【澳门微尼斯人手机版】探讨家摘录_美学家资源信息_雅昌新闻

江衡的艺术,让我想起了当代艺术和美学领域中一个引起激烈争论的话题:美的回归(return
of beauty)与美的滥用(abuse of beauty)。

江衡是中国卡通一代重要艺术家代表之一,他不在思考画面的所谓深度,在绘画语言上直接消解了油画语言的纯粹性和学院特征,故意以画广告、画卡通的视觉叙述切入社会生活。江衡主要是以青年人生活的梦想和期待来切入时尚风潮。

在经过了长达一个世纪的沉寂之后,美再次成为当代美学和艺术的重要话题。1993年,著名批评家希基(Dave
Hickey)宣布,在接下来的十年中,美将成为一个主导话题。[1]与希基的预言巧合的是,科马(Vitaly
Komar)和梅拉米德(Alexander
Melamid)在1994-1997年间实施的一个名为人民的选择(Peoples
Choice)的系列绘画项目。他们雇佣专业民调机构来调查人们对艺术的偏好,根据民意测验的数据绘出不同国家的人民最喜欢的绘画和最不喜欢的绘画,范围涉及亚洲、非洲、欧洲和美洲众多国家。科马和梅拉米德不仅绘出了不同国家的人民认为最美的艺术作品,而且还发现不同国家的人民在美的图像的评判上体现出了高度的一致性。一些美学家进一步认为,人类在美的评判上所体现出来的一致性,最终可以从人类的遗传基因或者集体无意识中找到根据,因为今天人们最喜欢的绘画是描绘东非那种散落树林的大草原的风景画,而这里正是早期人类进化发生的地方。

假如说,在大众传媒,在流行风潮,在都市时尚没有走进人们的家庭之时,人们的知识、信仰大多是和深度文化,是和英雄人物的坚苦卓绝之类的壮举相联系。而当大众传媒把消闲商业化,把趣味企业化,把人们的感觉享乐以最为科学和艺术的手法挖掘成为商业资源之时,人们的梦想便发生了实质性的变化:即他们崇拜的偶像便是流行时尚的弄潮儿,个人生活及至理想生活开始卡通化。

我不敢说中国艺术家江衡的创作受到了希基的预言的影响,就像我不敢说人民的选择项目是在希基的预言的指导下实施的那样,但是,我可以说,包括江衡、科马和梅拉米德在内的众多当代艺术家的创作,的确是希基的预言的实现。难道真的如波普尔(Karl
Popper)所说的那样,预言导致了预言的实现吗?

这正是江衡作品所关注的焦点。

希基为什么会做出如此惊人的预言?难道20世纪的艺术不是以丑著称吗?众所周知,纽曼(Bartnett
Newman)曾经直截了当地说:现代艺术的冲动,就是要摧毁美。[2] 杜布菲(Jean
Dubuffet)也曾坦率地说:对我来说,美从来没有进入画面。[3]现代艺术与美如此势不两立,希基凭什么说会出现美的回归?希基之所以做出美的回归的预言,不是因为他无视艺术不美的现实,而是刚好建立在艺术不美的现实的基础上。正因为长期以来艺术都不美了,现在该到了艺术呼唤美的回归的时候了。因为艺术界也有风水轮流转的规律,在美的长期统治之后会转向丑,在丑的长期统治之后会转向美。丑在艺术界的统治时间已经够长的了,因此该到了回归美的时候了。

――马钦忠(1997)

希基的预言遭到了丹托(Arthur
Danto)的激烈反对。丹托认为,今天的艺术界不仅无须美的回归,而且要警惕美的滥用。在丹托看来,世界上绝大多数艺术是不美的,美的生产也不是艺术的目的。[4]将审美之美(aesthetic
beauty)与一种更宽泛意义上的艺术的卓越性(artistic
excellence)区别开来极其重要,艺术的卓越性与审美之美根本无关。[5]艺术在根本上被视为是美的,这不是且从来就不是艺术的定数。[6]在丹托看来,20世纪艺术哲学的重要贡献,就是将美与艺术区别开来。

