- 徐乔斯 / Qiaosi Xu
阻隔
2016年对于刘明鉴来说是人生的一个段落。这一年，他完成了在意大利米兰布雷拉艺术学院的研究生课程，顺利地获得了视觉艺术绘画专业的硕士学位，结束了四年独自一人海外求学的生活，回到了深圳。
深圳也只是刘明鉴的第二故乡。90年代初，沿海经济特区发展，一批历经了‘85美术运动的艺术家和评论家们由湖北举家南下，那时刘明鉴尚幼，与许许多多的“深二代“一样，他的成长伴随着这个城市的日新月异，一日千里。在刘明鉴的童年里中国正经历着市场经济的崛起，沿海地区接触的文化无非是开放而多元的。他会说粤语、普通话、英语和意大利语，但是对于父母说的武汉话[1]，他只能听不能说，“来武汉话去普通话”，是这个家庭日常沟通的旋律。
在去意大利之前，刘明鉴师从郭润文[2]，本科毕业于广州美术学院油画系第二工作室——以写实主义为创作方向。严格的学院系统将刘明鉴的绘画技术训练得日臻成熟，等到他进入意大利米兰布雷拉艺术学院后，他的主教授Gaetano Grillo却禁止他再画具体的对象，并说：“你们中国人技术都很好，可是你们不知道什么时候停止。”环顾四周，意大利的同学们都在画各种材料的彩色方块，于是刘明鉴也把材料更换成了手工纸，虽说是绘画专业（全称是视觉艺术绘画专业[3]），除了版画和雕塑不能做，其他也百无禁忌。于是班里有人缝制巨大的旗帜，还有人做陶瓷和亚克力板。等到研究生毕业，刘明鉴制作出了一组水墨综合材料作品：宽70公分，长度在6米至8.5米之间名为《咏叹调》的长卷。或许是剥离了具体形象与象征意味，作品的材质催生出了异国情调；或许是答辩的当日门外有艺人在演奏中东的乐器，听觉为视觉注入了解释……不管怎样，在外国主教授的眼中，东方神秘的色彩渲染了地中海的天空，他对刘明鉴的创作颇为满意。
可是，对于刘明鉴而言，他恰恰离不开具体事物的象征性。这种象征性层层叠加，在画面中形成了多重而繁杂的指向，加密了绘画者的心理空间。
在广州美院的日子里，刘明鉴的创作以肖像居多，对象是同学或自己，或是理想中具有人性的动物。在刘明鉴的笔下他们具有戏剧化的神情和夸张的仪表，写实主义的技法与想象力同时并存在画面中，背后隐含着无法告白的情绪，一再克制。克制是刘明鉴赋予画中人物的姿态，通过添加色彩将他们置于一种绝望而分离的境地中（《玩偶系列》、《处女星之墓》），这种绝望从2011年的《你说我该如何是好》中喷薄而出，作品采用的是具有撕裂感的对角线构图，画面中主人公向天空投出了长远而绝望的目光，长发在一瞬间被猛烈地甩向相反的方向，画面一改往日的绚丽，仿佛谎言破碎后留下的灰白和深黑，惨淡且深刻。在后来的创作中，刘明鉴再也没有流露出像这张作品中那样强烈那样明确的情感力量。
在回国以后第一年创作中，刘明鉴重拾写实主义技术，创作了一批以动物为主体的大幅油画作品，《善良的墨菲斯》、《静谧的克拉肯》、《非首选人生》、《来自猫科动物的微笑》I-III是这一时期的代表。在这些大尺寸的油画中，雄性的形象以狮子作为象征，雌性的形象以猫作为象征，它们被高度地拟人化了。在这一系列的作品里，作为主角的狮子和猫没有了一丝的情绪，它们像道具一样被安置在一个虚构的场景中，周遭一切都被描述得极尽仔细。对于刘明鉴的这种“极多主义”的绘画倾向的理解，或许来自归国后的不安。他还没有准备好如何去面对一次次环境与生活的更替，就像画面中的主角，穿戴得华丽，处在建筑物的一个角落，渴望一个掩体，也渴望窗外的鲜花与飞鸟。
