通过油画将女性对的心灵世界展示出来


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随着时代和人文精神发展,女性自我意识逐步在觉醒,随之而来的文艺界也发生着变化。人们已不满足于单视角的女性审美,女性艺术家以蓬勃的姿态进入人们的视野,艺术舞台上他们的表现也颇为引人注目。

With the development of the times and humanistic spirit, women's self-consciousness is gradually awakening, and the literary and artistic circles are also changing. People are no longer satisfied with the Female Aesthetics from a single perspective. Female artists enter people's vision with a vigorous attitude, and their performance on the art stage is also quite eye-catching.


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女性画家们以其特定的表现形式,进行女性内心世界的刻画,她们通过对自我性别和生命意义的认识,向人们讲述着一个有关女性、审美、感情、家庭、生命的真实状态。

Female painters depict women's inner world in their specific forms of expression. Through their understanding of their own gender and the meaning of life, they tell people about the real state of women, aesthetics, feelings, family and life.


二十世纪九十年代以后,女性绘画逐渐成为一支不容忽视,富有特色的艺术表现力量,女性绘画的概念也随之发生了巨大的变化,由单指女性作者的绘画作品,逐渐演进到表达女性真实生活与生命感受的作品的新层次。这种概念的转变,也表现出女性意识在艺术创作中的逐步建立和增强。女性绘画的自我意识表现主要是指在画家在作品中体现出的诸如女性感受、女性审美、女性判断等因素,通过主题与形象,阐述女性的价值观和艺术观,显现出女性对自身的关照和认识。

After the 1990s, female painting has gradually become a distinctive artistic expression force that can not be ignored. The concept of female painting has also undergone great changes. It has gradually evolved from referring to the paintings of female authors to a new level of works expressing women's real life and life feelings. The change of this concept also shows the gradual establishment and enhancement of female consciousness in artistic creation. The self-consciousness expression of female painting mainly refers to the factors such as female feeling, Female Aesthetics and female judgment reflected in the painter's works. Through the theme and image, it expounds women's values and artistic views, and shows women's care and understanding of themselves.


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在当代中国画坛中,女性油画以它较强的创作性和探索性成为当代中国女性绘画的领军角色。随着女性自主意识的增强和对自身情感的关注,对情感领域的探讨已日益成为当代中国女性绘画最喜欢的主题。女性画家作为创作主体,力图通过当代女性情感生活的某种呈现,诠释当代女性的情感定义。当我们审视当代中国女性的油画作品时,常常可以强烈感受到扑面而来的情感气息。九十年代以后,先后出现了一批女性油画家的优秀作品,不仅给女性绘画注入了新的活力,而且也为中国画坛增添了一道颇有生气的新景观。王彦萍、申玲、夏俊娜、陈曦等都是其中表现较为突出的人物。虽然她们的绘画风格和创作手法不尽相同,但是都无疑被认为是传达自我意识的能手,她们在油画创作中多以女性的视觉来展现女性生活及女性的情感,将女性对的心灵世界展示了出来。

In Contemporary Chinese painting, female oil painting has become the leading role of contemporary Chinese female painting because of its strong creativity and exploration. With the enhancement of women's self-consciousness and attention to their own emotions, the discussion of the emotional field has increasingly become the favorite theme of contemporary Chinese women's painting. As the creative subject, female painters try to interpret the emotional definition of contemporary women through some presentation of contemporary women's emotional life. When we look at contemporary Chinese women's oil paintings, we can often strongly feel the emotional atmosphere. After the 1990s, there have been a number of excellent works of female oil painters, which not only injected new vitality into female painting, but also added a vibrant new landscape to Chinese painting. Wang Yanping, Shen Ling, Xia Junna and Chen Xi are all prominent figures. Although their painting styles and creative techniques are different, they are undoubtedly regarded as experts in conveying self-consciousness. In their oil painting creation, they mostly use women's vision to show women's life and women's emotion, and show women's spiritual world.


