严格来讲,用现有的史论框架去界定姬子会显得很蹩脚,因为不论是把这样的艺术家强行导入专业视域,还是如近年来推出的几位素人艺术家那样——通过“反艺术史”的策略谋求定位,都多少显得吊诡、空洞。可这种借由理论“框定”艺术家风格、个性的套路偏偏叉在当下很流行。鉴于此,本文即从这里说开去。回望姬子的人生艺履:五十余年画龄,全赖自学,早年迫于生计做过苦工,从搬运工、泥瓦匠、木工、油漆工乃至盲流卖艺,可谓遍尝生活艰辛。然而,经过特殊年代和困苦生活双重磨砺的人往往有着可贵的坚 Strictly speaking, using the existing framework of history to define Jizi can be very poor, because whether such artists are forcibly imported into the professional field of view or as the few prime-time artists launched in recent years, Art History “strategy to seek positioning, are somewhat paradoxical, empty. But this theory by the theory ”box " artist style, personality routines fork is very popular in the moment. In view of this, this article goes from here. Looking back on Jizi’s life performance: Over fifty years of painting age are entirely self-taught. In his early years, he was forced to work hard by his livelihood. From porters, bricklayers, carpenters, painters and even blind folk artists, it is hard to find life. However, those who have been double tempered by the special age and the hardship often have valuable qualities