一位艺术家走向成熟,就是走向他在其上可以自由活动、洒脱地舒展身心的“正途”。我不是说王轶琼已经“成熟”,我只是说他已经在走向成熟。 《祭农神殿》是首先吸引我的作品。画面右上方一个粗大的箭头,作者的解释印证了我的猜测。这个粗大的箭头代表现代,与代表着过去的神殿适成对照。作者要表现的是古与今,传统与现代的冲突,意欲把某种“历史意识”渗入画面。王轶琼的作品中,这种渗透着“历史意识”的作品委实不少:《城墙》、《断柱》、《城堡》…… 历史!令人浮想联翩的历史,只要它在其中,画面就该有了说不清的意味了吧?我却感到了乏味。我突然想起了曾轰动一时的《父亲》油画。“父亲”那种可说是秦时,也可说是汉时的面孔,那张和他身后的土地一样沉默、古朴、饱经风霜的“我的父亲”的面孔与他头布上插着的二十世纪才出现的圆珠笔形成的巨大反差当初曾 The maturity of an artist leads to the “right path” where he can freely move around and relax freely. I’m not saying that Wang Yiqiong is “mature”, I just said he is already maturing. The Temple of the Gods is the first attraction for my work. A thick arrow at the top right of the screen confirms my guess by the author’s explanation. This bold arrow represents modernity and contrasts with the shrine representing the past. The author wants to show the conflict between ancient and modern times, tradition and modernity, trying to infiltrate some kind of “historical consciousness” into the picture. In Wang Yiqiong’s works, there are indeed many works infiltrated with “historical consciousness”: “City Wall”, “Broken Pillar”, “Castle” ...... History! It is an imaginative history, as long as it is in it, With indefinable mean? I feel boring. I suddenly remembered a sensational “Father” painting. The face of the “father”, which can be said to be Qin, can also be said to be the Han Dynasty. Like the land behind him, the face of the weathered “My Father” is as silent as the land behind him. The great contrast that the ball-point pen appeared in the tenth century was once