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一、题材选取上的自我表现

1、 Self expression in theme selection


在油画创作中,内容的选取、题材的确定往往是艺术家体现其创作主题的首要关键。画家要在油画创作中诠释某种情感概念或是传递某种情绪,就必须先找到她们认为与之契合的情感载体。被尊为女性主义艺术之母的卡洛,她的作品,几乎都是以自我形象为中心的,这种形象为卡洛自我内心写照的必不可少的象征符号,通过将个人意向化的符号与历史、现实、幻想拼接在一起,以自我中心的意象,为女性意识主题的作品开了先河。

In oil painting creation, the selection of content and the determination of theme are often the primary keys for artists to reflect their creative theme. If painters want to interpret a certain emotional concept or convey a certain emotion in oil painting, they must first find the emotional carrier they think fit with it. Carlo, who is regarded as the mother of feminist art, almost all of her works are centered on self-image. This image is an indispensable symbol for Carlo's portrayal of his inner self. By splicing personal intentional symbols with history, reality and fantasy, her self-centered image has opened a precedent for works with the theme of female consciousness.


当代中国女性画家学习和继承了这一传统,倾向于选择与自己身心体验的某种感觉有微妙对应的具体事物,这些她们熟知的生活中的凡人琐事,蕴含着她们对美好真挚情感的理解和追求。也是她们女性话语的一种表现。

Contemporary Chinese female painters have learned and inherited this tradition and tend to choose specific things that subtly correspond to a certain feeling of their physical and mental experience. These mortal trivia in their well-known life contain their understanding and pursuit of beautiful and sincere emotions. It is also a manifestation of their female discourse.


王彦萍的《母与子》系列,包括《红鸟》、《仲夏》、《春》、《秋》、《冬》和《黄色气球》。是画家做了母亲之后自写性质的作品。以〈仲夏〉为代表,它以四联画的形式描绘了以母子为中心的家庭生活,——给孩子洗澡、全家福式的群像,在海滩乘凉以及作画等。《红鸟》、《春》、《夏》、《秋》、《冬》继续了这一主题,但特别突出了母亲与孩子。无论再她前期的云南傣族系列作品中、还是在后期的肖像系列作品中,王彦萍常常把自己作为画中的人物,或是作为画家、或是作为模特儿,或是做为陪衬人物出现。这也是王彦萍作为女性特有的情感表达,是一种女人对自己肯定和骄傲突现。另一位女画家夏俊娜在《朝花夕拾》、《酒颂》、《青春组曲》以及《新娘》等一系列女性题材创作中,用心描绘一幅幅理想中的女人品酒赏花、小憩闲聊等幽雅生活的景象,毫不掩饰自己的小资情结和对都市女人精致生活状态的欣赏,也从另一方面反映出当代中国年轻女性全新的审美理想和情感追求。女画家申玲则通过对形形色色不同社会背景下的女性的描绘,把自己的情感体验和对当代女性的情感状态展现出来。

Wang Yanping's "mother and son" series includes "red bird", "midsummer", "spring", "autumn", "winter" and "yellow balloon". It is a work written by the painter after he became a mother. Represented by midsummer, it depicts the family life centered on mother and son in the form of quadruple paintings, such as bathing children, group portraits of the whole family, enjoying the cool on the beach and painting. Red bird, spring, summer, autumn and winter continue this theme, but highlight mothers and children. Whether in her early Dai series of works in Yunnan or in her later portrait series, Wang Yanping often appears as a figure in the painting, or as a painter, or as a model, or as a foil figure. This is also Wang Yanping's unique emotional expression as a woman. It is a sudden appearance of women's affirmation and pride. Another female painter, Xia Junna, in her creation of a series of female themes such as morning flowers and evening flowers, ode to wine, youth suite and bride, carefully depicts the scenes of elegant life such as wine tasting, flower appreciation, rest and chat of ideal women, and makes no secret of her petty bourgeoisie complex and her appreciation of the exquisite life state of urban women, On the other hand, it also reflects the brand-new aesthetic ideal and emotional pursuit of contemporary Chinese young women. Shen Ling, a female painter, shows her emotional experience and emotional state of contemporary women by depicting women in various social backgrounds.


