规避海德格尔的“大地”，对视觉的和可直接命名的传统规律的割裂，是此系列画作对人的世界回归的隐喻象征。作品在技法上的模糊和观者对观看时的不安，构成现代艺术基础的核心：此在，即人的存在。

　　戏剧这一古老的表演在融入人与大地抗争的悲剧中，显示了它无可替代的上帝般赋予的神秘力量。传统的巫术集合人的自然亲缘，倾诉了对现实生产中的“数”的扩张欲望，并以人“数”的集聚来演示对自身身体之外的单纯认识。这种不觉的情绪升发是对人性自我否定的召唤，亦或者用当下“艺术”的隐喻功能来契合“是”的自觉判断力。而在此系列绘画中，作品的可视表象是融入在自身的封闭中，这种一往情深的自我圆融的自信，排除了绘画中戏剧的可能性的表现，就像其中黑衣少女的木偶动作，只是类似田园中一阵风的暗喻。画中的人物在老狄德罗看来是反戏剧的，因为它毫不夸张，没有情节，对观者无所诉说；而对更老的亚里士多德来讲，它割裂了诗意，没有任何必然性或可然律的倾向，因为画面没有意义。作品的表象超出了理性的可视，并僭越了与观者的对话，是否完全陷入自身的心理关照？或者在构建可视之外宗教性世界？面对现世的可感疲劳和社会的关系结构，他或她怀念中世纪吗？他或她是冷漠的。

　　对传统主题的逃避并不是对知识性的苍白退却，反而是非知识性的本我跨越，因为画中人物的无表现性指涉其“所是”。如背对观者的少女生发观者绕转画布洞察的期望，而这种期望被无限耽搁以达到诡异的神圣取悦，让人性无法达到彻底的圆满和洞知的告终。它又之所以在现世的魑魅市场中保有传统的祛魅动力，是因为它表现了其“所不是”。画面人物的冷漠邀请了观者，即画中“你”对现实“我”的延伸，这就由冷性的割裂走进暖性的融化，是艺术家对人性的责任关照和波德莱尔式的浪漫救赎情结。它不是艺术家的暗示，而是激情斫击般的荣耀理想，体现了人先于本质的自为存在，即主观的、真正的存在。背对观者的长辫少女，与近处地平线（画面自为的二维性）的巧妙构思又是戏剧性的一幕，但温克尔曼式的静默又将这种戏剧性减弱到最低限，在象外之象的混沌处境中制造小说一般的丰富想象。真实的想象都是取笑读者的，利用了可视的日常表象无限地允诺读者，却在喻体中永远到达不了彼岸的本体。这便是艺术家的诡吊之处。

　　最后，融化的境地走入原始的存在里。画中人物的目光显然并不皈依现世，不论他或她看向哪里，对观者的冷漠都是让人不安和具有启发性的。实际上每个人物都没有“看”，即使瞳孔最大限度朝向观者，例如画中面向我们的白衣男童，目光却永远落不到具体的可视之物上。目光在此并不融于任何的想象或假设的二元情绪中，例如猜忌、豁然，温暖、冰冷，迟疑、断裂等等，目光的涵义不属于它们中的任何一方，它仅是一种当下却又古老的存在，如此而已。就像马尔克斯笔下《百年孤独》的最初段落，人类的原始思维还处于肢体对世间万物的指指点点中，因为语言尚未出现。

2015年1月10日

　　Avoiding Heidegger’s "the earth", isolating the visual traditional law that can be directly named are the symbols of metaphors of returning to the world for this series of paintings. The vague technique of the work and anxious viewers form the core of modern art basis:Dasein, namely human existence.

　　Drama, the ancient performance, expressing the tragedy that human struggles with the earth, shows its irreplaceable mysterious force given by the God. Traditional witchcraft gathers natural kinship, expressing the expansion desire of "number" in real production, and demonstrates the simple understanding outside own body by gathering the "number" of people. This kind of unconscious emotional sublimation calls the self-denial of human nature, or uses the metaphor function of "art" to fit the conscious judgment. In this series of paintings, their visual presentations are integrated into its own sealing; this passionate self-confidence of harmony rules out the possibility of drama in a painting, just like the puppet action of the girl in black, it is just the metaphor of wind in countryside. Diderot thinks the characters in the painting are anti-drama, because it is no exaggeration without plot, and has nothing to tell viewers; and for older Aristotle, it divides the poetic quality without necessity or natural tendency, because the picture does not make sense. The presentation of the work is beyond the rational vision, and arrogates the dialogue with the audience. It comes completely into own psychological care, or builds the religious world outside the vision? In the face of the sensible fatigue and social relation structure, he or she misses theMiddle Ages, or just is indifferent?

　　Escaping from the traditional theme does not mean the retreated intellectual blank; instead, it is the non-intellectual ego crossing, because the non-presentation of character in the picture refers to “what it is”, just like the girl’s expectation of circling canvas, and this expectation is infinitely delayed and reaches strange pleasure, so that the humanity cannot end completely. It also maintains the disenchantment power in the traditional demon market, because it presents "what it is not". The indifference of characters invites the viewer; it is the extension of "you" in picture towards "I" in reality, so it is the warm integration from cold isolation, and is artists’ responsibility of humanity and Baudelaire’s romantic salvation complex. It is not the hint of the artist, but the passionate glorious idea, embodies that human being-for-self precedes essence, namely, subjective and real existence. The sophisticated idea of girl with long braid back to the viewer and the horizon vicinity (bidimensionality of the picture itself) is another dramatic scene, but the silence of Winkelmann decreases this theatricality to the minimum, creating rich imagination as novels in chaotic situation of images beyond images. The real imagination is making fun of the reader; uses visual daily presentation to promise readers infinitely, but never reaches the reality in metaphorical objects. This is artists’ paradox.

　　Finally, the integration situation comes into the original existence. The eyes of characters in the painting apparently do not convert to the world, no matter where he or she looks, the indifference for viewers are disturbing and instructive. In fact, no one really "sees", even if the pupil goes toward the viewer to the greatest extent, such as the boy in white towards us, his eyes never focus on the concrete visual subject. Here, eyes never dissolve into any imaginative or assumptive dual mood, such as suspicion, openness, warmth, cold, hesitation, fracture and so on; the meaning of eyes does not belong to any one of them, and it is only a kind of present and old existence. It is just like the first paragraph of Marquez’s "One Hundred Years of Solitude" that the human primitive thinking still points out everything in the world by body, because the language haven't appeared yet.

January 10, 2015

作者：魏静静