七

俸正杰的作品是艳俗艺术中最为风格化的代表之一，他从1994年的《皮肤的叙述》就开始了“艳俗”的艺术表现，但是，艺术家这个时候的作品较向于对“溃烂”与伤害的表现，色彩的明亮没有通过形象的特殊性呼应出“艳俗”的风格。随着商业化潮流的演绎，俸正杰相信，国家经济政策日益冲淡社会的政治情绪，“政治人”已经转化为“经济人”或者“物质人”，因此，图象中的意识形态痕迹和显而易见的政治倾向的表现已经失去现实的依据，不能有意识地与某个目标过不去，因为它也许根本就不存在了，艺术必须面对现实。《浪漫旅程》开始了这位艺术家真正意义的艳俗风格的作品。画家以大街小巷出现的婚纱摄影为题材，将艳丽和娇柔的图象与姿态模仿出来，给予极度的夸张，这样的描绘与人们知道的旧有的习惯相去甚远，婚姻仪式——这个神圣的时刻就这样被艺术家给玩笑化了，喜剧化了，直至一种典型的艳俗风格化。事实上，在艺术家反讽社会现象的同时已经创造出一种审美，在众多的艳俗艺术样式中，俸正杰的艺术具有独特的审美价值，这样的结果也许同初衷相背，但是，当一种语言因为观念的开放拓展出新的空间时，一种新的审美样式产生出来是非常可以理解的。艺术家试图描绘“假大空”，却表现出让人发笑的场境、动态与形象。当观众依凭旧的习惯有可能拒辞画中的人物和表情时，却很快会被艺术家铺陈的独立形象世界的整体给感染，以唤起对生活现实感受的复习。俸正杰给予艳俗艺术的定义是有趣的，因为他没有将愤世嫉俗的态度或者“批判”的肤浅观念纳入自己的观念：
…Feng Zhengjie’s works is one of the most exemplary representatives of gaudy art. He started his gaudy art since the exhibition of “Narration of Skins” in 1994. However, gaudy artists’ works intended to present cankers and hurts and the brightness of colors did not reflect the style of gaudy art. With the trend of commercialization, Feng Zhengjie believes that the national policies on economy have diluted the political concerns of the society, and political characters has turned to be economy or material oriented Therefore, the traces of ideological interventions and obvious political intentions have lost their actual roots. Consciously confrontations with a certain target diminished because the target itself no longer exists. The fine art has to face the reality. “Romantic Journey” was considered the real beginning of the style of gaudy art. The artist took the wedding photography as the theme and mimicked the flamboyant colors and affected poses and eventually amused the holy wedding ceremonies in a way of exaggeration and irony. In fact, the artist’s irony to the social phenomena also creates a kind of aesthetics. In the diverse styles of gaudy art, Feng’s works possesses unique aesthetic value. When a certain language expands with the opening up of the ideology, meanwhile it gives birth to a new aesthetic style.  The artificial descriptions of the amusing situations, motions and images arouse the audiences’ review to their life experiences. The gaudy art defined by Feng Zhengjie is very interesting, because he did not simply combined the superficial meanings of criticism or cynicism with his own conceptions:

——吕澎 ：《中国当代艺术史1990-1999》（湖南美术出版社）
Lv Peng, Chinese contemporary art history 1990-1999, published by Hunan Art Publication

八

“酷”作为全球主义流行文化的审美特征，使俸正杰笔下的当代亚洲妇女看来已经不再有历史，她们只接受好莱坞文化等流行工业建立的关于现在和未来的纯粹审美幻想，在一种蒙德里安和安迪·沃霍尔式的视觉经验中建立起的流行文化背景。
As the aesthetic properties of the globalist pop culture, it looks like that the “cool” nature creates no history for the Asian females by the brushes of Mr. Feng Zhengjie. They have to accept a pure aesthetic vision concerning the present and the future that such pop industry as the Hollywood culture has created and the pop cultural background cultivated in the visual experiences of Mondrian or Andy Warhol-style.

但俸正杰的“美女”好像还并不完全是一种纯粹的当代资本主义的流行产物，他的“美女”像是一种聊斋式的幽灵夜出、离世并且逍遥游春的末世景象。俸正杰的作品事实上还揭示了另外一层背景：后政治社会身体享乐性的复活。肉身的享乐，在中国九十年代后期开始不仅在民间社会和市场的私密空间中成为真实的可能，它在当代民间社会的日常文化中也不再是受贬抑的观念。政治意识形态在中国事实上只是国家主义的表现形式，在市场体制进入后，开始产生相对自主的大众社会，这是后政治社会的基本特征。后政治社会的文化后果是使国家主义受到全球文化和波西米亚式的边缘文化的双重夹击。俸正杰揭示了一种后政治社会的自我变异：向全球化彼岸自我放逐式的逃亡。
However, it seems that the “beauties ” of Mr. Feng Zhengjie are not completely the vogue products of the current capitalism. His “beauties” look like an eschatological sight in a Liaozhai world in which the spirit appeared at night, fled from the mortal life and enjoyed the spring leisurely. In fact, Mr. Feng Zhengjie has revealed another background in his works: the renaissance of human hedonism in the post-political society. The pleasures of the “human flesh” have not only become a real possibility in a secret space of the popular society and market in the latter part of 1990s, but also never been depreciated in the daily cultures of the current society. As a matter of fact, the political ideology is no more than a manifestation of the nationalism in China. A relatively self-governing mass society has begun to take shape after the introduction of the market system. This is the basic characteristic of the post-political society. The cultural results of the post-political society is that the nationalism has been confronted with double challenges: the globalized culture and Bohemian peripheral cultures. Mr. Feng Zhengjie has revealed a sort of self-transformation of the post-political society: a self-exile escape to the other side of globalism.

