孩子不知凡几中国和美利哥女作者所蕴藏的暗喻。由此可以预知,《流亡》连串正是美眉数不尽。《玩物猪》类别从影像、遭受、动作、用词,都暗喻着成本时期的名媛。由此显示,《玩物猪》体系便是玉女成千上万中国社会对女人的称呼,共和国先前时代称同志,改善开放后改为小姐、女士,现在公共场面现身得尤为多的词是美人。怎样掌握美人,构成了今世文化研商的贰个课题,还不是单独是知识商量的课题。

大家都知情,花费社会是三个可观视觉化的社会,看不独有是开支体验的平坦大路,更是生活的插手注明。文化与视觉的涉及,在立时完结了划时期的合谋。好酒就算巷子深的时日一无往返了,唯有那一个看得见并引发眼球的东西,才有不可思议的魅力。法兰西思想家德波所谓景象社会的断言已成现实。美眉的大双眼在看大家的同临时间邀约大家去看。于是,看本人及其艺术展现遂成为江衡美术的主干宗旨。

II. Internal Structure within the Artworks

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.

The femme fatales portrayed by Jiang Heng are artistic symbols of this consumption era. The title he has given to this series Landscape of the Consumption Era mainly depicts beautiful women and cutleries which highlights the two most basic desires: lust and food. Here, I am not going to analyze the meaning and symbolism of the two, but to focus on the title, and their associating with the femme fatale and consumption society. In this sense, Jiang Hengs work series continues to focus on femme fatale: Femme Fatale; Femme Fatal Fish, Blossom; Blue; Butterflies, Scattered Objects, Constellation and etc, are all representations of the consumption society, all reveal the todays consumption society through these beautiful women. Moreover, the keywords in these titles: femme fatale, fish, butterfly, blossom, blue, objects are all etymologically related. Such association weaves into a network of significance, allowing the meaning of the beautiful women to gather, disperse, filter and deepen. These series of works shows an emphasis and an understanding of the close relationship between consumption and beautiful women, even Jiang Hengs other series that are seemingly unrelated to beautiful women, Flower Pattern Fabric, Exile, Toy Pig can also be associated to beautiful women with the same approach: the basic elements in Flower Pattern Fabric are precisely those of the femme fatale series, it could be said as a series of beautiful women beyond the images. The arrows in Exile are the basic elements of the femme fatales allusions. Therefore, the Exile series can also be considered as part of the femme fatale series. The object, context, motions and language of the Toy Pig series all allude to the beautiful women of the consumption era. In other words, Toy Pig is also part of the femme fatale series The names given to women in Chinese society vary from the beginning of the founding of the republic of comrade, to miss, lady from the reform era, to beautiful woman now in public spaces. How to understand beautiful women became a topic of contemporary culture, or even beyond this realm.

必然,画画大师最关注看,但并不是每一种音乐家都自愿地把看小编作为表现对象。在江衡的好多层层画中,每每现身的仙人构成了一个贯穿性的标识原型,姑且称之美女体系。稳重审视这一个美眉,不免会被那四个关于看的外露真理所打动。小编在意到,在江衡的月宫仙子数不清小说中,多少有一点点像瓷娃娃的每一样女神,必定个个眼睛大得眩惑恐怖。那个超过了例行比例的大双眼,把视觉这几个花费社会的最要紧的感知体验方式,用豆蔻梢头种极端夸张的法子突显出来。不止如此,透过那形色各异的眼力和视野,醉生梦死的各个视觉诱惑暗中传送出去。注意一下黑眼球的眼弓蛔虫病点处理,从模糊的圈子斑点(如《散落的物料36》卡塔尔国,到相通惊叹号的反光(如《散落的货色54》卡塔尔,再到贴近是窗框的投射(如《美貌的花儿2》卡塔尔(قطر‎,那不豆蔻年华的表达情势折射出眼睛对环球的渴望,映射出视野对生活万般美妙的依恋。大家不禁为那么些浮夸的眸子所惊讶,为那么些愿意的眼神所感召,为那三个欲望化的观点所迷魅。只怕有理由说,美丽的女子之瞥不啻是八个关于费用社会的视觉文化寓言。

三,江衡作品的名媛特色

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.

