iation on Peng Jianzhong’s Paintings
江铭/文
Written by Jiang Ming
在一片幽暗深邃的色调之中，一双双惊恐疑惧的眼神注视着画面以外的世界，他们仿佛在问：这个世界怎么如此的陌生？我们从哪里来？我们出现在这个世界上到底有何意义？彭建忠的作品通过稚拙的手法创造出一群表情凝滞、诡异的少年人物形象，这些诡异的少年或骑白马、或孤独地坐在突兀的岩石上陷入沉思、或正行走于溺水的海面、或手持火焰凝视我们，让我们不寒而栗。他通过极具个性的语言制造了一种令人不安的超现实场景。
In a piece of dark and deep hue, pairs of frightened and suspicious eyes are gazing at the world outside the menu. It same that they are asking—Why this world is so strange? Where did we come from? What meaning on earth does ours appearance in this world have? By childish and awkward techniques, the works of Peng Jianzhong have created a group of youth figures with dull and bizarre expressions. Some of these youths are ridding on horses, some of them are sitting on abrupt rocks lonely and getting into meditation, some of them are walking in the sea and are almost drowned, and some of them are holding torches and gazing at us, which makes us tremble with fear. The artist has created a kind of discomforting super realistic scene by languages of strong personality.
面对这些少年身处的梦魇般的陌生世界，不禁让我想起英国小说家威廉•戈尔丁的一部幻想小说《蝇王》。《蝇王》故事发生在遥远的未来时代。在一次核战争中，一架飞机带着一群男孩从英国本土飞向南方疏散。飞机因遭到袭击而迫降在太平洋的一座荒无人烟的珊瑚小岛上。这群孩子暂时脱离了文明世界。飞机没有了，大人没有了，人类千辛万苦建立起来的文明世界危在旦夕。海岛上的环境很恶劣，对侥幸生存下来的孩子们构成威胁，然而——最大的危险竟然来自于这些原本天真烂漫的孩子自身。在这部作品中，戈尔丁用他特有的沉思与冷静挖掘着人类千百年来从未停止过的互相残杀的根源，成为揭示人性恶的现代版寓言。“蝇王”即苍蝇之王，源于希伯莱语Baalzebub，在《圣经》中“Baal”被当作“万恶之首”，在英语中，“蝇王”是污秽物之王，也是丑恶灵魂的同义词。
The nightmare-alike strange world in which these youths live can not help to make me occur to the fantasy fiction Load of the Flies, which was written by a British fictionist William Golding’s. The story of Load of the Flies occurred in the remote future age. In a nuclear war, a plane carries a group of boys and flies from the mainland of England to the south for evacuation. Then the plane has to make a forced landing on a desolate and uninhabited coral island for being raided. Provisionally, these boys are divorced from the civilized world. There are no plane and no grown-ups, and the civilized world, which is built by human beings with innumerable trials and hardships, is on the verge of destruction. The environment of the island is very abominable and has become a threat to the boys survived by lucky, while the biggest danger actually comes from the children themselves, through they are simple-hearted originally. In this works, by using his unique contemplation and calmness, Golding is to digging the root that human beings never stop their mutual massacre for thousands of years, and so this works turns into the modern allegory exposing the vice of humanity. The “load of the flies”, namely the king of flies, derives from the Rabbinical Baalzebub. And in the Bible the “Baal” means the “head of all evils”. In English, “load of the flies” is the load of dirties, and it is also the thesaurus of ugly soul.