这种逃亡在俸正杰的画面中是一幅快乐而又虚无的迷途景象：身体放纵、极度的自由和快乐、遗忘历史后心灵的轻盈、以及极度的虚无。全球化在俸正杰的画中更像是一个美丽的幻觉，只有色块，没有具体的那个“城市”。那些“在路上”的美女们，在路上享受思想迷失的自由。
In the paintings of Mr. Feng Zhengjie, such an escape has become an errant scene which is pleasant and nihilist: the uninhibited bodies, the extreme freedom and pleasure, the relief of souls after forgetting the history and the utmost void. The globalism looks more like a pretty vision in the paintings of Mr. Feng Zhengjie. There are only masses, but no concrete cities. Those “beauties on the way” are enjoying the freedom of ideological disorientation.

俸正杰采用了最流行的性感方式表达这种性感的扭曲，那些头大身体小的宠物式的女人以及身上消失的地区特征，使这种性感看起来及其让人伤感，这是俸正杰想要表达的后政治社会时期关于自由和快乐的经验：是漂亮的、又是痛苦的。
Mr. Feng Zhengjie has applied the most fashionable way to his expressions of the deformed sexuality. The pet-like females with big heads and small bodies and the dissolved local features of their bodies have presented the viewers a deep sentiment. This is the very experience concerning the freedom and pleasures in the period of post-political society that Mr. Feng Zhengjie wanted to express in his paintings: pretty, but painful.

——朱其：《性感，伤感：后政治社会的文化经验——记俸正杰的“酷”绘画系列》（2000年）

九
                           　　　　　                      
两眼的黑眼珠都向外偏的女人脸——如今可以说是俸正杰绘画的商标。我们欣赏他的画首先感受到的当属其怪异性。那眼睛到底在看什么？她们到底在想什么？无从而知。就是如此怪异。日语中说“眼睛能如嘴样会说话”，“眼睛的表情”决定一切。墨镜固然能遮挡目光，将黑眼珠画得很小而且偏向外侧也可以——这种可能性的发现、惊奇由此产生。不仅如此，虽然有眼睛，却如同无眼睛似的怪异性在此产生了。
A female face with the irises located at the extremities can almost be regarded as a trademark of FENG Zhengjie's paintings.  We feel, of course, something strange when facing these paintings: we cannot know at all what she is looking at, or what she is thinking.  We say in Japanese that "the eyes tell more than the mouth", which means that the expression of the eyes is decisive.  The artist first hid the look in the eyes by using sunglasses.  Then he found that he could do it, more effectively, by locating the irises at the extremity of the eyes.  This is a discovery and a surprise.  Moreover, this manner of expression can give us a strange impression as if the girls have no eyes, although their eyes are actually depicted.

它还不同于完全被中性化的意思。要说中性化，《酷》系列更中性化。相对中性化，俸正杰将脸的轮廓、耳朵、嘴（唇）、花、发型等各不相同地描绘出来，模特各不相同，每个人的个性也描绘得一目了然。但是只有眼睛虽然都不同，却又都一样。既不是看外侧，又不是看自身的内心，那种对什么都漠视的眼睛是非完全空洞的、非个性化的眼睛。
This does not mean that FENG Zhengjie aimed at neutralization of human sexes in the "China" and "Chinese Portrait" series.  Such neutralization had been more perfectly achieved in the "Coolness" series. In contrast, FENG Zhengjie here depicted the outline of the faces, ears, mouths (lips), noses and hair-styles of respective girls differently, purposely suggesting that the models were entirely different and each of them had a unique personality.  Only their eyes, although different in the form, were rendered similar.  Their focus is oriented neither towards the outside world nor towards their inner selves.  They do not seem to be watching anything.  Although not being hollow, they are dehumanized.

与眼睛形成对比的是鲜艳的嘴唇。所有的嘴唇染成大红色，甚至让观看的人感到毒辣。仔细看会发现这些嘴唇形状各异，表情不同具有个性。如果你能容忍那种艳俗的话，每个嘴唇都有其魅力。但是因为眼睛是非个性化的，这种“落差”让我们观赏的人无所适从。我从这种无所适从中感觉到了什么。我认为这里一定有寓意。我认为俸正杰的作品中《中国》系列和《中国肖像》系列及其类似的作品，即脸部大特写的女性单独肖像作品尤为优秀。这些作品的核心在于使观赏者感到无所适从。
On the other hand, the lips are painted vivid rouge.  The color seems even gaudy to some people.  If you look at these lips closely, you will find that they are all individual with different shapes and expressions.  They are all charming and attractive more or less, apart from the gaudiness of the color.  The individual lips make a remarkable contrast with the dehumanized look of the eyes.  I cannot look at the paintings without a confused state of mind, or a hallucinated state of perception.  It is, however, in this mental and perceptual situation of being at my wits' end that I feel something important.  I think that the single-portrait paintings of female faces in the "China" and "Chinese Portrait" series are the most excellent among FENG Zhengjie's works.  It seems to me that the core of these works lies in the very contrast that makes me at my wits' end.

非个性化的眼睛、超刺激的红嘴唇、绿红蓝的头发及画中蕴涵着的有点现代过头的时尚感——从这些东西中很容易看出作者对现代的消费社会化、大众社会化的状况的评判观点。那么这种诠释没有错。这正是这些画的主题。
It is easy and right to find FENG Zhengjie's criticism against current Chinese situations represented by the consumption society and popularization in the dehumanized look in the eyes, gaudy rouge lips, green or red or blue hair, and contemporary fashion.  It is exactly the theme of these paintings.

——千叶成夫：《她们在看什么？——俸正杰的绘画》（2003年）
CHIBA Shigeo, These girls are looking at? - FENG Zhengjie's paintings, 2003