前言

从1992年到2011年，俸正杰的艺术创作走过了二十年，他对艺术和人生的理解也日臻深化，从早期对“艳俗”现象的切肤之痛，到今天对表面光鲜亮丽背后命运犹关的悲喜关怀，一种无处不在又无处藏身的忧患意识和生命哲学已然清晰起来。“殇”，有夭折、为国捐躯、死在外面的意思，用这个字与“艳俗”之“艳”组合——“艳殇”，最能意指俸正杰艺术的精神深处。

将生命、死亡与花朵联系起来是这些年俸正杰艺术创作中的一个重要基调，尽管他画了大量左顾右盼、神色游离的艳妆美女，从而引得了人们对其难以回避和留恋往返的好奇和痴迷。但是，这些尺幅巨大的性感女神，其实从终极意义上说不过是昙花一现，一切人们习以惯之的东西都烟消云散了，一切美好的东西都将如昨日之烟云。

艺术不是生死本身，它是要表达生死的道理，是要在表面的浮华后预示其衰败，是要揭示出生死、衰荣的辨证性。俸正杰形象地将个人日常的感情经验与形而上的信仰意识呈现了出来，标志着他把自己交给自己应有的生命最高意义和价值。

Feng Zhengjie career, so far, spans over twenty years, from 1992 to 2011, during which his approach to art and life has matured considerably, from the earlier pain of “gaudy art”, to the exploration of fate found beneath surface beauty we see today. Yet, in every painting he has ever made, we can detect the anxiety that characterizes his personal philosophy. The Chinese word shang encompasses a range of meanings from abortion, death in a battle, to and death outside of one’s home. Together with yan, which means bright, luminescent colors, Feng has given us a new phrase in Chinese, yan shang, a type of mourning in gaudy colors. This is the best possible way to describe the spirit of Feng Zhengjie’s work.

The integration of life, death and flowers is fundamental to Feng Zhengjie’s latest work. He has also painted a large number of beautiful girls with absent-minded expressions which puzzle and infatuate the viewer, and as images are hard to walk away from. However, these gigantic erotic goddesses are like flowers destined to bloom only briefly, because the vitality of spring and summer is doomed to fade during autumn and winter. In the triptych series “Women are like Flowers”, flowers and skulls to the left and right hint at this life and next, while in the middle the beautiful stars radiate their youth in all directions. All that we take for granted will disappear like clouds and smoke, all that beautiful and good will fade away.

Art is neither life nor death, but a means for exploring the truth behind life and death, to show the decay behind the flashy surface, to differentiate between life and death, blooming and deterioration. Feng Zhengjie has combined his personal experiences with the metaphysical, which indicates that he has given himself over to the greater meaning of life.