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光影之河--梁明明的油画·摄影

Oil Painting & Photography

 
 
 

日志

 
 

迷离时光(文/高阳)  

2009-06-05 22:08:12|  分类: 对岸语 |  标签: |举报 |字号 订阅

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                                                           迷离时光-------看梁明明的油画艺术

                                                                       文/高阳

Time Blurred - A Look At Liang Ming Ming's Oil Paintings

By Gao Yang

 

 

广州当下的艺术揭示了作为南方商业都市自身的地域性特点,对流行文化,消费文化的着迷体现在卡通一代以及一系列相关而不相同的实验之中。然而无论从地域性或代际性的视角给梁明明的作品贴上某种标签都不尽妥当。作为生活在当代的人,其集体意识的痕迹会在共同生存的某一年代的作者中呈现出来,并且在这一模糊的共像中自有其多样性。学院的熏陶给予她学理的脉络,还有对个体与当下艺术环境和社会关系的梳理,以及个人生活的格局,这一切以血溶于水的方式体现在她的艺术实践中。

The current art in Guangzhou depicts the characteristics of a southern commercial city. Obsessions with pop culture and consumer culture are reflected in the "Cartoon Generation", a series of related yet experimental works. However, it is inappropriate to label Liang's work according to these trends or the geographic of the artist. An artist work always show traces of the time they live in. There are certain similarities representing the era of the work, but also among them have many differences and distinctive characters. College education gave Liang's work the fundamental theoretical context, as well as the understanding on the relation between individual, current artistic environment and society. Together with her personal experience, they enrich and are reflected in her paintings.

 

梁明明有着扎实的写实功力,然而她画的花卉品种似乎是自然中并不存在的,可以说大都是想象的。她画的是花的意象而不是花本身。虽然花卉主题伴随了作者多年,然而其意图并不在于描摹“花的相貌”本身,作者只是将她一时一地的感兴趣的事物融 入到这一媒介之中,使她对日常生活中所见的各种源头的具体感觉和体验得以转换与呈现,表达其内心对生命的想象。不仅如此,她把花当作人来画,在不同时期的画面中,分别传达出欢喜,恐惧,激情,战栗等种种细微的情绪。在《金色的花》中,她将偶然捕捉到的墙面肌理与花的印象相混合,而《琥珀·惊飞》系列中的视觉纹理却又隐含着对往昔生命的爱怜和对流逝时光的追忆。在她的画面中,物体,光,空气常常融化为一体,笔迹流转,色斑颤动,琥珀般渗化隐现,生命与呼吸的感觉跃然画布上。

 

迷离时光 - 明明 - 梁明明的blog—光影之河 迷离时光 - 明明 - 梁明明的blog—光影之河

《琥珀·惊飞之二》2008--2009                         《琥珀·惊飞之一》2008--2009

   

Liang has strong skills to capture real objects, however the flower varieties she has drawn do not exist in nature -  they are mostly imagined. She painted images of flowers instead of  flowers themselves.  Although the flower theme has been with the artist for many years, but the intention is not to portray "The Look of the Flower", but flowers are a medium to express the time, the place that she was in, the artiest interests, her daily life, her feelings and experience.   It is a way to express her inner feeling and imaginations for life.  Liang draws flowers as human beings.  At different times, the paintings convey joy, fear, passion, excitement and various subtle emotions.  In the work "Golden Flower", she mixed the texture of the wall with the impression of the flower, in the "Amber, Flush" series, the visual texture of the paintings show the love for life and the affection for  time past.  In her paintings, objects, light and air often melt into one, with her flowing brush strokes, colours dispersed as her muscles twitch, and with warmth looming in the background, the feeling of life is vividly breathed onto the canvas. 