但是 “归根结底不是什么外来的怪物，而是人本身把乐园变成了屠场。”（引自威廉•戈尔丁:《蝇王》序言）。彭建忠的这些作品所营造出来的超现实的场景，也同样给我们一种寓言性的阐释。他所阐释的是今日社会成长的一代少年所面临的对于世界的迷茫、困惑与痛苦。那些痛苦与我们成年人的世界所面临的问题有着不同的含义，成年人的迷茫、困惑以及痛苦是真实存在的，现实主义的，而处于成长中的少年的迷茫、困惑和痛苦往往是想象的、自我塑造的结果。社会的完善永远需要一个递进的过程，但是社会的完善也永远无法解决人类的内心世界。每一个个体在成长过程中，特别是青少年时期所面临的内心的情感压抑、困惑与痛苦都是任何时代都无法避免的。只要我们还没有脱离人类的基本属性，只要我们还没有异化为“机器人”类。
But “in the final analysis, it is not any foreign strangers but the human himself turns the paradise into the butchery.”(quoted from the prelude of William Golding’s Load of the Flies). Also the super realistic scenes constructed by the works of Peng Jianzhong bring us an allegoric expatiation. What expatiated by him are the puzzling, bemusement and distress of the generation of youths, who grown up in today’s society, to the world. These distresses have different meanings from the problems faced by the world of our grown-ups. The puzzling, bemusement and distress of grown-ups are existing realistically, while the puzzling, bemusement and distress of youths in the course of growing are often the results of imagination and self-building. The perfection of society needs a gradual course forever, but also the perfection of society can never solve problems of the inner world of human beings forever. During the courses of the growing of every individual, especially the emotion oppression, puzzling and distress in the heart during the youth period can not be avoided in any age, only when we have not gotten rid of the basic attribute of man kind, only we have not been dissimilated into robots.
彭建忠的作品是通过一种带有自传性质的描述，通过对自我在成长过程中孤独与无助的描述，寓言了我们人类世界的基本演化模式。并对人类的未来提出了问题。
Peng Jianzhong’s works are a kind of description bearing the character of autobiography, which, through the description of loneliness and helplessness during the grown course of ego, fables the basic evolvement mode of our human being’s world, and brings force questions about human being’s future.
在动物进化的某个特殊的点上，出现了一个独特的突破，这一突破的意义可与物质的首次出现、生命的起源以及动物的第一次出现相提并论。这个特殊的突破点就是人类的诞生。而人类的出现，打破了动物存在的特征：与自然的和谐。于是人类成为了这个世界上的怪异之物，宇宙的畸儿，地球上病菌。因为，人类的自我意识、理性与想象力使自己超越了自然，使人类能够意识到自己是宇宙中无家可归的弃儿，至今还没有找到与我们相似的兄弟姐妹。
A special breakthrough appears on certain point of the animal evolution, and the meaning of this breakthrough can be mentioned in the same breath with the first appearance of substance, the origin of life and the first appearance of animals. This special point of breakthrough is the naissance of human beings. While the appearance of human beings broke the character of animal’s existence — the harmonious with the nature. So human beings become a kind of strange thing in this world, an oaf of the universe, and a kind of germina on the earth. Because, the self-awareness, sense and imagination of the human being has made himself surpass the nature and made him able to aware that himself is the foundling with no home to go back in the universe, and we have not found fellowmen similar to us till today.
人类的进化基于这样的事实，那就是他失去了原初的家园：大自然，而且永远不能够返回，永远不可能再变成动物了。他只有一条路可走，去寻找一个新家，将世界改造为人类的世界，并将自己创造为主人，主宰世界。然而，在这一过程中，人类遇到的问题在整个自然界中却是唯一的。人类是唯一被迫离开了依靠本能生存的状态，而被抛入了一个变幻无常、开放的状态之中。动物在满足了生理需要、饥渴和性欲之后很容易就满足了，与此相同，这些需要人类也必须得到满足，但是人与动物的差别也正在与此，这些本能的满足并不能够使人类感到幸福与健全。人类还需要一种心理与精神的满足。
The evolution of mankind is based on such a fact that he has lost his original family—the nature, and he can never go back and turn into animal again. He has only one way to go, to look for a new family, to rebuild the world into the world of human beings, to create himself as the master and dominate the world. Whereas, during this course, the problem encountered by human beings is the sole one in the whole nature. The human being is the only species in the world that have to depart form the state of living by its instinct and been thrown into an open and changeful state. Animals are easy to be satisfied after their physiological needs, hunger, thirstiness and sexual desire are satisfied. In the way, these needs of human beings must be satisfied. But the difference between human beings and animals is just at this point, that is, the satisfaction of these instincts can not make people feel happy and enough. Human beings still need a kind of mental and soul satisfaction.