赋予一个空间结构以花纹和窗口，这样的处理方式最早出现在2012年的一幅名为《初恋的亡灵》的布面油画中。这一年，刘明鉴大学毕业，人生总要在此处经历一场灾难性的告别。在这幅作品中，刘明鉴建立了四层构图：前景的人，在一棵稀疏的水晶树旁；近景的窗，仍然是与地面与墙面相连的魔幻色彩；窗外的中景是另一个向前眺望的人，然而他再也无法跨过那道彩色的围栏抵达现在；最后的远景，是一片褐色的山峦。当刘明鉴第一次把这些反复操练的绘画元素集合起来时，作品因为内容的繁多而变成了一道谜题。在后来与这件作品尺寸一致的《善良的墨菲斯》、《静谧的克拉肯》、《非首选人生》中，再也看不到人类的面孔，这是一种试图逃逸却又被死死固定在某一点的现实，当情绪消失以后，出现的是无能为力的沉默。这种沉默的冷漠的动物面孔，在后来的作品中显得更加无情。
色彩、花纹、晶状体
除去以写实技术刻画的主体外，色彩、花纹与晶状体是刘明鉴作品中关键的构成元素。刘明鉴在研究生毕业论文中讨论了东西方的壁画艺术，讨论了东西方的艺术在克里姆特的绘画中的表现，同时他也受到了装饰主义和维也纳分离派的影响，倾向于一种富有装饰意味的画面感。刘明鉴掌握了在手工纸上泼墨挥洒的抽象表达方式之后，他将华丽的水墨片段制作成了灯的立方体和菱形的装置小作品，这种菱形的装置小作品（《手工纸-立方系列》2016）又呼应了一贯在他画面中出现的水晶体形状。这些立方体虽小，却有着不同的面向，而不同的面向上所携带的色相又与临近的块面构成了色彩和空间的新关系，像一条被拉长的魔方，不论从哪个方向上看，细微的、流动的色彩都在眼前形成一个开口，它们仿佛宇宙的虫洞，精微地联通时空。
对于那些大面积渲染出来的色彩，刘明鉴总习惯将之想象成星辰大海。或许片甲之间并不能道尽星辰的璀璨，于是刘明鉴大量地制作着这些图像，像极光一般变幻无穷。绘画的暗线是时间，艺术家在满足自身精神需要的同时，也用作品描述了时间的伤痕。水晶的质感某种程度上呼应了星光熠熠的感觉，晶莹剔透，看似简单，实则深邃，令人无法洞穿。
水晶体最早出现在《初恋的亡灵》的室内空间里，在地面的表层纠缠暗涌，最后生出一棵脆弱的水晶树。如果说这幅作品是刘明鉴人生一个重要阶段的感情汇总，那么在他结束了意大利的学业之后，他所创作的作品都在《初恋的亡灵》的基础上试图寻找到延续。这种延续不单单是绘画题材和绘画技术回归，更是对于个人情感经历未完成的追忆和隐喻。在2019年与动物有关的作品中，原来复杂的背景内容被简化为只有窗口和水晶球的组合，动物们伫立在魔幻的背景面前，身上的华丽的服饰和毛发都被刻画得十分详实，这让画面诞生了一种漠然的分裂感——在自我囚禁的空间里，对视的目光变成了一种难以舍弃的、刻意的矜持。
如果目光可以被理解为是一种光线，就像刘明鉴在早期的作品《你说我该如何是好》中表达的那样，那么眼球就可以看作是水晶体在视觉上的延伸。在2017年的绘画创作中，刘明鉴着重刻画了眼球这个会令人产生不适观感的对象，他将这个系列取名为《全知的邪眼》。从《全知的邪眼》到《荷鲁斯之眼》[4]，刘明鉴在潜意识里渴望获取一种洞察之力，能够拆穿生活的谜题，得到修复和庇佑。然而迷宫的出口还是迷宫，对于全能之眼的描绘也不能为现实的生活找到任何的答案，寄托仅仅是一种寄托。
在意大利留学期间的造纸工作坊的创作中，刘明鉴制作了一系列的《情书》作品，结合他对于克里姆特的研究，刘明鉴抽取了装饰性的花纹作为《情书》的内容，这些造纸作品被制作成了灯光装置，在光源的投射下，不同的色彩组合呈现出了不同的色温，像一段不确定的关系中忽近忽远的体温。日后这些花纹成为了刘明鉴作品中重要的装饰语言。
刘明鉴的作品中隐含着一种阴性的忧郁，仿佛保有许多的秘密。他留给观者的心理空间并不多，尽管他的空间构图是多重的。偶尔，他会让人看到心灵的脆弱，但是很快，仅有的一丝线索也被繁富的绘画手法所掩盖，一切都表述得十分具体，除了情绪。