Jiang Heng is one of the important representative artists of Chinas
Cartoon Generation, he is no longer concerned with the so-called depth
of the image; in his artistic language, he has dispelled with the
homogenous language of oil painting and the characteristics of academic
painting. He has purposefully intervened in social life with his visual
representations in advertisement and cartoon style. Jiang Heng primarily
makes intersections into popular trends through the dreams and
expectations of young people.

丹托的反驳是不可信的,因为至少在某些历史阶段,艺术是美的,或者被人认为是美的。只要我们将埃及、希腊和罗马艺术比较一下,就能清楚地发现,希腊艺术是美的。包括黑格尔(G.W.F.
Hegel)在内的众多美学家,也认为艺术是美的。从总体上来看,美的艺术似乎更胜过丑的艺术。怎么能够因为艺术在20世纪的局部现象而无视美与艺术的密切关系呢?更何况20世纪的艺术已经够丑的了,根本就不担心会出现美的滥用现象。

澳门微尼斯人手机版,Hypothetically speaking, before mass media, popular trends, and urban
fashion entered the home, peoples knowledge and beliefs were related to
profound culture and the heroic undertakings of historical figures.
However, when mass media commercialized entertainment, made interests
into entrepreneurial opportunities, and turned peoples enjoyment into
business resources with its scientific and artistic approach, peoples
dreams underwent a fundamental change. The idols they looked up to were
now the pioneers of popular trends. Private lives or even the ideal life
began to be cartoon-ized.

20世纪的艺术为什么会出现抵制美的现象?从艺术史上来看,有可能就是因为此前的艺术太美了。从社会学上来看,人们需要通过丑的艺术来正视真实的人性,以便让人性发展得更为完善。舒斯特曼的这段话,很好地揭示了20世纪艺术之所以拒斥美的社会背景:

This is what Jiang Hengs works focus on.

到了20世纪,尤其是在经历了两次可怕的世界大战之后,艺术家开始对美和审美经验的作用和价值产生怀疑,因为能够给人提供美和令人愉快的审美经验的艺术,对于终止战争的丑恶毫无作为。最有文化的和在审美上最发达的欧洲国家,在战争中也是最邪恶的和最具破坏性的。那些在战争中毫无怜悯和同情心的人,正是在审美经验中被感动得潸然泪下的人。美和审美经验与文明社会的恐怖之间的合谋,使得艺术家们开始拒斥审美经验中的愉快情感。我将这种现象称之为美学的麻木化。[7]

――Ma qinzhong(1997)

20世纪艺术中的美学的麻木化现象,不仅体现在丑上,而且体现在非人性(inhuman)上。早在1913年,阿波利奈尔(G.
Apolinaire)就曾经说过:首要的是,艺术家是一群想要成为非人性的人。他们在孜孜不倦地追求非人性的踪迹。1925年,格塞特(O.
Gasset)做出这样的诊断:现代艺术的典型特征就是艺术的非人性化。梅洛庞蒂(M.
Merleau-Ponty)在1948年评论塞尚的绘画时指出,它揭示了人类栖居其上的非人性的自然基础。阿多诺(T.
Adorno)在他死后出版的《美学理论》中用其惯用的辩证风格断言,艺术只有诉诸非人性的追求才是忠于人性的。[8]

虽然江衡的艺术创作在不同阶段里呈现了完全不同的面貌,但有一点却是相同的,那就是他始终以流行文化与消费文化的方式切入艺术创作,并由此表达了相关的观念。用他自己的话说,他是希望突显出流行文化与消费文化所带来的巨大诱惑以及种种异化现象。