 

在符号学中,花通常是四季中春天的标志,有时也是五种感官中嗅觉的标志。在西方静物画中,花常常象征着青春易逝。花也代表希望。不同种类的花卉,含义也不相同,例如:蒲公英在西方宗教文化中通常是悲伤的象征,往往出现在受难题材中;石竹花与订婚的喜悦相连;玫瑰又常与圣母玛利亚或其他圣者的形象有关。另外,同一种类的花卉在不同的情境中可能有着不确定的含义:不带刺的玫瑰暗喻着罪过的消除;红玫瑰象征着殉道者;文艺复兴时期,玫瑰又是维纳斯的标志,因为它美丽而芳香,而把它身上的刺比作是对爱情的创伤。我想,对梁明明而言,那些难以分清种类的花卉造型在随兴涂抹之中,经过色与光的支解,在其心灵意象中呈现出来的面貌是敏感的,也是复杂多样的。

  

In semiotics, the flower is the sign of spring, sometimes it is a sign of smell. In still life paintings of the West, the perishable flowers often symbolise of the perishing of youth. Flowers also represent hope. Different types of flowers represent different things, in the Western religions, the dandelion usually symbolises sadness, it often appears in the theme of suffering; The carnation is connected with the joy of engagement; the rose is associated with the Virgin Mary or other saints. In addition, the same type of flower may have different meaning in different contexts: rose without a thorn implies the elimination of sin; red rose symbolises martyrdom; during the Renaissance, the rose is the symbol of Venus, as it is beautiful and fragrant, and the thorns of the rose is compared to the trauma of love. It is hard to distinguish the shape of the flowers, having being drawn in a moment of inspiration. However, there is a separation of colour and light in the paintings, the images that burst out are sensitive, complex and diverse.

 

作者显然知道人们惯常将女性画家笔下的花卉符号当作与女性自我意识相默契的暗示,然而在梁明明的花卉系列中,她更多倾向于展示其天性中自然性而非社会性的一面。由于意识到男性与女性在社会分工以及在社会责任等方面的天然差异,她以柔和的个体方式回避了女性主义艺术中常常宣泄的那种与社会及自然相对抗的似乎是争夺权利的企图,通过回复到女性自然的原初状态,触摸那些曾经经历过的事物和生长的环境。以这种方式,一方面得以反观自己,另一方面又不至于突显与外部的社会太多的纠葛。因此,在她的作品没有承载过多的社会因素,相反,视觉本身的力量成为艺术表现的主体。

 

Liang knows people tend to associate flowers drawn by female artists as symbols of their self consciousness and self understanding.  In her flower series, Liang tends to display nature, rather than explaining society. Recognising that men and women's difference due to different roles and social responsibility, as well as natural differences, her paintings show her view in a gentle, back to nature way.  Her paintings are drawing on her life experience, avoiding the kind of catharsis of feminist art which often condemns society and nature, which often appears to be competing for power rather than flighting for female rights.  In this way, one can reflect on oneself and at the same time not creating too many social disputes.  Thus, Liang's work does not carry too many social factors, on the contrary, the power of the visual itself becomes the subject of this artistic expression.

 

人物是作者迷恋的又 一题材。近年作者创作的女性肖像大都渊源于具体生活情境的触发。《双人肖像》是关于一个亲密朋友突然的远离的纪念之作。从中我们可以体验到人物和花卉这两个题材在情感与心理上的密切联系。“花冠”是作者近期的肖像画作品中反复出现的美丽符号。在古希腊文化中,在以阿波罗的名义举行竞赛时,胜利者会戴上桂树冠。不过花冠还有许多种。在欧洲古典绘画的传统中,玫瑰冠代表圣女多罗西亚,芦草冠代表河神,橄榄冠代表和平,葡萄冠代表酒神。一般来说,花冠代表花神福罗拉,她常常以手持花或头戴花冠。在《双人肖像》中,头戴花冠的两位形象仿佛再现了波提切利《春》中描绘的这一情节,两位女神并肩前行,福罗拉撒落鲜花,而从克劳瑞斯口中落下的花即将遍地开放。那种弥漫在画面的依恋之情在感觉上真切而具体,却又触摸不到;充满吸引力却又渐行渐远,在迷茫的氛围中呈现了女性特有的细微心理。

 迷离时光 - 明明 - 梁明明的blog—光影之河

《双人肖像》2007

 

People is another subject of fascination for Liang.  In recent years, Liang has created many portraits of women, triggered from her day to day encounters.  "Double Portrait" is a memorial of a close friend's sudden departure.  We can experience the emotional and psychological relationship of flowers and people. "Crown" is the recurring beautiful symbol of the recent portrait work of Liang. In the ancient Greek culture, winners will wear a laurel wreath  in the races to be held in the name of Apollo.  There are many kinds of crowns. In the European classical paintings, the rose wreath represent Saint Dorothy, reed crowns represent the river god, olive crowns represent peace, vine crowns represent Dionysus. In general, corollas represent the Roman goddess Flora, she often wore a corolla or held a bunch of flowers. In "Double Portrait", the two images wearing a corolla as if it depicts Botticelli's printing the "Primavera".   The two goddesses shoulder to shoulder, Flora throws flowers, flowers spring from Chloris's mouth. The painting is  diffused with the feeling of attachment, it has a sense of realism, it is intense, and concentrated, but yet it is distant and far away.  Within the perplexed and confusion, it demonstrates the unique subtle sensitivity of the female characteristics.