隐忍，或许不会有结局
孤独对于世界上的所有人来说都是一道无解的题。在刘明鉴的作品中很难看到明确的情绪，这并不代表他的心灵是麻木的。在静默中等待，艺术家在生活中携带的内心诉求总会被他们不自觉地带入作品中。几幅刻画动物的作品，被刘明鉴命名为《理想型》。这些主人公拥有谦逊精致的样貌，穿着高级的华服，目光温柔。这是艺术家的一种愿景，刘明鉴小心翼翼地表达着他的心意，不敢越界，也是内心有所顾虑。这样的顾虑来自现实生活带给他的纷杂争议，他一边无法舍弃自己，同时也无法令所有人都为之满意——他不知道该以何种方式呈现自己。他乐此不疲反复刻画的猫科动物，实则是时光流逝之下永恒的囚徒。出生在80年代的独生子女有着一人无法言说的内心。他们没有兄弟姐妹，独自一人面对社会。在这样的血缘关系里，幸福与痛苦捆绑在一起。因此这一代人的战役就幻化为他人眼中的叛逆。
2016年刘明鉴回国，用他自己的话说，就像“无头苍蝇跌出了象牙塔”。他的主教授曾经明明白白地告诫中国的留学生：“如果你们想当艺术家，就还是回国发展吧。”因为在欧洲，艺术生态很完整，艺术家、评论家和画廊是一个三方稳固的铁三角关系，外部的新人很难打入他们的世界。相比之下，在主教授Gaetano Grillo的眼里，中国人回到中国或许上升的速度还会快一些。然而对于“跌出了象牙塔”的人来说，刘明鉴感受到唯一强烈的就是混乱。一方面他脱离了自己原来的老师和同学已久，另一方面他又对于国内的现状一无所知——大家都在干什么？画什么？要在国内的艺术圈行走要遵循哪些法则？这一年，嘉德春秋两季的“’85新潮美术专场”拍卖，一共推出了19件拍品，成交总额达6411.3万元。[5]其中耿建翌[6]于1985年在浙江美术学院创作的毕业作品《灯光下的两个人》以1840万的人民币价格成交，望着第一代中国当代艺术探路者的背影，跌出象牙塔的人们已经完全没有了父辈的历史机遇与激情，取而代之的是日益激烈的行业竞争，“职业艺术家”的道路似乎在摸棱两可的行业规则内变得有迹可循。
唐高宗上元二年（675年）秋，王勃前往交趾看望父亲[7]，路过南昌时，在南昌都督阎伯舆重建滕王阁庆祝宴会中，26岁的王勃写下了著名的《滕王阁序》，暗射自己的怀才不遇。“关山难越，谁悲失路之人；萍水相逢，尽是他乡之客”。世界上有太多的天才带着耀眼的斑斓划过尘世，比如席勒，比如王尔德，比如舒伯特。自古忠孝难两全，这个宏大的矛盾真实而严肃地发生在八零后一代人的身上。
与上一代人相比，此起彼伏的政治运动离这一代人很远，八十年代出生的人成长在高歌猛进的中国，没有经历过一次又一次的时代转折，人生风平浪静。然而，就是在这样年复一年平静的光阴里，他们也被时光打磨得沉默不语。历经了代际的鸿沟、隐晦的青春，孤立无援的时刻四面楚歌，忍着痛，看不见血。最终，他们还是摘下了那副承载着期望的面具，任由一个真实的世界万箭穿心。
你说过，我们的征途是星辰大海。
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For Mingjian Liu, 2016 was a passage in his life. This year, he completed postgraduate courses at Brera Art Academy in Milan, Italy, and successfully obtained a master's degree in visual art painting. After four years of studying abroad alone, he returned to Shenzhen.