III. Characteristics of Jiang Hengs Femme Fatale

图生机勃勃,马格利特《虚假的镜子》(壹玖贰陆卡塔尔

玉女的江衡小说的主导形象。这生机勃勃红颜的江衡特色能够用三点来归纳:

图二,江衡《蝴蝶飞飞》(二〇〇七卡塔尔(قطر‎

第生龙活虎,赏心悦指标女孩子形象的玩具性。江衡的红颜形象未有现实主义美术的赤诚,而具风姿罗曼蒂克种Barbie娃娃的玩具性,能够说是生机勃勃种Barbie娃娃的平面化。由于是玩具,可以根据卓绝实行形象,那后生可畏美眉能够杰出地反映在大眼晴上(大双眼美人既是天堂文化审美观满世界化的结果,也是中华文化审赏心悦目今世化的结果卡塔尔(قطر‎;由于是玩具,那意气风发月宫仙子的完美一直透出了面具性的假,面具性的美正在形成花费社会美观的女生的特色,面具性的美又正顺应于消费时期大批量涌现的佳丽的庐山面目目:玩具性。

此地,笔者想通过参谋相比两幅画来比较,从当中只怕大家能够解读出江衡大眼美丽的女生图的复杂性意味。后生可畏幅能够相比的是比利时王国超现实主义美学家马格利特的《虚假的镜子》(图风流洒脱State of Qatar。在这里幅画中,马格利特依靠眼球的镜面反射,清晰再次出现出意气风发幅蓝天白云的真实场景。作为超现实主义音乐大师,此幅画只怕反映了回想中的梦幻之景,但却是以非常真实的本来风貌来表现,颇具个别假作真来真亦假的情趣。反观江衡小说,比方《蝴蝶飞飞》(图二卡塔尔国,美眉的眼神充满了好奇,她在目送那一个世界。不止用本身的眼睛,并且依赖火镜来审视那一个世界,要把那一个世界看个通晓。倘使说马格利特超现实主义的见解折射出的真实风景是以反语情势的睡梦来发挥的话,那么,在江衡的红颜这里,眼光却是中度梦幻地实在表明。换言之,美丽的女子充作风流罗曼蒂克种审美那几个充满了物欲的开销世界象征符号,逼真地显示出明天以此视觉文化时期的真理:用眼睛去大批量并开支这几个世界。这里,眼睛被中度象征化和浮夸化了。的确,只要对当下平日生活稍加打量就能发觉,一切吸引人的事物首先表现为风景(spectacleState of Qatar。整个社会风气皆是转向为形象,德波说得好:景象是由以下事实所导致的,即现代人完全成了观众。这就以致了风光在现世社会中的统治和暴力。当群众发愤忘食于日常生活审美化的批评时,八个尤为重要的谜底在江衡的小说中被公布出来了,那便是后天的学问是生机勃勃种体验性的学问。体验的基本点措施便是视觉,眼睛不止打量着整个,恰如画面上那靓女中度象征性的眼神同样,更主要的是,大家还要注重种种本事花招在视觉上开支那风华正茂学问,火镜可是是各个数字手艺、传播技巧、视觉技艺和开销技巧的特点符号而已。于是,看这么些本来最广大的作为,以某种面生物化学的效用表现出来,它揭橥出在开销时代的视觉文化转变中,视觉欲望及其快感已升格为存在的明证情势自身看故小编在。马格利特式的梦乡镜像已经远去,美丽的女子本人作为视觉对象的大眼凝视,既是叁个被表现的图像符号,又是七个倡议观者步向视觉花费并享受视觉盛宴的特邀。不但用肉眼去体验,更要用凸透镜大器晚成类的才干手腕去放大要验。

The embellished forms of women in Jiang Hengs works can be summarized with three characteristics.

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.

First of all, the doll characteristics of the female figure. Jiang Hengs female figure does not conjure truth from realist art, but embodies that of the Barbie Dolls. In other words, transforming Barbie dolls in two-dimensional space. As a toy, it can be shaped according to ones will. It is ideally highlighted through her big eyes (the big eyes are not only the global aesthetics of western culture, but also the result of modernizing Chinese aesthetic taste); because it is a toy, the ideal of this beautiful woman directly reveals the falsehood of its masking nature. The beauty in masking is becoming the characteristic of women in the consumption society, moreover, the masking beauty is appropriate for the essence of the beautiful women in this society: its doll-like characteristic.

