花非花

A flower is not a flower

          ----曾玲绘画艺术诠释

----Art interpretation of Zeng Ling’s paintings

杨大伟

By Yang Dawei

按照心理学家的说法，男性总是代表了膨胀的大脑和泛滥的知识；而女性则是感性与神秘的化身。想清晰准确地分析和描述曾玲的绘画艺术似乎很难。缘由在于，与画家本人的简单及坦诚相反，她的作品中有着太多人生体验的游弋与艺术感悟的不确定性。在这里我仅就画家的素材符号及创作状态进行诠释。

According to psychologists, men always represent swelling brain and profound knowledge; while women are the incarnation of emotion and mystery. It seems to be very difficult to clearly and accurately analyze and describe the painting art of Zeng Ling. Reason is that in contrast to the simplicity and frankness of artists themselves, her works has too much life experience cruising and art perception uncertainty. Here, I will only interpret the material symbols and creation state of artists.

曾玲的作品充满了生命的象征与女性的解读。她以女性特有的天资自然的选择了花卉作为艺术创作的基本素材，以花蕊作为基本语素，创造了艺术阐释的无限空间。花蕊，在特定的文化观念里象征生命、隐喻着情与性。在这里，花变成了画家自我观照的方式，成为一种暗喻和象征，暗喻人的生命初始状态，象征人的生命延展，进而诉求人潜在的精神欲望。转而画家笔下的花，已不是我们眼中所见之花，而是一个具有丰富的主体精神意涵的对象。如果说她向往和追求的是一种感觉方式的真实。这种真实则是曾玲面对视觉对象触动自身的人生体验的深潭，传达出画者难以名状的人生感触。显然，这种心理的真实却由艺术作品的形式结构所引发，这种形式正是打动画家并且感染观者的关键所在。花卉中所呈现出的生命的体温与体液的流动让观者体会到了生命的惊艳，使我们在冥冥之中感到迷惘，却也让我们审视入微地体验了生命存在的客观与真实。曾玲以独特而创造性的艺术方式，彰显出一个当代女性孤寂的心灵与精神释放的矛盾冲突；她在花卉相互缠绕或自我解脱中排遣内心淡淡的忧伤。并以诗人浪漫的气质，征服命运之神迎来的重重诘问。当观者在其作品间浏览，总以为曾玲是游离在现实之外来鸟瞰现实。然而，她又能真正直面现实，用女性与生俱来的母性特质包容她所面对的一切。她把自己融进了艺术，从画面所体现的平静和符号化的反复运用我们可以发现，艺术创作几乎就是她生活的全部。由此可以看出，她是真实的、纯粹的，她能在简中筑繁，浅中见深，小中见大。

Zeng Ling’s works is full of life symbols and female interpretation. She has naturally chosen the flowers as the basic material of artistic creation through her unique female talent, taking stamens as the basic morpheme and creating an infinite space of artistic interpretation. Stamen, in particular cultural conception, is a symbol of life, a metaphor of love and sex. Here, flowers become a way of self-reflection for artists, a metaphor and symbol, which represent human life extension and then demand the potential human desire. In turn, the flowers drawn by the artists are no longer what the flowers we see, but an object with rich spiritual meaning. If what she desires and pursues is a kind of sense approach realness, this realness is the life experience and deep pool when Zeng Ling is touched in face of the visual objects, which conveys the indescribable life feeling of the artist. Obviously, this mentality realness is triggered by the formal structure of artistic works, and the form is the key for moving the artist and the viewers. Body temperature and body fluid flow shown in flowers make the viewers experience the amazing of life so that we are confused imperceptibly, while making us minutely experience the objective and real life existence. With her unique and creative art forms, Zeng Ling highlights the contradictions and conflicts between the lonely hearts and spirit release of contemporary females; she dispels the touch of sadness in her heart through the intertwining of flowers and self-distraction. Moreover, with the romantic temperament of poets, she has conquered numerous heckles of destiny. When viewers review her works, they would always consider that Zeng Ling has a bird view of the world free from reality. However, she can really face the reality and forgive what she is faced with with her innate maternal qualities. She integrates herself into art. We can discover, from the peacefulness reflected in the images and the repeated symbolized use, art creation is practically her whole life. It can be seen, she is real and pure; she can create complex in simplicities, understanding the big world through the small things and from the deepness shallowness.

