从卸下“黑领巾”开始，曾健勇的“大队长”开始漫无目的的出走，沉默少年的“迷茫”和“无助”一再陷入一种无法言语的处境，沉重的“黑色”负担一度影响着“少年”关于成长的梦想。如果说曾健勇的“少年”是当下成年人无法逾越的鸿沟，那就意味着中国版本的“童年”所承当的不应有的“负重”与其环境的“抑郁情结”。这俨然是成年人的“少年肖像”，只有经历过的酸楚才能够被记忆整理，细节的精彩之处在于“少年”独处的每一个角落，画面的道具似乎也都被冠上一层忧伤的情绪，不情愿地述说着种种莫名的烦恼纠结，于是“少年”也开始了有很多“失眠”的时刻。

　　绘画的形式已经纯粹是一种记录的手段，篇幅就是日记，就像先前那〈寻找卡夫卡〉的莫名情绪。“小碎花”、“格子衫”、“短袜子”、“猫”，或是自身的“迷离”一度无法释怀自身的困惑，每当有这样情绪的时候，片段嘎然而止，永远的凝固在草宣脆弱的纤维中，成了童年的记忆，娇娆着什么。这情结是健勇的布局，在〈书+道〉展览上我就曾断言，健勇将成为视觉印象里最精彩的少年专家。“失眠”绝不是一时的，似乎更多倾向于弗洛依德关于“虚假记忆综合症”的理解，在过多“受害者文化”(culture of victimhood)侵袭自身的时候，这份敏感和脆弱终将呈现。这种视觉情绪大众化的扩张在宫崎俊的漫画中能够找到相同的色彩，《千与千寻》的忧伤格调恰恰给出了两种不同的背景和处理方式。“少年”的困惑，是整整一代的价值困惑，如此来看在卸下“黑领巾”之后的“困惑”也是必然的。这也是这些年来批评家们所持续关注曾健勇的一个重要原因，他不是那种循规蹈矩的艺术家，也不是迷恋一种符号顽固到底的平面艺术家，他在以研究者的色彩介入到新的视觉解说中，多了很多关于气场应用的方式，或许这种方式区别于唐志冈的剧场角色，多了一些像刘野画面里的宁静与沉思。但这并不影响“少年”自身的困惑，这“困惑”是80年代以后关于“让我们荡起双桨”的余音的追思。是记忆毫不吝惜的给予，曾健勇卡通情绪的给予。

　　如果用“童话的负担”来隐喻时代自身的脆弱和谎言，那么关于“童话的色彩”一定是增加记忆共鸣的润滑济，快感的升华一定是和痛苦一并迸发的。所以日本人把死亡的最高境界演义成类似〈失乐园〉的“做到死”。而曾健勇的卡通，永远不会有村上隆的自由飞行，也不会存在类似松浦浩之的轻松的设计，更多的，是关于“中国少年”负重下的成长，及与生俱来的情感负担。这份成长里温柔和力量、困惑和失落，或许更能让当代中国的成年人浮起更多会心的微笑，与莫名的兴趣。

　　Gloomy Juvenile Mood

　　By Ji Wang

　　After taking off their “Little Black Guard”, Zeng's “Headers” began to wander aimlessly. The silent boy, whose dream of growing out of “childhood days” was affected by the heavy “black” burden, was caught in disability to ever speak of his “confusion” and “helplessness” again. If Zeng's “childhood days” is an insurmountable gap for today’s adults, it means that the Chinese version of "childhood" bears undue stain and depression complex from the environment. Apparently this is a "Juvenile Portrait" for adults, and only those who have experienced sorrow can be touched by memories. The details of Zeng’s paintings are exquisite: every corner where the child stays alone and every lifeless thing are under a cloud of sadness, reluctantly telling all kinds of inexplicable worries, and so even the child begins to suffer from a lot of gloomy moments.

　　The form of painting has been an absolute means of record and the painting itself is like diary, as the nameless emotions in the previous work In Search of Kafka. There has been a time when "small floral", "grid shirt", "short socks", "cat" or people’s own “melancholy” could not drive away their confusion. Whenever this kind of emotion is aroused, fragments will come to a sudden end and be frozen forever in the vulnerable fibers of the handmade paper and become a carved memory of the beautiful childhood. This complex is Zeng's layout. In the exhibition of “Book Way” I have asserted that Zeng would be the best expert in children visual world. Gloom is not momentary but seems more inclined to Freud's understanding of the "False Memory Syndrome" which means when too much "culture of victimhood" takes effect, sensitivity and fragility will eventually present itself. This popularized expansion of the visual mood can also be found in Hayao Miyazaki's cartoons. The sad style of Spirited Away shows exactly two different backgrounds and approaches. The confusion displayed in ‘Childhood Days’ is the confusion of value shared by a whole generation, so it is inevitable that people would feel this kind of confusion after they take off their ‘Little Black Guards’. The reason that Zeng has been paid continuous attention by critics in recent years is that he is neither a conformist nor a stubborn artist fascinated by one symbol. He is getting himself involved in the new visual explanation as a researcher with his own way of creating an atmosphere. His new attempt distinguishes from Tang Zhigang's theatre roles and has more tranquility and meditation similar to t Liu Ye’s works. This does not change the ‘childhood confusion’ which is the reminiscence of the vanished golden times of "after 80s" and also a gift from Zeng's memory and his cartoon complex.

　　If the "burden of fairy tale" is a metaphor for the vulnerability and lies of the era, then the "color of fairy tale" should be the lubrication to refresh the memory. The sublimation of pleasure is always accompanied by pain. That is why Japanese people regard “making love to die” as the highest stage of death as in Paradise Lost. However, without Murakami's freedom to fly or Matsuura's light-hearted design, Zeng's cartoon is more about Chinese children's growth under pressure and the inherent emotional burden. Perhaps the tenderness, power, confusion and sense of loss in growth are more likely to bring contemporary Chinese adults an understanding smile and nameless interest.

作者：纪旺