总的来说,当代中国女性油画作品的题材选择上有以下几个特点:他们喜欢选取日常生活中的琐事。对她们来说,逛公园、购物、看电视节目,研究时尚潮流,这些构成她们生活的琐碎之事,通过他们细腻的内心世界,投射出精彩的光芒;其次,表现家庭生活,如室内场景,朋友、亲人,母子关系也对她们很重要,这些对她们而言具有私人意义的人和事,一旦呈现在画面上,就获得了一种公共的品格,也就是说,借助于这类题材的作品,我们可以看见她们的活动,而且也可以分享,体验她们对周围生活的感受,尤其那些被忽略的生活细节。这些女性画家再题材的选取上,实际上隐含了一种不同与男性的价值标准,生活中事件和人物的重要性,不再取决于它们与“国计民生”的相关程度,而是取决于与“我”(甚至是“我”的身体)的距离。应该说,这是一种正当的诉求。毕竟,不是每个人都要从事伟大的英雄事业,在现代社会,更多的人只是在过着普通凡俗的生活。不仅如此,对这一类题材的细心描绘,也包含着某种超越的意义。当女性艺术家用一种审美的眼光来审视和观照这些日常“琐事”时,“琐事”也摆脱了庸俗无聊的特征,开始具有某种意义,值得细细品味、观察。女性绘画题材选择的另一个方面,是与女性身体相关的一系列器官和形象。采用这种题材的作品,大多运用隐喻的手法。例如,在传统文化中,花一直是女性的隐喻。自从奥基夫以来,花和女性,尤其是和女性身体的隐喻关系,以一种更为明确和直接的方式被揭示出来,这就给了许多女性艺术家以灵感。女性画家所使用的这些隐喻,从更加广泛的意义上说,是和“生命”联系在一起的。这也许是因为女性在生殖中承担着更多的任务,因而对生命的感受也更加深刻。

Generally speaking, the theme selection of contemporary Chinese women's oil paintings has the following characteristics: they like to choose trivial things in daily life. For them, going to the park, shopping, watching TV programs and studying fashion trends, these trivial things that constitute their life, project wonderful light through their delicate inner world; Secondly, the performance of family life, such as indoor scenes, friends, relatives and mother child relations, is also very important to them. Once these people and things of private significance to them are presented on the screen, they will gain a public character, that is, with the help of works on such themes, we can see their activities and share them, Experience their feelings about the life around them, especially the neglected details of life. In the selection of themes, these female painters actually imply a value standard different from men. The importance of events and characters in life no longer depends on their relevance to the "national economy and the people's livelihood", but on their distance from "me" (even "my" body). It should be said that this is a legitimate demand. After all, not everyone should engage in great heroic cause. In modern society, more people are just living an ordinary life. Moreover, the careful description of this kind of subject matter also contains some transcendental significance. When female artists examine and observe these daily "trivia" from an aesthetic perspective, "trivia" also gets rid of the characteristics of vulgarity and boredom, and begins to have a certain meaning, which is worthy of careful taste and observation. Another aspect of female painting theme selection is a series of organs and images related to female body. Most of the works with this theme use metaphor. For example, in traditional culture, flower has always been a metaphor for women. Since O'Keefe, the metaphorical relationship between flowers and women, especially women's body, has been revealed in a more clear and direct way, which has inspired many female artists. In a broader sense, these metaphors used by female painters are associated with "life". This may be because women undertake more tasks in reproduction, so they feel more deeply about life.


还有在这些画作中,人物主要是倾向于女性形象。因为女性画家经常在潜意识中觉得,画中的女性形象与自己的生活感受、审美理想是息息相连的。所以可以这么说,画中的形象绝不仅仅是创作出的客体,而是画家精神和心灵的写照。王彦萍创作出的温馨母亲,夏俊娜画中养尊处优的都市贵族,以及申玲笔下描绘的市井女人等女性形象,就寄托了她们种种热切的情感理想和追求,那既是她们自身情感经验的体现,也是当下中国女性的情感意识的缩影。

In addition, in these paintings, the characters are mainly inclined to female images. Because female painters often subconsciously feel that the female image in the painting is connected with their own life feelings and aesthetic ideals. Therefore, it can be said that the image in the painting is not only the object created, but also the portrayal of the painter's spirit and soul. The warm mother created by Wang Yanping, the urban aristocrats in Xia Junna's paintings and the market women depicted by Shen Ling repose their ardent emotional ideals and pursuit, which is not only the embodiment of their own emotional experience, but also the epitome of the emotional consciousness of Chinese women at present.


这些不同与传统画家笔下的主题,正是当代中国女性绘画的一大特色,她们很少从理性分析的角度介入主题,而是以直觉的方式来把握事物的本质。

These themes different from those written by traditional painters are a major feature of contemporary Chinese female painting. They rarely intervene in the theme from the perspective of rational analysis, but grasp the essence of things in an intuitive way.


