Artists who transplanted suffering into art

It was a hot summer 12 years ago, but the 2010 Shanghai Expo was still full of people. Unlike my friends who were interested in the hot spots, I stopped in front of the Mexican National Pavilion and walked along the snaking line waiting to see Frida Kahlo, 1907-1954), The Wounded Fawn (1946). The painting is a self-portrait of a deer with a human face. Nine arrows are inserted in the body, and the blood is flowing. The fawn is running stubbornly in the forest.

What people don't know is that the painting was very difficult to create, just after Frida's surgery, she finished painting in a suffocating plaster corset. Indeed, her life has been suffering from polio, a major car accident, repeated operations, continuous abortion, stormy love, and the subsequent betrayal... Frida is bleeding all the time. She's cutting herself open with movement, ferocity, fearlessness and vulnerability. The National Gallery of Art can't be taken out of the country without a special permit, according to Mexico's special law, but it was only allowed to go on display because of the Expo.

When I came to this painting, I looked at it for a long time, but my mood was particularly calm. Frida's attitude towards suffering is not bitter or agitated, but silently melted into the chewing and rumination of art, which is half cathartic, half empowering. The path of recursion from sadness to sorrow and tragedy is not without enlightenment for the sublimation of Chinese people's view of suffering.

Speaking of Frida, she is one of the most legendary painters in Mexico, and even Picasso looked up to her with admiration. Her legend is not only in art, but also in the misfortune of her life, its tragic, is not ordinary people can understand. When she was 6 years old, her right foot buckled due to polio, and she entered the ranks of the disabled. When she was 18, a bus collided with a streetcar, impaled her lower body with a metal bar, snapped her spine, fractured her pelvis and broke a leg. "I lost my virginity to a bus handrail," she once quipped, "understated." Although he was treated in time, he left serious sequelae. In the course of her life, she set a record for the most individual surgeries, and underwent 32 surgeries before and after, but none of them achieved ideal results.

With her paintbrush, Frida drew on her suffering and desires, her dreams of recovery, her hopes of motherhood. The cruel reality broke her dream again and again, and again and again in her paintings. Unlike other artists, all her paintings cannot escape her body, will and imagination, and almost half of them are her self-portraits. "I paint self-portraits because I am too lonely a lot of the time, and also because the only person I know best is myself."

These self-portraits affectionately tell her sufferings, sorrows, loves and hates as a professional patient. The most famous of these are Henry Ford Hospital (1932), Frida and Abortion (1932), A Few Small pricks (1935), and Self-Portrait of a Hummingbird with a thorn Necklace (1940), all of which have a thorny thorn wrapped around the neck, symbolizing the endless period of suffering. She used to cry out: I'm not sick, I'm broken. Her self-portrait, "The Broken Pillar" (1944), depicts her body split open and studded with nails, as well as the congenital malformations of spina bifida, scoliosis, post-polio syndrome and the after-effects of a car accident when she was 18. She's crying. Big tears are falling.

Diego once said of her paintings: "Sharp and gentle, hard as steel, but beautiful as butterfly wings; Lovely as a smile, but deep and cruel as her life of suffering."

In the spring of 1953, Frida held her first exhibition of paintings in Mexico. By this time Frida was in very poor health, and there was an ambulance at the door. Frida was carried into the showroom on a stretcher. That year, Frida had her right leg amputated because of soft tissue necrosis. This made her extremely depressed and suicidal. She died on July 13, 1954. Legend has it that it was suicide. Her diary entry on her last day reads: "I want to die happy. I don't want to come again."

The patient artist is also known as the Japanese artist Yayoi Kusama. When she was 10 years old, she had an uncontrollable hallucination, which brought her into an invisible manic-depressive network. Later, she was diagnosed as "neurotic audiovisual disorder", and she has been living in the hallucination, unable to extricate herself, violent mood fluctuations, difficult to hold. In the throes of suicide, she struggled with how to describe her distorted feelings, so she poured all of her fantasies into her paintings. The appreciation of the young American Cornel (who later became a lover) inspired her grotesque painting style (small dots) and personality (small dots), and she became a world-famous fashion painter at one stroke. International luxury designers all drew inspiration from her paintings and took her painting as the origin of creation.

The art of mooring suffering is not only painting, but music as the incarnation of the Muse.

It is said that after Beethoven's deafness, the biggest discharge is composition and performance, just not the fate of this and lost, frustrated, lost, "I want to jam the fate of the throat, it can not overwhelm me completely!" Abing's Erhu song "Erquan Yingyue" is clearly a two-stringed question of the moon, asking the sky bright moon, why bad luck always falls on the head of good people? The form is a traditional variation. At the beginning of the music, the short introduction, the descending melody, like a sigh, brings people into a deep mood. When Seiji Ozawa heard "Iizumi Yingyue" for the first time, he told others with tears in his eyes: "Music like this should be knelt down to listen." Chopin's musical life passed through life and death, love and desire, writing the creation of a musical genius, telling the moan of a tuberculosis patient, flowing with the tears of a patriot, expressing the love and hate of a bloody man.

Perhaps, in the notes and melodies, Beethoven, Abing and Chopin silently measured and thoroughly understood life. The sense of life they burst out was so vague and vague, and the words did not reach the meaning. However, the words did not reach the meaning, but they were deeply involved in the question of life and fate. How far is it from birth to death? How far is it from love to hate? Love, death desire in the impermanence of illusion, and then awareness, enlightenment. The artist's life experience and sublimation, first of all, is to bear pain, because pain (suffering) is the teacher of art, is the hormone of art life, but also tolerance to poverty, poverty is the teacher of life. Of course, there is little chew worry: from melancholy, sadness to worry; Then is the taste of loneliness, from loneliness to unique, independent, original, with loneliness to resist boredom, degradation (falling with the wind), life is so blooming. Of course, when they are capturing the sounds of nature and looking at the heaven, they are comprehending the mystery minute by minute, feeling things in the heart, things and the mind wandering. From the observation to the understanding, they are in the shape of a gouge, like Zhuang Zhou's butterfly, like a Kunpeng spreading its wings and flying for nine days. They must also carefully ponder how to transcend death, face death and live to death.

Beethoven said that music is a higher enlightenment than all wisdom, all philosophy... Who can say the meaning of music, can be beyond the ordinary people without vibration of suffering, this is the healing value of music, it is a pleasant heart, wash the heart, clean the heart of the ceremony and process. It contains the solemnity, solemnity, piety, awe, repentance, belonging, suffering, and pity of life.