Chapter 25 Unforgettable painting

There are some pictures that I will never forget, and only one of them is famous, Guo Geng's Nevermore, a Hawaiian woman lying naked on the sofa.Quietly listening to a man and a woman outside the door talking and walking past.The spring in the rosy sunset outside the door sprayed upwards like a mist, with a feeling of sublimation, but for this strong woman, who was at most in her thirties, everything was over.The woman's face is large and vulgar, with single eyelids. She rests her chin on one hand and pushes her eyes upwards, making her eyes hang out. She also has a kind of aggressive style, which is often seen among the women of small families in Shanghai and is quite familiar to us. .The body is the golden brown of wood.The brown and black sofa is painted like bronze, and small blue and white flowers appear on the sofa cover, which is translucent like Luodian.The outdoor weather embedded in the dark copper background is stained glass, blue sky, red and blue trees, lovers, and a big immature bird from fairy tales standing on the stone railing.Glass, copper, and wood, the three different textures seem to include all the world that can be touched by human hands, and this is real, like this woman.She must have been in love once, and now, never again.Although she slept on a civilized sofa, her pillow was a flounced pillow of lemon yellow calico.There is a raw pathos in it.Unlike in our society, older women, if they miss love and still think about love, they must encounter countless small unsatisfactory, dirty irritations, and make their self-esteem riddled with holes. What is more sad is that there is no scum, because it is clear and calm, and there is a little irrelevant smile on the wooden brown face.It was as if there was a mirror reflecting the outdoor sunlight blurredly on the face, flashing and flickering.

The Thanksgiving Day painted by a not-so-famous female painter in the United States definitely belongs to modern civilization: the painting shows a family busy celebrating Thanksgiving Day, dragging the turkey out of the electric stove, with pudding on the table; Drilling indiscriminately.A housewife with a pink face and a flowered dress is walking into the dining room with a large stack of cups and plates. The kitchen tile floor is a large square of gray and gray. There are many people running back and forth in the gray air. A gust of wind comes and goes, which is about the same as in a small American city. The well-to-do family just came back from church, and thanked God for a good harvest for a year according to the habit of their pioneering ancestors. They were all hungry when they got home, and they were busy preparing this extraordinarily sumptuous lunch.But even though such a positive family portrait is different from before, I don’t know why, it’s not that simple.Although these people were eating, drinking, talking and laughing, their feet seemed to be wearing shoes and socks wet from the rain, cold and sticky.There is a sour iron smell in the lively movements, which reminds people of the backbone of a fast-moving tram on a rainy day. It is black and wet, and has turned a very light steel blue.

A painting called Tomorrow and Tomorrow is also American. It depicts a prostitute who rents a room on a very high floor, and many other skyscrapers can be seen from the balcony.She held the door and looked out, only to see her back, with yellow hair and a silk bathrobe.It's the lavender of old blood, the color of sin, but instead of sin, there's only flat weariness here.Pengtian and tomorrow's silk stockings slipped down: bloated piles on the ankles, next to a corner of the tin bed, collapsed pillows, bed sheets, and beyond the balcony is a tall house, gloomy and white, the weight of time, Day by day sinks like a day.

There is nothing more profound than painting whores.In addition, I still remember a picture of Lin Fengmian, a Chinese foreign painter. In the past, I only liked Lin Fengmian.His Annan Burmese portraits in sapphire blue shirts have extremely round and beautiful patterns.The one that is more memorable is the one with little coloring. In a small town in China, there is a woman in black standing under the earthen wall, followed by a bustard.Because most of them are made of light ink: although it is not raining, it seems to be raining, and it feels more warm in the cold rain.Women are not fashionable and their faces are not clear.But for ordinary men, they only think that this woman is possible, and they have a special feeling for her, just like Meng Lijun has a subtle concern for her fiancé she has never met.Lin Fengmian's painting looks at prostitutes from the point of view of ordinary men, just like the novels of the Mandarin Duck and Butterfly School, there is no lack of gentle and subtle taste in the sentimentality, but there is no malice. The perception of ordinary women towards prostitutes is more complicated. And look down on, but also envy, especially the upper-class women, have too much leisure and too few men, so they often fantasize about the life of a prostitute as romantic.Such a woman will probably have to be sold to a third-class cellar to know the joys and sorrows.

