东部仕女图式的现代退换――评江衡画作

It is easy to be reminded of the opening words in Charles Dickens Tales
of Two Cities when looking at Jiang Hengs paintings, IT WAS the best of
times, it was the worst of times, it was the age of wisdom, it was the
age of foolishness, it was the epoch of belief, it was the epoch of
incredulity, it was the season of Light, it was the season of Darkness,
it was the spring of hope, it was the winter of despair, we had
everything before us, we had nothing before us, we were all going direct
to Heaven, we were all going direct the other way.

  倘若从色彩角度进一步分析更为有趣,糖果色是江衡使用频率最高的色系:粉红、粉蓝、柠檬黄、橙黄,再加上画家喜欢采用的平面平涂没有明暗的技法,营造了具有强烈装饰意味的童话色彩。漂亮的蝴蝶结、苹果、玫瑰、高跟鞋经常出现在画里,它们既具有浓烈的性别意味,也是童话中经常采用的意象。因此,可以说,江衡有意或无意营造了一副洛丽塔式的成人视觉童话。当然,是消费主义的童话,唯美而且欲望。

可以预期的是,过了2008,仍然是消费主义的时代,仍然是感官主义的时代,但是美女们在未来,是否还如江衡现在表述的那样,温情而媚眼,可能是一个值得警惕的提问。

  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.

In the 60s and 70s, thinkers showed great interesting in Western life,
and have raised classic criticisms. And now its Chinas turn, as it
surges towards modern industrialization, in the process of fervent
urbanization, the visual sounds emit by the artist are response and
echoes to such progress in China.

  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.

Visual sounds emitted like a sociologist

  但近年来的作品却开始呈现东方意味,尤其是《蝴蝶飞飞》系列,在秉持一贯的唯美主义风格同时,画面空灵、宁静,带有明显东方式的静谧意味。画里的美人们不仅头发从以往的红色变回了黑色,而且从机械美人变成了生机美人,她们会微笑,甚至带有娇嗔调皮的味道。一幅幅美人蝴蝶图神秘而悠远,于安静中呈现浓艳,艳丽和寂静得到统一,呈现出东方意味。至此,我们可以说,江衡的美人是东方仕女图式的当代表述,在仕女画的长廊里,江衡的转换独树一帜,不可替代。当然,作为一个独具个性、创造力旺盛的艺术家,江衡视觉图式的嬗变及其美学价值值得高度期待和进一步关注。

It is a common approach to allegorize for other emotions and interests
through portraying the scenes of the everyday, it is also arts unique
channel to intervene in society.

  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.

His works adopt a literal approach to satirize the current relationship
between men and society, art and artist that in my view can be both
documentary and an overview. It is a time when the spectacle of
representing the object and the artists mysterious impulse naturally
comes together and merge.

  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.

Today, objects are ominous, moreover, it essentially reflects wealth
this is the profound truth inescapable for art and artists. Many artists
are trapped, they struggle with it, or involved. Yet, there is a
distinction between realization and expression of such phenomenon, as
one speaks out about it implies the existence of other pursuits,
otherwise, it would be unnecessary, nor would it have any audience;
there isnt any truth objectivity or truth, ones expression is about
speaking out ones mind.

  在众多风格迥异的创作中,艺术家江衡绘制了一份出人意表的视觉答卷。从90年代开始,江衡就孜孜不倦埋首于当代美女的创作,《美女鱼》系列、《满天星》系列、《散落的物品》系列、《消费时代的景观》系列,一直到2008年的《花蝴蝶》、《蝴蝶飞飞》系列,美人,是画面永恒的主角。可以说,他是当代美人图的忠实的探索者、创作者。

只有适度的变形,但表示了过份的变态。那些美女与玩偶们,是那回事,很本真,但又不完全是,或者不都是那回事,这是艺术家的个人理解,与别人有关系,但如果他不想与人争论的话,就没有太大的关系。

  摘之《艺术家图像志江衡》

摘之《艺术家图像志江衡》

  批评家杨小彦把江衡的美人们称为物欲偶像,画家自己也创作了名为《偶像时代》和《新偶像时代》的系列作品,可见时尚美女确实成了时代的偶像,但这种说法本身却意味深长、发人深思:是谁的偶像,是画家的,男性的还是时代的?还有,是偶像被物欲化了,还是物欲被偶像化了,或者是物欲与偶像的同质与同构?

摘之《艺术家图像志江衡》

  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.

以卡通影像的方式,以美女刻划为基本样式,这就是今天,20世纪末与21世纪初的中国形式。30年前,人们才刚刚知道电视机,30年后,人们在回忆那是上个世纪的东西时,会不会记起电影院?江衡没有直接描写那种记录物欲的机器与技术,他记录了生活的样态,那些美女,那种任意放松的状态与愉悦的情绪。而今天,正好是这个样子,一个商店打折,时尚叠出的时代;也正好是时机,一个电视广告、网络与卡通的时机。不仅生活是如此,艺术是如此,布娃娃也是如此。

  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.