20世纪的艺术之所以拒斥美,原因在于要揭示非人性,之所以揭示非人性,原因在于要让人变得更人性。如同荀子的性恶论那样,目的不是弘扬人性中的恶,而是要正视进而彻底改变人性中的恶。也许丹托担心,如果让艺术去追求美,就有可能不能实现它的批判或者教化功能,因为人们为被作品中的美和由美引起的愉快情感所吸引,从而会削弱作品的批判力量。

最早使江衡出名的是90年代中期创作的《美女鱼系列》。在这一系列作品中,他常常是以带有妩媚表情与标准化风格的都市美女作为艺术品的主角,并试图将时尚化、虚拟化的生活方式加以波普化的艺术处理。结果不仅在很大程度上暗示了当代青年人特立独行与崇尚自我的生活状态,也充分暗示了西方文化、流行文化与消费文化对他们的巨大影响。这一点人们完全可以从画中美女的发式、衣着、肢体语言与化装样式中看出来。而围绕美女的小红鱼则以幽默、调侃的方式把年年有余的传统观念转变成了一种时尚因素。

然而,江衡的艺术却告诉我们,对于非人性的揭示,不一定非得求助于丑;通过美,同样也可以揭示非人性。江衡的作品多以美女为题材,然而所有美女都被转变成了非人性的卡通。人性的复杂、深度、恒久等特征,在江衡的卡通美女中已荡然无存,剩下的是浅表、瞬时、易碎等非人性特征。江衡作品中的美女不是现实生活中的美女,而是美的精灵或幽灵。

――鲁虹(2002)

如果说美也可以揭示非人性,进而让人变得更人性,那么丹托的顾虑就大可不必。因为问题的关键不完全在于作品的图象是美的还是丑的,还在于艺术家的态度是正的还是反的。如果我们将科马和梅拉米德的态度理解为正的或者严肃的,那么我们就可以将人民的选择当作艺术追求的真实目标,从而全面肯定他们所绘制的最喜欢的绘画所表现的美。如果我们将他们的态度理解为负的或者调侃的,那么我们就会获得完全相反的解读,认为他们完全是在嘲弄人民的选择,进而在揶揄那些作品所表现的美。

Albeit the different appearances shown throughtout Jiang Hengs artistic
career from different periods, one thing has been constant is his entry
to artistic creativity through popular culture and consumer culture, in
with which to convey relevant concepts. Using his own words, he likes to
highlight the irresistible lure and various kinds of phenomenon from
popular and consumer culture.

要充分理解江衡的作品,我们也需要弄清楚他的态度。在我看来,如果我们将作者的意图理解为负的或者调侃的,我们就可以获得更加丰富和深刻的内容。当然,这里可以不是艺术家的实际意图,而是读者所假设的意图。这种假设的意图是读者通过作品所推断出来的,而不是通过询问作者而获得的。[9]如果我们采取这种解读方式的话,那么我们可以说江衡的艺术在表面上支持的是美的回归,实际上可能支持的是美的滥用。

The early work Beauty-Fish created in the mid – 90s, was Jiang Hengs
earliest signature piece. In this series of paintings, he granted the
beautiful city girls the protagonists in this series, with flirtatious
facial expressions and standardized styles, in attempt to convey the
fashionable and fictional lifestyle from a pop art approach. As a
result, not only has it underscored the self-centered and self-reverent
lifestyle of the young generation, but also thoroughly underlined the
great impact of western culture, popular culture and consumer culture on
this generation. The works are coded with the beautiful girls hairstyle,
attire, body language and make-up. Moreover, the red fish circling
around the girl conveys the traditional idea of niannianyouyu (eternal
prosperity) transformed into a fashionable element with humor and
satire.