从那之后,作者想说,画面上那个大得骇人听闻却又特别真实的美人眼睛,成为少年老成种当下心得之文化的代表。美人及其眼光的重新性质赤裸地显现出来。作为观众,面临这画,我们实际是在看这好看的女人看,凝视那美人的瞩目。一方面,靓妹是当作我们的镜像而存在;另一面,我们在注视美丽的女生的注视的还要,也改为仙人凝视的镜像,此乃视觉文化的视野互文性的辩证法。说起此处,大家越来越深远地通晓了Merlot庞蒂的话:看正像三个十字街头同样,是具备地点交汇遇合之点。大家所见和使之被见的事物,在存在之物上的这种进动,正是看作者。

其次,雅观的女孩子形象的花费性。江衡的玉女,以风流浪漫种欲望对象的章程显示出来。那在五个体系《开销时期的风景》和《雅观的女生鱼》中专门妇孺皆知。在《花费时期的景象》中,漂亮的女子被停放在饮食的盘中,构成了色食相加,有一盘一女,有两盘两女,有三盘三女,还也可能有整个一排,还应该有多排群众体育这是美貌的女人的国宴,是耗费时期的私欲盛宴。那个对嘴唇举行强调的食盘好看的女人,优异了仙女之为食,那无头而高举大腿的女体,重申了无观念有人体的私欲,极其是那趴在盘中屁股高翘之体态,透出了欲望消费的延续串隐喻。假如说在《花费时代的柳绿桃红》中,是用食盘来暗喻美眉的可食性,那么在《漂亮的女子鱼》中,则用鱼来出色漂亮的女子既是花费欲望对象,又是开支欲望主体。鱼在炎黄知识中,是滋生的喻体,这里不要紧解读为美眉当做耗费商品在开销时期的景气。鱼在华夏文化中,也是孳生生命的行事表示,男女啪啪啪被喻为鱼水之欢,在《美眉鱼》体系中,漂亮的女子总是被献身于水中,而许多的鱼群在其周遭游动。而在花费时期,鱼,已经与人的孳生无关,而与由生命繁殖行为自身的快感有关,是欲望游戏和欲望快感的象征。被鱼包围的佳丽,在生机勃勃幅幅不朝气蓬勃的油画中,显出了五颜六色的神情,特别是那一眼闭一眼睁显出的媚态,优秀了仙女不仅仅是花销场中的费用对象,也是步入耗费场中的欲望主体。主体/对象/费用/欲望,明白了那多少个基本点词,美人形象的玩具性中的美而假和假而美的开销意义和一代意义才透了出去。

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.

Secondly, it is the consumability of the female figure. Jiang Hengs femme fatales are displayed in a fashion of the desired object. It is especially conspicuous in the series of Landscape of the Consumption Era and Femme Fatale Fish. In Landscape of the Consumption Era, the beautiful women are placed in on plates, mixing lust and food. Some are one woman on a single plate, others show two women on two plates, and so on so forth - it is a feast of women, a feast of desire in an era of consumption. Those femme fatales highlighted lips shows her edible nature, and her headless body and raised legs emphasize a mindless yet physical desire, especially those pose with hips raised up high - a display of multiple metaphors in the consumption of desires. Similarly, Femme Fatale Fish uses fish as the object of consumption, as well as being the main body of consumption. Fish in Chinese culture is symbolic of reproduction, marriage of men and women is known as the happiness of fish in water. In the Femme Fatale Fish series, the beautiful women are often placed in water, and numerous fish swim around it. However, in the consumption era, fish is already irrelevant to the reproduction of men, but related to the satisfaction of the act of mating, symbolizing games and satisfaction of ones desire. The women surrounded by fish have shown varying expressions on different paintings, especially her flirtatious look of the winking eye, underlines that beautiful women are not only the object of consumption, but also the main body of those who consume. Once one understands the meaning of the subject/object/consumption/desire, could the meaning of consumption and the meaning of this era found in the false beauty of these women become apparent.

随之,大家来比较别的豆蔻年华幅画,即美利哥Pope的表示人员Wiesel曼的《伟大的美利坚联邦合众国裸女第59号》。作者不了解江衡的仙子看不完是还是不是受到美利哥波普艺术的那位代表职员的启示。但相比较三人的多元是远大的。风流洒脱多种综上可得的相符不必重申了,比方美眉点不清这种创新意识自身。笔者感兴趣是之类开掘,在Wiesel曼的花旗国裸女体系画中,向来就不画眼睛,因此来卓越地强调了月宫仙子的罗曼蒂克特征;而在江衡的美女不知凡几中(如图三《蝴蝶飞飞17》卡塔尔,性感的艳俗就好像被瓷娃娃式的玻璃效果间离了,但却凸现了仙女的大双眼及其盛满欲望的眼神。

