左正尧开始于八十年代中期的艺术创作,有一条主线就是描绘或塑造女性形象。其间他做过《天九地八》等陶艺装置和《流水账》纸本装置,取民间娱乐骨牌和单位报销票据为材料,本与女性无关,但以中国文化符号和生活习俗作为切入点、从传统与现实两方面寻找契机的表达方式,与其一贯的创作思路是一致的。八五时期的人物画借禅宗理义表达善与恶、人与佛、宗教与世俗的关系,基本上属于工笔画范畴。但艺术家通过抽离背景和缩减对象的手段,赋予画面以超现实性,比如《回归》,其造型形态与王广义、耿建翌当时作品同属一 Zuo Zhengyao began his artistic creation in the mid-1980s. One of his main themes is the portrayal or shaping of female images. In the meantime, he has done “Tianjiujiu” and other pottery installations and “running account” paper devices, taking folk recreational dominoes and unit reimbursement bills as materials, which have nothing to do with women. However, taking Chinese cultural symbols and living customs as starting points, The traditional and realistic ways of looking for opportunities are consistent with their usual creative ideas. The figure paintings in the period of the Eighth Five-Year Plan imply that the relationship between good and evil, human beings, Buddhism, religion and secularism basically belongs to the category of mechanical strokes. However, the artist gives the picture a surrealisticness by means of drawing off the background and reducing the object, such as “returning to the world”. The shape of the painting is the same as that of Wang Guangyi and Geng Jianyi at the time