dota比分网用眼光质询存在。 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?
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.
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.
一定，音乐家最关怀看，但绝不种种音乐家都自觉地把看笔者作为表现对象。在江衡的成百上千密密层层画中，一重现身的美观的女生构成了叁个贯穿性的号子原型，姑且称之好看的女人连串。留心审视那一个美丽的女生，不免会被那多少个关于看的暴露真理所震动。笔者稳重到，在江衡的淑女数不清作品中，多稀有一点点像瓷娃娃的各种美丽的女子，必定个个眼睛大得眩惑恐怖。这几个超过了例行比例的大双目，把视觉这些花费社会的最要紧的感知体验格局，用风华正茂种极端浮夸的法子彰显出来。不止如此，透过那形色各异的眼力和视界，月下花前的各个视觉诱惑暗中传送出去。注意一下黑眼球的泪腺炎点管理，从模糊的圈子斑点(如《散落的物料36》卡塔尔国，到相近惊叹号的反射(如《散落的物料54》State of Qatar，再驾临近是窗框的映射(如《美丽的花儿2》卡塔尔(قطر，那分歧的表达情势折射出眼睛对五洲的热望，映射出视界对生活万般美妙的恋恋不舍。我们禁不住为这些夸张的眼眸所惊叹，为这么些愿意的眼力所感召，为那三个欲望化的见地所迷魅。或者有理由说，美人之瞥不啻是多少个关于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.
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》(二零零五State of Qatar
此地，小编想透过参照他事他说加以侦核查比两幅画来相比，从中可能我们得以解读出江衡大眼美貌的女人图的纷纭意味。大器晚成幅能够相比的是比利时王国超现实主义画画大师马格利特的《虚假的近视镜》(图风姿罗曼蒂克卡塔尔(قطر。在这里幅画中，马格利特依赖眼球的镜面反射，清晰再次出现出一幅蓝天白云的真实场景。作为超现实主义画师，此幅画或许反映了回想中的梦幻之景，但却是以无比真实的当然现象来表现，颇负个别假作真来真亦假的意思。反观江衡文章，比方《蝴蝶飞飞》(图二卡塔尔国，美人的眼力充满了感叹，她在注视这一个世界。不止用自身的双目，何况依附聚光镜来审视那个世界，要把那个世界看个掌握。假使说马格利特超现实主义的思想折射出的实际风景是以反语情势的梦境来揭橥的话，那么，在江衡的月宫仙子这里，眼光却是中度梦幻地实在表明。换言之，美女充当黄金时代种审美这一个充满了物欲的花费世界象征符号，逼真地显示出明日这几个视觉文化时期的真谛：用眼睛去大批量并成本这一个世界。这里，眼睛被低度象征化和浮夸化了。的确，只要对马上平时生活稍加打量就可以意识，一切吸引人的事物首先表现为风景(spectacleState of Qatar。整个社会风气都已转变为形象，德波说得好：景色是由以下事实所变成的，即今世人完全成了观众。那就诱致了山清水秀在现世社会中的统治和暴力。当公众教导有方于常常生活审美化的研商时，一位命关天的实情在江衡的文章中被发表出来了，那正是几如今的文化是一种体验性的知识。体验的根本措施正是视觉，眼睛不止打量着全体，恰如画面上那美人中度象征性的眼力同样，更重要的是，大家还要依赖各样手艺花招在视觉上海消防费这一知识，会聚透镜可是是各个数字技能、传播才具、视觉技能和消费手艺的性状符号而已。于是，看那个原来最广大的行事，以某种面生物化学的功能表现出来，它揭破出在花费时期的视觉文化转变中，视觉欲望及其快感已升任为存在的实据方式自己看故笔者在。马格利特式的睡梦镜像已经远去，美丽的女人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，又是一个倡议观众步向视觉花销并分享视觉盛宴的邀请。不但用眼睛去体验，更要用火镜生机勃勃类的工夫手段去放大要验。
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.
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.
继之，大家来相比其余后生可畏幅画，即美利坚同联盟Pope的表示人员Wiesel曼的《伟大的美国裸女第59号》。笔者不精晓江衡的仙子数不完是或不是遭逢米国波普艺术的那位表示人物的劝导。但正如四人的多级是字朗朗上口的。一花样大多综上所述的貌似不必重申了，举例靓妞数不尽这种创新意识自个儿。小编感兴趣是之类发现，在Wiesel曼的美利坚联邦合众国裸女连串画中，一贯就不画眼睛，由此来卓越地重申了仙女的性感特征;而在江衡的名媛数不尽中(如图三《蝴蝶飞飞17》State of Qatar，性感的艳俗就疑似被瓷娃娃式的玻璃效果间离了，但却凸现了美女的大双眼及其盛满欲望的眼力。
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.
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.