其三,雅观的女孩子修饰的深意性。从《花费时期的山水》中的食盘和《靓女鱼》中的鱼,优质了江衡把常娥放置进的条件,有着观念的深意性。从那大器晚成角度看,美貌的女孩子画中的境遇不是常常的情状,而是对美貌的女生举行定义的条件,严苛地讲,美眉形象本人不是写实主义的,进而靓妹画中的情状不应叫做遭受,而是对红颜进行加强宗旨的装饰性成分。而这个装饰性亦不是即兴所至、随意画出,而是精心布署、定身构建的。顺着靓妞大旨体系意气风发大器晚成看去,对美丽的女人进行修饰的因素意气风发风度翩翩地球表面现出来,而那个要素在《花布》连串中获得了汇总的反映:金鲫鱼类、苹果、花朵、蝴蝶、大腿、布鞋、药丸、飞机、手枪这么些要素都以美人形象中一个地点的显示,那一个元素都有狠抓的文化史和美学史的内涵,花销时期靓妹的表征通过那么些形象化的要素而收获了越来越变现。那一个成分,当其独自地与美丽的女人合作现身时,非凡花费时代美眉的某一方面包车型地铁意思,当其成组地与名媛协作现身时,暗喻着花费时代靓妹多地点的纵横交错剧情。且让我们对月宫仙子的修饰性元素举办非常读解。

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.

Thirdly, the metaphorical meaning of these beautiful women. The plates in Landscape of Consumption Era and the fish in Femme Fatale Fish highlights the context in which the beauties appear inform us the metaphorical meaning in the artists thinking. Form this view, the context is that in which defines the beauties, strictly speaking, since these figures are not realist portraits, therefore, the context should not be referred to their context, but the decorative elements to reinforce the ideas behind these women. These decorative elements are not done at ones will, but purposefully contemplated. As we look through the femme fatale series, and as these elements unfold, eventually they were gathered in the series of Flower Pattern Fabric: goldfish, apple, flower, butterfly, legs, stilettos, pills, airplane, hand gun each symbolize one aspect of the femme fatale, which are all rich in meanings from a culture and art historical point of view. Furthermore, the characteristics of beautiful women of the consumption era are further displayed. These elements, when each accompanies a beauty, they imply the multiple complexities of women of this era. Let us examine the decorative elements for these femme fatale.

图三,江衡《蝴蝶飞飞17》(2009State of Qatar

四 美人塑型中的成分喻体

图四,Wiesel曼《伟大的U.S.A.裸女59号》(1962卡塔尔(قطر‎

在月宫仙子的非常重要成分中,每一成分都包涵着复杂的内容

从油画古板上说,中华夏族民共和国美术历来重申眼睛是传神写照之阿堵,所谓画龙不点睛的好玩的事是心中有数的。Wiesel曼画女不点睛显明有别的的伪造,可能是在他看来,这个裸女已沦为到了唯有身而并未有心的程度了,由此作为心灵窗口的传神阿堵也就从未要求了,可能说,独有那红唇、乳头等标识,技能有凸现好莱坞式性感特征中度象征意义,眼睛已向下为无足轻重之物。江衡的美丽的女孩子数不尽作品反其道而行之,眼睛乃此类别文章最大旨的图像符号。画女不但必点睛,並且以特别浮夸情势来点睛。性感的艳俗在江衡笔头下的仙子这里已经不再是哪些独特主旨,他要发挥的或是是双眼与社会风气的意味关系:那是贰个遭遇视觉统治的时代,生存的高兴和经验有赖于视觉的把握。由此,江衡的佳丽数不完文章便越出了英式Pope艺术的艳俗性感窠臼,切入叁个今世知识的视觉主旨:看的质询性。Wilde早就建议,看无差距东西与看到同样东西全然分裂。大家能够任何时候看世界,却有异常的大概率什么也从未看到。江衡美人数不尽那瞪大的肉眼和富有穿透力的目光,或者是在疑心看自身,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,大家看到什么,大家怎么着看到它,那是依影响我们的不二等秘书诀而调整的。(王尔德语卡塔尔(قطر‎这不正是美术师想要我们领略的庐山面目目啊?

鱼:在华夏文化中是性欲望和性高兴的隐喻;

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?

苹果:在古The Republic of Greece便是与女人和由女子而孳生的烽火轶事;

作为甘休语,笔者想说,画面上那多少个浸透了看的央浼力量的目光,不断地在打量和核实着客官的眼神,质询着大家:你是或不是感悟到开支时期的视觉体验的真理了?你是否把看造成了见到?你是不是从见到中观望了看的反思性?一如梅露汁庞蒂所言:对象在大家肉近来面,杀绝并散发出它们的实业,它们一贯询问大家的眼光,它们核实着我们的人体与世风完成的一块儿商量。

繁花:在每一文化中,都以美人民美术书局色的明喻;

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.