Shenzhen is only Mingjian Liu's second hometown. In the early 1990s, coastal special economic zones developed. A group of artists and critics who had experienced the '85 Art Movement moved south from Hubei with their families. At that time, he was a child. Like many other “Second Generation of Shenzhen, his growth was accompanied by the rapid changes in this city, with each passing day. In Mingjian Liu's childhood, China was experiencing the rise of a market economy, and the cultures in contact with coastal areas were nothing more than open and diverse. He can speak Cantonese, Mandarin, English and Italian, but for the Wuhan dialect[1] his parents speak, he can only listen to but not speak. " Intake Wuhan dialect and output Mandarin " is the melody of the family's daily communication.
Before going to Italy, Mingjian Liu studied under Runwen Guo [2] and graduated from the second studio of the Oil Painting Department of Guangzhou Academy of Fine Arts with realism as his creative direction. The strict academy system has trained Mingjian Liu’s painting techniques to be more mature. After he entered the Brera Art Academy in Milan, Italy, his chief professor Gaetano Grillo prohibited him from painting specific objects. He said: “You Chinese have all good skills, but you do not know when to stop." Looking around, Mingjian found his Italian classmates were drawing colourful squares of various materials. He therefore replaced the materials with handmade paper. Although his major is painting (the full name is visual art Painting major[3]), except for printmaking and sculpture, there are no taboos. Some people in the class sew huge flags, and others make ceramics and acrylic plates. When he graduated from graduate school, Mingjian Liu produced a group of ink and wash works with comprehensive materials: a long scroll named "Aria" with a width of 70 cm and a length between 6 meters and 8.5 meters. Perhaps the specific image and symbolic meaning were stripped away, and the materials of the works gave birth to an exotic atmosphere; or perhaps on the day of the defence, there were artists playing Middle Eastern instruments outside the door, and the sense of hearing injected explanations into the vision... In his foreign professor’s eyes, the mysterious colours of the East rendered the Mediterranean sky. He was quite satisfied with Mingjian Liu's creation.
However, for Mingjian Liu, he cannot do without the symbolism of specific things. This kind of symbolic superimposition forms multiple and complicated directions in the picture, which encrypts the psychological space of the painter.
In the days of the Guangzhou Academy of Fine Arts, Mingjian Liu mostly created portraits, targeting his classmates or himself, or ideal human animals. Under Mingjian Liu's brushes, they have dramatic expressions and exaggerated appearances. Realistic techniques and imagination coexist in the pictures. There are emotions that cannot be confessed behind them, and they are repeatedly restrained. Restraint is the posture that Mingjian Liu gave to the characters in the painting. By adding colours, he placed them in a desperate and separated state ("Doll Series", "The Tomb of the Virgin Star"). This kind of despair was gushing out from "Tell Me What I Should Do" in 2011. He adopts a tearing diagonal composition. The protagonist casts a long and desperate gaze towards the sky, and his long hair is violently thrown towards the sky in the opposite direction in an instant. The picture has changed from its former splendour, as if it is the grey, white and deep black left behind, bleak and profound after the lie is broken. In his later creations, Mingjian Liu never showed the strong and clear emotional power as in this piece of work.
