论文部分内容阅读
在2007年11月于中国美术馆开幕的“形象对话—中国油画·工笔重彩·水墨肖像艺术展”上看到朱乃正先生的新近作的油画肖像《门》(此图见封二)。我不禁驻足画前,流连徘徊:画中的人物站在一扇门后,以审视、端详但又不乏质问的目光扫视着世界;手里的照相机,则以其冷峻逼人的机械性眼睛监视着画外的一切——在迷离的眼镜背后我们看不出人物追索的方向,但其流露出的机警气息则是与相机并无二致;而人物站立的姿态却又与相机的景窗悖谬地倾向两端,这又使记录的意图多了几分隐喻的意味——审视确是审视,焦点却是没有的,这隐隐地恰似她身后的那扇门,暗涌冷视与选择。这张画让人联想起美籍俄罗斯诗人约瑟夫·布罗茨基的一句诗:既然活着,让我们采取不同的姿态。
In November 2007, at the opening of the China National Art Museum “Image Dialogue - Exhibition of Chinese Oil Paintings, Painting, Ink and Wash”, I saw Mr. Zhu Nai-zheng’s recent portrait portraits of oil painting. I can not help but stop before the painting, linger: the characters in the painting stand behind a door to look at it, but there is no lack of questioning eyes glanced at the world; the camera in hand, with its grim mechanical eye surveillance Everything outside the painting - behind the blurred glasses we can not figure out the direction of the pursuit of figures, but the alertness of the show is the same as the camera and the camera; while the figure stands with the camera’s window Absurdly tendentious ends, which, in turn, adds to the metaphorical meaning of the intent of the record-the examination is indeed the examination, but the focus is nonexistent, which seems to implicitly resemble the door behind her, overcautious and selective. This painting is reminiscent of a poem by the Russian-American poet Joseph Brodsky: Since we live, let’s take a different stance.