Heavenly Maiden (2003)

In the Heavenly Maiden series, Zhu Wei uses his artistic language to summarize the influence of the Cultural Revolution. Figures in the paintings are filled with na?ve and devoted expressions, but they also exude a feeling of helplessness and innocence. Not only does politics influence Zhu’s work, Chinese classics do, too. During the late 80’s when the artist studied at the Art College of the People’s Liberation Army, he mastered the gong-bi (fine line) figure painting technique. Such techniques emphasize the authority of nature and provide a poetic space for viewers’ imaginations. This aesthetic can be found in Heavenly Maiden (2003). In the pictures, several men are crowded at the bottom, looking up to the red and blue whirl in the sky. Beholders are thus left to wonder what the characters are really gazing at.

《天女散花》（2003年）

在《天女散花》系列中，朱伟用自己的艺术语言对革命时代的印象进行了高度的概括，人物的表情中有纯真与虔诚，无辜与无助相混合的感觉。不光政治影响了朱伟的创作，中国经典传统也影响甚巨。朱伟八十年代末在解放军艺术学院学习时，专心完善他的中国工笔人物技法，强调自然的统治地位，并留下空白以激发观众的遐想。在朱伟2003年创作的《天女散花》中就运用了这种美学。在画面中，三两个年轻男人或挤在画布的最下面，或抬首向天望着稍纵即逝的蓝和红的漩涡，让观众去猜测他们在注视着什么。