摘之《艺术家图像志江衡》

――Luhong(2002)

2008年10月26日于北京大学蔚秀园

世人所熟悉的江衡的艺术,便是他那几乎千篇一律的符号化的媚眼美女,她们傻笑着,做着各种符合世俗要求的媚态和表情,传递着一种或可称之为天真与美丽的性别信息。从某种意义来看,我觉得江衡的媚眼美女像是一句重复出现的反语,述说着与表面信息完全相反、甚至是相互抵触和冲突的内容。

The Restoration of Beauty or its Abuse? Thoughts provoked by Jiang
Hengs works

杨小彦(2007)

Peng Feng

Today, Jiang Hengs art people are familiar with is his repetitive
symbolized beautiful women gazing with flirtatious eyes, they smile
innocently, posing in various flirtatious poses and expressions that
satisfies the secular standard. They display this kind of so-called nave
and beautiful gendered information. To a certain extent, I think Jiang
Hengs women with flirtatious looks is a repetitive statement of sarcasm,
it conveys information contrasting with its superficial appearance, or
even of opposing and conflicting content.

Jiang Hengs art reminds me the provocative topic in contemporary art and
aesthetics: the return of beauty and the abuse of beauty.

―――Yang xiaoyan(2007)

After a silent century, beauty once again became an important topic in
contemporary art and aesthetics. In 1993, the acclaimed critic Dave
Hickey proclaimed that, in the next decade, aesthetics will become the
guiding topic. [10] As a coincidence to Hickeys prophecy, Vitaly Komar
and Alexander Melamid executed a painting series names Peoples Choice
between 1994-1997. They have hired professionals to survey the public on
their preference in art, and to map out peoples most enjoyable art and
least enjoyable art with the statistics collected from different
countries in Asia, Africa, Europe and the Americas. From which, Komar
and Melamid not only discovered what people thought as the most
beautiful artwork in different countries, but also the outstanding
similarity in their interpretation of the beautiful imagery. Some
aestheticians further theorized that the similarity in humans
interpretation of beauty could essentially find evidence in their DNA
and their collective subconscious, because the image people enjoyed the
most is the portrayal of the sparse wooded areas on the grassland of
eastern Africa, a place where early homo sapiens evolved.

实际上,江衡是90年代中期以中国广州为中心展开的卡通一代美术运动中最具代表性的艺术家。在中国美术史上甚至世界美术史上,将卡通或漫画、动漫等作为绘画体裁,甚至掀起以此为主体的美术运动还是首次。这次美术运动在中国南方广东省以广州为中心波澜不惊地开展时,正赶上以北京为中心的玩世现实主义
(Cynical Realism) 和波普艺术(Political
Pop)完满落幕的时候。这两场运动提倡的理念有着明显的不同。与前者反对官方主流的强烈要求相比,卡通一代则是一次寻找是什么给人们带来了影响、反省自身的成长历程,质询内部世界本质的航行。

I do not want to make the claim that Chinese artist Jiang Hengs
creativity is influenced by Hickeys prediction, just as I would not make
the claim that the project Peoples Choice was implemented under the same
prediction. However, I would agree, including Jiang Heng, Komar, Melamid
and many other contemporary artists creativity are indeed
implementations of Hickeys prophecy. Isnt it like what Karl Popper has
claimed, prediction cause it to come true?

—-李振铭(韩国2007)

Why did Hickey make such daring prediction? Hasnt the art of the 20th
century known for its ugliness? As many know, Bartnett Newman has
bluntly claimed, The impulse in contemporary art is to destroy beauty.
[11] So did Jean Dubuffet, For me, beauty has never enter the images.
[12] If contemporary art contradicts with beauty, then why would
Hickey predict the restoration of beauty? The reason for Hickeys
prediction is not grounded on his negligence on the lack of beauty in
art, in the contrary, his realization of it. Precisely because, art has
not been beautiful for a long time, it is time to call on its return.
The art world, like any other, follows a cyclical pattern. It turns to
gruesomeness after the long sovereignty of beauty, and would steer to
beauty after long dominance of ugliness. And since it has been ruling
the art world for a long time, it is time for the return of beauty.