Among the paintings of Japanese beauties is the famous Twelve Hours in the Brothel, which depicts the life of geishas within twenty-four hours a day.It is difficult for us to understand the attitude of the painters here, the respect and solemnity of Peiyi.China does have Su Xiaomei Dong Xiaowan and her like, who jumped out of the fandom group and have a high self-esteem, but in China this is a prominent personality, but in Japan it has become a system. In Japan, everything becomes a system.A geisha is a popular lover trained by the rules, and the lightest little movements also have the weight of traditional habits, without any hesitation.In the brothel at twelve o'clock, I only remember a picture from the time of Chou. A late-night woman puts on wooden clogs, grabs the light floral dress on her chest with one hand to prevent it from slipping down her shoulders, and holds a stick of incense with the other hand. A thin puff of smoke wafted from his head.There is a girl squatting on the side to serve, the painting is much smaller than her.She stood there, as if she was too tall, her drooping neck was too tied, too long, and her little white feet, which hadn't touched the clogs, were too small to fit, but she did know that she was loved, although at that time She was there alone.Because of the peace of mind, the night seemed quieter and longer.

This idealization of prostitutes, the only explanation I can think of is that the Japanese attach great importance to training, and geisha, because they are extremely well trained, are very close to the standard of female beauty and goodness.Otherwise we can no longer understand why Tanizaki Junichiro represented his holy Madonna with a geisha in Between Gods and Men. Speaking of the Virgin Mary in Europe, when there were no movie stars, she was the only popular lover, and great artists of all ages have painted her portraits.Among them is the title: Madonna with Immaculate Womb.The former Oomph Girl is equal to the present Womb.But modern civilized people are much more cautious after all, and they will definitely not so openly call for a flawless womb.

The Madonnas of all European countries, whether they are from the Netherlands, have thin golden hair, long and cold faces, golden, jade, and lonely.It looks like Marlene Dietrich; it's still Italian, in the farmland, a typical fruit stand, with heavy black eyebrows and eyes, fleshy and delicate; it's still German, like it was scared by a man, with protruding The big light blue eyes, in the fright, gave birth to the kind of lively charm that the Germans especially like; the standard of beauty is different.However, what religious painters want to represent is always a naive country girl, extremely humble, but because of the great responsibility assigned to her by heaven, she has a new kind of dignity, holds the emperor's son in both hands, and will save the world with his blood in the future, she Give him to the world.Painters cannot express the authoritative wisdom of children, and often paint him as a bruised, old-fashioned baby.Sometimes he was covered with a light veil, and his mother lifted the veil, as if ostentatiously opening the lid of an expensive gift box.Sometimes she would tease him, or gaze at him tenderly in her arms, but there always seemed to be countless people watching the show beside her.

For this reason alone, I also prefer Yamabashi and Kintaro in Japanese paintings. It is probably a folklore. It is not clear whether the two are mother and child. Kintaro may be a hero who was raised by mountain spirits.Grandma Shan has messy black hair, a fat long face, lustful eyes, and a small smile, as if she is thinking far, far away: she lowers her head, and her hair flies out, like a gust of wind Blow the trees all over the mountains to one side.Perhaps because of the tilted posture, her breasts started at the bottom of her neck and drooped long. They were the so-called pocket breasts. Kintaro, a child with a crab-shell face, leaned on her breasts, with strange eyes, and sometimes naughty with her breasts. She rubbed her nipples with her hands, but she just smiled nonchalantly, and teased him with one hand holding on to the flower-painted bolang drum, her eyes couldn't tell if it was temptation, despicability, or tolerance, and the yellow breasts on her chest In addition to being fierce and domineering, the black child also has great wisdom growing.There are mother and child here, as well as the basic relationship between men and women.Because there is only one man and one woman, and no one is watching the show, it is upright, and I feel a kind of boldness at the beginning of the beginning of the world.

From this, I thought of Raphael's most famous statue of the Madonna, The Sistine Madonna appeared in the clouds with a child in her arms, with angels and kneeling saints at her feet.The most lovely thing about the Madonna here is her expression, which is between awe and reserve, that sudden brilliance.A lowly village girl was suddenly promoted to the status of queen. She was selected because of her innocence and ordinaryness. After being promoted, she had to work hard to maintain her ordinaryness, so she had to act.Just like in the United States, major businesses elect a typical ordinary person and use him to advertise: Ordinary people like to drink XX brand incense, use XX brand razors, wear XX brand raincoats, agree with Roosevelt, and oppose women who are too short shorts.Under the attention of the world, how long can ordinary people be ordinary?There is a kind of abnormality in the ordinary here, and Shanba seems to be strange, but in fact he is very human.

