O ne of the most instantly recognisable manifestations of Chinese contemporary art, Zeng Fanzhi’s era defining Mask Series launched the artist onto the global stage, and became synonymous with the modern, urban Chinese aesthetic. The 1990s was a pivotal decade for Chinese contemporary art and for the artist himself, moving away from his early German Expressionist tendencies that he experimented with at the Hubei Academy of Fine Arts (1987-1991) and moving towards the psychological Mask works from 1994. Created in 1999, Mask Series 1999 no. 2 is a dazzling, mature work from the series, exemplative of Zeng’s increasing use of vivid colours and inclusion of landscape settings in his later Mask paintings.

Lounging aloof amongst a bed of flowers, the masked figure in Mask Series 1999 no. 2 embodies Zeng’s powerful exploration of outward appearances and inner anxieties, reminiscent of the compelling psychological portraits by Francis Bacon, while definitive of the post-1989 Chinese aesthetic. This iconic, mature Mask painting was exhibited in the 1 + 1: Guo Kin & Zeng Fanzhi show at the Schoeni Art Gallery in Hong Kong in 2000, and has subsequently been made into a series of popular prints, testament to its exceptional visual power.

Significantly, this painting is one of a limited number of works in which Zeng integrates flowers into his composition, a highly coveted motif due to its rarity and symbolic of the artist’s mature Mask period in which he began to incorporate a more elaborate landscape in the background. The flower motif, signifying both the dreams and disappointments of his childhood, first appeared in Mask Series 1998 no. 6, which depicts a masked figure wearing the red neckerchief of the Young Pioneers standing amongst a bed of flowers, an airplane soaring high in the air above him.

Executed a year later, Zeng portrays the protagonist of the present work lying amongst the flowers, before developing the composition of Mask Series 1998 no. 6 further to create his famous double portrait of Andy Warhol and his signature masked figure in Fly (2000). Discussing flowers in the context of his childhood memories, the artist commented: “Flowers remind people of senior leaders. They are outstanding members of the Young Pioneers and have special emblems. I wanted so badly to be one of them when I was a child” (Zeng Fanzhi quoted in Gladys Chung, Zeng Fanzhi: Catalogue Raisonné 1984–2004, Vol. II, 2020, p. 555). In this way, Zeng associates flowers with his hopes and frustrations as a child, but they can also be read as representative of an idealistic utopian world, one example of how Zeng’s Mask works are both autobiographical and representative of the human condition.

Zeng’s renowned Mask Series powerfully expresses both the personal and universal anxieties related to the urban experience, using the mask motif to emphasize the dramatic tension between outward appearances and inner emotions. Most art historians trace the genesis of the series to his move from Wuhan to Beijing in 1993, met with the daunting task of making new friends in an unfamiliar world, and grappling with the new, capitalist-driven consumer culture that he found himself surrounded by in his new urban environment. In this way, Zeng’s Mask Series can be seen as a personal, visual articulation of his inner unease and disorientation in Beijing, with the mask perhaps symbolising both the perceived incinserity of the new acquaintances he made, and the need to put on a front to fit into this new environment. Indeed, in an interview with Li Xianting, the artist described how: “After I came to Beijing, I didn’t have many friends with whom I could truly open myself. I had a mixture of feelings when meeting new people, and I had to [interact] with a lot of them…I had to learn to get along with strangers in a new environment, and these feelings stirred me deeply, so I think the paintings are a reflection of things in my heart not necessarily all people’s. It’s just my personal feeling” (Zeng Fanzhi quoted in Li Xianting, “A Restless Soul- A Dialogue Between Li Xianting and Zeng Fanzhi”, ShanghART, 2003, online).