As is widely known, Jiang Heng is a leading player of the
Guangzhou-based Cartoon Generation that dominated the Chinese art world
in the late 1990s. It was a rare phenomenon not just in China but the
entire world that cartoon or animation emerged as a major artistic
movement in painting. The movement began in Guangzhou, a city of
southern China, by the time when the Cynical Realism and Political Pop
in Beijing were nearing the end of their success. These two art
movements were running for different goals. The first was, for instance,
a powerful message for the outer worlds, social and political worlds,
whereas the second, Cartoon Generation, was a journey in which artists
were seeking after a question of identity concerning the questions, what
affected us and how we grow.

Hickeys prediction was fiercely attacked by Arthur Danto. Danto
believed, not only the art world today does not need the restoration of
beauty, but must be vigilant with the abuse of beauty. In Dantos view,
Most of the art in the world is not beautiful, and the fabrication of
beauty is also not the goal for art. [13] It is important to
distinguish aesthetic beauty from the general artistic excellence they
are two concepts without any fundamental relevance. [14] Art is
essentially considered beautiful, it isnt and has never been the destiny
of art. [15] In Dantos view, the most significant contribution of art
theory from the 20th century is the distinction of beauty and art.

―― Lee Jin-myung(Korea,2007)

Dantos refute is not credible, because, there were certain historical
period in which art was beautiful, or thought as beautiful. If we
compare Egyptian art, Greek art and Roman art, we realize, Greek art is
beautiful. Including many aestheticians like Hegel, who believed art is
beautiful. And overall, beautiful art overrides the ugly art. How could
one ignore the intimate relationship of beauty and art because of its
otherwise impartial phenomenon? Moreover, the art from the 20th century
is already ugly enough, and it is unnecessary to worry about the abuse
of beauty.

江衡所创作的《美女》系列作品,或者说江衡对我们时代文化的敏感及提升是以为时尚美女造像为切入点的。时尚正在成为我们这个时代的标志和面孔,而美女恰如是这一标志性面孔的表情。他通过具有广告的单纯、亮丽的色彩,又借用了中国传统年画和旧上海的月份牌画的平涂技法,将在商业文化影响下流行的时尚美女矫揉造作的姿态和暧昧矫饰心理状态直观地呈现出来,试图把当代中国正在兴起的消费社会中的时尚化、虚拟化生活加以典型化波普化地处理,用夸张的笔调具象地勾勒出这个时代物质与精神崇拜的生动且荒诞的情境,而戏谑的语言方式背后隐含的是他对当下生活的深刻关注以及严肃认真的反思。但他没有回到启蒙传统的老路上去展开批判,而是使用后现代主义的反讽手法进行戏谑和戏拟。有意模拟时尚流行文化的表征方式在于作者对当代中国过度膨胀的消费和时尚文化所进行的批判、质疑立场,尤其特别的是挪用了传统年画、国画中的吉祥图案作为画面的背景,强行拼贴出后现代与前现代文明的两种不同符号图式,于是作品进入到另一个层面–从当下现实的层面进入到一个历史的层面,这样,一个后现代的消费社会转向了一个前现代的乡土中国,从而凸现出当代中国巨大的文明落差,正是这种文明的巨大落差构成了江衡反思中国时尚消费文化的一个参照系。作品要表现的主题思想也集中于反思后现代主义式的消费时尚文化在这个时代的困境和荒诞性上。

Why art of the 20th century boycotted beauty? From the art historical
perspective, perhaps become the art proceeding it was too beautiful.
From a sociological perspective, people needed the gruesome art to
recognize the truth in human nature in order to ameliorate human nature.
The following paragraph by Richard Shusterman reveals the social context
in which art of the 20th century rejects aesthetics:

—冯博一(2003)