胡蝶:既是女神(花蝴蝶卡塔尔又是追求美貌的女人(蝴蝶采花卡塔尔;

腿部和工装鞋:是当代都市的新型象征,又是今世城阙的私欲符号;

药丸:意味着花费时期的欲望激情,象征着花费时期的新星病态,欲望和新星须要药丸来鼓励、来麻醉、来治病;

手枪:依据形象的切切实实感受,是激发,是高危、是已逝去激情、危急、长逝,就是与费用时代的外在繁华共同繁荣共存在的;在精气神儿深入分析的论争里,是男人生殖器的象征,与欲望、力量、射击、穿透有内容涉及在联合签名。

飞机:在精神分析理论中,也是男子生殖器的表示,与高升、坚硬、飞翔、穿透相关,又与欲望、中度、飘荡、迷醉相联。

在《花布》类别里没有现身,而在其在美眉点不清中现身的基本点成分:箭,与意义与手枪内容千篇生机勃勃律而花样不一致,方式不一致在于一古生机勃勃今,而那又适逢其会表明在欲望中,激情、危急、受到损害、驾鹤归西古今形似。

总的来说,鱼、苹果、花朵、蝴蝶、大腿、马丁靴、药丸、飞箭、手枪、飞机与美丽的女生联在同步现身时,既是美丽的女人所在的意况即成本时代的属性,又是在花费时期条件中的赏心悦指标女孩子的质量,便是在此一意思上,江衡的仙人画,具备了大器晚成种互渗性:既成为中国花费年代意味着的玉女,又成为由美眉象征的华夏花销时期。从那生龙活虎角度看,能够想到到江衡的月宫仙子为什么要以玩具的影象现身,也能够想到,为啥玩具型的佳丽能够引起现代观者的共识。

IV. The Metaphorical Elements in the Femme Fatale Composition

Every element in forming the femme fatale conjures complex meaning.

Fish: alludes to sexual desire and satisfaction in Chinese culture.

Apple: symbolize female and the classic war stories caused by women in ancient Greek history.

Flower: symbolizes beauty and glamour in every culture.

Butterfly: not only implies beautiful women (colorful butterfly), but also the pursuit of beautiful women (butterfly resting on flowers)

Legs and stilettos: fashion symbols of modern cities, as well as symbols of desire in modern cities.

Pills: symbolize the stimulant for desire in the consumption era, the fashionable ailment in such era, desires and fashion requires pills to stimulate, numb and cure.

Hand gun: the realistic reaction to this object is stimulation, danger, and death which also coexist with the external glamour of consumption era; in a spiritual analysis, it symbolizes the male reproductive organ, which is related to desire, power, ejaculation and penetration.

Airplane: Psychoanalytically, it also symbolizes the male reproductive organ, related to erection, hard-on, flying, penetration, but is also related to desire, height, drifting and inebriation.

Not found in the Flower Pattern Fabric, but a main element in the femme fatale series, the arrow, is similar in content with handgun but different in form, the former is found from the past, whereas the latter is a modern object. At the same time, it exemplifies that stimulation, danger, injuries, death have been the same throughout history.

In sum, fish, apple, flower, butterfly, legs, stilettos, pills, arrows, hand guns, air planes placed with beautiful women do not only create a context for these beauties, but also defines the nature of the consumption era, moreover, defines the nature of the beauties. For this reason, Jiang Hengs paintings of beautiful women are mutually effective: portraying the beauties symbolizing Chinas consumption era, and depicting Chinas consumption era with these women. From this view, one can understand why Jiang Hengs women are portrayed as dolls, as well as how such form is accessible to the modern public.

五 从点子角度看江衡的仙子塑型

江衡的红颜塑型是独出机杼的,但那风流浪漫独创的方法是非独创的。后边讲了,这生机勃勃神州现代绘画叁个共有的现象,也讲了那一创作方式的三大特色,风度翩翩,非实际的样子方式;二,形象的象征性;三,配情势的复制性。作者想,江衡型美女的优点与劣势,大致都与这一方法有关,要讲清那点,则是另叁个与文化史和美术史有深根固柢关系的更加大的故事了。

V. Looking at Jiang Hengs Femme Fatales Composition Artistically

Jiang Hengs composition of femme fatale is unique, however, the approach to this uniqueness is not original. As I have mentioned before, it is a common phenomenon in contemporary Chinese art, as well as the three main characteristics of creative approaches: the non-realist composition; the symbolism of the object; and the formulaic reproducibility. I think the strength and weaknesses of Jiang Hengs femme fatale are both related to this approach, what needs to be clarified however is, the other complex story related to culture and art history.

摘之《歌唱家图像志江衡》