假如人类的心理与精神得不到满足，那么人类就永远也不能够圆满。人与动物的这种差异，不是从人类的一出生就有的，而是恰恰是从人类以及每个个体生命的成长过程中逐步显现出来的。.从子宫到子宫外的生活是一个重要的转变，但是在许多的方面刚出生的婴儿与出生前没有大的区别，它不能够感知外部的事物，不能够养活自己，它完全依靠母亲，即使是整个童年时期他开始发展自己的力量，获得个性的肯定，但是他仍然还不是一个已经觉醒的人。而人类迈向一个新的存在的点，恰恰就是在他的青少年时期，正是在这一时期，一个人的自我意识才开始真正的苏醒，性开始成熟，他再也无法平静地生活，因为他内心的矛盾促使他寻找新的平衡，即新的和谐他开始对未来的世界既感到新奇，又感到害怕与忧虑。
If human beings can not get the mental and soul satisfaction, then they can never feel satisfactory. This difference between human beings and animals does not exist from the birth of a man, but gradually emerges in the course of the growth of human beings and individual life. From the life inside the uterus to that outside the uterus is an important change, but in many aspects the newly born babies have no obvious differences from the state before their birth, they can not apperceive external things and live by themselves, they entirely depend on their mothers. Even in the whole childhood period, when they begin to develop their own strength and acquire the affirmation of personality, they are still not people who are already aware. And the point from which the human being marches toward a new existence is just his youth period. 。It is in this period that the self-awareness of a man begins its real revival, and he begins his course of sexual maturation, when he can never live calmly any longer, for his inside conflict makes him to search for new balance, namely the new harmonious He begins to feel curious and fresh of the future world, while feel worried and fearsome of it.
彭建忠的绘画正是通过对少年内心与精神背景中，充满忧郁、惊恐气氛的象征性场景的营造，描述了人类在成长过程中，特别是青少年时期面对自我与世界的复杂心理与精神冲突。这种冲突显示了人类每向前迈进一步都不可避免的剧烈斗争。是前进还是倒退？是回到动物的存在，被母亲重新保护与喂养？还是成为觉醒的人，走向自我塑造的关键一步？这是一个严肃的问题。这个问题就是我们人类永远要一代代重复的《少年维特之烦恼》（出自德•歌德的同名小说）。
Peng Jianzhong’s paintings just described the complex mental and soul conflict, via the building of symbolized blue and terrified scenes inside the youth and in the background of their soul, of human beings when they are facing the ego and the world in their growth course, especially in their youth period. This kind of conflict shows the drastic struggle that is inevitable on every step of human beings when they walk forward. To go forward or step back? To go back to the existence of animals, to be protected and fed by the mother again? Or to be aware human beings and make the pivotal step towards the self-building? This is a serious question. And this question is The Sorrows of Yong Werther (by Johann Wolfgang von Goethe) that our mankind will repeat generation by generation forever.
这一“少年维特之烦恼”也正是一个人健全与异化的分水岭。善与恶、美与丑、仁慈与残暴、伟大与平庸往往都在这一分水岭上分道扬镳了。而一个社会与国家青少年总体的内心精神状况也就是这个社会与国家的未来形态。
This “sorrows of young Werther” is also the watershed judging whether a man sound or dissimilated. The good and the evil, the beautiful and the ugly, the merciful and the brutal, the great and the mediocre, all of these often go their own ways on this watershed. And also the whole inner mental state of the youth of a society and a country is the future form of this society and country.
因为世界是我们的，但是归根到底还是他们的。
Because the world is ours, but finally it is theirs.
作者简介：笔名，江铭，原名王宝明，独立批评家，著有《中国后现代艺术》、《后波普浪潮——对中国特殊消费主义的现象学研究》。A brief introduction of the writer: The pen name of the writer is Jiang Ming, whose original name is Wang Baoming. The writer is an independent commenter, whose works include Post-modernism Art of China, Post-Pop Wave — A Phenomenological Study on the Special Consumerism of China, and so on.
【编辑：霍春常】