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二、表现形式上的自我表现

2、 Self expression in form of expression


形式对于创作的重要性是不言而喻的,它是确定画作主题的结构支柱,同时主题也对画作的表现形式有潜在的影响,现代女性不同的生活阅历和情感体验使得她们的意识形态赋有多面性、多义性等特征,使得她们的创作形式容易受到这些个性化情感因素的影响。这些虽多样但独特的表现形式也是对当代中国女性自我意识表现的的最好注脚。女性通常渴望情感上的理解和交流,尤其在社会文明程度提高,人与人之间关系日益和谐的今天,女性自由大胆地表露这种“愿望”更是已经成为了她们的自觉行为。也许是这种情感心理的影响,女性画家在作品内部结构的处理上对以往呈现的与这类情绪相“匹配”的特点更加肯定,同时又开始一些新的形式探索。

The importance of form to creation is self-evident. It is the structural pillar to determine the theme of paintings. At the same time, the theme also has a potential impact on the expression form of paintings. Modern women's different life experience and emotional experience make their ideology endowed with multifaceted, polysemy and other characteristics, making their creative form vulnerable to these personalized emotional factors. These diverse but unique forms of expression are also the best footnote to the expression of contemporary Chinese women's self-consciousness. Women are usually eager for emotional understanding and communication, especially today when the level of social civilization is improved and the relationship between people is becoming more and more harmonious, women's freedom and boldness to reveal this "desire" has become their conscious behavior. Perhaps due to the influence of this emotional psychology, female painters are more certain of the characteristics of "matching" with this kind of emotion in the treatment of the internal structure of their works, and begin to explore some new forms at the same time.


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在图式选择和运用上,申玲多采用中近景构图和特写式,甚至采用肖像式表现手法。由于她的创作是以人物为主体的,而且又是表现室内人物的活动,所以有很多全景式的大场面描写。为了拉近观众与画面的距离,她要着力表现特定环境中人物的外貌、精神、情绪、心理,就自然得用聚焦的特写手法。这种图式,从早期的《小花壶》、《照镜子》、《化妆》等,就有突显,而她的近年新作《爱人·情人》系列、《抱着你》系列、《男人·女人》系列……我们就更能够感到她对这种图式的强化。作为主体的人物被放大特写置于前景,有些甚至冲出画面,造成某种不稳定感,势要把观赏者强拽入画中,一同融入情感的宣泄与升腾。王彦萍的图象空间多有错致,作品淡化了人物的写实性和典型性,如空间、环境、形象、性格的明晰性和倾向性,突出了人物的心灵世界及其不确定特质。

In the selection and application of schema, Shen Ling mostly adopts medium and close-up composition and close-up, and even adopts portrait expression. Because her creation is based on characters, and it is also an activity to show indoor characters, there are many panoramic descriptions of big scenes. In order to shorten the distance between the audience and the picture, if she wants to focus on the appearance, spirit, emotion and psychology of the characters in a specific environment, she naturally has to use the close-up technique of focusing. This kind of schema has been highlighted from the early "little pot", "looking in the mirror" and "make-up". Her recent new works "lover · lover" series, "holding you" series and "man · woman" series... We can feel her strengthening of this schema. As the main body, the characters are enlarged and close-up in the foreground, and some even rush out of the picture, resulting in a sense of instability. It is bound to drag the viewer into the painting and integrate into the catharsis and rise of emotion together. Wang Yanping's image space is mostly wrong. Her works weaken the realism and typicality of the characters, such as the clarity and tendency of space, environment, image and character, and highlight the spiritual world and uncertain characteristics of the characters.


夏俊娜习惯半开放的构图,人与物、物与物之间相互交织穿插着构成画面。她的室内人物画有点象在作访谈。画中的女性或站或立,神态自若地向画外讲述着自己。她通常喜欢在人物前面设置一些桌子、花卉、书本之类的东西来隔开距离,也是为形成适宜交流的空间。这样的图式与东方女性含蓄内敛的情感表现方式还是很贴切的。这是当代中国都市女性情感上渴望关注又不愿完全释放的矛盾心理,是女性画家在创作中潜意识的流露。

Xia Junna is used to semi open composition. People and things, things and things are intertwined with each other to form a picture. Her indoor figure painting is a bit like an interview. The women in the painting either stand or stand, and talk about themselves to the outside of the painting. She usually likes to set some tables, flowers, books and other things in front of the characters to separate the distance, which is also to form a suitable communication space. Such a schema is very appropriate to the implicit and restrained emotional expression of Oriental women. This is the contradictory psychology of contemporary Chinese urban women who are eager to pay attention and unwilling to fully release. It is the subconscious expression of female painters in their creation.