In the first year of creation after returning to China, Mingjian Liu regained his realistic skills and created a batchof large-scale oil paintings with animals as the main body, with "The Kind Morpheus", "The Quiet Kraken", "The Life Is Not the First Choice", and "Smiles from Cats I-III " as the representatives of this period. In these large-scale oil paintings, the male image is represented by a lion and the female image is represented by a cat. They are highly personified. In this series of works, the lions and cats as the protagonists, have no emotions. They are placed in a fictional scene like props, and everything around them is described extremely carefully. The understanding of Mingjian Liu's "maximum doctrine" painting tendency may come from the anxiety after returning to China. He was not ready to face the change of environment and life again and again, just like the protagonist in the picture, dressed gorgeously, in a corner of the building, longing for a shelter, and longing for flowers and birds outside the window.
To give a space structure with patterns and windows, this kind of treatment first appeared in a 2012 oil painting on canvas titled "Undead of the First Love". This year, Mingjian Liu graduated from university. People always experience a catastrophic farewell at this moment in their life. In this painting, Mingjian Liu established a four-layer composition: the person in the foreground is next to a sparse crystal tree; the close-up window is still the magical colour connected to the ground and the wall; the middle ground outside the window is another person looking forward, but he can no longer reach the present through the colourful fence; the last view is a brown mountain. When Mingjian Liu assembled these repeatedly practiced painting elements for the first time, the painting became a mystery due to the variety of contents. In the later "The Kind Morpheus", "The Quiet Kraken", and "Non-First Choice Life", which are the same size as this one, no human face can be seen anymore. This is the reality of trying to escape but being deadly fixed at a certain point. When the emotion disappears, there is powerless silence. This kind of silent and indifferent animal faces appear even more ruthless in later works.
Colours, patterns, lens
Apart from the main body portrayed with realistic techniques, colours, patterns and lenses are the key elements in Mingjian Liu's works. He discussed Eastern and Western mural art in his graduate thesis, as well as the performance of Eastern and Western arts in Klimt’s paintings. At the same time, he was also influenced by Decorativeism and the Viennese Secession. He tended to create the picture of rich decorative sense. After Mingjian Liu mastered the abstract expression method of splashing ink on handmade paper, he made the gorgeous ink fragments into lamp cubes and small diamond-shaped installation works. This kind of small diamond-shaped installation works ("Handmade Paper-Cube Series" 2016) echoes the shape of crystals that has always appeared in his paintings. Although these cubes are small, they have different faces; and the hue carried by the different faces forms a new relationship between colour and space with the adjacent blocks, like an elongated Rubik's Cube. No matter from which direction it is viewed, the subtle and flowing colours all form an opening in front of the eyes. They are like wormholes in the universe, subtly connecting time and space.
For those colours rendered on large areas, Mingjian Liu is always accustomed to imagining them as the sea of stars. Perhaps the dazzling stars cannot be seen in tiny space, so he made a lot of these images, like an aurora, infinitely changing. The dark line of painting is time. While satisfying his own spiritual needs, the artist also uses his works to describe the scars of time. The texture of the crystal echoes the feeling of glimmering starlight to some extent. It is crystal clear, seemingly simple, but in fact it is profound, making it impossible to be penetrated.
Crystals first appeared in the indoor space of "Undead of the First Love", entangled with the undercurrents on the surface of the ground, and finally gave birth to a fragile crystal tree. If this painting is a summary of Mingjian Liu's emotions at an important stage in his life, then after he has finished his studies in Italy, he is trying to find a continuity on "Undead of the First Love" in his works. This continuation is not only the return of painting themes and painting techniques, but also a remembrance and metaphor of unfinished personal emotional experience. In the works related to animals in 2019, the original complex background content was simplified to only a combination of windows and crystal balls. The animals stood in front of the magical background, and their gorgeous costumes and hair were portrayed in great details, letting the picture give birth to an indifferent sense of division—in the space of self-imprisonment, the gaze at each other becomes a kind of deliberate reservation that is hard to give up.