The dream-like paintings of hyper-realism, what impressed me the most is an unnamed work, a woman fell asleep in the desert, with an Egyptian wide yellow face, thin and exquisite hands and feet; wearing the simplest sack The same robe, with red stripes on the white ground, is surrounded by endless sand: the sky on the sand, although it is late at night, is still light blue, with a golden sandy quality.A yellow lion came and sniffed at her. With a milky white bottle by her head, she seemed to be trying to draw water, but she collapsed from exhaustion on the way.A layer of sand, a layer of sky, the weight of nature is pressed on the human body, heavy and pure sleep, no dream at all, and the lion sniffed.

The one titled "The Virgin of the Night" also has the same fresh and terrifying atmosphere.Four giants, the upper body of which is a Jewish girl with long hair, standing face to face, their big protruding eyes looking at each other quietly, discussing something.The round white stones under the feet are all distinct in the moonlight, there is a brick wall in the distance, and a small black shadow of a man can be seen vaguely under the dome door, as if his soul had come out of his body and he had this dream. Chinese people paint oil paintings, because they are Chinese, they seem to have an advantage to take advantage of, and they do not respect the basic conditions of Western painting under the pretext of referring to the inherent Chinese style.If you don't take any chances, you are often bound by the traditions of Western academics.Recently I saw Mr. Hu Jinren's paintings, but that was an exception.What surprised me the most was a piece of white magnolia, with silvery white flowers inserted in an earthen vase, with long round petals, translucent, but fleshy, stretched out in this way, and must have such a long appearance; , what you want, you have to decide, but there is laughter in the greed, so it can be forgiven, just like youth.A branch of winter jasmine is sandwiched between the magnolia bushes, bursting out like fireworks all the way. Little golden flower.Even the brown coffee table is painted with emotion, the docile little rectangle bears all the excitement on it. There is also a larger one, which is also a white magnolia, thin and bright, like jade and crystal, like the cool taste of the jade fish that Yang Guifei held in her mouth when she got a toothache.The strong lines of the winter jasmine open and close, and its control of life is calm and domineering. The background of both paintings is the purple-blue color of the reverse side of the matchbox.It's rare to see that color used so well.In a painting called Muchun, the sky in the overcast afternoon is that dull blue again.In the park, surrounded by green trees, two women hurriedly walked on the path, being chased by something terrible, about to go to an even more terrible place.The back of the woman is fat and swaying with a big butt, but the vulgarity only adds to the horror. In the gentleness and law-abiding of civilized people, sometimes an unexpected and timid desolation has been discovered.Autumn mountain is terrifying again, with light blue sky, low yellow sunset, two tall thin white trees with soft and long branches, swimming in the air like eels, twisting each other, two women huddled their necks close together Hurry up and go, it's already winter. On the shore of the lake in summer, there is a woman sitting by the water, the blue sky and white clouds, the big white and green trees shaking in the hot wind, the loud cicadas are everything, and there seems to be something more besides, as if there should be a music teahouse in the shade of the trees, The first popular song in the mainland came with the sound of water and the rustling of cicadas, vulgar and grand. There was a charcoal bowl at the old maid's feet. She bent down and stretched out her hands towards the fire. A white blanket was spread on her knees, which further showed the heavy and hard work of her hands.She wore a woolen hat, and her huge figure surrounded the little fire on all sides, smiling, very content with everything.This was the moment she enjoyed the most, and it made her feel even more miserable. There is a still life, with milky white bottles, knives, water chestnuts, mushrooms, seaweed moss, baskets, and rags scattered about on a dark purple-brown background.Such disorganized composition is rarely seen in oil paintings. Only when Chinese silk and satin porcelain was first introduced to the West in the 17th century, the British court painters deliberately imitated the Chinese style of painting offerings during the Qing Dynasty. You have to open up.The Chinese spirit here is intentional or unintentional.The small thick purple lumps on the screen appear rich and fresh, making people imagine breakfast on a sunny day in a land flowing with milk and honey. There is also autumn in the mountains of Nanjing, a small road flowing like a silver stream; two small white trees have many yellow branches, each shaking, as if it was just dawn.There are two trees a little further away, one blue and one brown, scribbled like Chinese paintings, but without the format.The people looking at the scenery seem to have come from afar, panting undecidedly, and the blurry blue distant mountains are also fluctuating.Because of that sudden feeling, it is like a distant dream when the chicken is just crowing and the mat is too cold.