 

她的肖像系列经历了一个不断深化的过程。从单纯的玩偶似表现,到将人物当作花卉来表现,以及后来宗教化情感的内住,经历了一个逐步深化的过程。

 

Liang's portrait series becomes more complex. From the simple expression of drawing dolls, to drawing flowers to express human feeling, to more recently painting to express the religious emotions, her paintings have become more and more profound.

 

在作者少年时期的记忆中,高尔基的小说《在人间》中有一段少年高尔基在作学徒时学画圣像画的故事,这是作者第一次接触到中世纪的圣像画艺术。书中有几张圣像画插图,那隐忍和坚韧的形象,单纯凝重的画面深深地打动她。在后来的艺术经历中,她一直对中世纪宗教艺术的独特传统有着浓厚的兴趣,随着人生阅历的增长,她进一步体验到圣像画艺术中那独特的超越性的情感。在作者的肖像画范式中,正面而居中构图,清一色的年轻女性形象,特别是那敏锐,单纯和凝视的双眼,于外在的冰冷中蓄含着内里的狂热与能量。为减少故事性,画面省略了一切道具,为了降低情节的表述功能,作者将姿态,手势等语言取消,将背景作空茫的处理,将形象从具体的历史环境或社会情境中抽离出来,使人物成为“类型化”的而不是某一个具体的人。通过这一叙述方式,在写实的形象中却隐藏着一个抽象的人,一个想象中的人。作者着意探究的是人类最基本的同时又是最为简单的情感。或者换一句话说,作者关注的是人性的共像,为此,她淡化了人物的种族与地域的差别,将“我的”转化为“我们的”,以表达人类对其生命观望和对生存情境的逃遣。

 

In her memory as a teenager, Liang remembers her very first contact with the medieval Icon paintings, it was via Gorky's novel "In the World".   Young Gorky was an apprentice studying Icon paintings. There were several icons illustrators in the novel.   The tolerance and tenacity images of a simple painting moved her deeply. Since then, Liang has a strong interest in medieval religious art.  As her life experiences growth, Liang experiences the art of Icon paintings that go beyond the unique nature of emotion.  In the paradigm of her portraits,   all of which are images of young women with sensitive, innocent and staring eyes, the cold exterior, but full of enthusiasm and energy inside. To reduce the narrative, all props are omitted from Liang's portraits.   In order to reduce the representation of the plot, Liang omits the use of posture, gestures and other languages, with no background to the portraits, the figure is drawn with no specific historical or social context, hence it becomes a "type" rather than a specific person.  Through this narrative, the realism is hidden in the image of an abstract person, an imaginary person. The painter's intension is to seek the most basic human emotions.  In other words, what the painter concerns herself with is the commonality of the human being.  For which, the painting plays down the racial and geographical differences, it turns "my" into "our", it expresses human being's view to life and their wish to escape reality.

 

 

 

梁明明的女性肖像画既是心理的,也是象征的。一方面作者以个人化的方式从精神上而不单是形式上维系了视觉艺术中延续着的人文传统:另一方面,又以那清新的玩偶化的形象影射了人们共同面对的这一新的年代。不过,由于作者并没有选择直面当代事件的述说方式,因而是含蓄的。

 

Liang's female portraits are both psychological and symbolic. The painter not only expressed the spiritualty visually she also uses the refreshing image of a doll allues what we are facing in the new era.  The painter did not choose to descibe the event directly, it is implied.

 

迷离时光 - 明明 - 梁明明的blog—光影之河 《女孩》2007

 

 

高阳先生从事美术史论研究,在写此文的过程中,他严谨认真的治学态度令人敬佩。深深致谢高阳先生!

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