对于当代中国女性的油画作品,尤其是九十年代后的创作,女性画家在处理自己最敏感,最乐于表现的情感题材时,似乎觉得一份作品还不足以表达某一情感的完整信息,便采取系列组画的形式出现: 母与子系列、肖像系列、新娘系列、男人·女人系列……她们是希望借助对创作主题不断“补充说明”的呈现样式,更清晰地表达自己的情感意识体悟。

For the oil paintings of contemporary Chinese women, especially the creation after the 1990s, when dealing with the emotional themes they are most sensitive and willing to express, female painters seem to feel that a work is not enough to express the complete information of a certain emotion, so they appear in the form of a series of group paintings: mother and child series, portrait series, bride series Men and women series... They hope to express their emotional awareness more clearly with the help of the presentation style of "supplementary explanation" of the creative theme.


由于女性艺术很少从理性分析的角度来介入题材,而是以直觉的方式来把握事物的本质,在物象的组织、技法的选择和表达方式上都具有更大的随意性,比如陈曦的作品,以鲜艳夸张的色彩来讲述世俗故事,犹如一台摄象机,忠实地记录着镜头以外发生的“深度结构”,抛开了形而上的东西,抛开所谓的理性、主题,这种忠实的记录反而呈现出了当代人虚无茫然的生存状态,综观大多数当代女画家的作品,它们同样既无约定俗成的模式,也无深思熟虑的构思,而是听凭内心的激情和直觉,记录下对生活的感受。抛开了形而上的东西,自然,画家的作品中呈现出一种对平淡生活、对平凡事物的关注。她们对生活的细节,对自然的、生命的主题流露出一种出于女性特有的关爱,而不像传统男性艺术一样执著于一些永恒的、形而上的、宏伟的话题。许多作品并不追求所谓的深度结构,而是以直觉的方式来记述日常生活的细节,其中,对画面形式感、色彩的追求更表现出一个女人细腻敏感的特质。

Because female art rarely intervenes in the subject matter from the perspective of rational analysis, but grasps the essence of things in an intuitive way, and has greater randomness in the organization of objects and images, the selection of techniques and the way of expression. For example, Chen Xi's works tell secular stories in bright and exaggerated colors, just like a camera, faithfully records what happens outside the lens Depth structure , leaving aside the metaphysical things, the so-called rationality and theme, this faithful record shows the nihilistic and confused living state of contemporary people. Looking at the works of most contemporary female painters, they also have neither conventional mode nor thoughtful idea, but listen to their inner passion and intuition to record their feelings about life. Leaving aside the metaphysical Things, nature, painters' works show a kind of attention to plain life and ordinary things. They show a kind of love for the details of life and the theme of nature and life, which is unique to women, rather than clinging to some eternal, metaphysical and magnificent topics like traditional male art. Many works do not pursue the so-called deep structure, but Intuitive way to describe the details of daily life, in which the pursuit of form and color of the picture shows the delicate and sensitive characteristics of a woman.


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三、造型方法上的自我表现

3、 Self expression in modeling method


油画创作的意图表现很大部分是由造型完成的,画家的情感自然会在造型中体现。当代中国女性油画的造型,即色、形表现状态基本上还是以具象和意象为主。因此,在造型因素中,形与色是女性画家表现情感最重要的部分。

Most of the expression of the intention of oil painting creation is completed by modeling, and the painter's emotion will naturally be reflected in the modeling. The modeling of contemporary Chinese women's oil painting, that is, the performance state of color and shape, is basically based on concrete and image. Therefore, in the modeling factors, shape and color are the most important part for women painters to express their emotion.


⒈线条特色

1. Line features


“行”重要性在绘画作品中是不言而喻的,马蒂斯说过:“如果线条是诉诸于心灵的,色彩是诉诸于感觉的,那你就应该先画线条,等到心灵得到磨炼之后,才能把色彩引向一条合乎理性的道路。”

The importance of "line" is self-evident in paintings. Matisse said: "if lines appeal to the soul and colors appeal to the feeling, you should draw lines first and wait until the soul is tempered before you can lead the color to a rational road."