Many of the motifs found throughout the Mask Series are tied to Zeng’s own childhood memories or past experiences, making this body of work strikingly autobiographical. Further, Gladys Chung, editor of the artist’s Catalogue Raisonné, compellingly argues that: “The fact that the Mask Series began with a self-portrait is quite illuminating, because it raises the question of the fundamentally autobiographical nature of this cycle of works that is, of course, a manifestation of the artist’s self-expression and retrospection” (Gladys Chung, “Between Construction and Destruction: the Pursuit of Painterliness”, in Zeng Fanzhi: Catalogue Raisonné 1984–2004, Vol. I, 2020, p. 60). Overall, Zeng’s ability to capture his inner feelings of anxiety and loneliness is arguably what makes works such as Mask Series 1999 no. 2 so engaging and powerful for the viewer.

While Zeng’s Mask Series is distinctly personal, the themes of anxiety and isolation are relatable to a universal audience. Further, Zeng’s works are compelling reflections of the zeitgeist, and the rapidly changing social and political landscape of China in the 1990s. The artist not only engages with the anxiety and loneliness that derived from the rapid urbanisation of China and its major cities, but he also captures shifting attitudes and ideologies in his Mask works through emphasis on aspects such as clothing. In Zeng’s Mask Series, the artist places particular attention on the articles of clothing worn by his masked protagonists, mostly portraying them in Western suits and red ties. Here, the reclining figure is depicted in Zeng’s archetypal cream suit and blue shirt, trendy amongst China’s urban population and what Chung has referred to as the city’s “nouveau riches” (Gladys Chung, “Between Construction and Destruction: the Pursuit of Painterliness”, in Zeng Fanzhi: Catalogue Raisonné 1984–2004, Vol. I, 2020, p. 62). The gradual change in attire was seen across society, with many prominent figures and officials adopting this new form of dress: “In the mid-90s, China was transforming very fast. Chinese officials started wearing suits and tires…Everybody wanted to look good, but it also looked a bit fake. I felt they wanted to change themselves on the surface” (Zeng Fanzhi quoted in Sonia Kolesnikov-Jessop, “Zeng Fanzhi: Amid change, the art of isolation”, The New York Times, 3 May 2007, online).

Chung notes how the proliferation of Western suits, rather than the grey Mao suits that were accustomed up until this point, “symbolised the coming of a new age” (Gladys Chung, “Between Construction and Destruction: the Pursuit of Painterliness”, in Zeng Fanzhi: Catalogue Raisonné 1984–2004, Vol. I, 2020, p. 62). Chung describes how, “the trend quickly caught on. People eagerly donned suits throughout the 1980s and 1990s; even poorly-tailored versions spoke of optimism and the desire to become part of history” (Ibid.). In this way, Zeng’s representation of Western suits, as seen in Mask Series 1999 no. 2, were representative of a shifting mindset and cultural landscape within China’s cities, and a desire to open up to new ideas and embrace the advent of a new age. By depicting his figures, such as the masked, reclining protagonist of Mask Series 1999 no. 2 in a Western-style suit, Zeng represents the archetypal city dweller in Beijing at the end of the century.

Zeng’s later Mask paintings are typically more vibrant and set in more elaborate landscapes, as typified by Mask Series 1999 no. 2 and its radiant colours that shine from the canvas. In Mask Series 1999 no. 2, Zeng’s figure lies almost dreamily in a bed of flowers, a dazzling blue sea depicted behind him. The beautifully-rendered flowers stand out in their meticulous representation, differing from the simplicity of the background and evocative of the flowers of Fang Lijun in his chromatic Cynical Realist works.

There is an underlying tension between the beauty of these flowers, the apparent nonchalant pose of the figure, and the painful, raw skin that peeks out from under his mask and is evident on the man’s red hand. Further, the slight feeling of discomfort caused by the painful appearance of the man’s skin is reinforced by the wide, staring eyes of the mask and its aloof expression, immediately beguiling the viewer, absorbing them into this fascinating tension between outward appearances and underlying currents of unease. Zeng seems to be interrogating the notion of falsehood, demonstrating how everything is not necessarily how it seems on the surface.

Mask Series 1999 no. 2 is a masterwork by the artist, instantly captivating in its dazzling colour and dream-like landscape, quivering with suspenseful undercurrents that indicate deep, profound inner feelings and emotions.

