作为一位执著于古典油画技法的青年画家，曾传兴有非常浓厚的唯美情结，这从他2004年至2006年以灰色为主调的几幅肖像画中可以感觉得到，其中也可见出他娴熟而周到的学院写实技巧。值得注意的是这种唯美追求，并没有因为形式化而突破传统。中国学院派的古典油画，除了在构成平面化上有所不同以外，还没有走到安格尔那关键的一步，即为了画面形式需要去调整对象结构，为了女人体轮廓线的美而不惜改变素描关系的准确性与标准化。曾传兴不愿在形式和内容、语言和精神的分化上做文章，他自然会在观念组合上进行超现实主义的某种尝试。早在2001年至2003年这段时间，他就画过与徐芒耀“破墙”系列有些近似的作品，甚至画面上还出现过针对中国当下生活的拼贴文字，如2001年《家园》等，而2003年作品《浮》则不无马格里特式的悖理与荒诞。然而，超现实主义画家其实并不尊重古典油画的庄重感和严谨性，马格里特那松散涂抹的形体块面也肯定为学院画家所不耻。曾传兴在上述两条线索中的探索都没有继续走下去。他期待的是古典主义的某种变化，而不是唯美主义和超现实主义的极端走向。

　　于是，他开始画“纸衣”女人。

　　在摄影未出现时，肖像画有很强的纪实功能。对真人面目、肌体、手和服饰的刻画尤为重要。“纸衣”系列保留了人体写实的原有面貌，能够满足画家深入骨髓的古典写实情结，但又改变了服饰的琐细描绘，并使人物对象存在于假设的、虚拟的扮相之中，这种符号化和戏剧化的处理，的确使画面具有了某种观念性、时尚感和都市消费文化意味。不仅和靳尚谊、杨飞云的学院古典，和王沂东、陈逸飞的风情古典有所区别，而且和徐芒耀等人的超现实表现也拉开了距离。而对于纸质的精心刻画，亦能让曾传兴充分发挥自己的技艺特长。

　　如果我们要做些体验的分析，被纸衣包裹的女人乃是象征性的。纸质脆弱、易损和让人任意揉搓变形的印象，与女人在男权社会的被动地位和弱势状态，在心理感受上是相通的、暗示性的。而曾传兴笔下的女人，不管是身处纯洁白色还是喜庆红色之中，大多都带着失落、惶惑、无助的表情，很少是兴奋和愉快的。这种情绪和新娘扮相形成的对比，显然是画家传达给观众的对于女人处境的怜悯与同情。在这里，画家开始以符号隐喻为契机，在古典写实绘画中输入某种现实性—生活在今日文化境遇中的现场感受。这正是曾传兴作品与艺术当代性意义可以沟通的地方。

　　但这种现实性是非常微弱的，原因不在于作品表现的强弱，而在于纸衣这种符号处理从属于古典油画语言，是很容易样式化的，并且也很容易落入陈逸飞作品那种文化媚俗的窠臼。因此，曾传兴必须面对的问题是，其创作观念如何在艺术方法层面上继续推进，而不是仅仅依赖符号变化来保留学院化古典写实技巧的完整性。老子的教导永远是正确的：“无之以为用”。有所不为才能有所为。

　　2008年11月29日

　　四川美术学院桃花山侧

　　As a young painter consisting in using classic oil-painting technique all the time, Zeng Chuanxing has a powerful aesthetic complex, which can be mentioned by the portraits with the main tone of gray drawn since 2004 to 2006. And we also can notice his proficient realistic technique learned from art academy. It is worthy to notice that the pursue on aesthetics does not break through the tradition for its form. Besides the difference on complanation, classic oil-painting of China academy school has not got the key point of Ingres’ that needs to adjust objects’ structure for the picture and changes the sketch relation’s accuracy and standardization for women figure’s beauty. Zeng will not make change on the form, content, language and differentiation of spirits, then he would do some surrealism experiments on conception combination. Early since 2001 to 2003, he had drawn some works similar like Xu Mangyao’s “Broken Wall” series and even made some characters patch about China contemporary life on his paintings, such as “Hometown” by 2001. But “Floating” by 2003 got some absurdity of Rene Magritte’s. Therefore, surrealism artists do not respect classic oil-painting’s solemn and preciseness, while Magritte’s loose painting must have not been respected by those academy school artists. Zeng does not search in those above two lines. Actually he expects some changes on classicism instead of extremeness of aestheticism nor of surrealism.

　　So, he began to draw women in paper clothes.

　　Before the appearance of photography, portraits have record function, which is very important for depicting persons’ face, figure, hands, apparel and accessories. Paper clothes series have kept the human body’s painting realistically the original face that can satisfy painter’s deep complex on classic realism and have changed the drawing style detailed on dress so that made the subjects in a suppositional appearance. The symbolic and theatrical processing does make the picture have the taste of fashion and urban consumed culture, which makes difference with Jin Shangyi and Yang feiyun’s academy classics, Wang Yidong and Chen Yifei’s amorous classics nor Xu Mangyao’s surrealism expression. And about the elaborate depicting on the “paper” also lets Zeng show his skill completely.

　　If we make some analysis, we could notice that the women in paper clothes that are fragile and free to curlating are symbolic, which is mentally interlinked and implicated the female’s passive situation and disadvantaged state in this male chauvinism society. And the women in Zeng’s pictures are always in lose, bearings and helpless emotion, no matter she is in white nor in red. The contrast between emotion and Bride’s dress obviously shows the mercy and sympathy that painter wants to tell audiences. Here, taking the opportunity of symbol metaphor painter begins to put some reality to the classic realistic painting, which is just the live feeling that lives in present culture. This is just the point that Zeng’s works could communicate with contemporary art.

　　But the reality is very weak and the reason is not on strong or weak that the paintings express, but the symbol processing of “paper clothes” that belongs to classic oil-painting language is easy to be conventionalized and also easy to fall into the cultural vulgarization like Chen Yifei’s works. So, the point Zeng should face is how develop his concept of art creation on the side of artistic methods instead of keeping the integrality of academy school’s classic realistic skill just relying on the change of the symbol. Lao-tzu’s words are always right that “therefore just as we take advantage of what is, we should recognize the usefulness of what is not.”

　　Beside Taohua Hill, Sichuan Art Academy

　　Dec, 29th 2008

作者：王林