中国当代的女性画家,更喜欢以表现主义的风格来介入主题。 “表现”在艺术创作中,主要是针对人的情感意识表达而言的。油画中的表现实际上是借助于形象或形式将人们的主观情感外化出来。

Contemporary Chinese female painters prefer to intervene in the theme with the style of Expressionism. "Expression" in artistic creation is mainly aimed at the expression of people's emotional consciousness. The expression in oil painting actually externalizes people's subjective emotion with the help of image or form.


情感是多样复杂的,通过人物表现情感,应该体现出它的丰富性。我国古人早在《礼记》中就提出了七情说,即喜、怒、哀、乐(或“欲”)、爱、恶、惧。现代心理学家汤姆金斯也假定存在着八种原始的情感,即兴趣、欢乐、惊奇、痛苦、恐惧、轻蔑、愤怒、羞怯。然而,女性心中的情感类型却远比这些要多得多,丰富的情感经验磨练了她们的神经,敏感的洞察力使她们深知女性一颦一笑、举手投足间所隐含的情感意味。因此,女性油画作品中人物的外形、表情、动作、姿态等造型刻画,一定程度地反映了女性艺术家对情感的独特观察力和表现方式。夏俊娜绘画中所呈现的巴尔蒂斯的奇特造型品质,弗兰西斯卡神圣的宗教气氛,都恰到好处地塑造了画面中理想化的、姿态闲适的人物。她作画,一般都从一个人的脸部画起,由脸部推导出身体的姿态,由这一个人物推导出另一个人物,再由人物演绎出所在环境……人物的面孔既是一幅画的逻辑起点,又是构成一件作品所要言说的中心内容。我们注意到在夏俊娜的画中,人物的面孔都很相似,尤其是眼睛。灰灰的、雾气般深不见底的眸子瞪大着,若有所思地望出画外,眼神迷离、飘忽,像是刚刚从惊魂未定的梦魇中醒来,精神上处在一种惊恐、疑惑与不安的情绪之中。时髦的服饰、精细的脸庞、宜人的姿态……夏俊娜描绘的女性是美丽的,她一心想要表现出女孩子所向往的一种高雅、充满贵族气的安闲与平静,同时又不忘将某种微妙的情绪在 “观望”中流露出来。申玲刻画的人物极具表现力,她喜欢采用意想式的手法,用琐碎的线条来表现人物的独特面目和生动体态。无数的线条似不经意地纵横流动,灵活地穿插,造成一种痉挛般的动势,极具感染力。这与她身上东北小媳妇特有的对情感浓烈质朴的性格非常吻合,也以此折射出当代中国女性对情感最为直白真实的一面。杨彦萍塑造的人物形象是较有意味的,对人物形态的出色把握是她的特点。她设计的人物形象,躯干和手臂都被刻意地夸大,以此暗示母亲的一种呵护情怀。在《母与子》系列、《白屋》《吉祥日》等创作中,人物或站,或坐,或蹲,多种动态的描绘增加了画面中曲线的运用,体现出女人的感性特质。