曾玲的创作状态，是以画布上的内在和谐对抗画布外的破碎世界，在孤独与专注中获得精神上的自给自足，从而保持自我的内心独立与完整。她时常沉浸在画面结构的诞生过程中，同时也就沉浸在生命成长的快乐中，这就是在生命的流逝中感受和品味自我实现的快乐，而不去考虑过程之外的得失与荣辱。曾玲从未没将自己的心灵用过分样式化的风格掩饰，在她充满激情的花卉描绘中，我们可以感受到永远的生命冲动及对真与爱的诉求。她的绘画不是那种一挥而就或索然无味的平涂，也不是古典绘画的多层次罩染，而是在反复的晕染罩色中，积淀出轻松的笔触与色痕。我们从中可以看到画家的游移的思绪被重复地捕捉，像有一双蘸满颜料的手在白色的墙壁上轻轻游弋。许多作品具有这种自发性的力量，即持续不断地在画布上探索，色彩淡淡的层层叠加，互相穿插，无法而法，如同神启。她的画表面上看似抒情释怀，描摹物象，实际上却别有寄托。她的这种在题材选择上以关注个人的生命与情感体验为主的绘画特点，正是真性自我的体现。关于花的系列作品无论是连篇翻阅或是独立成幅你都很难感到视觉审美的厌倦。她的以花为题材的作品大多充满了女性化，柔媚化的特质。这也正是知识女性浪漫思维的真实写照。全新女性视角带来的审美新感受有悖于当前画坛各类雷同面目的制作，使我们感受艺术不再觉得那么凝重和深邃。画家将个人诗意的气质全身心贯注到画面从而也更加贴近个人的情感世界。作品的闺阁氛围，情意场景，母性关注，以及人生情感，也是构成其艺术作品人文内涵的主要特征。她似乎真实地表现了梦魇状态下的内心世界，如同曾玲绘画中各种花卉之间的诡异与灿烂，仿佛昭示着她在现实喧嚣中的一种谴怀和坚守。她通过这些细致、纯净的形式表达了女性的精神空间。

Use the internal harmony to confront the external broken world on the canvas, Zeng Ling’s creation state obtains self-sufficiency spiritually in solitude and focus, thereby maintaining the independence and integrity of the inner self. She is often immersed in the process of the birth of the painting structure, while also immersed in the joy of growing up. This is the happiness obtained through the experience and taste the self-realization in the passing of life, not to consider the pros and cons of the process and honor beyond. Zeng Ling has never covered her heart with over stylishly. We can feel the eternal life impulse and the demands of truth and love through her passionate flower delineation. Her paintings are neither finished the moment when flourishing the pen or the uninteresting flat painting, nor multi-layered classical paintings with cover painting, but reflect the accumulated relaxing strokes and color marks in the repeated blooming color cover. We can see from the paintings that the wandering thoughts of the artist are repeatedly caught as if there was a pair of hands gently moving on the white walls. Many works have this spontaneous power, that is, continuously explore the canvas with the light layers of color superimposing interspersed with each other, as if were driven by the God, random but regular. Her paintings seem to be lyrical imitating physical images, but actually have sustenance. Her paintings, featured by the focus on personal life and emotional experience in theme, are just an embodiment of self-authenticity. For the series of works on flowers, whether read by pages or separated from each other, it is hard for you to feel tired of the visual aesthetic appreciation. Most of her works with flowers as the theme are full of feminine and delicacy characteristics. This is the true portrayal of knowledge women’s romantic thinking. The new aesthetic experience brought by the brand new female perspective runs counter to the current art world with similar face production, thus making us feel that art is no longer so dignified and profound. The artist threw her individual poetic temperament wholly in the paintings, which are closer to the emotional world of individuals. The boudoir atmosphere, affective scenes, maternal concerns and emotions of life reflected in the works also constitute main features of the human connotation of artistic works. She seems to be truthfully representing the inner world in nightmare state, like the strangeness and brilliance among various flowers on Zeng Ling’s paintings, as if were declaring the recalling and persisting in the hustle and bustle of reality. Through her detailed, pure forms, she has expressed the spiritual space of females.

与当下青年画家的视觉资源大多来自影像和复制性图像不同，曾玲的作品却借助花蕊图式的不断反复强调艺术的象征及隐喻性。画面中，意象具有某种体味生命繁复低吟的抒怀，常常具有一种出神离魂的移情状态，总是将自我与笔下的花卉融为一体，花非花、雾非雾，花似人，人似花。艾伦• 奇南曾说高更 “通过复杂的艺术方式开拓了他的孩子般的天真无邪”，或许世间确有各种方法各类机缘可令人们在此世通达美好的彼岸。

Different from the current young artists whose visual resources are mostly from the images and copy images, Zeng Ling’s works adopt the continuous repetition of stamen schema to emphasize art symbolism and metaphorical continuously and repeatedly. On the painting, images, with a taste of life in complex murmur, often has a kind of empathy state deviating from the soul. Often, the self is integrated with the flowers drawn by the pen, something like flower but not a flower, fog but not, and the flower and human resembles with each other. Allen Qinan said Gauguin “open up his child-like innocence through the complex art forms”. Perhaps there indeed are a variety of methods and all kinds of opportunity in the world which are accessible in this world a better shore for humans.

曾玲的绘画单纯而美好，真正认识到此点并且坦荡地享有它，似乎唯有回归到原初的生命状态。

Zeng Ling’s paintings are simple and nice. To have a real understanding of this point and to enjoy it magnanimously, it seems that the only way is to return to the original state of life.

                                              2009年2月2日于杭州

Hangzhou

February 2, 2009