Using the approach of anime with the basic motif of femme fatale is the
mode of the present Chinas transition from the late 20th century to the
21st century. Thirty years ago, people first learned about televisions,
and thirty years later as they retrieve memories from of the last
century, would they think about cinema? Jiang Heng did not choose to
portray the machines and technology used to document material desire, he
documented the way of life, those beautiful women, and the blissful
attitude leading a relaxed life. It is precise the case today, sales in
a shop, a time flooded with fashion; it is also an opportunity, for
television commercials, the internet and anime. Not only life is such,
art is no different, the dolls as well.

  虽然画家认为自己早已给他的美女打上了中国符号诸如金鱼、月份牌之类的意象,但江衡的美女总体还是国际化的美女,尤其是早期作品,芭比娃娃和日本动漫美少女的影子时常若隐若现。

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。

  有意思的是,作为卡通一代最早的参与者之一,江衡的美人仿佛来自童话中的不老仙境:从90年代开始,他的美女们几乎一成不变,一样的大眼睛小嘴巴粉红色的肌肤细腻柔滑,魅力依旧、青春依旧。自古红颜如名将,不许人间见白头的古语在江衡的画里得到最好的体现。

他的作品,以直接的方式,反讽地显明了社会与人,艺术与艺术家的当下状态,具有某种概括式的记录性。这个时代,表象呈现的物的五光十色,与内心涌动的欲的光怪陆离,天然汇流并加速融合。

  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.

现在,物就是一切,而且,物的核心是财色,这是最大的真相,艺术与艺术家也不能幸免。许多艺术家都困于其中,挣扎其中,或者挤身其中。而感觉与说出来还是有区别,你说出这一点,就暗含着,个别的人还有别的追求,否则就不需要说,也没有听众;没有纯粹的客观与事实,表达就是说出自己想要说的话。

  在20世纪的历史进程和视觉文本中,女性形象成了具有重大象征和突破意义的视觉符号,它与个性解放、思想解放、女性解放等主题紧密相联,女性对自由和独立的呼唤呐喊成为时代最响亮最迫切的声音之一,女性图式随之发生重大转变。建国后的革命美术中,根正苗红、吃苦耐劳的铁姑娘是新时代美好女性的代言人,在文革后的伤痕美术、乡土现实主义、新古典主义等美术潮流中,女性大多被寄予了个性化、人性化的理想品格,何家英、王沂东、靳尚谊、杨飞云、陈逸飞等人的画里,女性形象美好而温润。

His shift is moderate, but has show outstanding transformation. Those
femme fatale and dolls, seems right, quite real, but not entirely, or
perhaps not at all. Its the artists own interpretation, irrelevant to
others, although if he didnt want to argue with others, it would be
irrelevant.

  其中女性形象更是时代视觉的焦点,作为具有鲜明象征意义的符号,在单纯的生理意义之外,女性被不断赋予各种社会的、文化的涵义,因此不管是中国还是西方,一部女性视觉形象史既是艺术形象变迁史,也是美学意识的流变史,当然还是社会形象嬗变史,映照出社会及文化的沧海桑田。

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。

澳门微尼斯人手机版,  但是,天壤之别的差异恰恰出现在美人的身上:江衡的美人们美则美矣,却是无法消受的美女,不仅不具备温香软玉的温暖质感,取而代之的倒是一股冰冷的、不可接近的机械的味道、物的味道。即使斜眼媚笑,美人们滚圆的玻璃珠子般的眼睛里射出的还是冷冰冰的光,她们的笑容节制而冰冷,仿佛不食人间烟火,与画面鲜艳的糖果色调形成极大的反差,一个冰冷一个火热。美人们虽然青春无敌,但不可触摸不能交谈,没有鲜活的生命气息,正如《蝴蝶飞飞》中的花蝴蝶,虽然鲜艳却缺乏活力缺少生命,只能成为标本。

It is predictable that, post-2008, it will still be a time of
consumerism and sense driven, would the femme fatales still be what
Jiang Heng has portrayed, timid and flirtatious, perhaps that would be a
question to keep in mind.

  身体是眼睛(目光、视觉)关注的对象,眼睛的意义当然非同小可。江衡美女最触目惊心的正是她们的眼睛,它们被大写特写,大、圆、亮,几乎是所有画面的中心所在。创作于2007年的《新偶像时代――我漂亮所以我快乐》,其构图创意类似于流传在网络上的美女自拍像,这一类照片因为用手机或相机自拍,对焦不准而常常造成画面的变形,江衡画面中的美女大头、尖脸,正是一副典型的网络大眼娃娃图。在《散落的物品》系列中,眼睛比例被进一步放大,有些甚至出现面对非人类的不适感。回顾传统仕女画中眼睛两个黑点、嘴唇一个红点、眉毛一条线的模糊面目不难发现,仕女图的图式已经发生天翻地覆的变化。