In the 20th century, especially having experience two horrid world wars,
artists began to become skeptical of the function and values of beauty
and aesthetic experience, because the art that provided beauty and
pleasant aesthetic experience was ineffective for stopping the war. The
most cultured and aesthetically developed European nations are also the
most evil and destructive. Those without any compassion and sympathy in
the war, are those moved to tears from aesthetic experiences. The
conspiracy of beauty and aesthetic experience with civilized society,
making the artists start to reject the enjoyable feelings found in
aesthetic experiences I am calling such phenomenon as, aesthetic
insensitisation. [16]

Jiang Hengs Femme Fatale series, or what we might call Jiang Hengs
sensitivity to and elevation of the cultural sphere, takes the Femme
Fatale as its point of entry. Fashion is becoming the symbol and the
face of this era, and Femme Fatale is just like the expression of this
symbolic face. He uses the simplicity and glamorous color of
advertisements, and also appropriates the flat smearing techniques of
traditional Chinese nianhua and the old Shanghai Calendar posters. He
directly showcases the affected posture of the fashionable women and
their illicit psychological state under the influence of commercial
culture. He attempts to stereotype the fashion and fictional life of the
consumer society that is swinging into action in China, or presented in
the style of pop art. Jiang applies an exaggerated painting style to
concretely outline the vivid and absurd sphere of the material and
spiritual obsession of this era. However, behind the satirical language,
we uncover his serious concern for and meticulous contemplation of our
present lives. However, he does not return to the traditional path of
criticism, but applies a postmodern satirical approach in order to
ridicule and mimic. His intentional mimicking of current popular culture
reveals his critique and the uncertain stance of over-inflated
consumption and trendy culture in China today. His appropriation of
auspicious motifs from traditional nianhua and Chinese paintings as the
background for his works forces together illustrative symbols of the
post-modern and pre-modern, allowing his works to be elevated to another
level from the present realistic level to a historical level. Therefore,
a post-modern consuming society shifts to a pre-modern folk Chinese
style. As a result, the huge disparity in Chinese culture today is
captured, and it is precisely this disparity that offers Jiang Heng a
system of reference in his contemplation of the consumption of popular
trends in Chinese culture. The central idea he attempts is to focus on
the reflection of post-modern consumption of popular culture, and the
confusion and absurdity of this time.

The phenomenon of aesthetic insensitization of art in the 20th century
was not only reflected through ugliness, but also on inhumanness. As
early as 1913, G. Apolinare has once said, Primarily, artists are a
group of people who want to become inhumane. They are persistently
pursuing traces of inhumanity. In 1925, O. Gasset has made such
diagnosis: the typical characteristic of contemporary art is to make art
inhumane. M. Merleau-Ponty had pointed out in 1948 in a criticism on
Cezannes painting that it has revealed, the inhumane natural foundation
where humans dwell. Theodore Adorno use his dialectical style in
Aesthetic Theory, published before his death, Only when art resorts to
the pursuit of inhumanity would it obey human nature. [17]

――Feng Boyi(2003)

The reason why art of the 20th century rejected beauty resides in its
revelation of inhumanity, and the reason accounts for that is in hoping
to make men more humane. Just as Xunzis theory of the sinful nature in
human, its goal was not to exemplify the perniciousness in human nature,
but to ameliorate it. Perhaps Dantos worry of allowing art to pursue
beauty, it might not be effective in its critical or didactic functions,
because people would be attracted by the beauty and the pleasant
emotions evoked, by which its critical strength would be diminished.

江衡的美女和鱼构成了一个词:美丽社会。在某种意义上,我把江衡的这批绘画看作是一个文本,一个虚构的文本。

Yet, Jiang Hengs art tells us, one does not necessarily have to resort
to ugliness in revealing inhumanity; through beauty, it is also
possible. Jiang Hengs art portrays mostly femme fatale, yet all of them
are transformed into inhumane comic figures. The characteristics such as
complexity, depth, and eternity of human nature can no longer be found
in Jiang Hengs comic figures of femme fatale, what is left are the
inhumane characteristics of superficiality, ephemeralty and fragility.
The femme fatales in Jiang Hengs art is not those of everyday life, but
the spirits or ghosts of beauty.