If the gaze can be understood as a kind of light, as Mingjian Liu expressed in his early painting "Tell Me What I Should Do", then the eyeball can be regarded as a visual extension of the lens. In his painting creation in 2017, Mingjian Liu focused on the eyeball, an object that can cause discomfort. He named this series "The Evil Eye of All-Knowing". From "The Evil Eye of All-Knowing" to "The Eye of Horus[4]", Mingjian Liu is eager to gain a kind of insight subconsciously, able to break through the puzzles of life, and be repaired and blessed. However, the exit of the labyrinth is still a labyrinth, and the depiction of the Almighty Eye cannot find any answers to real life. Sustenance is only a sustenance.
In the creation of the papermaking workshop while studying in Italy, Mingjian Liu produced a series of "Love Letters". Combined with his research on Klimt, he extracted decorative patterns as the content of the "Love Letters". The paper-making works were made into lighting installations. Under the projection of the light source, different colour combinations show different colour temperatures, like body temperatures that are near and far away in an uncertain relationship. Later, these patterns have become an important decorative language in his works.
There is a kind of feminine melancholy in Mingjian Liu's works, which seems to keep many secrets. He does not leave much psychological space for the viewer, even though his spatial composition is multiple. Occasionally, he will let people see the fragility of the soul, but soon, the only trace of clues is also covered by the complicated painting techniques, and everything is expressed extremely specifically, except for emotions.
Forbearance, maybe there will be no ending
Loneliness is an unsolvable problem for everyone in the world. It is difficult to see clear emotions in Mingjian Liu's works, which does not mean that his mind is numb. Waiting in silence, the inner aspirations that artists carry in their lives will always be brought into their works unconsciously. Several works depicting animals were named "Ideal Type" by Mingjian Liu. These protagonists have a humble and exquisite appearance, dressed in high-class costumes, and have gentle eyes. This is a vision of the artist. Mingjian Liu expresses his intentions cautiously, not daring to cross the boundary, but also has concerns in his heart. Such worries came from the controversies brought to him by real life. On the one hand, he could not abandon himself, and at the same time he could not satisfy everyone—he did not know how to present himself. The cats that he has never tired of portraying repeatedly are in fact the eternal prisoners under the passing of time. The only child born in the 1980s has a heart that cannot be said. They have no brothers or sisters and face the society alone. In this blood relationship, happiness and pain are tied together. Therefore, the battle of this generation has turned into rebellion in the eyes of others.
When Mingjian Liu returned to China in 2016, in his own words, it was like "the headless fly fell out of the ivory tower." His chief professor once clearly warned Chinese students: "If you want to be an artist, you should return to your country to develop." Because in Europe, the art ecology is very complete, and artists, critics and galleries are a three-party stable iron triangle relationship. It is difficult for external newcomers to break into their world. In contrast, in the eyes of the chief professor Gaetano Grillo, the Chinese return to China may rise faster. However, for those who "fall out of the ivory tower," Mingjian Liu felt the only strong thing was chaos. On the one hand, he has been separated from his original teachers and classmates for a long time; on the other hand, he has no idea about the current situation in China-what are everyone doing? What to paint? What are the rules to follow in the domestic art circle? In this year, on the Guardian's spring and autumn auctions of “Special Session of ‘85 New Wave Art Movement”, a total of 19 lots were launched, with a total turnover of RMB64.113 million[5]. Among them, Jianyi Geng’s[6] graduation work "Two Men under the Light" created at Zhejiang Academy of Fine Arts in 1985 was sold for RMB18.4 million. Looking at the back of the first generation of Chinese contemporary art pathfinders, the people who fell out of the ivory tower have been completely without the historical opportunities and passions of the fathers, which are replaced by increasingly fierce competition in the industry. The path of a "professional artist" seems to be traceable within the ambiguous industry rules.
In the autumn of the second year of Emperor Gaozong of Tang Dynasty (675), Bo Wang went to Jiaozhi to visit his father[7]. When passing by Nanchang, at the celebration banquet for Nanchang Governor Boyu Yan to rebuild the Tengwang Pavilion, the 26-year-old Bo Wang wrote the famous "Preface to the Tengwang Pavilion" and insinuated himself that his talent was not met. "Guanshan Mountain is difficult to overcome, and who care those have lost their way; those meet by the water are all guests from other countries." There are too many geniuses in the world, such as Schiller, Wilde, Schubert, passing the world with dazzling splendour. Since ancient times, loyalty and filial piety have been difficult to achieve at the same time. This grand contradiction has occurred truly and seriously in the post-80s generation.
