静物画在西文中的原意是“宁静的生命”,这个含义不仅可以引起很多联想,实际上也是静物画的一个内在标准。静物本来是没有生命的,要画出它的生命感,也就是要求画家通过与静物的对话,把自己的生命赋予对象。这样就使我们想起塞尚对风景画的要求:“画出对象内在的生命”。这个生命当然不是地质学或植物学上对自然生命的理解,而是艺术家把自身的情感、情绪等生命意志以对象为媒体表现出来。塞尚以后,静物画也融入了现代绘画的标准,即主观性与形式感;但它不能脱离自己的身份,这也就是一个建立在客观性上的基本标准。优秀的现代静物画总是在这两个标准之间摆动。 张娜的静物画以花卉为主,她以一种朴实的手法,细腻地融进自己的情感,逐渐形成了个人的风格。她从一开始就没有受既 Still life in the original intent of the Western language is “quiet life”, this meaning can not only cause a lot of associations, in fact, is an intrinsic standard of still life. Still life still lifeless, to draw its sense of life, which is to ask the artist through the dialogue with the still life, to give their lives to the object. This reminds us of Cezanne’s request for landscapes: “Draw the inner life of the object.” This life is certainly not geologically or botany natural understanding of life, but the artist’s own emotions, emotions and other wills of life to the object as the media show. After Cezanne, still life is also integrated into the standard of modern painting, namely the subjectivity and formality; but it can not be divorced from its own identity, which is a basic standard based on objectivity. Excellent modern still life always swings between these two standards. Zhang Na’s still life is mainly of flowers, she with a simple way, delicate into their own feelings, and gradually formed a personal style. She has not suffered from the beginning