曾 梵志的「面具系列」是最爲人熟悉的中國當代藝術作品之一，亦是中國現代都市美學的代表。
曾梵志憑著這個系列一躍登上國際藝壇，備受各界矚目。對中國當代藝術和曾梵志自身而言，九十年代是關鍵的階段。當時，曾梵志逐漸脫離在湖北美術學院時期（1987-1991年）對德國表現主義方向的早期探索，轉向著重心理刻畫的「面具系列」，系列創作開始于1994年。《面具系列1999 第2號》作于1999年，是「面具系列」中璀璨奪目、至臻成熟的作品，凝聚了系列作品後期的特徵，用色更鮮艶幷且納入風景作爲場景。畫中人物蒙著面具，冷漠地躺臥于花床之中，承載了藝術家對外表和內在焦慮的探索，讓人想起法蘭西斯·培根（Francis Bacon）的心理肖像畫，同時亦蘊涵89後的中國美學。這幅作品曾參與2000年香港少勵畫廊的「1 + 1：郭晋和曾梵志」展覽，曾梵志隨後更以此爲基礎，製作了一系列頗受市場歡迎的版畫，足以證明此作出色的視覺力量。

構圖中包含花朵的曾梵志作品寥寥可數，此作位列其中，無疑別具意味。花朵圖案不僅數量珍稀，而且象徵了「面具系列」的成熟發展時期，那時曾梵志開始在背景中加入細緻的風景。花朵圖案代表了他童年的夢想和不滿，最早出現在作品《面具系列1998第6號》。畫中描繪了一個蒙著面具的人物，他戴著少先隊紅領巾站立在花床中，一架飛機在他頭頂的空中翺翔。一年之後，曾梵志創作《面具系列1999 第2號》，將這位主角描繪成躺臥在花床之中，其後，他發展了《面具系列1998第6號》的構圖，創作出著名的雙肖像作品《飛翔》（2000），兩位主角是安迪·沃荷和他的標誌性面具人。曾梵志在童年回憶中探討花朵的意涵，説道：「花朵讓人們想起大隊長。他們是少先隊中的優秀隊員，有特別的袖章。我小時候特別想成爲其中的一員」（引述自曾梵志，鍾嘉賢，《曾梵志作品全集1984-2004》，第2卷，2020年，頁555）。如此説來，曾梵志把花朵和他孩童時的希望以及挫折聯係在一起，而另一層解讀是：花朵代表了一個理想主義的烏托邦世界，證明他的「面具」作品既是本人的自傳，又是人類處境的象徵。

「面具系列」强烈地表達出都市生活中的個體和群體焦慮，以面具圖案來深化外表和內在情感兩者之間的戲劇張力。1993年，曾梵志從武漢搬到北京，他要學習在陌生環境中認識新朋友，也要應對資本主義下的消費文化，因而感受到巨大的壓力。大部分藝術史學家都從他這段經歷中去追尋「面具系列」的形成軌迹。曾梵志的「面具系列」可能是他對內在的不安與迷失的視覺表達，當中的面具象徵了虛僞——這是他在新交往關係中感受到的；也象徵了需要——要擺出一副假模樣來適應這個環境。誠然，曾梵志在和栗憲庭的一次訪談中如此形容道：「我覺得可能是我到北京以後，剛開始真正可以交流的朋友其實很少……到一個新的環境要學會和陌生人一起，這種感覺對我內心很觸動，所以這批東西還是畫了我自己內心的東西，不一定是別人內心的，只是我自己內心的感覺。」（引述自曾梵志，栗憲庭 ，<永不安寧的靈魂—栗憲庭與曾梵志對談錄>，香格納畫廊，2003年，網上資料）。

「面具系列」中出現的主題圖案和曾梵志的童年經歷息息相關，使這個系列帶有濃烈的自傳色彩。曾梵志作品全集的編者鍾嘉賢提出一個有力觀點： 「『面具系列』以自畫像爲起點，很有啓發性，因爲它令人想到這個系列本質上是否藝術家的自傳，也就是他表達自我和自省的載體。」（鍾嘉賢，<在建構和毀滅之間：對繪畫性的追求>,《曾梵志作品全集1984-2004》，第1卷，2020年，頁60）。整體而言，曾梵志善於呈現內心的焦慮感和孤獨感，這個獨到之處使得《面具系列1999 第2號》如此吸引和震撼觀衆