Emotions are diverse and complex. Expressing emotions through characters should reflect its richness. The ancients of our country put forward the theory of seven emotions as early as in the book of rites, namely joy, anger, sadness, joy (or "desire"), love, evil and fear. Modern psychologist Tomkins also assumes that there are eight primitive emotions, namely interest, joy, surprise, pain, fear, contempt, anger and shyness. However, there are far more emotional types in women's hearts. Rich emotional experience has honed their nerves, and their sensitive insight makes them well aware of the emotional meaning implied in women's smiles and gestures. Therefore, the shape, expression, action, posture and other modeling depictions of characters in female oil paintings reflect the unique observation and expression of emotion of female artists to a certain extent. The peculiar modeling quality of baltiss and the sacred religious atmosphere of Francesca presented in Xia Junna's paintings properly shape the idealized and leisurely characters in the picture. When she paints, she usually starts from a person's face, deduces the body posture from the face, deduces another figure from this figure, and then deduces the environment from the figure... The figure's face is not only the logical starting point of a painting, but also the central content of a work. We notice that in Xia Junna's paintings, the faces of the characters are very similar, especially the eyes. His gray, foggy eyes stared wide and looked thoughtfully out of the picture. His eyes were blurred and wandering, like he had just woke up from a frightened nightmare. He was in a mood of panic, doubt and uneasiness. Fashionable dress, fine face, pleasant posture... Xia Junna's depiction of women is beautiful. She wants to show an elegant, aristocratic leisure and peace that girls yearn for. At the same time, she does not forget to reveal some subtle emotions in the "wait-and-see". Shen Ling's characters are very expressive. She likes to use imaginative techniques and trivial lines to express the unique features and vivid posture of the characters. Countless lines seem to flow vertically and horizontally inadvertently, interspersed flexibly, resulting in a spasmodic momentum, which is very infectious. This is very consistent with the strong and simple personality of her northeast daughter-in-law, which also reflects the most straightforward and true aspect of contemporary Chinese women's emotion. The characters created by Yang Yanping are more meaningful, and her excellent grasp of the character form is her characteristic. Her figures, torso and arms are deliberately exaggerated to hint at her mother's caring feelings. In the creation of "mother and son" series, "White House" and "auspicious day", the characters are standing, sitting, or squatting. A variety of dynamic descriptions increase the use of curves in the picture, reflecting the perceptual characteristics of women.


除人物形象外,女性画家还喜欢在背景上作文章,通过典型环境、道具等形象的细心描绘,使她们所要表现的人物情感更立体,更饱满。例如,阎平在创作中,总是不厌其烦地描绘室内的各种杂物:沙发、桌子、椅子床、瓶子、罐子、花等等,就是为了体现那份弥漫在室内每个角落的细腻、鲜活的母爱。夏俊娜始终愿意用植物花卉、水果酒器、古董花窗……这些颇具情调的东西来营造出梦幻般的诗意氛围,以保持女人幽雅神秘的独特气质。而申玲更是挖空心思,乐此不疲地用各种各样的“道具”补充着画面,配合着每一份情感的宣泄。

In addition to the characters, female painters also like to make articles on the background, and make their characters' emotions more three-dimensional and full through the careful description of typical environments, props and other images. For example, in his creation, Yan Ping always takes pains to depict all kinds of indoor sundries: sofas, tables, chairs, beds, bottles, cans, flowers, etc., in order to reflect the delicate and fresh maternal love that permeates every corner of the room. Xia Junna is always willing to create a dreamy poetic atmosphere with plants and flowers, fruit wine, antique flower windows... To maintain a woman's elegant and mysterious unique temperament. Shen Ling is even more thoughtful, happy to use a variety of "props" to supplement the picture, with each emotional catharsis.


⒉色彩特色

2. Color features


沙赫泰尔曾经指出:“人对色彩的经验和他对情感的体验之间,实际上有类似的地方。因为不管是在色彩经验发生的时候,还是在情感经验发生的时候,我们自身同样是外部刺激的被动接受者。”对女性来说,许多重要的情感经历都留有色彩的印记,这使她们对色彩有着天生的敏感度,蕴藏了丰富的色彩细胞。通常情况下,色彩能够起到诱发情感的作用。所以,在创作中色彩自然就成为女性画家渗透情感的重要手段。

Shahtel once pointed out that "there are similarities between people's experience of color and their experience of emotion, because we are also passive recipients of external stimuli when color experience or emotional experience occurs." for women, many important emotional experiences leave color marks, This makes them have natural sensitivity to color and contain rich color cells. Usually, color can induce emotion. Therefore, in creation, color naturally becomes an important means for female painters to penetrate emotion.


在王彦萍的画作中,她有意识地摆脱客观现实色彩关系的驳杂,加强色彩纯化或色彩的对比关系,红蓝色彩的强烈对比,造成了强烈的色彩节奏;表现出色彩下人和物的流动感。。申玲很会用色彩来渲染画面气氛,凭着对生活细心观察积累的丰富色彩经验,她能自如地掌控某种特定情感所对应的色彩: 忧郁的蓝色、艳俗的红色、性感的粉红……在还原生活的基础上,她将这些色彩夸张放大,甚至于改变,由此产生醒目的画面效果,把要表达的情感信息极为“隆重”地传递出来。夏俊娜善于把丝丝情感隐藏在那些神秘的灰调子里,沉稳雅致的灰调颜色适宜表现隐郁的情绪。当然,擅用色彩来传达情感不是当代女性画家独有的,每一个女性画家都蕴藏着很好的色彩敏感度。只是我认为到了当代尤其是九十年代中期以后,女性画家慢慢把这个特质的潜能开掘出来,使色彩在她们的创作过程中更完美准确地传达情感信息。