江衡的视觉具有一种神秘的灵异色彩,即画面好像一种亚洲资本主义走向极致后的乌托邦的显灵──纯粹的自由和纯粹的快乐,资本主义乌托邦所渴望的目标在亚洲新生代身上显灵了──就像电子写作和电子邮件所体现出的那种电子的灵性。

If beauty could also reveal inhumanity in order to make people more
humane, then Dantos worries were unnecessary. The key to the issue is
not to question whether the image was beautiful or not, but whether the
artists attitude is positive or not. If we consider Komar and Melamids
attitude as positive and serious, then we should consider Peoples
Project being the true goal of artistic pursuit, by which to recognize
the beauty portrayed in the most enjoyed paintings. If we consider their
attitude as negative or satirical, then our interpretation would be
entirely different, and consider they are ridiculing Peoples Choice,
that further derides the beauty portrayed in those works.

江衡的绘画就像在表达一种关于美丽社会的新月份牌经验:即试图通过一种美丽的入世景象示范一种赏心悦目的同时又简单明了的存在方式,重要的你不是想得太多,而是你不想就融入了那种快乐。

In order to fully understand Jiang Hengs work, we also need to figure
out his attitude. In my view, if we consider his intent as negative or
deriding, we would gain richer and deeper content. Of course, it might
not be the artists actual intent, but the audiences imagined intent.
This imagined intent is deducted through the audience interpretation,
rather than obtained through questioning the artist. [18] If we adopt
such method of interpretation, then we can claim that Jiang Hengs art
supports the restoration of beauty on the surface, but is in fact
exemplary of the abuse of beauty.

――朱其(2001)

摘之《艺术家图像志江衡》

Jiang Hengs visual works have a sort of mysterious character, his images
appear like an extreme capitalism transformed into utopia pure freedom
and bliss, the goal capitalist utopia longs for is realized in the new
generation in Asia like the flexibility of electronics in using a
computer and emails.

2008年10月26日于北京大学蔚秀园

Jiang Heng has portrayed a profound experience graphically without any
historical reference: a kind of happiness and beauty in absence or
emptiness. Those plump, happy, liberal, and unconventional new Asian
girls make you feel uncertain about which city or street they are from.
They are educated with the popular media of global capitalism; they use
products from the popular culture industry, and move in the same
cyberspace.

[1] Dave Hichey, Enter the Dragon: On the Vernacular of Beauty, in
Dave Hichey, The Invisible Dragon: Four Essays on Beauty (Los Angeles:
Art Issues Press, 1993), p. 11.

Jiang Hengs paintings are like expressions of the new calendar
experience of the beautiful society, he attempts to use a kind of
beautiful image of social involvement to demonstrate a pleasurable yet
simple way of existence, what is more important is not that you have
over analyzed it, but that you have already been assimilated into that
kind of happiness without being aware of it.

[2] Bartnett Newman, The Sublime is Now[1948], in Bartnett Newman,
Bartnett Newman: Selected Writings and Interviews (New York: Knopf,
1990), p. 172

――Zhu Qi(2001)

[3] Jean Dubuffet, Anticultural Positions, in Richard Roth and Susan
King Roth (eds.), Beauty is Nowhere: Ethical Issues in Art and Design
(Amsterdam: G+B Arts International, 1998), p.12.

江衡的作品充斥着消费时代和享乐主义的矫饰气息,那些极度华丽和感官性图像呈现的是主体亏空后的状态。

[4] Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of
Art (Peru, Ill.: Open Court, 2003), p. 88.

――黄专(2001)

[5] Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of
Art, p. 107.

江衡是老卡通一代了,说他老,不是年龄老,而是资格老。

[6] Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of
Art, p. 36.

