“他躺在那里,像一本人体圣经,写满了苦难……”提笔时辗转反侧,越是高山仰止,越是不知该如何开场,思量许久,选定了亨利·米勒《柯利希的宁静日子》中的这句,这亦是我第一次翻看弗洛伊德晚期画集时的感受。无论是他的肖像画或是裸体画,透过画家雕塑般浓厚、粗糙、充满力量的笔触,世道沧桑在画中人身上打下的烙印,种种折磨与苦难跃然纸上,俨然是一道肉身的纪念碑,一处坍塌的躯体形成的废墟。在这废墟中行走,那残酷的真实感总是会引来些许哀叹,令人避 “He lay there, like a human body book, filled with suffering ... ” Twenty-two tossing, the more mountains, the more I do not know how to start, consider for a long time, selected Henry Miller “ Calm’s quiet days ”in the sentence, which is also my first visit to Freud’s late painting experience. Whether it is his portraits or nude paintings, through painterly sculpture thick, rough, full of power strokes, the vicissitudes of life in the paintings of the body lay on the brand, all kinds of torture and suffering vividly on paper, just like a memorial body, A collapsed body formed by the ruins. Walking in this ruin, that cruel reality will always lead to a little lament, it is to avoid