In Wang Yanping's paintings, she consciously gets rid of the complexity of objective reality color relations and strengthens the color purification or color contrast relations. The strong contrast of red and blue colors creates a strong color rhythm; Show the flow of people and things under color.. Shen Ling is very good at using color to render the picture atmosphere. With her rich color experience accumulated through careful observation of life, she can freely control the colors corresponding to certain emotions: melancholy blue, gaudy red, sexy pink... On the basis of restoring life, she exaggerates and enlarges these colors, or even changes them, resulting in eye-catching picture effects, Convey the emotional information to be expressed very "grandly". Xia Junna is good at hiding her emotions in those mysterious gray tones. The calm and elegant gray tone color is suitable to express the hidden and depressed emotions. Of course, being good at using color to convey emotion is not unique to contemporary female painters. Every female painter contains a good color sensitivity. But I think that in the contemporary era, especially after the mid-1990s, female painters slowly tap the potential of this trait, so that color can more perfectly and accurately convey emotional information in their creative process.


由上可见,意识的表现已经成为当代中国女性绘画创作的驱动力,它让当代中国女性绘画焕发出无比的灵动鲜活的生命气息。重视每一个创作环节,使画面的每一个部分都具有一定的表现力,已经日益成为当代女性画家的自觉行为。女性绘画以“情”动人,画家在创作中展示一种实实在在的、与生活、与自然、与心灵紧密相连、毫无伪饰的真情,才能还原女性绘画它本来的样子: 亲切宜人而充满魅力的阴柔气质,不是那么多抽象概念的载体,没有那么多玄妙莫测的哲学“本体”、“真理”在其中“呈现”,更没有许多深奥晦涩的说教。那也印证了前辈大师们的艺术心得: 绘画就是绘画,其存在的理由在于色彩和形式的构成,是用画笔来抒发画家触“景”而生的“情”。晓之以“理”,不是绘画的真正使命,动之以“情”才是绘画的真谛。更为重要的一点,女性情感中自由、率性、直奔的特点在当代女性绘画创作中越来越多,越来越趋于完整的体现,及时地点醒了当代中国女性艺术家作为一个创作群体的无意识。它让许多当下的和未来的女性画家认识到:只有在不断地 “表现”情感中去转变和建立审美价值和艺术规范,展现女性的精神风貌,才是女性绘画的唯一出路。

It can be seen from the above that the expression of consciousness has become the driving force of contemporary Chinese female painting, which makes contemporary Chinese female painting glow with incomparably flexible and fresh life. Paying attention to every creative link and making every part of the picture have a certain expressiveness has increasingly become the conscious behavior of contemporary female painters. Women's painting is moving with "emotion". Only when the painter shows a real true emotion that is closely connected with life, nature and soul without hypocrisy in his creation can he restore the original appearance of women's painting: the kind, pleasant and charming feminine temperament is not the carrier of so many abstract concepts, and there are not so many mysterious philosophical "noumenon" and "truth" There are not many profound and obscure sermons. It also confirms the artistic experience of the previous masters: painting is painting. The reason for its existence lies in the composition of color and form. It is to use the brush to express the "emotion" generated by the painter touching the "Scene". Knowing it with "reason" is not the real mission of painting, but moving it with "emotion" is the true meaning of painting. More importantly, the characteristics of freedom, frankness and directness in women's emotion are more and more reflected in contemporary women's painting, which timely awakens the unconsciousness of contemporary Chinese women artists as a creative group. It makes many current and future female painters realize that the only way out for female painting is to constantly "express" emotions, change and establish aesthetic values and artistic norms, and show women's spiritual style.


总之,当代女性绘画已远非传统女性绘画所呈现出的单一风格,在题材形式的多样化中我们又可以看到其中所共有的特质"女性艺术家以其特有的触角,切入到社会生活的各个方面,构成了对社会,同时也是对女性自身的新的读解。

In short, contemporary female painting is far from the single style presented by traditional female painting. In the diversification of subject forms, we can see the common characteristics "female artists cut into all aspects of social life with their unique tentacles, which constitutes a new understanding of society and women themselves.


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