上世纪90年代中期创作的《美女.鱼系列》。使他好评如潮,一举成名。其《满天星系列》,美女形象消失,物质商品形象铺陈画面。新创作的《散落的物品系列》,讨人喜欢的都市大美女回归画面中心,《满天星系列》中的枪、花朵、药丸只是带一点偶意的衬托在美女周围。评论家都着重他的新月份牌经验,避短扬长地消解油画语言的纯粹性和学院性,直接用擅长的广告手法绘制。艺术手法的观念表达与反思流行文化与消费的观念,在画面非常有效的达到一种思想的和谐和艺术的统一。这正是当代许多青年艺术家难以达到的,也是江衡独特的艺术价值之所在。

[7]
彭锋:《实用主义美学的新视野访舒斯特曼教授》,《哲学动态》2008年第1期。

―――-谭天(2007)

[8] 关于20世纪艺术追求非人性的引文,转引自Wolfgang Welsch, How can We
Get beyond Anthropocentrism? Gao Jianping and Wang Keping eds.,
Aesthetics and Culture: East and West (Hefei: Anhui Jiaoyu Press, 2006),
p. 472。

摘之上海艺术博览会青年艺术家推介展(亚洲)

[9] 关于实际的意图与假设的意图之间的区别,见J. Levinson, Intention and
Interpretation: A Last Look, in James O. Young ed., Aesthetics: Critical
Concepts in Philosophy (London: Routledge, 2005), Vol.2。

Jiang Heng is the old member of Cartoon Generation, and Old here does
not mean his age but his qualification.

[10] Dave Hichey, Enter the Dragon: On the Vernacular of Beauty, in
Dave Hichey, The Invisible Dragon: Four Essays on Beauty (Los Angeles:
Art Issues Press, 1993), p. 11.

His art work The Beauty.Fish created in mid 90s last century brought him
a lot of Praise and made him flash into fame. In the art pieceOpen
Herding, the beautiful girls disappeared, replaced by images of
substantial goods; in the newly created work Scattering Articles ,the
charming cosmopolitan beauties come back to the picture, surrounded by
pistols, flowers and pills previously presented in Open Herding with
some indications, Critics lay stress on hisNew Calendar Image
Experience, skillfully avoiding the absoluteness and academism of oil
painting language and drawing in an advertisement way which he is good
at..Through this, the concept expression of art manner and the
reflection on popular and consumer culture effectively achieve the
perfect harmony of thoughts and unification of art in the pictures.
However, this is so difficult for many contemporary emerging artists to
achieve, and is definitely what Jiang Hengs unique art value lies in..

[11] Bartnett Newman, The Sublime is Now[1948], in Bartnett Newman,
Bartnett Newman: Selected Writings and Interviews (New York: Knopf,
1990), p. 172

—— Tan Tian(2007)

[12] Jean Dubuffet, Anticultural Positions, in Richard Roth and Susan
King Roth (eds.), Beauty is Nowhere: Ethical Issues in Art and Design
(Amsterdam: G+B Arts International, 1998), p.12.

Shanghai Art fair Emerging Artists Exhibition(Asia)

[13] Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of
Art (Peru, Ill.: Open Court, 2003), p. 88.

看江衡的作品,很容易让人记起狄更斯《双城记》中的那些话:这是最好的时代,这是最糟的时代;这是理性的时代,这是疑迷的时代;这是信仰的时代,这是迷茫的时代;这是希望之春,这是失望之冬;人们面前拥有一切,人们面前一无所有;人们由此升入天堂,人们由此坠入地狱。

[14] Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of
Art, p. 107.

20世纪60与70年代,思想家对西方生活状态表示出了严重的关切,并提出过经典的批评,现在轮到了中国,在奔向现代工业化时,在城市化狂热进程中,艺术家发出的视觉声音,是对中国这种进程的回应与回音。