Compared with the previous generation, the successive political movements are far away from this generation. People born in the 1980s grew up in the advancing China. They have not experienced the turn of the times again and again, and their lives are calm. However, even in such a calm time year after year, they have been polished by time to be silent. Through generational gaps, cryptic youth, and moments of isolation and helplessness, they are embarrassed on all sides, endure the pain, and see no blood. In the end, they took off the mask carrying expectations, living in the real world in extreme grief, like ten thousand arrows piercing the heart.
You said that our journey is the sea of stars.
[1] 刘明鉴的父母是湖北沙市人。
[1] Mingjian Liu's parents are from Shashi, Hubei.
[2] 著名写实画派艺术家，1955年出生。1982年毕业于上海戏剧学院舞台美术系。现任广州美术学院油画系教授，国家画院油画院常务副院长，中国美术家协会理事。
[2] A well-known realist artist, born in 1955. He graduated from the Stage Art Department of Shanghai Theatre Academy in 1982. The current professor of the Oil Painting Department of the Guangzhou Academy of Fine Arts, the executive vice president of the Oil Painting Academy of the National Academy of Painting, and the director of the Chinese Artists Association.
[3] Arti Visive indirizzo Pittura
[4] 荷鲁斯，Horus，鹰头神。天空之神和神权的象征。在埃及神话传说中，当奥西里斯死后，赛特和荷鲁斯开始争夺王位，谁知赛特挖去了荷鲁斯的左眼。荷鲁斯的眼睛是由女神哈索尔和托特恢复（还可能为荷鲁斯之眼提供了魔法）。随着荷鲁斯之眼的康复，他的父亲奥西里斯活下去的勇气和希望也被恢复了。因此，荷鲁斯之眼经常被用来象征牺牲、愈合、恢复和保护。
[4] Horus, the eagle head god. The god of the sky and the symbol of theocracy. In Egyptian myths and legends, when Osiris died, Set and Horus began to fight for the throne, who would have known that Set removed Horus's left eye. The eyes of Horus were restored by the goddesses Hathor and Thoth (may also provide magic for the eyes of Horus). With the recovery of the Eye of Horus, the courage and hope of his father Osiris to survive was also restored. Therefore, the Eye of Horus is often used to symbolize sacrifice, healing, restoration and protection.
[5] 《中国嘉德2016“二十世纪及当代艺术综述”》 http://www.360doc.com/content/17/0205/11/7872436_626637489.shtml
[5] China Guardian 2016 "Summary of the 20th Century and Contemporary arts"
[6] 耿建翌（1962年—2017），1962年出生于河南郑州，是中国早期先锋艺术家之一。1985年毕业于杭州浙江美术学院艺术系油画专业（现在的中国美术学院）是中国当代艺术的重要代表人物之一。
[6] Jianyi Geng (1962-2017), born in Zhengzhou, Henan Province in 1962, is one of the early pioneer artists in China. In 1985, he graduated from the Department of Fine Arts, Zhejiang Academy of Fine Arts, Hangzhou, majoring in oil painting (now the China Academy of Art). He is one of the important representatives of contemporary Chinese art.
[7] 大约在上元三年（676年）春夏，王勃已至交趾王福畴处，见到了他生活窘困的父亲。不久后，王勃便踏上归途。当时正值夏季，南海风急浪高，王勃不幸溺水而亡。
[7] In the transition of the spring and summer in the third year of Shangyuan of Tang Dynasty (676), Bo Wang had arrived at Jiaozhi, and met his father, Fuchou Wang who was in a difficult life. Soon after, Bo Wang set off on his way home. It was summer. He encountered high winds and waves on the South China Sea. He unfortunately drowned and died.