「面具系列」雖然載滿藝術家個人的感受和省思，但它呈現的焦慮和孤立的感覺却是普世的。這個系列有力地反映了時代精神（zeitgeist），以及中國九十年代迅速變化的社會和政治環境。藝術家不僅探討由中國主要城市中急速城市化帶來的不安與孤獨，而且呈現了轉變當中的社會態度的意識形態，在「面具」作品中通過突出服裝等方面表現出來。在曾梵志的「面具系列」中，他尤其著重蒙面主角的服飾，通常畫成身穿西裝和系紅色領帶。此作中的斜躺人物身穿經典樣式的淺色西裝和藍色襯衫，這在中國都市人群、即所謂的「暴發戶」 (nouveau riches)之中很流行（鍾嘉賢，<在建構和毀滅之間：對繪畫性的追求>，《曾梵志作品全集1984-2004》，第1卷，2020年，頁62）。整個社會的裝束逐漸發生了變化，其中很多重要人物和官員穿上了新式的服裝：「一九九〇年代中期，中國的變化十分迅猛。官員開始穿西裝、打領帶……每個人都希望有光鮮的外表，但却也顯得有點虛假。我覺得他們很想改變自己的外表。」（引述自曾梵志，索尼婭·科列斯尼科夫-傑索普，<曾梵志︰轉變之中，孤獨的藝術>，《紐約時報》，2007年5月3日，網上資料）。鍾嘉賢提到，西裝迅速風靡，代替了之前大家習以爲常的灰色毛裝，「象徵著一個新時代的到來」（鍾嘉賢，<在建構和毀滅之間：對繪畫性的追求>，《曾梵志作品全集1984-2004》，第1卷，2020年，頁62）。她描述道，「這種風潮迅速興起。在整個八十年代和九十年代，人們迫不及待地穿上西裝；即便是剪裁不當的樣式也不例外，這顯示出人們對趕上歷史脚步的樂觀主義和渴求之心。」（同上來源）。如此説來，曾梵志在《面具系列1999 第2號》中對西裝的演繹正是代表了中國城市裡轉變中的思維方式和文化景觀，也代表了一種開放迎接新觀點的渴望，以及擁抱新時代來臨的渴望。曾梵志通過筆下塑造的人物，正如《面具系列1999 第2號》中這位斜躺的蒙面西裝男主角，精妙演繹了二十世紀末北京的典型城市居住者。

曾梵志後期的「面具」畫作通常顔色更鮮艷、背景的風景更精緻，《面具系列1999 第2號》就是當中的典型作品，畫面的明麗色彩熠熠生輝。《面具系列1999 第2號》中，曾梵志筆下的人物恍恍惚惚地躺在花朵簇擁的軟床中，身後襯托著一片眩目的藍色海洋。前景的花朵描畫得美麗動人，和背景的簡約處理有所不同，它們通過精細的表現形式而顯得格外奪目，也讓人聯想到方力鈞鮮艷的玩世現實主義作品中的花朵。這些花朵的美麗、人物明擺著漫不經心的姿態、以及他面具下露出受傷的痛苦皮肉——它們之間潛藏著張力，而在男人紅色的手上更呼之欲出。男人皮膚的苦狀傳來了略為不適的感受，而且被面具上瞪大凝視的雙目和冷漠的神情渲染得更强烈，這情景頓時就把觀者吸引住，外觀和潛藏的不安暗湧形成了迷人的張力，更讓觀者難以自拔。曾梵志似乎在向虛假這個概念發出質問，證明一切事物幷不儘如表面所示。

《面具系列1999 第2號》無疑屬於藝術家筆下最精彩絕倫的作品，以光彩奪目的顔色和如夢似幻的風景令人頃刻間注目，畫中緩緩涌出充滿懸疑的暗流，讓內心深刻徹底的情感油然而生。